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the sustain pedal depressed.) In Res2>Plate, pitches are assigned to the six
resonators diatonically, harmonized with the key, scale, and root of your
choice. If MIDI note numbers are used to assign pitch, the resonators will
constantly be re-tuned to harmonize with the incoming notes.
CHORUS/FLANGE (SURROUND, STEREO AND MONO)
Chorus/Flange is quite similar to other delay algorithms in the PCM96. It
has four delay voices per channel, each delay voice having over 9 seconds of
delay. The delays may be independently panned and filtered. The difference
is in the modulation aspect. The same LFO modulators are available as in
Random Delay, but the voices react differently. In Random Delay, the voices
move abruptly. In Chorus/Flange, they move very gradually, with noticeable
(and desirable) pitch effects as they move. For the chorus effect, the voices
move somewhat independently, yielding a thickening effect without too
much filtering. For the flange effect, voices are generally paired at close inter-
vals. As they move, a noticeable comb-filtering takes place due to cancella-
tion. The voices are often fed back, nearly to the point of instability.
CONCERT HALL (SURROUND, STEREO AND MONO)
This is a recreation of one of Lexicon
®
's oldest algorithms. It was an essential
part of many of the mixes of the late seventies and eighties. It is a less-dense
reverb, allowing it to add lushness to a mix without stepping on the dry
source material. It also has quite noticeable modulation, 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.
ROOM (SURROUND, STEREO AND MONO)
A room is similar to a reverb in that it is used to create the illusion of space.
However it differs in important ways. A room is comprised of a selectable
early impulse taken from actual room measurements. There are several cat-
egories of responses, including small rooms, large rooms and odd rooms
(impulses from unconventional sources). There are parameters to allow
adjustments to this response, including scaling and reversing the response.
In many cases this is sufficient. A reverb tail can be added to the room by
means of an included small reverb algorithm.
Lexicon reverbs are renowned for smooth tails and controlled frequency
response. However, in many cases the earlier components are more impor-
tant. 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.
PITCH SHIFT - MULTIVOICE
This pitch shifter shares the attributes of all other delay algorithms – mul-
tiple voices with independent panning and EQ – and adds the ability to shift
each voice by as much as an octave up or down. It may be used for chords,
voice fatteners, rising/falling echos or many other effects.
The number of voices that appear in this algorithm is dependent on the type
of machine it's loaded into. In the case of Quad, there will be twelve voices
(3 per channel). In the case of Five Channel, there will be fifteen. The pre-
sets themselves may be loaded into either type of machine, with the appro-
priate number of voices appearing. Every effort is made to make the factory
presets sound alike in both formats, but it is possible to may presets that
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