Lexicon 300 Owner'S Manual Download Page 151

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Lexicon

300 V 3.0 Owner's Manual

9-2

Version: 3.0

MIDI Implementation Chart

Mode 1: OMNI ON, POLY

Mode 2: OMNI ON, MONO

O : Yes

Mode 3: OMNI OFF, POLY

Mode 4: OMNI OFF, MONO

X : No

Lexicon 300
Digital Effects System

Function

Transmitted

Recognized

Remarks

Basic

Default

Mach A, Mach B, and

Channel

1-16, OMNI

System on separate
channels; Memorized

Mode

Defaullt
Messages

Mode 1, 3

Altered

Note

0 - 127

Used as controller

Number

True Voice

Velocity

Note ON

O v=1-127

Used as controller

Note OFF

After

Keys

Touch

Channels

Pitch Bender

MSB only

Control

0-95

OX 0-99

Controllers can

Change

be patched to
control effects
parameters

Data Increment

Data Decrement

N-RPN

Program

O 0 - 127

Change

True #

O 0 - 127

System Exclusive

System

:Song Pos

:Song Sel

Common

:Tune

System

:Clock

as Controller

Real Time

:Commands

Aux

:Local ON/OFF

Messages

:All Notes OFF

:Active Sense

:Reset

Notes

If Channel is set to OFF, 300 will not recognize any messages

Summary of Contents for 300

Page 1: ...300 Digital Effects System V 3 0 Owner s Manual ...

Page 2: ...omputer 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 Wa...

Page 3: ...g analog sampling rate 3 3 Single Setups 3 4 Dual Mono Setups 3 5 Cascade Setups 3 7 Setup Select Mode 3 9 The Setup Presets 3 9 Using the Soft Knob as a Parameter Controller 3 12 Setup Edit Mode 3 13 Single Setups 3 13 Dual Mono and Cascade Setups 3 15 Naming the Setup 3 17 Storing the Setup 3 17 Effect Edit Mode 3 18 Parameter Selection 3 18 Naming and Storing Effects 3 19 Mod Edit Mode 3 20 Sof...

Page 4: ...Using the Rich Plate Algorithm 5 28 Effect Presets Using the Stereo Adjust Algorithm 5 29 Effect Presets Using the Stereo Pitch Shift Algorithm 5 30 Effect Presets Using the Dual Delays Algorithm 5 31 Effect Presets Using the Split Chamber Algorithm 5 34 Effect Presets Using the Mono Pitch Shift Algorithm 5 36 Effect Presets Using the Compressor Algorithm 5 36 Effect Presets Using the PONS Algorit...

Page 5: ...and Non registered Parameters 7 6 Using Dynamic MIDI to transmit and receive MIDI Controller Information 7 7 Using SysEx and Dynamic MIDI Patches 7 7 Controlling Multiple 300s 7 7 MIDI Dumps of Current Setup Event List MIDI Table and All Registers 7 8 8 Troubleshooting Low Voltage 8 2 Overheating 8 2 Common MIDI Problems 8 2 Common Time Code Problems 8 3 Common Digital Interfacing Problems 8 3 9 M...

Page 6: ......

Page 7: ...formance DSP engines The configu ration of these engines can be determined by the end user to suit a particular audio application The Single Setup configuration unites both DSP engines Two split configurations Dual Mono and Cascade allow each DSP engine to run a special program especially designed for Split applications The Single algorithms include Random Hall Random Ambience Rich Plate Stereo Pi...

Page 8: ...ital audio I O time code based effect change an internal LFO and full MIDI automation result in a system that provides new creative options each time you use it We re confident you ll find that the 300 s combination of state of the art sound and extraordinary versatility is exactly what you re looking for to make sure you don t miss out on anything we d like you to read this manual It provides a t...

Page 9: ......

Page 10: ...1 1 Installing the 300 1 Installing the 300 ...

Page 11: ...d into the rack adapter If the 300 is mounted in a rack or road case support the rear of the chassis to prevent possible damage from mechanical shock and vibration Power Requirements The 300 is equipped with a 3 pin IEC power connector and detachable cord providing chassis grounding to the AC mains line Plug the female end of the power cord into the 300 and the male end into a wall outlet The300is...

Page 12: ...ention is used by Lexicon Pin 1 and either pin 2 or pin 3 of each output must be grounded for unbalanced operation Input impedance is 50kΩ unbalanced and 100kΩbalanced Inputs accept input levels from 14dBu to 20dBu Output impedance is 75Ω and levels up to 18dBu are possible Analog Inputs and Outputs Inputs Three connectors are provided for digital input AES EBU professional format 1 3 pin female X...

Page 13: ...BU XLR A3M Balanced RS 422 Digital Input pin 2 high AES EBU XLR A3F Balanced RS 422 Digital Output pin 2 high S PDIF RCA Unbalanced 75Ω EIAJ CP340 Consumer Digital Input and Output S PDIF EIAJ Consumer Digital EIAJ CP340 Audio format Consumer Digital Audio Optical Input and Output Time Code XLR A3M Active balanced RS 422 pin 2 high 100mV p p Input minimum MIDI In 5 pin DIN Standard MIDI Interface ...

Page 14: ...f 75Ω RG 59 coaxial cable Use commercially available consumer audio optical cable assemblies Use standard 5 pin DIN MIDI cable asemblies available from your local dealer AES EBU Digital Audio I O SPDIF EIAJ CP340 Consumer Digital Audio I O SPDIF EIAJ CP340 Consumer Digital Audio Optical I O MIDI IN OUT and THRU Below are recommended manufacturer s part numbers for cable and cable assemblies In som...

Page 15: ...nd un select these lines If additional gain is needed the rear panel INPUT GAIN switch allows you to set unity gain of the 300 to 0dB switch OUT or to 16dB switch IN Feed a 1kHz tone or a musical signal at the maximum peak level used in your system to the 300 Use the front panel Soft knob to adjust the level so that the peak input level falls just short of lighting the red overload LED To set the ...

Page 16: ...iary effects sends connect the 300 as shown above In most applications it is preferable to connect the 300 outputs to two of the console s input channel strips panned full left and right rather than 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 300 s MIX control should b...

Page 17: ...LAYER In Out Note These digital connections can be made with fiber optic or XLR cables instead of 75Ω coaxial RCA cables CONSOLE or HEADPHONE AMP DIGITAL AUDIO or DIGITAL VIDEO MACHINE Source Machine AES EBU Format AES EBU Format DIGITAL AUDIO or DIGITAL VIDEO MACHINE Destination Machine Analog outputs for monitoring Analog outputs for monitoring Source Machine S PDIF Format Analog outputs for mon...

Page 18: ...INE or CD PLAYER CONSOLE or HEADPHONE AMP Analog outputs for monitoring CONSOLE or HEADPHONE AMP RDAT MACHINE Destination Machine Analog outputs for monitoring Analog outputs for monitoring DIGITAL AUDIO or DIGITAL VIDEO MACHINE Destination Machine Source Machine Analog outputs for monitoring AES EBU Format S PDIF Format S PDIF Format AES EBU to S PDIF Conversion S PDIF to AES EBU Conversion Out D...

Page 19: ...EAMP CONSOLE HEADPHONE AMP or ANALOG MACHINE ANALOG MACHINE or CONSOLE Source Machine Analog Source Analog Destination DIGITAL AUDIO or DIGITAL VIDEO MACHINE Digital Destination AES EBU Format AES EBU Format DIGITAL AUDIO or DIGITAL VIDEO MACHINE Destination Machine Analog outputs for monitoring Analog outputs for monitoring Analog audio Analog audio ANALOG I O and AES EBU Digital Output ANALOG I ...

Page 20: ...h Point to ANALOG Out DO PUSH L IN MIDI OUT DO IN R IN INPUT GAIN THRU PUSH L OUT R OUT DI DI EIAJ CP340 PUSH DI DO PUSH TIME CODE IN AES EBU COMM PORT In Out DIGITAL PROCESSOR AES EBU Format In Out In Out In Out Out In Out In ANALOG MACHINE or CONSOLE ...

Page 21: ...2 1 System Overview 2 System Overview ...

Page 22: ...hine A and Machine B Although both machines can run simultaneously only one can be accessed from the front panel at any given time A dedicated function key labeled MACH allows front panel selection of either Machine A or Machine B Pages Becauseeffects andothermodesofoperation have moreparametersthancan be displayed at one time parameters are grouped into several pages You move between pages by pre...

Page 23: ...HM PATCH PATCH PATCH PATCH RANDOM AMBIENCE STEREO PITCH SHIFT RICH PLATE RANDOM HALL STEREO ADJUST DUAL MONO SETUP MIX A INPUT BALANCE INPUT LEVEL A LVL B LVL MOD EDIT PATCH PATCH LFO RATE SHAPE METERS LEFT RIGHT SETUP NAME EFFECT A EFFECT NAME MOD EDIT PARAMETER VALUES ALGORITHM PATCH PATCH PATCH PATCH DUAL DELAY COMPRESSOR PONS SPLIT CHAMBER MONO PITCH SHIFT A BAL B BAL B EFFECT B EFFECT NAME MO...

Page 24: ...setup Effect Edit Used to adjust the parameters of effects Mod Edit Used to create patches Page Up Down Allow access to dis play pages of adjust able parameters The Front Panel Level Used to adjust Analog input and output levels in conjunction with the Soft knob and the Page Up Down keys Levels are shown on the LED bar graphs di rectly above the LEVEL key The lower 6 LEDs are green fol lowed by 2 ...

Page 25: ... Effect Change tables Selecting Control mode does not interrupt the audio operation of the 300 MACH This button allows you to toggle between the 300 s two DSP engines Each machine can process audio continuously and simultaneously However the front panel can only actively control one effect at a time Each time you press MACH the 300 switches control the display indicates whether Machine A or B is b...

Page 26: ...r their entire range with the Soft knob The parameter and its current value will appear on the display as long as the Soft knob is being adjusted Pressing the front panel VALUE key will display all of the current parameter values for the selected page in this example pressing VALUE will cause the following display to appear 2 0s 37 1M 2 9k 22m FULL 3 6k 2X 0 5k Here again turning the Soft knob wil...

Page 27: ...ay find this brief overview useful The block diagram shown below illustrates the basic flow of audio through the 300 Analog and or digital audio enters on the left Each is conditioned and translated as required and in the case of digital audio a sample clock is extracted The resultant digital audio streams are sent to effect processing then converted to appropriate analog and digital outputs on th...

Page 28: ...ed along a range of values dramatically altering the audible effect of the algorithm An effect can also activate as many as 4 patches each linking a source controller to a parameter This MOD EDIT function is intrinsically mapped as an extension of the EFFECT EDIT function Saving either saves the other The Effect Presets cannot be overwritten but can be modified and stored as custom Effects in any ...

Page 29: ...nd Bypass function Input mute Bypass 6 Copy Protect Copy Tools for Setups Effects and MIDI Mod Edits 7 Purge Delete Tools for Time Code Event List All Registers All Effects MIDI Map Table and return to Factory Initialization 8 Time Code Event List Management 9 MIDI Mode and MIDI Map Table Note The 300 Digital Effects System is shipped from the factory running in an Analog Input 48kHz mode with Set...

Page 30: ...3 1 System Operation 3 System Operation ...

Page 31: ...e a new setup into the display window Pressing ENTER will load the new Setup and the Effect s associated with it CASCADE SETUP MIX A MOD EDIT PATCH PATCH LFO RATE SHAPE METERS LEFT RIGHT SETUP NAME EFFECT A EFFECT NAME MOD EDIT PARAMETER VALUES ALGORITHM PATCH PATCH PATCH PATCH DUAL DELAY COMPRESSOR PONS SPLIT CHAMBER MONO PITCH SHIFT B EFFECT B EFFECT NAME MOD EDIT PARAMETER VALUES ALGORITHM PATC...

Page 32: ... external digital sync Clk Allows the engineer to select the Analog Sampling rate Pushing either of the 2 buttons above this label first selects the parameter You can then push the button again to toggle to 44kHz or you can use the Soft knob Out Allows you to select AES Professional or SPDIF Sony Phillips Digital InterFace Consumer as output formats Din Allows selection from among the three 3 diff...

Page 33: ...alog and Digital Out L R L R Digital Level Analog Balance Digital Balance Σ Dry of Left Right balance feeds the DSP engine Analog and digital input levels and balances are located on Page 2 of the SETUP EDIT mode Press SETUP EDIT then press PAGE DOWN once All SINGLE Setups have Balance set to 50 This means an equal proportion of Left and Right input signal is passed into the Single Effect 1 Press ...

Page 34: ...s loaded into which machine In the Dual Mono Split configuration each DSP engine Mach A and Mach B can run special Split Effect Algorithms and Presets Analog and or Digital formats can be input into the 300 When only one input type analog or digital is specified we refer to the format as Fixed When Analog is selected as the main Input source the Digital I O port can be placed in a pre or post effe...

Page 35: ...this page specifies the Fixed format If you want to input both analog and digital audio Mixed format press CTRL to get to Control mode Press PAGE UP or PAGE DOWN to view the Machine Configuration page The leftmost button on the bottom row selects I ANALOG or DIGITAL In Dual Mono Setups the selections also include A L D R and D L A R Turn the Soft knob so that the display reads Mach Conf Dual Mono ...

Page 36: ...Effect The mono wet output of each DSP effect sums with the dry signal and is proportion ally mixed under the MIX controls AMIX and BMIX The third SETUP EDIT page contains AMIX and BMIX Continuing with the above example if both AMIX and BMIX were set to 0 WET or 100 DRY you could use AIN and BIN as level controls mixing two independent signals to mono as part of an analog or digital process Cascad...

Page 37: ...nput Be careful This parameter can wipe out tweeters woofers and ears if used too liberally If the sum of the feedback parameters in EFFECT A EFFECT B and the above mentioned overall Feedback parameter is greater than 100 runaway feedback will occur For example assume Machine A is running a Dual delay effect with Delay1 Feedback set to 40 and Delay3 Feedback set to 40 Machine B is running a Mono S...

Page 38: ...A P204 Hangar P120 MarbleFoyer A P205 Marble Foyer P121 EarlyReflect A P206 EarlyReflect P122 Lecture Hall A P207 Lecture Hall P123 CarInterior A P208 CarInterior P124 Score Stage A P209 Score Stage P125 Gate It A P210 Gate It P126 Rich Plate A P301 Rich Plate P127 Glossy Plate A P302 Glossy Plate P128 Warm Plate A P303 Warm Plate P129 Perc Plate A P304 Perc Plate P130 Contem Plate A P305 Contem P...

Page 39: ... 604 3VoiceDlys 603 PingoPongo P224 Clusters 612 Chorus EKOz 604 3Voice Dlys P225 2 Flanges 606 OverTheTop2 804 Sky Down Cascade Setup Presets Setup Setup Name Mach A Effect Name Mach B Effect Name P301 Rev Dly 701 Chamber 601 Dual Delays P302 Dly Rev 601 Dual Delays 714 Joe s B G P303 Rev Pch 707 U Chamber 802 Guit Shift P304 Pch Rev 804 Sky Down 703 Drum Chamber P305 Rev Comp 705 Guitar Room 901...

Page 40: ...the number of the setup you want is selected on the display If this is not the current setup the number will flash on the display If you do not press ENTER within a few seconds the display will automatically change back to the current setup Pressing ENTER once the display has changed will still load the selected setup or Enter the setup number you want on the numeric keypad to select a setup Press...

Page 41: ...ng the Softknob as a Parameter Controller or SoftknobA 17 DLY3 DLY4 Dst3 Dst4 SoftknobB 17 DLY1 DLY2 RDLY Dst4 SoftknobA is the Soft knob value for Machine A SoftknobB is the Soft knob value for Machine B SoftknobS is the Soft knob value for Setup Parameters Note the current Soft knob value this particular Setup has a preset value of 17 and the labels for the effect parameters linked to the knob D...

Page 42: ... turn the softknob to cue up a new Effect then press ENTER SIngle Setups Page One EA P209 Podium SINGLE MACH CONFIG Page 2 provides adjustment for analog and digital level and source balance into the unified DSP engine Simply press the key under the label of the control you want to adjust and turn the softknob As you turn the softknob a long text message will be displayed in the display After a br...

Page 43: ...E 2 If DEST is not underscored press the button directly beneath it to select it Once it is underscored turn the softknob to select ANALOG BALANCE The display will revert to its state in Step 1 after approximately 20 seconds To return immediately to this display press SETUP EDIT 3 Select SOURCE by pressing the button directly beneath it Turn the softknob fully clockwise until the display reads LFO...

Page 44: ...e of each Effect A and B Whichever Preset or Register number is underscored is available for loading a new program To select the other machine press any of the keys beneath the display The alternate machine s Effect should be underscored Turn the softknob to locate a new program press ENTER to load the program Note The 300 automatically knows what Presets or Registers are loadable in the current S...

Page 45: ...DEdits youareessentiallylinkingtheballisticsofthemetertothedestination parameter Pages Six and Seven allow you to make as many as two MOD patches in the Setup domain On Page Eight you can name your Setup prior to storing it into a register The arrow cursor keys allow you to select a letter to change the softknob actually changes the character The maximum length of a name is 12 characters When you ...

Page 46: ...character with the first character of the name you want select the next character and change it etc When you have made all the necessary changes to a setup and want to save it in a register press STORE The display will show The top line of the display shows the source Src the currently selected setup name The bottom line shows the destination Dst the register number into which the the setup will b...

Page 47: ...dom Hall parameters to show here as an example RTIM SIZE ROLL PDLY RLVL TDCY BASS XOVR The buttons directly above and below each display entry will select that parameter Once selected parameters can be adjusted over their entire range with the Soft knob The parameter and its current value will appear on the display as long as the Sof tknob is being adjusted In the example above RTIM has been selec...

Page 48: ...made the changes you want to an effect s parameters you can store the changed version into an effect register simply by pressing STORE The following display will appear Naming and Storing Effects Src EFFA 3VoiceDly Dst R1 Available Thedisplaywillshowthenameofthecurrenteffect inthisexample VoiceDly running in Machine A and a register location Press the button directly beneath R to select a differen...

Page 49: ...t parameter in the 300 The list contains the selections shown to the left Threshold This is used to set thecontroller value below which the controller will not have an effect on the parameter Scale This is used to set the effective control range of the MIDI controller Scaling can be set from 200 to 200 When Scale is set to 100 the full range of the MIDI controller will cover the full range of the ...

Page 50: ...b Patches A Patch page viewed in Label mode Patch 1A DEST VALUE SOURCE THRESH SCALE A Patch page viewed in View mode Patch 1A Dly3 120m Knob 17 65 SoftknobpatchesaremadejustlikeotherMIDIpatches ChoosetheDestination first the parameter you wish to control then the source controller the MIDI controller Softknob LFO Mod Wheel Pitch bender etc then a scaling amount to increment or to decrement the par...

Page 51: ...all times Control Mode Event List OFF VIEW ADD DEL EDIT SNAP Control mode provides access to general global parameters and miscellaneous functions including audio configuration Selecting Control mode does not interrupt the audio operation of the 300 There are nine Control mode pages Event List MIDI Mode and Map Table Machine Configuration Digital Interface and Sampling Rates SCMS Mode Emphasis Byp...

Page 52: ...can be legally represented by a MIDI data byte 0x00 0x7F Therefore program change 0x00 0x63 E P1 100 program change 0x64 0x7F E R1 28 For more information on Automation see MIDI Operation Selecting CHNL allows you to set the system and machine channels on which the 300 can send and receive messages Possible setttings are 1 16 OMNI All bulk dump and SysEx messages except Program Change follow the s...

Page 53: ...ital signal has not yet been detected Either of the two left buttons on the botton allow selection of AES or SPDIF as output format The two right buttons on the bottom row allow you to specify the connector used for audio input XLR RCA or OPT The upper line of this page describes the current machine configuration Single Dual Mono or Cascade The information that appears here is determined by the ty...

Page 54: ...ph Out D N A N The top line I displays the input status of the incoming digital audio signal if none detected The bottom line O shows your selections for the output data stream The soft buttons act as toggle switches for the selections on this page The Soft knob can also be used to alter selected items D N on the top line shows the Incoming pre emphasis bit status in this example N Pressing the ke...

Page 55: ...Dis abling the memory function will prevent Event List and MIDI Map editing Setup and Effect storing Setup and Effect copying as well as incoming MIDI loads of any of the above The lower line allows selection of SETUP EFX or MIDI Selecting SETUP will cause the display to show If you change between setups which use different algorithms the system will either mute or bypass while the parameter chang...

Page 56: ...ows reinitialization of a Lexicon demonstration erasing all user effects and Time Code Event List data and a complete reinitialization of the system to its factory configuration Purge Tools FACTORY SETUP EFX MIDI TCODE Select TCODE to clear the Time Code Event List Select SETUP to clear all setup registers Select EFX to clear all ef fect registers Selecting FACTORY restores the 300 to its factory ...

Page 57: ...4 1 The Algorithms and their Parameters 4 The Algorithms and their Parameters ...

Page 58: ...rberation 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 RTIM This reverberation envelope is typical of many of the popular digital reverberators of the last few years As SHAPE is raised to about 1 8 of its range the initial sharp att...

Page 59: ...r settings of SIZE The effect of WANDER is reduced for small SIZEs When you set out to create a sound the first and most important decision is how big a space you want The best way to start is to listen to several presets and choosetheonewhichsoundsclosesttowhatyouhaveinmind Ifnecessary use SIZE to make a slightly larger or smaller sound as needed Next use RTIM to fine tune the amount of time the ...

Page 60: ...LVL3 LVL4 Off 24dB Up Full Off 24dB Up Full Effect Naming Page Random Hall Parameters Random Hall Basic Sounds Page RTIM Mid Frequency Reverb Time RTIM sets the reverb time for mid frequency signals Because low frequency reverb time BASS is a multiplier of RTIM RTIM acts as a master control for the reverb time SIZE sets the rate of buildup of diffusion after the initial period which is controlled ...

Page 61: ... effective pre delay Additional delay added with the PDLY control can increase the initial time gap slightly emulating a situation where reverberant pick up microphones are located much further from the source than the main microphones If less than about 30ms of pre delay is added this additional delay can add clarity with some music but it can also sound unnatural Large pre delays can be useful f...

Page 62: ...eration at the beginning of the envelope with little or no sustain Higher settings spread out both the buildup and sustain DIFF controls the degree to which initial echo density increases over time High settings of DIFF result in high initial buildup of echo density and low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussi...

Page 63: ...an into the reverberator Pre echoes can best be understood by visualizing a stage where the early reflections are the sounds emanating from the rear and side stage walls directly after the sound from the stage Usually the rear stage wall reflection is earlier and louder than those from the two side walls The pre echoes are actually clusters of echoes with the density of the cluster set by DIFF The...

Page 64: ...ly easy to match a studio recording of dialog to a typical room environment In music recording using Random Ambience is an effective way of realistically adding distance to a close miked signal If an ensemble has been recorded with close mikes 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 distanc...

Page 65: ...aterial It should be the first control that you adjust to tailor the desired space SIZE also affects the reverb time in a similar way to the standard reverb programs DIFF controls the degree to which initial echo density increases over time High settings of DIFF result in high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZE smaller space...

Page 66: ...ave 4 sample approximately 0 1msec resolution Random Ambience Tweaks Page SPIN affects the movement of many of the delay taps The object of SPIN and WAND 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 20 or higher High values may make the pitch of piano or guitar unstable W...

Page 67: ... Flat 0 1000ms RLVL TDCY BASS XOVR Off 48dB Up Full 0 5 21 2kHz 0 2x 4 0x 0 1 26 5kHz Rich Plate Tweaks RAND SHAP SPRD Off 1 98 Up Full 0 255 0 250 DIFF LINK SIZE 0 99 Link Unlink 4 0 39 4M Delay and Feedback 1 DLY1 DLY2 DLY3 DLY4 0 2000ms 0 2000ms 0 1000ms 0 1000ms FBK1 FBK2 LVL3 LVL4 0 93 0 93 Off 24dB Up Full Off 24dB Up Full Delay and Feedback 2 DLY5 FBK5 DLY6 FBK6 0 2800ms 0 93 0 2800ms 0 93 ...

Page 68: ...sample approximately 0 1msec resolution RLVL sets the amount of reverberation in the processed signal It is normally FULL but may be reduced for effects where the pre echoes should dominate TDCY sets the frequency above which sounds decay at a progressively faster rate Itfiltersallthesoundexceptthepre echoes Whensetrelativelylow itgives a darker tone to the reverberation simulating the effect of a...

Page 69: ...low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussion use high settings of DIFF For clearer more natural vocals mixes and music use low or moderate settings When LINK is set the reverb time and spread values scale linearly as the SIZE control is varied For some special effects RTIM and SPRD can be unlinked SIZE allows yo...

Page 70: ...L3 and LVL4 respectively LVL3 and LVL4 determine the loudness of DLY3 and DLY4 DLY5 0ms 2800ms and DLY6 0ms 2800ms allow you to build non diffused recirculating echoes independent of the reverberator Each has a feedback control FBK5 and FBK6 FBK5 and FBK6 provide feedback control for DLY5 and DLY6 LVL5 and LVL6 determine the loudness of DLY5 and DLY6 Remember these are undiffused pre echoes DLY3 D...

Page 71: ...Y controls to this value will give the smoothest pitch shift Shorter values can be used for special effects or when extra delay cannot be tolerated There are three interacting controls for pitch described below Glide Pitch Interval and Fine Pitch Adjusting any pitch control activates a long display that shows the pitch percentage the musical interval and any fine adjustment in cents Always use thi...

Page 72: ...h is centered The rightmost character in the long display is an asterisk if Fine Pitch is centered and a or otherwise When the VALUE key turns on the short value display Fine Pitch is not shown in cents but as a number ranging from 32 to 32 in order to give a clear indicationofhowmuchPitchIntervalhasbeenchanged When isshown Fine Pitch is centered and inactive As a rule 1 count of Fine Pitch is wor...

Page 73: ...0 Hz The purpose of the band pass filter is to give the pitch shifter less information than it actually needs to decide when to make the splice Typically this will inprove the performance of the pitch shifter SYNC is only active in STEREO mode This control forces an exact sync of the two channels when the control is turned from 0 to 1 When SYNC is 1 there is an automatic re syncing any time the tw...

Page 74: ...B Cut 18dB 6dB Cut 18dB 6dB Cut 18dB 6dB BXOV TXOV TXLR SPEQ 0 1 26 5kHz 0 1 26 5kHz 0 1 26 5kHz Cut 6 to 6dB Stereo Adjust Delay and Feedback LDLY LFIN RDLY RFIN 0 5000ms 0 500 samples 0 5000ms 0 500 samples LFBK Lfbk RFBK Rfbk 99 to 99 99 to 99 99 to 99 99 to 99 DC Offsets DCSW L DC R DC SHUF Reset Manual Auto 99 to 99 99 to 99 0 10 Effect Naming Page Stereo Adjust Parameters Stereo Adjust Σ Σ Σ...

Page 75: ...is is a post processing full level delay and is always in the circuit When D Em is On the incoming signal is digitally de emphasized This should not be used unless the material has been emphasized in the record process such as a PCM F1 tape Note that the emphasis bit in the incoming signal can be turned off from the 300 front panel See Chapter 2 System Operation Setup Edit When digital de emphasis...

Page 76: ...ency is set with BXOV When SPEQ is set positive above 0 the crossfeed has a negative sign When SPEQ is set negative below 0 the crossfeed has a positive sign When the control is set to either maximum or minimum the gain in the crossfeed circuit is unity The result of this control is to change the separation of low frequency stereo signals When the control is raised low frequencies in the sum mono ...

Page 77: ...22 676 microseconds per sample 32 kHz 31 25 microseconds per sample 500 sample 1 sample per step mono fine adjust for the left channel 500 sample 1 sample per step mono fine adjust for the right channel Two feedback paths are available per channel overall and fine Overall feedback is the total delay of DLAY L R DLY L R FIN and is useful for long echo effects Fine Feedback is only around the Fine D...

Page 78: ... the two microphones into level differences which are audible The effect can be dramatic The frequency below which the boost acts is set by the SHUF control A setting of 5 will give a 3dB L R boost at about 150Hz a setting of 10 will be 3dB up at 250Hz Response rises at 6dB octave below this frequency More than 18dB of gain can be obtained at 20Hz when SHUF is set to 10 This control has been optim...

Page 79: ... can be programmed anywhere along this 2 5 second path There will however be no apparant delay unless a feedback value is assigned to the delay values via FBK1 and FBK2 All Pass filters or diffusors in line with the feedback paths are labeled APD AllPassDelay andAPG AllPassGain Theactual tuning oftheAllpass delay is accomplished with the APD control The amount of diffusion is set by APG When APG i...

Page 80: ...0ms 0 479smp 0 10ms MchB LFLG RFLG 0 99 0 99 Delay and Feedback Page 1 DM DLY1 FBK1 0 119996smp 0 99 0 2498 9ms MchB DLY2 FBK2 0 19996smp 0 99 0 2498 9ms 48kHz Diffusor Controls DM APD1 APG1 0 19996smp 0 191 0 2498 9ms MchB APD2 APG2 0 19996smp 0 191 0 2498 9ms Delay and Feedback Page 2 DM DLY3 FBK3 0 19996smp 0 99 0 2498 9ms MchB DLY4 FBK4 0 19996smp 0 99 0 2498 9ms Diffusor Controls DM LDLY LPAN...

Page 81: ...es with the feedback loops associated with DLY1 and DLY2 Their controls range from 0 to 10 ms These controls essentially tune the diffuor delay line APG1 and APG2 are gains associated with the diffusors You can think of them as controlling the amount of diffusion DLY3 controls the delay time which cross feedbacks to the input of DLY2 DLY4 controls the delay time which cross feedbacks to the input ...

Page 82: ...se lower values of TDCY maybe even as low as 1 0kHz or 500Hz The randomization circuit in Split Chamber is designed to reduce coloration and or frequency nodes caused by low frequency input If you want to create your own special Chambers or Halls you should keep RAND set to 90 or 95 Typically SIZEs of 14 24 meters with TDCYs higher than3 4kHz will emulate bright sounding metal plates Remember to s...

Page 83: ...he time delays in natural spaces In real rooms the build up of reverberation is gradual and the initial time gapisusuallyrelativelyshort NaturalspacesarebestemulatedbysettingSHAP at a middle value and adjusting SPRD for the desired effective pre delay Additional delay added with the PDLY control can increase the initial time gap slightly emulating a situation where reverberant pick up microphones ...

Page 84: ...high initial buildup of echo density low settings cause low initial buildup Echo density is also affected by SIZE smaller spaces will sound denser To enhance percussion use high settings of DIFF For clearer more natural vocals mixes and music use low or moderate settings RAND sets the distance in time that the early reflections will move XOVRsetsthefrequencyatwhichthetransitionfromRTIMtoBASStakesp...

Page 85: ...long display when matching Glide to Pitch Interval and Fine Pitch Mono Pitch Shift Parameters Mono Pitch Shift Adjustments DM PCH DLY FBK 2Oct to M7 48 0 510ms 0 98 Max MchB GLD FIN BNPS 2Oct to M7 48 96 cents On Off Effect Naming Page Σ Shifter PITCH FINE GLIDE Bandpass Delay Feedback Mono Pitch Shift Adjustments Page PCH adjusts pitch interval The exact tuning can be altered by FIN and the exact...

Page 86: ...inuously over a range of 2 octaves 25 to 1 octave 199 This allows a glissando to be performed either manually or via MIDI FIN adjusts pitch continuously over a range of 2 octaves to 1 octave This allows a glissando to be performed either manually or via MIDI BNPS is a band pass filter which rolls off the frequency responce of the audio before the splicing algorithm The 3dB point is 100 Hz The purp...

Page 87: ...r can be manipulated and modified Example 1 Press SETUP SELECT and turn the Softknob to select Cascade Setup 313 STEREO COMP This preset loads the stereo compressor into both ma chines but mixes Machine B to full dry no point in compressing twice 2 Press ENTER to load the preset 3 Press EFFECT EDIT Note the front panel level meters and try to establish the average input level A simple approach mig...

Page 88: ...3 1 MchB Effect Naming Page Compressor Parameters Compressor Adjustments Page PDLY sets the predelay of the audio before the digital VCA ATC adjusts the attack time constant RTC allows adjustment of the release time constant THRS sets the level at which compression starts GAIN adjusts the gain of low level signals below the compression threshold SLPcontrolstheslopeofthegainreductioncurveortheratio...

Page 89: ...e quantization noise in such a way that almost all of the noise within the frequency range where human hearing is most acute is shifted to higher frequencies This is called psychoacoustically optimized noise shaping PONS because it takes advantage of the variations in the ear s sensitivity to noise within the 20 Hz 20 kHz range PONS Adjustments CC DITH PONS 0 254 On Off MchA Effect Naming Page PON...

Page 90: ... boosted From 12 to 12 the fader moves in 25 dB increments Below 12 it moves in 50 dB increments Below 60 dB the calibration comes in larger steps finally dropping to zero output at 72 dB BAL implements a sine cosine balance adjustment Balance is smoothly ad justed over a wide range with excellent resolution in the critical area around zero The display indicates the actual channel gains as the con...

Page 91: ...djustment of left and right treble They may be used together with the stereo adjustments to create a 12 dB octave cut or boost Note that the 3 dB frequencies can be different from the stereo set BXOV sets the crossover point for BASL and BASR When BASL and BASR are set to full cut the level is 3 dB at the frequency set with BXOV TXLR sets the crossover point for LTRB and RTRB When either is set to...

Page 92: ... particularly useful on material recorded with panpots or coincident and semi coincident microphone technique When most of the bass in a recording is in the sum mono channel raising SPEQ may reduce the bass level This effect can be compensated for by raising the overall bass level with BASL and BASR Since both controls use the same BXOV setting this compensation will be quite accurate as long as S...

Page 93: ...5 1 The Presets 5 The Presets ...

Page 94: ...eble Decay As the Soft knob value is increased Room Size is decreased and Treble Decay is brightened P105 Rooms Random Hall This preset links Room Size to the Soft knob As you turn the Soft knob Room Size will go from its initial value of 19 1Meters down to 9 6Meters These Rooms are diffuse and very articulate sounding Lower values of Room Size tend to be more resonant sounding Good for dialog rea...

Page 95: ...P118 Stairwell Random Ambience About 14 stories up and very fluttery sounding Increasing the Size parameter will move you higher into the concrete building P119 Hangar Random Ambience Big wide open enclosed space 38 8M Very diffuse Akin to a hangar with two 747 s in it P120 MarbleFoyer Random Ambience A very realistic hotel or apartment foyer area The Mix control in Setup Edit is set to 70 while t...

Page 96: ...re echoes 1 and 2 which feedback into the reverberator Name Algorithm Description P134 StereoAdjust Stereo Adjust Sets you up to fix audio sources Null preset with pages for EQ delays phase and channel swaps and DC offset removal P135 Phase Invert Stereo Adjust The right channel is phase reversed to the left If you put a mono signal into this program and pan the output returns left and right you l...

Page 97: ...ght with small amounts of feedback for each Whip this one on either the lead vocal or BG Vox P146 Pole Flange Stereo Pitch Shift Similar to a Barber Pole type flange Mix 50 50 between source and returns P147 Bulkie Roll Stereo Pitch Shift Fluffy sounding chorus effect Mode is set to Mono so you can independently pitch left or right When sent to the 300 pre fader the return audio has a slow motion ...

Page 98: ... Faze Delays getting its signal from the right input The LFO in Setup Edit runs at 24Hz with a triangle waveform The FDLY parameter in Machine B is patched to this LFO MchA EA 703 Drum Chamber Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies MchB EB 607 LFO FazeDlys Faze Dlys makes use ...

Page 99: ...ual Mono Setup this is of course inaudible MchB EB 612 Chorus EKOz Chorus EKOz makes use of the flange gliding delay via the Setup LFO and several longer recurring echoes P206 DM Dly Pch EA 601 Dual Delays EB 804 Sky Down This preset incorporates a Setup Soft knob patch to the effect in Machine A Dual Delays Paging up one page will activate the Soft knob as a multi parameter controller In this Set...

Page 100: ...You may need to adjust Threshold to make it work for the particular signal you re feeding it The release parameter is set to gently fall away after 363ms MchB EB 902 DrumComp 3 1 This is a bit more agressive with 7dB of boost below the selected threshold A quick release of 58ms snaps up the volume As with all compressor presets Threshold is the critical parameter P211 DM Slow Spin EA 607 LFO FazeD...

Page 101: ...tween the source inputs of each Machine That is the left input signal will pan between Machine A and Machine B the right input will do the same thing in the other direction One idea might betotakeapairofrelatedtracks sayacoupleofdifferentsoundingkeyboards andcrosspanthembetweenMachineinputs The rate of the pan is set by the LFO Remember the LFO set to 0 14Hz with a triangle waveform is also patche...

Page 102: ...rameter will change the characteristics of each Machine preset as described below MchA EP 717 Drum Rooms Deep and narrow in shape The Soft knob parameter makes the room shallower and gated sounding MchB EP 711 Great Room The Soft knob parameter advances Predelay and Spread to open the room up nearly to hall proportions Bass multiply BASS is set to 2 0X to round out the bottom end P218 DM RevPan EA...

Page 103: ...ms Very good on vocals To make this effect work properly be sure to drive the 300 to within 12dB of full scale dBfs Remember in this setup the effects are reversed from the meter ballistics which drive them Good Luck P222 DM Flng Dlys EA 615 Negative Flang EB 602 Space Dlys This is a true Dual Mono Setup The Setup LFO is set to 0 6Hz with a triangle waveform It drives the flange glide delay FDLY i...

Page 104: ...edback amount Cascade Setups and Their Effects P301 CC Rev Dly EA 701 Chamber EB 601 Dual Delays This preset passes a reverb efffect into a delay effect with a delay Soft knob patch As the Soft knob parameter is advanced the reverb will be delayed If you modify the BMIX to some value less than its full wet preset value an interesting pre echo effect will occur MchA EA 701 Chamber A great general p...

Page 105: ...B 703 Drum Chamber Good starting point for acoustic drums This preset is slightly larger than the standard chamber but has less Diffusion Rt is set to 1 0 second at mid frequencies P305 CC Rev Comp EA 705 Guitar Room EB 901 EZ Comp 2 1 This preset changes the dynamics of the Guitar Room effect preset If you play around with the compressor preset you can no doubt get some strange effects MchA EA 70...

Page 106: ...rameter is 16 MchA EA 810 Vocal Shift This preset combines a short delay line recirculating around a 7 cent pitch shifter MchB EB 603 Pingo Pongo Ping Pong delays bouncing back and forth The Soft knob controls the timing of the bounce P309 CC Dly Comp EA 604 3Voice Dly EB 901 EZ Comp 2 1 TheSoftknobcontrolsthetimingrelationshipsofthedelaysettingsintheMachineAeffect TheSoftknobparameterisstored wit...

Page 107: ...t down version of the larger Stereo Adjust program available in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts and cuts P313 CC V3Comp EA 010 Small St Adj EB 901 EZ Comp 2 1 This is a straight ahead stereo compressor setup Use it in a mix insert point or pre fade send MchA EA 010 Small St Adj This preset ...

Page 108: ...tched to the Soft knob with the addition of reverb time also patched Dig Deep MchB EB 616 NegativeFlng This is a really stiff flange which goes almost 20ms deep Flange gain is set extremely negative so the sound is tunnel like P317 CC BigBricks EA 713 Big Bricks EB 902 Drum Comp 3 1 This Setup really enunciates the Big Bricks preset 100 of the reverb in Machine A preset feeds into the compressor i...

Page 109: ...ase delays are set to 10ms with a positive feedback gain Over the top cancellation occurs as the glide delay passes over the 10ms base delay MchB EB 606 OverTheTop2 Similar to OverTheTop1 except the flange delay glides between 0 08 ms and 10 7ms This flange delay is patched to the LFO Base delays are set to 10ms with a negative amplifier gain Over the top cancellation occurs as the glide delay pas...

Page 110: ...und sources beautifully Made for string pads and voice MchB EB 806 Echo Down 14 cents down with a 258ms recirculating delay line In this setup the reverb echoes downward in pitch into the middle of the mix field Very Interesting P324 CC The Sky EA 804 Sky Down EB 610 Sky Delays This setup s got a little bit of everything A downward flanging pitch shifter cascading into a dual delay preset with man...

Page 111: ...elay to modulate the sound The glide moves between 9 7 and 11 8ms If the LFO is advanced to values near 1 50Hz to 2 0Hz a nice chorusing effect is achieved There are no other delay lines but the output lines are channel swapped such that the left input passes to the right output and vice versa MchB EB 011Panola This preset is a stereo adjust program with the Balance set to full left The Balance pa...

Page 112: ... as the glide delay passes over the 10ms base delay Remember the LFO is part of the Setup so if you load the effect into a Setup where there is no LFO activity the preset will sound hollow and resonant 606 OverTheTop2 Dual Delays Similar to OverTheTop1 except the flange delay glides between 0 08 and 10 7ms Flange Delay is patched to the LFO The base delays are set to 10ms with a negative amplifier...

Page 113: ...fect on stacked vocals If you use this preset in a cascade setup which has some small amount of Machine B feedback the chorus will trail itself upand down in pitch Very interesting twist Be careful not to use too much feedback to avoid runaway feedback 611 LFO Pan Faze Dual Delays This cool wavy preset runs pre fader with the Setup LFO at about 20Hz LFO drifts back and forth with a stereo signal a...

Page 114: ...k 707 U Chamber Split Chamber This preset is shaped liked an upside down U with the speaker on top of the wall and a microphone on either side of the wall 708 L Chamber Split Chamber L Chamber mimics the shape of a chamber by that letter One side is shorter than the other with the speaker closer to one side A little bigger than the U chamber 709 Basement Split Chamber Tight and short The room size...

Page 115: ...y sounding on the beefy guitars 803 Up Shift Mono Pch Shift Up Shift is a sweet sounding microshift up 7cents There is a slight chorus edge due to a modest amount feedback around a 0ms delay line The Soft knob parameter controls the delay line length 804 Sky Down Mono Pch Shift This preset is tunnels downward due to the liberal amount of delay feedback If the effect is too heavy dial back the feed...

Page 116: ...dither turned on and set to PONS with a level of 32 Experiments have shown this to be an optimum starting level of dither EP Name Algorithm Description 010 Small St Adj Small Stereo Adj This preset is cut down version of the larger stereo adjust program in Single Setups This particular preset has the Soft knob patched to three parameters Spatial EQ SPEQ Bass Left BASL and Bass Right BASR boosts an...

Page 117: ...LVL4 off off P102 Medium Hall RTIM SIZE ROLL PDLY 1 7s 29 3M 1 0k 0m RLVL TDCY BASS XOVR full 4 4k 1 2X 0 2k SPIN WAND SHAP SPRD 33 8016u 100 97 DIFF LINK SHLF SIZE 68 link 6dB 29 3M DLY1 DLY2 RTIM 14m 20m 1 7s LVL1 LVL2 RLVL off off full DLY3 FBK3 DLY4 FBK4 40m 0 48m 0 LVL3 LVL4 off off P103 Small Hall RTIM SIZE ROLL PDLY 1 1S 23 6M 1 3k 0m RLVL TDCY BASS XOVR full 5 5k 1 2X 0 2k SPIN WAND SHAP S...

Page 118: ...67 unlk off 29 3M DLY1 DLY2 RTIM 76m 50m 2 4s LVL1 LVL2 RLVL 1dB 2dB full DLY3 FBK3 DLY4 FBK4 612m 18 600m 18 LVL3 LVL4 14dB 14dB MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 Size 27 2 Dly3 19 3 Dly4 18 4 RTIM 41 P113 Oil Tanker RTIM SIZE ROLL PDLY 1 6s 12 4M 2 9k 14m RLVL TDCY BASS XOVR full 4 4k 2 0X 0 5k SPIN WAND SHAP SPRD 33 1890u 141 108 DIFF LINK SHLF SIZE 92 Unlink off 12 4M DLY1 DLY2 RTIM 28m 12...

Page 119: ... ROLL 1 1s 24 8M 32 8 9k RLVL DDLY PDLY 12dB 0m 27 7m SPIN WAND 34 9450u P208 CarInterior RTIM SIZE DIFF ROLL 0 3s 4 5M 0 6 3k RLVL DDLY PDLY off 0m 0m SPIN WAND 18 1008 MOD EDIT SOURCE SOFTKNOB DEST SCALE Spin 60 P209 Score Stage RTIM SIZE DIFF ROLL 2 1s 20 3M 94 4 4k RLVL DDLY PDLY 4dB 0m 9 6m SPIN WAND 9 6426u P210 Gate It RTIM SIZE DIFF ROLL 0 0s 14 1M 59 21 2k RLVL DDLY PDLY full 0m 0m SPIN W...

Page 120: ...K2 LVL3 LVL4 0 0 8dB 6dB DLY5 FBK5 DLY6 FBK6 0m 0 0m 0 LVL5 LVL6 off off P306 EKO Plate RTIM SIZE ROLL PDLY 1 5s 28 7M 8 5k 10m RLVL TDCY BASS XOVR 4dB 6 3k 1 0X 1 0k RAND SHAP SPRD 46 0 0 DIFF LINK SIZE 67 link 28 7M DLY1 DLY2 DLY3 DLY4 660m 628m 30m 34m FBK1 FBK2 LVL3 LVL4 43 37 4dB 4dB DLY5 FBK5 DLY6 FBK6 54m 25 28m 25 LVL5 LVL6 4dB 4dB MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 RTiM 24 2 Dly1 27 3 ...

Page 121: ... 130m D EM 11uS RFnS off off L R BASS TREB LTRB RTRB flat flat flat flat BXOV TXOV TXLR SPEQ 0 5k 7 5k 12 2k flat LDLY LFIN RDLY RFIN 0m 133S 0m 133S LFBK Lfbk RFBK Rfbk 0 0 0 0 P406 MS Decode MSTR BAL ROT DLAY 0dB L 0 R 67 0m D EM 11uS RFnS off off L R BASS TREB LTRB RTRB flat flat flat flat BXOV TXOV TXLR SPEQ 0 5k 7 5k 12 2k flat LDLY LFIN RDLY RFIN 0m 0S 0m 0S LFBK Lfbk RFBK Rfbk 0 0 0 0 P401 ...

Page 122: ...EST SCALE 1 LDly 69 2 RDly 69 P508 Zorch MODE GLDL GLDR Mono 111 87 PCHL FINL PCHR FINR mi2 81C Ma2 38C LDLY LFBK RDLY RFBK 38m 57 76m 50 BNPS SYNC On On P501 Stereo Shift MODE GLDL GLDR ster 100 100 PCHL FINL PCHR FINR nul 0C nul 0C LDLY LFBK RDLY RFBK 32m 0 32m 0 BNPS SYNC on on MOD EDIT SOURCE SOFTKNOB DEST SCALE 1 GLDL 100 P502 Octave Down MODE GLDL GLDR ster 50 50 PCHL FINL PCHR FINR Oct 0C O...

Page 123: ... CC APD1 APG1 0 0m 0 MchA APD2 APG2 0 0m 0 CC DLY3 FBK3 0 0m 0 MchA DLY4 FBK4 0 0m 0 CC LDLY LPAN 0 0m L CH MchA RDLY RPAN 0 0m R CH Patch 1 LDLY Knob 0 0 85 2 RDLY Knob 0 0 85 P602 Space Delays CC FDLY LFBD RFBD 8 6m 0 0m 0 0m MchA LFLG RFLG 57 86 CC DLY1 FBK1 470m 22 MchA DLY2 FBK2 437m 23 CC APD1 APG1 4 0m 185 MchA APD2 APG2 7 4m 50 CC DLY3 FBK3 186m 28 MchA DLY4 FBK4 228m 36 CC LDLY LPAN 36 2m...

Page 124: ...BK4 0 0m 0 CC LDLY LPAN 5 7m R CH MchA RDLY RPAN 16 0m L CH Patch 1 FDLY LFO 0 9 5 P610 Sky Delays CC FDLY LFBD RFBD 1 8m 5 8m 4 3m MchA LFLG RFLG 28 28 CC DLY1 FBK1 79 8m 22 MchA DLY2 FBK2 28 7m 20 CC APD1 APG1 10 2m 47 MchA APD2 APG2 5 6m 36 CC DLY3 FBK3 81 7m 40 MchA DLY4 FBK4 56 0m 30 CC LDLY LPAN 57 2m L CH MchA RDLY RPAN 41 4m R CH Patch 1 LDLY Knob 0 0 78 2 RDLY Knob 0 0 72 3 FDLY LFO 0 75 ...

Page 125: ... 0 0 5 5 2 DLY2 Knob 0 0 7 1 P614 Env Peak CC FDLY LFBD RFBD 6 2m 10 0m 11 5m MchA LFLG RFLG 87 87 CC DLY1 FBK1 0m 0 MchA DLY2 FBK2 0m 0 CC APD1 APG1 0m 0 MchA APD2 APG2 0m 0 CC DLY3 FBK3 0 0m 0 MchA DLY4 FBK4 0 0m 0 CC LDLY LPAN 0m L CH MchA RDLY RPAN 0m R CH Patch 1 FDLY R Meter 0 30 P615 NegativeFlng CC FDLY LFBD RFBD 18 5m 8 3m 8 7m MchA LFLG RFLG 96 96 CC DLY1 FBK1 0m 0 MchA DLY2 FBK2 0m 0 CC...

Page 126: ...A TDCY SHAP SPRD 2 9k 85 111 CC BASS DIFF RAND 1 5X 59 96 MchA XOVR LINK 1 4k Unlk P714 Joe s B G CC RTIM SIZE PDLY 0 5s 14 6M 2m MchA TDCY SHAP SPRD 0 5 20 41 CC BASS DIFF RAND 1 5X 66 98 MchA XOVR LINK 1 4k Link Patch 1 SIZE Knob 0 0 25 P715 Joe s Garage CC RTIM SIZE PDLY 0 7s 7 3M 0m MchA TDCY SHAP SPRD 2 2k 11 50 CC BASS DIFF RAND 1 2X 30 59 MchA XOVR LINK 2 0k Unlk P701 Chamber CC RTIM SIZE P...

Page 127: ...ob 0 0 16 P718 BigBathroom CC RTIM SIZE PDLY 1 1s 18 0M 0m MchA TDCY SHAP SPRD 10 6k 205 68 CC BASS DIFF RAND 1 2X 44 30 MchA XOVR LINK 5 8k Unlk Patch 1 RTIM Knob 0 0 25 2 TDCY Knob 0 0 30 P719 Delay Room CC RTIM SIZE PDLY 0 7s 33 2M 30m MchA TDCY SHAP SPRD 1 0k 138 78 CC BASS DIFF RAND 1 2X 65 96 MchA XOVR LINK 3 6k Unlk Patch 1 PDLY Knob 0 0 16 Effect Presets using the Split Chamber Algorithm C...

Page 128: ...sing the Small Stereo Adjust Algorithm P010 Small St Ad CC MSTR BAL ROT 0dB 0 0 MchA SPEQ RFnS Flat L R CC BASL LTRB BXOV 0dB 0dB 1 2k MchA BASR RTRB TXLR 0dB 0dB 2 0k Patch 1 SPEQ Knob 0 0 49 2 BASL Knob 0 0 30 3 BASR Knob 0 0 30 P011Panola CC MSTR BAL ROT 0dB L 78 0 MchA SPEQ RFnS Flat L R CC BASL LTRB BXOV 0dB 0dB 1 2k MchA BASR RTRB TXLR 0dB 0dB 2 0k Patch 1 BAL Knob 0 0 100 P809 Octave Down C...

Page 129: ...6 1 Time Code Operation 6 Time Code Operation ...

Page 130: ...ured by time code the program length time code display and clock time will all be in synchronization Color video signals run at a rate of 29 97 frames per second and clocking a one hour color program at 30 frames per second will result in a time discrepancy of 3 6 seconds or 108 frames In order to correct this discrepancy a version of time code called SMPTE Drop Frame was developed SMPTE Drop Fram...

Page 131: ...ttons se lects a control page for the Event List Pressing the second button from the right on the top row allows you to choose to have a Timecode Event list enabled ON or disabled OFF Pressing any of the bottom row of buttons selects a page of controls for the item displayed directly above that button Four pages are available for addition of events to the list ADD deletion of items from the list D...

Page 132: ... to develop a list in the 300 is to SNAP entries into the list To use the snap function select OFF and turn the Soft knob to enable time code ON Locate the source machine to the beginning of the section you want to experiment with Give yourself about a 5 second preroll and roll tape Now press SNAP The display should show rolling time code 01 _ _ _ _ 00 00 00 00 SNAP CLR 00 00 00 00 Edit 01 00 00 0...

Page 133: ...Soft knob one tick Once you ve got the list edited and want to test a portion of it press CNTRL Ths will bring you back to the main time code menu Locate the time code source machine to the top of the production piece Give yourself a 5 second preroll NOTE Your first Event Edit 1 should occur before first picture or music You may have to trim edit the first event to reflect this After all you reall...

Page 134: ...and effect which loaded Example Let s say at the end of a scene we want the Reverb Time to increase from its preset value to 15 seconds We want this glide to take 100 frames At the same time we want the Input parameter to glide from its Setup value to OFF over the same amount of time Suppose the current Setup and Effect is Dance Hall then all of the parameters in the Setup and effect can Be glided...

Page 135: ...until the RTIM is displayed Press the next button to the right to use the Soft knob to select the final reverb time Adjust the value as close to 15 seconds as possible Finally press the next button to the right Turn the Soft knob clockwise to enter frame duration values 100 Fr will equal approximately 3 seconds Press STORE Event 3 should look like this Edit 03 01 00 21 05 PA RTIM 14 1s 100Fr Press...

Page 136: ...Frames Q What happens if you change Event 4 from Medium Hall to Vox Chorus Things to Consider About Glides Edit 04 00 59 27 00 S VoxChorus Edit 05 01 00 21 05 PA GLD Ma4 100Fr A Event 5 is now being driven by an algorithm which does not have RTIM as a selectable parameter and which cannot therefore have a final parameter value New values will be automatically placed there based on the selected alg...

Page 137: ...scroll to the event you want to start with Now select the effect number or the time code field by pressing the button directly above these display choices and change the values as needed Each time you alter a time code entry press ENTER When you have made all the changes you want press STORE and the modified events will be added to the list To delete an entry from the Event List select DEL The dis...

Page 138: ...me Code Name Comment 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 This page may be reproduced as needed for recording any Event List you create 300 Event List ...

Page 139: ...7 1 MIDI Operation 7 MIDI Operation ...

Page 140: ...00 Each of these applications will be discussed in this chapter but first let s cover some typical installations All MIDI connections described in this chapter use the MIDI IN OUT and THRU connectors located on the rear panel of the 300 As with any MIDI connection use only standard MIDI cables and keep them as short as possible to avoid possible data errors Fifteen meters is generally accepted as ...

Page 141: ...his function press CONTROL and use the PAGE UP DOWN keys to display the MIDI control page Setting MIDI Channels Midi Mode AUTO CHNL Map Table EDIT DUMP Pressing the button above CHNL will cause the following display to appear Channels MachA 1 16 OMNI Sys 1 16 OMNI MachB 1 16 OMNI Press either of the left hand buttons in the lower row to select the MIDI Channel for SysEx system and effect changes S...

Page 142: ...ed on the algorithm that you are currently running Value This is used to set the initial value of the parameter that you are controlling This is provided as a convenience so that you do not have to go into Effect Edit mode to view the available parameters of the running algorithm Source This is used to select the MIDI controller or event that will control an effect parameter in the 300 The list co...

Page 143: ...essage will be displayed You will quickly discover that a fixed relationship between MIDI Program Changes and the 300 s preset and register numbers is not very convenient Changing the presets in a synth or the registers in the 300 is not all that easy when you have to arrange everything so that MIDI Program Changes have the desired effect To solve this problem the 300 has a corresponding map table...

Page 144: ...Exclusive or Non Registered Parameter mes sages as you vary any of the available parameters if this function is assigned in automation mode As you turn the Soft knob to vary one of the 300 s effect parameters MIDI data in the selected output format will be transmitted from the 300 s rear panel MIDI OUT connector as a Program Change All parameter values are sent when the effect itself is changed Th...

Page 145: ... sequence the 300 will respond just as the changes were recorded In applications that require more than one 300 to work together you can use one 300 as a master and slave as many 300s as you need to the master This is done by connecting the MIDI OUT of the master machine to the MIDI IN of the first slave then connecting the MIDI THRU of the first slave to the next slave and so on Set the Automatio...

Page 146: ...buttonsinthetoprowwillallowSoftknobselectionofthetype of dump you want All Registers Current Setup MIDI Map Table or MTC Event List Pressing any of the buttons on the bottom row allow Softknob selection of pre dump delay of 2ms 50ms 100ms or 200ms Once you have made the selections you want here press STORE to send this MIDI information Please note that some dumps will take longer than others depen...

Page 147: ...8 1 Troubleshooting 8 Troubleshooting ...

Page 148: ...nit may be damaged by exposure to temperatures below 22 F 30 C or above 167 F 75 C or by exposure to humidity in excess of 95 If a unit exposed to such conditions fails to operate after it returns to a normal operating temperature contact your local service representative The 300 doesn t respond to MIDI Program Changes Check the PARAM MIDI channel on the MIDI Control page in Control mode and check...

Page 149: ...vent List page in Control mode The 300 will not lock onto an incoming digital signal Check the cables that you are using If the signal is coming in through the RCA conector cable length must be kept to a minimum If you are using the XLR input remember that this is a transformer balanced input and the cable must be wired with this in mind DO NOT USE ANALOG AUDIO CABLE TO CONNECT DIGITAL AUDIO When ...

Page 150: ...entation Chart MIDI Implementation Details are available to assist experienced programmers in developing software for use with the 300 These can be obtained from your dealer or directly from Lexicon Request Model 300 MIDI Implementation Details ...

Page 151: ...controller Number True Voice Velocity Note ON X O v 1 127 Used as controller Note OFF X X After Keys X X Touch Channels X X Pitch Bender X O MSB only Control 0 95 X OX 0 99 Controllers can Change be patched to control effects parameters 96 OX OX Data Increment 97 OX OX Data Decrement 98 OX O N RPN 99 OX O N RPN Program O O 0 127 Change True O 0 127 System Exclusive O O System Song Pos X X Song Sel...

Page 152: ...10 1 Specifications 10 300 Specifications ...

Page 153: ... 14dBu minimum 4dBu maximum DC to 2kHz 60dB minimum 2kHz to 20kHz 40dB minimum 48kHz sample rate 10Hz to 21 5kHz 0 2dB 44 1kHz sample rate 10Hz to 20kHz 0 2dB 32kHz sample rate 10Hz to 14 5kHz 0 2dB 5 degrees 10Hz to 20kHz Frequency Independent From Analog Input to Digital Output 0 75mS 80dB maximum 10Hz to 20kHz 90dB minimum A weighted 0 01 maximum 10Hz to 20kHz 0 01 maximum 90dB minimum 15µs 0 9...

Page 154: ...nterface Sample Frequency EIAJ CP 340 SPDIF consumer digital audio interface Balanced female XLR EIA 422 input 100mV p p minimum Formats supported Speed Range SMPTE 0 75 to 1 18 Drop or Non drop EBU 0 80 to 1 33 Film 0 82 to 1 33 5 pin DIN connectors provided for MIDI IN MIDI OUT and MIDI THRU Control Interfaces Time Code Input MIDI Interface General 19 0 W x3 5 H x13 6 D 483x89x346mm 19 rack moun...

Page 155: ...Lexicon Part 070 09678 Lexicon Inc 3 Oak Park Bedford MA 01730 USA Tel 781 280 0300 Fax 781 280 0499 ...

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