Lexicon LEXICON480LV4 Owner's Manual page 81

If stereo material is recorded with a coincident pair of
figure-of-eight microphones, moving the ROT slider is
exactly equivalent to rotating the microphone pair.
Other microphone arrays and multimicrophone setups
do not rotate perfectly, but using this control is fre-
quently preferable to simply adjusting balance. The
display shows the actual channel gains for a continu-
ally panned source.
BAS (Bass EQ)
BAS is a 6 dB/octave shelving EQ control with a range
of +6 dB boost and full cut. It moves in .50 dB steps
from +6 to -6 dB. The crossover point is adjusted with
XOV (on page 2). BAS acts on both stereo channels
equally.
TREB (Treble EQ)
TRB is a 6 dB/octave shelving EQ controls with a range
of +6 dB boost and full cut. It moves in .50 dB steps from
+6 to -6 dB. The crossover point is adjusted with
STREB HFC (on page 2). TREB acts on both stereo
channels equally.
Page Two
XOV (Bass Crossover)
XOV sets the crossover point for BAS (on page 1)and
SPC (on page 2). When BAS is set to full cut, the level
is -3 dB at the frequency set with XOV.
HFC (Stereo Treble Crossover)
HFC sets the crossover point for TREB (on page 1).
When TREB is set to full cut, the level is -3 dB at the
frequency set with HFC.
HFC (Independent Treble Crossover)
HFC sets the crossover point for TREB LEFT and
TREB RIGHT (on page 2). When TREB is set to full
cut, the level is -3 dB at the frequency set with HFC.
SPC (Spatial EQ)
SPC sets the amount of a crossfeed between chan-
nels. The signal first goes through a 6 dB/octave low-
pass filter whose frequency is set with XOV.
When SPC is set positive (above 0) the crossfeed has
a negative sign. When SPC is set negative (below 0),
the crossfeed has a positive sign. When the control is
set to either maximum or minimum, the gain in the
crossfeed cicuit is unity.
Bank 9: the Mastering Programs
The result of this control is to change the separation of
low frequency stereo signals. When the control is
raised low frequencies in the sum (mono) channel are
reduced, and low frequencies in the difference (stereo)
channel are raised. With the control at maximum, low
frequency mono signals are completely removed. This
represents an extreme setting which should seldom be
needed in practice.
With material which has stereo bass information, or
which contains some reverberation, the effect of rais-
ing SPC is to increase the sense of spaciousness and
depth of the sound. It is particularly useful on material
recorded with panpots, or coincident and semi-coinci-
dent microphone technique.
When most of the bass in a recording is in the sum
(mono) channel, raising SPC may reduce the bass
level. This effect can be compensated for by raising the
overall bass level with BAS. Since both controls use the
same XOV seting, this compensation will be quite
accurate as long as SPC is set to less than 3 dB boost.
TBL and TBR (Independent L and R Treble)
These controls allow independent adjustment of right
and left treble. They may be used together with the
stereo adjustments to create a 12 dB/octave cut or
boost. Note that the 3 dB frequencies can be different.
Page Three
DLY (11 usec Correction On/Off)
When this control is on, the left channel is delayed
relative to the right by 11 usec. This allows a PCM-F1
tape to be corrected for compact disc.
EMP (De-emphasis On/Off)
When EMP is On, the incoming signal is digitally de-
emphasized. This should not be used unless the mate-
rial has been emphasized in the record process— such
as a PCM-F1 tape. Note that the automatic sensing bit
is not turned off at the same time
When digital de-emphasis is applied, the CD mastering
lab must be informed that the tape is not emphasized,
and the CD emphasis bit should be manually set to Off.
Mastering labs are happy to do this, but they must be
informed!
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