Lexicon PCM 91 - REV 1, PCM 91 User Manual

PCM 91

Digital Reverberator User Guide

A Harman International Company

UNPACKING AND INSPECTION

After unpacking the PCM 91, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the PCM 91 and packing materials for signs of damage. Report any shipment damage to the carrier at once; report equipment malfunction to your dealer.

PRECAUTIONS

Save these instructions for later use.

Follow all instructions and warnings marked on the unit.

Always use with the correct line voltage. Refer to the manufacturer's operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.

Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed in the product specification.

Slots and openings on the case are provided for ventilation; to ensure reliable operation and prevent it from overheating, these openings must not be blocked or covered. Never push objects of any kind through any of the ventilation slots. Never spill a liquid of any kind on the unit.

This product is equipped with a 3-wire grounding type plug. This is a safety feature and should not be defeated.

Never attach audio power amplifier outputs directly to any of the unit's connectors.

To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water.

Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating the need for service.

This unit should only be opened by qualified service personnel. Removing covers will expose you to hazardous voltages.

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.

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. 070-12662 | Rev 1 | 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.

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 91....................................................................1-2

The Presets • Program Sorting • Soft Control • The Algorithms • Tempo Control • Editing • 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 • History of Effects Loaded

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 • Bank and Row Labels • Sorting Effects

Tempo Mode ..........................................................................2-20

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

Editing an Effect......................................................................2-22

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

Section 3: Algorithms and Parameters

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

Random Hall • Ambience • Rich Plate • Concert Hall • Chamber/Room

The Dual Reverb Algorithms......................................................3-9

The Reverb Blocks • Dual Mono Reverbs • Cascade Reverbs

The Parameters .......................................................................3-21

Compress • Controls • Custom • Delay • Design • Echo • Expand • Modulation • Patches • Reflect • Spatial EQ • Time

Section 4: Presets

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

Program Bank 0: Halls...............................................................4-3

Orchestral • Vocal • Live Sound • Instrument • Custom

Program Bank 1: Rooms............................................................4-8

Instrument • Vocal • Live Sound • Drums&Perc • Custom

Program Bank 2: Plates............................................................4-14

Instrument • Vocal • Live Sound • Drums&Perc • Custom

Program Bank 3: Post..............................................................4-19

Indoor Small • Indoor Large • Outdoor • Spatial • Custom

DKFINOSEDEESFR

iii

Introduction

PCM 91

Section 4: Presets (continued)

Program Bank 4: Splits ............................................................4-25

Mono • Stereo • Live Sound • Instrument • Custom

Program Bank 5: Studio ..........................................................4-31

Environments • Instruments • Vocal • Drums/Perc • Custom

Program Bank 6: Live ..............................................................4-37

Acoustic • Electric • Vocal • Drums/Perc • Custom

Program Bank 7: Post..............................................................4-43

Small Spaces • Medium Spaces • Large Spaces • Cool Places • Custom

Program Bank 8: Surround......................................................4-48

Small Spaces • Large Spaces • Unnatural FX • Custom • “Clean Slate” Presets

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 91 as a MIDI Clock Source • Slaving Two or More PCM 91s

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

The ADJUST Knob, Custom Controls, 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

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

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

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

Introduction

PCM 91

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

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

vii

Introduction

PCM 91

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.

Getting Started

About the PCM 91........................................................................1-2

The Presets • Program Sorting • Soft Control • The Algorithms • Tempo Control • Editing • 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

1-2

Getting Started

Lexicon

ABOUT THE PCM 91

Thank you for your purchase of the PCM 91 Digital Reverberator. The PCM 91 gives you Lexicon's renowned high-end reverb effects with a powerful new interface that provides easy access to superbly crafted presets as well as a wealth of programming capabilities for the sound designer.

THE PRESETS

The PCM 91 contains a built-in library of 450 reverb effects that simulate realistic halls, rooms and plates, and let you create completely natural, or other-worldly spaces. The presets are organized into 9 Banks of 50, and are functionally grouped for different applications. Be sure to experiment with all 450 presets to get a feel for the full range of PCM 91 capabilities.

PROGRAM SORTING

A program sorting function allows you to tag programs with KeyWords and display only programs which have been tagged. (Press Program Banks or Register Banks repeatedly to step through all available banks and then to the KeyWord display.) The default KeyWord selection, A to Z, allows you to view all of the presets in alphabetical order. Others allow you to view, for example, only Acoustic or Spatial effects. Each preset has already been assigned from 1 to 4 KeyWords — you can easily change these assignments in Edit mode. The selection of the KeyWord you want to use for sorting is accessed in Control mode.

SOFT CONTROL

Each 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.

As many as four additional Custom Controls can be created for any effect, allowing you to tailor presets for specific applications. We've created some interesting Custom Controls in the presets, and assigned them descriptive names. You can change both the parameter assignments and the names in Edit mode.

THE ALGORITHMS

The PCM 91 uses 5 stereo algorithms to create different types of reverb effects and 10 Dual Reverb algorithms which offer superb dual reverb and cascade configured stereo effects. Each single algorithm includes an uncompromised stereo reverb effect with selected "tools" for ambience, post-processing, compression/ expansion, as well as modulation and patching parameters which are common to each algorithm. Each dual algorithm contains two independent reverb blocks, as well as the full set of modulation and patch features in the single effects.

Bank P0 Halls

0.0-0.9 Orchestral

1.0-1.9 Vocal

2.0-2.9 Live Sound

3.0-3.9 Instrument

4.0-4.9 Custom

Bank P1 Rooms

0.0-0.9 Instrument

1.0-1.9 Vocal

2.0-2.9 Live Sound

3.0-3.9 Drums&Perc

4.0-4.9 Custom

Bank P2 Plates

0.0-0.9 Instrument

1.0-1.9 Vocal

2.0-2.9 Live Sound

3.0-3.9 Drums&Perc

4.0-4.9 Custom

Bank P3 Post

0.0-0.9 Indoor Small

1.0-1.9 Indoor Large

2.0-2.9 Outdoor

3.0-3.9 Spatial

4.0-4.9 Custom

Bank P4 Splits

0.0-0.9 Mono

1.0-1.9 Stereo

2.0-2.9 Live Sound

3.0-3.9 Instrument

4.0-4.9 Custom

Bank P5 Studio

0.0-0.9 Environments

1.0-1.9 Instruments

2.0-2.9 Vocal

3.0-3.9 Drums/Perc

4.0-4.9 Custom

Bank P6 Live

0.0-0.9 Acoustic

1.0-1.9 Electric

2.0-2.9 Vocal

3.0-3.9 Drums/Perc

4.0-4.9 Custom

Bank P7 Post

0.0-0.9 Small Spaces

1.0-1.9 Med Spaces

2.0-2.9 Large Spaces

3.0-3.9 Cool Places

4.0-4.9 Custom

Bank P8 Surround

0.0-0.9 Small Spaces

1.0-1.9 Large Spaces

2.0-2.9 Unnatural FX

3.0-3.9 Custom

4.0-4.9 “Clean Slate”

1-3

Getting Started

PCM 91

TEMPO CONTROL

The PCM 91 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 91 also lets you generate MIDI clock from your tempo, as well as receive MIDI tempo from an external sequencer or drum machine. In the PCM 91, 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 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. In addition to providing this powerful sound design capability, the PCM 91 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 91 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. Parameters can even be grouped for control by a single master control. These master parameters, called Custom Controls, can be labeled with names that describe their function. 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, create Custom Controls, 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: two LFOs, AR Envelope, Envelope Follower, Latch and Time Switches, MIDI Delay and Sample and Hold. These allow you to create modulation sweeps which move in time with music, or 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.

USER INTERFACE

For all of its programming power and flexibility, you’ll find the PCM 91 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 91, 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.

1-4

Getting Started

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, then begins scrolling through the programs in the next bank. With Edit selected, scrolls through matrix parameters.

6. Up/Down

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

7. Program Banks

Enables selection of factory presets. Press repeatedly to cycle selection of 5 internal preset banks and a KeyWord sorted display. Press and hold to display the name and algorithm of the current program.

FRONT PANEL OVERVIEW

HEADROOM

DIGITAL REVERBERATOR

ADJUST

PCM 91

0dB

6 12 18 24

0 10

INPUT SELECT POWER

Program

Banks

Banks Edit Control Tempo

Down

Load

Compare Bypass Tap

❊

Store

Memory Card

Eject

HALLS: Orchestral P0 0.0 Deep Blue

1 2

4 5 6

6 8 10 12 14 16

7 9 11 13 15 18

1-5

Getting Started

PCM 91

8. Load/✱

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

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 and algorithm of the current program.

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.

1-6

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 received MIDI data 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

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

REAR PANEL OVERVIEW

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

1-7

Getting Started

PCM 91

6. BALANCED OUTPUTS

Output impedance is 105Ω, 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

1-8

Getting Started

Lexicon

BLOCK DIAGRAM

Left Output

Right Output

Left Input

Input Level

Power

Supply

+ 5V

+ 15

- 15

MIDI IN

A/D

L/R

Headroom

EFFECTS

Overload

-10dBu/+4dBu

D/A

100-240V

50-60 Hz

BAL/UNBAL 0dB +20dB

Right Input

Footswitch

Foot Controller

CPU

Control

Data

Soft

Knob

Keys

LEDs

Display

PCMCIA Memory

Card

MIDI OUT

MIDI THRU

Mix

L/R

Analog

Digital

Digital Audio

Receiver

S/PDIF In

AES/EBU In

S/PDIF Out

AES Out

Digital Audio

Transmitter

Digital Audio

Transmitter

1-9

Getting Started

PCM 91

INSTALLATION NOTES

MOUNTING

The PCM 91 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 91 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 91 is mounted in a closed rack with heat-producing equipment such as power amplifiers.

POWER REQUIREMENTS

The PCM 91 is equipped with a 3-pin IEC power connector and detachable cord.

The PCM 91 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 I/O. 75Ω coaxial cable suited for digital audio or video signals is required. 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

Dual 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 10kΩ impedance). Normally open or normally closed momentary switches are suitable. At power on, the PCM 91 assumes the switch is off. Use shielded, twisted-pair cable with shield connected to sleeve. See diagram on page 1-7.

1-10

Getting Started

Lexicon

CONTROL CONNECTIONS (continued)

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 91, 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.

Analog and the selected digital sources are selected in Control mode (0.0 Audio Input Source). The selections are: 44.1, 48, Ext: XLR and Ext: Coax.

2 = high

3 = low

1 = ground

3 = low

2 = high

Female

Male

Pin 2 high by convention

1-11

Getting Started

PCM 91

Proper setting of Input level on the PCM 91 is dependent on:

• Proper signal level into the analog front end to avoid signals causing overload at the DSP input (rear panel Input Level button),

• Proper adjustment of the signal level into the analog-to-digital converter to optimize noise and avoid overload (front panel INPUT knob),

• Proper setting of signal level into the digital signal processor to optimize noise (InLvl parameter in each algorithm).

Headroom Display

The headroom display provides both headroom and overload information from a variety of measurement points. The meters display analog or digital input data, depending on the selected Audio Input Source (Control mode 0.0).

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: >+20dBu >0dBu

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

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

Overload

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

• A/D overload

• Overload at any point in effects processing

• Input level within 1dB of maximum

For example, 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 left-most 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.

HEADROOM

0dB

6 12 18 24

0 10

INPUT

1-12

Getting Started

Lexicon

SETTING AUDIO LEVELS (continued)

Setting Input Levels

1. Press Control.

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

3. Turn SELECT to 0.0 Audio Input Source.

4. Turn ADJUST to select Analog: 48kHz or Analog: 44.1kHz.

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. Turn ADJUST to select Dig:. The display will show any valid digital format which is properly connected to the PCM 91 rear panel digital input.

Setting Analog Output Level

While still in Control mode, turn SELECT to 0.3 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 91 as your primary effects unit, and your system includes a console with one or more auxiliary (effects) sends, connect the PCM 91 as shown at the top of page 1-13. In most applications, it is preferable to connect the PCM 91 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 91'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.

1-13

Getting Started

PCM 91

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 1000 PCM 91 registers (20 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 91 setups can be stored on a card, allowing you to transport not only your effects, but complete PCM 91 environments to another PCM 91. 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

* Cards larger than 1MByte can be used, but the PCM 91 will only make use of 1MByte.

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

Basic Operation

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

Navigating a Matrix • Go or Pro • Info • History of Effects Loaded

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 • Bank and Row Labels • Sorting Effects

Tempo Mode..............................................................................2-20

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

Editing an Effect..........................................................................2-22

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

2-2

Basic Operation

Lexicon

The PCM 91 provides a wide range of control over an extraordinary set of reverb 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 91 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 repeatedly to access two banks 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 both the internal and the card banks. Registers can be sorted and viewed according to type when the PCM 91's KeyWord function is activated in Control mode.

• 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.

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 91 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 or Custom Controls 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 91 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 91.

• Press Program Banks repeatedly to access five banks of 50 factory presets and a KeyWord mode where programs can be viewed according to type. The PCM 91's KeyWord function is activated in Control mode.

2-3

Basic Operation

PCM 91

Each preset has a set of Soft Row assignments which we've selected for you (as well as an assignment for the ADJUST knob and Custom Controls). When shipped, the PCM 91 will power up in Go mode with the first preset (P0 0.0) loaded. Press Edit to display the Soft Row of parameters. Press Up or Down to access a Pro mode selection display.

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 REVERBERATOR

PCM 91

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 range 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.

Navigating a Matrix

2-4

Basic Operation

Lexicon

INFO

The PCM 91 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.

HISTORY OF EFFECTS LOADED

The PCM 91 allows you to review the last ten effects loaded. This is useful when you want to return to an effect you were using earlier, but can't remember its name or location. This History view is accessed from Program Banks or Register Banks mode by simultaneously pressing and releasing both the Program Banks and the Register Banks buttons. The display pictured at the right will appear.

The label 1 back in the example, means that the effect shown on the bottom line was running just before the current effect. Turning SELECT to the right will scroll you through the stored list of effects, all the way to 10 back. Press Load/✱ to load any of the displayed programs. Press any key to exit.

The top line of the display shows the position in the review list of the displayed effect.

The bottom line of the display shows the bank and matrix location and the name of the effect.

History: 1 back

XX X.X ✱XXXXXXXXXXX

Note that loading programs from the review display does not update the historical record, nor does loading from MIDI, Chain or Map. Only program loads from Programs Banks or Register Banks mode are recorded.

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.

2-5

Basic Operation

PCM 91

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 available subparameters at that matrix location. The Load/✱ LED will light when an asterisk appears on the display. Press Load/✱ to step to the next subparameter. From any point in the matrix, press Up or Down together with Load/✱ to backstep to the previous parameter.

CONTROL MODE

2-6

Basic Operation

Lexicon

ROW 0 AUDIO

0.0 Input Source

The PCM 91 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 analog 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 91 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) or Cns (Consumer, also called S/PDIF).

The following types of errors are detected when the PCM 91 is set to Ext:

• No Lock: The PCM 91, 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.

• CRC: The error is reported, but incoming audio is accepted.

Dig In Status

Pressing Load/✱ from Input Source will display the current digital input status. This status display is continuously updated, acting as a real-time monitor of the PCM 91 digital input. This display is active even when the PCM 91 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 91 has lost lock, the display message will indicate "No Lock" and parenthetically show the internal clock rate now in use.

Upon loss of lock, or reception of non-audio data, the PCM 91 will mute the digital input and display the following messages when Input Source or Dig In Status is selected:

0 0.0 0.1 0.2 0.3 Audio *Input Source SCMS Emphasis Bit Outpu Level

When the PCM 91 is receiving valid digital audio, selecting Input Source will

display the input connector, audio format, and the rate of the incoming signal.

When digital clock is selected, any loss of lock detected in the incoming digital audio, or reception of non-audio data will cause the PCM 91 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 91 will repeatedly try to establish lock, returning automatically to External clock if and when lock is confirmed.

Audio ✱Input Source

0.0 Ext: XLR Prf 48

Audio ✱Input Source

0.0 Ext: Cns 48kHz

2-7

Basic Operation

PCM 91

Input Source 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

• 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.

When the PCM 91 loses lock, it will mute the digital input.

Audio ✱Dig In Status

0.0 Prf 44.1 Emp:Yes

Audio ✱Dig In Status

0.0 No Lock (Int:44.1)

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 91 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 Input Source. This may occur when an external master changes sample rate, or when it is just powering up, but should not occur in normal operation. (This type of error is reported for reference only, as the PCM 91 does not accept digital data when using its own internal clock.)

To clear the Error Log, reselect Dig from the Control Mode Input Source display. This will cause the PCM 91 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).

ROW 1 SYSTEM

1.0 Edit Mode

The PCM 91 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 91 preset has a set of Go mode parameters which we've selected for you. When shipped, the PCM 91 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.

1.1 Mix Mode

Each PCM 91 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 91 effects to 100% wet.

2-8

Basic Operation

Lexicon

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

*KeyWord

1.9 Initialize

ROW 0 AUDIO (continued)

0.1 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 91 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.

0.2 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 91 does not perform any emphasis or de-emphasis as part of its signal processing.) The choices available with ADJUST are: Yes, No, and Pass Thru.

0.3 Output Level

This control allows you to select the maximum output level at the PCM 91's analog outputs. Use ADJUST to select +4 dBu, or –10 dBu.

Note:

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

-10dBu to +4dBu.

2-9

Basic Operation

PCM 91

When shipped, the PCM 91 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 91 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 91 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.

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 91 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 91, 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 91, so processed audio returns immediately when Bypass is turned off.

• Bypass: Completely bypasses the PCM 91, passing unprocessed audio directly through to the outputs.

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 91 when a new effect is loaded. The choices available are: AllMute or Bypass.

2-10

Basic Operation

Lexicon

ROW 1 SYSTEM (continued)

1.5 Mem Protect

The PCM 91 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. The PCM 91 is shipped with the Memory Protection function turned Off.

1.6 Auto Load

This control allows you to choose whether PCM 91 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 KeyWord

For convenient effect sorting, the PCM 91 allows you to assign KeyWords (as many as four) to each effect. The KeyWord function here allows you to display effects according to type, or to turn this function off. Turn ADJUST to select an effect type from the list shown at the right. Press Load/✱ and use ADJUST to turn the KeyWord function On or Off.

When shipped, the PCM 91 has the KeyWord function turned On, with A to Z selected. This allows you to view all of the effects in the Program or Register banks alphabetically. To access this display, press Program Banks or Register Banks repeatedly to step through all of the available banks. The KeyWord display will appear after the last bank. Press Control to jump to Control mode, where you can use ADJUST to select a different KeyWord for sorting. Press Program Banks or Register Banks to return to the KeyWord display — resorted according to your new selection.

Most KeyWords (except for User 1-4 which are reserved for your use) have been assigned to several presets. KeyWords are assigned to effects in Edit mode. (See Editing an Effect.)

A to Z Acoustic Ambience Ballad Bright Broadcast Cascade Chamber Classical Cncrt Hall Custom Dark Dialog

Drums/Perc Dynamic Echo Film-ADR Gated Guitar Indoor Instrument Keyboard Large Live PA Long Mastering

Medium MIDI Mono Natural Orchestral Outdoor Plate RandomHall Room Short Slap FX Small Spatial

Special FX Splits Stereo Surround Tempo Unnatural Vocal User 1 User 2 User 3 User 4

PCM 91 KeyWords

1.8 Initialize

Selecting this control arms the PCM 91 to revert to its factory settings. This will erase all registers and setups, and return the

PCM 91 to its default states.

2-11

Basic Operation

PCM 91

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 internal Register Bank R0.

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

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 cards. Internal banks are labeled "P0...P4" and "R0, R1". Card registers will be labeled "C0, C1, C2" etc.

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

2 2.0 2.1 2.2

Card

Bank Copy Load Format

2.3 Name

2.4 Labels

Select and copy

effect banks

The display will then change to show:

Card Bank Copy

2.0 Src: ✱P0 Dst: R0

Card Bank Copy

2.0 Src: P0 Dst: ✱R0

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 internal Register Bank R0. The display will ask "Are you sure?" (Press STORE). Press any button to cancel. Press Store to complete the store operation.

2.1 Load

This control is provided for future enhancement. It will allow you to load audio software from a Memory Card simply by inserting the new card and responding to the display prompts. The PCM 91 can also share registers, maps and chains with the PCM 90 via RAM cards. (Sharing Setups between the PCM 90 and the PCM 91 is not recommended.)

character at the location marked by the cursor. Turn SELECT to move the cursor to another position. Press Store twice to execute.

2.4 Labels

This control allows you to rename Register bank and row labels. Any changes made here are executed immediately. To rename bank and row labels, press Store and use ADJUST to display any bank. Press Load/✱ to access the naming function for the selected bank, then use ADJUST and SELECT to enter a new bank name.

Press Load/✱ to display the first row in the selected bank. Use ADJUST to select any other row within the bank. Press Load/✱ to access the naming function for any displayed row, then use ADJUST and SELECT to enter a new bank name. Pressing Load/✱ from the row label naming display will jump you back to bank selection.

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 91.

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.

2.3 Name

This control allows you to rename a formatted card. Insert a formatted card and press Store. The card name will appear with the blinking cursor as shown above. Use ADJUST to select a new

2-12

Basic Operation

Lexicon

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

ROW 2 CARD (continued)

2.2 Format

This control allows you to format a Memory Card for PCM 91 use. (Make sure the Write Protect switch on the card is set to Off.) Insert an unformatted card (or one you don't mind erasing), then press Store. The display will ask "Are you sure?" (Press STORE). Press Store. The following display will appear briefly.

Format and name

memory card

Name: N ew Card

(press STORE)

The display will then change as shown below.

PCM 91 Character Set

! “ # $ % & ‘ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ ¥ ] ^ _ ‘ a b c d e f g h i j k l m n o p q r s t u v w x y z { : } ~ z (space)

The @ and the $ symbols are used to represent Custom Control values.

2-13

Basic Operation

PCM 91

3.1 Receive

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

3.2 Transmit

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

3.3 Pgm Change

This control specifies the PCM 91'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+ will load the next higher effect in the current bank, map , or chain. Pgm – will load the next lower effect. You can select the following sources to activate Pgm+ and Pgm –:

Off Footswitch 1 Footswitch 2

•

MIDI Controller #119.

Program Change messages 0-49 correspond to PCM 91 Effects 0.0-

4.9 in the current bank. Program Change messages 50—127 are ignored. The current bank can be changed with MIDI Continuous Controller 32 and Bank Select Messages as follows:

• 0–8: Program Banks 0–8

• 9-10: Internal Register Banks 0-1

• 11-15: reserved for ROM Card Banks

• 16-24: Memory Card Banks. The number of banks

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

Card Size # Banks

64 1

256 5

512 10

1 Meg 20

Off

All Program Change and Bank select messages are ignored.

Map

Program Change 0-127 can be mapped to any PCM 91 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:

MIDI Pgm Change

3.3 ✱Map Select 0

Turn ADJUST to select the desired Program Change Map.

2-14

Basic Operation

Lexicon

ROW 3 MIDI (continued)

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 90 format which can be received by either a PCM 90 or a PCM 91. This means that Automation mode can control both PCM 90s and PCM 91s, and that a PCM 90 can control a PCM 91 in Automation mode. As the PCM 90 does not have banks 5-8, it will not recognize programs from those banks in Automation mode.

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

If Transmit is set to On these controls can transmit MIDI controller messages. Press Load/✱ to cycle through the controller selections. Use ADJUST to select the MIDI Controller message to transmit. Receipt of MIDI Controller messages will affect the PCM 91 in the same manner as if the internal controls were adjusted.

3.6 Int Clock

You can choose to have the PCM 91 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 91s or computer editor software. On (the default setting) allows SysEx messages to be received by the PCM 91. Press Load/✱ to select device ID (0-126 ).

3.8 Dump

Press Store to configure the PCM 91 to execute MIDI dumps of single effects, banks, maps, chains, or setups. With the exception of Setup Dumps, all dumps are transmitted in PCM 90 format, which is also recognized by the PCM 91. You can dump from the front panel of either unit to the other. As the PCM 90 has only five Banks

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 91 a MIDI Program Change message, use ADJUST to display the desired chain number.

3.4 Automation

This control is provided to allow one PCM 91 to act as a master for any number of slaved PCM 91s. 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 91(s).

2-15

Basic Operation

PCM 91

(0-4), references to Banks 5-8 will be ignored when transmitted to a PCM 90.

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 and named in the unit, or on a Memory Card, allowing you to transport not only your effects, but complete PCM 91 environments to another PCM 91. Press Store to initiate the Setup Store function.

When the PCM 91 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 any of five stored setups, restore the factory default setup shown at the right, or load a setup from a Memory Card. Press Load/✱ to cycle through the selections. (Memory Card selections will only appear when an appropriate card is inserted.)

4 4.0 4.1 Setup

Store Load

Control Mode Matrix Location System Parameter Default Setting

Audio 0.0 Input Source Analog: 48kHz

0.1 SCMS Multi Copy

0.2 Emphasis Bit Pass Thru

0.3 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 Off

1.6 Auto Load Off

1.7 Patch Update Delayed

1.8 KeyWord On (A to Z)

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 Custom 1-4 None

3.6 Int Clock Transmit Off

3.7 SysEx Receive On

Device ID 0

3.8 MIDI Dump Current Program

3.9 Dump Speed Slow

Tempo Mode Matrix Location System Parameter Default Setting

Tempo 0.2 Source Internal

Tap 1.3 Display On

2-16

Basic Operation

Lexicon

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 91 preset, register, or card bank) and Pgm # (PCM 91 effect number 0-49). When shipped, the PCM 91 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 = P4 4.9

ROW 6 CHAIN

The PCM 91 has 10 internal program chains, numbered 0-9. (Ten additional chains are available if a memory 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 91 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 Deep Blue

Link#: ✱ 0 P0 0.0

Chain 0-9

Use SELECT to choose a chain. Once a chain is selected, any PCM 91 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.

2-17

Basic Operation

PCM 91

PROGRAM AND REGISTER BANKS

The PCM 91 has 450 factory-designed programs, organized into nine Program Banks of 50 each, and 100 memory locations, called registers, for storing your customized effects. Two Register Banks are available in the PCM 91 itself. Additional Register Banks can be stored on PCMCIA cards.

P8 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

P7 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

P6 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

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

R1 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

R0 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 91 has 9 Program Banks, each with 50 factory-designed programs.

Two Register Banks provide 100 memory locations for storing your own effects.

All PCM 91 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

Bank Label

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

Halls: Orchestral

P0 0.0 Deep Blue

Row Label

Halls: Orchestral

P0 0.1 ✱ Large Hall

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 91 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 Deep Blue) is loaded. The Bank ID (P0-P8 ), matrix location, program name, and bank and row labels are all displayed.

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

SELECT will scroll sequentially through all of the effects in one bank and then begin scrolling through the next bank. Press Program Banks to reselect the last displayed effect in another bank. Press Load/✱ to load any displayed effect.

Custom controls allow you to create additional group parameter controls.

2-18

Basic Operation

Lexicon

SELECTING EFFECTS (continued)

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.

Turning ADJUST will display the patch name and the current value, as well as any name assigned to the current value. 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.

Soft Knob name

ADJUST is patched to

Decay 30

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

Register Bank ID The PCM 91’s internal register banks are labeled R0 and R1; 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 of the currently running effect, as well as the algorithm from which it is derived.

Matrix Location

User Effects

R0 0.0 ✱ available

The organization of programs in the five program banks and descriptions of the 450 preset programs are given in Chapter 3.

2-19

Basic Operation

PCM 91

BANK AND ROW LABELS

Each bank and row in the Program and Register Banks has a descriptive name to help you locate different types of effects. For instance, if you want to process dialog to sound as though it's in a shower stall, the Rooms bank is a good place to start. Bank and row labels appear on the top line of the display in Program and Register modes.

Banks and rows that you create yourself can be renamed at Control

2.4.

SORTING EFFECTS

To make finding the effects you want even easier, the PCM 91 has an effect sorting function called KeyWord which lets you display only a selected type of effect. When the KeyWord function is activated (at Control 1.8), pressing Program Banks or Register Banks one push beyond the available banks will access a list of effects sorted by one of the KeyWords shown at the right. SELECT will scroll you through the effects in that category. When shipped, the PCM 91 has the KeyWord function turned on, with A to Z selected. This displays all of the effects in alphabetical order. Each preset has at least one KeyWord assignment.

The KeyWord categories cover a wide variety of effect types. To select a different KeyWord for sorting, go to Control 1.8. (If you are in the KeyWord section of the Program Banks or Register Banks mode, pressing Control will jump you directly to this location.) Turn ADJUST to select any KeyWord from the list. Now, when you return to Program Banks or Register Banks mode, the display of programs will be limited to those which have been tagged with that particular KeyWord.

KeyWords are assigned to effects in Edit mode. As many as four KeyWords can be assigned to a single effect to allow sorting into more than one group. An effect might, for example, be assigned the KeyWords: Acoustic, Ballad, Guitar and Small. The effect would then be displayed when any of these KeyWords was selected.

To turn the KeyWord function off, go to Control 1.8 System *KeyWord. Press Load/✱ and use ADJUST to select On or Off.

A to Z Acoustic Ambience Ballad Bright Broadcast Cascade Chamber Classical Cncrt Hall Custom Dark Dialog Drums/Perc Dynamic Echo Film-ADR

Gated Guitar Indoor Instrument Keyboard Large Live PA Long Mastering Medium MIDI Mono Natural Orchestral Outdoor Plate RandomHall

Room Short Slap FX Small Spatial Special FX Splits Stereo Surround Tem po Unnatural Vocal User 1 User 2 User 3 User 4

PCM 91 KeyWords

2-20

Basic Operation

Lexicon

TEMPO MODE

The PCM 91 gives you unique control over tempo. In the PCM 91, tempo is not just a matter of setting echo rates. Any delay parameter and any time-based modulator (LFO1, LFO2, Sw 1, Sw 2 and Mod: Delay) 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 LFOs, time-based switches, and Mod: Delay, 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). Almost 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.) The tap 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 91 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 91 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 LFO1, LFO2, SW 1, SW 2, Delay

Effect Delay Times

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

2-21

Basic Operation

PCM 91

THE TEMPO MODE MATRIX

Press Tempo to access the following tempo parameters:

half, dotted-half, and whole-note values are available. If, for example, the rate is 120 BPM, and you select eighth-note here, the tempo will be 120 eighth-notes per minute. If you select quarternote 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 91 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 91’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,

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

2-22

Basic Operation

Lexicon

ROW 1 TAP (continued)

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 5 algorithms and 250 preset effects, the PCM 91 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 into a simple edit matrix. In addition to providing this powerful sound design capability, the PCM 91 also allows 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 91 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.

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 the Custom row of the edit matrix, 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, and some have text assigned to range values for even greater clarity. In some of the presets, the changes effected by ADJUST will be as simple as altering the wet/dry mix. In others, turning ADJUST will affect multiple parameters over the complete control range of 0-127.

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

Controlling the Soft Knob with a Foot Pedal

If you have a foot pedal connected to the PCM 91 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.

Bank

Program Bank ID

Matrix Location

Program Name

Halls: Orchestral

P0 0.0 Deep Blue

Row

When shipped, the PCM 91 will power up with the first preset (P0 0.0 Deep Blue) loaded. The following display will appear:

2-23

Basic Operation

PCM 91

THE SOFT ROW

When shipped, the PCM 91 will power up in Go mode with the first preset (P0 0.0 Deep Blue) loaded. Press Edit to display the Soft Row of parameters which have been designed for this preset. In this example, 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.

Each effect has four available Custom Controls which can be patched to one or more parameters and assigned to the Soft Row. Like the ADJUST knob, Custom Controls can be individually named and can have customized range limits to make them more useful. In the presets, Custom Controls are assigned to the Soft Row in sequence after Mix, so that their positions in the Soft Row will always relate to their Control number. This is a convention you may want to follow in creating your own Soft Rows.

2 2.2 2.3 2.4 2.5 2.6 2.7

3 3.1 3.2

4 4.1 4.2

5 5.0 5.1 5.2 5.3 5.4

0 0.2 0.3

1.51 1.1

Controls

5.5 5.6 5.7 5.8

RvbOutLvl Out Width

Time Mid Rt

Design Shape Spread Spin

Shelf

Wander Link High Cut

Reflect *Dly/Lvl L *Dly/Lvl R

Delay *Dly/Lvl/Fbk L *Dly/Lvl/Fbk R

Modulation *Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:SW1 *Mod:SW2 *Mod:Delay *Mod:S&Hold

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

Custom *ADJUST *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4

KeyWord 1

0.0 Mix

*Control 1

Mstr Dly

Controls Custom Controls Time Time Time Time Reflect

Pre DelayRt HCCrossoverLow RtIn LvlStereoWidthMix Size

Design

Mstr Dly

Delay

0.1 In Lvl

1.0 Low Rt

1.2 Crossover

1.3 Rt HC

1.4 Pre Delay

2.0 Size

3.0 *Mstr Dly/Lvl

4.0 *Master

2.1 Diffusion

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 show the Soft Row for P0 0.0 Deep Blue. An asterisk in front of a displayed parameter indicates additional parameters are available when you press Load/Q.

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 after Mix and any Custom Controls.

ADJUST

Turn Adjust to change

the value of a displayed

parameter.

DIGITAL REVERBERATOR

PCM 91

The Soft Row Display

Edit Matrix

Row Label

Parameter

Name

Current

Parameter Value

Design

Size

38.3 M

SELECT

Turn Select to move

horizontally across

the Soft Row.

2-24

Basic Operation

Lexicon

COMPARE

Whenever you edit a PCM 91 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.

Note:

Altering parameter values with patched sources other than ADJUST or Custom Controls will not light the LED.

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 On

The PCM 91 is shipped with its Memory Protection option off. To turn Memory Protection on, press Control and use Up and Down and SELECT to display matrix location 1.5. The display should read:

System Mem Protect

1.5 Off

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.

2-25

Basic Operation

PCM 91

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.

• All names, labels and values for ADJUST and Custom Controls.

• Effect name.

How the PCM 91 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 91 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 91 will search for available registers starting at

0.0 in the Internal Register Bank R0.

Turn ADJUST to select On. With Mem Protect on, when you press the front panel Store button, the following message will be displayed:

The PCM 91 will then jump to the Mem Protect display (Control

1.5) where you can use ADJUST to turn Mem Protect 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

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 move the cursor from the name, to the register bank, and 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: ✱ D eep 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 left-hand corner of the display. A brief message will inform you that the effect is being stored, then the PCM 91 will revert to the mode it was in before Store was pressed, with the newly-stored effect loaded.

2-26

Basic Operation

Lexicon

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

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

Name: Deep Blue

R0 ✱ 0.0 available

STORE OPERATIONS (continued)

Renaming the Effect

Renaming an effect is straightforward. With the asterisk and the cursor positioned as shown below, turn ADJUST to select a new character. Press Up or Down to select a new character type (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 a character, and ADJUST to change it. Continue this 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: ✱ D eep Blue

R 0.0 available

Selecting a Bank and Register Location

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

PCM 91 Character Set

The @ and the $ symbols are used to represent Custom Control values.

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

Name: Deep Blue

✱R0 0.0 available

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.

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 five PCM 91 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 "Time" row in any matrix will contain all of the available duration controls for the effect's reverberator.

2-27

Basic Operation

PCM 91

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 three rows of every matrix are "Modulation," Patches" and "Custom". 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.

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 1Patch 0

0.7 *ADJUST

Concert Hall

Rich Plate

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3 6.4 6.5 6.6

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time

Design

Reflect

Echo

Delay

Modulation

Patches

In Lvl In Width RvbOutLvl Out Width

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Attack Spread Link High Cut

*Mstr Dly/Lvl *Dly/Lvl L *Dly/Lvl R

*Mst Dly/Fbk *Dly/Fbk L *Dly/Fbk R

*Master *Dly/Lvl/Fbk L *Dly/Lvl/Fbk R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

6.7 6.8 *Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

Ambience

2 2.0 2.1 2.2 2.3 2.4

3 3.0 3.1 3.2 3.3 3.4

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

3.5 3.6 3.7 3.8

In Lvl In Width RvbOutLvl Out Width

Time Decay Decay Lvl Pre Delay DryDly DryDlyMix

Design Size Diffusion Spin Wander High Cut

Modulation *Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:SW 1 *Mod:SW 2 *Mod:Delay *Mod:S&Hold

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

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

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.

2-28

Basic Operation

Lexicon

2 2.2 2.3 2.4 2.5 2.6 2.7

3 3.1 3.2

4 4.1 4.2

5 5.0 5.1 5.2 5.3 5.4

0 0.2 0.3

1.51 1.1

Controls

5.5 5.6 5.7 5.8

RvbOutLvl Out Width

Time Mid Rt

Design Shape Spread Spin

Shelf

Wander Link High Cut

Reflect *Dly/Lvl L *Dly/Lvl R

Delay *Dly/Lvl/Fbk L *Dly/Lvl/Fbk R

Modulation *Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:SW1 *Mod:SW2 *Mod:Delay *Mod:S&Hold

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

Custom *ADJUST *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

0.0 Mix

*Control 1

(Soft Row) Mstr Dly

Controls Custom Controls Time Time Time Time Reflect

Pre DelayRt HCCrossoverLow RtIn LvlStereoWidthMix Size

Design

Mstr Dly

Delay

0.1 In Lvl

1.0 Low Rt

1.2 Crossover

1.3 Rt HC

1.4 Pre Delay

2.0 Size

3.0 *Mstr Dly/Lvl

4.0 *Master

2.1 Diffusion

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 Deep Blue, for example: Pre Delay and Control 1 (named StereoWidth in the Soft Row).

THE FULL EDIT MATRIX (continued)

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. The 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 example below shows the edit matrix for the preset, P 0.0 Deep Blue (Random Hall 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 Mix control first, followed by any Custom Controls, then the parameters in numerical order.

Parameters from the Controls row are assigned in order to the first locations, followed by assignments from the 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.

In the presets, the convention of assigning Custom Controls 1-4 to Soft Row positions 1-4 allows you to identify the original control by its corresponding number, even when a name has been assigned to it.

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.

2-29

Basic Operation

PCM 91

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

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

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 be selected (at the fully counterclockwise position of ADJUST) to indicate that no assignment has been made at that position. Custom Controls are available for assignment at the end of the parameter list.

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.

PATCHING

Patching is the ability to assign a control (Source) to any PCM 91 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 way 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 91 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.

2-30

Basic Operation

Lexicon

PATCHING (continued)

PCM 91 Patch Sources

LFO1 Sine1 Cosine1 Square1 Sawtooth1 Pulse1 Triangle1 Random1 LFO2 Sine2 Cosine2 Square2 Sawtooth2 Pulse2 Triangle2 Random2 Env L Env R Env L+R AR Env

Latch Sw 1 Sw 2 Sw 1 & 2 Delay S&Hold Mono Lvl Left Lvl Right Lvl FootPedal Foot Sw 1 Foot Sw 2 ADJUST Custom 1 Custom 2 Custom 3 Custom 4 Tempo On Off

Internal

000 Ignored 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 91 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 Cmnds

MIDI

2-31

Basic Operation

PCM 91

The Patch Row

Each PCM 91 effect has an identical Patch row in its Edit matrix where you can make as many as 10 patches.

Assigning a Destination

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

The 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

Patch 4Patch 3Patch 2Patch 1Patch 0

Patches

Patch 5 Patch 6 Patch 7 Patch 8 Patch 9

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.

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.

The 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

Reflect Lvl L

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.

. . . continued on page 2-32

2-32

Basic Operation

Lexicon

PATCHING (continued)

Assigning a Destination (continued)

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

LFO1 Rate, Shape, P Width, Depth

LFO2 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

Delay Delay Time

Assigning Values

Once you have assigned a Destination, press Load /✱ to get to the Values display at the top of the next column.

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

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

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:

2-33

Basic Operation

PCM 91

From the Patch Row Src Display:

• With ADJUST or Custom 1-4 selected as the Source, press Edit to jump to the Controls row, where you can specify range limits. 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 0.0 Deep Blue. Press Edit to enter Edit mode, then press Up to move to the Patch Row. Press Load/✱ until the display looks like the display that appears at the top of the next column:

Turn SELECT to select Patch 2 (which is set to Off).

Patch 0 ✱ Src

Int ADJUST

Patch 2 ✱ Src

Int Off

Patch 1 ✱ Src

Int LFO1

Patch 2 ✱ Dst

✱✱✱ Unassigned ✱✱✱

Turning ADJUST will scroll through the entire list of available patch Sources. Turn ADJUST counterclockwise until LFO1 is displayed in the lower right.

LFO1 is now assigned as a patch Source.

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

. . . continued on page 2-34

2-34

Basic Operation

Lexicon

Patch 2 ✱ Src

Int LFO1

The asterisk (✱) indicates that LFO1 Rate will be altered when you turn ADJUST. Press Load/✱ to change the selection to the other LFO1 parameters (Shape, P Width, and Depth).

■ Mod : LFO1 ✱ Rate

5.0 0.00Hz

PATCHING (continued)

Creating a Patch with Default Values

(continued)

The ADJUST knob will now scroll through all of the available parameters of Deep Blue. 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 Out Width (in the effect's Controls row) is displayed in the lower right corner.

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 demonstrate examples of these modifications. When we’re done, the new patch will add dynamic spatialization to the Deep Blue program.

Adjusting the Modulation Source Parameters

Continuing the previous example, we’ll adjust the rate of LFO1 by jumping to it from the Patch row.

Press Load/✱ repeatedly to return to the Patch 2 Source selection display.

Patch 2 ✱ Dst

Controls Out Width

Patch 2 Values

✱ 000 -360 Mono

Patch 2 Values

✱ 127 +360 Mono

The Out 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 Out Width when LFO1 is at its minimum value (000).

Turn ADJUST one click counterclockwise to display the default Destination value (+360 Mono) assigned to Out Width when LFO1 is at its maximum value (127).

Press Edit to jump directly to the LFO1 parameters in the Mod row.

2-35

Basic Operation

PCM 91

The display now shows position 5.0 in the Edit matrix Mod Row.

Turn ADJUST to change the rate of LFO1 to 0.30Hz.

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.

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

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 2 Values screen is displayed.

Mod : LFO1 ✱ Rate

5.0 0.30Hz

Patch 2 ✱ Src

Int LFO1

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.

Patch 2 Values

✱ 000 -360 Mono

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

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 2 Values

✱ 000: -360 MONO

Patch 2 Values

000: ✱ -360 MONO

Patch 2 Values

000 : ✱ +0 Mono

Patch 2 Values

127 : ✱ +360 Mono

Next, we’ll want to adjust the Destination value when LFO1 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 maximum value for LFO1).

2-36

Basic Operation

Lexicon

The display will change to show position 0.3 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.

Patch 2 ✱ Dst

Controls Out Width

Patch Destination Indicator

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

Controls Out Width ■

0.3 +0...90 MONO

PATCHING (continued)

Changing the Default Destination Values

(continued)

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.

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

Now our example has been modified so that LFO1 sweeps the Out 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 2 Destination selection display.

Patch 2 ✱ Dst

Controls Out Width

Patch 2 Values

127 : ✱ +90 L-R, R-L

2-37

Basic Operation

PCM 91

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.

Patch 2 Values

✱ 000 +0 MONO

Patch 2 Values

127 : ✱ +90 L-R, R-L

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.

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 2 Values

✱ 000 +0 MONO

Patch 2 Values

✱ 127 : +90 L-R, R-L

Patch 2 Values

✱ 064 : . . . . . . . . . . . . . . .

Patch 2 Values

064 : ✱ -45 R, L

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.

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 Footpedal 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. Footpedal 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.

2-38

Basic Operation

Lexicon

PATCHING (continued)

Mod Row Patches

AR ENV, Latch, Sw 1, Sw 2 , Delay and S&Hold 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.

THE CUSTOM ROW

The Custom row of the full edit matrix allows you to customize an effect by adding defining ranges, as well as meaningful names and labels to the ADJUST knob and Custom Controls. It also provides controls for assigning KeyWords to effects for sorting purposes.

Setting Range Limits for ADJUST and Custom Controls

The first five positions in the Custom row: ADJUST and Control 1-4 allow customization of the ADJUST knob and any Custom Controls you want to place in the Soft Row. The controls for each of these behave identically. The first set of controls allows you to set range limits. Press Load/✱ and turn SELECT to display Low Limit, High Limit and MidPoint. Use ADJUST to select values from 0-127.

Low Limit is the minimum value that the control will output. In most cases this will be 0 (or 127 for inverted control). If ADJUST or the Custom Control is also mapped to a MIDI controller, incoming MIDI values below this minimum value will be treated as equivalent to the Low Limit.

High Limit is the maximum value the control will output. This can be set to any value above the Low Limit and effectively establishes the total range of the controller. If ADJUST or the Custom Control is also mapped to a MIDI controller, MIDI values above this maximum value will be treated as equivalent to the High Limit.

In many cases, where the control is to have full range (0-127) or where it is to behave as an off/on switch (0-1) these two values (Low and High) are the only ones which have to be specified. In other cases, the control can be enhanced by adding more than just these simple range limits.

MidPoint allows you to establish a fixed reference point between the selected Low and High Limits. The MidPoint has no effect on the established range , but does determine the number of positions within the controller's range which can be labeled with text.

Labeling ADJUST, the Custom Controls and Their Ranges

Press and hold the Edit button to access a submode which allows you to name the control, as well as any points you have assigned. While you are holding down Edit, the message: Entering Custom label assign ... will be displayed, followed by the current name of the control with a cursor positioned over the first character of the name. Use 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 move the cursor to a new position. Continue in this manner until you have finished entering the new name. A maximum of 20 characters (including spaces) may be used.

*Control 4*Control 3*Control 2*Control 1*ADJUST

Custom

KeyWord 1 KeyWord 2 KeyWord 3 KeyWord 4

PCM 91 Character Set

The @ and the $ symbols are used to represent Custom Control values.

2-39

Basic Operation

PCM 91

Press Load/✱ repeatedly to cycle through the remaining choices: LowLabel, HighLabel, MidLabel, LowRange and HighRange. Names are entered using ADJUST and SELECT in exactly the same manner.

• LowLabel: The name you assign will appear on the

bottom line of the display when the control reaches the value set as the Low limit.

• HighLabel: The name you assign will appear on the

bottom line of the display when the control reaches the value set as the High Limit.

• MidLabel: The name you assign will appear on the

bottom line of the display when the control reaches the value set as the MidPoint. (This naming display is not available if you have not assigned a MidPoint within the range established by the Low and High Limits.)

• LowRange: The name you assign here will be displayed

whenever the controller is between the MidPoint and the Low Limit.

• HighRange: The name you assign here will be displayed

whenever the controller is between the MidPoint and the High Limit.

You can display numerical values anywhere along the bottom line of the display by entering the characters @ or $ where you want values to appear. As many as three digits can be displayed, representing absolute distance from the Low Limit (@@@), or relative distance from the selected MidPoint ($$$). If the MidPoint

is at or below the Low Limit, this range will be equivalent to the entire range of the controller. The default status of the label displays includes @@@ already entered at the beginning of the entry line. Check out the presets in the Custom row of any bank for examples of Custom Controls.

Assigning KeyWords to an Effect

The last four positions of the Custom row allow as many as four KeyWords to be assigned to the current effect. At each position (KeyWord 1-4), use ADJUST to select a representative KeyWord from the list shown below — or "none".

Effect sorting by KeyWord is accomplished in Control mode at location1.8. To view the sorted list, repeatedly press either Program Banks or Register Banks through all of the available banks, then to the KeyWord display. In Control mode, A to Z is available as a viewing selection. All effects are internally tagged to allow this option of alphabetical sorting.

Acoustic Ambience Ballad Bright Broadcast Cascade Chamber Classical Cncrt Hall Custom Dark Dialog Drums/Perc

Dynamic Echo Film-ADR Gated Guitar Indoor Instrument Keyboard Large Live PA Long Mastering Medium

MIDI Mono Natural Orchestral Outdoor Plate RandomHall Room Short Slap FX Small Spatial Special FX

Splits Stereo Surround Tempo Unnatural Vocal User 1 User 2 User 3 User 4

Assignable KeyWords

Algorithms and Parameters

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

Random Hall • Ambience • Rich Plate • Concert Hall • Chamber/Room

The Dual Reverb Algorithms..........................................................3-9

The Reverb Blocks • Dual Mono Reverbs • Cascade Reverbs

The Parameters ...........................................................................3-21

Compress • Controls • Custom • Delay • Design • Echo • Expand • Modulation • Patches • Reflect • Spatial EQ • Time

3-2

Algorithms and Parameters

Lexicon

The PCM 91 uses 15 algorithms to create different types of reverberation effects. Each of these algorithms and its associated parameters are described in detail in this section.

When you select any effect, the bank and row label will appear on the upper display line. The matrix location and the effect name will appear on the lower line. Press and hold Program Banks or Register Banks to display the algorithm from which the currently loaded effect is derived. Press Edit to display the last edited parameter in that algorithm's parameter matrix.

Input levels and hardwired pans determine the signal flow to left and right pairs of delay voices, and also to the reverb effect. Some delay voices have individually adjustable level, delay, and feedback controls, as well as master voice controls. A High Cut parameter provides high end rolloff. InWidth and OutWidth controls allow the creation of spatial effects.

In this chapter, diagrams and descriptions of each algorithm 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.

RANDOM HALL

The Random Hall algorithm gives recorded music a sense of being performed in a real acoustic location. The Size, Spread and Shape controls allow adjustment of the buildup and decay of the initial part of the reverberation envelope. Shape controls the shape of the envelope, while Spread and Size set the time over which this shape is active.

Halls: Orchestral

P0 0.0 Deep Blue

Press Edit to access the parameter matrix.

Program

Banks

Banks Edit Control Tempo

EFFECT MIX

Left

Input

Right

Left

Right

ABOUT THE ALGORITHMS

All of the PCM 91 algorithms share the same general structure, shown at the top of the next column. The shaded area of the diagram is detailed in the individual effect descriptions that follow.

The algorithms also share a common set of controls and parameters built around one or more of the five stereo reverb effects.

3-3

Algorithms and Parameters

PCM 91

Size acts as a master control for the apparent size of the space being created. Both Spread and Reverb Time vary linearly with the setting of Size. Thus maximum reverb time and spread require high settings of Size. To find an appropriate reverb sound, start with a preset with a similar sound to what you want to end up with, turn ADJUST to see what effect it has, then investigate the parameters, starting with Size. Until you are familiar with the PCM 91, we recommend that you edit any patch driving a parameter rather than editing the parameter directly.

Once a size has been selected, Spread and Shape are used to adjust the shape and duration of the initial reverb envelope, which together provide the major sonic impression of room size.

When Shape is at minimum, the reverberation envelope builds up very quickly to a maximum amplitude, and then dies away quickly at a smooth rate. This envelope is characteristic of small reverberation chambers and plates. There are few (if any) size cues in this envelope, so it is ineffective in creating ambience. With this Shape setting, Spread has no effect. The density is set by the Size control, and the rate of decay is set by the reverb time controls.

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2 5.3 5.4

0 0.0 0.1 0.2 0.3

1.51 1.0 1.1 1.2 1.3 1.4

Controls Mix

5.5 5.6 5.7 5.8

In Lvl RvbOutLvl Out Width

Time Low Rt Mid Rt Crossover Rt HC Pre Delay

Design Size Diffusion Shape Spread Spin

Shelf

Wander Link High Cut

Reflect *Mstr Dly/Lvl *Dly/Lvl L *Dly/Lvl R

Delay *Master *Dly/Lvl/Fbk L *Dly/Lvl/Fbk R

Modulation *Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:SW1 *Mod:SW2 *Mod:Delay *Mod:S&Hold

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

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

RefDly L

RefLvl L

RefDly R

RefLvl R

Mid Rt Size

Low Rt

Shape

Crossover

Spin Wander Shelf

Rt HC

Spread

Pre Delay

RvbOutLvl

Diffusion

InLvl

Link

Dly L

DlyLvl L

Out

Width

High

Cut

DlyFbk L

Dly R

DlyLvl R

DlyFbk R

. . . continued on page 3-4

3-4

Algorithms and Parameters

Lexicon

RANDOM HALL (continued)

As Shape is raised to about 1/8 of its range, the initial sharp attack of the reverberation is reduced, and reverberation builds more slowly. The envelope then sustains briefly before it begins to die away at the rate set by Mid Rt. Spread has little or no effect on this shape. When Shape is at 1/4 of its range, buildup is even slower and the sustain is longer. Now Spread affects the length of both the buildup and the sustain. As a rough estimate, the sustain will be approximately the time value indicated by the Spread display (in milliseconds).

As Shape is raised further, the buildup and sustain remain similar, but now a secondary sustain appears in the envelope, at a lower level than the first. This secondary plateau simulates a very diffused reflection off the back wall of a hall, and is effective in creating a sense of size and space. This reflection becomes stronger and stronger, reaching an optimal loudness when Shape is at about 1/2 of its range.

The highest Shape settings are typically used for effects. Near the top of the scale the back wall reflection becomes stronger than the earlier part of the envelope, resulting in an inverse sound.

Note that none of these shape effects are audible unless Mid Rt is set short enough. Generally, this control should be set to a value of about 1.2 seconds for small rooms, and up to 2.4 seconds or so for halls. Size should also be set to a value appropriate to the desired hall size (note, however, that small sizes color the reverberation).15 meters makes a very small room, and 38 meters is useful for a large hall.

Random Hall incorporates random delay elements which have several effects. First, there is a reduction of long-lived modes in the reverberant decay, which makes the decay less metallic and reduces the apparent reverb time. The random elements also improve the steady-state timbre of the program.

The speed at which the delay elements move is controlled by Spin. Values of Spin which are higher than about 40% can cause audible pitch wobble in very critical material (such as classical guitar or piano) and can also cause noise on pure tones. This noise is not audible in speech, however, and, for mixed music or speech, values up to 50% will give an improved sound. Wander is typically set to about 10ms at larger settings of Size. Smaller values of Wander should be used when smaller Sizes are used.

This algorithm also offers the option of adding early reflections which have been made into diffused clusters of pre-echoes. The density of the cluster is set by the Diffusion control. We recommend that these pre-echoes be used with caution, unless you are trying to match the sound of the reverberation to a particular location where such reflections are strong.

An output width control affects the stereo image of the signal leaving the reverb effect. OutWidth can add width to a signal, or move a reverb into a surround channel. Either control can be used statically or dynamically, but in certain positions may be mono-incompatible.

3-5

Algorithms and Parameters

PCM 91

AMBIENCE

While Random Hall effects are designed to add a cushion of reverberance to recorded music, while leaving the clarity of the direct sound unaffected, Ambience is intended to become a part of the direct sound — to give it both better blend and a definite position in space. Ambience gives warmth, spaciousness and depth to a performance without coloring the direct sound at all.

This algorithm generates primarily the strong reflections which appear in the first few hundred milliseconds of the reverberation process. These early reflections constitute the primary audible effect, giving you the impression of a hall surrounding you while the music is playing. To avoid any coloration from these strong reflections, the time delays and amplitudes are random functions.

Ambience is very useful for adding a room sound to recorded music or speech. It is particularly easy to match a studio recording of dialog to a typical room environment. In music recording, it allows you to realistically add distance to a close-miked signal.

If an ensemble has been recorded with close-mic and pan pots, Ambience can provide the missing blend and depth. The apparent position of the instruments is preserved in the reverb while the apparent distance is increased. This algorithm is also useful in matching a closely miked accent microphone to the overall

2 2.0 2.1 2.2 2.3 2.4

3 3.0 3.1 3.2 3.3 3.4

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

3.5 3.6 3.7 3.8

In Lvl In Width RvbOutLvl Out Width

Time Decay Decay Lvl Pre Delay DryDly DryDlyMix

Design Size Diffusion Spin Wander High Cut

Modulation *Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:SW 1 *Mod:SW 2 *Mod:Delay *Mod:S&Hold

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

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

Pre Delay

Decay

Wander

Decay Lvl

Spin

Diffusion

RvbOutLvl

InLvl

Width

DryDly

Out

Width

High

Cut

DryDly

DryDlyMix

Size

ambience of a recording. This allows a soloist to be increased in level without changing the apparent distance. Ambience can be used in a recording situation any time a close-miked sound is undesirable.

To use the algorithm with a console, it is best to use a stereo send to the PCM 91, carefully matching the panning of the various close-miked sources to their positions in the mix. Leave the Mix control at 100%. The apparent distance of each source can be controlled by the level of its feed.

3-6

Algorithms and Parameters

Lexicon

RICH PLATE

The Rich Plate algorithm mimics the sound of metal plates. It has a dense, smooth, colored sound that makes it a good choice for enhancing any type of percussion. Larger sizes and longer reverb times are particularly effective on vocals and brass, but this algorithm can be optimized for use on virtually any source.

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3 6.4 6.5 6.6

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time

Design

Reflect

Echo

Delay

Modulation

Patches

In Lvl In Width RvbOutLvl Out Width

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Attack Spread Link High Cut

*Mstr Dly/Lvl *Dly/Lvl L *Dly/Lvl R

*Mst Dly/Fbk *Dly/Fbk L *Dly/Fbk R

*Master *Dly/Lvl/Fbk L *Dly/Lvl/Fbk R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

6.7 6.8 *Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoFbk R

RefLvl L

RefLvl R

Diffusion

RvbOutLvl

InLvl

Width

Dly L

DlyLvl L

DlyFbk L

Out

Width

High

Cut

EchoDlyR

DlyFbk R

Dly R

DlyLvl R

Mid Rt Size

CrossoverSpread

Rt HC Link

Low Rt

Attack

Spin

3-7

Algorithms and Parameters

PCM 91

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.

This algorithm also features a postreverb compressor which can be used to shape the reverb tail in unusual ways. Spatial EQ controls, following the compressor, can be used to widen or narrow low-frequency stereo separation. A dry signal path allows you to process material with or without reverberation. This is useful in live recordings.

RefDly L

RefLvl L

RefDly R

RefLvl R

Low Rt Mid Rt

Size

Crossover

Rt HC

Def

RvbOutLvl

InLvl

Bass

Boost

Gain

Width

Out

Width

Compressor/

Expander

Spin Chorus

Link

Depth

Diffusion

Dry Signal

SpEQ

Premix

SpEQ

Premix

Crossover

High

Cut

Pre

Delay

Gain Detect

Look

Ahead

Compressor

Compressor/Expander

Ratio

Threshold

Gain

Expander

Ratio

Threshold

Gain

Attack

Release

Spread

Shape

Spatial EQ

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

4 4.0 4.1 4.2 4.3 4.4

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3

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

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time

Design

Reflect

Compress

Expand

Spatial EQ

Modulation

Patches

In Lvl In Width RvbOutLvl Out Width

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread Def Chorus Link High Cut

*Mstr Dly/Lvl *Dly/Lvl L *Dly/Lvl R

Ratio Threshold Gain LookAhead Attack

Ratio Threshold Gain

Premix Crossover Gain BassBoost

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

2.9

Depth Spin

4.5 Release

7.7 7.8 *Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

Note that the compressor and expander controls are computed simultaneously.

3-8

Algorithms and Parameters

Lexicon

CHAMBER/ROOM

This algorithm provides two independent reverbs which can be used in mono in/stereo out, or stereo in/stereo out configuration. Chamber provides an even, relatively dimensionless reverberation, with little change in color as the sound decays. Its unobtrusive character makes it useful on a wide range of program material. Room produces an excellent simulation of a very small room which is useful for dialog and voiceover applications, but which may be too colored for some sustained musical tones. Increasing the Size/Shape/Spread parameters produces an excellent reverb and an Infinite control allows you to freeze a signal for as long as you like. The outputs of the two reverbs are summed into a single stereo output.

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

A InLvl

Routing

B InLvl

A OutLvl

B OutLvl

L Out

R Out

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

High

Cut

CHAMBER

ROOM

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3

8 8.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Echo:A

Time:B

Design: B

Modulation

Patches

*InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread RvbOutLink High Cut

*Mstr Dly/Lvl *Dly/Lvl L *Dly/Lvl R

*Mstr Dly/Fbk *Dly/Fbk L *Dly/Fbk R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

8.0 8.1 8.3 8.4 8.5 8.6 8.7 8.8

0.5 B OutLvl

5.3 5.4 5.5

Low Rt *Mid Rt Crossover Rt HC Pre Delay Infinite

Spread RangeLink High CutSpinSize Diffusion Shape Rate

6.4 6.5 6.6 6.7 6.8

7 8.0 8.1 8.2

Echo:B

*Mstr Dly/Fbk *Dly/Fbk L *Dly/Fbk R

3-9

Algorithms and Parameters

PCM 91

THE DUAL REVERB ALGORITHMS

THE REVERB BLOCKS

Chamber

This algorithm (described earlier and repeated for completeness) produces an even, 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 size and space is much less obvious. This characteristic, along with low color in the decay tail, makes Chamber useful on a wide range of program material. It is especially useful on spoken voice, giving a noticeable increase in loudness with very low color.

Inverse

This effect 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, resulting in an effect similar to a gate, but not dependent on the level or complexity of the input signal. Slopes are adjustable over negative, even, or positive slopes. Positive slopes create inverse effects, while more even slopes create gated effects. Negative slope values have rather natural reverb tails.

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

InLvl

OutLvl

High

Cut

Diffusion PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

High

Cut

InLvl

OutLvl

Chamber

Inverse

3-10

Algorithms and Parameters

Lexicon

THE REVERB BLOCKS (continued)

Room2

This algorithm is a variation of the Room algorithm with different Shape and Spread characteristics, and an overall higher gain. This algorithm provides an excellent simulation of a very small room which is useful for dialog and voiceover applications, but which may be too colored for some sustained musical tones. Increasing the Size/ Shape/Spread parameters produces an excellent reverb, and an Infinite parameter allows you to freeze the reverberation for as long as you like.

Surround Chamber

This algorithm is similar to Chamber, but has a mono output. This output is added to the output of another reverb block 180° out-of-phase to allow a surround decoder to identify which signals are to be routed to the surround channel.

Note: This algorithm must be used through a surround decoder to avoid undesirable effects. When used with another reverb block (as in the Matrix Chamber algorithm, its entire signal can be canceled out when used in mono. In stereo, Surround Chamber can cloud the mix if it is of comparable loudness to the Chamber side of the algorithm.

InLvl

OutLvl

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

Pre Delay

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

Rvb Out

High

Cut

InLvl

Room 2

Surround Chamber

3-11

Algorithms and Parameters

PCM 91

DUAL MONO REVERBS

Room2-Room2

A InLvl

Routing

B InLvl

B OutLvl

L Out

R Out

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

ROOM2

A OutLvl

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

ROOM2

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

7 7.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Echo:A

Design:B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread RangeLink High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

7.0 7.1 7.3 7.4 7.5 7.6 7.7 7.8

0.5 B OutLvl

6 6.0 6.1 6.2

Echo:B

*Mstr Dly *Dly L *Dly R

1.5 Infinite

Rate

2.8

4 4.0 4.1 4.2

Time:B

4.3 4.4 4.5

Low Rt Mid Rt Crossover Rt HC Pre Delay Infinite

5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 Size Diffusion Shape Spread RangeLink High CutSpin

Rate

5.8

3-12

Algorithms and Parameters

Lexicon

DUAL MONO REVERBS (continued)

Inverse-Inverse

PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

A InLvl

Routing

B InLvl

B OutLvl

L Out

R Out

A OutLvl

INVERSE

PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

INVERSE

Diffusion

High

Cut

High

Cut

2 2.0 2.1 2.2 2.3

3 3.0 3.1 3.2

7 7.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Design:B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

LowSlope Mid Slope Crossover Rt HC Pre Delay

Duration Diffusion Shape High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

7.0 7.1 7.3 7.4 7.5 7.6 7.7 7.8

0.5 B OutLvl

6 6.0 6.1 6.2

Reflect:B

*Mstr Dly *Dly L *Dly R

4 4.0 4.1 4.2

Time:B

4.3 4.4

Crossover Rt HC Pre Delay

5.0 5.1 5.2 5.3 Duration Diffusion Shape High Cut

LowSlope Mid Slope

3-13

Algorithms and Parameters

PCM 91

Chamber-Inverse

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

A InLvl

Routing

B InLvl

A OutLvl

B OutLvl

L Out

R Out

High

Cut

CHAMBER

PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

INVERSE

Diffusion

High

Cut

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3

8 8.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Echo:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread RvbOutLink High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

8.0 8.1 8.3 8.4 8.5 8.6 8.7 8.8

0.5 B OutLvl

5.3 5.4

LowSlope Mid Slope Crossover Rt HC Pre Delay

High CutDuration Diffusion Shape

7 7.0 7.1 7.2

Reflect:B

*Mstr Dly *Dly L *Dly R

3-14

Algorithms and Parameters

Lexicon

DUAL MONO REVERBS (continued)

Inverse-Room2

A InLvl

Routing

B InLvl

B OutLvl

L Out

R Out

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

ROOM2

A OutLvl

PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

INVERSE

Diffusion

High

Cut

2 2.0 2.1 2.2 2.3

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2 5.3

7 7.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

LowSlope Mid Slope Crossover Rt HC Pre Delay

Duration Diffusion Shape High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

7.0 7.1 7.3 7.4 7.5 7.6 7.7 7.8

0.5 B OutLvl

4.3 4.4

Low Rt Mid Rt Crossover Rt HC Pre Delay

Spread SpinSize Diffusion Shape

5.4

6 6.0 6.1 6.2

Reflect:B

*Mstr Dly *Dly L *Dly R

Link High Cut

5.5 5.6

3-15

Algorithms and Parameters

PCM 91

Chamber-Chamber

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

A InLvl

Routing

B InLvl

A OutLvl

B OutLvl

L Out

R Out

High

Cut

CHAMBER

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

High

Cut

CHAMBER

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3

9 9.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Echo:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread RvbOutLink High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

9.0 9.1 9.3 9.4 9.5 9.6 9.7 9.8

0.5 B OutLvl

5.3 5.4

Crossover Rt HC Pre Delay

Spread SpinSize Diffusion Shape

6.4

7 7.0 7.1 7.2

Reflect:B

*Mstr Dly *Dly L *Dly R

Low Rt Mid Rt

6.5 6.6 6.7 RvbOutLink High Cut

8 8.0 8.1 8.2

Echo:B

*Mstr Dly *Dly L *Dly R

3-16

Algorithms and Parameters

Lexicon

DUAL MONO REVERBS

(continued)

Matrix Chamber

Matrix Chamber is designed to create surround-encoded reverb mixes. The algorithm sends the Chamber effect to the front speakers and the Surround Chamber effect to the surround speakers.

This effect should be recorded, monitored and played back in surround. The PCM 91 output must be decoded with any popular surround decoder.

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

A InLvl

Routing

A OutLvl

L Out

R Out

High

Cut

CHAMBER

SURROUND CHAMBER

B InLvl

B OutLvl

Pre Delay

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

-180°

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3

7 7.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Echo:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread RvbOutLink High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

7.0 7.1 7.3 7.4 7.5 7.6 7.7 7.8

0.5 B OutLvl

5.3 5.4

Crossover Rt HC Pre Delay

Spread SpinSize Diffusion Shape

6.4

Low Rt Mid Rt

6.5 6.6 Link High Cut

3-17

Algorithms and Parameters

PCM 91

CASCADE REVERBS

Chamber>Room2

A InLvl

L Out

R Out

A OutLvl

B InLvl

Chamber

Room2

B OutLvl

Routing

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

ROOM2

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

High

Cut

CHAMBER

2 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2

6 6.0 6.1 6.2 6.3

8 8.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Echo:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread RvbOutLink High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

Spin

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

8.0 8.1 8.3 8.4 8.5 8.6 8.7 8.8

0.5 B OutLvl

5.3 5.4 5.5

Low Rt Mid Rt Crossover Rt HC Pre Delay Infinite

Spread RangeLink High CutSpinSize Diffusion Shape Rate

6.4 6.5 6.6 6.7 6.8

7 7.0 7.1 7.2

Echo:B

*Mstr Dly *Dly L *Dly R

3-18

Algorithms and Parameters

Lexicon

CASCADE REVERBS

(continued)

Inverse>Chamber

A InLvl

L Out

R Out

A OutLvl

B InLvl

Inverse

Chamber

B OutLvl

Routing

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

High

Cut

CHAMBER

Diffusion PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

High

Cut

InLvl

OutLvl

2 2.0 2.1 2.2 2.3

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2 5.3

8 8.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

LowSlope MidSlope Crossover Rt HC Pre Delay

Duration Diffusion Shape

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

8.0 8.1 8.3 8.4 8.5 8.6 8.7 8.8

0.5 B OutLvl

4.3 4.4

Low Rt Mid Rt Crossover Rt HC Pre Delay

Spread RvbOutLink High CutSpinSize Diffusion Shape

5.4 5.5 5.6 5.7

7 7.0 7.1 7.2

Echo:B

*Mstr Dly *Dly L *Dly R

High Cut

6 6.0 6.1 6.2

Reflect:B

*Mstr Dly *Dly L *Dly R

3-19

Algorithms and Parameters

PCM 91

Room2>Chamber

A InLvl

L Out

R Out

A OutLvl

B InLvl

Room2

Chamber

B OutLvl

Routing

Pre Delay

EchoFbk L

EchoDlyL

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

Diffusion

High

Cut

Infinite Range Rate

ROOM2

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

High

Cut

CHAMBER

2 2.0 2.1 2.2 2.3 2.4

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2 5.3

8 8.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Echo:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

Low Rt Mid Rt Crossover Rt HC Pre Delay

Size Diffusion Shape Spread

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

8.0 8.1 8.3 8.4 8.5 8.6 8.7 8.8

0.5 B OutLvl

4.3 4.4

Low Rt Mid Rt Crossover Rt HC Pre Delay

Spread RvbOutLink High CutSpinSize Diffusion Shape

5.4 5.5 5.6 5.7

6 6.0 6.1 6.2

Reflect:B

*Mstr Dly *Dly L *Dly R

1.5 Infinite

RangeLink High CutSpin Rate

2.5 2.6 2.7 2.8

7 7.0 7.1 7.2

Echo:B

*Mstr Dly *Dly L *Dly R

3-20

Algorithms and Parameters

Lexicon

CASCADE REVERBS (continued)

Inverse>Room2

A InLvl

L Out

R Out

A OutLvl

B InLvl

Inverse

Room2

B OutLvl

Routing

Diffusion PreDelay

RefDly L

RefDly R

Duration

Low Slope Mid Slope Crossover

Rt HC

RefLvl L

RefLvl R

Shape

High Cut

InLvl

OutLvl

InLvl

OutLvl

Pre Delay

RefDly L

EchoFbk L

EchoDlyL

RefDly R

EchoDlyR

EchoFbk R

Low Rt Mid Rt

Size

Shape

Crossover

Rt HC

Spin Spread Link

RefLvl L

RefLvl R

Diffusion

Rvb Out

High

Cut

2 2.0 2.1 2.2 2.3

3 3.0 3.1 3.2

4 4.0 4.1 4.2

5 5.0 5.1 5.2 5.3

7 7.2

0 0.0 0.1 0.2 0.3 0.4

1 1.0 1.1 1.2 1.3 1.4

Controls Mix

Time:A

Design:A

Reflect:A

Time:B

Design: B

Modulation

Patches

InRouting A InLvl A OutLvl B InLvl

LowSlope Mid Slope Crossover Rt HC Pre Delay

Duration Diffusion Shape High Cut

*Mstr Dly *Dly L *Dly R

*Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:Sw 1 *Mod:Sw 2

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

*Mod:S&Hold*Mod:Delay

Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1

7.0 7.1 7.3 7.4 7.5 7.6 7.7 7.8

0.5 B OutLvl

4.3 4.4

Low Rt Mid Rt Crossover Rt HC Pre Delay

Spread SpinSize Diffusion Shape

5.4

6 6.0 6.1 6.2

Echo:B

*Mstr Dly *Dly L *Dly R

4.5 Infinite

*Link

5.4 *High Cut

5.4 *Range

5.4 *Rate

5.4

3-21

Algorithms and Parameters

PCM 91

THE PARAMETERS

Although there are similarities among all matrixes, such as having a row of Controls first, and Modulation, Patching and Custom Control 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 91 parameters, organized alphabetically by row label as follows:

• Compress • Expand

• Controls • Modulation

• Custom • Patches

• Delay • Spatial EQ

• Design • Reflect

• Echo • 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.

COMPRESS

Row 4 of the Concert Hall algorithm contains compression controls for a built-in compressor/expander. Remember that, in some ways, a digital compressor is the opposite of an analog compressor. An analog compressor reduces gain when the incoming signal is above a certain threshold; a digital compressor increases gain when the signal is below the threshold. The end result — lower dynamic range— is the same, but it's easy to become confused if you are familiar only with analog equipment.

Ratio

Ratio controls the slope of the gain curve or the ratio of input level versus output level.

Threshold

Threshold sets the level below which gain is increased. This should normally be set fairly high (-10dB or more).

Gain

Gain adjusts the gain of low level signals (below the compression threshold).

LookAhead

LookAhead sets the predelay of the audio before the digital VCA. If the source material has many strong transients, proper adjustment of this parameter can reduce the possibility of clipping.

Attack

Attack adjusts the attack time constant, determining how quickly the compressor responds to increasing input level. This should normally be set quite low to allow the compressor to react to sharp transients.

Release

Release allows adjustment of the release time constant, determining how quickly the compressor responds to decreasing input level. This should normally be set long. Short release times may cause an effect similar to "pumping" in an analog compressor.

3-22

Algorithms and Parameters

Lexicon

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 91 outputs. When the PCM 91 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.)

In Lvl

InLvl controls the level of the unprocessed (dry) signal into the effect. The range of this parameter in the Chamber/Room algorithm is +5.0dB, to –7.2dB, to Off. In all other algorithms the range is from +6dB, to -73dB, to Off. Individual controls for the A and B effects in the Chamber/Room algorithm are labeled A InLvl and B InLvl.

RvbOutLvl

RvbOutLvl controls the output level of the reverberator before it is mixed with the dry signal and any reflections or delays. The range is from Full (0dB) to -24dB, to Off. Individual controls for the A and B effects in the Chamber/Room algorithm are labeled A OutLvl and B OutLvl.

Out Width

Out Width controls the width of the entire processed signal. This 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.

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

* Disappears in mono

3-23

Algorithms and Parameters

PCM 91

The large and duplicated range of the Out Width parameter allows smooth glides from any Left/Right Mix, Phase, Mono/Stereo image point to any other. 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.

In Width

In Width provides a width control for the input signal before it is fed to the reverberator. Careful use of this control can provide fascinating results. For example, a setting of 45 will provide a normal stereo reverberation effect, while a setting of 90 will exclude any mono (center) signal from the reverberator. Modulation of this control can result in the illusion of various parts of the input moving forward and backward in the reverberant field.

InRouting

In the Chamber/Room and in all of the Dual Reverb algorithms three controls are provided to determine reverb routing: Mono Split, RevMono Split, and Stereo Split.

• Mono Split Separates the two reverb blocks, creating two independent mono in/stereo out reverbs. Machine A receives input from the left channel, and Machine B receives input from the right channel.

• RevMono Split Separates the two reverb blocks, like the Mono Split setting, but reverses the inputs so that A corresponds to the right channel, and B corresponds to the left channel.

• Stereo Split Creates two stereo in, stereo out reverbs. The outputs from both A and B are stereo.

In the cascade algorithms, the three routing selections are: Left Cascade, Right Cascade, and Stereo Cascade. Left Cascade feeds the left input to the cascade, and ignores audio input from the right channel. Similarly, Right Cascade feeds only the right input to the cascade. Stereo feeds left and right inputs into the corresponding inputs to the cascade.

CUSTOM

The last row of each algorithm edit matrix allows customization and labeling of ADJUST, and four custom controls. It also allows the assignment of KeyWords for effect sorting.

ADJUST, Control 1, Control 2, Control 3, Control 4

These controls allow names and ranges to be specified for ADJUST and for four other Custom Controls. Press Load/✱ to display: Low Limit, High Limit and MidPoint for the displayed control. Turn ADJUST to select values from 0-127.

• Low Limit This is the lowest value that the controller will output (or accept, if connected to MIDI).

• High Limit This is the maximum value that the controller will output.

• MidPoint This allows you to set a fixed point within the range you have established between the high and low limits.

3-24

Algorithms and Parameters

Lexicon

CUSTOM (continued)

Pressing and holding Edit accesses a submode which allows you to name the control, as well as any points you have assigned. Pressing Load/✱ will cycle through the following choices. From any of the displays, use ADJUST to select a character for the space marked by the flashing cursor. Use SELECT to move the cursor to another position.

• Name The name assigned will appear on the top line of the display when the control is adjusted.

• LowLabel The name assigned will appear on the bottom line of the display when the control reaches the value you have set as the Low Limit.

• HighLabel The name assigned will appear on the bottom line of the display when the control reaches the value you have set as the High Limit.

• MidLabel The name assigned will appear on the bottom line of the display when the control reaches the value you have set as the MidPoint (not available if you have not assigned a MidPoint within the established range.)

• LowRange The name assigned here will be displayed whenever the controller is between the Midpoint and the Low Limit.

• HighRange The name assigned here will be displayed whenever the controller is between the Midpoint and the High Limit.

You can display numerical values anywhere along the bottom line of the display by entering the characters @ or $ where you want these values to appear. As many as 3 digits can be displayed, representing absolute distance from the the Low Point (@@@) or relative distance from the selected Midpoint ($$$). If the Midpoint is at or below the Low Limit, this range will be equivalent to the entire range of the controller. The default status of the naming displays is to have @@@ already entered at the beginning of the entry line.

For additional information on Custom Controls, see Chapter 2: Basic Operation.

KEYWORD 1-4

The last four controls in the Custom row allow assignment of as many as four KeyWords to the effect. Each of the controls behaves identically. Simply turn ADJUST to select a KeyWord from the list shown at the right. All effects are tagged internally for alphabetical (A to Z) sorting, but this is shown in the list for completeness. For specialized sorting, four User KeyWords are provided at the end of the list.

PCM 91 Character Set

The @ and the $ symbols are used to represent Custom Control values.

A to Z Acoustic Ambience Ballad Bright Broadcast Cascade Chamber Classical Cncrt Hall Custom Dark Dialog Drums/Perc Dynamic Echo Film-ADR Gated Guitar Indoor Instrument Keyboard Large Live PA Long

Mastering Medium MIDI Mono Natural Orchestral Outdoor Plate RandomHall Room Short Slap FX Small Spatial Special FX Splits Stereo Surround Tem po Unnatural Vocal User 1 User 2 User 3 User 4

PCM 91 KeyWords

3-25

Algorithms and Parameters

PCM 91

DELAY

In each the Random Hall and Rich Plate algorithms, a Delay row contains parameters for delay, feedback and level settings of each voice. Press Load/✱ to cycle through selections.

Mstr Dly, Dly L, Dly R

These controls provide delay voices to the left and right channels. The delays are routed to the output (through the Lvl controls) and also through a feedback path. The master delay control allows you to simultaneously change the delay times of both voices. The available range is from 0-200%. This provides a simple way to expand or close in the voice delay times. If a voice's delay time is set to 500ms, changing the setting of Mstr Dly to 200% will change the delay time to 1.000sec. Setting this parameter to 0% is an easy way to set both delays to 0 from a single control.

When display of values in BPM has been selected, these are set as fractions of a beat. The smallest fraction is 1/24th beat. Delay times can also be tempo modulated.

Mstr Lvl, Lvl L, Lvl R

These controls modify the levels of the delay voices (Dly L and R) as they are routed to the output. The range of the left and right controls is from Full (0dB), to -85dB, to Off. Mstr Lvl provides grouped control from 0-100%. With low or moderate settings, small changes in Mstr Lvl may not have any effect.

Mstr Fbk L, Fbk R

These controls modify delay feedback path levels. The left and right controls can be set from -100% to +100% in 1% increments. Mstr Fbk provides grouped control from 0-100%. With low or moderate settings, small changes in Mstr Fbk may not have any effect.

DESIGN

The Design row, available in every algorithm, contains parameters that affect the structural aspects of the reverb effect. In the Chamber/Room algorithm, individual Design rows are available for Effect A and B.

Duration

This parameter in the Inverse algorithm determines the length of time, in milliseconds, which passes before the cutoff in Inverse effects.

Size

Size sets the build-up rate of diffusion after the initial period (which is controlled by Diffusion). The Size control changes 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.

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 or seconds (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.

3-26

Algorithms and Parameters

Lexicon

DESIGN (continued)

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. Note that, at some extreme input levels, high settings of Diffusion may trigger the overload indicators on the headroom display.

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.

Shape, Spread

In Random Hall, Concert Hall and Chamber/Room, Shape and Spread work together to control the overall ambience of the reverberation. Shape determines the contour of the reverberation envelope. With Shape all the way down, reverberation builds explosively, and decays quickly. As Shape is advanced, reverberation builds up more slowly and sustains for the time set by Spread. With Shape in the middle, the build-up and sustain of the reverberation envelope emulates a large concert hall (assuming that Spread is at least halfway up, and that Size is 30 meters or larger). Low Spread settings result in a rapid onset of reverberation at the beginning of the envelope, with little or no sustain. Higher settings spread out both the buildup and sustain.

Def

In the Concert Hall algorithm, Definition affects the echo density buildup rate during the latter part of the decay period. When set to Off, the rate is determined by the program material. Raising Definition through its range (1-99%) causes the sound to become choppier — the decrease in echo density creates increasingly distinct, repetitive echo trails.

Depth

In the Concert Hall algorithm, Depth 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 reverberation tail. The object of Spin is to continuously alter the timbre of the reverberant 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 algorithm, Chorus randomizes delay times and introduces modulation to make reverberation sound less metallic. Increasing Chorus increases the rate of modulation. 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.

3-27

Algorithms and Parameters

PCM 91

Link

This control is available in all algorithms except Ambience. 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.

High Cut

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

Range and Rate

Range and Rate controls in the Room algorithm in Chamber/Room can be used to reduce coloration for small room sizes or to reduce the sense of periodicity when the Infinite control is on. These controls allow you to set the range of a moving delay and the speed at which it moves. High settings of either control may be unsuitable for sustained tones, like piano.

Wander

Wander sets the distance (in time) that early reflections will move. For best results with larger sizes, this control should be set to about 10ms.

ECHO

Mstr Dly, Dly L, Dly R

In Rich Plate and Chamber/Room, Dly L and Dly R provide echoes to the left and right channels. Unlike Delay and Reflect, which are isolated left and right delays, left and right echoes are blended in the diffusor. The echoes are routed both to the outputs and through a feedback path. Mstr Dly provides a simple grouped control that modifies the left and right values from 0-200%.

Mstr Fbk, Fbk L, Fbk R

Fbk L and Fbk R modify the levels of the echo feedback path. The range is from -100% to 0 to +100%. Mstr Fbk has a range of 0-100%. With low or moderate settings, small changes of Mstr Fbk may not have an effect.

EXPAND

Row 5 of the Concert Hall algorithm contains expansion controls for a built-in compressor/expander. (See also Compress at the beginning of this section.)

Ratio

Ratio controls the slope of the expander circuit.

Threshold

Threshold sets the threshold below which gain is reduced.

Gain

Gain sets the amount of negative gain.

MODULATION

The Modulation row, which is the same for every algorithm, contains the parameters for the PCM 91's internal modulation sources. Use the Patch row to assign these modulators to any PCM 91 effect parameter.

Mod: LFO1 and Mod:LFO2

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

3-28

Algorithms and Parameters

Lexicon

MODULATION (continued)

• 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, Triangle, and Random (outputs a new value on each LFO cycle).

• 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%. This control affects the output of the LFO only. It has no effect on the outputs of the individual waveforms.

• Rate Sets the speed (0-10Hz) 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 91 allows six LFO shapes (sine, cosine, sawtooth, triangle, square and pulse) or a random shape 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 "LFO1" is selected, for example, 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).

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.

3-29

Algorithms and Parameters

PCM 91

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: Off, One Shot, Retrigger and Repeat.

•Off This control turns the AR envelope off (and frees up processor time). To optimize PCM 91 real-time response, set AR Env to Off when it is not being used.

• 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.

• 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.

Mod: Follow

This control provides three input signal envelope followers. Press Load/✱ to select Env L, Env R or Env L+R. Release is the only available parameter, and is set in milliseconds. This control allows you to specify the release rate (0-10 seconds) when 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.

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

0 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.

3-30

Algorithms and Parameters

Lexicon

MODULATION (continued)

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:

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.

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 (0-10Hz) 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: Off, Switch, and Ramp. Off turns the switch off (and frees up

processor time). To optimize real time response, set switch to Off when it is not being used. 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.

• T Lvl Sets the threshold value at which the switch will begin to cycle.

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

3-31

Algorithms and Parameters

PCM 91

•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.

Sw 1 1 Cycl:2 Beat P Width = 50

Sw 2 1 Cycl:3 Beat P Width = 16

Sw 1&2

Src

(Sine)

Trigger

(Mono Lvl)

127

125

Output

127

T Lvl

(90)

125

Mod: Delay

This control allows a copy of the output of any other patch source to be delayed. The delay time can be set as an absolute amount of time (0-5 seconds) or it can be related to tempo. The delayed value specified here can then be selected as a patch source.

Mod: S&Hold

The Sample & Hold control allows you to select an input source, a trigger for sampling the source, and a trigger threshold. Anything on the Patch Source list (shown on page 3-33) can be selected as an input source (Src). The trigger (Trigger) can be any other Patch Source. Each time the trigger rises above the threshold specified for T Lvl, the PCM 91 snaps a sample of the source and holds its value until the trigger once again exceeds the threshold. In example shown below, a sine wave is the source and Mono Lvl is the trigger. The threshold has been set at 90. Each time Mono Lvl rises above 90, the sine wave is sampled and held.

3-32

Algorithms and Parameters

Lexicon

PATCHES

Following the Modulation row in each algorithm's edit matrix is the Patch row. This row provides parameters for creating as many as ten 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. (A complete list of sources is included on page 3-33.)

Dst

Use ADJUST to select any effect parameter except those on the Patch row.

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.

REFLECT

Mstr Dly, Dly L, Dly R

Dly L and Dly R provide pre-echoes to the left and right channels. Mstr Dly provides a simple grouped control that modifies the left and right values from 0-200%.

Mstr Lvl, Lvl L, Lvl R

In Random Hall, Concert Hall and Rich Plate, Lvl L and Lvl R modify the levels of the reflections (Dly L and R). The range of each is from Full (0dB) to -85dB, to Off. Mstr Lvl has a range of 0-100%.

SPATIAL EQ

Spatial EQ, when used to enhance the spaciousness of stereo material, increases low frequency differences between left and right channels. An effect called "negative cross-feed" is created by subtracting a copy of low frequency on the left from the right channel, and vice-versa. This effect can be dramatic when used judiciously on live stereo recordings.

Spatial EQ can also be used to reduce low frequency differences and steer the bass into mono. This might be used in mastering LPs to keep the stylus in the groove, in TV mixing, or in any situation in which the low frequency load should be shared by both speakers. Spatial EQ used in this manner is said to have "positive cross-feed".

In the PCM 91,Spatial EQ is placed in the signal path where it can process the dry signal, the reverberation, or both.

3-33

Algorithms and Parameters

PCM 91

LFO1 Sine1 Cosine1 Square1 Sawtooth1 Pulse1 Triangle1 Random1 LFO2 Sine2 Cosine2 Square2 Sawtooth2 Pulse2 Triangle2 Random2 Env L Env R Env L+R AR Env

Latch Sw 1 Sw 2 Sw 1 & 2 Delay S&Hold Mono Lvl Left Lvl Right Lvl FootPedal Foot Sw 1 Foot Sw 2 ADJUST Custom 1 Custom 2 Custom 3 Custom 4 Tem po On Off

Internal

031 Ctl 31

(PCM 91 interprets 032 as Bank Select)

033 Ctl 33

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 Cmnds

MIDI

3-34

Algorithms and Parameters

Lexicon

SPATIAL EQ (continued)

Premix

In Concert Hall, Spatial EQ is placed in the signal path after the reverberator. An additional dry signal is also provided so that the dry input can be sent to the Spatial EQ. In this case, we recommend setting the value of Mix in the Controls row to 100% so that Premix controls the wet/dry mix.

Crossover

Crossover sets the frequency below which Spatial EQ effects take place. Setting this frequency too high may result in unusual imaging.

Gain

Gain sets the amount of crossfeed between channels. The signal first goes through a 6 dB/octave low-pass filter whose frequency is set with Crossover. When Gain is set positive (above 0) the crossfeed has a negative sign. This increases the sense of spaciousness. When Gain is set negative (below 0), the crossfeed has a positive sign. This reduces the sense of spaciousness. When the control is set to either maximum or minimum, the gain in the crossfeed circuit is unity. At maximum, low frequency mono signals are completely removed. This represents an extreme setting which should seldom be needed in practice.

Raising Gain may reduce the bass level. This effect can be compensated for by raising the overall bass level with BassBoost. Since both controls use the same Crossover setting, this compensation will be quite accurate as long as Gain is set to less than 3 dB boost. With Gain at its lowest setting, low frequency signals are completely mono. This may increase the bass level, which can then be cut by lowering the BassBoost control.

BassBoost

A positive value for Gain may reduce low frequencies in program material. Conversely, a negative value for Gain may increase low frequencies. BassBoost allows compensation for this effect by boosting or cutting frequencies below Crossover. The amount of boost or cut required is highly dependent on the material being processed. Start by setting this control to the same value as the Gain control, and then adjust it as necessary.

TIME

The Time row, available in every algorithm, contains parameters that affect the time-based aspects of the reverb effect.

Low Slope and Mid Slope

These parameters are found in the all of the Inverse Rvb Time rows. 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. The actual frequencies affected are determined by Crossover.

Mid Rt and Low Rt

Mid Rt sets 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 reverb time.

3-35

Algorithms and Parameters

PCM 91

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.

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 reverberation. Setting a low frequency for this parameter can actually shorten the reverb time, as it damps the audio as it recirculates.

Pre Delay

Pre Delay adjusts an additional time delay between the input of signal and the onset of reverberation. The maximum range is 1000ms. 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. This parameter is available for tempo control in all algorithms except Ambience.

Shelf

In Random Hall, Shelf modifies the lowpass characteristic of Rt HC, turning it into a shelving filter. Shelf sets the gain of an output patch which is mixed with the output of Rt HC to form the main reverberant output. Both the pre-echoes and the reverberation are affected. For example, if Shelf is set to -6dB, frequencies below approximately Rt HC/2 will be boosted by 3.5dB. Above approximately Rt HC/2, the response will be flat.

Shelf provides a method for making the spectral content of the reverberation match the ideal spectrum for musical acoustics in rooms. For this application, Rt HC should be set between 700 and

1.5kHz, with Shelf set between -12 and -6dB.

Decay

In Ambience, Decay controls the length of the ambience "tail".

Decay Lvl

In Ambience, Decay Lvl controls the level of the ambience "tail". When Decay Lvl is off, ambience consists entirely of the early reflection signal.

Dry Dly

Dry Dly is used to add fine control to Ambience. An additional dry path is created "inside" the ambience effect. When necessary, this path can be delayed slightly to match an ambience.

3-36

Algorithms and Parameters

Lexicon

TIME (continued)

DryDlyMix

In Ambience, DryDlyMix is used to control the relative levels of the internal dry path and the ambience effect itself. A value of 100% indicates a completely dry path. This is identical to the normal external dry path, except that it is delayed by DryDly. If this control is used to vary the wet/dry mix, it is recommended that the value of Mix on the Controls row be set to 100%.

Infinite

In the Room algorithm, this control is provided to turn the Infinite effect On or Off.

Presets

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

Program Bank 0: Halls...................................................................4-3

Orchestral • Vocal • Live Sound • Instrument • Custom

Program Bank 1: Rooms................................................................4-8

Instrument • Vocal • Live Sound • Drums&Perc • Custom

Program Bank 2: Plates ...............................................................4-14

Instrument • Vocal • Live Sound • Drums&Perc • Custom

Program Bank 3: Post..................................................................4-19

Indoor Small • Indoor Large • Outdoor • Spatial • Custom

Program Bank 4: Splits................................................................4-25

Mono • Stereo • Live Sound • Instrument • Custom

Program Bank 5: Studio ..............................................................4-31

Environments • Instruments • Vocal • Drums/Perc • Custom

Program Bank 6: Live ..................................................................4-37

Acoustic • Electric • Vocal • Drums/Perc • Custom

Program Bank 7: Post..................................................................4-43

Small Spaces • Medium Spaces • Large Spaces • Cool Places • Custom

Program Bank 8: Surround..........................................................4-48

Small Spaces • Large Spaces • Unnatural FX • Custom • “Clean Slate” Presets

Bank P0: Halls

0.0-0.9 Orchestral

1.0-1.9 Vocal

2.0-2.9 Live Sound

3.0-3.9 Instrument

4.0-4.9 Custom

Bank P1: Rooms

0.0-0.9 Instrument

1.0-1.9 Vocal

2.0-2.9 Live Sound

3.0-3.9 Drums&Perc

4.0-4.9 Custom

Bank P2: Plates

0.0-0.9 Instrument

1.0-1.9 Vocal

2.0-2.9 Live Sound

3.0-3.9 Drums&Perc

4.0-4.9 Custom

Bank P3: Post

0.0-0.9 Indoor Small

1.0-1.9 Indoor Large

2.0-2.9 Outdoor

3.0-3.9 Spatial

4.0-4.9 Custom

Bank P4: Splits

0.0-0.9 Mono

1.0-1.9 Stereo

2.0-2.9 Live Sound

3.0-3.9 Instrument

4.0-4.9 Custom

Bank P5: Studio

0.0-0.9 Environments

1.0-1.9 Instruments

2.0-2.9 Vocal

3.0-3.9 Drums/Perc

4.0-4.9 Custom

Bank P6: Live

0.0-0.9 Acoustic

1.0-1.9 Electric

2.0-2.9 Vocal

3.0-3.9 Drums/Perc

4.0-4.9 Custom

Bank P7: Post

0.0-0.9 Small Spaces

1.0-1.9 Med Spaces

2.0-2.9 Large Spaces

3.0-3.9 Cool Places

4.0-4.9 Custom

Bank P8: Surround

0.0-0.9 Small Spaces

1.0-1.9 Large Spaces

2.0-2.9 Unnatural FX

3.0-3.9 Custom

4.0-4.9 “Clean Slate” *

* Clean slate versions of the

dual reverb algorithms

4-2

Presets

Lexicon

The PCM 91 has 450 factory-designed presets which are organized into nine banks of 50 each (labeled P0-P8). Each bank is organized in a matrix of 5 rows of 10. Press the front panel Program Banks button to display the first bank. Press it again to switch to another bank. Simultaneously press Program Banks and either the Up or Down button to backstep through the banks. The display will show the bank label and the matrix location, the preset name, and the algorithm from which the effect is derived.

Turn SELECT to scroll through all of the presets in a bank in numerical order. Use Up or Down to jump forward or backward by

10. Press Load/✱ to load any displayed preset.

In Program Banks mode (as in the Register Banks mode), ADJUST is a soft knob. Each preset has one or more parameters patched to this knob, providing a quick way to make useful changes to the effect.When you turn ADJUST, the display will show the name assigned to ADJUST, as well as the patch value. Continue turning ADJUST to alter the patch value along its available range. Many of the presets also have Custom Controls assigned to provide easy access to even more parameters. Look for these in the Soft row.

The program banks are organized as shown in the table at the right. Each preset is described in this section with a header which indicates the matrix location, the program name, the name assigned to the ADJUST knob, as well as any KeyWords assigned for sorting. This header is followed by a brief description of the effect and a list of any Custom Controls assigned.

The Dual Reverb preset names often give clues as to the routing configuration used. Effect blocks configured in series are separated by the symbol >. Dual Mono In/Stereo Out effects are separated by the symbol +. Stereo In/Stereo Out effects are separated by the symbol /.

4-3

Presets

PCM 91

PROGRAM BANK 0: HALLS

ORCHESTRAL

0.0 Deep Blue ADJUST: Decay

KeyWords: Large, Tempo, RandomHall

This is an all-purpose hall with moderate size and delay time. The reflection delays are set at 36 and 34 ms, but the master level is off. Set to desired level for initial reflections. The master delays are set to beat 3 against 2, but their levels are also off. Set the master delay level to hear the delays. You can also set the tempo of these delays with Tap. Custom 1 allows control of the source from stereo to a narrow setting just a bit wider than mono.

0.1 Large Hall ADJUST: Decay

KeyWords: Large, Long, RandomHall

A classic reverb preset. The hall size is large, with a gentle bloom in the reverberation envelope. The first set of pre-echoes are set to 14 and 20 ms, but are turned off in the preset. Use ADJUST to add some initial reflections.

0.2 Medium Hall ADJUST: Decay

KeyWords: Medium, Indoor, RandomHall, Orchestral

A natural sounding hall with moderate decay time. Similar to Large Hall, but a smaller room with proportionately shorter decay time.

0.3 Small Hall ADJUST: Predelay

KeyWords: Small, RandomHall, Orchestral, Short

A natural sounding environment with bright initial reverb that decays quickly. Turn ADJUST up for a small early reflection or down for a diffused decay.

Presets 0.4-0.6 are similar in texture to the first 3 presets in this row, with added reflections from a stage. In each, ADJUST is designed to allow you to change the size of the stage.

0.4 L Hall+Stage ADJUST: Stage Size

KeyWords: Large, RandomHall, Long, Orchestral

0.5 M Hall+Stage ADJUST: Stage Size

KeyWords: Medium, RandomHall, Orchestral, Indoor

0.6 S Hall+Stage ADJUST: Stage Size

KeyWords: Small, Short, RandomHall, Orchestral

0.7 Gothic Hall ADJUST: Decay

KeyWords: Large, Long, RandomHall, Orchestral

A large, spacious and filtered medium-bright reverb, as in a space made of stone. Smaller room sizes add density to the sound.

0.8 Concert Hall ADJUST: Decay

KeyWords: Large, Instrument, Cncrt Hall, Orchestral

A large,smooth, dark and lush concert hall. Very dense with reflections added to reinforce the sound. Classic Lexicon!

0.9 Small Church ADJUST: Decay

KeyWords: Small, Film-ADR, RandomHall, Orchestral

A smaller version of Large Church with no reflections and much shorter decay time.

Lexicon PCM 91 - REV 1, PCM 91 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual