Lexicon 300 Owner's Manual
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Lexicon 300 Owner's Manual

Digital effects system
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300
Digital Effects
System
v 3.0
I
Owner's
Manual
1 SIDED MASTER
~3
lexicon

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  • Page 1 Digital Effects System v 3.0 Owner’s Manual 1 SIDED MASTER lexicon...

  • Page 2: Table Of Contents

    Configurations ................I-7 Syafem Overview Terms used in this manual ..............2-2 The Front Panel .................. .2*4 Overview of Front Panel Conkok ..........2-5 Overview of the 300 Display ............2-6 System .................2-7 System Operation Getting Statted ..................3-2 Selecting digital input antior changing analog sampling rate..
  • Page 3 Corf&ntS, cont’d. Setup Algoriihms ..............4-2 Random Hall .
  • Page 4 MIDI Connections ................7-2 Setting MIDI Channels................ .7-3 Dynamic MIDI ..................7-4 Using MIDI Program Change Messages with the 300......7-5 MIDI Table mode................7-5 Editing the MIDI Table ..............7-5 Real-time MIDI Effects Automation ............. 7-6 Using Real-time SysEx and Non-registered Parameters ...
  • Page 5 The 300 makes effects automation available in three different ways. If you use time code, the 300’s Event List and Time Code Reader add a new twist to effects processing. Each entry in the 50-item list contains a time code value and a 300 effect preset/register number, allowing incoming time code to trigger setup and effect changes, as well as setup and effect parameter glides.
  • Page 6 Lexicon Sound L e x i c o n d y n a m i c W n t r O i s s o u n d s , c h a n g e , o p t i o n s ’...
  • Page 7 Installing the...

  • Page 8: Mounting

    ’ m a y foot & ” ” ” m m ) f m m connector a line. providing c grounding t before a q u a l i f i e d t procedure i...

  • Page 9: The Rear Panel

    Installing the 300 The Rear Panel Digital Inputs and Outputs Inputs Three cormactors are provided for digi+al input: AES/EBU profea&nal format (1): 3-pin female XLR Analog Inputs and Outputs SIPDIF EIAJ CP-340 oomwmer format (2): unbalanced ccaxial RCA 3-pin XLR ocnnectcrs, eiec$rcnicaily balanced.

  • Page 10: Connectors, Cables And Configurations

    300 V 3.0 Ovm& Mcmud Lexicon Connectors, Cables and Configurations Connectors Signal Mating Connector Description XLR A3M Active balanced, pin 2 high L and R Analog +2dBu min; +2OdBu max Audio Input at OdB setting L and R Analog XLR A3F Active balanced;...

  • Page 11: Cables

    300 Cables Analog Audio l/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.

  • Page 12: Setting Analog Audio Levels

    300 to OdB (swftch OUT), or to +16dB (switch IN). Feed a I kHz tone (or a musical signal at the maximum peak level used tn your system) to the 300. Use the front panel Boft knob to adjust the level so that the peak input level just short of lighting the red overload LED.

  • Page 13: Configurations

    , s y s t e m i n c l u d e s 300 as your a c o n s o l e m o r e a u x i l i a r y...
  • Page 14 3DD V 3.0 Owner’s Marwd Lexicon AES/EBU to AEWEBU DIGITAL AUDIO CONSOLE WPDIF to S/PDlF RDAT MACHINE CONSOLE Note: These digital connections can be made with fiber optic, or XLR cables instead of 75Q coaxial RCA cables.
  • Page 15 i n g l m t d l AESIEBU to WPDIF Conversion S/PDlF to AES/EBU Conversion...
  • Page 16 & ANALOG l/O and AESIEBIJ to AESIEBU ANALOG l/O and AES/EBU Digital Output...
  • Page 17 Installing the 300 ANALOG with Digital Patch Point to ANALOG Out ANALCG AESIEBU Format MACHINE DIGITAL PROCESSOR Out CONYOLE 1” 1-11...
  • Page 18 System Overview...

  • Page 19: Terms Used In This Manual

    The settings of the parameters can be changed to create radically dtterent sounds from a single algortthm. A p&h is a routing assignment that allows one of the 300’s parameters to be driven by a soume controller (LFO, footswitch, mod wheel, etc.) Regisfersaresimplymemo~locationswhereyou~an~oreyourownsetupsand effects.
  • Page 20 Effecfpresefs: 100 effect presets are installed in the 300 to give you a wide variety of sounds to use as is, or to use as a starting point when creatingyourownsounds. (50 effectregistersareprovidedforstorage.) Setuppresets: 100 setup presets provide a convenient starting pointfor selecbon of effect combinations.

  • Page 21: The Front Panel

    The sam- 5 LEDs are green, fol- of Machine A or B to Allow access to dis- piing rats of the 300 is lowed by 2 amber, and provide an unproc- play Pages of adjust- shown by the gree”...
  • Page 22 EDIT In Modulation Edit you can assign MIDI and Soft knob patches. Switching between these various modes is as simple as pressing a button. The operation of the 300 in each of these modes is discussed in the following sections.

  • Page 23: Overview Of The 300 Display

    Overview of the Generally, the display will indicate a page of parameters, any of whim can be 300 Display selected by pressing the button directly above or below it In the example below, the “RTIM” parameter has been selected and is highlighted by an underscore cursor on the display.
  • Page 24 --__-, Panel, MIDI and Time Code Program Change As you can see from the figure, the 300 has a rich set of l/O capabilities, with many choices available to the user, including: Sample Rate Analog or Digital Input connector Digital and Analog Emphasis/De-emphasis...
  • Page 25 User Setups in any of 50 Setup Registers. setup Preeets Audio effects, of course, are what the 300 is all about, and a total of 100 Effect Presets are provided for loading into the three Setuptypes. Five algorithms can...
  • Page 26 Analog Input, 4SkHz mode with Setup Preset S:PiOi SINGLE running Effect Preset EA: PI01 Large Hall. If you are already familiar wtth the operation of the 300 and wish to change the Input to a Digital Type, simply enter Control mode and make your selections.

  • Page 27: System Operation

    System Operation...

  • Page 28: Getting Statted

    Ower’s Manual 300 V3.0 Lexicon Getting Started When shipped, the 300 V3.0 defauits to an Analog In, 48K sample rate state. It also loads Setup Preset 101 Large Hall, with the Random Hall Effect Large Ha// (Effect Preset 101). The various audio DSP routing configurations which can be utilized by the 300 aregroupedintoSetups.ThethreeSetuptypesare:SlNGLE,...
  • Page 29 Selecting digital Input, If you wish to change the Analog Sampling rate or to slave-lock the 300 to an and/or changing analog external digital device or to external system word clock, you must go into the eampling rate 300% Control mode. To do this, simply press the CONTROL button. Press PAGE DOWN twice to view Page Three, the Machine Configuration page.

  • Page 30: Single Setups

    Return the parameter to 50%, allowing proper stereo to pass to the DSP effect. Before the signal passes into the loaded effect, a post input level and post balance is picked off and bypasses the effect. Lexicon calls this the Signal path.

  • Page 31: Dual Mono Setups

    Most studio applications assume aiOO% Wet mix. Most SINGLE NOTE: Setups are set with OMIX at 100% Wet. However, it is possible that some pre- fade sends to the 300 will require the mix to be set to another value. Setups Dua[ Mono Dual Mono Setups (Setup Presets 201-225) are ‘Spiff configurations.
  • Page 32 3OQ V 3.0 Ovmer’s Manual Lexicon When 6othAnalog and Digital are spectiiedto 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(Analogor Digital). In this format, patch points are given up.

  • Page 33: Cascade Setups

    When working in a fffed format (with only analog Dual Mono inputs), digital each machine has its own level control. The outpu! of each level adjustment is split to each soume balance control. Each Dual Mono Setup Preset defauits ABALpanned to LEPTONLY, and BBALpanned to RIGHTONLY. (AIN, ABAL, BIN, and BBAL are located on Page Two of the Setup Edit mode.) *If you had, for example, a piano in the left input and a voice in the right input and bothBalancesweresetto5O%,asummedinputwithequalamountsof...
  • Page 34 V 3 . ’ Lexicon From the 300’s Control mode, there are two input format selections available Analog is selected as the when running Cascade programs: Analog or Digtial. 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 35: Setup Select Mode

    O p e r a t i o n Setup Select mode allows you to select and nm setup presets and registers. The 300 is shipped with 100 setup presets, as well as 50 setup registers for storing your modiiied setups. The setup presets provide a convenient starting point for selecting the audio DSP routing you wantto use.
  • Page 36 300 V 3.0 Owner’s Mawal Lexicon ..v..w W”“. VV.“F .W”V.W PZOI Rev/Rev Chamber Key Chamber P202 RevIDly Chamber LF0zFa.z Delays P203 RWlPCh Guitar Room Guit Shift P204 RevlComp “U-Chamber EZ conlp2:i P205 Dly/Dly Chorus Chorus+EKOz P206 *Dly/Pcb *Dud Delays Sky Down...
  • Page 37 system operation SetuP s&o~ To enter Setup Select mode, simply press the front-panel key labeled SETUP SELECT. This mode has two pages of controls: Page One allows selection of a setup. The upper line indicates “S:” (setup), a preset (P)or register (R) number, and the setup name. The upper row of buttons will step sequentially through the list of setups;...
  • Page 38 "3.0 Owner’s Manual Lexicon The front panel Soft knob is primarily used to adjust dfferent parametervalues. Using the Softknob as a This Soft knob can also be programmed (in Mod Edit mode) as a multi-parameter Parameter Controller controller linking one or more parameters wfthin Setups and Effects. The control portion of the Soft knob parameter is part of the Setup, and is set in Setup Select mode.
  • Page 39 & & “ “ ” ” “ ”...
  • Page 40 Effect Setup parameters in the 300 when parameters are patched to it. The LFO has a shape and a rate (speed) function, available on Page Four. The shape can be SlNEusoidal, TRIANGLE, SQUARE, or RANDOM. Rate is adjustable from Off to 9.OHz.

  • Page 41: Setup Edit Mode

    STORE again. The display will return to the last Setup Edit page. Note: The 300 has a memoty protection feature which enables or disables copying into the registers. When Copy Tools are disabled, all storing functions are inhibfted.

  • Page 42: Storing The Setup

    The LFO (Low Frequency Qscillator) is a ccntrol generatorwhich is designed to modulate Effect or Setup parameters in the 300 when parameters are patched to it. The LFO has a shape and a rate (speed) function, available on Page Four.
  • Page 43 Use the Soft knob to select the register number you want, then press STORE again. The display will return to the last Setup Edit page. Note: The 300 has a memory protection feature which enables or disables copying into the registers. When are disabled, all storingfunc- tions are inhibited.

  • Page 44: Effect Edit Mode

    300 V 3.0 Owner’s Manual Effect Edit Mode The 300 is shipped with 100 effect presets. Sooner or later you will want to after the sounds of these effects to more perfectly fit your requirements. To do thisgo to Run mode and load a preset setup that uses the effect you want to edit -or select and load the effect you want to edii from Page One in Setup Edii mode.
  • Page 45 3ystem H e r e t u r n i n g S o f t k n o b w i l l o v e r s o f t b u t t o n s w i l l P A G E U P a P A G E...

  • Page 46: Mod Edit Mode

    PataSW SostenSw Source: This is used to select the MIDI controiler, or event, that will control an SoftPedd effect parameter in the 300. The list contains the selections shown to the left. Switch-69-79 GP Cntlr-5-8 Sibzh-94-95 Threshold:Thisis used to set thecontrollervalue belowwhich thecontrollerwill PitchWheel not have an effect on the parameter.

  • Page 47: Soft Knob Patches

    Syztem Operation Soft knob Patches Soft knob patches are made in MOD Edlt mode. Press MOD EDIT to display one of the four possible patches in each Machine. Press PAGE UP or PAGE DOWN to view other patches in the same effect. Press MACH to display patches in the other Machine.

  • Page 48: Control Mode

    Control mode to general global parameters and miscellaneous provides functions including audio configuration. Selecting Control mode does not intermpt the audio operation of the 300. There are nine Control mode pages: Event List MIDI Mode and Map Table Machine Configuration...

  • Page 49: Time Code Event List

    Ontheupperiine, .selecting”AUTO”activatesoutput automationon the300. The choices are OFF, SysEx, Non-registered parameters, and Program Change Only. When the AUTO Mode is setto “OFF”, the 300 will not output MIDI data. Note: ln”Program Change Only” automation mode, effect registers Fi29-50 are not transmitted as their sequence numbers fall outside of the range of what can be legally represented by a MIDI data byte (OxOO-Ox7F).
  • Page 50 Pre, Mid or Pst) and D(A Pre, Mid or Pst) for patch point selection. This upper line of this page describes the current format being input to the 300. When no digital signal is present, the display will show “* *”...
  • Page 51 This page provides control over the SCMS (Serial Copy Management System) bits embedded in certain digital audio formats. The upper line of this page describes the SCMS status of your input source. Either of the two right buttons on the botton allow Soft knob selection of the SCMSsettingwhichwill beoutputbythe3OO,Thechoicesare:NOCOPY, COPY and MULT-COPY.
  • Page 52 Lexicon I f y o u c h a n g e s e t u p s u s e a l g o r i t h m s , t h e s y s t e m...

  • Page 53: Purgetools

    PurgeTools Program Change Map Table, or the Time Code Event List. It also allows reinitialization of a Lexicon demonstration (erasing all user effects and Time Code Event List data), and a complete reinitialization of the system to its factory configuration.
  • Page 54 The Algorithms and their Parameters...

  • Page 55: Random Hall

    Algorithms Random Hall General Description The 300 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. in the 300, the SIZE, SPREAD and SHAPE controls allow adjustment of the buildup and decay of the inftial part of the reverberation envelope.
  • Page 56 (note, however, that small sizes colorthe re- verberation).i 5 meters makes a very small room, and 38 meters is useful for a large hall. Used with care SHAPE and SPREAD allow the 300 to produce superior ambience-a sound which is spacious and has great depth-wiihout the long reverberation of a church.
  • Page 57 Lexicon 3oO V 3.0 Cwner’s Manual -93 to +93% O-2800ms -93 to +93% O-28001x1s Random Hall Basic Sounds Page RTIM sets the reverb time for mid-frequency signals. Because low-frequency RTfM @Ed-Frequency master Reverb Time) reverb time (BASS) is a multiplier...
  • Page 58 The Algorithms and their Parameters youshouidsettheSlZEco~roltoapp~ximatethesizeoftheacou~icspaceyou are trying to create, before adjusting anything else. The size in meters is roughly equal to the longest dimension of the space. Moving SIZE while a signal is present may cause audible transients on critical material. The apparent size of the space created is actually a combination of the SSttingS of the SIZE, SHAP, and SPRD controls.
  • Page 59 SPRD works together with SHAP to control the duration of the initial ambience created by the 300. Low SPRD settings result in a rapid onset of reverberation at the beginning of the envelope, with liile or no sustain. Higher settings spread out both the buildup and sustain.
  • Page 60 r a t e o f D I F F ) . a m a s t e r a r e v e r b s m a l l . G e n e r a l l y , s h o u l d t r y i n g b e f o r e...

  • Page 61: Random Ambience

    RTIM, and can be trimmed to get exactly the effect you need. To use the algortthm with a console, tt is best to use a stereo send to the 300, carefully matching the panning of the various close-miked soumes to their positions in the mix.
  • Page 62 Ambience Generator This control adjusts the reverberation time of the independent reverberator. The RTIM (Reverb Time) range ?f 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, SIZE should be changed first.
  • Page 63 V3.0 Owner’s Manual Lexicon RLVL sets the amount of reverberation in the processed signal. It is normally RLVL (Reverb Level) FULL, but may be reduced for effects where the pre-echoes should dominate. DDLY ( Dry Delay) DDLY provides a delay for the “dry” audio path, PDLY adds an additional delay to the reflections and to the reverberation.

  • Page 64: Rich Plate

    their P a r a m e t e r s General Description r e v e r b The Rich Plate program is denser, smoother, and less colored than programs. When used wtth the SIZE control at around 16 meters, the sound is dense and tight-idealforpercussion.
  • Page 65 300 ” 3.0 Owner’s Manual Lexicon Rich Plate Basic Sounds Page This control adjusts the reverberation time of the independent reverberator. The RTIM (Reverb Time) range of action is limfted. Be careful-both long and short reverb times may soundunnatural.ifamuchiongerorshoderreve~timethanthepresetprovides is desired, SIZE should be changed first.
  • Page 66 SPRD works togetherwith SHAP to control the duration of the initial ambience created by the 300. Low SPRD settings resuit 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 67 300 V 3.0 Owner’s Manual Lexicon FBKi FBK2 FBKl and FBK2 determine the amount of recirculation passed back through to the left and right inputs. DLY3 (Oms-1OOOms) and DLY4 (Oms-1OOOms) are also picked off after the DLY3, DLY4 diiusor. The level of each is controlled by LVL3 and LVL4, respectively.

  • Page 68: Stereo Pitch Shift

    Stereo Pitch Shift a r e a n d t h e s u m t h e t w o & R f o r a n d a n y t h e t h e a n d a n y u s e a n d...
  • Page 69 300 V 3.0 Owner’s Manual Lexicon ‘ ’ ’ mode, 4.16...
  • Page 70 The AIgorithms their Parameters a n d a n d t h e t h e T h e a n d 2 m s t h e a n y t h e t w o s e t t h e t h e n o t b...
  • Page 71 V 3 . 0 0 ~ ~ ‘ s M Lexicon G e n e r a l T h e S l e v e l a n d e I t s s f a d e r p...
  • Page 72 PCM-Fl tape. Note that the emphasis bit in the incoming signal can Setup be turned off from the 300 front panel. See Chapter 2: Sysfem O p e r a t i o n : Edit. 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.
  • Page 73 300 "3.0 Owner's L~XlCOfl P a g e ‘ B A S S E Q c o n t r o l w i t h a r a n g e o f a 6 d T X O V...
  • Page 74 RDLY (Right Channel Coarse) DLAY + FiDLY must not total more than 5,000 milliseconds. Fine Sample Accurate Delays These can be used for subtle time alignment adjustments. The 300 will correctly as500 displaythe resulting time shift asafunctionofthesampling rate.As many samples can be added to any stereo/coarse delay setting for a maximum possible delay per channel of 5 seconds + 500 samples.

  • Page 75: Stereo Adjust

    3.0 Owner’s Mcmuc~ 300 ” Lexicon Stereo Adjust DC Offsets Page DCSW (DC Offset Nuiling) AUTOADJUSTenables r a n a l o g - t o - d i g i t a l L-DC and Ft-DC and Rch DC Offset)

  • Page 76: Split" Setup Algorithms

    “Split” Setup Algorithms Dual Delays General Description The Dual Delay algortthm consists of 2 types of delay lines: Gliding Flange delays and Fixed delays. This is a true stereo aigoriihm. (If run in a Dual Mono setup, however, it will be mono.) Two independet gliding flange predelays are available, each wkh a2Oms range insinglesample steps.
  • Page 77 Owvr’s 300 V3.0 Mmwi Lexicon Dual Delays Parameters DLYl FBKl ,0-119996smp= o-99% 0-2498.9ms DLY2 MchB FBK2 O-2498.9ms 0-19996smp= o-99% O-2498.9ms 0-19996smp= o-99% O-19996smp= L, O-98%WL, R O-2498.9ms MchB RDLY RPAN 0-19996smp= L, O-98%R/L, R O-2498.9ms 4-24...
  • Page 78 Algorithms mar hameters Dual Delays Adjustments Page FDLY is aseparate 20 ms ganged stereo delay linewhich is conWollable single FDLY (Flange Delay) sample steps. LFBD and RFEiD are base delays which get summed with the stereo ganged LFi3D and RFBD flange delay.These base delays are adjustable in single sample steps through- (Left and Right Flange out a 20 millisecond range.

  • Page 79: Split Chamber

    300 V 3.0 Owner’s Marwd Lexicon Split Chamber The Splii Chamber program provides several presets which can be loaded into Cascade any Dual Mono 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 Sptii Chamber program can simulate many diff erent types of acoustic spaces or mechanical devices.
  • Page 80 SHAPandSPRD work~oge~hertocomroltheoverall ambienceofthe reverbera- SHAP (Shape) tion created by the 300. SHAP determines the contour of the reverberation envelope. With SHAP ail the way down, reverberation builds explosively, and decays quickly. As SHAP is advanced, reverberation builds up more slowly and sustains for the time set by SPRD.
  • Page 81 SPRD works togetherwith SHAP to control the duration of the initial ambience SPRD (Spread) created by the 300. Low SPRD settings resuit in a rapid onset of reverberation at the beginning of the envelope, with Title or no sustain. Higher settings spread out both the buildup and sustain.

  • Page 82: Mono Pitch Shift

    lhe Algorithms their Parameters Mono Pitch Shift GGDGrGf The Mono Piich Shift Algortthm has several useful effects, including predelay, Description feedback, andglide.Thep~chshifterinthe3OOincludesapitchdete~ionfeature which automatically adjusts the pertod of the splices to match the pitch of incomingsignals.Thisfeature makesthesplicingintelligent, andgreatlyreduces the artifacts associated with pitch shift. the Mono Pitch Shift program, each channel splices independently.
  • Page 83 ’ ” LChXl DLY adjusts the length of a delay line from zero to 51 Oms in 2ms steps.Optimal pitch shit occurs when DLY is about 40ms. FBK controls the amount of positive feedback from the output of the pitch shift to the input of the pm-delay line.

  • Page 84: Compressor

    Algorithms and their Parameters Compressor General Description The Compressor algorithm is a true digital compressor which will run in either 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 85 ._..-..A Compressor Adjustments Page PDLY PDLY sets the precteiay of the audio before the digital VCA. ATC (Attack) ATC adjusts the attack time constant. RTC (Release RTC allows adjustment of the release time constant. Time Constant) THRS THRS sets the level at which compression starts. Vhreshold) GAIN GAIN adjusts the gain of low level signals (below the compression threshold).

  • Page 86: Pons (Psychoacoustically Optimized Noise Shaping)

    Expander Adjustments Page EXSL EXTH sets the threshold at which the expander starts to work. EXG sets the amounf of negative gain EXTH EXSL controls the slope of the expander circuit. PONS General Description Dither is a low-level pseudo-random signal which is added to digital audio to reducequantization noise, ineffect, by replacing itwith a”nicersounding”noise.

  • Page 87: Small Stereo Adjust

    Lexicon 3oO V 3.0 0~~8s Manual Small Stereo Adjust The Small Stereo Adjust algorithm is aversion of Stereo Adjust with some of the General Description omitted. It designed specialized features to be put in a Cascade Setup ahead of PONS.
  • Page 88 a c o i n c i d e n t f i g u r e - o f - e i g h t m o v i n g e q u i v a l e n t m i c r o p h o n e m i c r o p h o n e m u l t i m i c r o p h o n e...
  • Page 89 With material which has stereo bass information, orwhich contains some rever- beration, the effect of raising SPEQ 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-coincident microphone technique. most of the bass in a recording is in the sum (mono) channel, raising When SPEQ may reduce the bass level.

  • Page 91: The Presets

    300 V 3.0 Owner’s Manual Lexicon The 300 is shipped wtth 100 setup presets, as well as 50 setup registers for S&up presets storing your modified setups. Single SetuP Single Effects are only available in Single-type Setups. Therefore, the descrip- (and Effect) Preeets tions (and the names) of the setup and effect presets are identical.
  • Page 92 Description This preset is wide and abrupt sounding. The SO~I knob. makes the Random Hail Wall smaller. Deep :& Random Hall Thisprese~a~uailygoesfmm~heDeepEnd~o~heShallowEnd. We just >X$$#@ didn’l have the space in the display to fit the title. !Q$$$&~,~ Round and booooomy. All of the pre-echoes are utilized to present Tanker Random Hall vq*q...
  • Page 93 300 V 3.0 Owner’s Manuaf Lexicon Single Setup Presets contki. Descriction Alaorithm The old standard uxnes back to the future. Advancing the Soft knob Rich Plate controls the reverb time negatively. This preset shines a little differently. Some close in pre-echoes gives Rich Plate a strong impact to the original source.
  • Page 94 Stereo Piich Shift Fluffy-sounding chorus effect. Mode is set to Mono so you can independently pitch lefl or right. When sent to the 300 pre-fader, the return audio has a slow motion movement around the stereo field. independent Stereo Piich Shift...

  • Page 95: Split Setup Presets And Their Effects

    300 V 3.0 Ovmer’s Monuol Lexicon Split Setup Presets Split Setups are divided into two types: Dual Mono (numbered 201-225 in Setup and their Effects Select mode), and Cascade (numbered 301-325 in Setup Select mode). Most Dual Mono Setups have the left input feeding Machine A, and the right input feeding Machine 6.
  • Page 96 This preset utilizes a. chamber preset cn the left input and a compresscr preset cn the right input. Typically, EZ Ccmp2:l shculdbeused=tapatch~intc”the~nscie.~usedc”~”effe~send, makesurethefadersendsarepre-fade,craphase errcr will cccur between the fader signal and the return to the ccn?,cle. MchA EAz707 “U” Chamber This preset is shaped liked an upside down “U”...
  • Page 97 300 V 3.0 Owner’s MCI~I.ICI Lexicon A true Dual-Mono pitch preset. Going to the Soft knob parameter location (in Setup Select mode) will enable ycu to advancs the delay parameter in the Machine A effect. MchA W&l3 ‘Up Shift Up Shift is a sweet sounding micrcshifl up +7cents.
  • Page 98 t o e & i n e i l a p i s p t o t i n t i s W “ t o t i n t i s n “ ” Aand i s s t o 0 i s a t o t i n b...
  • Page 99 V 3.0 Ovmer’s Morwol Lexicon Garage band and Basement band. Use with Dual Mono sources and place behind the source. MchA EA:715 Joe’s Garage Two bays, no waiting. Small and bright. tonality is fairly MchB EPz709 Basement Tight and short 15.8 meters, and the...
  • Page 100 10”s. Very good on vocals. To make this effect work properly, be sure to drive the 300 to within 12dB of full scale (dBfs). Remember, in this setup the effects are reversedfmm the meter ba//isfics which drive them.
  • Page 101 V3.0 Owner’s Man~ol Lexicon This preset is intended for *dual-mono” use. The LFO is set to a Triangle shape moving at 2.5OH.z. The Soft knob changes the spacing of the delays in Machine B. The Soft knob value is set to 20 when the setup is selected. This means that the Soft knob can go down from its preset value 8 the application warrants it.
  • Page 102 This preset runs 70% of a reverb effect into a pitch shift program. The remaining 30% of the reverb effect bypasses the pitch shifter, and appearsat thestereooutput. Modify BMlXtosome lesservalue if you want to bypasssorneof the reverbaround the pitch shifter. If BMIX is set to all wet, the reverb will be mono (because the algorithm is mono in-mono ax). Mcha EA:707 “U”...
  • Page 103 V3.0 Owner’s Mcnucl Lexicon This preset combines esterea chorus passing into z mcnc shift prcgrem. Go to Machine B Effect Edii and mc&Zy the Glide ~ch(GLD)pa~meter.~ycuwanttccpenthe~erecchc~seffe~,reduceBMlXscthatscmecftheChcrusprcg~~p~~e~ by the Mono Shii prcgrem. The LFO is set mcderetly fest, to 2.14Hz, with a Triangle shape.
  • Page 104 Shift parameter IThis preset combinesaguitarshifteffectgoing into~““e~y”compressor effect. The LFOcontrolstheGlide (GLD) in Machine A. The LFO rate is set to 0.16Hz with a sine waveform. :MchA EA:EOZ Guitar Shifi This preset offers a heavy amount of micropitch shift (-2lc), along with a small amount of recirculating predelay.
  • Page 105 3012 T h i e c t s , e f f S o f S o f i s s t h a s s e s b y p a I f y e a s e i n c r i n t e a s e i n c r...
  • Page 106 Thii S i s a v o f t that it’s a s ” “ i s also a d t o thii t o t A M l X As t A M l X m o r e o f t t o pass into t...
  • Page 107 300 to within 12dB of full scale tdBfs). This cascade preset has the net effect of a stereo reverb field followed by delayed mono pitch shift which recfrculate: downward...
  • Page 108 This is a sari of “r&o” sounding audio effect. The Chorus preset passes into the fast panning Panoia effect. Mix post-fader, Kind of like a rotating speaker-only diierent. The LFO is set to S.OOHz, with e sine waveform. MchA EA509Chorus This preset makes use of a.

  • Page 109: Split Setup Effect Descriptions

    ’ Split Setup reference, all of the presets effects available in the split mode are and described below, in numerical order. Effect Descriptions Iual & 4 ) a “ ” “ ”...
  • Page 110 Dual Delays This preset makes use of a small variation in the glide delay to modulate the sound. The glide moves between 9.7 and 1 l.Ems. If the LFO is advanced to values near 1 SOH,? to 2.0 Hz, a nice chorusing effect is achieved.
  • Page 111 300 V 3.0 Owner’s Morwol Lexicon Algorithm Description 1 EP# Name A great general purpose reverb tail. The size is set to 26.1 M (the Split Chamber Chamber largest value is 84M) so the density is rather close in. As you adjust she the Rt value will also change.
  • Page 112 me presets Description Name Algorithm Mono Mono Shii Pch Shift Baseline program with no pitch shift. Go to the glide parameter (GLD) in the Effect Edit morje to dial up the amount of pitch slI#ing yo” want. Mono Pch Shiit This preset offers a heavy amount of micropitch shift(-21~) along Gutar Shift with a small amount of recirculating...
  • Page 113 ” 3.0 O ’ Monuol Lexicon Compressor nice preset to add to an overall mix. You might need to adjust the threshold parameter to make it work for the patic~~iar signal you feed *::+:$$::?;+ ?::::::::::.:..*.:&$, it. The release parameter is set to gently fail away after 363ms.

  • Page 114: Effect Preset Parameters

    Effect Preset Parameters Effect Presets Using the Random Hail Algorithm P104 ‘Church PI06 RehursalRoom PI01 Large Hall ROLL PDLY PDLY PDLY ;Tl M SIZE SIZE ROLL ITIM SIZE ROLL ,.0* 36.0M 4.Ok 37.1 M O.Sk 152M 5.lk 2.0s XOVR BASS XOVR XOVR ILVL...
  • Page 115 Lexicon Effect Presets Using the Random Hall Algorithm, Cont’d. PI IO * Swdio PllZ*Deen Pl08 LfveDrumRoom RTI M SIZE ROLL PDLY RTIM SIZE hOLL PDLY SIZE PDLY RTIM ROLL 0.6s 16.9M 5.5k 2.4s 29.3M 4.Ok 1 .os 18.6M 8.2k RLVL...

  • Page 116: Effect Presets Using The Random Hall Algorithm

    The Presets Effect Presets Using the Effect Presets Usina the Rant dam Ambience Algorithm Random Hall Algorithm, Contk. PZOl * Ambience P!206 EarlyReflectl SIZE DIFF ROLL RTIM SIZE DIFF ROLL Pll4 ‘Synth Hall 2.0s 29.3M 3.6k 0.3s 6.6M 21.2k FITIM SIZE ROLL PDLY...

  • Page 117: Effect Presets Using The Rich Plate Algorithm

    3OD V 3.0 Owner’s Manual Lexicon Effect Presets Using the Rich Plate Algorithm P30‘t Pwc Plate P307 Sriaht Plate P301 ‘Rich Plate ,nfd PDLY PDLY ROLL ?Tl M SIZE ROLL SIZE - ROLL PDLY SIZE 7TlM 10.6k 14.2k 1.1s 16.3M 8.5k...
  • Page 118 6’401 Stereo Adjust P404 3 Frame Dly P407*MultiEchoes DLAY MSTR MSTR DLA’ MSTR <o> .zO> d> 100m .zO> .zil> 1lUS RFnS D-EM 11us RFnS D-EM D-EM RFnS +L+R +L+R +L+R RTRB TREB LTRB LTRB BASS RTRB BASS TREB LTFtB RTRI BASS TREB flat...

  • Page 119: Effect Presets Using The Stereo Pitch Shift Algorithm

    Lexicon 3OD V 3.0 OWner’s Manual Effect Presets Using the Stereo Pitch Shift Algorithm P505 Bulkie Roll P5Ol Stereo Shift GLDR IODE GLDL GLDR IODE GLDL 101% ,ca% lCQ% ster FINR ‘CHL PCHR FINL FINR FINL PCHR ‘CHL +13c -14c RFBK .DLY...

  • Page 120: Effect Presets Using The Dual Delays Algorithm

    Effect Presets using the Dual Delays Algorithm PSO3 *PingoPongo P601 *Dual Delays P605 OvdheTapl FDLY LFBD RFBD LFSD RFBD FDLY FDLY LFBD RFBD O.Om O.Om 0.Om O.Om O.Om 0.0m 9.5m 10.Om lO.Om UChA LFLG RFLG LFLG FIFLG RFLG M&IA LFLG DLYl FBKI DLYI...
  • Page 121 3QO V 3.0 0~~‘s Manual Lexicon ’ P607 LFOzFazeDlys P609 Chorus P611 LFOzPan&Faze FDLY LFBD RFBI FDLY LFBD FDLY RFBI l.9m 9.7m 5.61~ 19.41 9.on M&A LFLG RFL( MChA MChA LFLG RFLl LFLG RFLt -99% DLYl DLYI FBK: O.Om DLYl FBK’...
  • Page 122 Effect Presets using the Dual Delays Algorithm, Cont’d, P615 NegatiyF;;g slaps p613 *wall RFBD FDLY LFBD RFBD FDLY 8.3rn 6.7m 18Sm 0.Om O.Om 0.0m RFLG LFLG RFLG LFLG d&A -96% DLYI FBKl FBKl DLYI 40.4m DLY2 FBK2 d&A FBK2 DLY2 dChA 67.4m APGl...

  • Page 123: Effect Presets Using The Split Chamber Algorithm

    300 V 3.0 Owner’s Manual Effect Presets using the Split Chamber Algorithm P701 Chamber P707 ‘WChamber P712 ‘Great Hall RTIM SIZE PDLY RTIM SIZE PDL\ RTIM SIZE PDL) 28.lM I as 2.5s 32.lM 2.1s 66.4M SHAP MchA TDCY MchA TDCY...
  • Page 124 Effect Presets using the Split Chamber Algorithm, Cont’d. Recital P720 Hall P716 Sizzle City PDLY RTIM SIZE SIZE PDLY RTIM 44.5M 2.3s 13.5M SPRD SHAP MchA TDCY SHAP SPRD b&A TDCY I .Ok 10.6k RAND SASS DIFF PAND DIFF BASS 1.2X 0.4x MchA...

  • Page 125: Effect Presets Using The Mono Pitch Shift Algorithm

    Effect Presets using the Effect Presets using the Mono Pitch Shift Algorithm Small Stereo Adjust P809 Octave Down PSOI Maw Shift Algorithm -0ct 4Onl PO10 *Small Sl Ad BNPS MchA: BNPS MchA: MSTR 100% SPEQ RFnS *ChA: PSlO~Vocal Shiff PSOZ Guit Shift +L+R Fiat...

  • Page 126: Time Code Operation

    Time Code Operation...

  • Page 127: Using Time Code

    300 V3.0 Owner’s Manual Lexicon Using time code The 300 utilizes time code to trigger Setup and Effect changes. It can also use time code to trigger parameter glides. In order any of the time code functions to work, time code...
  • Page 128 & Z f e n t “ & k n o initiate program changes e n t f r o p a n e n t e n t g h t e n t e m s ” “ o e m s s o r e n t...

  • Page 129: Snapping Events

    300 “3.0 Snapping evenis The easiest way to develop a list in the 300 is to “SNAP” entries into the list. To use the snap function, select OFF and turn the Soft knob to enable time code (ON). Locate the source machine to the beginning of the section you want to experiment with.
  • Page 130 Code “ “ a “ a “ “ first e Your ” “ ’ a 5 s first h r o u g h s p a s s i n g t a l o g i e m u s i c o r d i S e t u p w h i l t i m e m d e g f t...

  • Page 131: Programming Parameter Glides

    300 ‘43.0 Owner’s Manual Programming Parameter glides can be a verypowefui feature. When you select a parameter Parameter Stfdea glide (PA,PB, or PS) as type of automation change, the display will update and display three entries: Parameter Selection @TIM, PDLY, DLYl,FBKl...), final parameter value (12.5s 125m, 225m, 45%...), and the frame duration (25Fr) of...
  • Page 132 From the main time code menu, select =ADD”. Now select the edtt event number by pressing the key directly above “r. Use the Soft knob to selet ‘K?,“, then press STORE. This makes a complete copy of event#3 and places it into slot #4. Note that Event #K3 and Event #4 now have the same time code adress.

  • Page 133: Things To Consider About Glides

    Lexicon 3C!O V3.0 Owner’s Mamm Things to Consider Ail parameter glides are based on the effect loaded in the list immediately About Glides precedingthegiide. Forexample, let’ssaythat fVfec!iumHa//is Event Edii#4and Event Edii#5 specifies PA RTIM moving to a value of 3.8% with a duration of 007 Frames.

  • Page 134: Deleting An Event

    Adding art event Once you have created an Event List, you can also modify it by adding effect changes. Select ADD. The display will show: isused intwodifferemways.TodupliC2teanevent, pressthe The ADDfunctiofi button directly above the Event number field and use the Soft knob to scroll to press the event that you want to copy.
  • Page 135 Effect Event Time ~~24 ”...
  • Page 136 O p e r a t i o n...

  • Page 137: Midi Connections

    All MIDI connections described inthischapteruse the MIDI IN, OUTand THRU ~OrmSCtiOrIS connectors Imated on the rear panel of the 300. As with any MIDI connection, use only standard MIDI cables, and keep them as short as possible to avoid possible data errors. Fifleen meters is generally accented as the maximum length that should be used to maintain data integrity.

  • Page 138: Midi Operation

    MIDI Out 300 with sequencer/computer and keyboard The 300 can receive MIDI information on two independent channels: one for Setting MIDI Channels SysEx and Dump messages, and one for Program Change and Dynamic MIDF’ patches. MIDI Channel assignments are made in Control mode. To select this function, press CONTROL and use the PAGE UP/DOWN keys to display the MIDI control page.

  • Page 139: Dynamic Midi

    Dynamic MIDI@ Dynamic MIDI0 allows you to patch virtually any MIDI controller to any effect parameter in the 300. Mod Edll mode is used to create or modtt Dynamic MIDI* patches. To use Dynamic MIDI? you assign a MIDI controller or an event to a setup parameter or to an effect parameter, using the patch parameters found on the pages in Mod Edit.

  • Page 140: Midi Table Mode

    Changes and the 300’s preset and register numbers is not very convenient. Changing the presets in a synth, or the registers in the 300, is not all that easy when you have to arrange everything so that MIDI Program Changes have the desired effect.

  • Page 141: Real-Time Midi Effects Automation

    Parameters automation mode. As you turn the Soft knob to vary one of the 300’s effect parameters, MIDI data in the selected outputfomat will be transmitted from the 300’s rear panel MIDI OUT connecfor as a Program Change.

  • Page 142: Using Dynamic Midi* To Transmit And Receive Midi Controller Information

    In applications that require more than one 300 to worktogether, you can use one 300s 300 as a master, and slave as many3OOs as you need to the master. This is done by connecting the MIDI OUT of the master machine to the MIDI IN of the first...
  • Page 143 3 0 0 V , 3 . 0 M a n u d O f c “ ” w a n t E v e L i s t l o w d e l 5 O m s h e r e s s...

  • Page 144: Troubleshooting

    Troubleshooting...
  • Page 145 ’ Lexicon p r i m a r i l y r e c o g n i z e c o r r e c t e d a q u a l i f i e d ”...

  • Page 146: Common Time Code Problems

    Checkthesignai levelofthe incomingtimecode. If the level istoo highortoo low, the 300 may not lock to the signal. Also check the wiring of the time code cable. The time code input on the 300 is electronically balanced and, if the cable is not wired with this in mind, the 300 may not lock to the signal.
  • Page 147 MIDI Implementation Chart MIDI ImpiemeNation Details are available to assist experienced programmers in developing software for use with the 300. These can be obtained from your dealer, or directly from Lexicon. Request: Model 300 MIDI Implementation Details.

  • Page 148: Midi Implementation Chart

    Messages :All Notes OFF :Active Sense :Reset Notes If Channel is set to OFF, 300 will not recognize any messages Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO 0 : Yes Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO...

  • Page 149: 300 Specifications

    300 Specifications...
  • Page 150 Lexicon 300 V3.0 Owner’s Manual Channels (2) Balanced XLR, pin 2 “high” Input impedance 5OkQ, unbalanced; lOOkQ, balanced Gain switch in OdB position: +2dBu minimum: +2OdBu maximum FLIU Scale Input Level Gain switch in +18dB position: -14dBu minimum; +4dBu maximum...

  • Page 151: Power Requirements

    Specifications Analog Input to Analog Output (48kHz sampling rate) Frequency Response 48kHz sample rate: 1OHz tp 21.5kHz, &0.2dB Crosstalk 8OdB maximum, 1OHz to 2OkHz Signal-to-Noise Ratio 9OdB minimum, A-weighted Total Harmonic Distotiion 0.01% maximum, 1 OHz to 2OkHz 0.01% maximum SMPTE lntermodula~ion Distortion Dynamic Range...
  • Page 152 Soft knob to find an avail- able register, then press able register, then press Note: If the 300 Copy Tools fun&n is set ho DISABLE, no STORE -again, again. functions can be perfwmed.This function is enabled in CNTRL n&e. (Selection of CNTRL does not interrupt audio operation of the %a)
  • Page 153 300 V 3.0 Quick Reference Guide Cascade Setups [301-325) also load two &f&s: ona ii loaded into Machine A, than the audio from Machine A is passed to Machine B.

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