Page 1 12T System User Guide...
Page 3: Table Of Contents
Mount the PC-90 card onto the Core-32 card …………………………………………………………………………………6 Attach the PCI Extender ………………………………………………………………………………………………………….7 Install the Core-32/PC-90 assembly …………………………………………………………………………………………….8 Connect the LDI-12T Interface to Audio Sources ………………………………………………………………………………9 SOFTWARE INSTALLATION …………………………………………………………………………………………………………10 Install Supported Third Party Audio Software…………………………………………………………………………………10 Install the Lexicon Studio Driver for Windows ..……………………………………………………………………..10 Install the PC-90 Software for Windows ..………………………………………………………………………………11...
Page 4 3 CORE-32 BASICS SIGNAL ROUTING .……………………………………………………………………………………………………………………20 CORE-32 CONTROL PANEL.…………………………………………………………………………………………………………21 CTRL I/O ………………………………………………………………………………………………………………………….22 REVERB …………………………………………………………………………………………………………………………25 PUNCH RECORD …………………………………………………………………………………………………………………28 Configuring the Punch Feature.……………………………………………………………………………………………29 The MIX Level Control...……………………………………………………………………………………………………29 TIMECODE AND SYNCHRONIZATION…………………………………………………………………………………………30 Setting up Cubase to Sync to Timecode.…………………………………………………………………………………31 Setting the Audio Sync Clock Reference…………………………………………………………………………………31 Sample Rates ………………………………………………………………………………………………………………32 Word Clock …………………………………………………………………………………………………………………32 Word Clock Sources ………………………………………………………………………………………………………33...
Page 5 5 USING THE PC-90 BASIC OPERATION …………………………………………………………………………………………………………………49 The Interface ..……………………………………………………………………………………………………………………49 Inserting PC-90 within an ASIO Application ..…………………………………………………………………………………50 Routing an Audio Channel through the PC-90……………………………………………………………………………50 Selecting PC-90 and Making Settings ……………………………………………………………………………………51 Naming Effects………………………………………………………………………………………………………………53 Saving Effects ………………………………………………………………………………………………………………53 Loading Effects ……………………………………………………………………………………………………………54 Editing Effects ………………………………………………………………………………………………………………54 Using PC-90 within an MMIO Application ..……………………………………………………………………………………56 Routing an Audio Channel through the PC-90……………………………………………………………………………56 Making Settings for PC-90 …………………………………………………………………………………………………58...
Page 6 THE PARAMETERS……………………………………………………………………………………………………………………72 Chorus ……………………………………………………………………………………………………………………………72 Crossover …………………………………………………………………………………………………………………………72 Decay………………………………………………………………………………………………………………………………72 Decay Level ………………………………………………………………………………………………………………………72 Definition …………………………………………………………………………………………………………………………73 Depth… ……………………………………………………………………………………………………………………………73 Diffusion …………………………………………………………………………………………………………………………73 Duration……………………………………………………………………………………………………………………………73 Echo Delays ………………………………………………………………………………………………………………………73 Echo Feedback …………………………………………………………………………………………………………………74 Effects Mix ………………………………………………………………………………………………………………………74 HF Rolloff …………………………………………………………………………………………………………………………74 Infinite ……………………………………………………………………………………………………………………………74 Input Lvl …………………………………………………………………………………………………………………………74 Link…………………………………………………………………………………………………………………………………74 Mid Rt and Bass Mult ……………………………………………………………………………………………………………74 Pre Delay …………………………………………………………………………………………………………………………75 Range and Rate …………………………………………………………………………………………………………………75 Reverb Level………………………………………………………………………………………………………………………75...
Page 7 APPENDIX A STEINBERG CUBASE VST …………………………………………………………………………………………………………A-1 The def.all file…………………………………………………………………………………………………………………… A-1 The Templates ………………………………………………………………………………………………………………… A-1 Recording ………………………………………………………………………………………………………………………A-2 Cubase Record Settings ………………………………………………………………………………………………… A-2 Audio System Setup………………………………………………………………………………………………… A-2 Audio Performance ……………………………………………………………………………………………………… A-2 MIDI Sync Reference ……………………………………………………………………………………………………A-3 Audio I/O…………………………………………………………………………………………………………………… A-3 Monitoring ……………………………………………………………………………………………………………… A-4 Multi-Record ………………………………………………………………………………………………………………A-4 Assigning Input Channels…………………………………………………………………………………………………A-5 Timecode……………………………………………………………………………………………………………………A-7 Automation …………………………………………………………………………………………………………………A-9...
Page 8 APPENDIX D SPECIFICATIONS ……………………………………………………………………………………………………………………D-1 LDI-12T ..…………………………………………………………………………………………………………………………D-1 Core-32 ..…………………………………………………………………………………………………………………………D-3 PC-90..……………………………………………………………………………………………………………………………D-3 viii...
Page 9: Getting Started
Getting Started Introduction Thank you for your purchase of a Lexicon Studio system. Lexicon Studio is a line of professional hardware components designed for your computer that provides uncompromised audio quality and extensive processing capability. This family of products is designed to allow you to tailor your working environment to your needs.
Page 10: System Requirements
System Requirements The following system is recommended as the minimum for working with Lexicon Studio and Steinberg Cubase Audio VST: • 200 MHz Pentium Processor or compatible equivalent (Intel processors are also highly recommended.) • 64 MB of RAM •...
Page 11: Scsi Vs. Ide
SCSI Vs. IDE Both SCSI and IDE offer distinct advantages and disadvantages: Benefits Liabilities SCSI • Fast bus performance • Use of a PCI card to interface • Removable media to the computer increases bus • Choice of many high traffic, especially if multiple PCI performance drives cards are in the system...
Page 12: Installation
Studio works with third party software (such as Steinberg Cubase VST or Sonic Foundry’s Sound Forge) which should be installed prior to installing the hardware and software for Lexicon Studio. Refer to your audio software user manual on how to accomplish this.
Page 13: Hardware Installation
1. Put on the anti-static wrist strap. 2. Place the foam from your Lexicon Studio package on top of a work surface next to your computer. (Any flat piece of static-safe foam with similar dimensions to the Core-32 card can be used.)
Page 14: Mount The Pc-90 Card Onto The Core-32 Card
Mount the PC-90 card onto the Core-32 card The PC-90 module can only be mounted onto a Lexicon Studio Core-32 system card. Attempting to attach your PC-90 to any other type of PCI card may damage your PC-90 module. 1. Touch the computer power supply case to discharge any personal static.
Page 15: Attach The Pci Extender
Attach the PCI Extender The extender provides support for cards installed horizontally and prevents boards from touching each other (which can damage the cards). To attach the extender: 1. Holding the Core-32 assembly by its edges, align the holes of the board and the extender. 2.
Page 16: Install The Core-32/Pc-90 Assembly
Install the Core-32/PC-90 assembly The Core-32 System card must be installed in a full-size PCI slot which is a bus master slot to take advantage of its bus master capabilities. Refer to your computer owner’s manual to determine which slots are available as bus masters. (On some older motherboards, the PCI slot next to the ISA bus connector [the PCI/ISA/ shared slot] is not a PCI bus master slot).
Page 17: Connect The Ldi-12T Interface To Audio Sources
Core-32 card and the Computer port on the LDI-12T rear panel. 3. Connect the 9V connector to the AC Power port on the rear panel of the LDI-12T, and plug the other end into a wall socket.
Page 18: Software Installation
Please refer to your particular software installation guide for assistance. As Lexicon Studio installs software within directories of your front-end software, you should install your audio software first and verify that it launches properly before installing Lexicon Studio (even though it will not be audio-capable until installation of the Lexicon Studio system).
Page 19: Install The Pc-90 Software For Windows
Install the PC-90 Software for Windows 1. Insert the “Lexicon Studio: Drivers & Documentation” CD-ROM if you haven’t already. 2. Open the contents of the CD-ROM and double-click on S e t u p . e x e to launch the Installer.
Page 20: Updating Driver And Pc-90 Software
UnLexiconPC90, and selecting Remove. This control panel is located at Start/Settings/Control Panel/Add/Remove Programs. Updating Driver and PC-90 Software If you are installing a newer version of Lexicon Studio software over your current software, follow the steps outlined below. Remove PC-90 Software...
Page 21: Update Studio Driver
1. Go to Start / Settings / Control Panel / System. 2. Click on the ‘Device Manager’ tab.. 3. Open the directory for ‘Sound, Video and Game Controllers. 4. Highlight ‘Lexicon IDS Sound System’ by clicking on it. 5. Click the Properties button.
Page 22 6. Select the ‘Driver’ tab within the Properties page. 7. Click the U pdate Driver... button. 8. Windows will ask you if you wish it to search for the driver. Select ‘ Y es (Recommended)’. 9. Windows will search whichever drive from which a driver was last loaded.
Page 23: Reinstall Pc-90 Software
Reinstall PC-90 Software 1. Insert the “Lexicon Studio: Drivers & Documentation” CD-ROM if you haven’t already. 2. Open the contents of the CD-ROM and double-click on S e t u p . e x e to launch the Installer. 3. Read the Directory Path Warning and then click OK .
Page 24: System Connections
One (1) Power connection • One (1) Multi-pin computer connector NOTE: The BNC Word Clock Input has a 75 termination. Therefore, if you are distributing Word Clock to a chain of devices, the LDI-12T must be last in the chain.
Page 25: Typical Configurations
Typical Configurations Following are some typical LDI-12T configurations. These are provided as a starting point, and to familiarize you with the system. Once your system is physically configured, signal routing is controlled by the Lexicon Studio Driver and the routing provided by your host application program (Cubase VST, for example).
Page 26 The configuration shown below has the analog outputs connected to speakers for monitoring, S/PDIF to a DAT for mixing, and ADAT connections for multi-channel recording. The XLR analog inputs could be from a mixer or microphone/instrument preamp, or the RCA inputs could be used for low-level devices such as a CD player or cassette deck.
Page 27 Optical S/PDIF connections are provided as an alternative to the normal 8-channel ADAT format. The LDI-12T can accept different input and output formats as shown below. This configuration can be used for format conversion from optical S/PDIF to coaxial (RCA) S/PDIF and to provide...
Page 28: Core-32 Basics
Signal Routing Using Cubase VST as an example of a host application, the following things determine signal routing. 1. LDI-12T connections. 2. Configuration of the Core-32 Control Panel. 3. Inputs and outputs selected and enabled in Cubase Audio VST. Typically, all connections will appear directly in the application as available inputs and outputs along with the Core-32 Control Panel routing for the PC-90 and Punch Record.
Page 29: Core-32 Control Panel
Core-32 Control Panel Certain portions of the Lexicon Studio System should be specifically set up for the program you are using. This setup is performed in the Core-32 Control Panel. To access the Control Panel, pull down the Audio menu, select System and click on the ASIO Control Panel button.
Page 30: Ctrl I/O
Ctrl I/O Items on the Ctrl I/O tab control include Input/output converter gain, Digital I/O format, Digital de- emphasis and SCMS (Serial Copy Management System) copy protection code. Gain Levels are controlled by on screen faders with the level displayed numerically at the bottom.
Page 31 Clicking the Link button between fader pairs links them as a stereo pair for convenient identical gain setting. The left fader’s value is always favored when Link is used to make the faders operate at the same level. Control clicking on the Link button will link the fader heads while maintaining their relative levels.
Page 32 Security/Copy Protection applies SCMS (Serial Copy Management System) coding to the S/PDIF output. Choose Multiple Copies to encode the output for reproduction, One Copy to allow a single digital 1-to-1 copy to be made from the S/PDIF output, or No Copies to prohibit any copies.
Page 33: Reverb
Reverb The reverb page allows you to route the PC-90’s two DSP engines independently through any of the connectors of your audio interface.
Page 34 Description <Clear All> Clears all source assignments 12T_Analog_In L & R Patches the LDI-12T analog inputs into the PC-90 12T_SPDIF_In L & R Patches the LDI-12T S/PDIF inputs into the PC-90 12T_ADAT_In 1 - 8 Patches the LDI-12T ADAT inputs into the PC-90 AuxRet 1L &...
Page 35 VST_AuxRet_In 2L & R Sends the PC-90 out to Aux 2 in on the VST Input page 12T_Analog_Out L & R Patches the PC-90 output to the LDI-12T analog outputs 12T_SPDIF_Out L & R Patches the PC-90 output to the LDI-12T S/PDIF outputs...
Page 36: Punch Record
This page lets you select input Sources for Punch or overdub recording and output monitor Destinations for the sources selected for Punch or overdub recording. The Punch feature lets you perform overdub or punch recording by directly connecting to a Lexicon Studio interface — no external mixer is required.
Page 37: Configuring The Punch Feature
The punch feature mixes the input signals directly with the outputs selected for your monitor system (speakers or headphones) to avoid the inherent processing delay from the card to the computer application and back. Unlike monitoring through a tape deck where the input is typically monitored when the transport is in Stop or Record and muted during Play, the input signal is monitored all the time.
Page 38: Timecode And Synchronization
Timecode and Synchronization On this tab you can enable Timecode reading, select the Timecode source and display the Timecode type, validity and number. As these controls are independent of the host application, they can help you set up your software for proper frame rate and start time.
Page 39: Setting Up Cubase To Sync To Timecode
Setting Up Cubase to Sync to Timecode The LDI-12T uses a MIDI driver to convert the Longitudinal Timecode (LTC) supplied by the front panel XLR to MIDI Timecode (MTC). 1. In the Options menu, select Synchronization and set Timecode Base to MIDI Timecode.
Page 40: Sample Rates
Sample rates Sample rates of 44.1 and 48kHz are selected from the Audio I/O pull down menu. Word clock The word clock sources available on your Lexicon Studio interface (Audio Clock Source) are also selected from the Audio I/O menu.
Page 41: Word Clock Sources
In larger systems with a digital mixer (such as Yamaha O2R or O3D), it is convenient to use the word clock output and connect it to the BNC word clock input on the LDI-12T, selecting WCBNC 1 2 T as the word clock source. This provides centralized clocking of the connected units.
Page 42: Mmio
MMIO (Microsoft Multimedia Input Output) is a standard developed by Microsoft on the PC that virtually every audio software developer has adopted for broad band compatibility between audio software and audio hardware. These make Lexicon Studio compatible with a host of PC audio applications, such as: • Steinberg Cubase VST •...
Page 43: Lexpanel.exe
Windows and other Microsoft products. The selections are: Ctrl I/O, Reverb, Punch, Timecode, and Clock Source. NOTE: Some of the functions of Lexicon Studio (such as Timecode) do not get passed in MMIO until the LexPanel.exe has been booted once. Before each audio session, make sure...
Page 44: Ctrl I/O
Ctrl I/O Items on the Ctrl I/O tab include control input/output converter gain, Digital I/O format, Digital de- emphasis and SCMS (Serial Copy Management System) copy protection code. Gain Levels are controlled by on screen faders with the level displayed numerically at the bottom.
Page 45 Clicking the Link button between fader pairs links them as a stereo pair for convenient identical gain setting. The left fader’s value is always favored when Link is used to make the faders operate at the same level. Control clicking on the Link button will link the fader heads while maintaining their relative levels.
Page 46 Security/Copy Protection applies SCMS (Serial Copy Management System) coding to the S/PDIF output. Choose Multiple Copies to encode the output for reproduction, One Copy to allow a single digital 1-to-1 copy to be made from the S/PDIF output, or No Copies to prohibit any copies.
Page 47: Reverb
Reverb The reverb page allows you to route the PC-90’s two DSP engines independently through any of the connectors of your audio interface.
Page 48: Pc-90 Routing
Description <Clear All> Clears all source assignments 12T_Analog_In L & R Patches the LDI-12T analog inputs into the PC-90 12T_SPDIF_In L & R Patches the LDI-12T S/PDIF inputs into the PC-90 12T_TOSLINK_In 1 - 8 Patches the LDI-12T TOSLINK inputs into the PC-90 MMIO_Analog_Out L &...
Page 49 MMIO_TOSLINK_In 1 - 8 Sends the PC-90 out to the MMIO TOSLINK in 12T_Analog_Out L & R Patches the PC-90 output to the LDI-12T analog outputs 12T_SPDIF_Out L & R Patches the PC-90 output to the LDI-12T S/PDIF outputs 12T_TOSLINK_Out 1 - 8...
Page 50: Pc-90 Interface
The factory presets are fully editable, however if you wish to save your edits, you must copy the preset into a user slot. In future versions of Lexicon Studio MMIO software, you will be able to create and save effects within banks that can be saved and reloaded.
Page 51: Punch Record
This page lets you select input Sources for Punch or overdub recording and output monitor Destinations for the sources selected for Punch or overdub recording. The Punch feature lets you perform overdub or punch recording by directly connecting to a Lexicon Studio interface — No external mixer is required.
Page 52: Configuring The Punch Feature
The Windows 95 operating system has a delay when applications use host processing. This means that, when playing along with previously recorded tracks, the track you are playing live will sound delayed while you are performing. This delay can be overcome by using an external mixer, or by using the Punch feature.
Page 53: Timecode And Synchronization
Timecode and Synchronization On this tab you can enable Timecode reading, select the Timecode source and display the Timecode type, validity and number. As these controls are independent of the host application, they can help you set up your software for proper frame rate and start time.
Page 54: Setting Up The Audio Application To Sync To Timecode
Setting Up the Audio Application to Sync to Timecode The LDI-12T uses a MIDI driver to convert the Longitudinal Timecode (LTC) supplied by the front panel XLR to MIDI Timecode (MTC). Each audio application deals with setup for Timecode differently. Please refer to your software...
Page 55: Clock Source
Clock Source This control panel enables the configuration of where Lexicon Studio accepts its clock source from.
Page 56: Word Clock Sources
In larger systems with a digital mixer (such as Yamaha O2R or O3D), it is convenient to use the word clock output and connect it to the BNC word clock input on the LDI-12T, selecting WCBNC 1 2 T as the word clock source. This provides centralized clocking of the connected units.
Page 57: Using The
Using the PC-90 Basic Operation The PC-90 combines the quality and power of Lexicon reverb on dedicated hardware with the ease and elegance of a software plug-in interface. Unlike software-based plug-ins, the PC-90 provides outstanding sonic quality with no burden on your computer processor’s performance.
Page 58: Inserting Pc-90 Within An Asio Application
Inserting PC-90 within an ASIO Application The interface for the PC-90 is available as a plug-in. Plug-ins are accessed differently in different software applications. To open a PC-90 plug-in in Cubase VST, you need to follow these steps: Routing an Audio Channel through the PC-90 1.
Page 59: Selecting Pc-90 And Making Settings
knob to a moderate value. 7. If you want the signal to be sent to the effects before the faders, click on the Pre button for the send. 8. With Pre-fader effect sends, the amount of effect for the channel is not affected by the volume fader.
Page 60 2. Activate an effects processor by clicking on its Power button. 3. Verify that the effect output is routed to the desired source, in the bus pop-up in the lower right corner. The default setting for this is Master. Pull down the pop-up menu in the processor’s upper right corner and select PC-90 Machine 1 or PC-90 Machine 2.
Page 61: Naming Effects
PC-90, – most notably, the Input Level and Bus Select Buttons. PC-90 Input Level is controlled by the Aux Send knob in the channels monitor section. PC-90 bus selection is performed on the Reverb page of the Lexicon Studio Control Panel.
Page 62: Loading Effects
1. To save the current Program, select Save Effect. 2. To save all Programs of the same Effect Type, select Save Bank. 3. In the file dialog that appears, select a name and location for the file. (You might want to create a special folder for your PC-90 effects.) 4.
Page 63 1. Click on the PARA button, to activate a display of three parameters. The parameter currently selected for editing is displayed with a border. 2. If the parameter you want to edit is not visible in the display, click on the left or right part of the P a g e button to go to another parameter page.
Page 64: Using Pc-90 Within An Mmio Application
Using PC-90 within an MMIO Application Routing an Audio Channel through the PC-90 Like traditional effects devices, the PC-90 can be used in two ways: as auxiliary effects or as line effects. Most effects processors are used as auxilliary effects. On a typical console, this is achieved by using the aux send and returns to send specific channels to the effects devices, then back to the board where the end result is mixed with the dry outputs of the board.
Page 65 PC-90 is done in the Reverb tab of LexPanel.exe. To route audio: 1. Boot LexPanel.exe by double- clicking on the Lexicon Studio icon at the bottom right corner of your task bar. 2. Click the Reverb tab to view all MMIO routing and control options for the PC-90.
Page 66: Making Settings For Pc-90
Making Settings for PC-90 The MMIO presets for the PC-90 are virtually identical to those available when using PC-90 with ASIO applications such as Cubase VST. The only differences are in the Mix values. As most MMIO applications will use the PC-90 as a line effect, the Mix values have been saved at 50% wet. If you are using an MMIO program that supports VST plug-ins (such as Steinberg WaveLab or Emagic Logic Audio), remember to change the Mix values in the presets you are using to 100% wet.
Page 67: Editing Effects
Editing Effects You can create your own programs or edit any of the presets with the editor. To open the PC-90 interface, click the machine 1 or machine 2 buttons in the Reverb tab on LexPanel.exe. The PC-90 Interface will open. 1.
Page 68: Naming Effects
Naming Effects To name a preset, simply double-click on the area where preset names are displayed. An editable text field will appear that allows you to select any preset name you desire. Note that the editor will allow you to change the names of any factory preset, however you must save that edited preset into a user slot if you wish to permanently change the name of the preset.
Page 69: Saving Effects
Saving Effects The MMIO version of the PC-90 provides 100 user slots for your edited presets. Once you have tweaked an effect to the point you are happy with it, and have named it, you can store it as follows: 1.
Page 70: Beyond The Basics
Beyond the Basics Routing a Plug-In A Default routing is set in your Lexicon Studio system, to allow you to use your PC-90 as an auxiliary effect, monitoring the audio through the analog outputs on your audio interface as soon as it is Installed.
Page 71 For each PC-90 engine, there are two input sources (left and right), and two output destinations (left and right). To assign a source to any of the input channels in your PC-90: 1. Click the left mouse button on the down-arrow of an input selector to open a menu displaying all Sources available for routing to the PC-90.
Page 72 The diagram below is a flow chart of the audio routing from the previous picture of the control panel. Notice that PC-90 receives its input from Cubase VST via the V S T _ A u x _ S e n d _ 1 L and V S T _ A u x _ S e n d _ 1 R sources.
Page 73 The reverb routing matrix is flexible, and can provide a wide array of configurations. The previous configuration would not be ideal if, for example, you were mixing audio simultaneously from a digital tape deck and your computer to a digital mixer, and wanted to send your reverb into your digital mixer on independent channels.
Page 74: Automating The Pc-90
Automating the PC-90 The PC-90 Digital Reverberator can be completely automated within any control software that supports automation. Refer to the user guide for your particular software package for support offered for this functionality. The following section describes PC-90 automation within Cubase VST.
Page 75 To stop writing automation events, click the Write button a second time, or close the Mixer window. All changes to this track and its plug-ins will cease to record. To play back automation in your mix: 1. Check that the Audiomix Track or Part is not muted. 2.
Page 76: Reference
Reference PC-90 Algorithms Ambience Unlike traditional reverb, Ambience is intended to become a part of the direct sound – to give it both better blend and a definite position in space. Ambience gives warmth, spaciousness and depth to a performance without coloring the direct sound at all. This algorithm generates primarily the strong reflections which appear in the first few hundred milliseconds of the reverberation process.
Page 77: Chamber
undesirable. When using Ambience in a mix, it is best to use a stereo send to the PC-90, carefully matching the panning of the various close-miked sources to their positions in the mix. Leave the Mix control at 100% wet. the apparent distance of each source can be controlled by the level of its feed. Chamber Chamber provides an even, relatively dimension-less reverberation, with little change in color as the sound decays.
Page 78: Concert Hall
Concert Hall This algorithm emulates a real concert hall. The reverberation is very clean, and designed to remain behind the direct sound – adding ambience, but leaving the source unchanged. This effect has a relatively low initial echo density which builds up gradually over time. Inverse This algorithm allows you to vary the slope of the reverb envelope.
Page 79: Room
Room Room produces an excellent simulation of a very small room which is useful for dialog and voice- over applications, but which may be too colored for some sustained musical tones. Increasing the Size/Shape/Spread parameters produces an excellent reverb.
Page 80: The Parameters
The Parameters The PC-90 has a wide range of parameters to control the sound of your algorithms. Not all parameters are found in all algorithms. Chorus In the Concert Hall algorithm, Chorus randomizes delay times and introduces modulation to make reverberation sound less metallic.
Page 81: Definition
Definition In the Concert Hall algorithm, Definition affects the echo density buildup rate during the latter part of the decay period. When set to Off, the rate is determined by the program material. Raising Definition through its range (1-99%) causes the sound to become choppier - the decrease in echo density creates increasingly distinct, repetitive echo trails.
Page 82: Echo Feedback
Echo Feedback Fbk L and Fbk R modify the levels of the echo feedback path. The range is from -100% to 0 to +100%. Effects Mix Mix controls the ratio of dry and wet signal present at the PC-90 outputs. When the PC-90 is used as an effects loop, this control should always be set for 100% wet.
Page 83: Pre Delay
Pre Delay Pre Delay adjusts an additional time delay between the input of signal and the onset of reverberation. This control is not intended to mimic the time delays in natural spaces. In real rooms, the build-up of reverberation is gradual, and the initial time gap is usually relatively short. Natural spaces are best emulated by adjusting Spread for the desired effective predelay.
Page 84: Shape, Spread
Shape, Spread Shape and Spread work together to control the overall ambience of the reverberation. Shape determines the contour of the reverberation envelope. With Shape all the way down, reverberation builds explosively, and decays quickly. As Shape is advanced, reverberation builds up more slowly and sustains for the time set by the Spread.
Page 85: Spin
Spin Spin affects the movement of the reverberation tail. The object of Spin is to continuously alter the timbre of the reverberant sound. This makes the result more natural, without making the position of the instruments unstable. Spin should typically be set to values between 10% and 50%. Higher values may make the timbre of piano, guitar and other precisely pitched instruments unstable.
Page 86: Preset Design
Preset Design Notes on Preset Design PC-90 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. Using the Size and Spread Parameters In the PC-90, the Size and Spread controls allow adjustment of the buildup and decay of the initial part of the reverberation envelope.
Page 87: Random Delay Elements
This reflection becomes stronger and stronger, reaching an optimal loudness when Shape is at about 1/2 of its range. The highest Shape settings are typically used for effects. Near the top of the scale the back wall reflection becomes stronger than the earlier part of the envelope, resulting in an inverse sound. NOTE: None of these effects are audible unless Mid Rt is set short enough.
Page 88 Next use Mid Rt to fine-tune the amount of time the reverberation takes to die away at the end of musical phrases. Actual halls vary a great deal in their Mid Rt values. The setting of Bass Mult is also critical in matching the sound of an existing hall. An ideal concert hall would have a Bass Mult setting of 1.2.
Page 89: Pc-90 Preset Descriptions
Algorithm: Chamber A classic Lexicon reverb preset. The hall size is large, with a gentle bloom in the reverberation envelope. The first set of pre-echoes are set to 14 and 20 ms, but are turned off. Turn up L RefLvl and R RefLvl to add early reflections.
Page 90 6 Small Chamber Algorithm: Chamber A small chamber with a tight Mid RT and Size. 7 Large Church Algorithm: Chamber A large, spacious and filtered medium-bright reverb, as in a space made of stone. There are subtle early reflections. Turn up L RefLvl and R RefLvl to emphasize the reflections. 8 Medium Church Algorithm: Chamber A church with subtle early reflections.
Page 91 12 Real Hall Algorithm: Concert Hall A small, relatively bright sounding hall. Good for all types of program material. 13 Great Hall Algorithm: Concert Hall A great hall reverb that works well with all program material. 14 Tight Hall Algorithm: Concert Hall A spacious hall with short and tight mid reverb time setting.
Page 92 19 Heaven Hall Algorithm: Concert Hall A large, lush reverb effect. The reverb time is extremely long, but its levels are backed off to keep it subtle for the dry signal to cut through. 20 Stairwell Algorithm: Concert Hall Have you ever recorded an instrument in a stairwell to get that certain reverberation? Now you can use this preset instead.
Page 93 26 Dead Room Algorithm: Room A dead space, such as a heavily carpeted, muffled room. 27 Tiled Room Algorithm: Room An incredibly sibilant and bright reverberant space. A must for any reverb toolbox. 28 Real Room Algorithm: Room A natural reverb for live settings. Smooth and subtle. Perfect for anything you put through it. 29 Slap Room Algorithm: Room A natural room with a subtle, yet unnatural slap back in the reverb tail.
Page 94 33 Small Ambience Algorithm: Ambience Very subtle ambience. Very little Decay leaks through. 34 Tight Ambience Algorithm: Ambience An ambience with a very short Decay, but relatively high Decay Level to keep the density up. Useful to fatten up sources without adding true reverb. 35 Sloppy Place Algorithm: Ambience An unnatural room that will enhance percussive sources.
Page 95 40 Phone Booth Algorithm: Ambience A tight environment that is similar 24: Iso Booth, but a bit more reflective as it’s made out of glass. 41 Long Nonlinear Algorithm: Inverse A long, inverse reverb. Creates a lush reverb around the source, but cuts off before muddying the dry signal.
Page 96 Algorithm: Inverse A special effects preset for just about any type of source. Listen to this at 100% wet, and use as an insert within your source, rather than as an aux send. Reversals emulate the sound of a reverb played in reverse.
Page 97: Pc-90 Bank2: Applications
PC-90 Bank2: Applications The PC-90 presets for Bank 2 are created for specific instruments. The presets are grouped in sets of 10, by algorithm type. Presets are subgrouped for particular applications such as drums, vocals, brass, guitar, or dialog. 1 Vocal Chamber Algorithm: Chamber A chamber tuned for the human voice.
Page 98 6 Drum Chamber Algorithm: Chamber A short reverb time but relatively high Bass Multiply create a short but deep reverb that is exceptional for all types of percussion. 7 Snare Chamber Algorithm: Chamber Tuned to add just enough reverb to the snare punch within a mix. 8 Oil Drum Algorithm: Chamber Emulates the reverberant, metallic sound of an oil can.
Page 99 13 Soliloquy Algorithm: Concert Hall Tuned for the solo singer. A huge space with ample reverb. Use ReverbLvl to make the reverb less exaggerated. 14 Brass Hall Algorithm: Concert Hall A very large space, ideal for horns. 15 Saxy Hangar Algorithm: Concert Hall A large hall that is big and dark, like an airplane hangar.
Page 100 20 Synth Hall Algorithm: Concert Hall A chorused hall with a long decay time for all synth-type pads and washes. Also good on strings. Pitched sound sources may seem to stray from center pitch. This can be made more or less dramatic with the Chorus parameter.
Page 101 27 Drum Room Algorithm: Room A small room ideal for all types of percussion. 28 String Room Algorithm: Room Designed for strings. Useful on large sections and quartets. 29 Guitar Room Algorithm: Room A fairly large room with most of the low end taken out of the reverb. Useful on all types of guitars and it won’t muddy the original source.
Page 102 34 Small Vocal Ambience Algorithm: Ambience Similar to 33: Large Vocal Ambience, but with much less Decay. 35 Drum Ambience Algorithm: Ambience Provides sizzling depth to drum kits and single snares. A nice alternative to a room reverb for drums. 36 Perc Room Algorithm: Ambience An ambience designed for broader types of percussion.
Page 103 41 Nonlinear Vocal Algorithm: Inverse A long decay and dramatic gated sound at the tail end make this a great unnatural reverb tool for vocals, especially solos. 42 CyberVocal Algorithm: Inverse Huge PreDelay and long reflection delays make a wild sound for vocals. Great on guitar solos as well.
Page 104 48 InverStrings Algorithm: Inverse A subtle cutoff and gentle bloom make this a nice reverb for stringed instruments (for the engineers bold enough to use inverse reverb on a string section!) 49 Steep Trap Algorithm: Inverse An inverse reverb with a metallic feel for steel string guitars and electrics. 50 Gothical Algorithm: Inverse A gentle bloom gives the sensation that this is a hall.
Page 105: Steinberg Cubase Vst
The Def.all file Included with your installation of Lexicon Studio is a file called Def.all. This file is created on installation and located in a folder called ‘LxStudio’ at the root level of your C: drive. This file can be used by Cubase to set the program to “custom”...
Page 106: Recording
VST User Guide. Audio Performance • Within the Lexicon Studio def.all file included in your install, 16 channels have been set up as a default number of channels. This can be increased or decreased depending upon the job. • The Memory per Channel setting recommended by Lexicon is 768 kB per channel.
Page 107: Midi Sync Reference
333 mHz machines may get increased performance by decreasing the Disk Block Buffer size, and in some cases the Memory per Channel as well. Experiment with your system to determine the optimum settings for your particular machine. Consult the Lexicon Website (www.lexicon.com) for new information regarding all machines, setups, and optimizations.
Page 108: Monitoring
Use Tape Type monitoring when transferring audio from previously recorded sources. • Use Global Disable along with the Punch Record feature within Lexicon Studio when live performances are being recorded. This feature will allow you to monitor with NO DELAY, and eliminates the requirement of an external mixer for zero latency recording.
Page 109: Assigning Input Channels
Assigning Input Channels In order to monitor input of audio, you must do the following: 1. Make sure Cubase monitoring is set to Tape Type (or use Punch Record for live monitoring). 2. Enable an input. The Input section is found within the Audio menu.
Page 110 S/PDIF Digital I/O To lock S/PDIF streams to proper clock, you must select S/PDIF 12T as your Audio Clock Source. If left set to Internal, you will still hear audio, but as the S/PDIF stream has no clock source to reference you will get periodic ticks in your audio due to sample slip.
Page 111: Timecode
Using timecode with Lexicon Studio and Cubase requires the following settings: Core-32 Timecode Settings: 1. Connect a timecode source to the LDI-12T front panel Timecode Input. 2. Select the Timecode tab in the Core-32 Control Panel. 3. Check ‘Enable Timecode Reader’ and select LDI12T LTC as your timecode source. (This is the default setting.)
Page 112 1. In the Options menu, select Synchronization. 2. Select MIDI Timecode as your Timecode Base. 3. Select Lexicon MTC as your 'From Input' sync source. 4. Select the correct frame rate. (If in doubt, remember that the Core-32 Timecode Control Panel will display this.)
Page 113: Automation
Automation Volume and Pan Automation – Dynamic Events or Monitor Mixer Cubase VST offers two ways of automating volume and pan: the Dynamic Events set in the Audio Editor and the Write function in the Monitor Mixer. The two methods have specific properties and uses, described below.
Page 114: Monitor Mixer Automation
2.0dB, and you set the Monitor window fader to -0.4dB, the resulting volume will be -2.4dB. Please note that the Monitor Mixer automation is not restricted to Volume and Pan. Mutes, Solo, EQ and Effect settings can also be automated, as with the Lexicon PC-90. A-10...
Page 115 Automating the Monitor Mixer Monitor Mixer actions can be automated by “writing” them into a special Audiomix Part. When played back, this Part will repeat your fader movements and button presses just as performed. The faders and buttons will move on the screen, like a physical mixer with motorized controls. What can be automated? Mixdown in Cubase VST can be completely automated! The following parameter settings are recorded with the Write function:...
Page 116 • 4 x Master Effect Program selection • 4 x Master Effect parameters (the 8 first parameters for each Master Effect) The PC-90 has been enabled for complete automation. As Steinberg Cubase VST provides automation for only the first 16 parameters of a channel effect, and the first 8 parameters for a master effect, We have prioritized the PC-90 parameters to take the fullest advantage of this feature.
Page 117 existing Part as needed. 7. Deactivate the Write function by clicking on the button. NOTE: Exiting the Monitor window will automatically deactivate the Write function. Recording Mixer settings in Stop mode The Write function works in Stop mode as well as during playback. If you activate Write when Cubase VST is stopped, all changes you make to your mixer parameters are recorded at the current Song Position.
Page 118 3. Start playback as usual. The monitor faders and controls will move automatically, following your recorded actions. Moving and Muting the Audiomix Part The Audiomix Part can be handled as any Mixer Part: • To turn off Monitor mixer automation from the Arrange window, mute the Audiomix Part or Track.
Page 119 You will end up with a number of Mixer Tracks, all playing back simultaneously, affecting different audio channels in the Monitor mixer. If you want to, you can keep it that way, or you can clean up the Arrange window by Merging the Parts. Editing the Audiomix Part The Audiomix Part contains Mixer Events, which can be edited in List Edit: 1.
Page 120 How List values work for Switches The text in the Comments column corresponds to the numerical value in the Value 1 column. Each continuous parameter (such as volume, pan, etc.) on each audio channel, has a unique Event number (value 1), while the Value 2 column shows the parameter values. However, switches (on/off-parameters) are handled in a special way: •...
Page 121 Combining manual Mixing and/or two kinds of Automation Even if you automate the volume or pan for an audio channel, you can still make a manual adjustment by dragging the fader/pan control in the Monitor window. Just remember to leave the Write function off, or your movements will be recorded “on top of”...
Page 122: Routing Pc-90 Reverb Via The Aux Sends In Vst
PC-90 Application Notes Routing PC-90 Reverb via the Aux sends in VST 1. From the ASIO control panel select the Reverb page. 2. In the "From" section for the left input to Machine 1 assign VST_AuxSend 1L 3. In the "From" section for the right input to Machine 2 assign V S T _ A u x S e n d 2 R 4.
Page 123: Pc-90 Cascade Routing
PC-90 Cascade Routing PC-90 routing allows you to daisy-chain the PC-90 reverb engines to make a dual-engine reverb. This is useful for creating your own “super-reverbs”, for example, using Machine 1 for early reflections and Machine 2 for the main reverb. In the early days of digital reverberation, creating your own reverbs was essential to get great-sounding reverb.
Page 124 1. Set Machine 1 inputs to V S T _ A u x S e n d 1 L and V S T _ A u x S e n d 1 R . 2. Set Machine 1 outputs to VST_AuxRet 1L and VST_AuxRet 1R. 3.
Page 125 Monitoring the PC90 with No Latency while Recording The following example shows how to add reverb to your monitor mix without adding the reverb to the input signal. The input signal and the reverb are monitored in real time with no latency. The input signal will record to disk dry.
Page 126 Set up the Reverb (for either Machine): ------------------------------------------------------------------------------------------------------------------------------------------------ 12T_Analog_In L --> --> 12T_Analog_Out L Machine 1 or 2 12T_Analog_In R --> --> 12T_Analog_Out R ------------------------------------------------------------------------------------------------------------------------------------------------ • Dry level can be adjusted by the Mix Level parameter in the ASIO Control panel Punch Tab. •...
Page 127: Using The Pc-90 As Outboard Gear
Using the PC-90 as Outboard Gear Using MMIO, you can configure your PC-90 to be used as a stand alone reverb box..
Page 128 ------------------------------------------------------------------------------------------------------------------------------------------------ 12T_Analog_In L --> --> 12T_Analog_Out L Machine 1 12T_Analog_In R --> --> 12T_Analog_Out R 12T_SPDIF_In L --> --> 12T_SPDIF_Out L Machine 2 12T_SPDIF_In R --> --> 12T_SPDIF_Out R ------------------------------------------------------------------------------------------------------------------------------------------------ The source (send from your console) is routed directly to the inputs of the PC90 engines and the outputs can be routed (analog or digitally) to the returns of the mixer.
Page 129: Installation Troubleshooting
If there was an audio card from another manufacturer installed in your system previous to this installation but Lexicon Studio will now replace it, you should run Uninstall to remove all components and reset your system. Make sure that all other devices are installed and working properly.
Page 130 Resolving Hardware Conflicts Windows 95 may not be able to configure the Core-32 without creating conflicts with another device. This can happen as more devices are installed and system resources are depleted. Related error messages that may appear will instruct you to: •...
Page 131: Pc Troubleshooting
PC Troubleshooting Power Up Problems If the computer will not power up after initially installing a Core-32, the Core-32 or another expansion card may be partially dislodged from the expansion slot on the motherboard. Symptoms may include keyboard lights on, power indicator lit, or the hard drive spinning. Remove the Core-32 and verify that the system boots without it installed.
Page 132 AGP (Accelerated Graphics Port) Some PC motherboards can use an AGP graphics adapter. This standard was designed to move the graphics operations off of the PCI bus onto a dedicated bus — the AGP port which is physically and logically separate from the PCI bus. Using this port to handle graphics operations frees the PCI bus for audio and SCSI data activity.
Page 133: Optimizing Windows For Audio Applications
Optimizing Windows for Audio Applications Following are some suggestions that may improve your computer’s performance as a dedicated Digital Audio Workstation. Some of these suggestions disable some Windows 95 optimization features and may slow the overall performance of your system when using non-audio applications. Add Memory Adding RAM to your computer will reduce the chance that Windows needs to use Virtual Memory.
Page 134 Graphics Hardware Acceleration In non-AGP computer systems (computers using VGA cards), graphics acceleration settings can force your video card to hog the PCI bus. Crackling and zippering in the audio while opening and moving windows is a warning sign of this. Try lowering the acceleration settings of your graphics hardware.
Page 135 Read-Ahead Optimization If you find that you are getting noise when adding more tracks of hard disk audio, try this to optimize your system and increase the number of tracks within your system. This control panel can be found by opening Start/Settings/ Control Panel/System, then selecting the Performance tab and clicking the File System button.
Page 136 sure your Read-Ahead Optimization is set for N o ne. Set Virtual Memory To A Fixed Amount If you have sufficient memory it is possible to completely turn off Virtual Memory. If not, set this to 50-100MB. Use A Dedicated Drive For Audio Use the fastest drive available to you.
Page 137 Compatibility Mode In Control panel/System/Performance if Win95 tells you it is running in “Compatibility Mode” it means that Windows drivers are not being used for some device. Try to resolve the problem. Edit System Files Editing of Windows and DOS system files should be attempted by experienced personnel only. Autoexec.bat &...
Page 138 Your particular BIOS may also have power management settings. These should also be disabled. Refer to your BIOS manual or contact its manufacturer for information on how to accomplish this. TIP: Back up your system on a regular basis C-10...
Page 139: Common Problems And Solutions
Common Problems and Solutions Installation & Hardware Recognition The Lexicon Studio Sound System is not recognized by Windows 95 when first installed. Make sure you have a Plug and Play ready BIOS that complies with V2.1 of the PCI specification.
Page 140 Computer crash and reboot when Lexicon IDS is removed from the Device Manager. Go into the Device Manager, open the System devices category, highlight the PCI bus entry and click the Properties button. Under the IRQ steering tab make sure IRQ Steering is unchecked.
Page 141 Lexicon Studio card and drivers: 'Could not create native audio engine', 'Could not load ASIO Lexicon Studio'. The Event Gina card uses the same VENDOR ID number as Lexicon Studio. This VEN ID number is entered in the Windows Registry when Gina is installed and remains in the Windows registry after the Gina card is removed.
Page 142 Various problems if you have incorrectly updated your Lexicon Studio software The following problems may appear if you incorrectly update Lexicon Studio's drivers and PC-90 plug-ins from V3.02 to a later version: 1. Clicking on the Launch Lexpanel icon in the System Tray causes the following message "Could not bring up Control panel"...
Page 143: Audio Errors
Cubase VST may be looking for the AWE64 as a default card (if you’ve preinstalled one). If it can not be configured correctly, VST will not boot and you will not be able to select ASIO Lexicon Studio as the ASIO device. Set the ASIO Multimedia Setup to Advanced options.
Page 144 Lexicon Studio Sound System indicates your driver has been improperly installed. 2. Is an IRQ assigned? Is memory I/O assigned? Highlight the Lexicon IDS Sound System and click on the Properties button. This brings up the Lexicon IDS Sound System Properties page.
Page 145 Aliasing or ring modulation noise associated with sample rate truncation heard when monitoring any of the Lexicon Studio inputs through the Cubase VST mixer has been reported on some systems. If you hear this noise on your audio, this noise can get recorded into the files to disk.
Page 146: Pc-90 Problems
PC-90 Problems PC-90 is not selectable in Cubase VST as a plug-in. If the PC-90 machine 1 and PC-90 machine 2 are not selectable as an effect, the .dlls have proobably not been installed into the proper ‘vstplugins’ folder. Default installation folders for Steinberg are: For Cubase AudioVST: C:\Program Files\Steinberg\Cubase Audio VST\vstplugins -or-...
Page 147: Sync
Use a fast IDE drive for your audio. Getting audio off the PCI bus creates more bandwidth for the Lexicon Studio System. You might also try a fast SCSI drive with a PCI SCSI controller, which will yield performance almost as high as the IDE due to the faster speed of SCSI.
Page 148 Specifications LDI-12T Interface Audio Inputs (2) Connectors: Balanced: female XLR-3 type Unbalanced: RCA type (software selectable) Impedance: 100k , balanced; 50k , unbalanced Levels: -14 to +18dBu full-scale, balanced -20 to +12dBu full-scale, unbalanced A/D Performance Frequency Response: 20Hz to 20kHz, ±0.5dB ref 1kHz Crosstalk: <-76dB, 20Hz to 20kHz...
Page 149 Digital Audio Interface Input Connectors: Coaxial RCA type (1) Optical TOSLINK (1), assignable as S/PDIF or TOSLINK Output Connectors: Coaxial RCA type (1) Optical TOSLINK (1), assignable as S/PDIF or TOSLINK Format: S/PDIF (IEC-958, CP-340) consumer audio interface System Sample Rates 44.1kHz, 48kHz Control Interface Timecode Input:...
Page 150 Core-32 External Interfaces: LDI-12T proprietary multi-pin connector LDI-16S proprietary multi-pin connector Internal Interfaces: PCI Interface PC-90 daughterboard interface TBUS daughterboard interface Data Resolution: 24-bit architecture Power Requirements: +5v± 5% Clock Range: 44.1 kHz -5% to 48 kHz +5% FCC Rating:...

Lexicon 12T User Manual

1 Getting Started

2 Installation

3 Core-32 Basics

4 Mmio

5 Using the

6 Reference

Appendix A Steinberg Cubase Vst

Appendix B

Appendix C

Quick Links

Troubleshooting

Related Manuals for Lexicon 12T

Summary of Contents for Lexicon 12T

Table of Contents