Lexicon M300L Owner's Manual
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Lexicon M300L Owner's Manual

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300L
Digital Effects/
LARC Interface
Owner's
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  • Page 1 300L Digital Effects/ LARC Interface Owner's Manual...
  • Page 2 Precautions The Lexicon 300L is a rugged device with extensive electronic protection. However, you should observe the same reasonable precautions that apply to any piece of audio equipment. • Always use the correct line voltage. Refer to Chapter 1 of this manual for power requirements.

  • Page 3: Table Of Contents

    Contents Introduction 1. Installing the 300L Mounting ..................... 1-2 Power Requirements ................1-2 The Rear Panel .................. 1-3 Connectors, Cables and Configurations ..........1-4 About the LARC .................. 1-6 How to Interface the LARC ..............1-7 Setting Analog Audio Levels ............... 1-8 Configurations ..................
  • Page 4 Contents, cont'd. 4. The Algorithms and their Parameters Single Setup Algorithms ..............4-2 Random Hall ................4-2 Random Ambience ............... 4-9 Rich Plate ................... 4-12 Stereo Adjust ................4-16 Stereo Pitch Shift ............... 4-22 "Split" Setup Algorithms ..............4-25 Dual Delays ................4-25 Chamber ..................
  • Page 5 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 Error Status Messages ............... 8-4 9. MIDI Implementation Chart 10. Specifications...

  • Page 6: Introduction

    Congratulations on your purchase of the 300L Digital Effects System with LARC Remote Interface! The 300L not only contains the finest sounds, as you've come to expect from Lexicon, it incorporates new functions that satisfy the needs of today's audio production.
  • Page 7 Even with the best functions and features, the heart of any signal processor is its sound. The 300L contains the very best of the Lexicon Sound — with new refinements such as dynamic size parameters in the Reverb and Ambience algorithms.

  • Page 8: Installing The 300L

    Installing the 300L Installing the 300L...

  • Page 9: Mounting

    300L Owner's Manual Lexicon Before rack-mounting the 300L, you may want to remove the four rubber feet Mounting attached to the bottom of the chassis. Gently pry off the black plastic buttons in the center of each foot, then remove the foot itself.

  • Page 10: The Rear Panel

    One of these connectors may be selected for digital domain, pin 2 high convention is used by digital input. Time Code In Lexicon. 3-pin female XLR con- Outputs Pin 1 and either pin 2 or pin 3 of each output must nector for input of Output format can be AES/EBU or S/PDIF.

  • Page 11: Connectors, Cables And Configurations

    300L Owner's Manual Lexicon Connectors, Cables and Configurations Connectors Signal Mating 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...
  • Page 12 Installing the 300L Cables Analog Audio I/O For best performance, maintain balanced connections, and use high-quality, and Time Code 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. For mono connection, connect the left and right input channels in parallel.

  • Page 13: About The Larc

    300L Owner's Manual Lexicon About the LARC Headroom Indicator +12 dBm indicates analog or Main Display digital clipping. Proper input Shows names and values for level is with +12 dB and ovld all selections. LEDs unlit . Numeric Keypad Press one of these keys to load a program selected with PROG or REG.

  • Page 14: How To Interface The Larc

    Installing the 300L How to Interface the LARC The 300L rear panel COMM PORT connector interfaces to the Lexicon Alphanumeric Remote Control (LARC) via a flexible 50-ft cable (supplied). The pin assignments for the connector are shown to the right.

  • Page 15: Setting Analog Audio Levels

    300L Owner's Manual Lexicon When shipped from the factory, the 300L is set for Analog I/O configuration. Setting Analog Once you have connected the analog inputs and outputs, you should set up the Audio Levels analog input (pre A/D converter) and analog output (post D/A converter) levels.
  • Page 16 Installing the 300L Input levels between -1.5dBu and -2.9dBu will reference to 0 on the LARC meters. You will find your own region of optimization. On the output side, if +11dBu isn’t quite enough oomph! for the return inputs (which is rarely the case) you may need to crank up the outputs. If you have attenuated the inputs, as in the above example, the output will not be at unity gain so you will have to boost the output sliders by the same amount.

  • Page 17: Configurations

    300L Owner's Manual Lexicon Configurations Connection to a mixing console's effects sends Effects Send (L) Effects Send (R) Channel Input or Effects Return (L) Channel Input or Effects Return (R) AES/EBU EIAJ CP340 TIME CODE IN R OUT L OUT...
  • Page 18 Installing the 300L AES/EBU to AES/EBU DIGITAL AUDIO DIGITAL VIDEO AES/EBU Format MACHINE Analog outputs for monitoring Source Machine AES/EBU Format AES/EBU EIAJ CP340 TIME CODE IN R OUT L OUT R IN L IN PUSH PUSH PUSH PUSH INPUT GAIN MIDI COMM PORT...
  • Page 19 300L Owner's Manual Lexicon AES/EBU to S/PDIF Conversion Source Machine DIGITAL AUDIO AES/EBU Format DIGITAL VIDEO MACHINE Analog outputs for monitoring AES/EBU EIAJ CP340 TIME CODE IN R OUT L OUT R IN L IN PUSH PUSH PUSH PUSH INPUT...
  • Page 20 Installing the 300L ANALOG I/O and AES/EBU to AES/EBU Analog Source Digital Source ANALOG DIGITAL AUDIO MACHINE AES/EBU Format DIGITAL VIDEO CONSOLE MACHINE Analog audio AES/EBU Format AES/EBU EIAJ CP340 TIME CODE IN R OUT L OUT R IN L IN PUSH PUSH PUSH...
  • Page 21 300L Owner's Manual Lexicon ANALOG In with Digital Patch Point to ANALOG Out ANALOG AES/EBU Format MACHINE DIGITAL PROCESSOR CONSOLE AES/EBU EIAJ CP340 TIME CODE IN R OUT L OUT R IN L IN PUSH PUSH PUSH PUSH INPUT GAIN...

  • Page 22: System Overview

    System Overview System Overview...

  • Page 23: Terms Used In This Manual

    Lexicon 300L Owner's Manual Terms used in this manual In discussing 300L operation, the following terms are used. Algorithm The 300L contains eleven algorithms . An algorithm is a set of instructions that tells the 300L's audio processors how to process the input signal. One algorithm produces pitch shift effects, another produces reverberation, etc.
  • Page 24 System Overview Effect programs: 160 effect programs are installed in the 300L to give you a wide variety of sounds to use as is, or to use as a starting point when creating your own sounds. (50 effect registers are provided for storage.) Setup presets: 150 setup presets provide a convenient starting point for selection of effect combinations.

  • Page 25: Operating Modes

    Lexicon 300L Owner's Manual Operating Modes The 300L is always in one of the following four operating modes: Setup (preset or register) Select Mode Program Preview Mode Register Preview Mode Control Mode The 300L always powers up in its last operating state.

  • Page 26: Checking Your System's Status

    System Overview Checking Your System's Status Press CTRL to enter Control Mode. Press PAGE, then press 1. Move slider 1 (SEL) on Page one of the control program for a quick display of the following information: INPUT TYPE SAMPLE RATE DIG CONNECT OUTPUT TYPE PATCH POINTS...

  • Page 27: System Overview

    Lexicon 300L Owner's Manual System Overview The 300L presents you with an incredible number of choices — all of which can be made from the LARC. Although you could certainly operate the 300L by setting each I/O configuration and effect parameter by hand each time you use it, you probably wouldn't enjoy it —...
  • Page 28 System Overview By far the most important aspect of the 300L is the Setup and its association to the digital effect(s) that you want to use. The 300L has three types of Setups: Single, Dual Mono, and Cascade. Each is strikingly different and together they provide incredible audio possibilities.
  • Page 29 Lexicon 300L Owner's Manual The 300L's Control Mode provides access to general global parameters and miscellaneous functions. Selecting Control mode does not interrupt the audio operation of the 300. There are 9 Control mode pages: Input type select (analog and/or digital), analog sample rate select, digital lock, digital input connector type, digital input format display and digital output format selection.

  • Page 30: System Operation

    System Operation System Operation...

  • Page 31: Getting Started

    300L Owner's Manual Lexicon When shipped, the 300L defaults to an Analog In, 48K sample rate state. It also Getting Started loads Setup Preset 1 Large Hall, with the Random Hall Effect Large Hall (Bank 1 Program 1). The Setup determines the internal I/O routing configuration, and contains pointers for one or two effects.

  • Page 32: Softslider

    System Operation When the 300L is first powered up, the upper LARC display should read: LARGE HALL -24 18 12 6 0 6 +12 ovld dB SG: SET P 1 The slider displays should read: SETUP: SOFT indicating that the unit is in Setup mode. If your unit is not in Setup mode, press the SETUP key.

  • Page 33: Selecting Analog And/Or Digital Input

    300L Owner's Manual Lexicon Selecting Analog and/ The 300L, as shipped from the factory, is set to run Analog In at 48kHz. To change the Analog Sampling rate, to Client-lock the 300L to an external digital or Digital Input device, or to external system word clock, press CTRL to enter the 300L Control mode.

  • Page 34: Single Setups

    System Operation Output Types and Patch Points Typically the 300L operates with both analog and digital outputs active. However in the Dual-Mono and Cascade there are other options. When ANALOG inputs are selected, the DIGITAL inputs and outputs are available as patch points, either pre or post processing.

  • Page 35: Dual Mono Setups

    300L Owner's Manual Lexicon Example Virtually 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 the button below the ANA: BAL slider (Analog Balance).
  • Page 36 System Operation Fixed Format Patch Points EFFECT Level Balance EDIT A Analog or Digital EFFECT EDIT B Level Balance Patch Points When both Analog and Digital are specified to operate as MAIN Inputs, we refer to it as "Mixed Format." The Mixed format gives you the option of using the left, right, or summed mono input signals of each type of input(Analog or Digital).

  • Page 37: Cascade Setups

    300L Owner's Manual Lexicon Setup Balances Most Dual Mono setups have the MA: BAL and MB: BAL set to Left-CHannel and Right CHannel respectively. This assumes a fixed format type of audio configuration. If you elect to work in a Mixed format, all Dual Mono setups will require individual adjustment of ABAL and BBAL to 50%.
  • Page 38 System Operation On Page 1 of the Control mode INPut slider, there are two input selections available when running Cascade Setups: Analog or Digital. If Analog is selected as the main input type, then the Digital Input can be used as a patch point — either Pre-Machine A, Mid A - B, or Post Machine B.

  • Page 39: Setup Select Mode

    300L Owner's Manual Lexicon Setup Select Mode Setup Select mode allows you to select and run Setup Presets and Registers. The Setup Presets The 300L is shipped with 150 Setup Presets, as well as 50 user Setup Registers for storing your modified Setups. The Setup Presets, listed below, provide a convenient starting point for selecting the audio DSP routing along with an effect(s)you want to use.
  • Page 40 System Operation Single Setup Presets cont'd. Setup# Setup Name SoftSlider Effect: Bank Program DRUM CAVE DECAY MA: B6P4 DRUM CAVE BALLROOM SIZE / SHAPE MA: B6P5 BALLROOM SCORE STAGE LIVENESS MA: B6P6 SCORE STAGE DRUM GATE DURATION MA: B6P7 DRUM GATE LE GATE! HIGH CUT MA: B6P8 LE GATE!
  • Page 41 300L Owner's Manual Lexicon Dual Mono Setup Presets Setup # Setup Name SoftSlider Mach A Effect Mach B Effect P101 DM: REV/REV INPUT PAN MA:B13P1 CHAMBER MB:B13P2 KEY CHAMBER P102 DM: REV/DLY INPUT PAN MA:B11P3 DRUM CHAMBER MB:B12P8 LFO:FAZE DELAYS...

  • Page 42: Setup Select

    System Operation Setup Select To enter Setup mode, simply press the LARC key labeled SETUP. This mode has six pages of controls: Page 1 represents the top level of the User Interface. It allows you to select Setup PREsets or REGisters, and to modify SoftSlider values. The Setup is identified as SG: (SINGLE), DM: (DUAL MONO) or CC: (CASCADE).
  • Page 43 300L Owner's Manual Lexicon Single Setups have only one adjustable parameter on Page 3: OMIX. This control adjusts the proportion of “wet” signal to “dry” signal. Most SINGLE Setup Presets have OMIX set to “WET” (100% wet effects). Dual Mono has 2 MIX parameters;...
  • Page 44 System Operation The lower displays over the slider will read: DEST Slider 1 (SEL) addresses the patch you are creating. Advancing the slider will address either Patch #1 or Patch #2. For this example, pull the slider down to create patch #1. Slider 2 (SRC) assigns a control source which will drive the destination parameter.

  • Page 45: Storing A Setup

    300L Owner's Manual Lexicon To disable the patch, press SETUP, press the button under the PRE slider, then press ENTER to re-select the Setup, thereby restoring the original settings. Page 6 is a dedicated page for naming the Setup with as many as 12 characters.

  • Page 46: Working With The Effect Programs

    System Operation Working with the The 300L is shipped with 160 Effect programs within the Setups described earlier. Sooner or later you will want to alter the sounds of these effects to more Effect Programs perfectly fit your requirements. To do this, load, for example Setup P1 LARGE HALL, then press the PROG button.
  • Page 47 300L Owner's Manual Lexicon In Split Setups, effects are loaded into both Machine A and Machine B. Use the MACH button to toggle between Machine Effects.For example load Setup 102 DM: REV/DLY. To do this press the SETUP key then move the PRE slider until...

  • Page 48: Storing Individual Effect Registers

    System Operation The last two pages in any Effect Program or Register are always the MIDI Patch The MIDI Patch Page Page, and the Naming Page. As these are identical in every algorithm, they are and the Naming Page not shown with the other effect parameters in Chapter 4. Both of these pages are shown below for reference.

  • Page 49: Automatic Storing Of Modified Effects

    300L Owner's Manual Lexicon Note The following store procedures apply only to effect Registers. Once you have modified and stored these effects, you must store them into a Setup Register. To do this, press SETUP, then press STOre. The upper display will show:...

  • Page 50: Using Banks And Programs

    System Operation The BANK and PROG keys can be used to load a new Effect (or Effects) into a Using Banks and Setup. This is perfectly legal to do, but may seem counter-intuitive to the direct Programs Setup Select operation. For those familiar with 224XL or 480L operation, this may seem more logical.
  • Page 51 300L Owner's Manual Lexicon If you are lost, and don’t remember which Bank and Program is currently running, press MACH to restore the display of the currently running Bank and Program. Remember, to load a Program after selecting a Bank, you must press PROG, then enter a number.
  • Page 52 System Operation Banks and Programs in Split Configurations You must be running a “Split” Setup (101 or higher) in order to load any of the Effects in Banks 11-16. As an example, press SETUP, then use the PREset slider to locate Setup Preset 102 (REV / DLY). This is a Dual Mono setup with different Effects running in each machine.
  • Page 53 300L Owner's Manual Lexicon Now, suppose you want to load two entirely different effects into each machine. For this example, we’ll load a mono shift effect from Bank 15 into Machine A and a reverb effect from Bank 14 into Machine B.
  • Page 54 System Operation With both Effects loaded, you can now modify each Effect to suit your own needs. Once you’ve done this, you should store each Effect into its own Effect Register. To do this, you can follow the store procedure discribed earlier for the SINGLE Effect —...
  • Page 55 300L Owner's Manual Lexicon Banks and Programs Single Effects (Banks 1-10) Split Effects (Banks 11-16) BANK 1 HALLS BANK 11 DELAYS BANK 6 INSTRUMENT BANK 14 SPLIT REV 2 B1P1 LARGE HALL B11P1 BASIC DELAY B6P1 LIVE DRUM ROOM B14P1 BIG HALL...

  • Page 56: Midi/Modulation Patching

    System Operation MIDI/Modulation MIDI/Modulation patching allows you establish dynamic relationships between Setup and Effect parameters and either MIDI controllers (Mod Wheel, Pitch Patching Bend, etc.)or internal controllers (LFO, Display Meters). Mod patches are used to create or modify Dynamic MIDI patches. To use Dynamic MIDI, you assign a MIDI controller to a setup parameter or to an effect parameter.

  • Page 57: Control Mode

    300L Owner's Manual Lexicon Note: Be extremely careful when creating patches while a MIDI device is connected. If you accidentally send a MIDI Program Change before saving the patches in a register, the patches will be lost. To avoid this...
  • Page 58 System Operation DIN (Digital Input Connector) Specifying the Digital Input connector should be done before setting the 300L to receive Digital Word Clock. Use the slider to specify XLR, RCA, or OPT connector. All three connector ports can be occupied, but only one can be selected to be the audio source for the system.

  • Page 59: Copy

    300L Owner's Manual Lexicon SCM (Serial Copy Management System) If you have selected S/PDIF as the output format, this slider will allow you select from among three levels of Copy Protection. The choices are: MULTI-COPY, ONE COPY, OR NO COPY. The factory default setting is MULTI-COPY.

  • Page 60: Midi: Automation, Dumps And Channel Selection

    System Operation Page Five AUTO MIDI: Automation, Dumps and Channel Selection AUTO (Automation) This slider allows you to specify mapping of MIDI non-registered parameters, System Exclusive messages or Program Change messages from the 300L. The button below the AUTO slider allows you to view the current MIDI Automation mode.

  • Page 61: Time Code: Snap And View

    300L Owner's Manual Lexicon Page Seven This page provides the top level of control for Time Code Automation. Time Code: Snap and View This slider selects Time Code modes: OFF (Time Code reception disabled), VIEW (view the running event list), and SNAP (enter an event into the list). When SNAP is selected, the button below the SNAP slider is active and will “snap”...
  • Page 62 System Operation This page provides the controls for setting the analog Input and Output Gains Page Nine before and after the converters. Only sliders 2 and 3 (LFT and RT input gain) and Input/Output Gains sliders 5 and 6 (LFT and RT output gain) are active. OUT: IN: LFT Sets the input gain for the left channel...
  • Page 63 300L Owner's Manual Lexicon 3-34...

  • Page 64: The Algorithms And Their Parameters

    The Algorithms and their Parameters The Algorithms and their Parameters...

  • Page 65: Single Setup Algorithms

    300L Owner's Manual Lexicon Single Setup Algorithms Random Hall General Description The 300L incorporates the results of a great deal of research into acoustics and reverberation. Reverberation, or reflected sound energy, gives recorded music a sense of being performed in a real acoustic location.
  • Page 66 The Algorithms and their Parameters Note that none of these shape effects are audible unless Reverb Time is set short enough. Generally, Reverb Time 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.
  • Page 67 300L Owner's Manual Lexicon Random Hall Parameters PAGE ONE RTM* SPR* PDLY .24-64.17S 0-255 0-255 4.0-39.4METERS 0.1-26.5KHZ, FLAT 0-1000MS PAGE TWO RLVL 0.2X-4.0X 0.1-26.5KHZ 0.5-21.2KHZ 0-99 LINK/UNLINK OFF, -48DB-UP FULL PAGE THREE SHLF 0-48 0µS-37.1MS .24-64.17S OFF, -48DB-UP FULL PAGE FOUR...
  • Page 68 The Algorithms and their Parameters SPR works together with SHP to control the duration of the initial ambience SPR (Spread) created by the 300L. Low SPR 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.
  • Page 69 300L Owner's Manual Lexicon Random Hall Page Two BAS (Bass Multiply) BAS sets the reverb time for low-frequency signals, as a multiplier of the RTM parameter. For example, if BAS is set to 2X, and RTM is set to two seconds, the low frequency reverb time will be four seconds.
  • Page 70 The Algorithms and their Parameters SHLF modifies the low-pass characteristic of the rolloff control, turning it into a SHLF shelving filter. SHL sets the gain of an output path which is mixed with the output of HFC to form the main reverberant output. Both the pre-echoes and the reverberation are affected.
  • Page 71 300L Owner's Manual Lexicon RLVL (Reverb Level) 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. Random Hall Page Five DL3*, LV3, FB3 Pre-Echo 3, 2.8 seconds maximum to left channel, with feedback.

  • Page 72: Random Ambience

    The Algorithms and their Parameters Random Ambience General Description The 300L's Random Hall effects are designed to add a cushion of reverberance to recorded music, while leaving the clarity of the direct sound unaffected. Random Ambience is different. It is intended to become a part of the direct sound —...
  • Page 73 300L Owner's Manual Lexicon Random Ambience Parameters PAGE ONE PDLY** .24-64.17SEC OFF, -48TO-1DB, UP FULL 4.0-39.4M 0.5KHZ-21.2KHZ 0-99 0-99.877MS PAGE TWO DDLY 0-48 0µS-37.1MS 0-99.877MS * Parameter range is dependent on setting of SIZ. ** Parameter range is dependent on setting of Sample Rate.
  • Page 74 The Algorithms and their Parameters DIF controls the degree to which initial echo density increases over time. High DIF (Diffusion) settings of DIF result in high initial buildup of echo density; low settings cause low initial buildup. Echo density is also affected by SIZ; smaller spaces will sound denser.

  • Page 75: Rich Plate

    300L Owner's Manual Lexicon Rich Plate The Rich Plate program is denser, smoother, and more colored than other reverb General Description programs. When used with the SIZ control at around 16 meters, the sound is dense and tight — ideal for percussion. Larger sizes and longer reverb times are suitable for vocals and brass.
  • Page 76 The Algorithms and their Parameters Rich Plate Page One This control adjusts the reverberation time of the independent reverberator. The RTM (Reverb Time) range of action is limited. Be careful — both long and short reverb times may sound unnatural. If a much longer or shorter reverb time than the preset provides is desired, SIZ should be changed first.
  • Page 77 300L Owner's Manual Lexicon XOV (Bass Crossover) XOV sets the frequency at which the transition from RTM to BAS takes place. XOV should be set at least two octaves higher than the low frequency you want to boost. For example, to reduce a signal at 100 Hz, set XOV to 400 Hz (This setting works well for pop music).
  • Page 78 The Algorithms and their Parameters DL3* , DL4* DL3 (0ms-1000ms) and DL4 (0ms-1000ms) are also picked off after the diffusor. The level of each is controlled by LV3 and LV4, respectively. * A quick "double-click" on the DL3 or DL4 slider button will allow you to control the delay with more resolution.

  • Page 79: Stereo Adjust

    300L Owner's Manual Lexicon Stereo Adjust General Description The Stereo Adjust algorithm offers fine adjustments of level and equalization during digital mastering. Its stereo digital fader permits 0.25dB trimming and provides full fades to digital zero at the end of a track. Its two sets of shelving treble EQ can be set for different 3dB points and gains.
  • Page 80 The Algorithms and their Parameters BAL implements a sine/cosine balance adjustment. Balance is smoothly ad- BAL (Balance) justed over a wide range, with excellent resolution in the critical area around zero. The display indicates the actual channel gains as the control is varied. ROT is similar to BAL, but it treats stereo information somewhat differently.
  • Page 81 300L Owner's Manual Lexicon this compensation will be quite accurate as long as SPEQ is set to less than 3 dB boost. Stereo Adjust Page Two DLY (Host Delay) DLY controls a 5-second stereo delay line, with coarse resolution. Separate mono and fine controls are on Page Five.
  • Page 82 The Algorithms and their Parameters RFS (Right Channel RFS is used for digitally correcting problems you used to be able to fix (or create) Flip 'n' Swap) by switching analog cables around. The normal setting is +L to the left output and +R to the right output.
  • Page 83 300L Owner's Manual Lexicon Fine Sample Delays These can be used for subtle time alignment adjustments. The 300L will correctly display the resulting time shift as a function of the sampling rate. As many as 500 samples can be added to any stereo/coarse delay setting for a maximum possible delay per channel of 5 seconds + 500 samples.
  • Page 84 The Algorithms and their Parameters SHUF controls a spatial equalizer designed to make recordings from a dummy SHUF (Binaural Shuffler) head, or closely-spaced omni microphones, more suitable for loudspeaker reproduction. Due to the close spacing of the microphones, there is very little difference between the two stereo channels below about 300Hz.

  • Page 85: Stereo Pitch Shift

    300L Owner's Manual Lexicon Stereo Pitch Shift Stereo Pitch Shift is a stereo or two-channel mono pitch shifter with several General Description useful effects, including delay, feedback, and glide. These are independently adjustable for each channel. The pitch shifter in the 300L includes a pitch detection feature which automatically adjusts the period of the splices to match the pitch of incoming signals.
  • Page 86 The Algorithms and their Parameters Stereo Pitch Shift Page One MOD selects stereo or mono mode. In stereo the two channels are linked, pitch MOD (Mode) shifting by the same amount and splicing at the same time. SNC is only active in Stereo mode. This control forces an exact sync of the two SNC (Synchronization) channels when the control is turned from Off to On.
  • Page 87 300L Owner's Manual Lexicon FBL, FBR (Left and Right FBL and FBR control the amount of positive feedback from the output of the echo Feedback) delay line to the input of the pitch shifter. The control is adjustable from 0 to +99%.

  • Page 88: Split" Setup Algorithms

    The Algorithms and their Parameters "Split" Setup Algorithms Dual Delays The Dual Delay algorithm consists of 2 types of delay lines: Gliding Flange General Description delays and Fixed delays. This is a true stereo algorithm. (If run in a Dual Mono Setup, however, it will be mono.) Two independent flange base delays are available, each with a 20ms range in single sample steps.
  • Page 89 300L Owner's Manual Lexicon Dual Delays Parameters PAGE ONE FDL* FBD* FBD* 0-19.947MS 0-19.947MS 0-19.947MS -99% TO +99% -99% TO +99% PAGE TWO DL1* DL2* 0-2498.917MS -99% TO +99% 0-2498.917MS 0-99% PAGE THREE APD1* APD2* 0-191 0-9.963MS 0-191 0-9.963MS PAGE FOUR...
  • Page 90 The Algorithms and their Parameters Dual Delays Page Two DL1*, DL2* DL1 and DL2 set the delay values for the respective left to left and right to right feedback loops * A quick "double-click" on the DL1 or DL 2 slider button will allow you to control the delay with more resolution.

  • Page 91: Chamber

    300L Owner's Manual Lexicon Chamber General Description The Chamber program provides several presets which can be loaded into any Dual Mono or Cascade setup. In the Dual Mono setups it passes audio Mono In- Mono Out. In the Cascade setups, audio is routed Mono In-Stereo Out. The Chamber program can simulate many different types of acoustic spaces or mechanical devices.
  • Page 92 The Algorithms and their Parameters Chamber Page One RTM (Mid-Frequency RTM sets the reverb time for mid-frequency signals. Because BAS is a multiplier of RTM, RTM acts as a Host control for the reverb time. Reverb Time) BAS sets the reverb time for low-frequency signals, as a multiplier of the RTM BAS (Bass Multiply) parameter.
  • Page 93 300L Owner's Manual Lexicon 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 for slap- echo effects on vocal tracks. * A quick "double-click" on the slider button will allow you to control this delay with more resolution.

  • Page 94: Mono Pitch Shift

    The Algorithms and their Parameters Mono Pitch Shift The Mono Pitch Shift Algorithm has several useful effects, including delay, General Description feedback, and glide. The pitch shifter in the 300L includes a pitch detection feature which automatically adjusts the period of the splices to match the pitch of incoming signals.
  • Page 95 300L Owner's Manual Lexicon BNPS BPS 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 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.

  • Page 96: Small Stereo Adjust

    The Algorithms and their Parameters Small Stereo Adjust General Description The Small Stereo Adjust algorithm is a scaled-down version of Stereo Adjust with some of the specialized features omitted. It is designed to be put in Cascade Setups ahead of PONS or Compressors. Small Stereo Adjust Parameters PAGE ONE...
  • Page 97 300L Owner's Manual Lexicon SPEQ (Spatial EQ) SPEQ sets the amount of a crossfeed between channels. The signal first goes through a 6 dB/octave low-pass filter whose frequency is set with BXO. 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.

  • Page 98: Compressor

    The Algorithms and their Parameters Compressor The Compressor algorithm is a true digital compressor which will run in either General Description Dual Mono or Cascade Setups. In Dual Mono Setups, it configures to mono in mono out; in Cascade Setups it configures as a true stereo effect. The compressor can be described as an upwards averaging compressor.
  • Page 99 300L Owner's Manual Lexicon Compressor Parameters PAGE ONE GAIN 0 to -40DB 1.0-99.99:1 0 to +24DB 7-960MS 16-4000MS 0-48MS PAGE TWO 0 to -70DB 1.0-99.99:1 0 to -24DB Predelay Compressor Gain Expander Gain Compressor Expander Compressor Page One THR (Threshold) THR sets the level at which compression starts.

  • Page 100: Pons (Psychoacoustically Optimized Noise Shaping)

    The Algorithms and their Parameters Compressor Page Two EXT sets the threshold at which the expander starts to work. EXT (Expansion Threshold) EXS controls the slope of the expander circuit. EXS (Expansion Slope) EXG sets the amount of negative gain. EXG (Expansion Gain) PONS Dither is a low-level pseudo-random signal which is added to digital audio to...
  • Page 101 300L Owner's Manual Lexicon 4-38...

  • Page 102: The Presets

    The Presets The Presets...

  • Page 103: Single Setup Presets (And Programs)

    Lexicon 300L Owner's Manual The 300L is shipped with 150 Setup presets (100 Single Setups, and 25 each The Setup Presets of the two split setup types), as well as 50 setup registers for storing your modified Setups. Single Setup Single Effects are only available in Single-type Setups.
  • Page 104 The Presets Single Setup Presets cont'd. Setup# Setup Name SoftSlider Effect: Bank Program DRUM CAVE DECAY MA: B6P4 DRUM CAVE BALLROOM SIZE / SHAPE MA: B6P5 BALLROOM SCORE STAGE LIVENESS MA: B6P6 SCORE STAGE DRUM GATE DURATION MA: B6P7 DRUM GATE LE GATE! HIGH CUT MA: B6P8 LE GATE!
  • Page 105 Lexicon 300L Owner's Manual Single Setups LARGE HALL SoftSlider: DECAY Used as a great standard reference point. The hall size is big, with a gentle bloom in the (and Programs) reverberation envelope. The first set of pre-echoes located on page 4, are set to 14 and 20ms, but the levels are set to OFF.
  • Page 106 The Presets SMALL ROOM SoftSlider: LIVENESS Short, quick room which is great for adding resonance to a voice. Like Large Room the Liveness changes without changing the Room Size. BEDROOM SoftSlider: REFLEXIONS Short and brighter than Small Room. The SoftSlider turns up all 4 pre-echoes and increases the stereo nature of the sound.
  • Page 107 Lexicon 300L Owner's Manual SMALL AMB. SoftSlider: HIGH CUT Smaller still, but a little brighter. The SoftSlider adjusts the brightness. V SMALL AMB. SoftSlider: HIGH CUT The smallest - room size is set to 6.2M. HEAVY AMB. SoftSlider: REVERB LVL A medium size (23.1M) with more than a moderate amount of reverb tail.
  • Page 108 The Presets GUITAR CAVE SoftSlider: DECAY Solo time with a vengeance. Long predelay with recirculating pre-echoes. Lots of left-right bounce. The SoftSlider has a connection to the Mid Rt parameter. DRUM CAVE SoftSlider: DECAY Cave for drums. Medium sized with a big open bloom. Use the SoftSlider to vary the Mid Rt to suit the tempo of the music.
  • Page 109 Lexicon 300L Owner's Manual VOCAL SHEEN SoftSlider: SPACE A great “dry addition” to rock and roll vox tracks. The SoftSlider controls Room Size, Reverb time, and Reverb Level. Advance the SoftSlider for slower ballad type tunes. ALMOST VERB SoftSlider: PREDELAY As the name suggests, there’s a fine line here.
  • Page 110 The Presets MS DECODE SoftSlider: MATRIX Take a 2-channel Mid (left input) Side (right input) recording and this program will properly decode to stereo output. The SoftSlider is mapped to the input balance controlling the mix between the mid and side inputs. TELEPHONE SoftSlider: LEVEL...

  • Page 111: Dual Mono Setup Presets

    Lexicon 300L Owner's Manual Split Setup Presets Split Setups are divided into two types: Dual Mono (numbered 101-125 in Setup Select mode), and Cascade (numbered 126-150 in Setup Select mode). Most Dual Mono Setups have the left input feeding Machine A, and the right input feeding Machine B.
  • Page 112 The Presets P102 DM: REV/DLY SoftSlider INPUT PAN MA:B11P3 DRUM CHAMBER MB:B12P7 LFO: FAZE DELAYS REV/DLY utilizes a great sounding mono reverb for kick and snare. Machine B runs Faze Delays, getting its signal from the right input. The LFO in the Setup runs at .24Hz with a triangle waveform. The FDLY parameter in Machine B is patched to this LFO.
  • Page 113 Lexicon 300L Owner's Manual P105 DM: DLY/DLY SoftSlider LFO RATE MA:B12P3 CHORUS MB:B12P4 CHORUS+EKOZ Think of this preset as the chorus preset for mono sources. Left input feeds Machine A; right feeds Machine B. Both effects have their flange glides attached to the Setup LFO. The LFO is set to 1.44 Hz with a sine waveform.
  • Page 114 The Presets P109 DM: PCH/COMP SoftSlider INPUT PAN MA:B15P6 VOCAL SHIFT MB:B16P3 VOICE OVER Send a vocal track into the left input and send a mono prefade vox premix into the right input. The SoftSlider conveniently lets you send the inputs to the opposite processor. MA: B15P6 VOCAL SHIFT A short delay line recirculating around a maximum -21 cent pitch shifter.
  • Page 115 Machine A and Machine B. The SoftSlider will increase and decrease the Left and Right Delay outputs in Machine B. MA:B12P4 CHORUS+EKOZ Chorus+EKOz makes use of the flange gliding delay and several recurring echoes. Real Lexicon meat and potatoes effect. MB: B12P0 SKY DELAYS This preset combines a bit of giding delay along with all sets of delays.
  • Page 116 The Presets P115 DM:TWOROOMS SoftSlider INPUT PAN MA:B13P0 JOE’S GARAGE MB:B13P8 BASEMENT Garage band and Basement band. Use with Dual Mono sources and place behind the source. The SoftSlider controls the input routing from each input to each processor. The default is Left In / Right In to Mach A / Mach B.
  • Page 117 Lexicon 300L Owner's Manual P119 DM:UP&DOWN SoftSlider DELAY MA:B15P9 HALFSTEPSUP MB:B15P0 HALFSTEPSDN Left to Machine A and right to Machine B. Diabolical and horrifying sounding. The SoftSlider controls the Delay Out parameters in each machine Program. MA: B15P9 HALFSTEPSUP Just what you think... With the SoftSlider patched to the Delay MB: B15P0 HALFSTEPSDN(down) Ditto...
  • Page 118 The Presets MA:B11P6 3VOICEDLYS MB:B11P5 PINGOPONGO The SoftSlider affects the delay spacing in both Machine effect presets. Increasing the SoftSlider will make each delay effect longer and longer; decreasing it will make each delay effect shorter. The SoftSlider value is set to 50 when the Setup is selected. MA: B11P6 3VOICE DLYS Two taps (Delays 3 and 4 ) are set with delay ratios of 1:2, meaning that, when one is 200ms, the other is 400ms, or when one is 359, the other is 718ms.

  • Page 119: Cascade Setup Presets

    Lexicon 300L Owner's Manual Cascade Setup Presets Setup # Setup Name SoftSlider Mach A Effect -> Mach B Effect P126 CC: REV ->DLY DELAY SPACE MA:B13P1 CHAMBER -> MB:B11P3 STEREO SLAPS P127 CC: DLY ->REV SLAP & SIZE MA:B11P2 SLAP ECHO ->...
  • Page 120 The Presets MA: B13P7 “U”CHAMBER MB: B15P2 GUIT SHIFT This preset runs 40% of a reverb effect into a pitch shift program. The remaining 60% of the reverb effect bypasses the pitch shifter, and appears at the stereo output. Modify BMIX to even lesser values if you want to bypass more of the pitch shifter.
  • Page 121 Lexicon 300L Owner's Manual MA: B12P3 CHORUS MB: B15P1 SHIFT IT! This preset combines a stereo chorus passing into a mono shift program. BMIX is set to 60% meaning some of the stereo chorus bypasses the mono pitch shift. Modify the Glide Pitch (GLD) parameter in Machine B to suit your taste.
  • Page 122 The Presets MA: B15P2 GUITAR SHIFT MB: B16P5 SMAKO! This preset combines a guitar shift effect going into a HARD compressor effect. The LFO controls the Glide Shift parameter (GLD) in Machine A. The LFO rate is set to 0.16Hz with a sine waveform, but can be modified with the SoftSlider.
  • Page 123 Lexicon 300L Owner's Manual MA: B11P4 SPACE EKOZ MB: B16P8 FILTER PASS This preset loads two effects, both of which have SoftSlider patches. The SoftSlider has a Setup value of 40. This Setup combines a multi-tap delay program in series with a Bandpass filter program.
  • Page 124 The Presets MA:B13P5 BIG & SHORT MB:B12P3 CHORUS This Setup is a variation of the one above, except that it’s a shorter “close in” effect. The SoftSlider controls the amount of reverb effect feeding into Machine B. The LFO is patched itself such that the LFO speed is never contant.
  • Page 125 Lexicon 300L Owner's Manual MA:B15P5 EKO SHIFT MB:B12P7 ENV:PHAZER This Pitch into Gliding delay Setup is great for the “rockers”. Use the SoftSlider to control the amount of echo effect feeding into Machine B. MA: B15P5 EKO SHIFT The L-Meter is negatively patched to the feedback (FBK) parameter so that, when signal is present, delay feedback is reduced;...
  • Page 126 The Presets MA:B12P3 CHORUS MB:B16P7 PANOLA This is a sort of “retro” sounding audio effect. The Chorus preset passes into the fast panning Panola effect. Mix post-fader. Kind of like a rotating speaker - only different. The LFO is controlled by the SoftSlider.
  • Page 127 Lexicon 300L Owner's Manual Effect Programs by For convenient reference, the Split Setup program descriptions are repeated here according to Bank location. Bank B11P1 BASIC DELAY Baseline effect with the SoftSlider patched to the Left and Right post delay Bank 11 lines in the algorithm path.
  • Page 128 The Presets B12P7 ENV:PHAZER This program makes use of a patch between the envelope detector in the meters and the flange glide delay. As signal becomes stronger, the glide delay drops in the time domain, eventually crossing the 5.2ms base delays. As audio signal strength lessens, the glide returns to its preset value of 10ms.
  • Page 129 Lexicon 300L Owner's Manual Bank 14 B14P1 BIG HALL Big and open sounding. The 44ms of Predelay helps to separate the stage from the seating area. Real good sounding on ballad vocals. Split Rev 2 B14P2 GREAT ROOM The SoftSlider advances the Predelay and spreads to open the room up almost to hall proportions.
  • Page 130 The Presets Bank 16 B16P1 EZ COMP 2:1 An “easy” preset to add to an overall stereo mix or mono or stereo submix. You might need to adjust Threshold to make it work for the particular signal you feed it. Release is Mastering set to gently (2:1) fall away after 363ms.
  • Page 131 Lexicon 300L Owner's Manual 5-30...

  • Page 132: Time Code Operation

    Time Code Operation Time Code Operation...

  • Page 133: Using Time Code

    300L Owner's Manual Lexicon Using time code The 300L utilizes time code to trigger Setup and Effect changes. It can also use time code to trigger parameter glides. In order for any of the time code functions to work, a time code source must be plugged into the Time Code Input on the 300L rear panel.

  • Page 134: The Event List

    Time Code Operation The Event List The 300L allows you to use time code (in any of the recognized formats) to trigger Setup, Effect, and parameter changes. Using time code to Up to 50 time code entries can be made on an Event List. Time codes can be entered via the numeric keypad, they can be "snapped"...

  • Page 135: Snapping Events

    300L Owner's Manual Lexicon Snapping events The easiest way to develop a list in the 300L is to SNAP entries into the list. To use the snap function, locate the source machine to the beginning of the section you want to experiment with. Give yourself at least 5 seconds of pre-roll timecode, as you will want to snap the first timecode value ahead of any audio.
  • Page 136 Time Code Operation The TYPE slider allows you to define the type of automation event which occurs at the assigned time code number. The choices are: Setup (This must be the first entry in any Event List.) Effect change for Machine A Effect change for Machine B (will change only if a split type Setup is running) Parameter glide for Machine A...

  • Page 137: Programming Parameter Glides

    300L Owner's Manual Lexicon Programming Parameter glides can be a very powerful automation feature, allowing, for Parameter Glides example, reverb time increases at the end of a commercial, automated fade- outs, EQ changes, or feedback levels. The last three selections available with the TYPE slider on the Event Edit page...
  • Page 138 Time Code Operation Use the VAL slider to set the REVERB TIME you want at the end of the glide. For this example, select a value of 14.21 seconds. The display will show: #2 MA: GLIDE -24 18 12 6 0 6 +12 ovld dB 14 .

  • Page 139: Things To Consider About Glides

    300L Owner's Manual Lexicon Things to Consider All parameter glides are based on the effect loaded in the list immediatey About Glides preceeding the glide. For example, let’s say that Medium Hall is Event #4, and that Event #5 specifies MA:GLIDE, with MID RT moving to a final value of 3.8 seconds over a duration...

  • Page 140: Deleting An Event

    Time Code Operation Deleting an Event To delete an entry from the list, advance the EDIT/ADD/DEL slider to DEL and position the slider to correspond to the event # you wish to delete. Press STOre to delete the selected event # from the list. If you delete a Setup or Machine effect, make sure that no remaining glide events are dependent upon the deleted item.
  • Page 141 300L Event List 300L Owner's Manual Lexicon Event Effect Time Code Name Comment 6-10 This page may be reproduced as needed for recording any Event List you create.

  • Page 142: Midi Operation

    MIDI Operation MIDI Operation...

  • Page 143: Midi Connections

    300L Owner's Manual Lexicon The 300L contains innovative MIDI features that exemplify Lexicon's commit- ment to using the power of MIDI to provide new functions to our users. In the 300L most of these functions fall into one of four categories: 1.

  • Page 144: Setting Midi Channels

    MIDI Operation MIDI Out MIDI In MIDI Out -24 18 12 6 0 6 +12 ovld dB PROG BANK SETUP CTRL MACH MUTE 2nd F PAGE MIDI In AES/EBU EIAJ CP340 TIME CODE IN R OUT L OUT R IN L IN PUSH PUSH...

  • Page 145: Using Fixed Program Change

    300L Owner's Manual Lexicon You can use MIDI Program Change messages to load either Setups or Machine Using Fixed Effects. Setups are driven by MIDI Program Change messages over the System Program Change Channel. MIDI Program Change messages 1-128 sent out over the System Channel will load Setups 1-128.

  • Page 146: Using Midi Maps

    MIDI Operation Using MIDI Maps To Have Program Change messages load specific Setups or Effects, use the 300L MIDI MAP mode. Press CTRL, PAGE, then 6. If you’ve been following the examples above, the 300L will be in FIXED mode. Advance the MAP slider slowly so that the upper display reads: 1 S: ***** -24 18 12...
  • Page 147 300L Owner's Manual Lexicon SEL (Select) This slider defines the current patch. In SETUP mode, this slider will go from 1 to 2. The upper display will read: 300 SETUP -24 18 12 6 0 6 +12 ovld dB PATCH #n...
  • Page 148 MIDI Operation THR (Threshold) Use this slider to set the point below whcich contoller values will not have an effect on the parameter. VAL (Value) This slider lets you conveniently set the parameter value against the current controller value. This obviates the need to go to the actual parameter location. *NOTE: If the SRC controller is dynamic in nature, like a modulating LFO, setting VAL may be difficult, as you will be trying set the parameter to a moving target.
  • Page 149 300L Owner's Manual Lexicon 6. Press the SRC slider button. The display now gives you 2 pieces of information; the controller source and parameter destination: SOFTSLID TO -24 18 12 6 0 6 +12 ovld dB MID RT Pressing the DEST slider does not change the display.

  • Page 150: Real-Time Midi Effects Automation

    MIDI Operation Real-time MIDI The 300L can be automated in a number of different ways, depending on your applications, and on the capabilities of your MIDI sequencer. Effects Automation The six major categories of MIDI Automation are: 1. Using the 300L's System Exclusive transmissions to record and play individual parameter changes.

  • Page 151: Using Dynamic Midi

    300L Owner's Manual Lexicon Some sequencers cannot record SysEx or Non-Registered Parameter informa- ® Using Dynamic MIDI ® tion. In this case, you can use Dynamic MIDI patches and record the MIDI to transmit and receive Controller information used to get the real-time effect changes you want. Simply...

  • Page 152: Troubleshooting

    Troubleshooting Troubleshooting...

  • Page 153: Low Voltage

    300L Owner's Manual Lexicon Troubleshooting This chapter is intended primarily to help you recognize some common error states which can be corrected from the LARC, or by simple means such as cable replacement. Any error states which are not covered here should be referred to your local dealer for service by a qualified technician.

  • Page 154: Common Time Code Problems

    Troubleshooting Common Time Code The 300L does not change effects to incoming time code. Check your cable connections and the setting of the Event List mode in Control Problems mode. Also check the signal level of the incoming time code. If it is too low, the 300L may not respond.

  • Page 155: Error Status Messages

    300L Owner's Manual Lexicon Error/Status Messages Under the described conditions, the following messages will appear on the upper display of the LARC. In some cases, the display may flash briefly as it is overwritten with other error/status messages. !BAD DIGITAL WORD CLOCK! Digital input has been selected, but no valid digital input has been detected.
  • Page 156 MIDI Implementation Data MIDI Implementation Chart MIDI Implementation Details are available to assist experienced programmers in developing software for use with the 300L. These can be obtained from your dealer, or directly from Lexicon. Request: Model 300 MIDI Implementation Details.

  • Page 157: Midi Implementation Chart

    300L Owner's Manual Lexicon MIDI Implementation Chart Lexicon 300L Digital Effects System Function Transmitted Recognized Remarks Basic Default Mach A, Mach B, and Channel Channel 1-16, OMNI 1-16, OMNI System on separate channels; Memorized Mode Defaullt Messages Mode 1, 3...

  • Page 158: 300L Specifications

    Specifications 300L Specifications 10-1...
  • Page 159 300L Owner's Manual Lexicon 300 Specifications Audio Input and A/D Conversion Input Channels (2) Balanced XLR, pin 2 "high" Input Impedance 50kΩ, unbalanced; 100kΩ, balanced Gain switch in 0dB position: +2dBu minimum; +20dBu maximum Full Scale Input Level Gain switch in +16dB position: -14dBu minimum; +4dBu maximum Common Mode Rejection DC to 2kHz: 60dB minimum;...
  • Page 160 0.82 to 1.33 5-pin DIN connectors provided for MIDI IN, MIDI OUT, and MIDI THRU MIDI Interface LARC (Lexicon Alphanumeric Remote Control) Controls Four mode-select buttons (BANK, PROG, SETUP, REG) used with ten numeric select buttons (1 to 0); a page select button (PAGE); a load key (ENTER); a control program key (CTRL);...
  • Page 161 300L Owner's Manual Lexicon General 19.0"W x3.5"H x13.6"D (483x89x346mm) 19" rack mount standard, 2U high Dimensions Weight Net weight:18.9 lbs (8.6 kg) Shipping weight: 24.5 lbs (11.1 kg) 100/120/230 VAC (-10%, +5%) 50-60 Hz Power Requirements 3-pin IEC power connector...
  • Page 162 Lexicon Inc. 3 Oak Park Bedford MA 01730-1441 Telephone 617-280-0300 Fax 617-280-0490 Lexicon Part #070-10673 Rev 1...

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