Lexicon PCM NATIVE Owner'S Manual Download Page 61

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Tap Slope

This is an unusual parameter which affects the relative gain of impulses coming

from the reverb. While this parameter does not (as it might appear) make the

reverb sound ‘bumpy’, it may affect timbre or the overall sense of spaciousness.

Tap Slope = 0

Positive Tap Slope

Negative Tap Slope

Overall Decay trend

Impulses

It can also be used to create inverse and gated effects. In this case, Reverb

Time should be at 0. Spread should be fairly high. Shape should be fairly high.

Size should be fairly high. TapSlope should be in the range of (5 to 10). Play with

spread, shape and size to vary the effect.

Summary of Contents for PCM NATIVE

Page 1: ...OWNER S MANUAL PCM NATIVE REVERB BUNDLE ...

Page 2: ...2 The Lexicon Legacy continues ...

Page 3: ...ate bundle for creating professional inspirational mixes within popular DAWs like Pro Tools Logic and any other VST Audio UnitTM or RTAS compatible platform With all the flexibility you would expect from native plug ins this powerhouse Bundle delivers 7 legendary Lexicon reverb plug ins with hundreds of the most versatile and finely crafted studio presets Designed to bring the highest level of son...

Page 4: ......

Page 5: ...ur DAW Quick Start Choose one of the seven Lexicon plug ins Each plug in contains a different algorithm Chamber LexChamber Hall LexHall Random Hall LexRandomHall Plate LexPlate Vintage Plate LexVintagePlate Concert Hall LexConcertHall Room LexRoom In the plug in s window select a category Select a preset Adjust parameters optional Save the preset optional It can be as simple or as in depth as you ...

Page 6: ...Included Items PCM Native Reverb Bundle software CD iLok license code This manual ...

Page 7: ...Fader Area 8 Parameter Name 9 Parameter Value 9 Modifier Button 9 Fader 9 The Control Buttons 10 Edit 11 Compare 11 Store 11 Edit Navigation and Full Edit Mode 12 The Soft Row 13 Customizing the Soft Row 13 Input and Mix 14 Reverb 15 Reflections and Echoes 16 Master Time Control 17 Absolute Tempo Switch 17 Gain Polarity Switch 17 Room Control 18 Predelay 19 Room Scale 19 Bass Xover 19 Bass Boost 1...

Page 8: ... Master 44 Diffusion 44 Bass Crossover Bass XOver Room 44 Echo Parameters 45 Eko Delay 45 Eko FBack 45 Eko Gain 45 Eko Time Mast 45 Eko Fbck Mast 45 Feedback 45 Frequency 46 Front Early Level 46 Infinite 46 Mix Wet Dry Mix 46 Output Level 47 Pattern Room 47 Predelay 47 Reflection Parameters 47 Rfl Delay 47 Rfl Gain 47 Rfl Time Mast 47 Reverb Time 48 Reverb Wander 48 RT Hi Cut 48 RtHC Damping 48 Sc...

Page 9: ...he on screen instructions to install the software you wish to use iLok License You must download a license to your iLok USB smart key before running any program that might use these plug ins If a valid iLok license is not present the initial plug in validation scan will fail and you may not be able to run the plug ins without digging into your system For more information go to www iLok com Importa...

Page 10: ...ers Fader Area Control Buttons Algorithm Name Preset Category Preset Selector Realtime Display EQ Window Help Button First Look When the plug in is instantiated you will see a window that looks something like this ...

Page 11: ... to see inside the reverb This is explained in greater depth on page 4 EQ Window Allows you to see the type of EQ filters that are applied to the early and late reverb signals This is explained in greater depth on page 6 Level Meters Show the input and output levels Help Button Click on the Help button to enable tooltip help Then hover your mouse cursor over the button or parameter you want to kno...

Page 12: ... you to visualize the reverberation in three ways While your ears will always be the primary tool in choosing and adjusting presets the displays provide a direct way to see what s going on Click any where in the realtime display window to change the view ...

Page 13: ...display shows the reverb in five frequency bands with the lowest frequency in the rear The image moves from right to left as it ages Frequency This display shows the reverb as a more traditional RTA image with lower frequencies on the left Impulse This display shows the signal as a single impulse re sponse The image moves to the left as it ages ...

Page 14: ...6 EQ Window This window provides control of the output equalization Graphic Display Early Late Selectors Level Control EQ Parameters EQ Type Selector ...

Page 15: ...ss 6db Octave Single pole highpass 6db Octave Double pole lowpass 12db Octave Double pole highpass 12db Octave Bandpass Notch Level Control Overall output level of the active section These may be edited by holding the mouse down and moving up and down over the knob Alternatively the value field may be directly edited EQ Parameters Frequency shelf and bandwidth parameters of the active section To e...

Page 16: ...8 The Fader Area The fader area may be populated by up to nine faders This illustration shows what may be found for each fader Parameter Name Modifier Button Parameter Value Fader ...

Page 17: ...dited Modifier Button This button only appears for certain types of parameter It controls aspects of the param eter In this illustration it serves as a button to send the reverb into infinite reverberation Fader Changes the value of the parameter May be dragged control dragged for higher resolution or may be controlled by the mouse wheel ...

Page 18: ...10 The Control Buttons These buttons let you access all of a preset s parameters manage presets and compare changes you ve made to the original settings ...

Page 19: ... more detailed information Compare The Compare button temporarily restores the plug in to the selected preset It gives you a chance to see what was changed While in compare mode the plug in is not editable Click Compare again to restore your edits Store This allows the you to create and manage your own presets See page 20 for more information ...

Page 20: ...uttons appears along the lower right portion of the plug in The names and number of buttons varies among algorithms Clicking one of the buttons will bring up an edit page holding parameters related to the button name Those parameters may be edited until the desired sound is achieved Click Edit ...

Page 21: ...ignments and store the preset as a User preset To do this press the Edit key to go into edit mode and press the button for Soft Row The plug in will look something like this In the modifier button area just above the fader you will see the name of the parameter that is assigned to that position in the soft row Click on the parameter and a list of all the algorithm parameters will appear Select a p...

Page 22: ...d Mix Clicking the Input Mix button reveals a straightforward group of parameters all of which are described in the Parameters section starting on page 42 The Prede lay parameter includes an Absolute Tempo button In Absolute Mode a delay is shown in milliseconds In Tempo Mode a rhythmic value is shown and the delay time responds to changes in the tempo using this plug in If tempo slows down delays...

Page 23: ...arameters section start ing on page 42 This edit page also includes an Infinite button which lets the reverb echoes continue endlessly and a Damping button which controls the high frequency damping of the signal during the reverb tail It may be conisdered analagous to air absorption 1 Click Edit 2 Click Reverb Infinite Button Damping Button ...

Page 24: ...put channels Their delay time may be modified as well as the output level and polarity Echoes are similar to reflections but they have an additional control that al lows them to feed a delayed signal back into the input Both types of voices pass through the input diffusors Master Time Control Absolute Tempo Switch Gain Polarity Switch 2 Click Reflections or Echoes 1 Click Edit ...

Page 25: ...fect of the reverb Absolute Tempo Switch Nearly all delays including predelays have this switch In Absolute Mode a de lay is shown in milliseconds In Tempo Mode a rhythmic value is shown and the delay time responds to changes in the tempo using this plug in If tempo slows down delays get longer Gain Polarity Switch Changes the gain from normal to inverted ...

Page 26: ...ns starting on page 42 Here are a few parameters unique to this algorithm Early Predelay Reverb Predelay Room Scale Bass Xover Bass Boost Select room impulse category Select impulse Normal Reverse impulse Click Room NOTE Though the term impulse is used in this manual these algorithms are NOT convolution reverbs ...

Page 27: ... value will delay the reverb until nearer the end of the room impulse An even larger value will create actual separa tion and may be perceived as a slapback Room Scale Is used to change the size of a room impulse Bass Xover Controls the frequency of a filter that is applied to the room impulse It works in conjunction with Bass Boost Bass Boost Can boost or cut the signal below the Bass Xover value...

Page 28: ...variants These variants share the same basic characteristics but are EQ ed differently Loading a Preset The preset category is chosen from the drop down menu in the upper left part of the edit window When you select a category the preset menu is updated to show availability of the new presets An initial preset will be loaded from the cat egory It will be the first preset in the list unless you hav...

Page 29: ... plug in with the gold border is embedded within a larger window provided by the DAW Appearance will differ from host to host this example is from LogicTM Oftentimes the DAW itself provides the ability to save presets The presets saved by the DAW can only be used with the DAW that saved them If you work with multiple DAWs this could be a problem ...

Page 30: ... available to all DAWs on your machine With only a little effort you can also share them with other machines even when going between Mac and PC If you ve made some edits you d like to save as a plug in press the Store but ton on the lower left corner of the plug in editor You ll see a screen that looks like this 1 Click Store 2 Click to edit name 3 Click Store to save ...

Page 31: ...ng You can easily click in this field and change the name to anything you like Once you have the appropriate name click the Store button and the preset will be saved If you decide not to save it then the Cancel button will return you to the editor If you select one of the existing presets in the library you can replace or delete that preset 2 Preset name appears here Click to delete 1 Click on a p...

Page 32: ...ngs username Application Data Lexicon PCM Native User Presets AlgorithmName Getting the most out of your computer These plug in reverbs are written to be efficient and most computers will run more copies than you may need But if you find yourself needing to squeeze a little bit more out of your CPU you can take the following simple steps Turn off the active displays The central window can represen...

Page 33: ...nues to ring on another You may also notice that the behavior changes when the plug in is inserted on an audio track an instrument track or an aux track We d like to behave as consistently as we can but some things are beyond our control Tempo Mode Presets In some of the plug ins you will find presets with T in the preset name These are tempo mode presets These presets have some characteristic pre...

Page 34: ...26 Heritage The ...

Page 35: ...sional signal processing by the 960L Multi channel Digital Effects System and the PCM96 series Reverb Effects Processors which have themselves garnered an impressive follow ing of producers artists and engineers Growing demand for proprietary Lexicon technologies has led to its appearance in numerous applications with dramatic results Our processing is relied upon to enhance the sound of prestigio...

Page 36: ...e just received a package with seven plug ins each one controlling a dif ferent algorithm Why would you choose one over another Experience will eventually give you a feeling but in the meantime a little description won t hurt ...

Page 37: ...careful design and setup a highly satisfying reverb could be generated There are still a number of first rate echo chambers in operation around the world The principal characteristics of the chamber algorithm include a rapid high den sity and avoidance of noticeable wall slaps This complex miniature space effect resembles an echo chamber at its smaller settings and at its larger ones a small perfo...

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Page 39: ...ters Smaller halls may be used for smaller ensembles The characteristic sound of a hall includes very low initial reflection density with little reflection energy before 60 100 milliseconds Density buildup is more gradual because of the larger distances between reflecting surfaces Re verberation time is somewhat longer as well Finally in most halls lower frequen cies reverberate longer than higher...

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Page 41: ...ed or con tracted in time using the Delay Master control and the overall level of the pat tern can be set with the Early Level control A hall is the principal venue for classical ensembles but has proven to be useful for all types of music A hall is comparatively large with wall to wall distances that are typically several tens of meters Smaller halls may be used for smaller ensembles The characte...

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Page 43: ...curring in a large open space The Plate plug in mimics the sound of plate reverberators with high initial dif fusion and a relatively bright colored sound For this reason they are good choices for percussion They are designed to be heard as part of the music mellowing and thickening the initial sound itself The Plate sound is what many people associate with the word reverb and it is useful for all...

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Page 45: ...sion on springs Transducers attached to the plate transmit a signal that makes the plate vibrate causing sounds to appear to be occurring in a large open space The Plate plug in mimics the sound of plate reverberators with high initial dif fusion and a relatively bright colored sound For this reason they are good choices for percussion They are designed to be heard as part of the music mellowing a...

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Page 47: ...ulation causing strong pitch effects at higher settings The reverb tail has a life of its own desirable in pop music less so in jazz or classical applications A hall is the principal venue for classical ensembles but has proven to be useful for all types of music A hall is comparatively large with wall to wall distances that are typically several tens of meters Smaller halls may be used for smalle...

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Page 49: ...oduction Lexicon reverbs are renowned for smooth tails and con trolled frequency response However in many cases the earlier components are more important This may be true for some forms of popular music and is even more true for post production In these cases specific types of spaces need to be invoked for convincing dialog and effects Reverbs This algorithm can also be used to generate large reve...

Page 50: ...ve prefixes indicating what channel they control for example Level may appear as RightInLvl Bandwidth This parameter lets you set the bandwidth of a multimode filter Bandwidth is specified in octaves or fractions thereof This parameter is available only when it has an effect bandpass and notch modes In all other cases it is hidden Bass Boost Room This parameter is closely tied to the Bass Crossove...

Page 51: ...lgorithm One is tied to BassRT the other is found in the Pattern settings menu and affects the BassBoost Category Room This parameter lets you select a specific category from which a room response may be chosen Changes here have a direct effect on the Pattern Selector parameter Chorus This parameter in the Concert Hall algorithm controls the rate at which the re verb chorus is run Low values may c...

Page 52: ...usted by this percentage Delay Time Master Controls all delays in the algorithm Each voice has its nominal delay time ad justed by this percentage Diffusion Input diffusion is the first part of processing for any signal entering a reverb or delay It can be described as a smearing or softening of the signal and is typically used to lessen the impact of strong transients Bass Crossover Bass XOver Ro...

Page 53: ...icient by be optionally inverted Eko Gain Controls the gain of an echo that comes from the indicated input L or R and goes to the same output The sign of the gain coefficient by be optionally inverted Eko Time Mast Controls all echo voices in the algorithm Each echo delay has its nominal time adjusted by this percentage Eko Fbck Mast Controls all echo voices in the algorithm Each echo feedback has...

Page 54: ...essed signal to dry unprocessed signal This must be used with care If the plug in is used as an insert on a single track then it is probably appropriate to use the mix control directly in the plug in However reverbs are often used on Aux tracks and may be sourced over internal busses in the DAW In this case it may be better to control the level on the Aux track rather than wet dry mix Not all DAWs...

Page 55: ...ich case its delay time will be related to tempo Note that this parameter can have different routing configurations indicated in its name For example if its name appears as L Rfl Delay or L L Rfl Delay the signal comes in from the left and goes out the left If the name appears as L R Rfl Delay the signal comes in from the left and goes out the right Rfl Gain Controls the gain of a reflection The s...

Page 56: ... of those values The actual time is also highly dependent on other parameters as well as the audio material Reverb Wander This parameter also known as just Wander along with Reverb Spin is used to control the reverb randomizer It controls the maximum size of randomizer steps and is expressed in a time value typically milliseconds RT Hi Cut This parameter also known as Hicut or RTHC is a low pass f...

Page 57: ...onse Shape and Spread The Shape parameter is closely tied to the Spread parameter Shape controls how energy is injected into the reverberator A low value means that sound enters the reverb at the beginning of the spread window A high value means that most sound moves into the reverb at the end of the spread window A value somewhere in the middle means that sound enters the reverb evenly across the...

Page 58: ... a signal is injected into the reverb Shape controls just how the signal is injected during this window Together the two parameters create an envelope for the early portion of the reverb as shown in this illustration Shape 32 Spread 20 Shape Anything Spread 0 Shape 64 Spread 75 Reverb Tail Early Reverb ...

Page 59: ... together and the resultant reflection density increases When the room size is large that density decreases The most natural reverbs use room sizes that vary from about 24 meters to 45 meters or so but there are many useful reverbs that are outside of this range There is a relationship between this parameter and the Reverb Time parameter Please see the Reverb Time parameter for clarification Sprea...

Page 60: ...rameter to encode the tail in such a way that it decodes into surround channels The parameter operates in the range of 0 to 360 degrees with an incremental change of 1 degree The matrix uses Sine Cosine rules so that power distribution remains constant This may be acceptible even highly desirable but the mix engineer must fully understand the process and its implications It is possible to compromi...

Page 61: ... timbre or the overall sense of spaciousness 24 Tap Slope 0 Positive Tap Slope Negative Tap Slope Overall Decay trend Impulses It can also be used to create inverse and gated effects In this case Reverb Time should be at 0 Spread should be fairly high Shape should be fairly high Size should be fairly high TapSlope should be in the range of 5 to 10 Play with spread shape and size to vary the effect...

Page 62: ...54 Wander See Spin ...

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Page 64: ...onal Inc All other trademarks are property of their respective owners All features and specifications are subject to change Harman Music Group 8760 South Sandy Parkway Sandy Utah 84070 U S A Phone 801 568 7660 Fax 801 568 7662 Questions or comments Visit us at www lexiconpro com Printed in the U S A www lexiconpro com ...

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