Lexicon PCM 81 - REV 2, PCM 81 User Manual

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Page 1

PCM 81

Digital Effects Processor User Guide

A Harman International Company

Page 2

This triangle, which appears on your component,

alerts you to the presence of uninsulated,

dangerous voltage inside the enclosure -

voltage that may be sufficient to

constitute a risk of shock.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

This triangle, which appears on your component,

alerts you to important operating and

maintenance instructions in this

accompanying literature.

Page 3

A Harman International Company

Lexicon, Inc. 3 Oak Park Bedford, MA 01730-1441 USA Tel 781-280-0300 Fax 781-280-0490 www.lexicon.com

Customer Support

Tel 781-280-0300 Fax 781-280-0495 (Sales) Fax 781-280-0499 (Service)

Lexicon Part No. 070-12614 | Rev 2 | 09/01

This document should not be construed as a commitment on the part of Lexicon, Inc. The information it contains is subject to change without notice. Lexicon, Inc. assumes no responsibility for errors that may appear within this document.

NOTICE

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Part 15 of FCC Rules, which are designated to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient the receiving antenna Relocate the computer with respect to the receiver Move the computer away from the receiver Plug the computer into a different outlet so that the computer and receiver are on different branch circuits.

If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful:

"How to identify and Resolve Radio/TV Interference Problems."

This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.

Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class B prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

Page 4

Introduction

Lexicon

Introduction

Vigtig information om sikkerhed .....................................iv

Tärkeitä turvallisuusohjeita...............................................iv

Viktig informasjon om sikkerhet .......................................v

Viktiga säkerhetsföreskrifter ..............................................v

Wichtige Sicherheitsanweisungen....................................vi

Instrucciones importantes de seguridad ..........................vi

Instructions de Sûreté Importantes .................................vii

Importanti norme di sicurezza ........................................vii

Section 1: Getting Started

About the PCM 81....................................................................1-2

The Presets • The Algorithms • Tempo Control • Editing • Memory Cards • User Interface

Front Panel Overview ................................................................1-4

Rear Panel Overview..................................................................1-6

Block Diagram...........................................................................1-8

Installation Notes ......................................................................1-9

Mounting • Power Requirements • Audio Connections • Control Connections • Connectors • Setting Audio Levels • Configurations • Memory Cards

Section 2: Basic Operation

Modes of Operation..................................................................2-2

Navigating a Matrix • Go or Pro • Info

Control Mode ...........................................................................2-5

Row 0 Audio • Row 1 System • Row 2 Card • Row 3 MIDI • Row 4 Setup • Row 5 Mapx • Row 6 Chain

Section 2: Basic Operation

(continued)

Program and Register Banks....................................................2-17

Selecting Effects

Tempo Mode ..........................................................................2-19

The Tempo Mode Matrix • Row 0 Tempo • Row 1 Tap

Editing an Effect......................................................................2-21

The Soft Knob • The Soft Row • Compare • Bypass • Store Operations • The Full Edit Matrix • Patching

Section 3: Algorithms and Parameters

About the Algorithms................................................................3-2

The 4-Voice Algorithms.............................................................3-2

Concert Hall • Plate • Chamber • Inverse • Infinite

The 6-Voice Algorithms.............................................................3-9

Glide>Hall • Chorus+Rvb • M-Band+Rvb

The Resonant Chord Algorithms..............................................3-13

Res1>Plate and Res2>Plate

The Parameters .......................................................................3-15

Chorus • Controls • Delay Time • Feedback/Cross Feedback • Filters • Glide FX • Levels • Modulation • Panning • Patching • Pitch • Resonance • Rvb Design • Rvb Time

The Pitch Algorithms...............................................................3-33

About the Pitch Algorithms • About Pitch Shifting • Quad> Hall • Dual-Chamb • Dual-Plt • Dual-Inv • Stereo-Chmb • VSO-Chmb • The Pitch Parameters

Using the Submixer.................................................................3-45

Sends • Returns • Routing • Useful Configurations

Rvb and FX Block Controls ......................................................3-52

The Pitch Correct Algorithm....................................................3-54

The Pitch Correct Parameters

DKFINOSEDEESFR

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iii

Introduction

PCM 81

Section 4: Presets

Overview...................................................................................4-2

Program Bank 0 (P0).................................................................4-3

Multi Effects • Modulation Effects • Special Effects

Program Bank 1 (P1).................................................................4-8

Rhythmic Echo and Delay Effects • Ambience Effects

Program Bank 2 (P2)...............................................................4-13

EQ Effects • Spatial Effects • Gain Effects • Resonant Chord Effects

Program Bank 3 (P3)...............................................................4-19

Reverb Effects • Processed Reverb Effects • Remix Effects

Program Bank 4 (P4)...............................................................4-24

Vocal Shift • Vocal Harmony • Guitar Magic • Instrument Shift & Harmony • Percussion & Tempo

Program Bank 5 (P5)...............................................................4-29

Sci-Fi FX • Pitch & Delay • Pitch Sequences • Pads & Drones • Utility Programs • Pitch Correct

Alphabetical Index of Presets...................................................4-34

Section 5: MIDI Operation

Selecting a MIDI Channel..........................................................5-2

Accessing Programs and Registers.............................................5-2

Controlling Tempo Rate with MIDI Clock ..................................5-3

MIDI Tempo Control • Using the PCM 81 as a MIDI Clock Source • Slaving Two or More PCM 81s

Controller Quirks.......................................................................5-4

The ADJUST Knob, Foot Pedal, Foot SW1, and Foot SW 2 as MIDI

Controllers ................................................................................5-4

Controlling the Soft Knob with MIDI • Controlling the Soft Knob with a Foot Pedal

Program Change Messages .......................................................5-5

Section 5: MIDI Operation

(continued)

Automation...............................................................................5-6

SysEx Automation • Controller Automation • Reset All Controllers • MIDI Clock and Clock Commands • PCM 90 Compatibility • Dynamic MIDI

Bulk Data Dumps ......................................................................5-8

MIDI Implementation Chart ......................................................5-8

Section 6: Troubleshooting

Low Voltage..............................................................................6-2

Overheating..............................................................................6-2

Common MIDI Problems...........................................................6-2

Operational Problems................................................................6-3

No Input • No Digital Audio Output • No Effects Output

Power On Behavior ...................................................................6-3

Restoring Factory Default Settings.............................................6-3

Reinitialization...........................................................................6-4

Appendix

Specifications ............................................................................A-2

Declaration of Conformity.........................................................A-4

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Introduction

Lexicon

DANSK

VIGTIG INFORMATION OM SIKKERHED

Gem denne vejledning til senere brug. Følg alle anvisninger og advarsler på apparatet. Apparatet skal altid tilsluttes den korrekte spænding. Der henvises til

brugsanvisningen, der indeholder specifikationer for strømforsyning. Der gøres opmærksom på, at ved varierende driftsspændinger kan det blive nødvendigt at bruge andre lednings- og/eller stiktyper.

Apparatet må ikke monteres i et kabinet uden ventilation eller lige over andet udstyr, der udvikler varme, f.eks. forstærkere. Den maksimale omgivelsestemperatur ved drift, der står opført i specifikationerne, skal overholdes.

Der er ventilationsåbninger i kabinettet. For at sikre apparatets drift og hindre overophedning må disse åbninger ikke blokeres eller tildækkes. Stik aldrig noget ind igennem ventilationsåbningerne, og pas på aldrig at spilde nogen form for væske på apparatet.

Dette apparat er forsynet med et stik med jordforbindelse. Denne sikkerhedsforanstaltning må aldrig omgås.

Udgangsstik fra audioforstærkere må aldrig sættes direkte i apparatet. Apparatet må ikke udsættes for regn eller fugt og må ikke bruges i nærheden af

vand for at undgå risiko for elektrisk stød og brand. Apparatet må aldrig bruges, hvis det er blevet stødt, beskadiget eller vådt, eller

hvis ændringer i ydelsen tyder på, at det trænger til eftersyn. Dette apparat må kun åbnes af fagfolk. Hvis dækslet tages af, udsættes man for

livsfarlig højspænding.

Denne mærkat på komponenten advarer om uisoleret, farlig spænding i apparatet ... høj nok til at give elektrisk stød.

Denne mærkat på komponenten advarer om vigtig drifts- og vedligeholdsinformation i den tilhørende litteratur.

SUOMI

TÄRKEITÄ TURVALLISUUSOHJEITA

Säilytä nämä ohjeet tulevaa käyttöä varten. Seuraa kaikkia yksikköön merkittyjä ohjeita ja varoituksia. Käytä aina oikeaa verkkojännitettä. Tehovaatimukset selviävät valmistajan

käyttöohjeista. Huomaa, että eri käyttöjännitteet saattavat vaatia toisenlaisen verkkojohdon ja/tai -pistokkeen käytön.

Älä asenna yksikköä telineeseen jossa ei ole tuuletusta, tai välittömästi lämpöä tuottavien laitteiden, esim. tehovahvistimien, yläpuolelle. Ympäristön lämpötila käytössä ei saa ylittää tuotespesifikaation maksimilämpötilaa.

Kotelo on varustettu tuuletusreiillä ja -aukoilla. Luotettavan toiminnan varmistamiseksi ja ylilämpenemisen välttämiseksi näitä aukkoja ei saa sulkea tai peittää. Mitään esineitä ei saa työntää tuuletusaukkoihin. Mitään nesteitä ei saa kaataa yksikköön.

Tuote on varustettu 3-johtimisella maadoitetulla verkkopistokkeella. Tämä on turvallisuustoiminne eikä sitä saa poistaa.

Älä kytke audiotehovahvistimen lähtöjä suoraan mihinkään yksikön liittimeen.

Sähköiskun ja palovaaran välttämiseksi yksikkö ei saa olla sateessa tai kosteassa, eikä sitä saa käyttää märässä ympäristössä.

Älä käytä yksikköä jos se on pudonnut, vaurioitunut, kostunut, tai jos sen suorituskyky on huomattavasti muuttunut, mikä vaatii huoltoa.

Yksikön saa avata vain laitteeseen perehtynyt huoltohenkilö. Kansien poisto altistaa sinut vaarallisille jännitteille.

Tämä kolmio, joka esiintyy komponentissasi, varoittaa sinua eristämättömän vaarallisen jännitteen esiintymisestä yksikön sisällä. Tämä jännite saattaa olla riittävän korkea aiheuttamaan sähköiskuvaaran.

Tämä kolmio, joka esiintyy komponentissasi, kertoo sinulle, että tässä tuotedokumentoinnissa esiintyy tärkeitä käyttö- ja ylläpito-ohjeita.

DKDKFI

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Introduction

PCM 81

NORSK

VIKTIG INFORMASJON OM SIKKERHET

Ta vare på denne veiledningen for senere bruk. Følg alle anvisningene og advarslene som er angitt på apparatet. Apparatet skal alltid anvendes med korrekt spenning. Produktbeskrivelsen

inneholder spesifikasjoner for strømkrav. Vær oppmerksom på at det ved ulike driftsspenninger kan være nødvendig å bruke en annen ledning- og/eller støpseltype.

Apparatet skal ikke monteres i skap uten ventilasjon, eller direkte over varmeproduserende utstyr, som for eksempel kraftforsterkere. Den maksimale romtemperaturen som står oppgitt i produktbeskrivelsen, skal overholdes.

Apparatet er utstyrt med ventilasjonsåpninger. For at apparatet skal være pålitelig i bruk og ikke overopphetes, må disse åpningene ikke blokkeres eller tildekkes. Stikk aldri noe inn i ventilasjonsåpningene, og pass på at det aldri søles noen form for væske på apparatet.

Dette apparatet er utstyrt med et jordet støpsel. Dette er en sikkerhetsforanstaltning som ikke må forandres.

Utgangsplugger fra audioforsterkere skal aldri koples direkte til apparatet. Unngå brannfare og elektrisk støt ved å sørge for at apparatet ikke utsettes for

regn eller fuktighet og ikke anvendes i nærheten av vann. Apparatet skal ikke brukes hvis det har blitt utsatt for støt, er skadet eller blitt vått,

eller hvis endringer i ytelsen tyder på at det trenger service. Dette apparatet skal kun åpnes av fagfolk. Hvis dekselet fjernes, utsettes man for

livsfarlig høyspenning.

Komponenten er merket med denne trekanten, som er en advarsel om at det finnes uisolert, farlig spenning inne i kabinettet ... høy nok til å utgjøre en fare for elektrisk støt.

Komponenten er merket med denne trekanten, som betyr at den tilhørende litteraturen inneholder viktige opplysninger om drift og vedlikehold.

SVENSKA

VIKTIGA SÄKERHETSFÖRESKRIFTER

Spara dessa föreskrifter för framtida bruk. Följ alla anvisningar och varningar som anges på enheten. Använd alltid rätt nätspänning. Se tillverkarens bruksanvisningar för information

om effektkrav. Märkväl, att andra matningsspänningar eventuellt kräver att en annan typs nätsladd och/eller kontakt används.

Installera inte enheten i ett oventilerat stativ, eller direkt ovanför utrustningar som avger värme, t ex effektförstärkare. Se till att omgivningens temperatur vid drift inte överskrider det angivna värdet i produktspecifikationen.

Behållaren är försedd med hål och öppningar för ventilering. För att garantera tillförlitlig funktion och förhindra överhettning får dessa öppningar inte blockeras eller täckas. Inga föremål får skuffas in genom ventilationshålen. Inga vätskor får spillas på enheten.

Produkten är försedd med en jordad 3-trådskontakt. Detta är en säkerhetsfunktion som inte får tas ur bruk.

Anslut aldrig audioeffektförstärkarutgångar direkt till någon av enhetens kontakter.

För att undvika elstöt eller brandfara får enheten inte utsättas för regn eller fukt, eller användas på ställen där den blir våt.

Använd inte enheten om den har fallit i golvet, skadats, blivit våt, eller om dess prestanda förändrats märkbart, vilket kräver service.

Enheten får öppnas endast av behörig servicepersonal. Farliga spänningar blir tillgängliga när locken tas bort.

Denna triangel, som visas på din komponent, varnar dig om en oisolerad farlig spänning inne i enheten. Denna spänning är eventuellt så hög att fara för elstöt föreligger.

Denna triangel, som visas på din komponent, anger att viktiga bruksanvisningar och serviceanvisningar ingår i dokumentationen i fråga.

NONOSE

Page 8

Introduction

Lexicon

DEUTSCH

WICHTIGE SICHERHEITSANWEISUNGEN

Heben Sie sich diese Sicherheitsanweisungen auch für später auf. Befolgen Sie alle auf der Vorrichtung stehenden Anweisungen und Warnungen. Immer nur mit der richtigen Spannung verwenden! Die ebrauchsanweisungen

des Herstellers informieren Sie über die elektrischen Anforderungen. Vergessen Sie nicht daß bei verschiedenen Betriebsspannungen ggf. auch verschiedene Leitungskabel und/oder Verbindungsstecker zu verwenden sind.

Stellen Sie die Vorrichtung nicht in ein unbelüftetes Gestell oder unmittelbar über wärmeerzeugende Geräte wie z.B. Tonverstärker. Halten Sie die in den Produktspezifikationen angegebene maximale Umgebungstemperatur bei Betrieb ein.

Schlitze und Öffnungen im Gehäuse dienen der Belüfung; um verläßlichen Betrieb sicherzustellen und Überheizen zu vermeiden dürfen diese Öffnungen nich verstopft oder abgedeckt werden. Stecken Sie nie irgend einen Gegenstand durch die Belüftungsschlitze. Vergießen Sie keine Flüssigkeiten auf den Apparat.

Dieses Produkt is mit einem 3-drahtigen Erdungsstecker ausgerüstet. Diese Sicherheitsmaßnahme darf nicht unwirksam gemacht werden.

Schließen Sie nie Tonverstärker unmittelbar an einen Anschluß des Apparates an. Um elektrischen Schlag oder Feuer zu vermeiden, setzen Sie den Apparat weder

Regen noch Feuchtigkeit aus und betreiben Sie ihn nicht dort wo Wasser eindringen könnte.

Versuchen Sie nicht den Apparat zu betreiben falls er fallen gelassen, beschädigt, oder Flüssigkeiten ausgesetzt wurde, oder falls sich seine Arbeitsweise derart ändert daß daraus ein Bedarf nach Raparatur zu schließen ist.

Dieser Apparat sollte nur von qualifizierten Fachleuten geöffnet werden. Das Abnehmen von Abdeckungen setzt Sie gefährlichen Spannungen aus.

Dieses Dreieck auf Ihrem Apparat warnt Sie vor nicht-isolierter, gefährlicher Spannung im Gehäuse ... stark genug um eine Berührungsgefahr darzustellen.

Dieses Dreieck auf Ihrem Apparat bedeutet daß wichtige Betriebs- und Wartungsanweisungen in der mitgelieferten Dokumentation zu finden sind.

ESPAÑOL

INSTRUCCIONES IMPORTANTES

DE SEGURIDAD

Guarde esta instrucciones para uso posterior. Utilice siempre el voltaje correcto. Diríjase a las instrucciones de operación del

fabricante para obtener las especificaciones de potencia. Esté al tanto de que voltajes de operación distintos requieren el uso de cables y/o enchufes distintos.

No instale esta unidad en un estante sin ventilación, ni tampoco directamente encima de equipos que generen calor tales como amplificadores de potencia. Fíjese en las temperaturas ambientales máximas de operación que se mencionan en las especificaciones del producto.

Las aperturas y ranuras del chasis sirven para proveer la ventilación necesaria para operar la unidad con seguridad y para prevenir sobrecalentamiento, y por lo tanto no pueden ser obstruidas o cubiertas. No introduzca objetos de ningún tipo a través de las ranuras de ventilación, y nunca deje caer ningún líquido sobre la unidad.

Este producto está equipado con un enchufe de 3 clavijas con conexión a tierra. Éste es un elemento de seguridad que no debe ser eliminado.

Nunca conecte ningún tipo de salida de amplificadores de sonido directamente a los conectores de la unidad.

Para prevenir descargas eléctricas o incendios, mantenga la unidad alejada de la lluvia, humedad o cualquier lugar en el que pueda entrar en contacto con agua.

No trate de hacer funcionar la unidad si se ha caído, está dañada, ha entrado en contacto con líquidos, o si nota cualquier cambio brusco en su funcionamiento que indique la necesidad de hacerle un servicio de mantenimiento.

Esta unidad deberá ser abierta únicamente por personal calificado. Si usted quita las coberturas se expondrá a voltajes peligrosos.

Este triángulo que aparece en su componente le advierte sobre la existencia dentro del chasis de voltajes peligrosos sin aislantes ... voltajes que son lo suficientemente grandes como para causar electrocución.

Este triángulo que aparece en su componente lo alerta sobre las instrucciones de operación y mantenimiento importantes que están en los materiales de lectura que se incluyen.

DEDEES

Page 9

vii

Introduction

PCM 81

FRANÇAIS

INSTRUCTIONS DE SÛRETÉ IMPORTANTES

Gardez ces instructions pour réference future. Observez toutes les instructions et tous les avertissements marqués sur l’appareil. Branchez uniquements sur un réseau de tension indiquée. Consultez le manuel

d’instruction du fabriquant pour les spécifications de courant. N’oubliez pas que différentes tensions peuvent nécessiter l’utilisation de cables et/ou de fiches de connexion différents.

N’installez pas l’appareil en un compartiment non-aéré ou directement au-dessus d’équipements générateurs de chaleur, tels qu’amplificateurs de courants, etc. Ne dépassez pas la température ambiante maximale de fonctionnement indiquée dans les spécifications du produit.

Des fentes et ouvertures sont prévues dans le boîtier pour l’aération; Pour assurer le bon fonctionnement et pour prévenir l’échauffement, ces ouvertures ne doivent pas être couvertes ou bloquées. N’insérez pas d’objets dans les fentes d’aération. Empêchez tout liquide de se répandre sur l’appareil.

Ce produit est muni d’une fiche à trois fils pour la mise à terre. Ceci est une mesure de sécurité et ne doit pas être contrariée.

Ne connectez jamais d’amplificateurs audio directement aux connecteurs de l’appareil.

Pour empêcher les chocs électriques et le danger d’incendie, évitez d’exposer l’appareil à la pluie ou à l’humidité, et ne le mettez pas en marche en un endroit où il serait exposé aux éclaboussures d’eau.

N’essayez pas de faire fonctionner l’appareil s’il est tombé à terre, a été endommangé, exposé à un liquide, ou si vous observez des différences nettes dans son fonctionnement, indiquant la nécessité de réparations.

Cet appareil ne doit être ouvert que par un personnel de service qualifié. En enlevant les couvercles vous vous exposez à des tensions électriques dangereuses.

Ce triangle, sur votre appareil vous avertit de la présence de tension dangereuse, non-isolée à l’intérieur du boîtier...une tension suffisante pour représenter un danger d’électrocution.

Ce triangle sur sur votre appareil vous invite de suivre d’importantes instructions d’utilisation et d’entretien dans la documentation livrée avec le produit.

ITALIANO

IMPORTANTI NORME DI SICUREZZA

Conservare le presenti norme per l’utilizzo futuro. Osservare tutte le istruzioni e le avvertenze apposte sull’unità. Utilizzare esclusivamente con la tensione di rete corretta. Consultare le istruzioni

operative fornite dal fabbricante per i dati riguardanti la tensione e l’assorbimento di corrente. Potrebbe essere necessario l’uso di cavi di rete e/o di spine diverse a seconda della tensione utilizzata.

Non installare l’unità in uno scaffale privo di ventilazione oppure direttamente sopra una fonte di calore, come, ad esempio, un amplificatore. Non superare la temperatura ambientale massima di funzionamento riportata nei dati tecnici del prodotto.

Le fessure e le altre aperture nella scatola servono alla ventilazione. Per un funzionamento affidabile, e per evitare un eventuale surriscaldamento, queste aperture non vanno ostruite o coperte in nessun modo. Evitare in tutti i casi di inserire oggetti di qualsiasi genere attraverso le fessure di ventilazione. Non versare mai del liquido di nessun tipo sull’unità.

Questo prodotto viene fornito con una spina a 3 fili con massa. Tale dispositivo di sicurezza non va eliminato.

Evitare sempre di collegare le uscite dell’amplificatore audio direttamente ai connettori dell’unità.

Per prevenire il pericolo di folgorazione e di incendio non esporre l’unità alla pioggia o ad un’umidità eccessiva; evitare di adoperare l’unità dove potrebbe entrare in contatto con acqua.

Evitare di adoperare l’unità se la stessa è stata urtata violentemente, se ha subito un danno, se è stata esposta ad un liquido o in caso di un evidente cambiamento delle prestazioni che indichi la necessità di un intervento di assistenza tecnica.

Ogni intervento sull’unità va eseguito esclusivamente da personale qualificato. La rimozione della copertura comporta l’esposizione al pericolo di folgorazione.

Il presente triangolo impresso sul componente avverte della presenza di tensioni pericolose non isolate all’interno della copertura... tali tensioni rappresentano un pericolo di folgorazione

Il presente triangolo impresso sul componente avverte l’utente della presenza nella documentazione allegata di importanti istruzioni relative al funzionamento ed alla manutenzione.

Page 10

Getting Started

About the PCM 81........................................................................1-2

The Presets • The Algorithms • Tempo Control • Editing • Memory Cards • User Interface

Front Panel Overview....................................................................1-4

Rear Panel Overview .....................................................................1-6

Block Diagram ..............................................................................1-8

Installation Notes ..........................................................................1-9

Mounting • Power Requirements • Audio Connections • Control Connections • Connectors • Setting Audio Levels • Configurations • Memory Cards

Page 11

1-2

Getting Started

Lexicon

ABOUT THE PCM 81

Thank you for your purchase of the PCM 81, one of Lexicon’s most powerful and versatile digital effects processors. The PCM 81 brings you exciting new effects with extensive processing and control capabilities, and uncompromising sonic clarity.

THE PRESETS

The PCM 81 contains a built-in library of 300 preset programs that provide a comprehensive array of effects ranging from beautiful and lush to completely wild. The presets are organized into 6 Banks of 50, and functionally grouped for a wide range of applications. Be sure to experiment with all 300 presets to get a feel for the full range of PCM 81 capabilities.

When you turn the knob, you will adjust the reverb decay. In Prime Blue, ADJUST is patched to several parameters, so that turning the knob changes the effect from a tight chorus, to a chorus with recirculating echoes and, finally, into a reverb.

THE ALGORITHMS

The PCM 81 uses 17 stereo algorithms to create different types of effects. Each algorithm includes an uncompromised stereo reverb effect, as well as several voices of additional stereo effects. There are three general classes of algorithm: 4-Voice, 6-Voice and Pitch. The 4-Voice algorithms: Concert Hall, Plate, Chamber, Inverse and Infinite each combine a specific type of reverberation with a 4-voice, general purpose, stereo effect “toolbox”, as well as additional post-processing for the reverb. The 6-Voice algorithms: Glide>Hall, Chorus+Rvb, M-Band+Rvb, Res1>Plate and Res2>Plate each combine a specific type of reverberation with a specialized 6-voice stereo effect. The Pitch algorithms: Quad>Hall, DualChmb, Dual Plt, Dual Inv, Stereo-Chmb, VSO-Chmb and Pitch Correct each offer a unique type of pitch shifting, combined with an uncompromised Lexicon reverb.

Many of the PCM 81 algorithms include parameters that make it possible to create dynamic spatialization effects for 2-channel or surround applications. Check out the Ambience Effects in Bank P1 and the Spatial Effects in Bank P2 for examples. The Dual FX Pitch algorithms have dedicated Submixer controls that allow instant reconfiguration of the reverb and effects blocks.

TEMPO CONTROL

The PCM 81 gives you a unique set of tempo controls. Tempos can be tapped in with the front panel Tap button (or an assigned controller) or “dialed-in”, in BPM (beats per minute) on the display. The PCM 81 also lets you generate MIDI clock from your tempo, as

Bank P0

• Multi Effects

• Modulation Effects

• Special Effects

Bank P1

• Rhythmic Echo & Delay Effects

• Ambience Effects

Bank P2

• EQ Effects

• Spatial Effects

• Gain Effects

• Resonant Chord Effects

Bank P3

• Reverb Effects

• Processed Reverb Effects

• Remix Effects

Bank P4

• Vocal Shift

• Vocal Harmony

• Guitar Magic

• Instrument Shift & Harmony

• Percussion & Tempo

Bank P5

• Sci-Fi FX

• Pitch & Delay

• Pitch Sequences

• Pads & Drones

• Utility Programs

• Pitch Correct

Every preset has one or more of its parameters patched to the front panel ADJUST knob, giving you instant control over the primary aspect of the effect — without going into Edit mode. In the preset, Concert Hall, for example, Mid Reverb Time is patched to ADJUST.

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PCM 81

well as receive MIDI tempo from an external sequencer or drum machine. In the PCM 81, tempo can control LFO speeds and Time Switch controls, as well as all delay parameters, ensuring that all of your modulations are in tempo with your music. You can even set independent rhythmic values for different parameters within a single program.

Tempo can be set and displayed in either rhythmic value or time values. Many presets, particularly the Rhythmic Echo & Delay Effects in Program Bank P1, have delay times assigned to Tap tempo. Try loading some of these and pressing Tap twice in rhythm to change tempo.

EDITING

An enormous range of editing control is provided for each algorithm, with parameters organized in an edit matrix of as many as 100 main controls. In addition to providing this powerful sound design capability, the PCM 81 also allows you to customize these controls for your day-to-day editing needs, or to use a subset of controls specially designed for each preset.

The PCM 81 has two levels of Edit Mode control called Go mode and Pro mode. In Go mode, the most useful parameters within an effect are grouped for instant access via the front panel Edit button. Each preset has a specially selected set of Go mode parameters which let you make value changes to the effect without losing the character of the sound. Pro mode gives you access to the full parameter editing matrix for the algorithm of any loaded effect when you press Edit. In this mode, you can access a complete set of Modulation and Patching parameters, create your own ADJUST knob patch and assign your own Go mode parameters.

A unique Patching and Modulation system provides unprecedented control over your effects, with a versatile set of internal modulators: LFO, AR Envelope, Envelope Follower, Latch and Time Switches. These allow you to create modulation sweeps which move in time with music, or wildly animated effects. You can create as many as 10 patches per effect, each with as many as 8 pivot points. You can patch multiple parameters to a single controller, or patch multiple sources to a single destination.

MEMORY CARDS

The front panel memory slot will accept industry standard PCMCIA SRAM cards (up to 1Meg). Use these cards to store effects (as many as 2350 on a 1 Meg card), system setups, MIDI program maps, and more.

PCM 81 and PCM 80 SRAM cards are readable by either system.

USER INTERFACE

For all of its programming power and flexibility, you’ll find the PCM 81 simple to use. The large, 2-line fluorescent display is easy to see from any angle whether the surroundings are bright or dark. Separate SELECT and ADJUST knobs make program loading and editing quick and easy. We’ve even designed in a special Info mode — press and hold any button to find out what its function is, or to get status information such as the name of the running effect, current tempo rate, etc.

To get the most out of the PCM 81, we suggest that you invest the time to explore this manual. We think you’ll agree that the time spent investigating will reward you with enjoyment of its full capabilities.

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Lexicon

1. Headroom

Five-position indicator for analog and digital signal levels and overload conditions.

2. INPUT

Adjusts analog input level.

3. Display

Two rows of 20 alphanumeric characters display effect names and ID numbers, and parameter names and values.

4. ADJUST

In Edit mode, changes values of parameters chosen with SELECT. With Program Banks or Register Banks selected, behaves as a soft knob for patched parameters.

5. SELECT

Scrolls through presets, registers or parameters. With Program Bank or Register Bank selected, scrolls through the 50 programs in the selected bank. With Edit selected, scrolls only through the parameters of the active row.

6. Up/Down

Press to move up and down through a program, register, or parameter matrix.

7. Program Banks

Enables selection of factory presets. Press repeatedly to cycle selection of 4 internal preset banks. Press and hold to display the name of the current bank.

8. Load/✱

In Program or Register mode, loads the selected program. In Edit mode, scrolls through any multi-field parameter.

FRONT PANEL OVERVIEW

HEADROOM

DIGITAL EFFECTS PROCESSOR

ADJUST

PCM 81

0dB

6 12 18 24

010

INPUT SELECT POWER

Program

Banks

Banks Edit Control Tempo

Down

Load

Compare Bypass Tap

❊

Store

Memory Card

Eject

Chorus+Rvb

Prime Blue

P0 0.0

1 2

4 5 6

6 8 10 12 14 16

7 9 11 13 15 18

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Getting Started

PCM 81

9. Register Banks

Enables selection of user memory. If a RAM card is loaded into the Memory Card slot, each press of this button selects a new register bank. Press and hold to display the name of the current bank.

10. Store

Initiates register store function.

11. Edit

Enables parameter selection for editing of values.

12. Compare

Active in Program, Register, and Edit modes. Press to compare the active version of the current effect with the most recently stored version.

13. Control

Enables selection of system and global parameters.

14. Bypass

Bypasses or mutes audio, depending on the setting of each program's bypass parameter.

15. Tempo

Press to display tempo rate and to initiate tempo functions. LED flashes in time with current tempo rate.

16. Tap

Sets tempo. Press twice in rhythm to establish tempo rate. Press once to reset LFO.

17. Memory Card

Slot for optional preset ROM or register RAM cards. Press Eject button to remove card.

18. POWER

On/Off.

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Getting Started

Lexicon

1. AC Power

Standard 3-pin IEC power connector. 100-240V, 50-60Hz automatic switching to correct voltage range.

2. MIDI IN

Receives MIDI information from other MIDI equipment such as master keyboard controllers, MIDI foot controllers, sequencers and synthesizers.

MIDI THRU

Passes any MIDI data received without change.

MIDI OUT

Transmits MIDI data to other equipment.

3. AES/EBU and S/PDIF Inputs

AES/EBU format digital connectors conform to AES professional standards. S/PDIF format digital connectors conform to CP-340 Type II and IEC-958 consumer standards. Only one of these options (AES or S/PDIF) may be selected for input.

4. FOOTSWITCH

A 1/4” Tip/Ring/Sleeve phone jack for two independent momentary footswitches.

5. FOOT CONTROLLER

A 1/4" Tip/Ring/Sleeve phone jack provided for footpedal with 10kΩ to 100Ω impedance.

REAR PANEL OVERVIEW

MIDI

FOOT

SWITCH

MIDI

AES/EBU

THRU OUT

OUT IN

FOOT

CONTROLLER

BALANCED OUTPUTS

INPUTSBALANCED

INPUT LEVEL

S/PDIF

OUT

UNBAL

-20dB

0dB

PUSH

1 5

4 8

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Getting Started

PCM 81

6. BALANCED OUTPUTS

Output impedance is 125Ω, each side, balanced, and levels up to +18dBu maximum full scale. 1/4" phone connectors and XLRs provided. Both S/PDIF and AES outputs are active at all times.

7. BALANCED INPUTS

Combined 3 pole XLR and 1/4" jacks, electronically balanced. Input impedance is 50kΩ unbalanced, and 100kΩ balanced. Inputs accept input levels from -22dBu to +20dBu.

8. INPUT LEVEL

Two-position (In/Out) switch for matching input gain to the source being used. In position adds 20dB of input gain (unbalanced) to the input stages. Out position provides 0dB of gain (balanced).

TIP RING SLEEVE

Tip Sleeve

Ring

PEDAL

10-100K

Typical Pot(entiometer)

TipSleeve Ring

TIP

RING SLEEVE

Tip Sleeve

Ring

Footswitch 2

Footswitch 1

TIP RING SLEEVE

Tip Sleeve

Ring

–

Ground (Shield)

Balanced I/O

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Getting Started

Lexicon

BLOCK DIAGRAM

Left Input

Input Level

Digital Audio

Receiver

Power

Supply

+ 5V

+ 15

Mute

- 15

MIDI IN

A/D

L/R

Analog

In Lvl

Headroom

Digital

In Lvl

EFFECTS

Overload

-10dBu/+4dBu

D/A

S/PDIF In

AES/EBU In

100-240V

50-60 Hz

BAL/UNBAL 0dB +20dB

Right Input

S/PDIF Out

Footswitch

Foot Controller

CPU

Control

Data

Soft

Knob

Keys

LEDs

Display

PCMCIA Memory

Card

Mute

MIDI OUT

MIDI THRU

Mix

L/R

AES Out

Digital Audio

Transmitter

Digital Audio

Transmitter

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Getting Started

PCM 81

INSTALLATION NOTES

MOUNTING

The PCM 81 uses one EIA-standard rack space, and can be mounted on any level surface or in a standard 19 inch (483 mm) rack. If the PCM 81 is mounted in a rack or road case, support the rear of the chassis to prevent possible damage from mechanical shock and vibration.

The maximum ambient operating temperature is 104°F (40°C). Provide adequate ventilation if the PCM 81 is mounted in a closed rack with heat-producing equipment such as power amplifiers.

POWER REQUIREMENTS

The PCM 81 is equipped with a 3-pin IEC power connector and detachable cord.

The PCM 81 will operate with power sources from 100 to 240 volts AC, 50-60Hz. Power switching to actual line voltage is automatic.

AUDIO CONNECTIONS

Analog Audio

For best performance, maintain balanced connections, and use high-quality, low-capacitance, twisted-shielded pair cable.

When connecting to single-ended, unbalanced devices, connect the low side to signal ground at the unbalanced piece of equipment. Output level does not change when connected to an unbalanced input.

Mono Applications

Use a Y-connector inserted at the analog inputs and outputs to have the signal summed to mono.

Note:

Be careful to keep input and output to all channels wired consistently. Out-of-phase wiring can produce audible effects.

Digital Audio

S/PDIF (CP-340 Type II) Consumer Digital Audio connections require 75Ω coaxial cable suited for digital audio or video signals. Audio grade cable is not suitable.

AES/EBU connections require balanced connections using high-quality, low-capacitance, controlled-impedance, data communication, twisted-shielded pair cable. Microphone cable may introduce a significant amount of jitter into the signal, causing distortion.

CONTROL CONNECTIONS

Footswitch/Foot Controller

One 1/4 inch T/R/S phone jack is provided for 2 momentary footswitches. Another 1/4 inch T/R/S phone jack is provided for a footpedal (minimum 100Ω to maximum 10k impedance). Normally open or normally closed momentary switches are suitable. At power on, the PCM 81 assumes the switch is off. Use shielded, twisted-pair cable with shield connected to sleeve. See diagram on page 1-9.

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Getting Started

Lexicon

MIDI

Five-pin DIN connectors are provided for MIDI IN, THRU and OUT. Use standard 5-pin DIN MIDI cable assemblies, available from your local dealer.

CONNECTORS

Mating

Signal Connector Description

L and R Analog XLR A3M Active balanced, pin 2 high Audio Input +2dBu min; +20dBu max

at 0dB setting

L and R Analog XLR A3F Active balanced, pin 2 high Audio Output -2dBu to +18dBu

at full scale output

AES/EBU XLR A3M Balanced RS-422 Digital Input pin 2 high

AES/EBU XLR A3F Balanced RS-422 Digital Output pin 2 high

S/PDIF 1/4" EIAJ Consumer Digital CP-340 Type II Audio Format Consumer Digital tip high Audio Input and Output

MIDI In 5-pin DIN Standard MIDI Interface MIDI Out MIDI Thru

SETTING AUDIO LEVELS

The PCM 81, with both analog and digital input and output connections, requires some attention to proper setting of signal level.

Analog inputs are first gain-conditioned by the rear panel input gain switch, and then by the front panel INPUT knob. Proper setting of both the switch and knob are important for best performance of the A/D converter. Audio data from the A/D converter is level adjusted by the Analog Lvl parameter before reaching the effects processors. Digital inputs are also level adjusted before reaching the effects processors via the Digital Lvl parameter.

Analog and the selected digital source are mixed at the input to the effects processors. For example, setting both Analog Lvl and Digital Lvl to 50% will mix the analog and the selected digital input signals equally and send them to the effects. Creating a mix which exceeds 100% can cause overload.

2 = high

3 = low

1 = ground

3 = low

2 = high

Female

Male

Pin 2 high by convention

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1-11

Getting Started

PCM 81

Proper setting of Input level on the PCM 81 is dependent on:

• Proper signal level into the analog front end to avoid signals causing overload at the DSP input

• Proper adjustment of the signal level into the analog-to-digital converter to optimize noise and avoid overload

• Proper setting of signal level into the digital signal processor to optimize noise.

Headroom Display

The headroom display provides both headroom and overload information from a variety of measurement points. The meters display the sum of both the analog and the digital input data. Examining either the

analog or the digital level alone requires that the Level parameter of the subject data stream be set to 100%, while the Level parameter of the other is set to 0%.

The chart below illustrates the adjustment range that will set input levels for both balanced and unbalanced operation.When a choice can be made, it is best to operate at the higher amplitude end of the recommended range to optimize noise performance.

Unbalanced Balanced

overload: >0dBu >+20dBu

acceptable: 0dBu to -22dBu +20dBu to -2dBu

too low (noisy): <-22dBu <-2dBu

Overload

The 0db (overload) indicators will light under the following conditions:

• A/D overload

• Overload at any point in effects processing

For example, internal peaking of high Q filters, or level buildup from certain reverberation modes can result in overload, even when the input A/D or digital receiver data stream is not at full scale. Such conditions are most often caused by a combination of extreme parameter settings. Adjusting parameter/level settings can eliminate these overload conditions.

Selecting a Digital Input Source

1. Press Control.

2. Press Up or Down until the leftmost digit in the lower lefthand corner of the display is 0.

3. Turn SELECT to 0.0 Word Clock, and turn ADJUST to display Ext: XLR or Ext: Coax, depending on the input you are using.

Selecting Word Size

1. Press Control.

2. Press Up or Down until the leftmost digit in the lower lefthand corner of the display is 0.

3. Turn SELECT to 0.3 Word Size, and turn ADJUST to display desired Word Size.

• When using analog outputs as primary outputs, set Word Size to 20 bits.

HEADROOM

0dB

6 12 18 24

0 10

INPUT

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Getting Started

Lexicon

Setting Analog and Digital Input Level

1. Press Control.

2. Press Up or Down until the leftmost digit in the lower lefthand corner of the display is 0.

3. Turn SELECT to 0.2 Dig In Lvl, and turn ADJUST to display 0%.

Note:

If you are not running digital audio, controlled by External Clock, into the PCM 81, the digital audio input will be disabled or muted. Until there is valid digital audio input, select 0.0 External to enable the digital input level control. Until valid digital audio is connected, the Dig In Lvl control will remain muted.

4. Turn SELECT to 0.1 Analog In Lvl, and turn ADJUST to display 100%.

5. Adjust the front panel INPUT knob so that program material level peaks cause the headroom display to reach the top of the column without lighting the overload indicators. An occasional large signal peak causing momentary flashing of the overload indicator is acceptable in most instances, but should be validated by listening to the actual result.

6. If you are running digital audio, turn SELECT back to 0.2 Dig In Lvl, and turn ADJUST to the desired level. You may want to back off the Analog In Lvl setting to prevent the analog/digital mix from overloading the effects processor.

Setting Output Level

While still in Control mode, turn SELECT to 0.6 Output Level. The Output Level parameter has two range positions. The appropriate position depends on the level handling capability of the device connected to the analog outputs. Devices capable of handling outputs with peak levels of 18dBu require setting Output Level to the +4dBu setting. Devices which cannot handle peak levels greater than +4dBu require the -10dBu setting.

CONFIGURATIONS

If you will be using a PCM 81 as your primary effects unit, and your system includes a console with one or more auxiliary (effects) sends, connect the PCM 81 as shown on the next page. In most applications, it is preferable to connect the PCM 81 outputs to two of the console's input channel strips, panned full left and right, rather than to the effects returns. This allows the greatest flexibility in routing and equalization.

In this configuration the console controls are used to set the amount of effect heard—the PCM 81's MIX control should be set for 100% wet. To assign a global MIX setting:

1. Press Control.

2. Press Up or Down until 1.x is displayed in the lower left of the display and System is displayed on the upper line.

3. Turn SELECT until System Mix Mode is displayed on the upper line. 1.1 will be displayed in the lower left.

4. Turn ADJUST until the lower line reads:

1.1 ✱Global

5. Press Load /✱ to show the current global setting of MIX; use ADJUST to set it to 100% wet.

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Getting Started

PCM 81

MIDI

Effects Send (R)

Effects Send (L)

Channel Input or Effects Return (R)

Channel Input or Effects Return (L)

FOOT

SWITCH

MIDI

AES/EBU

THRU OUT

OUT IN

FOOT

CONTROLLER

BALANCED OUTPUTS

INPUTSBALANCED

INPUT LEVEL

L R

S/PDIF

OUT

UNBAL

-20dB

0dB

PUSH

MEMORY CARDS

You can use Memory cards to store as many as 2350 PCM 81 registers (47 banks of 50 on a 1 Meg card). Registers stored on a properly formatted card will be recognized whenever the card is inserted, and can be accessed via the front panel Register Banks button, exactly as internal registers.

Memory cards can also be used to store "setups" (your system configuration, as

set in Control mode). As many as 5 PCM 81 setups can be stored on a card, allowing you to transport not only your effects, but complete PCM 81 environments to another PCM 81. Cards also provide storage for additional program maps and effect chains.

See Control Mode Store and Load functions for details on saving setups on a card and reloading them.

Memory cards must be of the following type:

PCMCIA SRAM Memory Card — 68 pin, Type I

Usable densities: 64 kByte

128 kByte 256 kByte 1 MByte

Access Time: 250 nsec or faster

Conforms to PCMCIA 2.0/JEDIA 4.1. Can use either 8-bit or 8/16-bit bus configuration. Attribute memory can be present, but is not used.

Connecting to a Mixing Console’s Effects Sends

Page 23

Basic Operation

Modes of Operation......................................................................2-2

Navigating a Matrix • Go or Pro • Info

Control Mode ...............................................................................2-5

Row 0 Audio • Row 1 System • Row 2 Card • Row 3 MIDI • Row 4 Setup • Row 5 Mapx • Row 6 Chain

Program and Register Banks........................................................2-17

Selecting Effects

Tempo Mode ..............................................................................2-19

The Tempo Mode Matrix • Row 0 Tempo • Row 1 Tap

Editing an Effect..........................................................................2-21

The Soft Knob • The Soft Row • Compare • Bypass • Store Operations • The Full Edit Matrix • Patching

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Basic Operation

Lexicon

The PCM 81 provides a wide range of control over an extraordinary set of reverb, delay, pitch and modulation effects. All of the controls are easily accessed from the front panel and are described in detail in this section.

MODES OF OPERATION

The PCM 81 has five basic modes of operation, each of which is selected by pressing a front panel button (Program Banks, Register Banks, Edit, Control and Tempo). Each of these first four mode buttons has an LED which lights when the mode is active. The Tempo LED (unless you elect to have this function turned off) flashes the current tempo. When Tempo mode is active, no other mode LEDs will be lighted.

• Press Register Banks to access a bank of 50 memory locations, called registers, where you can store your customized effects. Memory cards can be used for storage of additional banks of registers. When a formatted memory card containing stored registers is inserted, pressing Register Banks repeatedly will cycle through all of the available register banks.

• Press Edit to access all of the available parameters for the currently running effect.

• Press Control to select system parameters, MIDI, card formatting, etc.

• Press Tempo to set tempo-related values that affect the delay time and LFO rate parameters of the currently-running effect. This is an exciting feature which is unique to the PCM 81, and which will be described in detail later in this chapter.

NAVIGATING A MATRIX

All of the controls available in a mode are arranged in a matrix of up to 10 columns (numbered 0-9) and 10 rows (each numbered .0-.9). This arrangement allows any one of as many as 100 parameters to be selected simply by using the SELECT knob and the Up and Down buttons to select a position in the matrix.

GO OR PRO

The PCM 81 offers a choice between two levels of Edit mode parameter access. We call these Go mode and Pro mode.

Go mode makes use of an extra row in the edit mode matrix called the Soft Row, where you can assign as many as 10 effect parameters for easy access. Selecting Go mode (Control mode 1.0) limits the action of the Edit button to displaying only the Soft Row parameters assigned to the current effect.

The PCM 81 always operates in one of these modes.

Here, the lit LED indicates that Control Mode is active.

The five mode buttons give you the first level of access to all of the functions and parameters in the PCM 81.

• Press Program Banks repeatedly to access six banks of factory preset programs. Each bank contains 50 programs.

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Basic Operation

PCM 81

Each preset has a set of Soft Row assignments which we've selected for you (as well as an assignment for the ADJUST knob). When shipped, the PCM 81 will power up in Go mode with the first preset (P0 0.0) loaded. Press Edit to display the Soft Row of parameters.

Pro mode gives you access to the full parameter matrix, including the Soft Row. Use this mode when you want to do in-depth effects editing or patching, or when you want to customize Soft Row assignments.

Go mode and Pro mode selection is made in Control mode at matrix location 1.0.

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2 3.3 3.4 3.5 3.6

4 4.0 4.1 4.2 4.3 4.4 4.5

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3

7 7.0 7.1 7.2

8 8.0 8.1

9 9.0

SELECT

Down

ADJUST

DIGITAL EFFECTS PROCESSOR

PCM 81

XXXXXXX ❋XXXXXXXXXX

3.6 XXXXXXXXXXXXXXXXX

The Select knob moves you horizontally across the matrix.

The Up and Down buttons move you vertically through the rows of the matrix.

In the Program and Register Banks, the Adjust knob acts as a soft knob for adjustment of one or more patched effect parameters. In the other modes, Adjust scrolls through the ran

e of available settings for the control you have selected.

An asterisk in the display indicates that Load/✱ is active and, depending on the mode, will load effects or will display additional parameters when pressed.

Your current location in the matrix is shown in the lower lefthand corner of the display.

Simultaneously pressing Up and Down will always return you to 0.0.

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Lexicon

The PCM 81 offers an extensive set of informative display messages which can be activated from the front panel.

The front panel switches perform various functions when pressed. Most of these functions are activated on release of the button. If you want to know more about the function of a particular button (without actually executing any action) press and hold the button down. While you are holding down the button, an explanatory message will appear on the display. The activation of an Info message overrides the normal function of the button, so that no action is taken on release.

INFO

Program

Banks

Banks Edit Control Tempo

Down

Load

Compare Bypass Tap

❊

Store

Displays the currently loaded effect name, bank, and matrix location.

Displays the current tempo and the clock source (MIDI or internal).

Displays the type of system bypass currently selected, and the current status (on or off).

Inactive until an effect has been altered, then displays "Press to hear stored effect."

Displays action needed to perform a store operation or Memory Protect message when store function is disabled.

Displays the current function assigned to the Down button and the Select knob.

Displays the current function assigned to the Up button and the Adjust knob.

Info messages are displayed when a button is pressed and held down. Generally, info messages describe the function of a button, or provide current status information.

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Basic Operation

PCM 81

Selections of various system states and conditions are made in Control Mode. Press Control to enter this mode. The Control button LED will light to indicate that the mode is active. Note that Control Mode functions are not available when the Compare function is active.

The Control Mode matrix is shown above. Following are descriptions of each available selection.

2 2.0 2.1 2.2

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Audio

*Word Clock

1.7 1.8

3.5 3.6 3.7 3.8 3.9

System

Card

MIDI

Chain

Mapx

Setup

Analog In Lvl Dig In Lvl Word Size SCMS Emphasis Bit Output Level

Edit Mode Mix Mode Tempo Mode Bypass Mode Pgm Bypass Mem Protect Auto Load

Patch Update Initialize

Bank Copy Load Format

Reset Receive Transmit *Pgm Change Automation *Send Int Clock SysEx Dump Dump Speed

Map 0 Map 1

Chain Pgm Assign

Chain 0 Chain 1 Chain 2 Chain 3 Chain 4 Chain 5 Chain 6 Chain 7 Chain 8 Chain 9

Store Load

Simultaneously press Up and Down to return to 0.0.

An asterisk (✱) accompanying a parameter name indicates that there are subparameters available at that matrix location. The Load/✱ LED will light whenever an asterisk appears in the display. Press Load/✱ to step to the next sub parameter. From any point the the matrix, press Up or Down together with Load/k to backste

to the previous parameter.

CONTROL MODE

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Basic Operation

Lexicon

ROW 0 AUDIO

0.0 Word Clock

The PCM 81 can use its own internal clock as a timing reference, or it can reference an external clock source from the rear panel S/PDIF or AES jacks. Use ADJUST to select Ext XLR (AES), Ext Coax (S/PDIF), Int: 48kHz or Int: 44.1kHz. When either Internal rate is selected, the digital input is disabled. To process audio from the digital input, you must select Ext.

When External clock is selected, and the PCM 81 detects valid digital audio, the rate of the External word clock will be displayed with a label indicating the digital audio format type: Prf (Professional [AES]) or Cns (Consumer [S/PDIF]).

The following types of errors are detected when the PCM 81 is set to Ext:

• No Lock: The PCM 81, at some point, lost lock to the incoming digital audio signal. Digital audio input is muted.

• Out of Range: The sampling rate of the incoming audio signal is outside of acceptable tolerance limits of +4%. Digital audio input is muted.

• Non Audio: Indicates transmission of non-audio data, such as from a CD ROM. Digital audio input is muted.

Dig In Status

Pressing Load/✱ from Word Clock will display the current digital input status. This status display is continuously updated, acting as a real-time monitor of the PCM 81 digital input. This display is active even when the PCM 81 is set to Internal clock. Note that in the case of an AES Pro format signal, "Emp:Yes" means either CCITT or 50/15µs emphasis.

If valid digital audio is detected, the display will show the external clock rate and format information, along with the status of the Emphasis bit(s) in the incoming audio signal. If the PCM 81 has lost lock, the display message will indicate "No Lock" and parenthetically show the internal clock rate now in use.

0 0.0 0.1 0.2 0.3 0.4

0.5 0.6

Audio *Word Clock Analog In Lvl Dig In Lvl Word Size SCMS

Emphasis Bit Output Level

When the PCM 81 is receiving valid digital audio, selecting Word Clock will

display the audio format and the rate of the incoming signal.

When the PCM 81 loses lock, it will mute the digital input and switch to Internal Clock.

When External clock is selected, any loss of lock detected in the incoming digital audio, or reception of non-audio data will cause the PCM 81 to immediately mute the digital input, and switch to Internal clock at the sample rate of the last valid external signal. An error message will be displayed if this occurs. The PCM 81 will continuously try to re-establish lock, returning automatically to External clock if and when lock is confirmed.

Audio ✱Word Clock

0.0 Ext:XLR Prf 48

Audio ✱Word Clock

0.0 Ext:Coax Cns 44.1

Audio ✱Dig In Status

0.0 Prf 44.1 Emp:Yes

Audio ✱Dig In Status

0.0 No Lock (Int:44.1)

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Basic Operation

PCM 81

Upon loss of lock, or reception of non-audio data, the PCM 81 will mute the digital input and display the following messages when Word Clock or Dig In Status is selected:

Word Clock Dig In Status

Not Locked No Lock (Int 44.1)

Out of Range No Lock (Int 44.1)

Non Audio: 44.1 Non Audio: 44.1

Error Log

The following errors are continuously logged and are available for review by pressing Load/✱ from the Dig In Status display and using ADJUST to scroll through the error list:

• Validity: A Validity error indicates that the Validity bit was set in a frame of incoming data and that the data attached to it may be corrupted. This bit may also be sent when the transmitting device is paused.

• Confidence: The PCM 81 is detecting excessive jitter or noise on the digital audio line. No data has been corrupted, but corrective action should be taken.

• SlipSample: Indicates that a single sample is misaligned with the window defined by the Word Clock. This may occur when an external master changes sample rate, or when it is just powering up, but should not occur in normal operation.

• CRC: Indicates a Cyclic Redundancy Check error in the incoming data.

• Parity, Indicate that at least one bit (and therefore at Biphase: least one audio sample) was corrupted.

Parity, Biphase, and Confidence errors are most often caused by inappropriate cabling. Be sure to use 75Ω video-grade cable, kept as short as possible — standard audio cable will not work reliably. Each error is reported by name, with the number of occurrences of that particular type of error.

The display might show, for example "CRC: 4752". As many as 9999 instances of each error can be shown. If the number of actual errors exceeds 9999, the display will indicate ">9999". A special symbol (n) before the error type indicates the most recently received error.

Audio ✱Error Log

0.0 ■ CRC >9999

Press Load/✱ from the Dig In Status display and use ADJUST to scroll through the Error Log.

A typical Error Log display showing that the last error received was a CRC error (

■

CRC) and that there have been more than (>) 9999 instances of CRC errors since Word Clock was last set to Ext.

To clear the Error Log, reselect Ext from the Control Mode Word Clock display. This will cause the PCM 81 to attempt to lock to the current external source and will reset the Error Log. The log is also cleared on power up, and whenever it relocks (Auto Lock On).

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0.1 Analog In Lvl

This is a master level control for analog left and right inputs. Use ADJUST to select values from 0-100%. If using only analog inputs, this should be 100% for best audio performance. Values between 0% and 100% are for mixing analog and digital sources.

Note:

If the analog signal being fed into the PCM 81 is too hot, turn it down by adjusting the front panel INPUT level control, or by changing the rear panel Input Gain switch. (See Setting Audio Levels in Chapter 1.)

0.2 Dig In Lvl

This is a master level control for the selected digital left and right input connector. Use ADJUST to select values from 0-100%. If using only digital inputs, this should be 100%, with Analog InLvl set to 0% for best audio performance. Values between 0% and 100% are for mixing analog and digital sources.

Note:

Only one digital input connector can be active: XLR (AES/EBU) or Coax (S/PDIF).

If digital audio is interrupted by lock or range errors, or by transmission of non-audio data, the digital input will be muted. Whenever this occurs, the PCM 81 remains functional, while an error message, such as those shown at the top of the next column, is displayed.

Any such message will remain on the display until you dismiss it by pressing any front panel button. If the condition causing the error is corrected, and the digital input is unmuted, the message will still remain until you dismiss it to ensure that you are informed of a condition that has muted digital audio, even if only for a brief period of time. Once the message is dismissed, the display will return to its previous state.

Error : Lock

(Press any button)

Error : Out of Range

(Press any button)

Error : Non Audio

(Press any button)

Audio Dig In Lvl

0.2 30% (Muted)

Some errors detected in an incoming digital audio signal will cause the PCM 81 to mute the digital input. When this happens, the Dig In Lvl display will show both the level you selected, and the fact that the signal is muted.

If you select the Dig In Lvl parameter while there is a lock, range, or non-audio error, the display will continue to show the level you have selected, and parenthetically show that the signal has been muted.

Note, if Word Clock is set to Int, Dig In Lvl is disabled. You must select Ext to process digital audio.

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0.3 WordSize

The WordSize control allows you to dither the PCM 81 24-bit word size to match the device receiving digital audio from the PCM 81. If you are recording to the digital input of a DAT machine, select 16 bits. If you have a digital console with a 24-bit bus, select 24 bits.

If you are using the analog outputs, select 20 bits (the default setting).

0.4 SCMS

Digital audio signals, in order to comply with copyright standards, are encoded with control information which can limit the ability to copy audio data. This control information is generally known as SCMS (Serial Copy Management System). Under this system, you can choose to have the audio material processed by the PCM 81 encoded to allow one of three levels of copy restriction. To make your selection, use ADJUST to select No Copy, One Copy, or Multi Copy.

0.5 Emphasis Bit

The Emphasis control allows you to explicitly set the emphasis "flag" in the digital audio, or to pass along the incoming signal without changing its emphasis coding. (The PCM 81 does not perform any emphasis or de-emphasis as part of its signal processing. The AES input/output path will correctly pass either 15/50 or CCITT emphasis.) The choices available with ADJUST are: Yes, No, and Pass Thru.

0.6 Output Level

This control allows you to select the maximum output level at the PCM 81's analog outputs. Use ADJUST to select +4 dBu, or –10dBu.

Note:

Exercise care when switching this control, as a 14dB level change instantly occurs when going from

-10dBu to +4dBu.

ROW 1 SYSTEM

1.0 Edit Mode

The PCM 81 has been designed with a "plug and play" feature called Go mode. In this mode, the most useful parameters of each effect are grouped together in a single row which is available whenever you press Edit.

Each PCM 81 preset has a set of Go mode parameters which we've selected for you. When shipped, the PCM 81 will power up in Go mode, with the first preset (P0 0.0) loaded. Press Edit to display the first available parameter in the Soft Row.

If you want access to the full parameter matrix for any effect, including the Soft Row parameters, use ADJUST to select Pro mode. Now, when Edit is pressed, you can select any parameter for adjustment, and customize any effect with your own Soft Row assignments. For more information about the Soft Row, see Editing an Effect later in this chapter.

1.5 1.6

1 1.0 1.1 1.2 1.3 1.4

1.7 1.8

System

Edit Mode Mix Mode Tempo Mode Bypass Mode Pgm Bypass

Mem Protect Auto Load

Patch Update Initialize

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1.1 Mix Mode

Each PCM 81 effect has its own Mix parameter, with the Mix setting stored as an integral part of the effect. Mix Mode allows you to override these individual Mix settings and set a global Mix value for all effects. This is useful when using a mixing console's controls to set the amount of wet signal in a mix. In such a case, you can use this control to set all PCM 81 effects to 100% wet.

When shipped, the PCM 81 has the Mix Mode set to Pgm. This setting determines that effects will be loaded with their stored Mix settings, and allows the individual Mix controls in the edit matrix of each effect to be adjusted from 0-100% Wet. To set a global Mix value, use ADJUST to select Global, press Load/✱ to display the current value, and use ADJUST to assign any value from 0-100% Wet.

1.2 Tempo Mode

The PCM 81 gives you an exciting new approach to working with delay times and modulation parameters. Now you can set these parameters in beats, allowing you to control your effects in a completely musical way. Each PCM 81 effect has its own Tempo parameters, with tempo settings stored as an integral part of the effect. These include: Tempo Rate, Tempo Beat, Tempo Source (internal or MIDI), Tap Duration, and Tap Average. The Global setting here allows you to override individual Tempo Rate settings with a global value which can then be changed on the fly.

When shipped, the PCM 81 has the Tempo Mode set to Pgm, with each effect driven by its own stored tempo rate. To change to a global Tempo Rate, use ADJUST to select Global, press Load/✱ to display the current tempo in BPM (beats per minute), then use ADJUST to assign a global tempo value of 40-400BPM.

Whether Tempo Mode is set to Global or Pgm, you can set a new tempo rate by pressing the front panel Tap button twice. Alternatively, you can choose to have tempo set automatically from incoming MIDI clock. The rate you tap, or the MIDI tempo, will be displayed here.

For more information about working with the tempo parameters, see Tempo Mode later in this chapter.

1.3 Bypass Mode/Bypass Src

This control allows you to determine the behavior of the PCM 81 when the front panel Bypass button is pressed. You can also assign an external controller to perform identically to the front panel button. When the Bypass button is pressed, the LED will light, and a message indicating bypass type will be displayed. Pressing Bypass again will turn bypass off.

The choices available via ADJUST are:

• AllMute: Mutes both the input and the output signal, giving complete silence.

• InputMute: Mutes the input to the PCM 81, allowing the tail of the effect to ring out. (This is the default setting.)

• OutputMute: Mutes the output. Audio signals are still being fed to the PCM 81, so processed audio returns immediately when Bypass is turned off.

• Bypass: Completely bypasses the PCM 81, passing unprocessed audio directly through to the outputs.

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To assign an external controller to perform the selected bypass function, press Load/✱ to display Bypass Src. Use ADJUST to select a footswitch or any MIDI controller (or Off). Once a source is selected, it will perform the same function assigned to the front panel Bypass button.

1.4 Pgm Bypass

This control allows you to determine the behavior of the PCM 81 when a new effect is loaded. The choices available are: AllMute or Bypass.

1.5 Mem Protect

The PCM 81 provides a memory protection feature to prevent accidental overwriting of your stored effects. When this control is set to On, pressing the front panel Store button will cause an error message to be displayed. To enable the Store function, turn ADJUST to select Off.

1.6 Auto Load

This control allows you to choose whether PCM 81 effects will be loaded immediately when selected with SELECT and the Up and Down buttons (On), or whether they will require a press of the Load/✱ button (Off).

1.7 Patch Update

When a controller is patched to an effect parameter, this control determines when the controller will take control of the parameter. If Immediate is selected, stored parameter values will jump to the current controller position when the effect is loaded. If Delayed is selected, the stored parameter value will remain in effect until the controller is moved. See Patching later in this chapter.

1.8 Initialize

Selecting this control arms the PCM 81 to revert to its factory settings. This will erase all registers and setups, and return the

PCM 81 to its default states.

If you press Store, the display will ask "Are you sure?" (Press STORE). If you don't want to reinitialize your unit, press any button to cancel the operation. If you press Store in response to this message, the display will flash "Restoring original factory settings" and your unit will be reinitialized.

ROW 2 CARD

2.0 Bank Copy

This control allows you to copy banks of effects from one location to another. Banks can be copied internally, or to and from PCMCIA Memory Cards. Try, for example, copying Preset Bank 0 into the internal Register Bank.

1. Press Store. The following display will appear briefly:

2 2.0 2.1 2.2

Card

Bank Copy Load Format

Select and copy

effect banks

. . . continued on page 2-12

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2.0 Bank Copy (continued)

The display will then change to show:

2.1 Load

This control allows you to load audio software from a Memory Card simply by inserting the new card and responding to the display prompts. The PCM 81 can load all PCM 80 algorithm cards. It can also share registers, maps, and chains with the PCM 80 via RAM cards. (Sharing Setups between the PCM 80 and the PCM 81 is not recommended.)

2.2 Format

This control allows you to format a Memory Card for PCM 81 use. Press Store and insert an unformatted card (or one you don't mind erasing). Make sure the Write Protect latch on the card is set to Off. Press Store. The display will ask "Are you sure?" (Press STORE). Press Store. The following display will appear briefly:

Card Bank Copy

2.0 Src: ✱P0 Dst: R

Card Bank Copy

2.0 Src: P0 Dst: ✱R

Format and name

memory card

Card Name: N ew Card

(press STORE)

The asterisk indicates that Src is available for adjustment. ADJUST will scroll through all available banks, including internal preset and register banks, as well as any banks on inserted PCMCIA cards. Internal banks are labeled "P0...P3" and "R1". Card registers will be labeled "C0, C1, C2" etc.

2. Press Load/✱ to move the asterisk to Dst.

Now, use ADJUST to select the destination of your copy. Selecting a register bank here will cause its contents to be erased and overwritten with the bank you have selected as the source when Store is pressed.

4. Press Store to copy the selected source (in this case Preset Bank

0) into the internal Register Bank. The display will ask "Are you sure?" (Press STORE). Press any button to cancel. Press Store to complete the store operation.

The display will then change as shown below:

This display allows you to assign a name (of 10 characters or less) to the card. A blinking cursor indicates that a particular character is available for changing. Use ADJUST to select the character you want in that position. Turn SELECT to move the cursor to another character. Press Store to execute. The display will ask "Are you sure?" (Press STORE). Press Store again to complete the operation. Press any front panel button to cancel.

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ROW 3 MIDI

3.0 Reset

This control resets all patched parameters to their previously stored values. When this control is activated, a MIDI "Reset All Controllers" message is also transmitted on the current channel by the PCM 81.

3.1 Receive

Use ADJUST to select OFF, 1-16, or OMNI for receipt of MIDI messages.

3.2 Transmit

Use ADJUST to select OFF or 1-16 for transmission of MIDI messages.

3.3 Pgm Change

This control specifies the PCM 81's response to incoming MIDI Program Change messages. There are four selections available via ADJUST: On, Off, Map and Chain. Pgm+ and Pgm – are available as subparameters in each location. Pgm+ loads the next higher effect in the current bank, map , or chain. Pgm – loads the next lower effect. The following sources activate Pgm+ and Pgm –:

Off Footswitch 1 Footswitch 2

•

MIDI Controller #119.

Program Change messages 0—49 correspond to PCM 81 Effects

0.0 —4.9 in the current bank. Program Change messages 50—127 are ignored. The current bank can be changed with MIDI Bank Select Messages as follows:

• 0–5: Program Banks 0–5

• 6: Internal Register Bank

• 7–11: reserved

• 12–58: Memory Card Banks. The number of banks

available on a given card will vary with its size, as follows:

Card Size # Banks

64 2

256 11

512 23

1 Meg 47

Off

All Program Change and Bank select messages are ignored.

Map

Program Change 0-127 can be mapped to any PCM 81 effect in any internal or card bank. Two 128 element maps are stored internally, additional maps may be stored on RAM cards. Once you have selected Map, press Load/✱ to display:

3 3.0 3.1 3.2 3.3 3.4

MIDI

Reset Receive Transmit *Pgm Change Automation

3.5 3.6 3.7 3.8 3.9 *Send Int Clock SysEx Dump Dump Speed

MIDI Pgm Change

3.3 ✱Map Select 0

Turn ADJUST to select the desired Program Change Map.

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Chain

Any Program Change number can be selected to load any one of ten customized effect “chains". Additional chains can be stored on RAM cards. Once a chain is loaded, effects in the chain are accessed by the controller patched to Pgm + and Pgm – (program increment and program decrement). Once you have selected Chain, press Load/✱ to display:

Automation sends all MIDI commands in PCM 80 format, which is also recognized by the PCM 81. As the PCM 80 has only four Banks (0-3), it cannot load programs from PCM 81 Banks 4 and 5 in Automation mode.

3.5 Send (Foot Pedal, Foot Sw 1, Foot Sw 2, ADJUST)

If Transmit is set to On these four controllers can transmit MIDI controller messages. Press Load/✱ to cycle through controller selections. Use ADJUST to select the MIDI Controller message to transmit.

3.6 Int Clock

You can choose to have the PCM 81 transmit MIDI Clock at the current tempo rate by setting this control to On and Tempo mode Source (0.2) to Internal. If this control is set to Off, MIDI Clock will not be transmitted.

3.7 SysEx

This control is provided for communication with one or more additional PCM 81s or computer editor software. On (the default setting) allows SysEx messages to be received by the PCM 81. Press Load/✱ to select device ID (0-126 ).

3.8 Dump

Press Store to configure the PCM 81 to execute MIDI dumps of single effects, banks, maps, chains, or setups. With the exception of Setup Dumps, all dumps are transmitted in PCM 80 format, which is also recognized by the PCM 81. You can dump from the front panel of either unit to the other. As the PCM 80 has only four Banks (0-3), references to Banks 4 and 5 will be ignored when transmitted to a PCM 80.

MIDI Pgm Change

3.3 ✱Chain MIDI

MIDI Pgm Change

3.3 ✱Chain 3

Turn ADJUST to select the desired Program Chain. When set to MIDI, Program Chains will be loaded by MIDI Program Change messages according to the settings of Chain Pgm Assign in Row 6.

To load a specific Program Chain, without sending the PCM 81 a MIDI Program Change message, use ADJUST to display the desired chain number:

3.4 Automation

This control is provided for communication with one or more additional PCM 80s or PCM 81s. Select On to have values resulting from front panel operations sent out as SysEx messages. Press Load/✱ to select the ID (0-126 or All) of the target PCM 81(s).

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PCM 81

3.9 Dump Speed

Turn ADJUST to select dump speeds of Slow, Medium or Fast to achieve compatibility with the connected MIDI device.

ROW 4 SETUP

4.0 STORE

Control mode Audio, System, and MIDI parameter settings, along with two settings from the Tempo matrix, comprise a "Setup." Five setups can be stored in the unit, or on a Memory Card, allowing you to transport not only your effects, but complete PCM 81 environments to another PCM 81. Press Store to initiate the Setup Store function.

When the PCM 81 is shipped (or when you reinitialize the unit) default values are assigned to these parameters. The following table shows the Setup parameters along with the factory default setting of each parameter.

4.1 Load

This control allows you to load your stored setup, restore the default setup shown at the right, or load a setup from a Memory Card.

4 4.0 4.1 Setup

Store Load

Control Mode Matrix Location System Parameter Default Setting

Audio 0.0 Word Clock Internal 48kHz

0.1 Analog Lvl 100%

0.2 Digital Lvl 0%

0.3 Word Size 20 bits

0.4 SCMS Multi Copy

0.5 Emphasis Bit Pass Thru

0.6 Output Level +4dBu

System 1.0 Edit Mode Go

1.1 Mix Mode Pgm Global Mix Value 100% Wet

1.2 Tempo Mode Pgm Global Tempo Value 120 BPM

1.3 Bypass Mode InputMute Bypass Src Off

1.4 Pgm Bypass AllMute

1.5 Mem Protect On

1.6 Auto Lock Off

1.7 Patch Update Delayed

MIDI 3.1 Receive OMNI

3.2 Transmit 1

3.3 Pgm Change On Pgm+ Off Pgm– Off Map select 0 Chain MIDI

3.4 Automation Off

3.5 Footpedal None Sw 1 None Sw 2 None ADJUST None

3.6 Int Clock Off

3.7 SysEx On Device ID 0

3.9 Dump Speed Slow

Tempo Mode Matrix Location System Parameter Default Setting

Tempo 0.2 Source Internal

Tap 1.3 Display On

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ROW 5 MAPX

Map 0 and Map 1

When Control mode 3.3 is set to Map, received MIDI Program Change messages will be mapped according to the selections made here. The selections available are: MIDI Program Change # (0-127), Bank # (PCM 81 preset, register, or card bank) and Pgm # (PCM 81 effect number 0-49). When shipped, the PCM 81 has the two internal maps configured to access all presets and registers:

Map 0 Map 1

MIDI 0 = P0 0.0 MIDI 0 = P2 2.8

MIDI 127 = P2 2.7 MIDI 121 = R 4.9

ROW 6 CHAIN

The PCM 81 has 10 internal program chains, numbered 0-9. (Ten additional chains are available if a register card is inserted.) Each chain is made up of 10 "links" (numbered 0-9). You can assign any program or register to any link in the chain.

A chain can be loaded with a MIDI Program Change message, or by selecting its number directly at Control mode 3.3. Once a chain is loaded, the source assigned to Pgm+ and Pgm– will load the next higher or lower program in the chain.

Pgm Assign

When Control mode 3.3 is set to Chain, received MIDI Program Change messages will be mapped according to the selections made here. Two assignments are available: MIDI Program Change # (0-127) and Chain # (0-9). When the PCM 81 is shipped, all program numbers are mapped to Chain #0. To change assignments, set Pgm#, with ADJUST, press Load/✱ to move the ✱ to Chain# and set it with ADJUST. (You cannot assign more than one chain/MIDI #.)

Mapx

Map 0 Map 1

Chain

Chain Pgm Assign

Chain 0 Chain 1 Chain 2 Chain 3 Chain 4

Chain 5 Chain 6 Chain 7 Chain 8 Chain 9

Chain Pgm Assign

Pgm#: ✱ 3 Chain#: 3

Chain 3 Prime Blue

Link#: ✱ 0 P0 0.0

Chain 0-9

Use SELECT to choose a chain. Once a chain is selected, any PCM 81 program or register can be assigned to any link in the chain. Press Load/✱ to move the ✱ from Link# to the Bank ID, to the program number. Depending on the field marked with the ✱, ADJUST will select link numbers 0-9, Banks (Pn or Rn), or the desired program within the displayed bank.

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PCM 81

PROGRAM AND REGISTER BANKS

The PCM 81 has 300 factory-designed programs, organized into six Program Banks of 50 each, and 50 memory locations, called registers, for storing your customized effects. One Register Bank is available in the PCM 81 itself. Additional Register Banks can be stored on PCMCIA cards.

SELECTING EFFECTS

The procedure for loading effects is the same, whether you are choosing from banks of factory presets, or from your own banks of registers. When first turned on, the PCM 81 will load whatever effect was running when it was last turned off. When shipped from the factory, the first effect in the first Program Bank (P0 0.0 Prime Blue) is loaded. The Bank ID (P0, P1, P2, P3, P4, P5 ),matrix location, program name, and the algorithm from which the effect is derived are all displayed.

P5 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0

2.0

3.0

4.0

P4 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0

2.0

3.0

4.0

P3 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0

2.0

3.0

4.0

P2 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0

2.0

3.0

4.0

P1 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0

2.0

3.0

4.0

P0 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8

2.0 2.1 2.2 2.3 2.4 2.5 2.6

2.7

3.0 3.1 3.2 3.3 3.4 3.5

3.6

4.0 4.1 4.2 4.3 4.4 4.5

1.9

4.6 4.7 4.8 4.9

3.7 3.8 3.9

2.8

2.9

R 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9

1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8

2.0 2.1 2.2 2.3 2.4 2.5 2.6

2.7

3.0 3.1 3.2 3.3 3.4 3.5

3.6

4.0 4.1 4.2 4.3 4.4 4.5

1.9

4.6 4.7 4.8 4.9

3.7 3.8 3.9

2.8

2.9

The PCM 81 has 6 Program Banks, each with 50 factory-designed programs.

A Register Bank provides 50 memory locations for storing your own effects.

All PCM 81 programs have one or more parameters patched to the Adjust knob.

In Program Banks or Register Banks mode, turn Adjust to change the sound of the currently running effect. While Adjust is turned, the patch name and value are displayed.

ADJUST

Indicates that the ADJUST knob is patched to one or more parameters in the currentlyrunning effect - in this case, Prime Blue.

The patch indicator remains to indicate that the currently-running effect has an ADJUST knob patch, although the displayed effect may not.

An asterisk in the display indicates that the displayed effect is not loaded.

Turn SELECT to display another effect.

Program Bank ID

Matrix Location

Program Name

■ Chorus+Rvb

P0 0.0 Prime Blue

Algorithm

■ Chorus+Rvb

P0 0.1 ✱EkoChorus

Press Program Banks to cycle through the program banks. Simultaneously press Program Banks along with either Up or Down to backstep.

Turn SELECT to scroll through all 300 effects. Press Program Banks to reselect the last displayed effect in another bank. Press Load/✱ to load the displayed effect.

In the Program and Register Banks, ADJUST is a Soft Knob. Each of the factory-designed programs has one or more parameters patched to this knob, providing a quick way to make useful changes to the effect. For example, in P0 0.0 Prime Blue, ADJUST varies the mix of Chorus, Echo and Reverb effects.

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The ■ symbol in the upper left corner of the display indicates that the currently running effect has an ADJUST knob patch. (When you display another program or register, this indicator continues to be displayed.) Turning ADJUST will cause the display to change to show the patch name and the current value, as well as the Bank, matrix location and name of the currently running effect. Continue turning ADJUST to alter the patched parameter's value. You can create your own ADJUST knob parameter assignments for your registers. (See Editing, later in this chapter.)

To select an effect stored in a register, press Register Banks. If you have registers stored on a memory card, and have the card inserted, pressing Register Banks repeatedly will cycle through all of your stored bank selections. Simultaneously press Register Banks along with either Up or Down to backstep. Turn SELECT to scroll through all of the effects in the bank. As in Program Banks mode, an asterisk in front of the effect name indicates that the displayed effect is not loaded. Press Register Banks to reselect the last displayed effect in another bank. Unused registers are indicated by the message "available" on the display. Press Load/✱ to load the displayed effect.

Turn ADJUST to briefly display the Soft Knob assignment.

Bank ID, matrix location, and name of currently-running effect.

■ EfxRvb X 32

P0 0.0 Prime Blue

Current Soft Knob parameter setting. Turn ADJUST to alter this value.

Register Bank ID The PCM 81’s internal register is labeled R; register banks created on memory cards will be labeled C0, C1, C2, etc.

The name you assign to a stored effect will appear here. “available” indicates that no effect has been stored at this location.

Note that scrolling through the effects in the Program or Register banks will not load the effects, but will merely display them (unless you have specifically turned on the Auto Load function in Control Mode). Displayed effect names will be preceded by an ✱ indicating that they can be loaded by pressing Load/✱. (The Load/✱ LED will light to indicate that the load function is available.) To find out at any time what the currently running effect is, press and hold Program Banks or Register Banks. An Info message will be displayed providing the name bank and matrix location of the currently running effect.

Matrix Location

R 0.0 *available

The organization of programs in the six program banks and descriptions of the 300 preset programs are given in Chapter 3.

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PCM 81

TEMPO MODE

The PCM 81 gives you unique control over tempo. In the PCM 81, tempo is not just a matter of setting echo rates. Any delay parameter (as many as 10 in some effects) and any time-based modulator (LFO, Sw1 and Sw2) can be individually assigned to an absolute time value, or assigned to a tempo value.

For example, a delay time can be set to a specific number of milliseconds, and you will always get a delay of that number of milliseconds, regardless of tempo changes. Alternatively, a delay time can be set to a specific ratio of echoes to beats. Now, if you create a rhythmic echo pattern, delay times will be linked to tempo. When you change tempo, the delay time will change to maintain the same rhythm at the new tempo.

With the LFO and time-based switches, the rate of change can be an absolute value (such as once per second), or it can be linked to tempo (for example, once every four beats). Any delay parameter, or time-based modulator, can be set to its own individual rhythm, allowing you to set up an effect which will change in a rhythmically interesting way — evolving over time, for example, as opposed to being a mere series of repetitions. Once delays and time-based modulators are assigned, tempo rate can be easily changed in a variety of useful ways.

Tempo Rate can be set internally or via MIDI. If Tempo Source is set to Internal, you can dial in any tempo from 40-400 BPM at location

0.0 in the Tempo mode matrix. Alternatively, you can press the front panel Tap button twice in rhythm to establish the rate you want, or you can have the value of a patch source act as a tap trigger. (See Patching.) TheTap function, whether performed by the front panel Tap button, or by an assigned controller, is always active, allowing you to change tempo on the fly from any mode.

You can also choose to have your tempo transmitted as a MIDI Clock signal to control the tempo of connected MIDI devices. (Control mode 3.6) If Source is set to MIDI Clock, PCM 81 tempo will sync to incoming MIDI Clock. Whether tempo is set internally or via MIDI, the LED in the Tempo button will flash at the current rate. (You can disable the Tempo LED flashing under Tempo mode

1.3.) Press and hold the Tempo button at any time to display the current Tempo Rate and Source.

Each effect in the PCM 81 has its own tempo rate setting which is stored with the effect. You can override these individual tempo rates with a global tempo rate at Control Mode 1.2. Tempo is also available as an independent patch source which can control any effect parameter. (See Patching later in this chapter.)

Patch

Sources

Tap Button

Tap MIDI Adjust

Tempo

Tempo Patch Source

Mod LFO, SW 1, SW 2

Effect Delay Times

When Compare is on, Tap will not alter the tempo, but will still reset the LFOs. See Chapter 3 Modulation.

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THE TEMPO MODE MATRIX

Press Tempo to access the following tempo parameters:

example, the rate is 120 BPM, and you select eighth-note here, the tempo will be 120 eighth-notes per minute. If you select quarter-note here, the tempo will be 120 quarter-notes per minute. (The factory default is quarter-note.)

0.2 Source

You can choose to have tempo determined by the PCM 81 Tap and Rate controls (Internal), or by MIDI Clock. When MIDI Clock is selected as the tempo source, Tap acts as a reset, setting the downbeat of the LFO and the time-based switches.

ROW 1 TAP

1.0 Tap Duration

This control determines how many beats will occur in a tap interval. The default setting (1 beat) is probably adequate for most applications. With the default setting of 1 beat, if the tempo is set to 120 bpm, and the beat value is set to quarter-note, each TAP = 1 quarter-note = 1 beat. Available values are: 1/8, 1/7, 1/6, 1/5, 1/4, 1/3, 1/2, 1-8 beats

1.1 Tap Source and Tap Level

Press Load/✱ to toggle between these two controls. Tap Source allows you to assign the Tap function to any of the PCM 81’s Internal, MIDI, or MIDI controllers as listed under Patching. Tap Level allows you to set the level at which the Tap function is triggered.

0 0.0 0.1 0.2

1 1.0 1.1 1.2 1.3

Tempo Rate Beat Value Source

Tap

Duration *Source Average Display

Simultaneously press Up and Down to return to 0.0.

An asterisk (✱) accompanying a parameter name indicates that there are sub parameters available at that matrix location. The Load/✱ LED will light whenever an asterisk appears in the display. Press Load/✱ to step to the next sub parameter.

From any point in the matrix, press Up or Down together with Load/✱ to backste

to the previous parameter

ROW 0 TEMPO

0.0 Rate

This is the current tempo (in Beats Per Minute). When 0.2 is set to Internal, turning ADJUST allows you to select a different rate (40-400 BPM). The Tempo LED will flash at the new rate. Note that fractional tempos can be tapped in, but are not available via ADJUST. The display will always show the nearest whole number value.

0.1 BeatValue

Tempo is expressed in BPM. This control allows you to specify the value of the beat. Eighth, dotted-eighth, quarter, dotted-quarter, half, dotted-half, and whole-note values are available. If, for

0 0.0 0.1 0.2 Tempo Rate Beat Value Source

1 1.0 1.1 1.2 1.3 Tap

Duration *Source Average Display

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1.2 Average

This control allows you to average the last 2-8 taps. Higher numbers mean that the response to incoming taps will be more gradual. (The tempo is updated on every tap, but with a value which is the average of the last 2-8 taps.) Higher average values are more useful if you're trying to lock into a pre-recorded track.

1.3 Display

This control allows you to disable the flashing of the Tempo LED. Turn ADJUST to select Off. The Tempo LED will turn off.

EDITING AN EFFECT

With 17 algorithms and 300 preset effects, the PCM 81 gives you a lot to play with right out of the box. An enormous range of editing control is provided for each algorithm, with parameters organized in an edit matrix of as many as 100 main controls. In addition to providing this powerful sound design capability, the PCM 81 is also designed to allow you to customize these controls for your day-to-day editing needs, or to simply use a subset of controls specially designed for each preset.

This section will describe three basic levels of editing, from the simplest "plug and play" method, through the full edit matrix.

THE SOFT KNOB

Every preset in the PCM 81 has one or more of its available parameters patched to the front panel ADJUST knob. This Soft Knob provides the first level of editing control. Once you have loaded a preset, simply turn ADJUST to alter the effect.

When shipped, the PCM 81 will power up with the first preset (P0

0.0 Prime Blue) loaded. The following display will appear:

Indicates that the ADJUST knob is patched to one or more parameters in the currentlyrunning effect. This indicator will stay on even if another effect is selected for display.

Program Bank ID

Matrix Location

Program Name

■ Chorus+Rvb

P0 0.0 Prime Blue

Algorithm

Turn ADJUST. The display will change to show the name assigned to the ADJUST patch, and the current value of the patch. Continue turning ADJUST to change the value of the patch along its entire range. The range of ADJUST knob control can be limited in Control Mode, making it possible, for example, to have a range of only

0...1, in order to have the ADJUST knob behave as an Off/On control. Many of the presets have range limits to make them more convenient to use. In some of the presets, the changes effected by ADJUST will be as simple as altering the wet/dry mix. In others, such as the example shown below, turning ADJUST will glide you all the way from a chorusing effect to a reverb effect over the complete control range of 0-127.

The name that has been assigned to the ADJUST knob patch is shown here.

The current value of the patched parameter(s) appears here. Turn ADJUST to alter this value.

■ Efx/Rvb X :33

P0 0.0 Prime Blue

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Details on how to create your own ADJUST knob patches are given at the end of this chapter under Patching.

Beyond simple ADJUST knob editing, the PCM 81 offers two levels of editing control, called Go mode and Pro mode. Go mode is designed to be a basic "plug and play" mode, with easy access to a specific set of preset parameters. For each of the 300 presets, we have designed a Soft Row containing those parameters which allow you to make value changes to the effect without losing the character of the sound.

Controlling the Soft Knob with a Foot Pedal

If you have a foot pedal connected to the PCM rear panel Foot Controller jack, you can use it to control the soft knob patch. (Note that no MIDI connections are required to do this.)

To assign a foot pedal control over the soft knob patches, set both Control mode 3.5 ADJUST and Control mode 3.5 Foot Pedal to the same MIDI Controller. See Chapter 5 MIDI Operation.

THE SOFT ROW

When shipped, the PCM 81 will power up in Go mode with the first preset (P0 0.0 Prime Blue) loaded. Press Edit to display the Soft Row of parameters which have been designed for this preset. In the example on the next page, 10 soft row parameters have been assigned. The name of each Soft Row parameter is displayed, along with a reference to its row in the Edit matrix.

Turn SELECT to scroll all of the available parameters in the Soft Row. Turn ADJUST to change the value of any displayed parameter along its entire range.

Compare

Compare is on

stored effect active

The Compare light is off until you make changes to an effect.

s soon as you alter an effect, the Compare light will go on.

If you press Compare while the light is on, a message will be displayed . . .

. . . and you will hear the original (stored) version of the effect. You can display the parameter values of the stored effect with Select and Up and Down.

The Compare light will flash until you press Compare again to reload the edited version of the effect. While Compare is on, you cannot select another effect.

COMPARE

Whenever you edit a PCM 81 effect from the front panel, the LED in the Compare button will light. This lets you know that the effect has been altered since the last store operation, and that the edit compare function is active. Whenever this light is on, you can press Compare to hear the original version of the effect. A message will be displayed to inform you that the stored version of the effect is being loaded. Although this message is only displayed briefly, the Compare LED will flash to let you know the effect you are hearing is the stored version. While Compare is on, you can use the SELECT knob and the Up and Down buttons to view parameter values in the stored effect.

Press Compare again to reload your edited version. Another message will be displayed, and the Compare LED will stop flashing and remain lit until you store your edited version, or select and load another effect. Altering parameter values with patched sources other than ADJUST will not light the LED.

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Each preset has a Soft Row of parameters which have been specifically selected to provide everything you need to play with the effect. This example shows the Soft Row for P0 0.0 Prime Blue.

n asterisk in front of a displayed parameter indicates additional parameters are available when

ou press Load/✱.

Soft Row parameters are derived from the full Edit matrix (with the exception of the Patch row). In the presets, they are arranged according to their numerical order in the matrix.

ADJUST

Turn Adjust to change

the value of a displayed

parameter.

DIGITAL EFFECTS PROCESSOR

PCM 81

The Soft Row Display

Edit Matrix

Row Label

Parameter

Name

Current

Parameter Value

Controls

High Cut

12.50 kHz

SELECT

Turn Select to move

horizontally across

the Soft Row.

The symbol ■ in the

upper left corner of

the display indicates

that a modulator

is patched as a

"source" controller.

The symbol ■ in the upper right corner of the display indicates that a parameter is a patch "destination."

2 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.1 8.2 8.3 8.4 8.6

0 0.1 0.2 0.4

1.51 1.0 1.2

Controls

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan FX Mix

Low Rt Crossover *Ref Lvl/Dly

Diffusion Attack Spin Link Rvb Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 2

Feedback

Panning

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Chorus

*Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5

*Voice 6

0.6 *ADJUST

Controls Controls Controls Rvb Time Rvb Time Rvb Time Rvb Design Chorus Mod: LFO Mod: Sw 1

Pre Delay Size *Mst Depth *Rate *RateRt HCMid RtFX WidthHigh CutMix

0.0 Mix

0.3 High Cut

0.5 FX Width

1.1 Mid Rt

1.3 1.4 Rt HC Pre Delay

2.0 Size

5.0

*Master

8.0

Mod:LFO

8.5 Mod:Sw 1

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BYPASS

The front panel Bypass button is always active, and will turn on the type of bypass (AllMute, InputMute, OutputMute, or Bypass) selected in Control Mode 1.3.

When you press Bypass, the button LED will light and a message will be displayed to inform you that bypass is on. The display message will also indicate the type of bypass which is in effect. Press Bypass again to turn both the LED and the bypass condition off. A brief display message will inform you that bypass is off.

Press and hold Bypass to display the current state and type of bypass.

STORE OPERATIONS

Turning Memory Protection Off

The PCM 81 is shipped with its Memory Protection option on. When you press the front panel Store button, the following message will be displayed:

Turn ADJUST to select Off.

Storing an Effect

With Memory Protection disabled, pressing Store will cause a message like the following one to be displayed:

Store not active

Mem Protect is on

System Mem Protect

1.5 On

To turn Memory Protection off, press Control and use Up and Down and SELECT to display matrix location 1.5. The display should read:

An asterisk (✱) is positioned in front of the display label which is available for changing - in this case, the name of the effect.

The default bank and register will appear here.

Press Load/

✱

to select the ADJUST patch for renaming. Press again to select the register bank. Press again to select the register location within the selected bank.

“available” means that this location is empty. If an effect is stored at this location, its name will appear here.

Name: ✱ P rime Blue

R 0.0 available

If you press Store again, the display will ask "Are you sure?" (Press STORE). Pressing Store will cause the currently running effect to be saved, as is, in the location shown in the lower lefthand corner of the display. A brief message will inform you that the effect is being stored, then the PCM 81 will revert to the mode it was in before Store was pressed, with the newly-stored effect loaded.

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When you store an effect, the following things are saved:

• Values of all Edit matrix parameters. This includes the initial values for any patch destinations when Patch Update (Control mode 1.7) is set to Delayed.

• Soft Row parameter assignments.

• Value of ADJUST when the effect was stored.

• Last parameter selected when the effect was stored.

• Tempo Rate and BeatValue.

• Tap Duration and Average.

• ADJUST name.

• Effect name.

How the PCM 81 Selects a Default Bank and Register

If a register is loaded when Store is pressed, the default location will be the same as the loaded effect. If a preset is loaded when Store is pressed, the default location is determined as follows:

The PCM 81 always uses the last-stored register location as a starting point. Its default choice is the next "available" register within that bank. If there are no available registers at a higher location number within the same bank, the default location will be that of the last stored register.

If the last stored register is on a RAM card, and the RAM card is not inserted, the PCM 81 will search for available registers starting at

0.0 in the Internal Register Bank.

Renaming the Effect

Renaming an effect is straightforward. With the asterisk and the cursor positioned as shown, turn ADJUST to select a new character. Press Up or Down to select a new type of character (upper case, lower case, numeric, symbolic, or blank). Simultaneously press Up and Down to clear all characters from the cursor to the end of the line. Turn SELECT to reposition the cursor over another character, and use ADJUST to change it. Continue in this manner until you have finished entering the new name. A maximum of 12 characters (including spaces) may be used.

Use ADJUST to select a new character. Turn SELECT to move the cursor to another position.

Name: ✱ P rime Blue

R 0.0 available

The name of the ADJUST Knob patch will appear here. Use ADJUST to select a new character. Turn SELECT to move the cursor to another position.

ADJUST ✱ E fxRvb X

R 0.0 available

Renaming the ADJUST Knob Patch

Press Load/✱ to select the ADJUST patch for renaming. The display will change to show the following:

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Selecting a Bank and Register Location

Press Load/✱ to move the asterisk to the Register Bank ID.

THE FULL EDIT MATRIX

Setting Edit Mode to Pro (Control Mode 1.0) gives you access to the full parameter matrix of the algorithm for any loaded effect whenever you press the front panel Edit button.

To select any parameter for adjustment, use SELECT to move horizontally across the matrix and the Up and Down buttons to move vertically. An asterisk (✱) appearing before a displayed parameter indicates that more than one parameter is available at that location. Press Load/ ✱ to display these additional parameters.

Each of the 17 PCM 81 algorithms has a unique matrix, but many parameters are common to all effects, and their placement within the matrix is consistent. For example, all parameters within a given row of any matrix are related. This type of grouping is immediately apparent from the name of the row. For example the "Levels" row in any matrix will contain all of the available level controls for the effect's delay voices.

As far as possible, rows with similar controls will always appear in the same position in the matrix and, within each row, parameters will generally appear in the same position. For example, the first row (0) in every algorithm is "Controls". The Mix parameter, which is available in all effects, is always located in position 0 in this row. Similarly, the last two rows of every matrix are "Modulation" and Patches". This makes it very easy to find your way around the large number of available parameters, and to anticipate where to find the controls you are looking for when you switch between effects.

Detailed information about each individual edit matrix, as well as parameter and effect descriptions are given in Chapter 3.

When the asterisk is positioned in front of the Bank ID, ADJUST or SELECT will scroll through available register banks.

ADJUST: EfxRvb X

✱R 0.0 available

When the asterisk is positioned in front of the register matrix location, ADJUST or SELECT will scroll through the available registers.

ADJUST: EfxRvb X

R ✱ 0.0 available

Press Load/✱ again to move the asterisk to the register matrix location.

Once you have made all the changes you want to an effect, and have selected a register location, press Store. If you press Store, the display will ask "Are you sure?" (Press STORE). If you don't want to save the effect as shown, press any button to cancel the operation. Press Store to complete the operation.

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2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Controls Mix

Rvb Time

Rvb Design

Levels

Delay Time

Feedback

Panning

Modulation

Patches

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly *Pst/Gld

Size Diffusion Def Depth Spin Chorus Link Rvb Width *Rvb In/Out

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1

Patch 0

0.7 *ADJUST

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Controls

Mix

1.7

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Rvb Time

RvbDesign

Levels

DelayTime

Feedback

Panning

Modulation

Patches

Low Rt Mid Rt Crossover Rt HC Pre Delay *RefLvl/Dly *EkoFbk/Dly *Pst/Gld

Size Diffusion Attack Spin Link Rvb Width *Rvb In/Out

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 0 Patch 1 Patch 2 Patch 3 Patch 4 Patch 5 Patch 6 Patch 7 Patch 8 Patch 9

0.7 *ADJUST

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6

0 0.0 0.1 0.2 0.3 0.4

1.51 1.0 1.1 1.2 1.3 1.4

Controls

Mix

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Shape Spin Link Rvb Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Feedback

Panning

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Filters

*Master *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5 *Voice 6

Spread

0.5 *ADJUST

Concert Hall

Plate

M-Band+Rvb

Similar parameters can be found in similar positions in every effect matrix.

Once you are familiar with one edit matrix, you will find it easy to

anticipate where to find controls in another matrix.

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Creating a Soft Row

In Pro mode you still have complete access to the Soft Row, which appears above row 0 of the full edit matrix. Parameters assigned here are duplicates of selected parameters in the matrix and can be adjusted from Row S (Soft Row), or from their matrix location.

The following example shows the edit matrix for the preset, P 0.0 Prime Blue (Chorus+Rvb algorithm). As you can see, parameters from locations throughout the matrix have been assigned to this Soft Row. In this preset (and in every preset) we have designed the Soft Row by assigning the parameters in numerical order, so that parameters from the Controls row are assigned in order to the first locations, followed by assignments from the Rvb Time row, and so on. As Soft Row parameters are also labeled with the name of the row from which they were taken, this makes it relatively easy to find the source parameter for any Soft Row assignment.

Modifying the Soft Row, or creating a completely new Soft Row for an effect is easy:

1. From the full Edit matrix, press Up until you get to the Soft Row, indicated by an S in the lower left corner of the display.

2. With any Soft Row parameter displayed, press and hold down the Edit button. The following display will appear briefly.

When you release the Edit button, the display will change to the Soft Row Assignment display shown below. The Edit button LED will begin flashing and will continue to flash as long as you are in Soft Row Assign.

Entering Soft Row

assign . . .

Soft Row param: 0

Controls Mix

Here we show the first Soft Row parameter in our example - the actual Soft Row parameter selected will correspond to whichever one was displayed when you pressed and held Edit.

3. Turn ADJUST to scroll through all of the available parameters in the Edit matrix row by row, in numerical order. The entry "available" can also be selected to indicate that no assignment has been made at that position.

4. Turn SELECT to display another Soft Row position (0-9) for assignment. For each position, you can choose any effect parameter, including one(s) you have already assigned to a Soft Row position.

5. When you have arranged the Soft Row assignments as you want them, press Edit to exit Soft Row Assign and return to your last position in the Edit matrix. Pressing Up or Down once will also cause you to exit Soft Row Assign. Another push of either of these buttons will move you vertically through the Edit matrix.

When you return to Go mode, you will see the parameters in the order you assigned them — the spaces from any unassigned row positions will not appear.

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PCM 81

The Soft Row assigned to an effect appears above

Row 0 in the full Edit Matrix.

We have highlighted those parameters in the Edit matrix which have been assigned to the Soft Row of P 0.0 Prime Blue. For example, FX Width, and Mod: SW 1.

2 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.1 8.2 8.3 8.4 8.6

0 0.1 0.2 0.4

1.51 1.0 1.2

Controls

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan FX Mix

Low Rt Crossover *Ref Lvl/Dly

Diffusion Attack Spin Link Rvb Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1

Patch 0

S (Soft Row)

Controls S.0 Mix

Controls S.1 High Cut

Controls S.2 FX Width

Rvb Time S.3 Mid Rt

Rvb Time S.4 Rt HC

Rvb Time S.5 Pre Delay

Rvb Design S.6 Size

Chorus S.7*Mst Depth

Mod: LFO S.8 *Rate

Mod: Sw 1 S.9 *Rate

Modulation

Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 2

Feedback

Panning

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Chorus

*Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5

*Voice 6

0.6 *ADJUST

0.0 Mix

0.3 High Cut

0.5 FX Width

1.1 Mid Rt

1.3 1.4 Rt HC Pre Delay

2.0 Size

5.0

*Master

8.0 Mod:LFO

8.5 Mod:Sw 1

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PATCHING

Patching is the ability to assign a control (Source) to any PCM 81 parameter (Destination). This allows you to alter the value of the parameter by manipulating the control Source. For example, you can select the front panel ADJUST knob as a Source and an effect's Mix parameter as a Destination. This simple patch will allow you to dynamically alter the mix of the effect whenever you turn ADJUST. You can create as many as 10 patches, each with as many as 8 pairs of pivot points. You can patch multiple parameters to a single controller, or patch multiple Sources to a single Destination.

About Sources

All Sources are the same in the sense that each generates an output value in the range of 0-127. The output value is used to increase or decrease the setting of a Destination parameter. Sources differ in the manner in which they generate an output. Some generate values continuously (they’re always “on”); some generate output based on the position of a particular external MIDI controller, or an external footpedal, or footswitch. Some Sources generate output based on aspects of physical performance such as how loud, how fast, or how hard you play. The PCM 81 allows you to choose from a selection of Sources as shown for each Destination. A list of the available Sources is shown on the following page.

The Patch Row

Each PCM 81 effect has an identical Patch row at the end of its Edit matrix where you can make as many as 10 patches.

To make a patch, use SELECT and the Down button to move down through the Edit matrix to the Patch row. A display such as the following will appear.

Patch 4Patch 3Patch 2Patch 1Patch 0

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9

An asterisk (✱) indicates that Sources will be selected when you turn ADJUST. Press Load/✱ to change the selection to Dst. Press Load/✱ again to bring up the Values display where you can select Src Value and Dst Value.

SELECT will move you across the Patch Row (0-9).

The Source type is indicated here. (Int, MIDI or 001-119 to indicate a MIDI Controller.)

The current Source assignment name is shown here. (The default assignment is Int . . . Off.

Patch 0 ✱Src

Int LFO

Pressing the Load /✱ button will change the display to allow you to sequentially select: Src, Dst, Src Value and Dst Value. Press Up or Down together with Load/✱ to backstep to the previous parameter.

Assigning a Source

Three types of sources are available: Internal, MIDI and MIDI Controller. These types are indicated in the Source list by the labels: Int, MIDI, or a number (001-119). Turn ADJUST to scroll through the entire list of available sources.

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Basic Operation

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Patch Sources

LFO Sine Cosine Square Sawtooth Pulse Triangle Env L Env R AR Env Latch Sw 1

Sw 2 Sw 1 & 2 Mono Lvl Left Lvl Right Lvl Footpedal Foot Sw 1 Foot Sw 2 ADJUST Tem po On Off

Internal

(PCM 81 interprets 000 as Bank Select)

001 Mod Wheel 002 Breath 003 Ctl 3 004 Foot Ctl 005 PortaTime 006 Data Entry 007 Volume 008 Balance 009 Ctl 9 010 Pan 011 Xpression 012 Effect 1 013 Effect 2 014 Ctl 14 015 Ctl 15 016 General 1 017 General 2 018 General 3 019 General 4 020 Ctl 20

031 Ctl 31

(PCM 81 interprets 032 as Bank Select)

033 Ctl 33

063 Ctl 63 064 Sustain 065 Porta On 066 Sostenuto 067 SoftPedal 068 Legato 069 Hold 2 070 Sound Var 071 Timbre 072 Release 073 Attack 074 Bright 075 Sound 6 076 Sound 7 077 Sound 8 078 Sound 9 079 Sound 10 080 General 5 081 General 6 082 General 7

083 General 8 084 Porta Ctl 085 Ctl 85

090 Ctl 90 091 FX1 Depth 092 FX2 Depth 093 FX3 Depth 094 FX4 Depth 095 FX5 Depth 096 Data Inc 097 Data Dec 098 NRPN LSB 099 NRPN MSB 100 RPN LSB 101 RPN MSB 102 Ctl 102

119 Ctl 119

MIDI Controller Numbers

P Bend A Touch Velocity Last Note

Low Note High Note Clk Comnds

MIDI

Page 54

2-32

Basic Operation

Lexicon

Assigning a Destination

Once you have selected a Source, press Load /✱ and the display will change to allow you to assign a Destination (Dst).

When Delayed is selected, the stored value of the parameter will continue to be in effect until the controller is moved. (It is, therefore, a good idea to set a sensible value to the parameter in the Edit matrix.)

Mod Row Parameters that Can Be Assigned as Patch Destinations

LFO Rate, Shape, P Width, Depth

AR ENV Attack, Release, Mode

Env L Release

Env R Release

Sw 1 Rate, P Width, Mode

Sw 2 Rate, P Width, Mode

Assigning Values

Once you have assigned a Destination, press Load /✱ to get to the Values display.

An asterisk (✱) indicates that Destinations will be selected when you turn ADJUST. Press Load/✱ to bring up the Values display where you can assign Src Value and Dst Value. Press Load/✱ again to return to Source selection, etc.

SELECT will move you across the Patch Row (0-9).

The Edit matrix row label for the currently assigned parameter is shown here.

The name of the current Destination assignment appears here. (*** Unassigned*** will appear across the bottom display line if no assignment is selected.)

Patch 0 ✱Dst

Rvb Time Ref Lvl L

Src values are shown here. The asterisk (✱) indicates that this field is available for control with the ADJUST knob (and that additional parameters are available by pressing Load/✱).

The current Dst value is displayed here. When you press Load/

✱

again, the asterisk will move to indicate that this value is available to be changed by turning ADJUST.

Patch 0 Values

✱000: Off

Patch 0 Values

000: ✱ Off

Turn ADJUST to scroll through all of the parameters in the Edit matrix of the currently loaded effect, including the Modulation parameters.

Once you have assigned a parameter as a Destination, the controller you have assigned “owns” that parameter. Adjustments made to this parameter from the Edit matrix, will only affect the initial value of the parameter when the program is loaded.

The behavior of the parameter on program load is determined by the setting of the Patch Update parameter in Control mode (1.7). This parameter can be set to Immediate or Delayed.

When Immediate is selected, the initial value of the parameter value will correspond to the controller position.

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Basic Operation

PCM 81

This display allows you to assign Destination values to specific Source values. These assignments are made in pairs, each with a value for the Source and a value for the Destination. For example, the default is two pairs mapped as follows:

• minimum Src value (0) = minimum Dst value

• maximum Src value (127) = maximum Dst value

This establishes a linear relationship between the parameter and the controller. Inverse control is accomplished easily by reversing these settings. As many as eight pairs of Destination/Source values, or pivot points, can be assigned here, providing an exciting new level of dynamic control.

Jump

When creating patches, there are situations in which you will want to leave the Patch row to adjust parameters. To make this convenient, a Jump command is available. Jumping is dependent on the current Patch display, and is activated simply by pressing Edit while a certain display is active. This will jump you out of the Patch row and to the location where you can make the necessary adjustments. Pressing Edit again will jump you back to the Patch Row. (Note that using any front panel controls other than those required to adjust the parameter to which you have jumped, will disable the jump. This is not catastrophic, but it will require you to return by using Up and Down and SELECT.)

The following Jumps are available:

From the Patch Row Src Display:

• With ADJUST selected as the Source, press Edit to jump to the Controls row, where you can specify range limits for the ADJUST knob. Press Edit again to return to the Patch row.

• With any modulation parameter selected as a Source, press Edit to jump to the Modulation row position of the Source. For example, if the Patch source LFO is displayed, press Edit to jump to Modulation row position 0 (LFO) where you can edit any LFO parameter value. Press Edit again to return to the Patch row.

From the Patch Row Dst Selection Display:

• Press Edit to jump to the Edit controls for the parameter you have selected as the Destination. You will have complete access to all parameter controls, including any subparameters at that location. Press Edit again to return to the Patch row.

From the Patch Row Values Display:

• Press Edit to jump to the next Src or Dst value. Default values are 0...minimum, 127...maximum.

Patching Examples

The following examples illustrate how to create a patch, use the patch jump features, modify the default patch values and add an additional pivot point to the example patch values.

Creating a Patch with Default Values

Load program P0 0.1 EkoChorus. Press Edit to enter Edit mode, then press Up to move to the Patch Row. Press Load/✱ until the display looks like this:

Patch 0 ✱ Src

Int ADJUST

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Basic Operation

Lexicon

Turn SELECT to select Patch 1 (which is set to Off).

The FX Width parameter is now assigned as the patch Destination.

Now, press Load/✱ to bring up the Values display. This will show the default Destination value setting (–360 MONO). This is the value assigned to FX Width when the LFO is at its minimum value (000).

Patch 1 ✱ Src

Int Off

Patch 1 ✱ Src

Int LFO

Patch 1 ✱ Dst

Controls FX Width

Patch 1 Values

✱ 000 -360 Mono

Patch 1 Values

✱ 127 +360 Mono

Patch 1 ✱ Dst

✱✱✱ Unassigned ✱✱✱

Turning ADJUST will scroll through the entire list of available patch Sources. Turn ADJUST counterclockwise until LFO is displayed in the lower right.

The LFO is now assigned as a patch Source.

Press Load/✱ to bring up patch Destinations for selection. The display should show that Destination is unassigned.

The ADJUST knob will now scroll through all of the available parameters of EkoChorus. The lower line of the display will show the edit matrix row label on the left, and the parameters in that row on the right.

Turn ADJUST clockwise until FX Width (in the effect's Controls row) is displayed in the lower right corner of the display.

Turn ADJUST one click counterclockwise to display the default Destination value (+360 MONO) assigned to FX Width when the LFO is at its maximum value (127).

That’s all there is to setting up a default patch - select a Source and Destination, and the minimum and maximum patch values are set automatically. Of course, you will often want to modify the patch further, either by adjusting the modulation source parameters, changing the default values or adding additional pivot points. In the following sections, we’ll continue using this patch to show examples of these modifications. When we’re done, the new patch will add dynamic spatialization to the EkoChorus program.

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Basic Operation

PCM 81

Adjusting the Modulation Source Parameters

Continuing the previous example, we’ll adjust the rate of the LFO by jumping to it from the Patch row.

Press Load/✱ repeatedly to return to the Patch 1 Source selection display.

Now, press Edit to jump back to your previous position in the Patch row.

Patch 1 ✱ Src

Int LFO

Press Edit to jump directly to the LFO parameters in the Mod row.

The asterisk (✱) indicates that LFO Rate will be altered when you turn ADJUST. Press Load/✱ to change the selection to the other LFO parameters (Shape, P Width, and Depth).

Patch Source

Indicator

■ Mod : LFO ✱ Rate

8.0 0.21Hz

The display now shows position 8.0 in the Edit matrix Mod Row. The small square in the upper left corner of the display is a patch source indicator. This indicator appears whenever a modulator (such as the LFO in this example) has been assigned as a patch Source in the effect being edited.

Turn ADJUST to change the LFO rate to 0.10Hz.

■ Mod : LFO ✱ Rate

8.0 0.10Hz

Patch 1 ✱ Src

Int LFO

Changing the Default Destination Values

Let’s modify the patch further by adjusting the Destination values to a more useful range.

Press Load/✱ repeatedly until the Patch 1 Values screen is displayed.

Patch 1 Values

✱ 000 -360 Mono

Notice that the ✱ is to the left of the Source value. This indicates that the Source value is selected and its value will be changed when you turn ADJUST.

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Basic Operation

Lexicon

Press Load/✱ once to move the ✱ to the right of the Source value. When the ✱ is in this position, ADJUST will change the Destination value.

Note that the ✱ remains in the same position, so you can just turn ADJUST to set the new Destination value. Set the value to +90.

Now our example has been modified so that the LFO sweeps the FX Width Value from 0 to 90. This creates a dynamic alteration of the effect’s spatial characteristics. Its stereo image changes smoothly from mono to stereo, to surround, and back again.

Adding an Additional Pivot Point to the Patch

So far, our example uses only two pairs of patch values. The Destination parameter moves linearly between the value assigned at 000 and the value assigned at 127.

You can watch this change by displaying the Destination parameter. Here’s how to jump directly to it from the patch:

Press Load/✱ repeatedly to return to the Patch 1 Destination selection display.

The asterisk (✱) indicates that the Source value will be altered when you turn ADJUST.

Press Load/✱ to move the asterisk to this position, where it indicates that Destination values will be altered when you turn ADJUST.

Patch 1 Values

✱ 000: -360 MONO

Patch 1 Values

000: ✱ -360 MONO

With the Destination value selected, turn ADJUST clockwise to set the value to +0.

Patch 1 Values

000 : ✱ +0 Mono

Patch 1 Values

127 : ✱ +360 Mono

Patch 1 Values

127 : ✱ +90 L-R, R-L

Next, we’ll want to adjust the Destination value when the LFO is at its maximum value. One way to do this is to press Load/✱ three times to cycle the ✱ to the display of the Source value, and continue on from there — but we’ve provided a short cut! Press Edit to jump to the next assigned value ( in our example, the LFO maximum value).

Patch 1 ✱ Dst

Controls FX Width

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Basic Operation

PCM 81

Press Edit to jump directly to the FX Width parameter in the Controls Row.

If the ✱ is not at the left of the Source value, press Load/✱ three times to move it there. (You can take a short cut instead — simultaneously press Down and Load/✱ to back-step.)

Patch 1 ✱ Dst

Controls FX Width

Patch Destination Indicator

The FX Width value will be changing from 0 to 90 and back again.

Controls FX Width ■

0.5 +0...90 MONO

Patch 1 Values

✱ 000 +0 MONO

Patch 1 Values

127 : ✱ +90 L-R, R-L

The display will change to show position 0.5 in the Controls Row. Note that the value is changing continuously from 0 to 90 and back again. Notice also the small square in the upper right corner of the display. This patch destination indicator appears whenever a parameter has been assigned as a patch Destination in the effect being edited.

Now let’s return to the Patch row to add a pivot point to the effect.

Press Edit to jump back to the Patch row.

Press Load/✱ to bring up the Values display. The last value edited will be displayed, so you will see either the minimum or maximum value.

Patch 1 Values

✱ 000 +0 MONO

Patch 1 Values

✱ 127 : +90 L-R, R-L

Patch 1 Values

✱ 064 : . . . . . . . . . . . . . . .

Patch 1 Values

064 : ✱ -45 R, L

Turn ADJUST to display 64. This will be the Source value of our new pivot point. The string of dots in the destination value portion of the display indicate that there is no Destination value assigned when the source value is 64.

Press Load/✱ to move the ✱ to the right of the Source value, and turn ADJUST clockwise to set the Destination value for this point to –45.

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Basic Operation

Lexicon

By adding this pivot point, we have put a “kink” in the patch. The value of the Destination parameter no longer moves in a straight line between 0 and 90. Instead it moves from 0 to –45, and then from –45 to 90. This will produce a very different sounding spatial change from the original patch. You can see the difference by pressing Load/✱ twice to display the patch Destination, then pressing Edit to jump back to the Destination parameter to watch its value change.

Multiple Patches with the Same Destination

If you create two or more patches with the same Destination, the Destination value will be the sum of all of the patches assigned to it.

For example, if Pedal and ADJUST are both assigned to Mix, the Mix value will be the sum of the patch Destination values for those two patches. When creating multiple patches to the same Destination, you should set the individual Destinations to values which, when added together, are less than or equal to the maximum value for the parameter. Pedal and ADJUST, for example, could each have a maximum value of 50%, or they could be assigned values of 25% and 75%, 60% and 40%, etc.

When the sum of multiple patched parameter Destination values is greater than the maximum value of the parameter, the parameter value will remain at maximum until the sum of the patches falls below it.

Mod Row Patches

AR ENV, Latch, Sw 1 and Sw 2 are each activated by assigning a threshold source to T Src that is used to turn them on and off. This assignment is a subparameter in the Mod row — not in the Patch row.

For an example, check out ADJUST and Latch in the preset P0 3.1 Rotor Cabinet.

Page 61

Algorithms and Parameters

About the Algorithms....................................................................3-2

The 4-Voice Algorithms.................................................................3-2

Concert Hall • Plate • Chamber • Inverse • Infinite

The 6-Voice Algorithms.................................................................3-9

Glide>Hall • Chorus+Rvb • M-Band+Rvb

The Resonant Chord Algorithms .................................................3-13

Res1>Plate and Res2>Plate

The Parameters ...........................................................................3-15

Chorus • Controls • Delay Time • Feedback/Cross Feedback • Filters • Glide FX • Levels • Modulation • Panning • Patching • Pitch • Resonance • Rvb Design • Rvb Time

The Pitch Algorithms...................................................................3-33

About the Pitch Algorithms • About Pitch Shifting • Quad>Hall • Dual-Chamb • Dual-Plt • Dual-Inv • Stereo-Chmb • VSO-Chmb • The Pitch Parameters

Using the Submixer ....................................................................3-45

Sends • Returns • Routing • Useful Configurations

Rvb and FX Block Controls..........................................................3-52

The Pitch Correct Algorithm .......................................................3-54

The Pitch Correct Parameters

Page 62

3-2

Algorithms and Parameters

Lexicon

The PCM 81 uses 17 algorithms to create different types of effects. Each algorithm includes an uncompromised stereo reverb effect, as well as several voices of additional stereo effects. When you select any effect, the name of the algorithm from which it was derived will appear on the upper display line. Pressing Edit will display the last edited parameter in that algorithm's parameter matrix.

There are three general classes of algorithm: 4-Voice, 6-Voice and Pitch. The 4-Voice algorithms: Concert Hall, Plate, Chamber, Inverse and Infinite each combine a specific type of reverb with a 4-voice, general purpose stereo "effect toolbox" which we call the Reverb Shell. These algorithms also provide "post-processing" for the reverb. The 6-Voice algorithms: Glide>Hall, Chorus+Rvb, M-Band+Rvb, Res 1>Plate, and Res 2>Plate each combine a specific type of reverb with a specialized 6-voice stereo effect. The Pitch algorithms: Quad>Hall, Dual-Chmb, Dual-Plt, Dual-Inv, Stereo-Chmb, VSO-Chmb and Pitch Correct each offer a unique type of pitch shifting, combined with an uncompromised Lexicon reverb.

In this chapter, diagrams and descriptions of the Reverb Shell,and of the 4 and 6-Voice algorithms are presented first, along with pictures of each edit matrix. The diagrams are followed by a glossary of parameter descriptions, organized alphabetically by matrix row name. Within each matrix row, parameters are organized as far as possible in the sequence in which they appear in the row. The Pitch algorithms, most of which make use of a dedicated Submixer incorporated into each algorithm, are described in the following section along with operational tips on pitch shifting in general and the submixer in particular.

THE 4-VOICE ALGORITHMS

Each of the 4-Voice algorithms share a common set of controls and parameters built around one of five stereo reverb effects: Concert Hall, Plate, Chamber, Inverse and Infinite. The diagram below shows these common controls and parameters as they are structured around a reverb effect. We call this structure the Reverb Shell. (Individual reverb effects are described on the following pages.)

Chorus +Rvb

P0 0.0 Prime Blue

The algorithm name appears on the upper line of the display whenever an effect is selected.

Press Edit to access the parameter matrix.

Program

Banks

Banks Edit Control Tempo

EFFECT MIX

Left

Input

Right

Left

Right

ABOUT THE ALGORITHMS

Most PCM 81 algorithms share the same general structure, shown below. The shaded area of the diagram is detailed in the individual effect descriptions that follow.

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3-3

Algorithms and Parameters

PCM 81

In the 4-Voice algorithms, input levels and pans determine the signal flow to left and right pairs of delay voices, and also to the reverb effect. Each delay voice has individually adjustable level, delay, feedback, and pan controls, as well as master controls for all of the voices. These algorithms can be used to create a wide variety of stereo delay and modulation effects in parallel with studio quality stereo reverberation.

The two delays after the reverb effect are referred to as post delays. The PstDly Mix control determines how much post delay is actually heard. The Rvb Width control affects only the output of the reverb portion of the effect.

L In

R In

InPan

REVERB

Voice

Dif

V1 Pan

InLvl

Delay

V1 LvlV1 Fbk

V2 Pan

V2 LvlV2 Fbk

Delay

V3 LvlV3 Fbk

V4 LvlV4 Fbk

V3 Pan

V4 Pan

PstDly

PstDly Mix

Rvb

Width

FX MixFXWidthHiCutFXAdj

Voice

Dif

Rvb In

The delays and the output of the reverb effect are summed at the FX Mix control. This control allows you to blend the relative amounts of delay and reverb.

FX Width controls the spatial characteristics of the composite reverb and delay effect.

The Hi-Cut parameter provides high end rolloff, while FX Adjust determines the output volume of the entire processed signal.

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3-4

Algorithms and Parameters

Lexicon

CONCERT HALL

This algorithm emulates a real concert hall. The reverberation is very clean, and designed to remain behind the direct sound — adding ambience, but leaving the source unchanged. This effect has a relatively low initial echo density which builds up gradually over time.

L In

R In

InPan

REVERB

Voice

Dif

V1 Pan

InLvl

Delay

V1 LvlV1 Fbk

V2 Pan

V2 Lvl

V2 Fbk

Delay

V3 LvlV3 Fbk

V4 LvlV4 Fbk

V3 Pan

V4 Pan

PstDly

PstDly Mix

Rvb

Width

FX MixFXWidthHiCutFXAdj

Voice

Dif

Rvb In

RefDly L

RefLvl L

RefDly R

RefLvl R

Low Rt Mid Rt

Size

Depth

Crossover

Rt HC

Spin Chorus Link

Definition

Diffusion

PreDelay Rvb Out

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Controls Mix

Rvb Time

Rvb Design

Levels

Delay Time

Feedback

Panning

Modulation

Patches

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly *Pst/Gld

Size Diffusion Def Depth Spin Chorus Link Rvb Width *Rvb In/Out

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1

Patch 0

0.7 *ADJUST

Page 65

3-5

Algorithms and Parameters

PCM 81

PLATE

The Plate algorithm mimics the sound of metal plates, with high initial diffusion and a relatively bright sound. This makes them a good choice for enhancing any type of percussion.

L In

R In

InPan

REVERB

Voice

Dif

V1 Pan

InLvl

Delay

V1 LvlV1 Fbk

V2 Pan

V2 Lvl

V2 Fbk

Delay

V3 LvlV3 Fbk

V4 LvlV4 Fbk

V3 Pan

V4 Pan

PstDly

PstDly Mix

Rvb

Width

FX MixFXWidthHiCutFXAdj

Voice

Dif

Rvb In

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Attack

Spin Link

Crossover

Rt HC

RefLvl L

RefLvl R

Diffusion

Rvb Out

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Controls

Mix

1.7

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Rvb Time

RvbDesign

Levels

DelayTime

Feedback

Panning

Modulation

Patches

Low Rt Mid Rt Crossover Rt HC Pre Delay *RefLvl/Dly *EkoFbk/Dly *Pst/Gld

Size Diffusion Attack Spin Link Rvb Width *Rvb In/Out

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 0 Patch 1 Patch 2 Patch 3 Patch 4 Patch 5 Patch 6 Patch 7 Patch 8 Patch 9

0.7 *ADJUST

Page 66

3-6

Algorithms and Parameters

Lexicon

CHAMBER

The Chamber algorithm produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar to the Concert Hall algorithm, but the sense of space and size is much less obvious. This characteristic, along with the low color in the decay tail makes Chamber useful on a wide range of material. It is especially useful on spoken voice, giving a noticeable increase in loudness with very low color.

L In

R In

InPan

REVERB

Voice

Dif

V1 Pan

InLvl

Delay

V1 LvlV1 Fbk

V2 Pan

V2 Lvl

V2 Fbk

Delay

V3 LvlV3 Fbk

V4 LvlV4 Fbk

V3 Pan

V4 Pan

PstDly

PstDly Mix

Rvb

Width

MixFXWidthHiCutFXAdj

Voice

Dif

Rvb In

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Controls Mix

Rvb Time

Rvb Design

Levels

Delay Time

Feedback

Panning

Modulation

Patches

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Shape Spread Spin Link Rvb Width *Rvb In/Out

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

1.7

*EkoFbk/Dly *Pst/Gld

0.7 *ADJUST

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3-7

Algorithms and Parameters

PCM 81

INVERSE

The Inverse algorithm allows you to vary the slope of the initial portion of the reverb envelope. The slope can decay, remain level, or rise over a variable time interval. When the time interval is up, the reverberation cuts off abruptly. The resulting effect is similar to a gate, but is not at all dependent on the level or complexity of the input signal. Slopes are adjustable over a negative, even, or positive slope. Positive slopes create inverse effects, while more even slopes create gated effects. Negative slope values have rather natural reverb tails.

L In

R In

InPan

REVERB

Voice

Dif

V1 Pan

InLvl

Delay

V1 LvlV1 Fbk

V2 Pan

V2 Lvl

V2 Fbk

Delay

V3 LvlV3 Fbk

V4 LvlV4 Fbk

V3 Pan

V4 Pan

PstDly

PstDly Mix

Rvb

Width

FX MixFXWidthHiCutFXAdj

Voice

Dif

Rvb In

Diffusion PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

2 2.0 2.1 2.2 2.3

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.5 1.61 1.0 1.1 1.2 1.3 1.4

Controls Mix

Rvb Time

Rvb Design

Levels

Delay Time

Feedback

Panning

Modulation

Patches

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Low Slope Mid Slope Crossover Rt HC Pre Delay *Ref Lvl/Dly *Pst/Gld

Duration Diffusion Shape Rvb Width

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1

Patch 0

0.7 *ADJUST

2.4 Rvb In

Page 68

3-8

Algorithms and Parameters

Lexicon

INFINITE

Infinite is acoustically similar to the Chamber algorithm, with the addition of an Infinite parameter. When this parameter is turned on, the input to the reverberator ramps off. (Note that this still allows the Reverb Shell to be utilized.) With Infinite on, the reverb tail remains constant, creating strange and useful reverb effects. When Infinite is switched off, input to the reverberator is restored, and the current running reverb time is utilized.

L In

R In

InPan

REVERB

Voice

Dif

V1 Pan

InLvl

Delay

V1 LvlV1 Fbk

V2 Pan

V2 Lvl

V2 Fbk

Delay

V3 LvlV3 Fbk

V4 LvlV4 Fbk

V3 Pan

V4 Pan

PstDly

PstDly Mix

Rvb

Width

MixFXWidthHiCutFXAdj

Voice

Dif

Rvb In

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Infinite

Rvb Out

Page 69

3-9

Algorithms and Parameters

PCM 81

THE 6-VOICE ALGORITHMS

Each 6-Voice algorithm is a combination of a specific 6-voice stereo effect and a specific reverb effect. These algorithms: Glide>Hall, Chorus+Rvb, M-Band+Rvb, Res1>Plate and Res2>Plate are each optimized for a particular class of audio processing effects in combination with studio quality stereo reverberation, bringing formidable processing power and flexibility to effects creation.

The 6-Voice algorithms use the same, uncompromised, stereo reverberation effects as the 4-Voice algorithms but, instead of the general-purpose Reverb Shell, each reverb is coupled with a unique 6-voice stereo effect: gliding delays, 6-voice chorus, multi-band EQ, and two 6-voice resonators. Voices 1-3 are connected to input audio panned to the left. Voices 4-6 are connected to input audio panned to the right. (Use the InPan L and InPan R controls at Control mode 0.2 to pan input audio.) Each voice has independent delay time, panning and level controls, in addition to other parameters specific to the particular effect.

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

0 0.0 0.1 0.2 0.3 0.4 0.5 0.6

1.6 1.71 1.0 1.1 1.2 1.3 1.4

Controls Mix

Rvb Time

Rvb Design

Levels

Delay Time

Feedback

Panning

Modulation

Patches

FX Adjust *InLvl/Pan High Cut Voice Dif FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Shape Spread Spin Link Rvb Width *Rvb In/Out

Master Voice 1 Voice 2 Voice 3 Voice 4

*Master Voice 1 Voice 2 Voice 3 Voice 4

Master Voice 1 Voice 2 Voice 3 Voice 4

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

1.8

*EkoFbk/Dly

*Pst/Gld

1.5 Infinite

0.7 *ADJUST

In the Glide>Hall, Res1>Plate and Res2>Plate algorithms, the reverb effect is in series with the 6-voice effect. Use FX Mix to set the relative level of dry and reverberated effect.

In the M-Band+Rvb and the Chorus+Rvb algorithms, the reverb effect is in parallel with the 6-voice effect. Use FX Mix to set the balance of the 6-voice effect and the reverb.

INFINITE (continued)

Page 70

3-10

Algorithms and Parameters

Lexicon

GLIDE>HALL

A stereo pair of 2-tap gliding delays feeds six individually adjustable delay voices. Each voice has its own level, feedback, delay, cross- feedback, and pan parameters. The output of these delay voices is fed into a Concert Hall reverb algorithm. Glide>Hall is useful for creating such effects as stereo flangers, loop samplers, pitch modulation, etc. which can then be fed into the reverb.

L In

R In

InPan

V1 Pan

InLvl

A&B Dly L

V1 Lvl

V2 Pan

A&B Lvl L

MixFXWidthFXAdj

Fbk L

X-Fbk L

Gld Lvl

A&B Dly R

A&B Lvl R

X-Fbk R

Fbk R

Delay

V2 Lvl

V3 Lvl

V3 Pan

Rvb In

312

V1 Fbk

Voice

Dif

V2 Fbk

V3 Fbk

V1 X-Fbk

V2 X-Fbk

V3 X-Fbk

645

Delay

V4 Pan

V5 Pan

V6 Pan

Voice

Dif

V4 Fbk

V5 Fbk

V6 Fbk

V4 X-Fbk

V5 X-Fbk

V6 X-Fbk

V4 Lvl

V5 Lvl

V6 Lvl

Concert

Hall

RefDly L

RefLvl L

RefDly R

RefLvl R

Low Rt Mid Rt

Size

Depth

Crossover

Rt HC

Spin Chorus Link

Definition

Diffusion

PreDelay Rvb Out

2 2.0 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6

0 0.0 0.1 0.2 0.3 0.4 0.5

1.51 1.0 1.1 1.2 1.3 1.4

Controls

Mix

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan Voice Dif FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Def Depth Spin Chorus

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Feedback

Panning

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

Glide FX Gld Lvl *A Left *A Right *B Left *B Right *Fbk L/R *X-Fbk L/R

Levels

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Delay Time

*Master *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5

*Voice 6

0.6 *ADJUST

2.6 2.7

Link *Rvb In/Out

Page 71

3-11

Algorithms and Parameters

PCM 81

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Attack

Spin Link

Crossover

Rt HC

RefLvl L

RefLvl R

Diffusion

Rvb Out

L In

R In

InPan

InLvl

V1 Fbk

V2 Pan

Delay

V3 Pan

V6 Pan

V5 Pan

V4 Pan

V1 Pan

V2 Fbk

V3 Fbk

Delay

645

V4 Fbk

V5 Fbk

V6 Fbk

V1 Chorus

V1 Depth, V1 Rate

V2 Lvl

V3 Lvl

V1 Lvl

FX MixFXWidth

V5 Lvl

V4 Lvl

V6 Lvl

FX Adj

Diffusion

V2 Chorus

V3 Chorus

V2 Depth, V2 Rate

V3 Depth, V3 Rate

V6 Chorus

V6 Depth, V6 Rate

V5 Chorus

V4 Chorus

V5 Depth, V5 Rate

V4 Depth, V4 Rate

Plate

High Cut

2 2.0 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6

0 0.0 0.1 0.2 0.3 0.4 0.5

1.51 1.0 1.1 1.2 1.3 1.4

Controls

Mix

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan High Cut FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Attack Spin Link Rvb Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Feedback

Panning

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Chorus

*Master *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5

*Voice 6

0.6 *ADJUST

CHORUS+RVB

The Chorus effect has six separately adjustable voices — allowing the PCM 81 to sound like a rack of six digital delay boxes. Each voice has its own independently adjustable chorus depth and rate, level control, delay time, feedback and panning control. The 6-voice chorus is in parallel with a plate algorithm, providing two independent stereo effects.

Note that the Diffusion parameter (Rvb Design 2.1) is shared by both the reverb and the chorus effect.

Page 72

3-12

Algorithms and Parameters

Lexicon

M-BAND+RVB

This effect features six separately adjustable voices, each with its own level control, delay time, low and high frequency filters, feedback and pan controls. The multi-band effect is in parallel with a Chamber effect, providing independent stereo effects. Note that the Diffusion parameter (Rvb Design 2.1) is shared by both the multi-band and reverb effects. Note also that, in this particular algorithm, the diffuser is within the feedback paths of the multi-band voices. This allows you to create filtered echoes that grow more diffuse with each repeat, or to create effects with filtered echoes passing through the reverberator.

L In

R In

InPan

InLvl

V1 Fbk

V2 Pan

Delay

V2 Lvl

V3 Lvl

V3 Pan

V6 Pan

V5 Pan

V4 Pan

V1 Pan

V2 Fbk

V3 Fbk

V1 Lvl

Diffusion

Delay

645

V4 HiCut

V6 HiCut

V5 LoCut

V4 LoCut

V6 LoCut

V4 Fbk

V5 Fbk

V6 Fbk

Diffusion

V2 HiCut

V3 HiCut

V1 HiCut

V2 LoCut

V3 LoCut

V1 LoCut

V5 HiCut

MixFXWidthFXAdj

V5 Lvl

V4 Lvl

V6 Lvl

Chamber

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

to Voices 4, 5, 6

to Voices 1, 2, 3

Rvb Out

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6

0 0.0 0.1 0.2 0.3 0.4

1.51 1.0 1.1 1.2 1.3 1.4

Controls

Mix

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Shape Spin Link Rvb Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Feedback

Panning

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Filters

*Master *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5 *Voice 6

Spread

0.5 *ADJUST

Page 73

3-13

Algorithms and Parameters

PCM 81

THE RESONANT CHORD ALGORITHMS

RES1>PLATE AND RES2>PLATE

The Resonant Chord effects use impulsive energy at the inputs to excite six resonant voices (notes). The level, pitch, duration, and highfrequency cutoff of the overtones for each voice are separately controllable. Each voice can be panned independently. The voices resonate to some degree with any input, but the most effective excitation contains all frequencies, like percussion. Other instruments may give a quality of tonal ambience in which certain notes rise ethereally from the background. The output of the resonator is then fed into a stereo plate reverb effect.

The two algorithms differ in the way pitches are assigned to the resonators. In Res1>Plate, pitches are assigned to the six voices chromatically, in a round-robin. For example, if MIDI note numbers are used to assign pitch, the resonators will constantly be re-tuned to the pitches of the last six MIDI notes received. (This can produce an effect similar to playing a piano with the sustain pedal depressed.) In Res2>Plate, pitches are assigned to the six resonators diatonically, harmonized with the key, scale, and root of your choice. If MIDI note numbers are used to assign pitch, the resonators will constantly be re-tuned to harmonize with the incoming notes.

. . . continued on page 3-14

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Attack

Spin Link

Crossover

Rt HC

RefLvl L

RefLvl R

Diffusion

Rvb Out

L In

R In

InPan

InLvl

V1 Fbk

V2 Pan

Delay

V2 Lvl

V3 Lvl

V3 Pan

FX MixFXWidthFXAdj

V6 Pan

V5 Pan

V4 Pan

V1 Pan

V2 Fbk

V3 Fbk

V1 Lvl

Delay

645

V5 Lvl

V4 Lvl

V6 Lvl

V4 Fbk

V5 Fbk

V6 Fbk

Rvb In

V3 Res

V2 Res

V1 Res

V6 Res

V5 Res

V4 Res

Plate

V1 HiCut V1 Delay

V2 HiCut V2 Delay

V3 HiCut V3 Delay

V6 HiCut V6 Delay

V5 DelayV5 HiCut

V4 HiCut V4 Delay

Page 74

3-14

Algorithms and Parameters

Lexicon

2 2.0 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6

0 0.0 0.1 0.2 0.3 0.4

1.51 1.0 1.1 1.2 1.3 1.4

Controls

Mix

3.5 3.6

4.5 4.6

5.5 5.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Attack Spin Link *Rvb In/Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Pitch

Panning

Assign Tuning Active Unison

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels *Master *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5 *Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Resonance

*MstrRes/HC *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5

*Voice 6

0.5 *ADJUST

2 2.0 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4 7.5 7.6

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6

0 0.0 0.1 0.2 0.3 0.4

1.51 1.0 1.1 1.2 1.3 1.4

Controls

Mix

3.5 3.6

4.5 4.6

5.5 5.6

6.5 6.6

Rvb Time

Rvb Design

FX Adjust *InLvl/Pan FX Mix FX Width

Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Size Diffusion Attack Spin Link *Rvb In/Out

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9Patch 4Patch 3Patch 2Patch 1Patch 0

Modulation

Mod:LFO Mod:AR Env Mod:Env L Mod:Env R Mod:Latch Mod:Sw 1 Mod:Sw 2

Pitch

Panning

*Master Voice 1 Voice 2 Voice 3 Voice 4

Master Voice 1 Voice 2 Voice 3 Voice 4

Voice 5 Voice 6

1.6 EkoFbk/Dly

Levels *Master *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5 *Voice 6

Delay Time

*Master Voice 1 Voice 2 Voice 3 Voice 4 Voice 5 Voice 6

Resonance

*MstrRes/HC *Voice 1 *Voice 2 *Voice 3 *Voice 4 *Voice 5

*Voice 6

0.5 *ADJUST

Res1>Plate

Res2>Plate

Page 75

3-15

Algorithms and Parameters

PCM 81

THE PARAMETERS

PCM 81 parameters are organized into labeled rows within each edit matrix. Although there are similarities among all matrixes, such as having a row of Controls first, and Modulation and Patching rows last, some of the parameters within each row, and some entire rows are unique to specific algorithms.

This section contains descriptions for all PCM 81 parameters, organized alphabetically by row label as follows:

• Chorus • Modulation

• Controls • Panning

• Delay Time • Patching

• Feedback/Cross-Feedback • Pitch

• Filters • Resonance

• Glide FX • Rvb Design

• Levels • Rvb Time

Individual parameter descriptions within each row are presented, as far as possible, in the order in which they appear from left to right in the edit matrix.

CHORUS

In the Chorus+Rvb algorithm, Row 5 provides parameters which provide rate and depth controls for each of the six chorus voices, as well as master rate and depth controls.

MstDepth and MstRate

Two Master Chorus parameters in the first row position allow Chorus, Depth and Rate for all voices to be simultaneously scaled. Each control has a range of 0-200%. Press Load/✱ to toggle between MstDepth and MstRate.

Voices (Depth and Rate)

Each voice position has Depth and Rate controls to set the time range (delay) and rate of change across that time range (pitch) of the chorusing effect. (Press Load/✱ to toggle between them.) Depth provides settings of 0-500ms in single millisecond increments. Rate parameter can be set to 0Hz (Off), or to one of one-hundred selections from 0.01-3.50Hz. Depths of 10-30ms combined with Rates as high as 0.50Hz provide subtle chorusing and multivoicing effects. Depths of hundreds of milliseconds combined with higher Rates provide a wide range of pitch shifting effects.

CONTROLS

Row 0 of every algorithm contains parameters that provide overall control of both the reverb and voice effects.

Mix

Mix controls the ratio of dry and wet signal present at the PCM 81 outputs. When the PCM 81 is patched into a console or an instrument amplifier through an auxiliary or effects loop, this control should always be set to 100% wet. (Control Mode 1.1 allows you to select a global Mix setting.) When an instrument is plugged directly into the PCM 81, a setting between 45 and 65% is a good starting point.

. . . continued on page 3-16

Page 76

3-16

Algorithms and Parameters

Lexicon

CONTROLS (continued)

FX Adjust

FX Adjust controls the level of the processed (wet) signal before it is mixed with the dry signal (if any) and sent to the audio outputs. The range of this parameter is +12dB to -73dB, and Off (wet output muted.) FX Adjust is inactive when the PCM 81 is in Bypass mode, so it is a good idea to compare the levels with Bypass on and off while editing this parameter. Adjust it until the audio level sounds the same with bypass on and off.

InLvl L&R, InPan L&R

InLvl L and InLvl R control the level and phase of the unprocessed dry signal into the effects. The range of these parameters is from Full (0dB) Phase Normal, to -85dB Phase Normal, Off, -85dB Phase Inverted to Full (0dB) Phase Inverted.

InPan L and InPan R control the location of the left and right input audio as a stereo image to the effect's audio input. Unmodified stereo imaging to the effects can be achieved by setting InPan L hard left (50L) and InPan R hard right (50R). Changing InPanL to any other value (49L to 50R), takes the left audio input and presents it as a panned source to the effect's left and right input. Changing InPan R to any value other than 50R, does the same for the right audio input.

High Cut

High Cut sets the high frequency cutoff of a low-pass filter. This parameter affects both channels.

Voice Dif

This parameter is available in all of the 4-Voice Algorithms, and in Glide>Hall. It controls the density of echoes in the delay voices, independently of Reverb diffusion. High levels of diffusion thicken, or smear, the echoes. This is most noticeable on material with sharp transients.

FX Mix

FX Mix controls the balance of reverb and non-reverb effects. (Non-reverb effects are those processed as "voices" controlled by level, delay and feedback parameters generally found in rows 3-7.) The range of this control is 0 to 100%.

FX Width

FX Width can be thought of as an extension of typical mono to stereo imaging controls. The range of this parameter is -360 to +360, in single digit increments. Values of -360, 0, or +360 cause the effect's audio output to be mono. Values of -315 and +45 cause the output to be normal left/right stereo. Values of -45 and +315 cause "swapped", or right/left stereo.

The large and duplicated range of this parameter allows smooth glides from any Left/Right Mix, Phase, Mono/Stereo image point to any other. These are on the output of the FX Mix. Of particular interest are: 0 MONO, 45 STEREO, and 90 L–R, R–L (surround channel). This parameter can be changed in real-time for fascinating spatial effects.

Page 77

3-17

Algorithms and Parameters

PCM 81

DELAY TIME

In each algorithm, the Delay Time row contains parameters for delay settings of each voice, as well as master delay parameters for all voices.

Press Load/✱ to cycle through selections: Master, GldResp, GldRange and Clear.

Master

This control allows you to simultaneously change the delay times of all voices in the effect. The available range is from 0-200%. This provides a simple way to expand or close in all of the voice delay times. If a voice's delay time is set to 500ms, changing the setting of the Master parameter to 200% will change the delay time to 1000ms. Setting this parameter to 0% is an easy way to set all the delays to 0 from a single control.

GldResp

In all of the 4-Voice algorithms, and in the Chorus+Rvb algorithm, this parameter controls the response of the glide. The range is 0-100, with a typical default setting of 50. This setting provides a good, real-time glide. Changing a delay time from 0 to 100ms with a glide response of 0, causes the glide delays to take a minute or more, allowing subtle changes in delay times and echoes with no noticeable pitch shifting. A glide response of 100 is ultrafast, causing high speed pitch shift, and even chirping effects with large delay time changes.

. . . continued on page 3-18

Value Display Label Description

360 MONO Phase Normal Mono

315 R, L Phase Normal R/L stereo

270 R–L, L–R R–L, L–R surround

225 STEREO INV Phase Inverted L/R Stereo

180 MONO INV Phase Inverted Mono

135 R, L INV Phase Inverted R/L Stereo

90 L–R, R–L L–R, R–L surround

45 STEREO Phase Normal L/R stereo

0 MONO Phase Normal Mono

-45 R,L Phase Normal R/L Stereo

-90 R–L, L–R Phase Inverted R–L, L–R surround*

-135 STEREO INV Phase Inverted L/R Stereo

-180 MONO INV Phase Inverted Mono

-225 R, L INV Phase Inverted R/L Stereo

-270 L–R, R–L L–R, R–L surround

-315 STEREO Phase Normal L/R Stereo

-360 MONO Phase Normal Mono

ADJUST

This control allows you to specify the range of control of the ADJUST knob when it is patched to a parameter. Low and High settings are available, allowing you to select full range (0-127) for those parameters where it is appropriate and to limit the range in other cases. You can, for example set the Low value to 0, and the High value to 1, to have ADJUST behave as an on/off control. Many of the presets take advantage of this, and have ADJUST range limits which are appropriate to the specific parameter.

Page 78

3-18

Algorithms and Parameters

Lexicon

DELAY TIME (continued)

GldRange

In all of the 4-Voice algorithms, and in the Chorus+Rvb algorithm, this parameter controls the range over which changes to the voice delay time will be performed as a glide. For example, if GldRange is set to 100ms, and the PstDly L and R times are varied over a range of 100ms, those delays will glide smoothly from one delay time to another. Suddenly changing the delay time to a greater value, such as 200ms, will cause the audio delay to change instantly to the new time without gliding. The available range is 0-1.365sec, with 0 causing all delay time changes to be "instantaneous", and 1.365 causing all delay time changes to glide.

Clear

This is an On/Off control which allows you to instantly clear all of the audio in the delay voices. A typical use for this control might be to patch it to a footswitch to allow one tap removal of all old audio from the delays to start fresh. While Clear is on, no new audio will pass through any delay voice set above 1ms.

Voices

These parameters set the delay time, in seconds, for each individual voice. The range for each algorithm is shown in the table that begins at the top of the next column.

Algorithm Delay Time

Concert Hall 0-1.365 sec

Plate 0-1.365 sec

Chamber 0-1.365 sec

Inverse 0-1.365 sec

Infinite 0-1.365 sec

Glide>Hall 0-10.581 sec

Chorus+Rvb 0-1.365 sec

M-Band+Rvb 0-10.922 sec

Res 1>Plate 0-9.557 sec

Res 2>Plate 0-9.557 sec

When display of values in BPM has been selected, these are set as fractions of a beat. The smallest fraction is 1/24th beat. Changing these values live can produce a variety of pitch shift, and flange effects. Delay times can also be tempo modulated.

You can set and display delay values in units of time, or with tempo values. Press Up and Tempo simultaneously to toggle between these two options. When time units are selected, delay times are set and displayed in milliseconds (From 0ms to the maximum available delay for that parameter). When tempo values are selected, delay values are set and displayed as a ratio of echoes to beats (from 24:1 to 1:24). This will automatically synchronize the delay to the current tempo (MIDI, Internal, or TAP — see Tempo Mode in Chapter 2.) For example, a delay setting of 1:2 (1 echo for every 2 beats) will produce half-note delay rhythms synchronized to the current tempo.

Page 79

3-19

Algorithms and Parameters

PCM 81

FEEDBACK/CROSS FEEDBACK

Parameters in this row provide level and phase setting for feedback of individual voices, as well as a master feedback parameter for all voices. In the Glide>Hall algorithm, a duplicate set of parameters is included for cross-feedback.

Master

A Master Feedback control is available in effects with a feedback level control for each voice. It allows the feedback level for all voices to be simultaneously adjusted over a range of 0-100%.

Voices

In the 4-Voice algorithms, four voice controls are provided for adjustment of the level and polarity of signals recirculated back to the input of individual voices. Note that, as Voices 1 and 2 and Voices 3 and 4 are paired, caution should be observed not to create feedback within a pair which exceeds more than 100%.

In the Chorus+Rvb and M-Band+Rvb algorithms, six voice parameters control the feedback level of the voice delays. Voices 1, 2, and 3 Fbk control the individual voice feedback levels from the left channel voice delay outputs to the left channel delay feedback input. Voices 4, 5, and 6 Fbk control the individual voice feedback levels from the right channel voice delay outputs to the right channel delay feedback input. The range of these parameters is from +100% down to 1% (Phase Normal feedback), 0% (Off), –1% up to –100% (Phase Inverted feedback).

In the Glide>Hall algorithm, the Feedback row provides both Feedback and Cross Feedback parameters as described below. Press Load/✱ at each row position to toggle between Feedback and Cross Feedback parameters.

Mstr Fbk, Mstr X-Fbk

These parameters allow the feedback and cross feedback levels for all voices to be simultaneously scaled over a range of 0-100%.

Voices 1-6 Fbk, X-Fbk

These parameters control the feedback and cross feedback levels and the polarity of the voice delays.

Voices 1, 2, and 3 Fbk control the individual voice feedback levels from the left channel voice delay outputs to the left channel delay feedback input.

Voices 1, 2, and 3 X-Fbk control the individual voice feedback levels from the left channel voice delay outputs to the right channel delay feedback input.

Voices 4, 5, and 6 Fbk control the individual voice feedback levels from the right channel voice delay outputs to the right channel delay feedback input.

Voices 4, 5, and 6 X-Fbk control the individual voice feedback levels from the right channel voice delay outputs to the left channel delay feedback input. The range of these parameters is from +100% down to 1% (Phase Normal feedback), 0% (off), –1% up to –100% (Phase Inverted feedback).

The sum of all Fbk and X-Fbk values for each channel should be less than 100%.

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FILTERS

In the M-Band+Rvb algorithm, Row 5 contains parameters for cut-off frequencies of low and high cut filters for each voice, as well as master low and high cut controls for all voices.

Mstr LC/HC

Two master controls are provided in the first row position. Press Load/✱ to toggle between them. The High Cut Master allows simultaneous adjustment of the high frequency cut-off points for the filters on all voices in single semitone increments up or down from the individual voice settings. The Low Cut Master allows simultaneous adjustment of the low frequency cut off points for the filters on all voices in single semitone increments up or down from the individual voice settings.

V1-V6 LoCut and HiCut

The low cut and high cut filters operate at 12dB/octave. Each of six voices has individual low cut and high cut filters. The ranges of the filter cut-off points are from 20-20,000Hz at approximately semitone intervals across the entire range for a total of 121 cut off points. The low cut filters have an OFF position just below 20Hz. The high cut filters have an OFF position just above 20,000Hz.

GLIDE FX

In the Glide>Hall algorithm, Row 3 contains level, delay and feedback parameters for a pair of stereo gliding delays that preceded the 6-voice delay.

Gld Lvl

Gld Lvl controls the stereo output level from all gliding delays (A, B, Left and Right). It has a range of Full (0dB) down to -85dB and Off.

A Left (A Lvl L and A Dly L)

These parameters control the output level and delay time of the left channel A Glide Delay. A Lvl L has a range of Full (+0dB), Phase Normal down to -85dB, Phase Normal, OFF, -85dB Phase Inverted up to Full (+0dB), Phase Inverted. A Dly L has a range of 0.0 milliseconds to 42.0 milliseconds in 0.1 millisecond units.

A Right (A Lvl R and A Dly R)

These parameters control the output level and delay time of the right channel A Glide Delay. They have the same ranges as A Left.

B Left (B Lvl L and B Dly L)

These parameters control the output level and delay time of the left channel B Glide Delay. They have the same ranges as A Left.

B Right (B Lvl R and B Dly R)

These parameters control the output level and delay time of the right channel B Glide Delay. They have the same ranges as A Left.

Fbk L/R

These parameters control the feedback levels of the corresponding left and right channel Glide Delays. The range of these parameters is from +100% down to 1% (Phase Normal feedback), 0% (off),

-1% up to –100% (Phase Inverted feedback).

X-Fbk L/R

These parameters control the corresponding cross feedback levels of the left and right channel glide delays. Specifically, X-Fbk L controls the feedback from the left channel A+B glide delay output to the right channel glide delay feedback input. X-Fbk R controls the feedback from the right channel A+B glide delay output to the

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left channel glide delay feedback input. The range of these parameters is from +100% down to 1% (Phase Normal feedback), 0% (off), -1% up to –100% (Phase Inverted feedback).

LEVELS

In each algorithm, the Levels row contains parameters for the phase and level of each voice, as well as a master level parameter for all voices.

Master

The Master Level controls the overall level in effects which have more than one voice. This permits simultaneous changes in all voice levels without altering the balance between individual voices.

In the Res1>Plate and Res2>Plate algorithms, the Master parameter contains two master parameters for the six resonator voices: Mstr Lvl and Mstr Fbk. (Load/✱ will toggle between them.) Mstr Lvl is a master level control for all of the resonator voices, as described above. Use care when adjusting this value. The resonators will put out high levels if the input source has any components that are close in pitch to the resonator tunings. In general, this control should be set to 0dB or less.

The Mstr Fbk control allows the feedback levels for all voices to be scaled over a range of 0-100%.

Voices

Individual controls are provided for each Voice Level. Voices can be turned completely off, full on, or set to any point between, in 1dB increments. There are as many voice level controls as there are voices in an effect.

In the Res1>Plate and Res2>Plate algorithms, positions 1-6 contain both level and feedback parameters for each of the six resonator voices. (Load/✱ will toggle between them.) Lvl controls the individual level and polarity for each voice. Voices can be turned completely off, full on, or set to any point in between in 1dB increments. Use care when adjusting this value. The resonators will put out high levels if the input source has any components that are close in pitch to the resonator tunings. In general, this control should be set to a value less than Full.

The Fbk controls set the feedback level and polarity of each voice. Voices 1-3 Fbk control the feedback levels from the left channel delay voice outputs to the left channel delay voice inputs. Voices 4-6 Fbk control the feedback levels from the right channel delay voice outputs to the right channel delay voice inputs. The sum of the values for either side should be less than 100%. (Disregard the negative sign when adding values.)

MODULATION

The Modulation row, which is the same for every algorithm, contains the parameters for the PCM 81's internal modulation sources. Use the Patch row to assign these modulators to any PCM 81 effect parameter.

Mod: LFO

Four parameters are available: Shape, P Width, Depth, and Rate.

• Shape Allows you to select the wave shape that will be used when "LFO" is selected as a patch Source. The choices are: Sine, Cosine, Square, Sawtooth, Pulse, and Triangle.

. . . continued on page 3-22

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MODULATION (continued)

• P Width Determines the proportion of each pulse wave

cycle for which the LFO is on (1-99%). For example, setting P Width to 50% means that the LFO is on for half of its cycle. The effect of this control will only be heard if you are using the Pulse shape.

• Depth Scales the output of the LFO from 0 to 100%.

• Rate Sets the speed (0-25Hz) at which the LFO

cycles. It can be set in time values (such as

1.5Hz) or in tempo values (such as 3:2 cycles per beat). Simultaneously pressing Up and Tempo will toggle these two display options.

The PCM 81 allows six LFO shapes (sine, cosine, sawtooth, triangle, square and pulse) to be selected as patch Sources, as well as the LFO itself. All of these are generated by a single LFO, and are controlled by the single Rate control. When "LFO" is selected as a patch Source, the output will be the Shape selected here. The amplitude of the LFO output is controlled by Depth. Both Shape and Depth are available as patch Destinations and can be controlled externally. Shape, Pulse Width, Depth, and Rate are all available as patch Destination parameters, and can be controlled externally. See Patching in Chapter 2.

Mod: AR Env

This envelope generator's output, when turned on, will go from 0 to127. How quickly it goes from 0 to 127 is determined by the setting of Attack (0-10 seconds). Once the envelope generator has

reached 127, it remains there as long as it is turned on. When it is turned off, it goes from 127 to 0, at the rate determined by Release (0 to 10 seconds).

T Src allows you to select a Source to turn the envelope generator on and off. T Lvl allows you to select a specific threshold value which the T Src must reach to turn the envelope generator on.

The Mode parameter allows you to determine the behavior of the envelope controller in relation to the threshold value. Four settings are available: Repeat, One Shot, Retrigger, and Off.

MOD:LFO

Sine

Cosine

Square

Sawtooth

Pulse

Triangle

Rate

Depth

LFO

Patch

Sources

Shape

Clk Cmnds

High Note

Env L

Env R

Shape, Rate and Depth can be controlled by a patch.

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• Repeat As long as the threshold source remains at or above T Lvl, the envelope cycles from attack to release. If A=R, the output of the envelope is a triangle wave.

• One Shot Once T Lvl is reached, the envelope will go through its entire attack cycle. Once the attack cycle is completed, if Source value is below T Lvl, the envelope will immediately fall at the specified Release rate. The envelope will go through its entire release cycle, even if the source subsequently rises above T Lvl. If the Source value is at or above T Lvl, the envelope will remain at 127 until the T Src falls.

• Retrigger As long as the level is at or above T Lvl, the envelope will go through its attack cycle. If the level falls below T Lvl before attack is completed, the envelope immediately begins to release.Likewise, if the T Lvl is crossed again before the release is completed, the attack cycle will begin again.

•Off This control turns the AR envelope off (and frees up processor time). To optimize PCM 81 real-time response, set AR Env to Off when it is not being used.

Mod: Env L and Mod: Env R

These are left and right input signal envelope followers. The only available parameter is Release which is set in milliseconds. This control allows you to specify the release rate (0-10 seconds) when the input level drops.

Mod: Latch

The latch is a very flexible modulation source. It can be used to do such things as derive a switch from a continuous “return to zero” source (like MIDI After Touch). It can turn a momentary (on/off) footswitch into a latching footswitch (push on/ push off), and it can divide the switching rates of sources in half or thirds.

The latch has three parameters: Src, High and Low. Any patch source can be the Src (See Source listing under Patching.) High and Low are threshold values. The latch works as follows:

High

Low

127

With High set to 127, and Low set to 0,

no latching will occur. The output is

identical to the output of the selected source.

High

Low

127

With High set to less than 127, and Low

set to 0, the High value will be latched.

High

Low

127

With High set to 127, and Low set to a value

greater than 0, the Low value will be latched.

High Low

127

With High set to less than 127, and

Low set to a value greater than 0,

both values are latched.

. . . continued on page 3-24

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MODULATION (continued)

Mod: Latch

(continued)

There is no output from the latch until the Src value falls within the range defined by the settings of High and Low. While the source value is between these thresholds, the output of the latch is the same value as the source. When the source value reaches or passes either threshold, the output of the latch holds at the limit value until the source value passes through the threshold twice. The latch can be set to hold at either the low threshold, the high threshold, or both. Setting Low to 0 disables latching at the low threshold. Setting High to 127 disables latching at the high threshold.

See preset P0 3.0 FSw2 Rotary as an example.

Mod: Sw 1 and Mod: Sw 2

These are identical time switches. Each has five parameters: Rate, P Width, Mode, T Lvl and T Src.

• Rate Sets the speed at which the switch cycles. It can be set in time values (such as 1.5 Hz) or tempo values (such as 3:2 Cycles per Beat). Simultaneously pressing Up and Tempo will toggle these display options.

• P Width Determines the proportion of each switch cycle during which the switch is on. For example, setting P Width to 50% means that the switch is on for one-half of a cycle.

• Mode Determines the “shape” of the switch output. Three settings are available: Switch, Ramp, and Off. When Switch is selected, the transition from on to off is instantaneous, i.e. the switch output resembles a pulse wave. When Ramp is selected, the transition from on to off is continuous, i.e. the switch output resembles a triangle or sawtooth wave.

•Off Turns the switch off (and frees up processor time). To optimize PCM 81 real-time response, set switch to Off when it is not being used.

• T Lvl Sets the threshold value at which the switch will begin to cycle.

•T Src Selects a patch source to drive the switch. The output of the switch is 0 as long as T Src is set to a value below T Lvl. Once the source value reaches or passes T Lvl, the switch will begin to cycle between on (127) and off (0) at the speed set by Rate.

Note that both Rate and P Width are available as patch Destinations, allowing them to be dynamically controlled by other patch sources. Switches are reset to the beginning of their cycles whenever Tap is pressed.

A special, composite output of these switches, called Sw 1&2 is available as a patch source. The value of Sw 1&2 alternates between the output of Sw 1 and the output of Sw 2. The alternation occurs on the transition from on to off. Note that both Sw 1 and Sw 2 must be active for the alternation to occur.

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PANNING

Parameters in the Panning row provide control of panning of individual effects voices, as well as a master panning parameter for all voices.

Master

The Pan Master provides simultaneous control over the panning of all voices in the effect. The range of the Pan Master is 50L (full left) through L1, C (Center), 1R through 50R (full right) for a total of 101 positions. The Master Pan is additive to the individual voice panners such that, if a voice is set to L10, and the Master is set to 20R, the voice will be at 10R.

Voices

Individual pan controls are provided to position the output of each voice. The range of each voice is 50L (full left) through 1L, C (Center), 1R through 50 R(full right) for a total of 101 positions.

PATCHING

The last row of each algorithm's edit matrix is the Patch row. This row provides parameters for creating up to 10 patches in each effect. Each row position (Patch 0-9) has three controls available: Src, Dst, and Values. Press Load/✱ to cycle among these selections.

Src

Use ADJUST to select any of the sources listed below.

Dst

Use ADJUST to select any parameter except those on the Patch row.

. . . continued on page 3-26

127

T Lvl

The switch cycles between 127 and 0

as long as T Src is at or above T Lvl.

Switch

Mode

When Switch Mode is selected, transition

from 127 to 0 is instantaneous.

T Src

Sw Value

Ramp Mode

When Ramp Mode is selected, transition

from 127 to 0 is continuous.

127

P Width

127

Sw 1 1 Cycl:2 Beat P Width = 50

Sw 2 1 Cycl:3 Beat P Width = 16

Sw 1&2

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PATCHING (continued)

Values

Use ADJUST to assign Destination values to specific Source values. These assignments are made in pairs, each with a value for the Source and a value for the Destination. For example, the default is two pairs mapped as follows:

• minimum Source value (0) = minimum Destination value

• maximum Source value (127) = maximum Destination value

This gives you a linear relationship between the parameter and the controller. Inverse control is accomplished easily by reversing these settings. As many as eight pairs of Destination/ Source values can be assigned here, providing an exciting new level of dynamic control.

See Chapter 2 for a complete description of the Patching System.

LFO Sine Cosine Square Sawtooth Pulse Triangle Env L Env R AR Env Latch Sw 1

Sw 2 Sw 1 & 2 Mono Lvl Left Lvl Right Lvl Footpedal Foot Sw 1 Foot Sw 2 ADJUST Tempo On Off

Internal

(PCM 81 interprets 000 as Bank Select)

001 Mod Wheel 002 Breath 003 Ctl 3 004 Foot Ctl 005 PortaTime 006 Data Entry 007 Volume 008 Balance 009 Ctl 9 010 Pan 011 Xpression 012 Effect 1 013 Effect 2 014 Ctl 14 015 Ctl 15 016 General 1

017 General 2 018 General 3 019 General 4 020 Ctl 20

031 Ctl 31

(PCM 81 interprets 032 as Bank Select)

033 Ctl 33

063 Ctl 63 064 Sustain 065 Porta On 066 Sostenuto 067 SoftPedal 068 Legato 069 Hold 2 070 Sound Var

071 Timbre 072 Release 073 Attack 074 Bright 075 Sound 6 076 Sound 7 077 Sound 8 078 Sound 9 079 Sound 10 080 General 5 081 General 6 082 General 7 083 General 8 084 Porta Ctl 085 Ctl 85

090 Ctl 90 091 FX1 Depth

092 FX2 Depth 093 FX3 Depth 094 FX4 Depth 095 FX5 Depth 096 Data Inc 097 Data Dec 098 NRPN LSB 099 NRPN MSB 100 RPN LSB 101 RPN MSB 102 Ctl 102

119 Ctl 119

MIDI Controller Numbers

P Bend A Touch Velocity Last Note

Low Note High Note Clk Comnds

MIDI

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PITCH

The Resonant Chord algorithms: Res1>Plate and Res 2>Plate each have a Pitch row that contains the parameters for setting and controlling the tuning of the effect's resonators. Each set of parameters is presented separately here.

Res 1>Plate Pitch Parameters

The voice resonators take the audio impulse from a delay voice and “resonate” it at a desired pitch. Until a resonator is assigned a pitch, it does not resonate. The Res1 effect is a “round robin” pitch assign in that pitch changes are individually assigned to one of (as many as) six voice resonators. For example, assume that all six voice resonators are active in the newly loaded effect, and the first pitch assigned is A4. Voice 1’s resonator will be set to the A4 frequency. Assign B4, and Voice 2’s resonator will be set to that pitch. In this example, if we assign four more pitches (D5, G4, A#:Bb4, C5, for example), they will be assigned to the Voice 3, 4, 5, and 6 resonators, respectively. If a seventh pitch is assigned, for example, F3, Voice 1’s resonator will be changed from A4 to F3 (the other resonators remain at the last assigned pitches).

Assign

This parameter has a range of C0 to G10 (128 pitches) to be convenient for MIDI patching. As the value of this parameter is changed, each “next value” is assigned to the next active pitch resonator of the six possible active resonators. An example might be driving this parameter with a slow LFO to achieve an effect something like strumming the strings of an open piano.

Tuning

This parameter allows you to tune the A440 reference of the box anywhere from 430.0-450.0Hz in 0.1Hz increments.

Active

This parameter allows you to define the number of active voice resonators. You can choose from 0 (no resonators active) to 6. Setting the value to 1 will limit pitch assignments to Voice 1’s resonator. Setting the value to 2 will limit the round robin pitch assign to Voices 1 and 2. A value of 6 uses all the voice resonators.

A handy feature of this parameter is the ability to mute resonators. For example, you can patch this parameter to a footswitch or pedal, allowing you to drive the parameter value down to 0 at any time, causing the resonators to stop playing their last assigned pitches. You can then immediately drive it back up to the desired number of active resonators. This “clears” the pitch assign for the resonators, so they don’t go back to playing their previous pitches, but rather wait for the next pitch assign to come along before resonating.

Unison

This is a simple On/Off control. When set to On, pitch assigns will be sent simultaneously to all active resonators. When set to Off, pitch assigns will operate in the round robin method described earlier. This allows you to set multiple delay times for all Voices and allows a single pitch assign (rather than 6 individual assigns) to set all the resonators to the same pitch. The pitch will ring out at 6 different delay times from the input impulse.

Res 2>Plate Pitch Parameters

The voice resonators take the audio impulse from a delay voice and “resonate” it at a desired pitch. The Res2 effect is a “interval harmonization” pitch assign in that pitch changes generate interval pitches to be assigned to the six voice resonators.

. . . continued on page 3-28

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PITCH (continued)

Res 2>Plate Pitch Parameters (continued)

Position 0 contains all of the pitch parameters which affect the voices in the remaining position in the row. Press Load/✱ to cycle through the selections at position 0: Assign, Tuning, Active, Key, Scale, Root and Rule.

Assign

This parameter has a range of C0 to G10 (128 pitches to be convenient for MIDI patching). As the value of this parameter is changed, each voice resonator is set to a pitch at the defined voice’s interval (described later).

Tuning

This parameter allows you to tune the A440 reference of the box anywhere from 430.0-450.0Hz in 0.1Hz increments.

Active

This parameter allows you to define the number of voice resonators which are active. You can choose from 0 (no resonators active) to

6. Setting the value to 1 will permit only Voice 1’s resonator to ring out. Setting the value to 2 will permit Voices 1 and 2 to ring out. A value of 6 uses all the voice resonators. A handy feature of this parameter is the ability to mute resonators. For example, you can patch this parameter to a footswitch or pedal, allowing you to drive the parameter value down to 0 at any time, causing the resonators to stop playing their last assigned pitches. You can then immediately drive it back up to the desired number of active resonators. This “clears” the note assign for the resonators, so they don’t go back to playing their previous pitches, but rather wait for the next pitch assign to come along before resonating.

Key

This parameter establishes a key signature for the pitch selection of the voice intervals. The range of this value is the 12 keys from C, C#, etc., up to B.

Scale

This parameter establishes one of two scales of semitones: a standard Major scale (intervals of 2, 2, 1, 2, 2, 2, 1 half steps for the scale), or a Harmonic scale (intervals of 2, 1, 2, 2, 1, 3, 1).

Root

This parameter (with values of 1-7) establishes the root of the scale which, when combined with the scale, defines the mode. For example, with a Major scale selected, roots 1-7 define the modes — Ionian (Major), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (minor) and Locrian.

Rule

This parameter has four values: Round Down, Round Up, Shift Down, and Shift Up. Its exclusive purpose is to tell the interval harmonizer what to do with out-of-key pitch assignments. The values instruct the interval harmonizer as follows:

Both of these generate in-key harmonization:

• Round Down Take the input pitch assign, round it down a half-step to an in key pitch, then calculate the interval pitch.

• Round Up Take the input pitch assign, round it up a half-step to an in key pitch, then calculate the interval pitch.

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Both of these generate out-of-key harmonization:

• Shift Down Take the input pitch assign, round it up a half-step to an in-key pitch, calculate the interval pitch then shift the interval pitch down a half-step.

• Shift Up Take the input pitch assign, round it down a half-step to an in-key pitch, calculate the interval pitch then shift the interval pitch up a half-step.

Unison and Octave interval pitches strictly follow the input pitch assign. An example of how to use these follows the explanation of Voice Pitch intervals.

V1-V6 Pitch

The Res2>Plate effect has an individual pitch interval control for each voice resonator. The range of each control is up or down any scale interval through five octaves and Unison, for a total of 81 possible settings. For example: an interval of up one-fifth reads "+5th", and an interval of up one octave and a fifth reads "+1 Oct +5th". Down one-fifth reads "–5th", down one octave and a fifth reads "–1 Oct –5th".

An Example Application of Key, Scale, Root, Rule and Voice Pitch Intervals

• Active resonators set to 3.

• The Key is C.

• The Scale is Major.

• The Root is 1. (C Major Ionian)

• Voice 1 Pitch is assigned to Unison.

• Voice 2 Pitch is assigned to +3rd.

• Voice 3 Pitch is assigned to +5th. (Basic triad)

In-key pitch assignment examples:

1. Pitch Assign:C4. Voice 1 will resonate at C4, Voice 2 at E4, and Voice 3 at G4. (Standard chord in the key based on the tonic)

2. Pitch Assign: D4. Voice 1 will resonate at D4, Voice 2 at F4, and Voice 3 at A4. (Standard chord in the key based on the supertonic)

3. Pitch Assign: E4. Voice 1 will resonate at E4, Voice 2 at G4, and Voice 3 at B4. (Standard chord in the key based on the median)

4. Pitch Assign: B4. Voice 1 will resonate at B4, Voice 2 at D5, and Voice 3 at F5. (Standard chord in the key based on the leading tone)

Out-of-key pitch assignment — Pitch Assign: C#:Db4. Rule:

• Round Down Voice 1 will resonate at C#/Db4, Voice 2 at E4,

and Voice 3 at G4 diminished

• Round Up Voice 1 will resonate at C#/Db4, Voice 2 at F4,

and Voice 3 at A4 augmented

• Shift Down Voice 1 will resonate at C#/Db4, Voice 2 at E4,

and Voice 3 at G#:Ab4 minor

• Shift Up Voice 1 will resonate at C#/Db4, Voice 2 at F4,

and Voice 3 at G#:Ab4 Major

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RESONANCE

In the Resonant Chord algorithms: Res1>Plate and Res2>Plate, this row contains high cut filter and resonance controls for each voice, as well as master high cut and resonance controls for all voices.

Mstr Res,Mstr HC

Position 0 of the Resonance row contains two master parameters for the six resonator voices: Mstr Res and Mstr HC. (Press Load/✱ to toggle between them.) Mstr Res is a master resonance control for all of the resonator voices. It allows the resonance settings for all voices to be scaled over a range of 0-100%. Use care when adjusting this value. The resonators will put out high levels if the input source has any components that are close in pitch to the resonator tunings. The Mstr HC control allows the high cut filter settings for all voices to be scaled over a range of 0-100%.

V1Res,V1 HiCut-V6 Res,V6 HiCut

TheV1-V6 Res controls set the amount and polarity of feedback for each voice. The HiCut controls set the high frequency cutoff frequency of the 6dB per octave low pass filter for each voice.

RVB DESIGN

The Reverb Design row, available in every algorithm, contains parameters that affect the structural aspects of the reverb effect.

Size

Size sets the rate of diffusion build-up after the initial period (which is controlled by Diffusion). Size changes a reverb sound from very large to very small. Generally, set this control to the approximate size of the acoustic space being created, before adjusting anything else. The size in meters is roughly equal to the longest dimension of the space. Audio is temporarily muted when Size is changed.

Duration

In the Inverse algorithm, Duration determines the length of time, in milliseconds, which passes before the cutoff in Inverse effects.

Attack

Attack is provided in the Plate algorithm to set the sharpness of the initial response to an input signal. High settings cause an explosive sound, while low settings cause the sound to build up more slowly with time. Attack only affects the level of sound within the first 50 milliseconds.

Diffusion

A Diffusion control is provided in all algorithms. It controls the degree to which initial echo density increases over time. High settings of Diffusion result in initial build-up of echo density, and low settings cause low initial build-up. Echo density is also affected by Size; smaller spaces will sound denser. To enhance percussion, use high settings of Diffusion. For clearer and more natural vocals, mixes, and piano music, use low or moderate settings of Diffusion.

Shape, Spread

In the Chamber and Infinite algorithms, Shape and Spread work together to control the overall ambience of the reverb. Shape determines the contour of the reverb envelope. With Shape all the way down, reverb builds explosively, and decays quickly. As Shape is advanced, reverb builds up more slowly and sustains for the time set by Spread. With Shape in the middle, the build-up and sustain of the reverb envelope emulates a large concert hall (assuming that Spread is at least halfway up, and that Size is suitably large — 30 meters or more). Low Spread settings result in a rapid onset of reverb at the beginning of the envelope, with little or no sustain. Higher settings spread out both buildup and sustain. In the Inverse algorithm, Spread is fixed, and only a Shape control is available.

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Def

Available in the Concert Hall and Glide>Hall algorithms, Definition affects the echo density buildup rate during the latter part of the decay period. At 0, the rate is determined by the program material. Raising Definition causes the sound to become choppier — the decrease in density of the echoes creates increasingly distinct, repetitive echo trails.

Depth

Available in the Concert Hall and Glide>Hall algorithms, this control sets the output amplitude envelope, changing the listener's perspective from the front to the rear of the hall.

Spin

Spin affects the movement of the reverb tail. The object of Spin is to continuously alter the timbre of the reverb sound. This makes the result more natural, without making the position of instruments unstable. Spin should typically be set to values between 10 and 50. Higher values may make the timbre of piano or guitar unstable.

Chorus

In the Concert Hall and the Glide>Hall algorithms Chorus randomizes delay times and introduces modulation to make reverb sound less metallic. Increasing Chorus increases the modulation rate. Because Chorusing can cause pitch variation, this parameter should be set with care when using sources with very little pitch wobble (such as guitar or piano). A good practice is to increase the setting until pitch wobble becomes noticeable, then lower it slightly.

Link

This control is available in all algorithms except Inverse. When Link is set to On, the reverb time (Mid Rt) and Spread scale linearly as

the Size control is varied. For some special effects, Mid Rt, Spread and Size can be unlinked.

Rvb Width

In all of the 4-Voice algorithms, this control performs the same function as FX Width, but controls the audio of only the reverb and post delay reverb.

Rvb In/Out

Rvb In and Rvb Out control the level of the audio going into and coming out of the reverb effect. Rvb In has a range of Full (0dB) down to -85dB, and Off. Rvb Out has a range of Full (0dB) down to -24dB, and Off. Rvb Out does not affect the level of the pre-echoes set by the Ref Lvl and Eko Fbk parameters.

RVB TIME

The Reverb Time row, available in every algorithm, contains parameters that affect the time-based aspects of the reverb effect.

Mid Rt and Low Rt

Mid Rt sets the reverb time for mid-frequency signals. Because low frequency reverb time (Low Rt) is a multiplier of Mid Rt, Mid Rt acts as a master control for the reverb time.

Low Rt sets the reverb time for low-frequency signals, as a multiplier of the Mid Rt parameter. For example, if Low Rt is set to 2X, and Mid Rt is set to two seconds, the low frequency reverb time will be four seconds. For a natural-sounding hall ambience, we recommend values of 1.5X or less.

. . . continued on page 3-32

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RVB TIME (continued)

Low Slope and Mid Slope

These parameters are only available in the Inverse algorithm. Low Slope determines the shape of the reverb envelope for low frequencies. When set to 0, the level of low reverb remains unchanged over its Duration, then cuts off abruptly (depending on the amount of diffusion in use). Setting Low Slope above 0 causes the level of low-frequency reverb to rise smoothly from soft to loud until the sound is cut off. The greater the slope, the softer the initial reverberation and the more pronounced its rise. With negative values, the low frequency reverb drops from its initial level to a quieter one before cutoff. The lower the slope, the more pronounced the dropoff.

Mid Slope is similar to Low Slope, but applies to middle and high frequencies. Frequencies affected are determined by Crossover.

Crossover

Crossover sets the frequency at which the transition from Mid Rt to Low Rt takes place. This control should be set at least two octaves higher than the low frequency you want to boost. For example, to boost a signal at 100Hz, set Crossover to 400Hz. (This setting works well for classical music.) Crossover works best around 400Hz for boosting low frequencies, and around 1.5 kHz for cutting low frequencies.

Rt HC

Rt HC sets the frequency above which a 6dB/octave low-pass filter attenuates the reverberated signal. It does not attenuate the reflections. High frequencies are often rolled off with this parameter, resulting in more natural-sounding reverb.

Pre Delay

Pre Delay adjusts an additional time delay between the input of signal and the onset of reverberation. The maximum range is 930ms. This control is not intended to mimic the time delays in natural spaces. In real rooms, the build-up of reverberation is gradual, and the initial time gap is usually relatively short. Natural spaces are best emulated by adjusting Spread for the desired effective predelay.

Infinite

In the Infinite algorithm, this control is provided to turn the infinite effect On or Off.

RefLvl L&R, RefDly L&R

These controls provide pre-echoes to the left and right channels. The maximum range for Inverse effects is 800ms. In all other effects it is 1.2 seconds. Press Load/✱ to cycle through the selections.

EkoFbk L&R,EkoDly L&R

Available in the Plate, Chamber and Infinite algorithms, these controls provide a pre-echo of 1.2 seconds maximum to the left and right channels, with feedback. Press Load/✱ to cycle through the selections.

PstMix, PstGld

In the 4-Voice Algorithms, these controls adjust a pair of delays after the reverb. Press Load/✱ to cycle through the selections: PstMix, Pst Dly L&R, GldResp and GldRange.

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PCM 81

Pst Mix

In the 4-Voice Algorithms, this parameter controls the mix of the reverb audio with the post delayed reverb audio (0-100%).

Pst Dly L&R

In the 4-Voice Algorithms, these parameters control the time of the post delay. The available range of 0-682ms can produce a variety of pitch shift, flange, or stutter effects on the reverb audio. (Expanding PCM 81 memory will extend this range to 1365ms.)

GldResp

In the 4-Voice Algorithms, this parameter controls the response of the glide of the post delay. The range is 0-100, with a typical default setting of 50. This setting provides a good, real-time glide. Changing a delay time from 0 to 100 ms with a glide response of 0, causes the glide delays to take a minute or more, allowing subtle changes in delay times and echoes with no noticeable pitch shifting. A glide response of 100 is ultrafast, causing high speed pitch shift, and even chirping effects with large delay time changes.

GldRange

In the 4-Voice Algorithms, this parameter controls the range over which changes to the post delay time will be performed as a glide. For example, if GldRange is set to 100ms, and the PstDly L and R times are varied over a range of 100ms, those delays will glide smoothly from one delay time to another. Suddenly changing the delay time to a greater value, such as 200ms, will cause the audio delay to change instantly to the new time without gliding. The available range is 0-682ms, with 0 causing all delay time changes to be "instantaneous", and 682 causing all delay time changes to glide.

THE PITCH ALGORITHMS

ABOUT THE PITCH ALGORITHMS

The PCM 81 contains 7 Pitch algorithms, each combined with uncompromised Lexicon reverb to provide a wide range of useful pitch shift effects, ranging from pitch correction to special effects.

A Quad>Hall algorithm provides a 4-voice pitch shifter, combined with the PCM 81 Concert Hall reverb. The Dual-Chmb, Dual-Plt, Dual-Inv, Stereo-Chmb and VSO-Chmb algorithms use the PCM 81 Dual FX structure for unparalleled flexibility and ease of use. The Pitch Correct algorithm provides tools specifically designed for correction of previously recorded vocal tracks.

The five Dual FX-type algorithms: Dual-Chmb, Dual-Plt, Dual-Inv, Stereo-Chmb and VSO-Chmb, each contain two independent effect blocks: one of three stereo reverbs and one of three different stereo pitch shift blocks. Each algorithm also has the full set of modulation and patch features of the 4 and 6-Voice and algorithms.

. . . continued on page 3-34

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Lexicon

Much of the art of pitch shifting, therefore, is in determining the appropriate intervals for sampling and the optimal points for splicing. As the PCM 81 Pitch algorithms gives you significant control over these operations, you may find it helpful to keep in mind some of the other factors which can affect pitch shift quality:

• Amount of pitch shifting

Large shift intervals require more splicing. As each splice can be the source of an artifact, increasing their number increases the likelihood of audible artifacts.

• Pitch-complexity of the input material

Pure tones have simple waveforms which can be correlated easily for smooth splicing. Pitch shifting of simple tones such as those generated by a solo voice or a monophonic instrument generally produces fewer artifacts than pitch shifting of wide bandwidth material such as piano chords, full orchestra, etc.

• Low frequency content of the input material

Pitch shifting low frequency material requires the addition or removal of larger segments of audio than high frequency material. The increased size of these segments can introduce delays which are heard as artifacts.

• Transient content of the input material

When large amounts of pitch shifting are applied to complex input material with dense percussive transients (drums, strummed mandolin, complex speech, etc.) some of the transients may lose definition or be shifted slightly in time.

ABOUT THE PITCH ALGORITHMS (continued)

Configuration and routing control is provided by a dedicated Submixer incorporated into each of these five algorithms. Any combination of reverb and effects blocks can be arranged in any configuration by changing the Submixer’s controls. As the Submixer has continuously variable controls, you can alter the configurations on the fly — changing, for example, from reverbinto-effects to effects-into-reverb. (Use of the Submixer, which appears as a separate row on the PCM 81 parameter matrix, is described fully after the algorithm and parameter descriptions.) Parameters which are common to the 4-Voice and 6-Voice algorithms are not repeated here. The Pitch Correct algorithm, designed for use with monophonic vocal sources, is described at the end of this section.

ABOUT PITCH SHIFTING

Digital pitch shifting requires temporal compression or expansion of audio data and the addition or removal of small audio segments to compensate.

Raising pitch is accomplished by compressing the audio data — making it run faster. As this shortens the audio segment, a copy of a section of the audio being processed is added to fill out the remaining time. To lower the pitch, the signal is expanded, requiring the removal of a section of the audio. These operations are performed repeatedly at high speed, at intervals which vary according to the type of audio signal being processed.

At each point where audio is added or removed, the audio signal must be rejoined, or spliced. If added or removed segments were perfectly correlated with the remaining audio, splicing would be seamless. In reality, these splice points are the source of audible artifacts which can be minimized, but not completely eliminated.

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QUAD>HALL

The Quad>Hall algorithm, is a 4-voice pitch shifter in series with the Concert Hall reverb. As in the multivoice algorithms, each voice has its own delay, level, feedback, cross-feedback and panning controls. The maximum delay time for each voice is 1.250 seconds.

In this algorithm, the reverb effect is fixed in position following the pitch shifters, with a final Mix control allowing control over the amount of reverb in the processed sound. Quad>Hall is designed for creating pitch effects, and is an obvious choice for creating sequences of notes or chords, melody fragments, or small amounts of pitch shift for doubling (or quintupling) effects.

RefDly L

RefLvl L

RefDly R

RefLvl R

Low Rt Mid Rt

Size

Depth

Crossover

Rt HC

Spin Chorus Link

Definition

Diffusion

PreDelay Rvb Out

L In

V2 Pan

V2 Lvl

V1 Pan

Delay

V1 Lvl

V2 Fbk

V1 Fbk

V2 X-Fbk

V1 X-Fbk

V4 Pan

V3 Pan

V4 Lvl

V3 Lvl

V2 Pitch

V1 Pitch

Delay

V4 Pitch

V3 Pitch

V3 X-Fbk

V4 X-Fbk

V3 Fbk

V4 Fbk

Concert

Hall

FX MixFXWidthFXAdjust

Rvb In

InPan

InLvl

R In

InPan

InLvl

Concert Hall

2 2.0 2.1 2.2 2.3 2.4 2.5

3 3.0 3.1 3.2 3.3 3.4

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2 5.3 5.4

6 6.0 6.1 6.2 6.3 6.4

7 7.0 7.1 7.2 7.3 7.4

0 0.0 0.1 0.2 0.3 0.4

1.5

2.6

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

2.7

LvlAdjust *InLvl/Pan FX Mix *ADJUST

Rvb Time Low Rt Mid Rt Crossover Rt HC Pre Delay *Ref Lvl/Dly

Rvb Design Size Diffusion Def Depth Spin Chorus Link *Rvb In/Out

Levels

DelayTime

Feedback

Patches Patch 0 Patch 1 Patch 2 Patch 3 Patch 4 Patch 5 Patch 6 Patch 7 Patch 8 Patch 9

8 8.0 8.1 8.2 8.3 8.4 8.5 8.6 Modulation *Mod:LFO Mod:Env L Mod:Env R *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

Panning

Master Voice1 Voice2 Voice3 Voice4

*Master Voice1 Voice2 Voice3 Voice4

*Mstr Fbk *V1 Fbk *V2 Fbk *V3 Fbk *V4 Fbk

MstrWidth

*Mod:AR Env

Pitch *MstrCents Voice1 Voice2 Voice3 Voice4

Voice1 Voice2 Voice3

Voice4

0.5

FX Width

The PCM 81 Concert Hall provides very clean reverberation. It is designed to remain behind the direct sound — adding ambience, but leaving the source unchanged. This effect has a relatively low initial echo density which builds up gradually over time.

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The following five Pitch FX algorithms: Dual-Chmb, Dual-Plt, Dual-Inv, Stereo-Chmb and VSO-Chmb are created from 3 Reverb blocks and 3 Pitch Shift Effect blocks. The individual reverb and effect blocks are described, followed by the diagrams and matrixes and parameter descriptions for the algorithms. Descriptions of the controls common to all of these algorithms is presented in following section Using the Submixer.

DUAL-CHAMB

This algorithm includes a dual pitch shifter combined with the Chamber reverb. The pitch shifter has two voices. Each voice has independent controls for pitch, level, delay, pan, feedback and cross-feedback. The pitch of each voice is adjustable up or down over a 3 octave range with a resolution of 1 cent. Maximum delay time for each voice is 1.250 seconds.

The Chamber reverb produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar to the Concert Hall algorithm, but the sense of space and size is much less obvious. This characteristic, along with the low color in the decay tail, makes Chamber useful on a wide range of material. It is especially useful on spoken voice, giving a noticeable increase in loudness with very low coloration.

Note:

The Dual-Chamb parameter matrix is shown on page 3-42.

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V1 Fbk

Delay

V2 Pan

V1 Pan

V1 X-Fbk

V2 X-Fbk

V2 Fbk

V1 Pitch

V1 Lvl

V2 Lvl

V2 Pitch

Delay

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

Dual Shifter

Chamber

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DUAL-PLT

This algorithm includes a dual pitch shifter combined with the Plate reverb. The pitch shifter has two voices. Each voice has independent controls for pitch, level, delay, pan, feedback and cross-feedback. The pitch of each voice is adjustable up or down over a 3 octave range with a resolution of 1 cent. Maximum delay time for each voice is 1.250 seconds.

The Plate reverb mimics the sound of metal plates, with high initial diffusion and a relatively bright sound, making it a good choice for enhancing any type of percussion.

Note:

The Dual-Plt parameter matrix is shown on page 3-42.

V1 Fbk

Delay

V2 Pan

V1 Pan

V1 X-Fbk

V2 X-Fbk

V2 Fbk

V1 Pitch

V1 Lvl

V2 Lvl

V2 Pitch

Delay

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Attack

Spin Link

Crossover

Rt HC

RefLvl L

RefLvl R

Diffusion

Rvb Out

Dual Shifter

Plate

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DUAL-INV

This algorithm includes a dual pitch shifter combined with the Inverse reverb. The pitch shifter has two voices. Each voice has independent controls for pitch, level, delay, pan, feedback and cross-feedback. The pitch of each voice is adjustable up or down over a 3 octave range with a resolution of 1 cent. Maximum delay time for each voice is 1.250 seconds.

Inverse reverb allows you to vary the slope of the initial portion of the reverb envelope. The slope can decay, remain level, or rise over a variable time interval. When the time interval is up, the reverberation cuts off abruptly. The resulting effect is similar to a gate, but is not at all dependent on the level or complexity of the input signal. Slopes are adjustable over a negative, even, or positive slope. Positive slopes create inverse effects, while more even slopes create gated effects. Negative slope values have rather natural reverb tails.

Note:

The Dual-Inv parameter matrix is shown on page 3-43.

V1 Fbk

Delay

V2 Pan

V1 Pan

V1 X-Fbk

V2 X-Fbk

V2 Fbk

V1 Pitch

V1 Lvl

V2 Lvl

V2 Pitch

Delay

Diffusion PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

Dual Shifter

Inverse

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PCM 81

STEREO-CHMB

The Stereo-Chmb algorithm is optimized for the best possible shifted audio quality while maintaining the stereo imagery of the source material. Pitch is adjustable up or down over a 3 octave range with a resolution of 1 cent. This effect is combined with the Chamber reverb.

Note:

The Stereo-Chmb parameter matrix is shown on page 3-43.

Stereo

Pitch Shifter

Shift L+R

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

Stereo Shifter

Chamber

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VSO-CHMB

The VSO-Chmb algorithm provides the same high quality shifter as Stereo-Chmb, designed for on the fly pitch correction of varispeed playback sources. A varispeed parameter allows you to match the varispeed setting of the playback source. The algorithm can match speeds ranging from +55.00% through –35.48% with a resolution of .01%.

This algorithm is a utility program designed to provide pitch correction of varispeed material. This is a true stereo algorithm which maintains the stereo image of source material. It can be used in applications that require on the fly compression/expansion. Simply match the value of the Varispeed parameter to the varispeed setting of the playback source.

For example, to compress a 30 second spot to 24 seconds, the playback speed must be increased by 20%. The spot now has the correct run length, but increasing the speed created an upward pitch shift of 386 cents. Run the shifted audio through the VSO-Chmb algorithm. Set the Varispeed parameter to +20%. This shifts the pitch down 386 cents. The spot now has a run length of 24 seconds and is at its original pitch.

To expand a 28 second spot to 30 seconds, the playback speed must be decreased by 7.14%. Set both the playback source and the VSO Shifter to –7.14%. The spot will remain at its original pitch and have a run length of 30 seconds.

PreDelay

RefDly L

EkoFbk L

EkoDly L

RefDly R

EkoDly R

EkoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

Chamber

Stereo

Pitch Shifter

Varispeed

VSO Shifter