LX480 Reverb - Manual
Contents
1. e ee s Pt Ee ae 2 Relab Development LX480 Reverb User Manual 399900 English se LX480 Reverb Manual Relab Development Legal END USER LICENSE AGREEMENT This End User License Agreement Agreement is a contract between you either individual or single entity and Relab Development Aps Licensor a Danish corporation regarding use of the accompanying software Software Please read through this Agreement carefully before installation and use of the Software BY ACCEPTANCE OF THIS AGREEMENT OR BY INSTALLATION AND OR USE OF THE SOFTWARE THE EARLIEST OF SUCH ACTS CONSTITUTING THE EFFECTIVE DATE OF THIS AGREEMENT you agree to be bound by the terms and conditions of this Agreement Should you not accept the terms and conditions set forth in this Agreement do not install the Software and delete the Software and any copies thereof from your computer 1 The Software may not be used without a software license key You may purchase a software license key from Licensor at the terms and conditions from time to time applied by the Licensor which entitles you to use the Software on a perpetual basis Perpetual License You may also receive a temporary software license key which is intended to give you an opportunity to test and evaluate the Software Evaluation License Such Evaluation License is provided on the terms and conditions from time to time applied by Licensor Please note2. os eose oot oe o oe z fee ad LX480 Reverb Manual Relab Development 5 3 Parameters MOD Page WWW gg Hall and Plate Room algorithms Chorus Type CHT Note This parameter is not available on the original Set the value to O for true emulation Range 7 to 7 Selects between the various different chorusing modes With a value of 0 the chorusing modulation is completely off Settings 1 3 increase the number of internal delay lines Settings 4 7 are identical to settings O 3 but with added chorusing to the outputs Settings with a negative number have the various delay lines randomized so that they are completely independent of each other which results in a more chaotic pitch variation Chorus Rate CHR Note This parameter is not available on the original Set the value to O for true emulation Range 0 to 48 Controls the rate of the chorusing modulation Chorus Depth CHD Note This parameter is not available on the original Set the value to O for true emulation Range 0 to 64 Controls the amount of the chorusing effect on the reverberation Because this parameter together with CHT and CHR introduces pitch variations sound sources with very little pitch wobble such as piano should have a low Chorus Depth value Twin Delays algorithm Left Fine Delay FNL FIN Lexicon 480L Range 0 smp to 49 smp Specific to the Twin Delays algorithm this
3. continued WW Random Hall algorithm Reverb Mode MOD Range RVB or EFX Specific to the Random Hall and Random Hall HD algorithms this parameter switches between RVB Mode and EFX Mode The RVB Mode has linked operation for Reverb Time Mid RTM Spread SPR and Size SIZ The EFX Mode permits independent operation of the above mentioned parameters The RVB Mode results in the most natural and optimal operation Random Hall HD algorithm ER Reverb Mix ERM Range 128 0 to 0 128 Specific to the Random Hall HD algorithm this parameter controls the ratio between reverberation signal and early reflection signal in the output eler fee oe oe LX480 Reverb Manual Relab Development 5 5 These parameters and those on the ERLV page differ slightly from all D aram ete oe EH RT M D ce others as they have different meanings for different algorithms MQ QA MM Hall Plate Room Random Hall and Random Hall HD algorithms DL1 Echo Delay 1L gt L Range Oms to 2500ms This sets the delay time for the early reflection delay line DL1 L input channel L output channel DL2 Echo Delay 2L gt R Range Oms to 2500ms This sets the delay time for the early reflection delay line DL2 L input channel R output channel DL3 Echo Delay 3L gt L Range Oms to 2500ms This sets the delay time for the early reflection delay line DL3 L input channel L output channel DL4 Echo Delay4R gt
4. L Echo Delay 2 R gt R Parameter placement on the hardware LARC z LX480 Reverb Manual Relab Development 4 3 Algorithm Twin Delays iQ The Twin Delays algorithm offers four delay lines each with independent level feedback and delay time Feedback can be positive or negative The feedback for Delays 1 L and 2 R is preceded by a low pass filter on each line The feedback for Delays 3 L and 4 R is cross panned Finally there is a pan control for both Delays 1 and 3 L and Delays 2 and 4 R both post feedback and filter The delays go up to 1 5 seconds and the filters work from full bandwidth down to 120Hz The feedback and panning controls and the filters allow this algorithm to be used for anything from classic doubling effects and ping pong delays to cavernous echoes Filter Filter coset Filter RightShelf NB The boxes coloured blue on the algorithm diagram represent additional parameters functions not found in the original hardware Parameter Layout MST ROL R RSR TFT TIME ae Delay Multiplier L Del 1 Rolloff L Del 1 Shelf R Del 2 Rolloff R Del 2 Shelf Filter Type DLL L NR WID L Ch Dry Level R Ch Dry Level Left Ch Pan Right Ch Pan Width E MIX es LOF LOS H FLT FILTER Low Frequency Low Shelf High Frequency High Shelf Filter Type I SL ROR DLR PNL IF HIS FNL FNR L Fine Delay R Fine Delay FB1 FB2 FB3 FB4 LEV L Del 1 Feedback R Del 2 Feedback
5. Shelf LOS Low Shelf LOS Note This parameter is not available on the original Set the value to OdB for true emulation Range Cut to Odb Modifies the high pass filter characteristic of Low Frequency LOF into a shelving filter Setting the value to the minimum of Cut will modify the shelving filter into a normal high pass filter The normal application for the parameter is to reduce boomy resonances High Frequency HIF HFC Lexicon 480L Note This is a continuous parameter on the plugin which interpolates between the discrete values found on the original Range 120Hz to Full Sets the frequency above which a low pass filter attenuates both the reverberation and the early reflections The overall low pass filtering is actually a combination of the parameters High Frequency and High Shelf HIS This parameter is important for creating a realistic and natural reverberation Typical values are 2KHz to 4kHz High Shelf HIS Note This parameter is not available on the original Set the value to Cut for true emulation Range Cut to Odb Modifies the low pass filter characteristic of High Frequency HIF into a shelving filter A value of OdB will deactivate the filter Filter Type FLT Note This parameter is not available on the original Set the value to 6dB for true emulation Range 6dB or 12dB Controls the steepness of the two output filters Switch between 6dB per octave and 12dB per octave
6. a high density algorithm and exhaustive modelled input and output stages everything is modelled from internal clipping to quirks in the feedback loops Lexicon 480L Digital Effects System 480L 224 XL are trademarks of Lexicon Inc and EMT EMT 250 are trademarks of EMT Studiotechnik which are in no way associated or affiliated with Relab Development These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose sounds were studied during the development of the plugin 1 1 This Manual NE This manual covers the essential information you need to install and operate your LX480 but also delves into subsidiary subjects with general discussion and advice to help vou get the best out of the plugin Reverberation What is reverb How do reverbs work and what features do different reverbs possess Operation Description of the LX480 including an explanation of the interface and details of the controls The Algorithms Description of the algorithms their character and any extra features available in the LX480 when compared to the Lexicon 480L The Parameters Detailed listing of the editable parameters and their effect Sous PEPE est La ef LX480 Reverb Manual Relab Development 1 2 Installation NET Download You can download the latest build of LX480 Reverb from the Relab website at http www relab dk The file you download is a simple ZIP file con
7. distinct reflections if Size SIZ is large and therefore with lower density This is preferable when you want clearer and more natural vocals mixes and piano music Higher settings of Diffusion will enhance the sound of percussion or other sounds with sharp transients This parameter affects both reverberation and early reflections Decay Optimization Channel DCC Note This parameter is not available on the original Set the value to Left for true emulation Range LEFT or RIGHT Controls which channel receives the decay optimization specified by the DCO parameter In rare circumstances less than 5 of all power up the original hardware swaps the decay optimization modulation from the left channel to the right channel oe owes e LX480 Reverb Manual Relab Development 5 4 Parameters DEN Page continued WW Decay Optimization DCO Range O RVB to 9 RVB O EFX to 9 EFX This parameter alters the overall characteristics of the algorithm with respect to its response to input levels which can have an effect on the realism of the reverberation The default setting is RVB 7 The nine EFX settings are similar to the RVB settings except that they delink the Size SIZ and Spread SPR parameters allowing the creation of unnatural experimental sounds such as those with a high Spread SPR but low Size SIZ Reverb Level LEV Note Set the value to 160 when using the Hall Plate Room and Ambience algorithms
8. from drum rooms to concert halls to Hollywood recording stages combined with multiple mic ositions Clearly a techniques require access to suitable spaces to record in and lack flexibility Springs The first electromechanical solution to the reverb problem was conceived in the 1930s developed in the 1940s and became a staple of guitar and organ amps in the 1960s and 70s It employed transducers and springs to simulate the bouncing of reflected sound between two facing surfaces Although such devices were theoretically one dimensional the inherent complexities of the materials involved led to a distinctive complex sound though not a particularly natural reverb especially when fed with transient rich material Plates Plate reverbs were first produced in the 1950s by the German manufacturer EMT Plate reverb units also used transducers to physically alter sound in this case by passing it through a metal plate suspended in a box rather than through a set of springs The two dimensional behaviour of a plate produced a more realistic result than spring reverb with a dense smooth tone that was more musically useful and became particularly widely used on vocals and drums However plate reverbs though less expensive than purpose building a recording space were still large cumbersome items and the amount of adjustment to the sound that was possible was limited to adjusting the dampening on the plate pa os LX480
9. parameter controls an extra sample level delay for the left DL1 DL3 and FB1 FB4 channel Right Fine Delay FNR FIN Lexicon 480L Range 0 smp to 49 smp Specific to the Twin Delays algorithm this parameter controls an extra sample level delay for the right DL2 DL4 and FB2 FB3 channel CALE LITE o Oar o 5 1 ete lopment rd LX480 Reverb Manual Relab Dev 5 3 Parameters MOD Page continued WWI Random Hall Random Hall HD and Ambience algorithms Solin Sen Range 0 to 48 Controls the rate of the randomization in the reverberation engine Spin and Wander WAN continuously change the overall timbre of the reverberation to reduce coloration and make the sound more natural by altering the many delay taps in the algorithm The modulation engine is designed to reduce the chorusing associated with the varying time delay found in older reverberation algorithms to handle some instruments like piano better without pitch shifting Wander WAN Range 0 to 25ms depending on the parameter Size SIZ Sets the amount of time the many delay taps in the algorithms will move For large environments use a setting of around 10ms 5 4 Parameters DEN Page WWW ggg Hall and Plate Room algorithms Diffusion DIF Range 0 to 100 Controls the initial echo density of the reverb Low or moderate settings of Diffusion can result in an immediate and clear sound with
10. parameters SHP and SPR governing this dimension The right hand handle can be dragged left and right to change the overall Reverb Time RTM parameter If you drag it off to the right the time display y axis will rescale to allow the greater timescale the maximum varies depending on the algorithm Likewise dragging it to the left will cause the display to rescale so that the contour occupies a similar amount of the display This occurs when you release the mouse button The time axis display can also be rescaled independently using the scroll bar above the graph Grabbing one of the scroll markers at either end will let you stretch the display in that direction so you can focus on a particular area of the reverb contour Early Reflections The EARLY REF tab shows the volume pan and timing of up to six early reflections sometimes known as pre echoes These are not clean individual delay taps but are actually more diffused clusters of echoes the DIF Diffusion control found under the DEN function key governs exactly how diffuse they are There is no DIF control available when using the Twin Delays algorithm because the algorithm functions differently to the others However the delay markers work in the same way as for other algorithms although only the first four delays are functional NB The Ambience algorithm has no specific early reflections so settings made in this tab will have no effect on the sound However
11. that you are responsible for the software license key received and Licensor will not replace any lost software license keys 2 Licensor and or its licensors own all copyrights in and to the Software The Software is protected by copyright laws and international copyright treaties as well as other intellectual property laws and treaties Any and all intellectual and other property rights to and in the Software vest in and shall remain vested in Licensor or its licensors The Software is licensed not sold 3 Title and copyrights in and to the Software including any images photographs animations video audio music and text incorporated into the Software accompanying printed materials and any copies End Users are permitted to make herein are owned by Licensor or its licensors 4 No right title or interest in or to any trademark service mark logo or trade name of Licensor or its licensors is granted to End Users 5 The End User is granted a non exclusive and non transferable right to use the Software 6 The End User may not copy or reproduce the Software The End User may not transfer sell distribute lend rent lease or in other way directly or indirectly dispose of the Software or any derivative work of the Software 7 The End User may not alter or modify the Software and may not analyze reverse engineer decompile or disassemble the Software or any part of the Software incorporate the Software into any other application so
12. to take advantage of its early reflection engine and combine that it with Random Hall on Engine B for the reverberation s oe LX480 Reverb Manual Relab Development 3 2 Preset and Setup controls WII Analogue and noise emulations The hardware unit that LX480 emulates uses a combination of 6 bit and 16 18 bit processing which inevitably introduces grit dirt and artefacts into the calculation of the reverberation most noticeable with heavy modulation Far from being a problem this is avery large part of the 480L sound and works particularly well on rock pop productions etc However such artefacts are considered undesirable in classical productions for instance and so LX480 Reverb offers the option to remove the inherent noise by choosing a mode without Noise LX480 Reverb also emulates the effects caused by the input output stage of the hardware unit which may be either digital in out or analog aux in out There are two flavours of analog available giving the following six options in the Emulation drop down menu no se represents the normal operating mode of the original Digital noise Digital Analog noise Analog Analog2 noise Analog2 Resonance RH This control allows one to compensate for a bug in the firmware of the hardware unit When using the Random Hall algorithm setting Spin SPN and Wander WAN to O and then modifying the Size SIZ afterwards will produce an ex
13. you can still add early reflections to the Ambience model by using the Stereo Split mode and combining two engine with different algorithms Comparing the location of each delay marker against the scale at the bottom shows when each pre echo occurs and the time axis can be rescaled using the scroll bar above the graph in the same way as on the Reverb tab fen LX480 Reverb Manual Relab Development 3 1 Display continued WWW You can drag the small squares to freely adjust delay time and signal level Vertical distance from the centre line represents signal level If you have the ERTM or ERVL function pages open you will see that the changes you make are reflected on those sliders Some presets have no early reflections set some have only two If you want to specify more simply drag the square at O time on the centre line and place it where you want it If none are set marker 6 will be the first to be placed You can always return a square to O on the centre line if you want to remove it You will notice that some markers 1 3 and 5 are constrained to positions above the line while the others 2 4 and 6 are constrained to positions below the line Also markers 1 2 and 3 are coloured assuming you haven t set your display colour to grey see Display Setup Page while markers 4 5 and 6 are grey These indications relate to pan information DLT L gt L DL2 L gt R DL3 L gt L DL4 R gt R DL5 R gt L DL6 R gt
14. 0 in particular can be put pa ose LX480 Reverb Manual Relab De elopment 2 1 Humans are very adept at deducing information about the surroundings of a sound N t b source by listening to its reverberation and the qualities of reverberation or reverb as it is atural AMDIENCE more commonly known form an intrinsic part of our appreciation of sound and music MX A A AQAA MA Natural reverberation is present everywhere there is sound with the very particular exception of an anechoic chamber Reverberation is formed of the decaying echoes of sound The sound that reaches a listener s ears say the sound of a handclap will be a combination of the sound that travels direct to them along with echoes from nearby or far awav surfaces echoes of those echoes and so on until their energy has decayed to zero The character of these echoes will depend upon the positioning and reflective qualities of these surfaces as well as on the frequency content of the original sound The medium through which the sound travels most commonly air also has an effect on the nature of the sound reaching the listener air will absorb high frequency noise More particularly reverberation is the term for the halo of echoes that are perceived asa unified whole by humans rather than as distinct individual echoes Humans are very adept at deducing information about the surroundings of a sound source by listening to its reverber
15. 4 56 U WE LX480 Reverb Manual Relab Development 1 n O The quality of its algorithms and the integrity and flexibility of its signal path has led to it N t ro d UC tI on being used as a staple in almost every high end recording and post production studio iKkKkKKKK First released in 1986 the Lexicon 480L Digital Effects System has for most of its life been the standard by which all other signal processors are measured It remains a popular choice among top producers for the most demanding tasks nearly 30 years later It is widely considered to be one of the best sounding reverbs ever built The quality of its algorithms and the integrity and flexibility of its signal path has led to it being used as a Staple in almost every high end recording and post production studio The original unit and other iconic reverbs like Lexicon 224 and 224XL was created by under the guidance of David Griesinger who was the main reverb developer at Lexicon for many years The main reason for creating the LX480 plugin was to preserve this sonic quality and to allow failing hardware units to be replaced with a perfect recreation of the firmware version v4 10 in plugin format The algorithms in the emulation are sample accurate compared to the original unit and the plugin is therefore the most authentic hardware emulation available Additionally the LX480 Reverb plugin introduces extra functions including parameters for better sound shaping
16. DL1 DL3 and FB1 FB4 channel between left and right before the final filter stage Right Channel Pan PNR PAN Lexicon 480L Range Left to Right Specific to the Twin Delays algorithm this parameter sets the panning of the right DL2 DL4 and FB2 FB3 channel between right and left before the final filter stage Ambience algorithm Ambience Size AMS SIZ Lexicon 480L Range 1m to 40m Specific to the Ambience algorithm this parameter varies the apparent size of the ambient space Getting this parameter ina promising area is often a good first step to achieving the desired space before moving on to adjust Reverb Time Mid RTM and Reverb Tail Level RTL Dry delay IND Range Oms to 1500ms Specific to the Ambience algorithm this parameter sets the amount of delay applied to the dry signal that is mixed in by the Wet Dry Mix MIX control Usually this will be set to O but it can be invaluable when needed for instance in sound reinforcement eee orsu i e ei o Se fit 2022 25 2 lopment rd LX480 Reverb Manual Relab Dev 5 2 Parameters FILTER Page WW G G Low Frequency LOF Note This parameter is not available on the original Range 120Hz to Full Sets the frequency below which a high pass filter attenuates both the reverberation and the early reflections The overall high pass filtering is actually a combination of the parameters Low Frequency and Low
17. L R Del 3 Feedback R L Del 4 Feedback Level Dry Wet Mix DL1 DL2 DL3 DL4 ERTM Left Delay 1 Right Delay 2 Left Delay 3 Right Delay 4 LV1 LV2 LV3 LV4 ERVL Left Level 1 Right Level 2 Left Level 3 Right Level 4 Software vs Hardware The same differences as regards filters apply as for the Hall algorithm DRY DRY RO ROL PAN PAN races crois nenon tovirolot noverotot conden rouen DL1 LV1 FB DL2 LV2 FB2 race nie conie tomresbar novae ovins sors ER i 1 DL3 LV3 3 DL4 LV4 FB4 L DLY3 Value L DLY3 Level L DLY3 Feedback R DLY4 Value R DLY4 Level R DLY4 Feedback FIN FIN MST L Fine Delay R Fine Delay Delay Multiplier Parameter placement on the hardware LARC LX480 Reverb Manual Relab Development 4 4 Algorithm Random Hall WY The Random Hall algorithm provides a smoother reverberant characteristic and is better suited for material which requires large Space emulation or longer reverb time It is similar in structure to the Hall algorithm but with added random decay elements The reverberation has less metallic ringing and less colouration Reverberator gt BasMut BasxOvr imut Hixovr FitType Wander Mode NB The boxes coloured blue on the algorithm diagram represent additional parameters functions not found in the original hardware Filter LoFrec LoShelf HiFreq HiShelf FitType Revel j orson seu Eeen Parameter Layout TI
18. ME RT BAS BX HIG HXO TFT OTME eine ensmatipy sasstregcrosover ten mutiny mures nevero riter Tyee S SPR SIZ W O se reder IS M O ms LOF S HIF H LT FILTER i Low Frequency Low Shelf High Frequency High Shelf Filter Type l L L M HP PDL D LO F SPN WAN Spin Wander DIF MOD LEV X Diffusion Reverb Mode Reverb Level Dry Wet Mix DL1 DL2 DL3 DL4 DL5 DL6 Echo Delay 1 L gt L Echo Delay 2 L gt R Echo Delay 3 L gt L Echo Delay 4 R gt R Echo Delay 5 R gt L Echo Delay 6 R gt R LV1 LV2 LV3 LV4 LV5 LV6 Echo Level 1 L gt L Echo Level 2 L gt R Echo Level 3 L gt L Echo Level4 R gt R Echo Level 5 R gt L Echo Level 6 R gt R Software vs Hardware The same differences as regards filters apply as for the Hall algorithm In addition there are some minor differences in early reflections The original hardware had limited DSP power and a result the reverb designer had to remove some of the early taps of the Random Hall algorithm to ensure there was enough power for the advanced modulation found in this algorithm RTM SHP SPR SIZ HFC PDL BAS XOV RTC DIF MOD MIX DL1 DL2 DL3 DL4 SPN WAN LV1 LV2 LV3 LV4 SHL LEV Parameter placement on the hardware LARC z LX480 Reverb Manual Relab Development 4 5 Algorithm RHall HD WWW DSP performance was limited in 1984 compared to what is available to modern hardware units This enhanced version of the original Random Hall algorithm expands and improves upon the origin
19. R The first letter refers to the channel of the input L or R the second letter refers to the output channel so there are three taps for each input channel 1 to 3 for L input 4 to 6 for R input one of which Delay 2 for L Delay 5 for R is cross panned and mixed with the taps from the opposite side This diagram of the Hall algorithm clarifies this Filter Reverberator HFreq Hite Hall algorithm diagram Rival p pr seu ees o os HA gt e owes e LX480 Reverb Manual Relab Development 3 1 Display continued WWM Time Frequency The TIME FREQ tab shows a graphic representation of the adjustments made to reverb time for higher and lower frequencies and allows these parameters to be controlled NB These controls have no effect for the Twin Delays algorithm and only the High Frequency controls have an effect for the Ambience algorithm The display shows three frequency blocks It is possible for the left and right blocks to overlap and thus obscure the central block completely The central block represents the Reverb Time for the middle frequencies and always shows a level on the central line i e a multiple of 1 0x The left hand block represents lower frequencies and can be dragged above the central line for multiples up to 4 0x or below the central line for multiples down to 0 2x The right hand block shows higher frequencies and covers ranges fro
20. R Range Oms to 2500ms This sets the delay time for the early reflection delay line DL4 R input channel R output channel DL5 Echo Delay 5R gt L Range Oms to 2500ms This sets the delay time for the early reflection delay line DL5 R input channel L output channel DL6 Echo Delay 6 R gt R Range Oms to 2500ms This sets the delay time for the early reflection delay line DL6 R input channel R output channel Twin Delays algorithm DL1 Left Delay 1 Value Range Oms to 1491ms This sets the delay time for the delay line DL1 z fevers LX480 Reverb Manual Relab Development N 5 5 Parameters ERTM Page continued WWMM DL2 Right Delay 2 Value Range Oms to 1491ms This sets the delay time for the delay line DL2 DL3 Left Delay 3 Value Range Oms to 1491ms This sets the delay time for the delay line DL3 DL4 Right Delay 4 Value Range Oms to 1491ms This sets the delay time for the delay line DL4 5 6 As with the ERTM page these parameters have different meanings Parameters ERVL Page for different algorithms MA AWN Hall Plate Room Random Hall and Random Hall HD algorithms LV1 Echo Level 1 L gt L Range Off to OdB This sets the level for the early reflection delay line DL1 L input channel L output channel LV2 Echo Level 2 L gt R Range Off to OdB This sets the level for the early reflection delay line DL2 L input channel R o
21. Reverb Manual Relab De elopment 2 3 Convolution can be a good solution for certain areas of post production D g t ql rever b S mu ALI ons but its inflexibility can make it less helpful in a mixing situation QQ QQ M A S The first attempts to use digital signal processing to provide areverb system date back to the 1960s but it took till 1976 for the first digital reverb to reach the market partly because of the complexity of the theory that needed to be solved but largely because of the limitations in terms of both performance and cost of early DSP chips Algorithmic The earliest units such as the EMT 250 employed fairly uncomplicated algorithms with a limited number of parameters for sculpting the effect such as pre delay and delay time though they betrayed their more all purpose nature by offering other effects besides reverb As processing power increased the level of complexity of the algorithms employed increased greatly as did the number of editable parameters and digital reverb units became capable of enormously flexible and subtle audio manipulation with the Lexicon 480L as one of the pinnacles of this evolution Convolution Another method of creating digital reverberation was also being considered in the 1970s though at that time the processing power was not available to put into action convolution This involves taking a snapshot of an acoustic space by recording a carefully defined sound be
22. Shelf High Frequency High Shelf Filter Type I F DIF Diffusion SPN WAN Spin Wander 0 LEV MIX Reverb Level Dry Wet Mix Software vs Hardware The same differences as regards Reverb Level and filters apply as for the Hall algorithm Moreover the original algorithm doesn t have the possibility to change the rolloff frequency within the reverb network The frequency is hardcoded to 4 62kH7z in the original hardware RTM RTL SIZ ROL DIF MIX Reverb Time Mid Reverb Level Size Rolloff Diffusion Dry Wet Mix S WAN PDL IND MIX Spin Wander Predelay Dry Delay Dry Wet Mix Parameter placement on the hardware LARC z oe LX480 Reverb Manual Relab Development 5 0 Parameters TIME Page NLLE Hall Plate Room Random Hall and Random Hall HD algorithms Reverb Time Mid RTM Note This is a continuous parameter on the plugin which interpolates between the discrete values found on the original Range Os to 66s depending on the parameter Size SIZ Sets the decay time of the reverberation algorithm at mid frequencies The Bass Crossover BXO parameter determines where these frequencies lie Reverb Time Mid acts as a master control for the reverb time since the low frequency and high frequency reverb time parameters are a multiplier of the Reverb Time Mid parameter When the Reverb Mode MOD parameter is in Effect mode the interaction between Reverb Time Mid and Size SIZ is deactivate
23. T OF THE USE OF OR INABILITY TO USE SOFTWARE EVEN IF THAT PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES IN ANY CASE LICENSOR S ENTIRE LIABILITY UNDER ANY PROVISION OF THIS AGREEMENT SHALL BE LIMITED TO THE AMOUNT ACTUALLY PAID BY YOU TO LICENSOR FOR THE SOFTWARE LICENSE KEY 14 This Agreement shall be governed and construed in accordance with the laws of Denmark LX480 Reverb Manual Table of contents LX480 REVERB MANUAL Version 1 2 CHAPTER 1 0 Introduction 1 1 This manual 1 2 Installation CHAPTER 2 0 Reverberation 2 1 Natural ambience 2 2 Artificial ambience 2 3 Digital reverb simulations 2 4 Qualities of reverb CHAPTER 3 0 Operation 3 1 Display 3 3 Function keys 3 2 Preset and Setup controls I Ove ON CHAPTER eee Ve SEE ee oi CLS Relab Development 4 0 The Algorithms 4 1 Algorithm Hall 4 2 Algorithm Plate Room 4 3 Algorithm Twin Delays 4 4 Algorithm Random Hall 4 5 Algorithm RHall HD 4 6 Algorithm Ambience CHAPTER 5 0 Parameters 5 0 Parameters TIME Page 5 1 Parameters SHAPE Page 5 2 Parameters FILTER Page 5 3 Parameters MOD Page 5 4 Parameters DEN Page 5 5 Parameters ERTM Page 5 6 Parameters ERVL Page Credits 23 T23 me T 29 50 gt T3
24. al Random Hall algorithm Because current CPU processing power is way ahead of the processing available in 1984 it has been possible to make some improvements Greater density reaching similar density to that found in convolution reverbs This is clearly observable with a short transient test sound Highly advanced echo system normally echoes and early reflections in reverbs are based on a single echo tap or a group of taps which will introduce unwanted colouration of the sound This new system emulates clusters of 1000s of reflections based on real world behaviour including advanced randomization This allows the recreation of the first 100ms of a real hall or a convolution reverb but without forcing a specific coloration onto the sound Better low frequency reverberation compared to the original it can reverberate lower frequencies More stable imaging with shorter reverb time and modulation If you set Shape and Spread to the value O and have no or very short reverb time then the imaging of the reverberation changes from left to right and back again constantly it sounds as if the position of the sound source is moving around the simulated space at high speed this is eliminated in this algorithm liter Reverberator Predelay SI Gast Basxov Himut Hixov TT pion Parameter Layout TIME RTM BAS BXO HIG HXO TFT TIME seveistime wid ssp eass rrea crossover mevaon Hi
25. ation and the qualities of reverberation or reverb as it is more commonly known form an intrinsic part of our appreciation of sound and music Over time humanity has developed its design of interior spaces partly in response to the reverberative qualities of shapes surfaces and building materials from the Neolithic chambered cairn of Maes Howe to the most modern concert hall design 2 2 Artificial ambience WWM The arrival of sound recording brought with it a specific difficulty regarding reverb Not only were early microphones recording media and loudspeakers limited in their frequency response the whole process also telescoped down the natural reverb cues leading toa distinctive recorded quality that was very far from the natural live sound As recording techniques evolved to include multi tracking isolation booths and entirely electronic sound sources a great need arose for techniques that would enable the sense of acoustic space to be added to a recording in which it was now entirely or partially missing Chambers Initial efforts to capture reverb focused on providing good sounding spaces in which to record music and these techniques have developed and are still in use today re recording a signal played back through loudspeakers in a different space to which it was recorded recording instruments using multiple mic positions to allow ambience to be mixed in using various methods using tailor made recording spaces
26. chorus controls added in LX480 Complete add the option to make the reverberation sound less metallic reduce the build up of resonance by randomising the delay times in the algorithm A side effect of this is the introduction of pitch variations into the reverberation tail Thus sound sources with very little pitch wobble variation such as guitar and piano will need low chorus values or for the chorus to be completely off The Chorus Type CHT parameter selects between the various different chorusing modes used With a value of zero the chorusing modulation is completely off and the resulting reverberation is identical to the hardware which has no chorusing Settings 1 3 increase the number of internal delay lines that are affected by the chorusing Settings 4 7 are identical to settings 0 3 but with added chorusing to the outputs of the algorithm Settings with a negative number have the various delay lines randomized so that they are completely independent of each other which results in a more chaotic pitch variation Additional functionality has been introduced to the reverb filters and output filters offering more flexibility in sound shaping including the Width WID parameter found on newer versions of Lexicon hardware Reverb Time Mid Shape Spread Size High Freq Cutoff Bass Multiply Bass Crossover High Freq Cutoff Diffusion Decay Optimization EE P SIZ DIF LV2 LV3 LV4 LV6 LV6 Echo Level 1 L gt L Echo Level 2 R gt R Echo Level 3 R g
27. cs Draws the listener into the music or scene Takes training to reliably perceive most music listeners and critics perceive only loudness balance intelligibility and localisation The effect is unconscious but powerful in a recent blind test there was a consistent bias for high envelopment Many reverb plugins lack this sense of spaciousness to the extent that the narrow spread of the sound field sounds monaural when compared to high end hardware The LX480 plugin follows its model in providing this sense of spaciousness Another characteristic which is often overlooked is the ability to reverberate low frequencies in the range 20 100H7z and have a consistent overall frequency distribution Many reverb designs have been through a lengthy process of eliminating obvious resonances metallic sound in the tail which result from longer reverberation time for specific frequencies the resonances compared to the overall reverberation time but forget the effect of cancellation of frequencies in the reverb tail Without careful tuning of the algorithms you can experience a lack of energy in the low frequency spectrum which has to be compensated but never correctly eliminated with post processing LX480 Reverb Manual 3 0 Operation WWI MK The user interface for the 480LX plugin is based closely on the LARC Lexicon Alphanumeric Remote Control from the original unit If you re familiar with the LARC you ll find
28. d When the Reverb Mode MOD parameter is in Reverb mode the interaction is activated and the actual value set for Reverb Time Mid varies with the setting of Size SIZ Size SIZ should be adjusted before Reverb Time Mid when a specific decay time is necessary Bass Multiply BAS Range 0 2x to 4 0x Controls the decay time for frequencies below the Bass Crossover BXO frequency in relation to Reverb Time Mid RTM The Bass Multiply parameter is a multiplier of the Reverb Time Mid RTM parameter If Bass Multiply is set at 1 5x and the Reverb Time Mid RTM is set to 2 0 seconds the low frequency reverb time will be 3 0 seconds To emulate a natural sounding concert hall we recommend values around 1 2x to 1 3x Bass Crossover BXO XOV Lexicon 480L Note This is a continuous parameter on the plugin which interpolates between the discrete values found on the original Range 120Hz to Full Sets the frequency where the transition between low frequency and mid frequency takes place Typical values for real halls are below 400HZ High Multiply HIG Note This parameter is not available on the original Set the value to 0 2x for true emulation Range 120Hz to Full Controls the decay time for frequencies above the High Crossover HXO frequency in relation to Reverb Time Mid RTM The High Multiply parameter is a multiplier of the Reverb Time Mid RTM parameter It controls the amount of air absorption in the reverbera
29. e Predelay Width M HIG LOF S HIF HIS FLT FILTER Low Frequency Low Shelf High Frequency High Shelf Filter Type CHT CHR CHD Chorus Type Chorus Rate Chorus Depth DCO I 4 HP D LO l DIF DCC LEV X Diffusion Optimization Ch Decay Optimization Reverb Level Dry Wet Mix DL1 DL2 DL3 DL4 DL5 DL6 Echo Delay 1 L gt L Echo Delay 2 L gt R Echo Delay 3 L gt L Echo Delay 4 R gt R Echo Delay 5 R gt L Echo Delay 6 R gt R LV1 LV2 LV3 LV LV5 LV6 Echo Level 1 L gt L Echo Level 2 L gt R Echo Level 3 L gt L Echo Level4 R gt R Echo Level 5 R gt L Echo Level 6 R gt R fen LX480 Reverb Manual Relab Development 4 2 Algorithm Plate Room continued WY Software vs Hardware The same differences as regards Reverb Level modulation and filters apply as for the Hall algorithm In addition there are some minor differences in early reflections The original hardware had limited DSP power and a result the reverb designer had to remove some of the early taps of the Plate Room algorithm to ensure there was enough power for the diffusion module found in the Plate Room algorithm which is denser than the diffusion module found in the Hall algorithm RTM SH SPR SIZ HF PDL Reverb Time Mid Shape Spread Size High Freq Cutoff Predelay BA XOV RTC IF DCO MIX Bass Multiply Bass Crossover High Freq Cutoff Diffusion Decay Optimization Dry Wet Mix PAGES P S LV1 LV2 Echo Level 1 L gt L Echo Level 2 R gt R DL1 DL2 Echo Delay 1 L gt
30. e found in the Parameters section Control Sliders and Undo Redo Buttons es 348 The control sliders area comprises three separate sections the information bar the control sliders the undo redo buttons The Information Bar This areas shows which parameter the slider below will adjust It shows the three letter abbreviation which will be familiar to LARC users along with a value Clicking anywhere on a slider track will show the full parameter name in the information area above The Control Sliders The control sliders allow direct adjustment of the parameters You can click anywhere on the slider track and drag the slider up and down For fine control hold down the Ctrl Control key or the Shift key and drag The Undo Redo Buttons The buttons underneath the control sliders remember the last value for this slider that was selected for this parameter This provides a simple way to undo your last change or by pressing the button several times to A B two settings Note that the button will remember the last edited value for that parameter not for the slider and the parameter for this slider may have changed if for example you have changed the algorithm A QC Development og LX480 Reverb Manual Rela 4 0 The Algorithms WWW QQ The algorithms in LX480 Reverb provide emulations of the reverb ambience and delay algorithms found in the 480L The 480L pro
31. es between the discrete values found on the original Range 120Hz to Full Specific to the Twin Delays algorithm this parameter controls the rolloff frequency for the low pass filter on delay line 1 left channel Left Delay Rolloff Shelf RSL Note This parameter is not available on the original Set the value to Cut for true emulation Range Cut to Odb Specific to the Twin Delays algorithm this parameter controls the amount of reduction above the rolloff frequency ROL for the low pass filter on delay line 1 left channel Right Delay Rolloff Freq ROR ROL Lexicon 480L Note This is a continuous parameter on the plugin which interpolates between the discrete values found on the original Range 120Hz to Full Specific to the Twin Delays algorithm this parameter controls the rolloff frequency for the low pass filter on delay line 2 right channel Right Delay Rolloff Shelf RSR Note This parameter is not available on the original Set the value to Cut for true emulation Range Cut to Odb Specific to the Twin Delays algorithm this parameter controls the amount of reduction above the rolloff frequency ROR for the low pass filter on delay line 2 right channel oe owes e LX480 Reverb Manual Relab Development 5 0 Parameters TIME Page continued WWM Ambience algorithm Reverb Tail Level RTL Range 0 to 127 Specific to the Ambience algorithm this parameter contr
32. for true emulation Range 0 to 254 Controls the input gain of the reverberation engine Settings above 160 will result in saturation of the internal calculations This parameter affects both reverberation and early reflections Wet Dry Mix MIX Range 100 0 to 0 100 Sets the ratio between processed signal and dry signal in the output When using the plugin on a send path the Wet Dry Mix MIX parameter should almost always be set to 0 100 Twin Delays algorithm Left Delay 1 FeedBack FB1 Range 100 to 100 Specific to the Twin Delays algorithm this parameter sets the feedback either positive or negative phase inverted around the left delay DL1 Right Delay 2 FeedBack FB2 Range 100 to 100 Specific to the Twin Delays algorithm this parameter sets the feedback either positive or negative phase inverted around the right delay DL2 L R Delay 3 FeedBack FB3 Range 100 to 100 Specific to the Twin Delays algorithm this parameter sets the cross panned feedback either positive or negative phase inverted from the left delay DL3 into the right delay DL2 R L Delay 4 FeedBack FB4 Range 100 to 100 Specific to the Twin Delays algorithm this parameter sets the cross panned feedback either positive or negative phase inverted from the right delay DL4 into the left delay DL1 3629 fee os oe LX480 Reverb Manual Relab Development 5 4 Parameters DEN Page
33. ftware or print out the Software except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation 8 The End User may use the Software for only as many simultaneous users servers or other limiting parameters as are set out in the instructions of Licensor according to the Agreement or otherwise 9 The Software is installed on computer s server s according to what is set forth in the agreement with the Licensor 10 Except as provided for the Evaluation License the license will continue until it is terminated Licensor may terminate the license if you fail to comply with the terms of this Agreement You may terminate the license at any time and for any reason Upon termination by either party you must delete the Software from your computer and any copies thereof 11 Licensor warrants the media on which the Software is recorded to be free from defects in material and workmanship under normal use for a period of ninety 90 days from the date of purchase as evidenced by a copy of the receipt Licensor s entire liability and your exclusive remedy will be replacement of the media not meeting the Licensor s limited warranty and which is returned to Licensor or an authorized representative of Licensor with a copy of the receipt Licensor will have no responsibility to replace any media damaged by accident abuse or misapplication 12 The Software is provided strictly AS IS without war
34. gh trea crossover reverb iter Type _ SHP SPR SIZ PDL WID SHAPE shove se e resco we PF FITER oeo towsret veus mener O um Low Frequency Low Shelf High Frequency High Shelf Filter Type SPN WAN rr PO RS DIF ERM MOD LEV MIX musen enpate nero ode Reverbtevel ones DL1 DL2 DL3 DL4 DLS DL6 LV1 LV2 LV3 LV4 LV5 LV6 Echo Level 3 L gt L Echo Level4 R gt R Echo Level 5 R gt L z LX480 Reverb Manual Relab Development 4 6 Algorithm Ambience WWI Unlike the Hall Room and Random hall algorithms the Ambience algorithm is designed to become part of the input signal rather than adding a cushion of reverberance that sits behind a clear direct sound The Ambience algorithm is ideal for adding a room sound to recorded music or speech and is often used in post production to add a realistic room ambience to close miked or studio recorded dialog It can also be used to add blend and distance to close miked instruments Filter Reverberator LoShelf pl spin Wander HiMult _HiFreq CHiShef Rize ne Dison EE NB The boxes coloured blue on the algorithm diagram represent additional parameters functions not found in the original hardware Parameter Layout TIME RTM RTL HIG HX TFT Reverb Time Mid Reverb Tail Level High Multiply High Freq Crossover Reverb Filter Type AMS DL IND WID Size Predelay Dry Delay Width LO LOS HI HIS FLT FILTER Low Frequency Low
35. his plugin Graphic Page Graphics These four options allow you to specify the background graphics used for the LX480 Reverb GUI Normal LARC style Dirty LARC style with extra coffee drips and general wear and tear Dark a dark version of the LARC style Custom this option allows for a custom skin to be used Info Page The credits for the plugin The graphics act as links to the respective websites You can also find here exactly what version of the software you are using Sos eosti oes oe oe 7 fee oe LX480 Reverb Manual Relab Development 3 3 Function keys AWWW QM The eight function keys QUICK TIME SHAPE FILTER MOD DEN ERTL and ERVL give access to different ranges of parameters that can be tweaked using the sliders below mme share mien moo The parameters shown for each key differ depending on the algorithm being used The Hall and Plate Room algorithms use the same parameters and the Random Hall is very similar to these but several of the Ambience parameters are different and the Twin Delays algorithm uses different parameters yet again The parameters that appear in the QUICK section also appear under other function key sections They have been selected to be useful for making quick adjustments to presets but you can alter which parameters appear here on a per preset basis on Setup Page 2 Full details of the effects of each parameter can b
36. ing played in it This snapshot can then be analyzed removing the original impulse sound to produce an impulse response IR The IR is then used to process an audio signal by a process known as convolution The result is an often remarkably natural result albeit one that can often be altered very little compared to an algorithmic reverb Convolution can be a good solution for certain areas of post production but its inflexibility can make it less helpful in a mixing situation 2 i 4 Another characteristic which is often overlooked is the ability to Q U al it es of rever D reverberate low frequencies in the range 20 100Hz and have a consistent overall frequency distribution OA QA QA 1 What makes a good reverb algorithm When reverbs are discussed words like smooth rich clean and spacious are often used though there is a good deal of subjectivity in these terms However one characteristic that is often overlooked even though it is in fact crucial is the 3D qauality or envelopment of the reverb The primary goal for synthetic reverbs is to create a sense of space around the sound source sometimes a realistic space at other times just something that sounds good but still represents a believable space David Griesinger creator of the Lexicon 224 XL and 480L has described envelopment also Known as spaciousness and spatial impression in the following terms The Holy Grail of acousti
37. l4 R gt R Echo Level 5 R gt L Echo Level 6 R gt R LOF O H FLT FILTER Low Frequency Low Shelf High Frequency High Shelf Filter Type i mer I V M O HIG HP R PDL D S IF HIS CHT CHR CHD Chorus Type Chorus Rate Chorus Depth DIF DCC DCO LEV X Diffusion Optimization Ch Decay Optimization Reverb Level Dry Wet Mix L1 2 L3 DL4 6 V1 2 V3 LV4 2 oe LX480 Reverb Manual Relab Development 4 1 Algorithm Hall continued WWM Software vs Hardware The original hardware only had a Reverb Level LEV parameter in the Random Hall algorithm The reverb level was therefore effectively hardcoded to 160 for the other algorithms We have decided to include this parameter LEV in all the other algorithms including reproducing its behaviour It s worth noting that this parameter is not a straightforward volume controller with a setting between 0 and 160 it functions as anormal volume control but settings above 160 will introduce saturation with various intensity in the different reverb modules the diffusion and the reverberator This can create an upfront sound compared to its no saturation behaviour Moreover the original algorithm doesn t have modulation as such but rather uses a decay optimization function that modulates internal parameters according to changes in input level This subtle change in the reverb tail is very different from the sound of the modulation found in earlier Lexicon hardware reverbs The
38. m the central line 1 0x down to 0 2x By dragging the coloured squares left and right the crossover point for low and high frequencies can be set corresponding to the BXO and HXO parameters Dragging vertically adjusts the reverb time for lower BAS and higher HIG frequencies shown as a multiple of the reverb time for the mid frequencies RTM RTM is not adjusted directly on the graph NB If the boxes are dragged so that they are overlapping the reverb times for the overlapped frequencies are multiplied by the product of the BAS and HIG More details of the practical use of these controls can be found in the detailed descriptions of the parameters Filter Frequency The FILTER FREQ tab shows a graphic representation of high and low shelf Aa filters that are applied to the processed signal both reverb and pre echoes Dragging the two squares allows direct adjustment of each filter as regards both frequency horizontal plane across the frequency scale as shown corresponding to LOF and HIF and amount of attenuation vertical plane with Odb of attenuation at the top of the scale corresponding to LOS and HOS fen LX480 Reverb Manual Relab Development 3 2 Preset and Setup controls WIAA The top row of buttons is used for preset management and overall plugin settings and preferences Load Save This button opens an Explorer Finder window showing the last This button opens an Explorer Finder wi
39. meter A low Spread setting results in a rapid onset of the reverberation with low or no sustain of the contour When the Reverb Mode MOD or the Decay Optimization DCO parameter is in Effect mode the Spread and Size SIZ parameters are unlinked Normally the Spread parameter is linked to the Size SIZ parameter and the actual maximum value for Spread depends on selected Size SIZ LX480 Reverb Manual Relab Development 5 1 Parameters SHAPE Page continued WWM Size SIZ Range 1m to 39m depending on the algorithm Sets the apparent size roughly equal to the longest dimension in meters and the diffusion build up rate of the simulated acoustic space It also functions as a master control for Reverb Time Mid RTM Spread SPR and the modulation engine The Size control can modify the sound of the reverb from very small with high density to very large with lower density The overall sense of size is actually a combination of the parameters Size Shape SHP and Spread SPR Predelay PDL Range Oms to 1500ms Adjust the time delay between the reverberation and the input signal Contrary to popular beliefs it s not recommended to use the Predelay parameter for emulating the time delay in natural environments Natural spaces are best emulated by setting Shape SHP and Spread SPR to the desired values Predelay is best for special effects Width WID Note This parameter is not available on the origi
40. nal Set the value to 45 Stereo for true emulation Range 360 to 360 Controls the width of both the reverberation and pre echoes The parameter is able to perform phase inversion Left Right inversion channel swapping and surround compatible L R R L operation BE R L stereo swapped Stereo w phase inverted Mono w phase inverted R L L R R L L R surround disappears in Mono R L stereo swapped w phase inverted R 90 45 Stereo Stereo 0 Mmo Mono 45 RL R Lstereo swapped 90 RLLR RL LR surround disappears in Mono 225 RLinv _R Lstereo swapped w phase inverted __ 360 Mon Momo VL L R R L L R R L surround L 3629 fee ad oe LX480 Reverb Manual Relab Development 5 1 Parameters SHAPE Page continued WWM Twin Delays algorithm Left Channel Dry Level DLL DRY Lexicon 480L Range Off to OdB Specific to the Twin Delays algorithm this parameter sets the amount of dry signal that passes through unaffected from the left input to the left output Right Channel Dry Level DLR DRY Lexicon 480L Range Off to OdB Specific to the Twin Delays algorithm this parameter sets the amount of dry signal that passes through unaffected from the right input to the right output Left Channel Pan PNL PAN Lexicon 480L Range Left to Right Specific to the Twin Delays algorithm this parameter sets the panning of the left
41. ndow at the previous directory used to select a preset directory used and allows one to save a new preset Prev Next Clicking on Prev moves to the previous preset in the current preset Unsurprisingly this button moves to the next preset in the current directory preset directory NB The presets will be stepped through alphabetically even if they are NB As with Prev the presets will be stepped through alphabetically even if sorted in a different order in the Explorer Finder window they are sorted in a different order in the Explorer Finder window A and B The A and B buttons control which of two engines is currently being edited The setting chosen in Setup Page 1 determines how these two engines work together When Single mode the default has been chosen and only one engine is actively being used at any one time the A and B buttons allow quick comparison between two presets The gentle red highlight shows which engine is currently active A or B After loading a preset initially click on B and use the LOAD button to load another preset These two slots can now be alternated between using the A and B buttons In Cascade Mono split or Stereo split mode the two A and B engines act on the stereo input in different ways See Setup Page 1 below for more details of how these work Loading presets in these modes works in exactly the same way as it does in Single mode Setup The Setup button gives access to various setup preference and informa
42. ols the level of the reverberant part of the ambient decay At O only a subset of the early reflections will be present in the sound and there is an abrupt end to the sound when these later early reflections are gone A setting of about 70 results in a natural blend of early and late reflections 5 1 Parameters SHAPE Page WWW hg Hall Plate Room Random Hall and Random Hall HD algorithms Shape SHP Range 0 to 255 The two parameters Shape and Spread SPR work together to control the contour of the initial envelope of the reverberation sound Shape controls the actual contour of the reverberation envelope Many small and large spaces have an uneven build up of initial reverberation anditis this behaviour that Shape and Spread SPR control At low settings the reverberation builds up extremely quickly with a bright tone and then starts to decay immediately As Shape is increased the reverberation builds up more slowly and the overall sound becomes more filtered Spread SPR Range 0 to 255 depending on other parameters Size SIZ and Rev Mode MOD Decay Optimization DCO Controls the time stretch of the initial decay and works in combination with the Shape SHP parameter to form the overall contour of the early part of the reverberation Setting the parameter to a larger value results in a larger apparent size of the emulated space and in some situations Is actually more effective than adjusting the Size SIZ para
43. operating the 480LX very comfortable with the benefit of extra visual feedback and control and editing capabilities The GUI is divided into the Display the Preset and Setup Controls the Function Keys the Control Sliders and undo redo buttons If you re familiar with the original LARC the main differences you ll notice are that the numeric keypad is gone replaced by more patch navigation and management buttons and a Setup button that gives access to a series of screen for adjusting preferences and under the hood settings The Function keys now work to give direct access to different pages of parameters which remain consistent between algorithms The slider display keys at the bottom now function as A B or undo redo buttons More details of the operation of these controls is given in the specific sections below but if you re looking for details of the effect of each control refer to the Parameters section 3 1 Display WWW The display section gives visual feedback on edits made with the control sliders as well as allowing direct editing of parameters using the mouse The top bar shows the current preset though this may of course have been tweaked On the right hand side is a drop down menu allowing you to choose the algorithm Hall Plate Room Twin Delays Panorama Random Hall RHall HD Ambience DDO 00 Sos eosti ee s fee o
44. ranty of any kind ALLEXPRESSED OR IMPLIED REPRESENTATIONS AND WARRANTIES INCLUDING ANY IMPLIED WARRANTY OF MERCHANTABILITY FITNESS FORA PARTICULAR PURPOSE OR NON INFRINGEMENT ARE HEREBY EXCLUDED LICENSOR DOES NOT WARRANT THAT THE FUNCTIONS CONTAINED IN THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT THE OPERATION OF THE SOFTWARE WILL BE INTERRUPTED OR ERROR FREE OR THAT DEFECTS IN THE SOFTWARE WILL BE CORRECTED FURTHERMORE LICENSOR DOES NOT WARRANT OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SOFTWARE OR RELATED DOCUMENTATIONS IN TERMS OF THEIR CORRECTNESS ACCURACY RELIABILITY OR OTHERWISE NEITHER ORAL NOR WRITTEN INFORMATION OR ADVICE GIVEN BY LICENSOR OR AN AUTHORIZED REPRESENTATIVE OF LICENSOR SHALL CREATE A WARRANTY ORIN ANY WAY INCREASE THE SCOPE OF THIS WARRANTY SHOULD THE SOFTWARE PROVE DEFECTIVE YOU AND NOT LICENSOR OR AN AUTHORIZED REPRESENTATIVE OF THE LICENSOR ASSUME THE RESPONSIBILITY SOME STATES DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTY SO THE ABOVE EXCLUSION MAY NOT APPLY TO YOU 13 NEITHER LICENSOR NOR ITS LICENSORS SHALL BE LIABLE FOR ANY DAMAGES SUFFERED BY YOU OR ANY THIRD PARTY AS A RESULT OF USE OR INABILITY TO USE THE SOFTWARE IN NO EVENT WILL LICENSOR ORITS LICENSORS BE LIABLE FOR ANY LOST REVENUE PROFIT OR ANTICIPATED SAVINGS DATA OR FOR DIRECT INDIRECT SPECIAL CONSEQUENTIAL INCIDENTAL OR PUNITIVE DAMAGES HOWEVER CAUSED AND REGARDLESS OF THE THEORY OF LIABILITY ARISING OU
45. s Relab Development the Display the Preset and Setup Controls the Function Keys the Control Sliders and undo redo buttons HALL PLATE ROOM TWIN DELAYS PANORAMA RANDOM HALL RHALL HD AMBIENCE LATIN eosti ose ee oe 7 fee os LX480 Reverb Manual Relab Development 3 1 Display continued WWW You can find a fuller explanations of these in the Algorithms section The parameters shown and available to be edited in the display section are common to most of the algorithms though not all details of which have no effect are given in the individual display sections below The sides of the display area show two level meters The left hand meter shows in the input signal level the right hand meter shows the output signal with the selected Wet Dry Mix MIX At the bottom of the display are four page tab labels Clicking on each will highlight it and bring that section onto the display for editing Reverb The REVERB tab gives a broad representation of the development of the reverb over time There are three square handles on the contour which can be dragged to change a particular parameter value The left hand handle can be dragged from left to right to change the Predelay PDL parameter The middle handle can be dragged up and down affecting the overall Reverb level parameter LEV Note that the middle handle cannot be dragged from left to right as there are two
46. t L Echo Level4 L gt R Echo Level 1 L gt L Echo Level 2 R gt R D DL2 DL3 DL4 DL5 DL6 Echo Delay 1 L gt L Echo Delay 2 R gt R Echo Delay 3 R gt L Echo Delay 4 L gt R Echo Delay 1 L gt L Echo Delay 2 R gt R Parameter placement on the hardware LARC z LX480 Reverb Manual Relab Development 4 2 Algorithm Plate Room WWI The Room algorithm emulates smaller spaces than the hall algorithm It is a sound used in all areas of music recording as well as in video post production However you may find the Random Ambience algorithm better suited to situating dry dialogue in a realistic space The Plate algorithm mimics the output of classic plate reverb units With high initial diffusion and a bright coloured tail in comparison with other algorithms these are much used with percussive noises Plate reverb will often act to become part of the music itself having a mellowing and thickening effect on the original recording The Plate reverb algorithm is very familiar from many decades of use in popular Music Filter Reverberator Risa orson Presa eBeam Baxo rimu ED ChrDepth Fisher NB The boxes coloured blue on the algorithm diagram represent additional parameters functions not found in the original hardware Parameter Layout TIME RTM BAS BXO HXO TFT Reverb Time Mid Bass Multiply Bass Freq Crossover High Multiply High Freq Crossover Reverb Filter Type S SPR SIZ W Shape Spread Siz
47. taining the setup file you need Installation You will need an iLok 2 to use LX480 Complete You will also need register the iLok if you have not already done so and install the iLok License Manager on any computer you want to use the LX480 on Once you have installed the License Manager iLok Demo activation 1 Log into your iLok account 2 Click on Redeem key 3 Enter the following key 3169 6261 4561 9483 6462 9351 4340 47 4 Place the new Key into your iLok 5 Download and install the LX480 plugin by double clicking on the setup file 2 0 Reverberation WWM While reverb may have begun life as a means of simulating the sound reflections of an actual acoustic space it quickly gained a broader brief as a creative tool Why Because its effects are wide ranging Blending To various degrees enabling different sound sources to sit well together and possibly to be placed in specific Spatial relationships with each other Creating space Changing or adding ambient space to whatever the original recordings were made with Spread In most cases spreading instruments across the mix and possibly widening as well Sustain Filling gaps to increase sustain but also adjusting the tonal properties of the reverberation and the sustain to artistic effect This section covers some general principles of reverb along with a little bit of the history to place in context the use to which reverb and the LX48
48. tion High Crossover HXO RTC Lexicon 480L Note This is acontinuous parameter on the plugin which interpolates between the discrete values found on the original Set the value to 4 62kHz when using the Ambience algorithm for true emulation Range 493Hz to 21 18Hz Sets the frequency where the transition between mid frequency and high frequency takes place The parameter in combination with High Multiply HIG simulates the effect of air absorption in real environments and reduces the reverb time at high frequencies the amount of reduction is controlled by High Multiply HIG With a relatively low setting the reverberation will have a darker tone A typical setting for simulating real halls is 4 6KHz oe owes e LX480 Reverb Manual Relab Development 5 0 Parameters TIME Page continued WM Reverb Filter Type TFT Note This parameter is not available on the original Set the value to 6dB for true emulation Range 6dB or 12dB Controls the steepness of the internal reverberation filters Switch between 6dB per octave and 12dB per octave Twin Delay algorithm Delay Multiplier MST Range 0 50x to 2 00x Specific to the Twin Delays algorithm this parameter is a master multiplier that allows you to adjust the delay times for all four delay lines DL1 DL2 DL3 and DL4 simultaneously Left Delay Rolloff Freq ROL Note This is a continuous parameter on the plugin which interpolat
49. tion pages which are displayed in the upper display pane To switch between the setup pages use the left and right arrows in the title bar Detailed information about these pages can be found below Setup Page 1 Routing Select one of the four graphics shown here to select a routing configuration From left to right they are Single This is the default mode Only one engine is active at any one time and it acts on the stereo input To choose which engine is active use the A and B buttons see above for details of how to do use this to quickly compare two presets Cascade This mode simply passes the output of Engine A into Engine B This routing mode will be more useful in the next update which includes a new algorithm Panorama which makes a signal wider Cascade mode will thus let you enhance the wideness of the reverberation of Engine A if Engine B is loaded with the Panorama algorithm Mono split This routing can be used to treat L and R inputs independently The left signal input will be processed by Engine A and the right by Engine B The resulting signals are summed for output This is a useful technique to create a very wide stereo field Stereo split This routing passes the stereo signal to both engines and combines the output from both This capability adds a massive amount of flexibility to LX480 Reverb For instance one could combine distinctive aspects of two different algorithms using Ambience on Engine A
50. treme ringing metallic sound most noticeably with Shape SHP at 0 You can remove this bug from the calculation by setting this parameter to OFF Setup Page 2 Preset Lock Wet Dry Changing this setting to ON means that the MIX setting will remain unchanged as presets are changed allowing a better comparison between presets or at least allowing the required wet dry level to be maintained Note that different MIX settings can be locked for the A and B presets Quick Page This section allows one to specify which six parameters are chosen to appear on the QUICK page for each preset Beneath the label for each fader are two boxes clicking each gives access to a drop down menu The top one selects which function button section is selected TIME SHAPE FILTER MOD DEN ER TIME ER LVL the bottom one shows a drop down list of the available parameters for that function button section for that algorithm Display Setup Page You can use the controls on this page to change the way LX480 Reverb looks Hue Saturation and Brightness Use these controls to change the basic colour and brightness of the interface Layer Effects The Reflection slider fades in a reflection of a room behind the user to the main display pane The Backlight slider adjusts the apparent brightness of the display pane s backlight a dimmer backlight makes the reflection appear more prominent The settings you make here will be remembered every time you use t
51. utput channel LV3 Echo Level 3 L gt L Range Off to OdB This sets the level for the early reflection delay line DL3 L input channel L output channel LV4 Echo Level 4R gt R Range Off to OdB This sets the level for the early reflection delay line DL4 R input channel R output channel CAES CLASS ee e 5 rs os eee LX480 Reverb Manual Relab Development 5 6 Parameters ERVL Page continued WM LV5 Echo Level5R gt L Range Off to OdB This sets the level for the early reflection delay line DL5 R input channel L output channel LV6 Echo Level6 R gt R Range Off to OdB This sets the level for the early reflection delay line DL6 R input channel R output channel Twin Delays algorithm LV1 Left Delay 1 Level Range Off to OdB This sets the level for the delay line DL1 LV2 Right Delay 2 Level Range Off to OdB This sets the level for the delay line DL2 LV3 Left Delay 3 Level Range Off to OdB This sets the level for the delay line DL3 LV4 Right Delay 4 Level Range Off to OdB This sets the level for the delay line DL4 LAS 2 oser gt Relab Development LX480 Reverb User Manual www relab dk
52. vided several other non reverb features which are not emulated here LX480 Reverb also provides an extra version of the Random Hall algorithm Random Hall HD See below for a description of each algorithm what they do what they re useful for and any extra features that are available in LX480 Reverb compared to the original hardware 4 1 Algorithm Hall WWW GQ This algorithm is designed to emulate the effect of reverberation in real concert halls Unsurprisingly this makes it particularly suited to acoustically recorded material though it is also ideal for any sort of multitracked music to provide a common sense of space The algorithm comprises two distinct elements early reflections and reverberation Reverberator Freg Spread gt BasMutt Basxovr HiMut Hixovr ar iFre FitType ChrType ChrDepth q HiShelf DecOpCh FitType NB The boxes coloured blue on the algorithm diagram represent additional parameters functions not found in the original hardware Filter CT SET Parameter Layout TIME RT BAS BX HXO TFT Reverb Time Mid Bass Multiply Bass Freq Crossover High Multiply High Freq Crossover Reverb Filter Type S S SIZ W Shape Spread Size Predelay Width M L D DL D DL5 DL Echo Delay 1 L gt L Echo Delay 2 L gt R Echo Delay 3 L gt L Echo Delay 4 R gt R Echo Delay 5 R gt L Echo Delay 6 R gt R L L L LV5 LV6 Echo Level 1 L gt L Echo Level 2 L gt R Echo Level 3 L gt L Echo Leve
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