Random Ambience - Lexicon 300 - V3.0 REV Owner's Manual

300 V 3.0 Owner's Manual
Lexicon

Random Ambience

General Description
The 300'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
— to give it both better blend and a definite position in space. Random Ambience
gives warmth, spaciousness and depth to a performance without coloring the
direct sound at all.
Random Ambience generates primarily the strong reflections which appear in
the first few hundred milliseconds of the reverberation process. These early
reflections constitute the primary audible effect, giving you the impression of a
hall surrounding you while the music is playing. To avoid any coloration from
these strong reflections, the time delays and amplitudes are random functions.
Random Ambience is very useful for adding a room sound to recorded music or
speech. It is particularly easy to match a studio recording of dialog to a typical
room environment. In music recording, using Random Ambience is an effective
way of realistically adding distance to a close-miked signal. If an ensemble has
been recorded with close-mikes and pan pots, Ambience can provide the
missing blend and depth. The apparent position of the instruments is preserved
in the reverb while the apparent distance is increased. Random Ambience is
also useful in matching a closely miked accent microphone to the overall
ambience of a recording. This allows a soloist to be increased in level without
changing the apparent distance. Random Ambience can be used in a recording
situation any time a close-miked sound is undesireable.
Set the SIZE to the desired room size. RLVL adjusts the amplitude of reverbera-
tion defined by RTIM, and can be trimmed to get exactly the effect you need.
To use the algorithm with a console, it is best to use a stereo send to the 300,
carefully matching the panning of the various close-miked sources to their
positions in the mix. Leave the MIX control at 100%. The apparent distance of
each source can be controlled by the level of its feed.
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