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Lexicon 960L User's Manual

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1. 4 10 Editing Inputs and Outputs sss 4 11 Input Panning led erinnere tete ee Peek vanen 4 11 Output Panning sssssseeeeeeneen ene 4 12 The 960L Surround Panning Rules sssss 4 13 Setting Levels sese eene 4 13 Avoiding Overload ssssssseeeeeeen nens 4 13 Assigning New Parameters to Faders or the Joystick 4 13 The V Page and Parameter Reassignment 4 14 Using the Edit Algorithm Screen sesssssssss 4 14 STORING AND LABELING YOUR EDITS s 4 16 SLOFING RA ut E AE 4 16 Naming and Annotating rererronnrrrnnrrnnrrrvnrrnnnrrnnnrrnnrnnnnrennnnnn 4 16 ORGANIZING YOUR REGISTERS 1 see 4 17 Edit Tools for Registers seen 4 18 Using the Floppy Drive eeemm 4 18 THE GD ROM ice te ha aia ceo ru dcn nea 4 18 MACHINE MODE eene 4 18 960L Owner s Maunal Operations in Detail Loading Programs and Registers With more than 200 factory Programs to choose from plus up to 1 000 Registers of your own creation you ll probably spend most of your time with the 960L loading the effects you want To simplify the selection of an appropriate effect the 960L programs are organized as 24 Banks of up to ten related effects see the Appendix for Program Descriptions There are 100 Banks av
2. Using The Reverb Program Lexicon Inc Reverberation and Reality continued phrases Reflections alter our sense of direction distance and hall shape in ways that depend on the duration and complexity of the notes and on the properties of the spaces between notes But human perception is more complex than just direction distance and room shape We are reacting to the music on quite a different plane Directional localization is not an object in itself it is a tool that helps us separate one musical line from another and thus helps us grasp the intellectual and emotional content of the music The sense of space is also not particularly interesting in itself It is the emotional effect of the space that makes the perception worth the trouble It is hard to separate the awe inspired by the sound of a Gothic cathedral from Gregorian chant chant was developed to work alongside this awe and to enhance it Listen to the cellos and basses play a pizzicato bass line in a dead opera house and feel how each note falls lifeless Add an enveloping reverberation and each note takes a life of its own swirling around us as the notes decay and pull on our heart with sadness or joy Are we aware of these effects A trained listener can be but most listeners can only describe the emotional impact This impact can be very real The sense of distance has a similar emotional effect When the direct sound is too strong voices and instrume
3. Hall 525 tae ave re iced 5 6 Surround Hallare ai aaee e aaas 5 7 Chambi nian aaa a Tita tette vas 5 7 Plate amp Surround Plate sese 5 7 Ambience amp Surround Ambience 5 7 Ambient Chamber eee 5 8 Reverse amp Surround Reverse 5 8 mesen 5 8 PARAMETERS USED IN THE 960L ALGORITHMS 5 9 960L Owner s Maunal Using The Reverb Program Using the Reverb Programs Music recorded in a typical studio sounds dull In a performance space the music is enhanced by reverberation but even in an ideal space capturing that reverberation can be chancy Lexicon reverberators solve this problem by enabling you to generate exactly the reverberance that your recordings call for even with multitrack originals made in imperfect spaces You can make your listeners feel they are sitting in a real concert hall even though they are in a small room with hard flat walls The object of the 960L is to create in the studio the acoustics of any real or conceivable space and to reproduce these acoustics using the full directional capabilities of a modern surround system Reverberation and Reality The acoustics of a given space are defined by its reflected energy that is the way sound is reflected and re reflected from each surface This is affected by the dimensions of the space the complexity or flatness of the surfaces the frequency c
4. JM Digital Effects System Owner s Manual Important Safety Instructions Save these instructions for later use Follow all instructions and warnings marked on the unit Always use with the correct line voltage Refer to the manufacturer s operating instructions for power requirements Be advised that different operating voltages may require the use of a different line cord and or attachment plug Do no install the unit in an unventilated rack or directly above heat producing equipment such as power amplifiers Observe the maximum ambient operating temperature listed in the product specification Slots and openings on the case are provided for ventilation to ensure reliable operation and prevent it from overheating these openings must not be blocked or covered Never push objects of any kind through any of the ventilation slots Never spill a liquid of any kind on the unit This product is equipped with a 3 wire grounding type plug This is a safety feature and should not be defeated Never attach audio power amplifier outputs directly to any of the units connectors To prevent shock or fire hazard do not expose the unit to rain or moisture or operate it where it will be exposed to water Do not attempt to operate the unit if it has been dropped damaged exposed to liquid or if it exhibits a distinct change in performance indicating the need for service This unit should only be opened by qualified service personnel Removing cove
5. Press BANK to name or add info to a Register Bank Otherwise you will be working with the selected Register Press the INFO soft button to brings up the annotation screen Figure 4 24 which shows the information for the currently selected Bank or Register Pressing NAME brings up a similar screen The currently selected character will be outlined in red on the name line and in the character matrix below Characters on the name line are selected with the increment and decrement keys hence the and flanking the name line Characters within the matrix below that line are selected with the navigation arrows For faster text entry a PS 2 keyboard can be plugged into the AUX jack on the back of the LARC2 The keyboard should be connected before power is applied to the 960L Mainframe Just below the character matrix is a line that shows whether the system is in Insert or Overwrite mode When editing the Information display the screen will show the relevant name Bank number and Register number if applicable at the upper left When finished editing either press the SAVE soft button or the ENTER key if you ve annotated a Bank or store the Register if you ve annotated a Register HEW REGISTER INFORMATION CURRENT INFO Alege sized random hall with the ja rjj Isj r z era irla EE musicians placed in the middle and a relatively long AT VID RetHicurt TETTE 1 20 Figure 4 24 Register Info Edit 4 16 960L O
6. above each input number To select digital input use the Navigation arrows to activate any Input Control and press either the Increment or Decrement key The input legends will change to AES 1 Figure 4 10 Note that all inputs are set to the same input type The type can be set from any Input Control and all inputs will change when a selection is made Figure 4 10 Legends for Analog input left and AES EBU Digital input right System Screen Note The and keys both act simply as toggles when selecting input types it does not matter which you press Although inputs to the 960 must be all analog or all digital the processor always produces both analog and digital output mapped channel for channel As a reminder all output channels carry the legend A amp D Figure 4 11 OUTPUTS Figure 4 11 All channels feed both analog and digital outputs call your dealer distributor or Lexicon Customer Service with questions about your 960L make sure you know all the revision information B01 P9 Small Church _ Syste Messages The system screen is useful for showing the software revision that is currently operating If you ever need to Press Keys to View Last 10 Bessages HEIL REV Am 1 058 May 28 2000 Boba Figure 4 12 Control Mode System Screen 4 8 960L Owner s Maunal Operations in Detail Editing The 960Ls Programs and Registers can be edited in several ways
7. levels and the other reverb tails We recommend setting the Front Reverb Level and the Rear Reverb Level approximately equal with the Center Reverb Level less by about 4 5dB RvbLvl is a master control for CtrRvb FrRvb and RearRvb FSDIy Front to Surround Delay Ambient Chamber only In surround ambiences there is a signal path from front inputs to rear early reflections and also from rear inputs to front early reflections The level of this path in both directions is set by FSLvl The high frequency rolloff is set by FSRoll The delay in the path in both directions is set by FSDly FSLvI Front to Surround Level Surround Ambience and Ambient Chamber only In surround ambiences there is a signal path from front inputs to rear early reflections and also from rear inputs to front early reflections The level of this path in both directions is set by FSLvl The high frequency rolloff is set by FSRoll In Ambient Chamber the delay in the path in both directions is set by FSDly FSRoll Front to Surround Rolloff Surround Ambience and Ambient Chamber only In surround ambiences there is a signal path from front inputs to rear early reflections and also from rear inputs to front early reflections The level of this path in both directions is set by FSLvl The high frequency rolloff is set by FSRoll In Ambient Chamber the delay in the path in both directions is set by FSDly InLvi Input Level sets level for all input channels simultaneou
8. 000 00345 4 This triangle alerts you to important This triangle which appears on your component operating and maintenance alerts you to the presence of uninsulated instructions in this C A UTIO N dangerous voltage inside the enclosure accompanying RISK OF ELECTRIC SHOCK voltage that may be sufficient to literature DO NOT OPEN constitute a risk of shock Dolby Dolby Surround Pro Logic and Dolby Digital are trademarks of Dolby Laboratories Super Audio CD and SACD are trademarks of Sony Electronics Inc THX and Home THX Cinema are trademarks of Lucasfilm Ltd Logic7 LexiconLogic and 3DPM are trademarks of Lexicon Inc Lexicon Inc Copyright 2000 3 Oak Park All Rights Reserved Bedford MA 01730 USA Telephone 781 280 0300 Lexicon Part No 070 14353 Fax 781 280 0490 960L Owner s Maunal Chapter 1 DESCRIPTION About the 960L Unpacking the 960L THE REAR PANEL I O Clock Card Option Plates Analog Input Card Analog Output Card AES I O Card Mains Power Switch Mains Voltage Selector IEC Power Connector THE FRONT PANEL Floppy Drive Thumbscrews Standby Switch and Indicator BEHIND THE FRONT PANEL DSP Card Slots CPU Card INSTALLATION Mounting Ventilation Location IEC Power Connector Mains Voltage Selector Analog Audio Connections Digital Audio Connections MIDI Connections WordClock Connections Chapter 2 THE LARC2 About the LARC2 Unpacking The LARC2 LARC2 CONTROL SURFACE GETTING WHAT
9. AES VO Gard hu cec etg adits 1 2 Mains Power Switch rrrrnnnnnnrrrrvnnrnrrrrrnnvnnrsrrnnnnnr 1 2 Mains Voltage Selector susssse 1 2 IEC Power Connector sss 1 2 THE FRONT PANEL eee 1 3 Floppy Drive 1 3 ThUMbSCrews ssrnnnnnnnnnnnnannnnnnnrnnrnnnnnnnenennarnnnnnnnn 1 3 Standby Switch and Indicator 1 3 BEHIND THE FRONT PANEL esee 1 4 DSP Card Slots soe Aert AERE ERAT 1 4 eder 1 4 NSL ON 1 5 Mounting iot tete Linie Led dece Eie 1 5 Ventilation 2 2 erede tes citer e cana Ro dae Hun 1 5 Eee iioi CE 1 5 IEC Power Connector sss 1 5 Mains Voltage Selector sssssse 1 5 Analog Audio Connections sssss 1 5 Digital Audio Connections sssss 1 6 MIDI Connections eese 1 6 WordClock Connections eseeeees 1 6 960L Owner s Maunal Description About the 960L The 960L system consists of two components a rack mounted Mainframe designed for remote mounting in machine rooms or elsewhere and a dedicated controller the LARC2 The Rear Panel The 960L mainframe s rear panel holds four I O cards together with power connections the mains power switch mains voltage selector switch and option plates The I O cards can be removed for service and or upgrades without rem
10. Changing the settings of the parameters with the faders and joystick e Adjusting input and output panning e Adjusting input and output levels Assigning new parameters to any fader or to either joystick axis Edits stay in effect until a new Program or Register is loaded or can be saved as Registers You cannot overwrite factory Programs but you can save edited Programs as Registers Registers like Programs reside on disk and can be recalled anytime They can also be saved on floppy disk for archiving or for copying to a second 960L Editing Algorithms A Program or Register becomes edited any time you alter the current parameter settings with the faders or joystick To save these or any other edits just press the Store key check to be sure the storage location is correct then press Store again Editing With the Faders 1 Use the Numeric Keypad or Navigation Arrows to select the Edit page that contains the parameter you want to change 2 Check the Scribble Strip to find the parameter to edit 3 Touch the corresponding fader That parameter will be highlighted on the Scribble Strip and its name and setting will appear in large characters on the Action Display at the upper left of the screen 4 Adjust the fader to the desired setting Fine Adjust For some parameters the range of possible values is so large that the smallest possible fader movements change the value too much To make fine adjustments set t
11. Device Family Code MSB Reserved Device Family Member Code LSB Reserved Device Family Member Code MSB Major Software Revision Minor Software Revision Revision type A Alpha B Beta R Release Unused Revision information 960L Sysex ID Device Family Code LSB FO E X 2 Lexicon ID C X X X F7 6 3 MIDI Lexicon Inc MIDI Implementation Chart Lexicon 960L Date 20 April 2000 Version 1 0 Function Transmitted Recognized Remarks Basic Default X 1 16 Channel Changed X X Mode Default X Mode 1 Messages X X Altered X X Note Number True Voice X X Velocity Note ON X X Note OFF X X After Keys Touch Channel Control 1 119 Bank Change Only Change 0 9 0 63 Channel 1 uses 0 63 Bank Select System Exclusive Device ID Device Inquiry Device ID Song Position Song Select Tune Request System Clock Real Time Commands Local ON OFF All Notes OFF Active Sensing System Reset Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO O Yes OX Selectable Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO X No 6 4 Specifications Lexicon Specifications Specifications 960L Mainframe Group Delays milliseconds Analog Output Connectors Impedance Level at 0 dBFS Freq Response 48K Freq Response 96K D A Conversion Eight Male XLR 50 Ohm balanced 24dBu 20Hz 20Khz 1dB 20Hz 40Khz 1dB 24 bits 8x oversampled 44 1 48Khz 4x oversampled 88 2 96Khz D A Dyn Range THD Cro
12. THX matrix decoders these recordings could be disappointing In the early 1990s Dolby Digital DTS and MPEG surround arrived These systems provided discrete digital signals for each channel and a separate Low Frequency Effects LFE that provided very low frequency sound effects Squeezing 5 1 discrete digital channels into a recording involved some data reduction but the reduction schemes used psychoacoustical principles to make the resulting artifacts less audible Dolby Digital soundtracks were the first to make the transition from movie theaters to the home via laser disc With the advent of DVD whose popularity rapidly eclipsed laser discs Dolby Digital and DTS tracks became more widely available for home theater The discrete digital technologies require specialized hardware for playback and the original source material cannot be recorded on home tape recorders VCRs or broadcast over conventional broadcast equipment More importantly more and more consumers were installing surround sound systems in their homes and there was a great need for a technology that would allow standard two channel recordings to be reproduced in a surround system Not with Dolby Pro Logic which narrowed the front image and provides a monaural surround signal but with a system that offered a wide front image over a large listening area and the listener envelopment present in the original recording location To solve both problems Lexicon develop
13. When levels exceed 6 dBFS the middle LED lights as a warning of reduced headroom Above 0 5 dBFS the top LED lights to indicate imminent overload If all eight overload LEDs are illuminated an overflow has occurred in the DSP accumulator This can happen even with modest signal levels if the delay reverb feedback coefficients which are set by the algorithm parameters combine to create some path with a gain greater than unity Generally you should mute the outputs MUTE MACH or MUTE ALL and then find and correct the offending parameter settings This should not occur with factory Programs unless they have been edited The Lexicon Button The Lexicon button is used for quick A B comparisons between the current version of a Program or Register including your edits and the effect as originally loaded When the button is held down the original stored Program or Register will be loaded and the display will show a red banner that says LISTENING TO ORIGINAL PRESET When the button is released your last Edit state will be reloaded and the red banner will disappear 2 6 Fine Adjust It is difficult to set parameters with large value ranges to precise values with the faders For example the fader range for some delays must allow for the fact that delays of 1 000 milliseconds are not uncommon yet the value often needs to be set within a few milliseconds or even samples To make such fine adjustments set the faders to th
14. YOU WANT LARC2 CONNECTIONS Control Port Aux Port External Power Connector NAVIGATING TYPICAL DISPLAY SCREENS ABOUT THE FADERS AND JOYSTICK AUDIO INDICATORS FINE ADJUST THE LEXICON BUTTON AHaAAAAAAKHAKRADBDABDAWONNNYNNNNNAAA m mb 1 2 1 2 6 Table Of Contents Table Of Contents Chapter 3 AN OVERVIEW OF THE CONTROLS A QUICK GUIDE TO OPERATION 1 Setup Control Mode 2 Machine Selection 8 Program Loading 4 Editing a Program or Register b Storing Your Edits Chapter 4 LOADING PROGRAMS AND REGISTERS Loading Programs Loading Registers CONTROL MODE CLOCKS CONFIGURATION AND SYSTEM SCREENS Wordclock Input Output and Machine Configuration System Screen EDITING Editing Algorithms Editing With the Faders Fine Adjust Editing with the Joystick Quick Comparisons via the Lexicon Button Editing Inputs and Outputs Input Panning Output Panning The 960L Surround Panning Rules Setting Levels Avoiding Overload Assigning New Parameters to Faders or the Joystick The V Page and Parameter Reassignment Using the Edit Algorithm Screen STORING AND LABELING YOUR EDITS Storing Naming and Annotating ORGANIZING YOUR REGISTERS Edit Tools for Registers Using the Floppy Drive THE CD ROM MACHINE MODE 3 1 3 2 3 2 3 5 3 5 3 6 3 6 4 1 4 1 4 3 4 3 4 4 4 8 4 9 4 9 4 9 4 10 4
15. aa Hm Figure 4 14 Joystick Status Screen with joystick not locked left and locked right Note As it is possible for the joystick cursor to overlay the setting dot when the joystick is not locked check that the JOYSTICK Key is illuminated or that the setting dot is green to confirm that the joystick is locked Quick Comparisons via the Lexicon Button The Lexicon button provides a quick way to switch between the EDITs you have made on an Program or Register and the effect as originally loaded When the Lexicon button is pressed the original Program or Register will load and a red banner will be displayed at the bottom of the screen saying LISTENING TO ORIGINAL PRESET Figure 4 15 When the button is released your last EDIT state will be reloaded and the red banner will disappear PROGRAM Bled um Hall Jaze Hall Large Church Small Church Besty Hall STALEN SLATE Fra mn JOYSTICK STATUS j Surround Halls large sized random hall with the musicians placed in the middle and relatively long RT MID RrRuh 1 24 1 5 LISTENING TO ORIGINAL PRESET FetHicurt 3 2KHz Bassri Mius 152 F8 0 Figure 4 15 Comparing edited with original Program or Register 4 10 960L Owner s Maunal Operations in Detail Editing continued Editing Inputs and Outputs The LARC2 s joystick can be used to place any input or output signals anywhere in the soundfield Input and output
16. currently selected Note that you can also select machines in Machine mode see Chapter 4 for details 3 Program Loading This manual has already used the terms Programs Banks and Registers several times The 960L comes pre loaded with more than 200 factory Programs such as Large Hall and Bright Chamber Each Program is a complete effect that combines a processing algorithm with specific parameters settings plus brief explanatory notes and comments These Programs have been designed with parameters assigned to the eight faders and the joystick for easy rapid control Related Programs are stored in descriptively named Banks so they will be easy to find A Bank can hold as Joystick Unlocked H Halls 1 PROGRAM Large Hall many as ten similar Programs For example the Halls Bank contains reverberation Programs that simulate large spaces while the Plates Bank contains Programs that simulate studio plate reverbs Programs can be edited by changing parameter settings by re assigning parameters to the faders and joystick or by modifying the NAME or INFO Editing does not change the factory Programs but you can store up to 1000 edited effects as Registers which are stored in separate Banks from the factory Programs To Load a Program or Register Press the PROGRAM or REGISTER key on the LARC2 Press BANK That should bring up a screen like Figure 3 5 Enter the number of the Bank you want using the
17. direction of the sound source can create this sense of distance and they can come at a great variety of times after the direct sound However there are optimal directions and optimal times The optimal direction is frequency dependent For frequencies below 700Hz the optimal direction is from the side 90 degrees from the front At about 1500Hz the optimal direction is 30 degrees from the front the standard front speaker angle Reflections that arrive earlier than about 15ms from the direct sound begin to interfere with localization and can cause comb filtering and timber alteration Reflections that arrive more than 50ms after the direct sound can be heard as separate sound events and can cause serious problems with intelligibility Thus if we add reflections to the left and right front speakers and the left and right rear speakers and adjust the time delay so these reflections occur between 15ms and 50ms we can move the vocals out of our center speaker The vocals are pushed back into a space behind the front speaker array t seems magical we are increasing the perceived distance to a source in the center speaker by adding reflections to all the other speakers EXCEPT the center speaker yet this is the result of some very simple psychophysics Remember that we are not perceiving the individual reflections separately we are only perceiving their ability to mess up the localization of the direct sound Because there is
18. envelopment the life blood of lower strings and basses is missing Add low frequency uncorrelated reverberation to loudspeakers at the sides and the life magically returns For a more thorough overview of this subject see David Griesinger s web page at www lexicon com links Reverberance 150 msec 960L Owner s Maunal Using The Reverb Program Sound in Space A Short History of Stereo and Surround The earliest efforts to improve sound reproduction concentrated on broadening frequency response and reducing distortion and noise But even by the late 1930s it was obvious that eliminating those barriers to sonic realism weren t enough The spatial element was missing The first attempt to restore this missing element was stereophonic sound introduced to the American public via the Walt Disney film Fantasia in 1941 Its three channel process could simulate surround directionality by steering signals to speakers around the theater but was not true surround Progress in stereo stalled during World War II but in the early 50s stereo reappeared with the advent of CinemaScope and_ similar widescreen processes Shortly thereafter stereo became available for home listening first via tape then phonograph records and finally via FM radio Stereo added directionality and ambience The directionality was useful in movies and opera but otherwise of minimal concern to listeners Room ambience proved to be stereo s real s
19. for standard 35mm films In 1976 Dolby Labs introduced Dolby Stereo a matrix process that encoded surround sound into two channel optical soundtracks that were compatible with standard cinema projectors This enabled a single release print to be used in theaters with mono stereo or surround sound systems When these films were released on stereo videocassettes in the early 1980s the surround information encoded in their two channel soundtracks was carried over to the home With the addition of a low cost matrix decoder and additional amplifier and speaker channels a consumer could now have surround when watching movies at home via tape and eventually via broadcast Even some made for TV programs incorporated surround At least for home video there was now a substantial body of software with a common surround format There was also general agreement on where speakers should be placed three in front instead of two and a pair of surround speakers on the side walls Home theater began to take off aided by the arrival of comparatively 5 5 Using The Reverb Program Lexicon Inc Sound in Space A Short History of Stereo and Surround continued affordable large screen TVs Dolby Pro Logic which added logic steering to the basic matrix decoder and Home THX cinema which imposed common standards on home surround equipment Pure audio recordings with matrix surround encoding began to appear although when reproduced with Pro Logic or
20. no actual perception of the reflections themselves the distance perception perhaps the room perception would be a better description is bound to the direction of the direct sound If the direct sound comes from the center speaker the room impression seems concentrated in the front of the listening space even though the reflections that produce it are coming equally from the front and the rear Switch the direct sound to the left rear and the room impression also switches to the left rear even without altering the reflection patterns at all Thus for producing the perception of room or depth itis not necessary to have reflection patterns that mimic a particular source position in a particular room It is only necessary that the reflections be primarily in loudspeakers NOT in the same direction as the sound source and that the time delays of the reflections in each loudspeaker should be different This makes our life much simpler we can use a two channel echo 960L Owner s Maunal Using The Reverb Program Reverberation and Reality continued send if we wish and control the distance or depth of each sound source by controlling the amplitude of this source in the echo send But distance is not the only perception we need We need the envelopment that makes notes come alive How can we produce envelopment with a 5 1 system Once again the key is the way reflections affect horizontal localization Our brains have an exquisi
21. of Registers and Register Banks can be up to to finalize your selection 16 characters long Information displays for Registers can hold 150 characters and Information displays for Banks can hold 100 characters aia EAS uu AIL EE B01 P1 Large Hall HEW REGISTER MANE MA CURRENT MAME Large Hall Delete the Go to the character to beginning the left of the of the text cursor Remove Toggle between INSERT put Go to the end Go back to the All Text in the selected character of the text basic Register moving the text to make room Info page and WRT OVR replace the character under the cursor with the selected character Figure 3 8 Name screen Info screens are similar 3 7 Operations in Detail LOADING PROGRAMS AND REGISTERS 4 1 Loading Programs sse ene 4 1 Loading Registers sesssseen enn 4 2 CONTROL MODE CLOCKS CONFIGURATION AND SYSTEM SCREENS 44 seen 4 3 KA 0 0 fe 0 os uec nefcio ied 4 3 Input Output and Machine Configuration 4 4 System Slee Neie inican iiaiai iei a iii ai aa ia iaa 4 8 EDITING iate E aac Teen 4 9 Editing Algorithms siceraria iii ii 4 9 Editing With the Faders ese 4 9 Fine Adjust sasra ei tidene iia ella ttn te oce dd 4 9 Editing with the Joystick mrsrrrnnnnnnrrrnnnnnrrrrrnnnrrrnrnnnnnrnnnnnn 4 10 Quick Comparisons via the Lexicon Button
22. of the scratchpad are copied to the currently selected Register Bank For safety the user is prompted before the copy is executed Program Banks cannot be pasted to Using the Floppy Drive Pressing the FLOPPY soft button accesses four tools 1 Load From Floppy When 1 is pressed the contents of the floppy disk are loaded into Register Banks 101 110 For safety the user is prompted before the load is executed Store to Floppy When 2 is pressed the contents of Register Banks 101 110 are written to the floppy disk For safety the user is prompted before the load is executed Format Floppy When 3 is pressed the floppy is formatted in IBM 2HD format For safety the user is prompted before the format is executed Clear Floppy Banks When 4 is pressed Register Banks 101 110 are cleared For safety the user is prompted before the clear is executed The files written to the floppy disk can be read and archived on any PC running Windows 95 98 or NT The CD ROM Software updates will be made available on CD ROM Instructions on how to load from CD ROM will be provided with each disk Machine Mode If the 960L is configured as multiple machines which can be seen from the bottom line of the System Status Display pressing the MACHINE key on the LARC2 s control surface will show you which Program or Register each machine is running Figure 4 26 The currently selected machine will be highlighted in the list
23. set to a value of about 1 2 seconds for small rooms and up to 2 4 seconds or so for halls Mix Wet Dry Mix Each of Lexicon s factory programs are typically shipped at 100 Wet and we recommend controlling the mix at the console rather than on the LARC2 Where a console is not available this control can be used to adjust the wet dry ratio When a console is being used to adjust the mix of the reverberation returns be sure the wet dry Mix control is set at 100 Otherwise the direct path through the 960L will interfere with the direct path through the console and severe combing will occur RefDly Reflection Delay Reverse algorithm only operates very much like the reflection delays in other reverbs In Reverse it has a particular role which is to supply the dry sound at the end of the apparently reversed tape The Reflection Delay is connected to Size Changes in Size will scale this delay See also Reflection Level RefLvl Reflection Level Reverse algorithm only operates very much like the levels for reflection delays in other reverbs In Reverse it has a particular role which is to supply the dry sound at the end of the apparently reversed tape See also Reflection Delay Rolloff Rolloff Stereo algorithms only sets the cutoff frequency of a 6dB per octave low pass filter at the output of all reverberation processing Rolling off high frequencies with this filter can result in more natural sounding characteristic For a shelving character
24. the V PAGE soft button pops up a numbered list of the eight faders and their assigned parameters Figure 4 21 To assign your newly selected parameter to a fader type the faders number on the Numeric Keypad or touch the desired fader Note You must already have selected a parameter before you get to this screen B01 P1 Large Hall ALGORITHM FAREMETERS Cannot 10054 Xower 2 BKHz SELECT Spread FRoll 2JEHZ Predel RPred Figure 4 21 Edit V Page screen programming faders 4 14 960L Owner s Maunal Operations in Detail Editing continued Pressing the J STICK soft button pops up a the axis number on the Numeric Keypad numbered list of the two joystick axes and their assigned parameters Figure 4 22 To assign Note You must already have selected a parameter your selected parameter to a joystick axis type before you get to this screen B01 P1 Large Hall ALGORITHM PARAMETERS FRall RRoll 2 AK be J GainNST DiyMST Re Hi 10088 100 Fail Figure 4 22 Edit V Page screen programming the joystick e Pressing the SELECT soft button pops up a numbered list of the algorithms applicable to your current configuration Figure 4 23 If you Note This is a regular Program load and will destroy select an algorithm here by typing its number on any parameter edits or V Page creation you ve done if the Numeric Keypad a default Program will be you haven t previously saved your wo
25. 00 WORDCLK tell that Source Selection is the active control because its name SOURCE has a blue background The name of the inactive control RATE has a yellow background If the RATE control was active pressing the Left Navigation Arrow would activate SOURCE Press the number on Numeric Keypad for the clock source you want Refer to Chapter 4 Operations in Detail to find out more about clock sources Use the Right Navigation Arrow to move to the RATE display Press the number corresponding to the sample rate you want Note A small padlock symbol in the System Status Display shows whether the 960L is locked to the clock source If the 960L is not locked to the selected clock source the padlock box will blink in red and the 960L will mute until lock is established B02 R1 LARGE HALL KHz X ower EmiHz Shape 128 KIN NELLNS es GS GEN Figure 3 2 Control Mode wordclock selection 3 2 960L Owner s Maunal Basic Operations A Quick Guide to Operation continued Next press the CONFIG soft button to select the input output configuration Depending on the sample rate and input output configuration you select the 960L can be configured as up to four virtual machines each of which can be programmed individually In the configuration screens each machine is shown as a separate numbered rectangle in the Main Operating Display The number of machines in the current configuration can be read f
26. 0L uses a fixed channel allocation All channels are used or reserved which means that 960L should be the only device on its MIDI cable Channel Ung foes Global Channel Not currently in use 7 Reserved for Future Use Reserved for Future Use 10 11 12 Reserved for Future Use 13 15 Reserved for Future Use 6 1 MIDI Lexicon Inc MIDI Continued Program Loading Because of the large number of potential Programs in the 960L Program Change messages are used along with the Bank Select extension to provide MIDI Program selection Controllers 0 and 32 are sent to the system followed by a Program Change message to select a program In this method Controller 0 provides the most significant 7 bits of the Bank and Controller 32 provides the least significant 7 bits The Program within a Bank is selected with a Program Change message Each Bank has 10 programs or less so only Program Changes 0 9 will cause a program load Description Factory Preset Controller 0 0 Controller 32 0 19 User Registers Controller 0 16 Controller 32 0 99 2048 2147 The Bank values are sticky that is the 960L will remember the Bank values for each MIDI channel It is not necessary to send a Bank change with each Program Change unless the Bank has indeed changed This is in full conformance the MIDI specification Bank and Program Mapping There are 10 Programs or fewer in each Bank Bank and Program Changes out
27. 10 4 11 4 11 4 12 4 13 4 13 4 13 4 13 4 14 4 14 4 16 4 16 4 16 4 17 4 18 4 18 4 18 4 18 Table Of Contents Table Of Contents continued Chapter 5 REVERBERATION AND REALITY SOUND IN SPACE A SHORT HISTORY OF STEREO AND SURROUND ALGORITHMS Random Hall Surround Hall Chamber Plate amp Surround Plate Ambience amp Surround Ambience Ambient Chamber Reverse amp Surround Reverse Inverse PARAMETERS USED IN THE 960L ALGORITHMS 5 1 5 5 5 6 5 6 5 7 5 7 5 7 5 7 5 8 5 8 5 8 5 9 Chapter 6 MIDI Nomenclature MIDI Channel Allocation Program Loading Bank and Program Mapping Card Configuration Continuous Controllers MIDI SYSEX MIDI IMPLEMENTATION CHART SPECIFICATION Mainframe LARC2 APPENDIX Lexicon 960L Owner s Maunal Title of Section The Model 960L is a multi channel reverb processor for audio professionals It brings to surround all the virtues and facilities of the Model 480L and then some Like the 480L it is a multiple machine system hardware and software expandable The 960Ls DSP card can support up to four stereo reverbs or two multi channel surround reverbs at 48 Hz or two stereo reverbs at 96 kHz The 960L provides eight balanced inputs and outputs eight channels of AES EBU digital input and output external word clock in out and MIDI In Out Thru The 960L is controlled by a new dedicated remote the LARC2 Its user interface is fashioned after the original LARC control
28. B25 Echo Hall Random Hall Use J oystick to regulate the echo component B2 P6 Large Brite Hall Random Hall Bright space with about 2 second MidRT B2 P4 Small Brite Hall Random Hall Bright space with about 1 second MidRT Stereo Bank 3 Stage Hall Stereo Halls W Stage Reflections Description OO Number Name Algorithm Similar to Large Hall except that the source is placed at one end of the hall and en Lg Stage Hall Random Hall several pre echoes simulate the effects of a proscenium arch BiP Med Stage Hall Random Hall Medium Stage is very similar to Large Stage but smaller BlP3 Sm Stage Hall Random Hall Small Stage is a smaller version of Medium S tage A 9 Appendix Lexicon Appendix continued Stereo Bank 4 Chambers Maori pesedofien e Stereo Chambers B4P1 Medium Chamber A medium sized empty chamber with reflective walls and about one second MidRT Smaller in size than Medium Chamber and about 1 2 second MidRT As the name B4 P2 Snare Chamber suggests useful for snare drums B4 P3 Mini Chamber Similar to Snare Chamber but even smaller B4P4 SM Brite Chamber edium sized but with a shortened MidRT and some added reflections edium sized about 1 2 second MidRT and the highs rolled off to soften the B4 P6 LG Brite Chamber Large size setting about 1 5 second MidRT and some added reflections B4 P7 LG Dark Chamber Chamber Draw the curtains and put carpeting on the
29. Barik 8 04 Bank 9 40 Haliz i 1 Bank 11 12 Barik 12 Surround Halls RitHicut 3 ZAHz Basert RrRuh 1 10 1 5 large sized random hall with the musicians placed bn the midde and x raat y long RT MID Diffus 152 Size 300 i K EEIE E GEN Ee Figure 4 2 Register Load screen Alternative Loading Techniques through Banks Program You can use the Left Right Navigation Arrows to move between Banks and Programs or Banks and Registers You can use the Buttons or the Up Down Navigation Arrows to scroll You can use the Buttons or the Up Down Navigation Arrows to scroll though Programs and Registers Press the ENTER key to load the e You can repeatedly press BANK PROGRAM or REGISTER to scroll through the Banks Programs and Registers Programming Machines Depending on the configuration see below the 960L can be used as one two or four processing machines The number of machines available in the current configuration is shown on the Machine Strip in the System Status Display The machine whose settings you are 4 2 currently altering is highlighted Machines that are muted have a blinking red M super imposed on their machine number You must program each machine individually To switch to a different machine press and hold the MACHINE key then enter the desired machine number on the Numeric Keypad 960L Owner s Maunal Operations in Detail Control M
30. Ghostly on vocals d B10 PO rud Ricochet emulates a fairly large space with a dangerous slapback echo A 7 Appendix Lexicon Appendix continued Surround Bank 11 Post 1 Surround Stylized Spaces for Post Production Environments Number Name Description Large Closet Surround Big walk in Use Rolloff RtHicut and MidRT to fill it up or empty it out Chamber Surround Pa 1 i l Medium Closet Chamber Medium sized closet Use Rolloff RtHicut and MidRT to fill it up or empty it out Surround 1 Small Closet Chamber Small closet User Rolloff RtHicut and MidRT to fill it up or empty it out T Surround Large fairly bright living room with hard floors and lots of tile Use Rolloff RtHicut B11 P4 BI lng heen Ambience and MidRT to add draperies and carpeting Surround HERD IBILPS Living Room Ambiance Like Big Living Room only smaller B11P6 Surround A small parlor with heavy carpeting and draperies Ambience panel y carpeung pele Surround A wood paneled room with a high ceiling and enough space for one regulation B11 P8 Poolhall ue A fairly large space with wood floors low ceiling and about 10 tables B11 P9 surround Medium sized for a bathroom and bright with tiled walls Ambience gni f Surround B11 P0 Large Bathroom Same as Bathroom only larger Surround Bank 12 Post 2 Surround Stylized Spaces for Post Production Environments ene Oil Tank Surround Hall Use Size to var
31. Mainframe Use a flat screwdriver to move the switch to the desired voltage Analog Audio Connections For best results the 960L should be connected to your console s Aux sends returns with wet dry mixing and most input settings performed at the console However controls are provided within the 960L for situations where this is not possible or convenient For optimal performance maintain balanced connections and use high quality low capacitance shielded twisted pair cables such as Belden 8412 microphone cable with braided shield or Belden 9461 foil shield All connections should be Pin 2 high For unbalanced operation Pins 1 and 3 should be grounded For mono inputs in a stereo configuration connect the left and right input channels in parallel Be careful to keep inputs and outputs of all channels wired consistently Out of phase wiring can produce audible effects For I O panning and level control see Chapter 4 Operations in Detail All signals sent to the analog outputs are also sent to the digital outputs Important Analog l O connectors must be wired consistently we recommend Pin 2 high or channels will be out of phase Figure 1 4 Setting for 100 120 V AC Figure 1 5 Setting for 220 240 V AC 960L Owner s Maunal Installation continued 2 High 3 Low 1 Ground 1 Ground 3 Low 2 High Digital Audio Connections The AES interface requires balanced connections using high qua
32. Numeric Keypad If you don t know the number and the Bank you want is not on the display scroll up or down with the Navigation Arrows until you find it Using the right Navigation Arrow jump to the Program list or press PROGRAM Enter the number of the Program you want using the Numeric Keypad or scroll to the desired Program with the Navigation Arrows or Buttons then press the ENTER key B01 P1 Large Hall SYSTEMSTATUS PROGRAM Macdium Hall Halla 2 Chambers Riga Plated 1 Hey Hall Acoustic Fill Long Brite Space Sena Hall Jazz Hall Lange Church Small Church Beaty Hall large sized random hall with ther musicians placed inthe riddle ard relatively bong AT MID FetiHicurt 3 1KHz Precel 152 me 41 me Deffus RPred Figure 3 5 Program Load screen Register Load screen is similar 3 5 Basic Operations Lexicon Inc A Quick Guide to Operation continued 4 Editing a Program or Register Once a Program or Register is loaded you can edit it to get exactly the effect you want The simplest way to do this is by changing the settings of the parameters assigned to the faders and joystick on the V Page which is available in Program Register and Bank modes For parameters assigned to faders Touch the fader you want to change When you do that parameter and its setting will be highlighted in yellow on the Scribble Strip and will appear in la
33. O fields see Chapter 4 Operations in Detail Hot plugging the keyboard is not recommended The keyboard should be connected before power is applied to the 960L External Power Connector The LARC2 must be powered by an external power supply when located greater than 100 feet from the 960L The power supply should deliver 12VDC at 2 A and should have a 5 5 mm O D 2 5 mm I D concentric female barrel connector with the positive voltage on the inner contact See the Lexicon web page www lexicon com for a current list of external power supplies and vendors 12VDC 2A O e 2 3 960L Owner s Manual Navigating Typical Display Screens The use and navigation of the display will be illustrated with the screen shown in Figure 2 4 from Algorithm Edit Mode Bring up this screen by pressing the EDIT and then ALGORITHM buttons Note that the parameters currently assigned to the faders and their current settings are shown on the Scribble Strip just above the Soft Button Labels The Action Display which occupies the left half of the display s top line will show the current operating mode when you first enter that mode When you touch a fader it will show the name of the attached parameter and its current setting and will continue to show that information until you touch another fader The action indications are sticky in that they remain on the display until another action indication is displayed In Figure 2 4 the A
34. P1 Large Hall TYPE PARAMETER Maar fm CrRb Hager hi Fir Finks Agar Koser Agaoritim RsbNST Mgeri then Mgaritim srsrEMSTATUS Ji PARAMETER 45K Urs J ec E o 0 JOYSTICK STATUS The V Paga consi ata of parameter annigrmenta for fr sight adera and joystick Veten a Freagran Gr Aegi aber ia loaded Bi V Page ia displayed bagning Bx parameters you ulilim fhe moet ko Eos V Page mil alion you quick access o Shoes parametere Cir Fels or Ro RubiMMST 18 5 6 m BLGCRITHU FR dl de Spread Preity Pass 0 0 L7 2 msec M a a Figure 4 20 Editing the V Page 4 13 Operations in Detail Lexicon Inc Editing continued The V Page and Parameter Reassignment Press the EDIT key on the LARC2 control surface e Press the V PAGE soft button The screen Figure 4 20 shows the assignments for each of the eight faders and the joystick s X and Y axes e Use the Navigation Arrows to highlight the Type or Parameter to change You can also select a fader or joystick axis with the Numeric Keypad but you still have to navigate to the Type or Parameter Make your selection by cycling through the available Types or Parameters with the keys or touch the fader of the desired parameter The types are None Algorithm Input and Output Some algorithms can have more than 50 parameters e The fader or joystick axis is now assigned to whatever parameter you ve selected Using the Edit Algorithm S
35. Their positions are automatically updated auto nulling to reflect the current values of their assigned parameters The parameters controlled by each fader and their current settings are shown on the display just above the soft button labels Touching any fader highlights its parameter and setting on the display MUTE MACH and MUTE ALL buttons flanking the numeric keypad s O mute the output of the currently selected machine or the outputs of all machines The LARC2 Remote LARC2 Connections Host Port This port connects LARC2 to the 960L Mainframe For distances of 100 feet or less use Lexicon No 022 14400 50 foot cables One 50 foot cable is supplied with LARC2 For longer distances up to 1 000 feet use computer grade cable with shielded twisted pairs for example Belden 9860 or 9271 Do not use microphone or other audio cable The cable pin assignment is shown in figure 2 3 For distances over 100 feet LARC2 requires an external power supply as described below OOQO N ISTIS O Pin Assignment Pin Assignment Chassis Shield Ground 6 Receive Common Receive Data 7 Receive Data Transmit Data Transmit Data Transmit Common Power Supply Power Supply Ground 8 9 gri cu Not connected if external power supply is used Figure 2 3 LARC2 connector Pin Assignments Aux Port You can connect a standard PS 2 computer keyboard to LARC2 via this port This will allow faster text entry in NAME and INF
36. above approximately Roll 2 response will be flat For realistic musical acoustics Shelf should be set between 12 and 6 dB and Roll should be set between 700 Hz and 1 5 kHz While this control can occasionally be useful to increase the apparent low frequency content of the returns it does so at the expense of eliminating the overall rolloff characteristic that typically begins around 2kHz Thus it is probably best to leave Shelf set to zero If more LF is desired in the returns use console equalization to increase the low frequency content by 3dB below 200Hz 5 13 Using The Reverb Program Lexicon Inc Parameters Used in the 960L Algorithms continued Size Size is a scale factor that alters the length of most of the reverb s delay elements This control is calibrated in units that approximate the longest dimension of the reverberant space in meters In practice perception of room size is also strongly determined by Shape Size strongly affects the overall timbre of the reverberation Values less than 25 have a noticeable small room coloration For the most neutral sound with the programs that have Shape and Spread controls set Size to about 30M and the adjust the apparent size with Shape and Spread Slope Slope Reverse algorithm only multiplies low frequency energy and is similar in its effect to Bass Multiply Spin Spin and Wander introduce small random variations within the reverberation continuously altering the reverb timb
37. ailable for Registers and 10 Banks for Floppy storage and retrieval Loading Programs When you first install the 960L it will contain only factory Programs There are several ways to select and load Programs The simplest is designed to be familiar to users who know the Lexicon 480L Press the PROGRAM key then the BANK key to bring up a list of Program Banks Fig 4 1 Scan the list of Banks to find one you want e g Halls Select that Bank by entering its number on the Numeric Keypad or by scrolling to it with the Navigation Arrow keys Selected Bank and Program are highlighted Yellow shows that this menus is not in focus Program More de et LU 01 Halla Bore Halla Chambers Anoma Flataa FG FAN Large Hall Kay Hall Acoustic Fill Long Brite Space Small Hall RrRul over RubMsT 3B Hz CirReb Fader Labels in Scribble Strip are from the currently loaded program Press the Program key to get to the list of Programs Select the desired Program by entering its number on the Numeric Keypad or by scrolling to it with the Navigation Arrow keys and pressing the Enter key Note When you change Programs the display will change and the motorized faders will move to the positions corresponding to that Program s parameter settings If you already know the location of the Program you want you can do all this in just a few keystrokes PROGRAM Key Skip this step if going to the la
38. arly reflections 960L Owner s Maunal Using The Reverb Program Parameters Used in the 960L Algorithms continued FbckL Echo Feedback Some reflection delays have echo capabilities These appear as part of the FbckR input path echoes are passed to the reverberators as well as the reflection outputs Also FbckLF echo signal is fed back through the input diffusors This means that each echo will be more FbckLS diffuse and spread than its predecessor The control EchoLS sets the duration of an echo FbckRF that is a feedback path on the Left Surround Input and FbckLS sets the amount of feedback FbckRS for that path Any echo pattern set with EchoLS and FbckLS will be heard in the surround reverb field and also in any reflection delay whose source is the Left Surround Input FbkMST Echo Feedback Master scales all the echo feedbacks by a single percentage allowing this one parameter to set the feedback of a complex pattern FrRoll Front channel Rolloff surround algorithms only Like Rolloff in stereo it controls the cutoff frequency of a 6dB per octave low pass filter at the output of all processing In the Surround algorithms there are separate controls for the front LF C and RF channels FrRoll and rear LS and RS channels RearRoll FrRvb Front Reverb Level Surround algorithms only controls the level of the reverberant tail but to just the LF and RF outputs This allows their levels to be set relative to the early reflection
39. at which point Spread affects the length of both the buildup and sustain At this point the sustain will be approximately the time value indicated by the Spread display in milliseconds At still higher settings of Shape a secondary sustain appears in the envelope at a lower 960L Owner s Maunal Using The Reverb Program Algorithms continued level this simulates a very diffused reflection off the back wall of the hall helping to create a sense of size and space This reflection becomes stronger and stronger reaching optimal loudness when Shape is at about 2 3 of its range The highest Shape settings are typically used for effects Near the top of the scale the rear hall energy buildup becomes stronger than the earlier part of the envelope an effect used to create an inverse sound see Reverse To avoid colorations the signal is randomized by the Spin and Wander parameters The randomizers controlled by the Spin and Wander parameters principally affect the perceived acoustics of the space High settings can be used to break up small room modes as when recording a voice over in an announce booth but extreme settings can have pitch effects Surround Hall Surround Hall is a surround version of Random Hall having 16 delay voices one for each possible channel pairing LF to C C to LF LF to LS etc It may be useful for Foley work by giving a more precise sense of a spaces size Chamber Chamber is a complex miniature spac
40. ate want that gated sound but this is a little more natural sounding Large Wood B6 P5 Boom Appendix Lexicon Appendix continued Stereo Bank 8 Plates 2 Stereo Plates Number Name Algorithm Description Basic plate Program with a clear sound Useful for everything from vocals to B8 P2 Snare Plate A rapid buildup of high frequencies make this program a favorite on snare drums Another variation on the plate theme this Program keeps out unwanted low B8 P4 FatPlate Produces the sound of a large highly colored plate B8 P5 Echo Plate Like Flat Plate but with echoes Stereo Bank 9 Ambience Resembles a very large ambient space large shopping mall parking garage warehouse that has far more clutter than a concert hall or performance environment Lowering the RvbLvl reduces the clutter while maintaining the sense of a very large ambient space Similar to Very LG Ambience but less spacious Provides the ambience of a large B9 P3 Medium miidiice Similar to Large Ambience but smaller Imagine a large courtroom or a lecture Ambience room then load the program B9 P4 Small Ambience Similar to Medium Ambience but smaller typical lobby or small lounge The room size is larger than Medium Ambience but the RvbLvl has been reduced BIES prong Ambience to provide a strong wash of ambience with a relatively short decay time Resembles a large rectangular performance space with musician
41. change Setting Levels In Input and Output Edit modes moving any fader changes its associated signal level The maximum level indication is 0 0 dBFS digital full scale You can move several faders at once The channel assignments are grouped to facilitate this With outputs set to OdB a 4dBu analog input will produce a 20dBFS signal This provides 20dB of headroom Optimum S N is achieved when input levels are kept as close to digital full scale as practical Avoiding Overload If all eight of the Overload LEDs on the LARC2 s meter bridge light the DSP is overloading internally Certain combinations of parameter settings can cause this Reducing input levels may or may not cure the problems If your edits create feedback press the MUTE MACHINE key on the LARC2 s Numeric Keypad to mute the output of the current DSP while you solve the problem If you re not sure which machine is causing the problem press the MUTE ALL key on the Numeric Keypad Assigning New Parameters to Faders or the Joystick Except in Edit modes the parameter assignments of the faders and joystick make up what we call a virtual page or V Page This is simply a convenient grouping of parameters to simplify operation but you can group them any way you find convenient There are two ways to assign new parameters to the LARC2 controls e Assigning parameters from the V Page Assigning parameters as an Edit option B01
42. changed MIDI data received at the MIDI In connector Midi Out Transmits MIDI data generated or modified by the 960L TTL WordClock BNC Input Loop Allows the 960L to be synchronized to other studio equipment Output Allows studio equipment to be synchronized to the 960L Note The 960L can also derive wordclock from AES input 1 2 or generate it internally Remote Control Connectors The LARC2 must be connected to the Remote 1 9 pin D connector The 960L Remote connectors are for use only with the LARC2 controller Important Never connect either Mainframe remote port to anything other than LARC2 Doing so may damage your equipment Option Plates Reserved for future use Analog Input Card The 960Ls analog audio input card has eight female XLR connectors all electronically balanced For impedances and signal levels see the Specifications Section near the end of this manual Analog Output Card The 960Ls analog audio output card has eight male XLR connectors all electronically balanced For impedances and signal levels see the Specifications Section near the end of this manual AES I O Card The 960Ls digital audio inputs and outputs are combined on one card holding four XLR two channel female connectors for AES input and four XLR two channel male connectors for AES output Mains Power Switch This switch turns the power in the 960L completely off or on Mains Voltage Selector Before connectin
43. creen This alternate method is a useful shortcut If you re in the midst of editing algorithms inputs or outputs it enables you to quickly pick a parameter and assign it to a fader or the joystick e Push the EDIT key then the ALGORITHM soft button which brings up the Algorithm Edit screen This holds all the parameters for the current algorithm in up to ten pages of up to eight parameters apiece The highlighted down arrow to the right of these pages shows that there are more pages below the screen these pages can be reached by scrolling with the Navigation Arrow keys or if you know the number of the page you want entering that number on the Numeric Keypad Pick the parameter you need from this menu by navigating to it which will highlight it e Press the Options soft button This changes the soft buttons to SELECT used for selecting algorithms V PAGE for assigning parameters to faders and J STICK for assigning parameters to the joystick and the soft button background will change to yellow See Figure 4 21 Note In Edit mode the parameters and settings on the Scribble Strip are not a V Page They are the selected algorithm edit page i e the row whose number is highlighted in larger characters for easier reading On the Main Operating Display parameters assigned to the V Page appear in blue all others are in black From the Edit Algorithm Inputs Outputs Options Screen e Pressing
44. ct urround B4 P8 Buck N Chamber le This is a gate type effect Hold on Ambient Much movement from front to back This program is useful for live concert B4P9 Of Me Back Wall Chamber ambiences as well as dramatic singular effects B4P0 Hotel Foyer en This airy space is like the medium sized reflective lobby in many hotels A 4 960L Owner s Maunal Appendix continued Appendix Surround Bank 5 Stage Chamber Surround Chamber Ambience Algorithm Description Ben Large Chamber en cm Med Chamber SAG Small Chamber Chamber Ambient B5 P4 Big Empty Church Chamber Ambi B5 P6 Bright Front Ch B5P7 Bright Rear Ambi Ch Ambient am f fE bient amber amber bient amber A Large recital hall with a stage Medium sized Ambience up front with about a 1 75 second MidRT setting make this like a 40 80 seat recital hall Small sized ambient reflections coupled with a chamber reverb give this Program an intimate feel Good for individual acoustic instruments Large ambience up front with long MidRT settings emulate a high ceilinged altar and large reverberant seating area Large ambience in front spreads out early reflections Lends a nice doubling effect to fatten up sources Great for choirs and back up vocals Smaller bright ambience in front with dark reverb space Keeps attention focused forward The opposite of Bright Front this has the outputs pann
45. ction Display shows Edit Mode because pressing the EDIT button was the most recent action The Effect Display which occupies the right half of the top line identifies the Program or Register loaded in the active machine Here it shows that the 960L is using Large Hall which is Register 1 in Bank 1 The Main Operating Display which changes from mode to mode always occupies the same area shown i e the center and left of the screen In this screen used for editing algorithms it shows four algorithm pages each consisting of parameters and their settings The currently selected page has its page number highlighted with a red outline Action ER HE Mode mmm The LARC2 Remote Parameters in the rows not highlighted are not assigned to the faders and are set to the values shown Touching any fader will select the parameter controlled by that fader At that point the selected parameter and its setting will be highlighted on the Scribble Strip and also on any page of settings visible in this display It will also be displayed in larger type on the Action Display You can also scroll to any desired parameter whether on the current page or not with the Navigation Arrows If you scroll up or down to a different page that page and all its parameters will be connected to the faders Note that you can also select a page by pressing its number on the Numeric Keypad Once a new page is selected the faders automatically pos
46. d Spaces Large Medium Small Big Living Living Big Car Interior Kitchen Keliars Smal Reverb Tail Airhead Warehouse Cell Foley A 2 960L Owner s Maunal Appendix Appendix continued Surround Bank 1 Halls 1 Surround Halls Number Name Algorithm Large Hall Surround Hall A large sized random hall with the musicians placed in the middle and a relatively long MidRT B2 Medium Hall S rroung Hali aS than Large Hall Use for real acoustic instruments to add a gentle Small Hall Surround Hall Obviously small with some added reflections in the front and rear channels B1 P4 Med Large Hall Surround Hall Medium sized with some added reflections at a lower level For keyboards short rev time and medium size and for real acoustic instruments to ps pee Surono Nal add a gente soft space ET Surround i i B1P6 Acoustic Fill Chamber Use on just about everything mix as needed ee useful for single sources or staccato hit long tails with lots of Surround Bank 2 Halls 2 Surround Halls Name Algorithm Description CC Graduated surround delays widen the image of choirs and backing vocals Large Hall gives space Use J oystick to control the delay image f Graduated surround delays widen the image of choirs and backing vocals er Med Choir Hall Surround Hall Medium sized Hall gives space Use J oystick to control the delay image Surround i Medium Vox Hall Chamber Medium density short reverb time Solo or backgr
47. e approximate values you want then press the FINE ADJ Button When this button is pressed the faders all move to the center of their travel but their settings do not change The faders then operate in a vernier mode with a limited adjustment range and far fewer steps per inch of travel This makes it easy to set the parameter to the exact value you want Pressing FINE ADJ a second time returns the system to normal operation and the faders return to their appropriate full range positions The display warns when the system is in fine adjust mode but the centering of all faders is a more obvious tip off For fine adjustments of a single parameter while in Edit Algorithm mode simply touch the appropriate fader then use the Increment Decrement Buttons to get the setting you want Each press of these buttons changes the parameter by its smallest possible increment Basic Operation AN OVERVIEW OF THE CONTROLS 3 1 A QUICK GUIDE TO OPERATION eeeee 3 2 1 Setup Control Mode ssssss 3 2 2 Machine Selection sss 3 5 8 Program Loading eese 3 5 4 Editing a Program or Register 3 6 5 Storing Your Edits a se 3 6 960L Owner s Maunal Basic Operations Basic Operation An Overview of the Controls This chapter provides a quick description of how to operate the 960L Chapter 4 O
48. e effect resembling an echo chamber at its smaller settings and at its larger ones a small performance space with a more rapid build up of reflection density than Random Hall Reverberant tails are randomized Plate amp Surround Plate The Plate programs mimic the sounds of metal plates with high initial diffusion and a relatively bright colored sound For this reason they are good choices for percussion They are designed to be heard as part of the music mellowing and thickening the initial sound itself The Plate sound is what most people associate with the word reverb and it is useful for all popular music Ambience amp Surround Ambience Ambience generates the strong reflections that appear in the first few hundred milliseconds of the reverberation process These early reflections become part of the direct sound without coloring it giving it better blend and a definite position in space and conveying the impression of a hall surrounding you while the music is playing It lends warmth spaciousness and depth to a performance When a signal is supplied to a single input of Surround Ambience for example the left front the program generates early reflections first in the front left and right output channels If the FSLevel control is set to maximum reflections are then generated in the left rear and right rear output channels FSLevel and FSRolloff control the relative level and frequency response between the front
49. e other reverb tails RvbLvl is a master control for CtrRvb FrRvb and RearRvb RShape Rear Shape Ambient Chamber algorithm only sets the contour of the initial reverberant energy growth for the rear channels Low values produce a very rapid onset as you d find in a small chamber With larger values the reverberation blooms over a few hundred msec much as it would in a good Romantic era concert hall and the listener s perceived position moves farther back into the hall See also Contour Rspread Shape and Spread RSpread Rear Spread Ambient Chamber algorithm only works with RShape to control the profile of initial reverberant energy growth for the rear channels stretching or compressing this contour in time to make reflections closer together or further apart With complex material it may be advisable to use a moderately high value for Shape and a moderately low one for Spread to create a bit of space around the original signal See also Contour RShape Shape and Spread RtHicut Reverberation Time High Cut In real rooms the timbre of the reverberant tail becomes darker over time due to the air s absorption of high frequency sound energy This control models that behavior though over a much wider frequency range When you set the cutoff to very low frequencies the duration of the reverb will be much shorter than the value shown by MidRT RvbLvl Reverberation Level controls the level of the Reverberant tail allowing its level to be
50. e same When the 960L detects slipped samples in the AES input stream the audio outputs are muted To avoid this do one of the following Slave both the digital source and the 960L BNC or AES to a common wordclock Allow the 960L to slave BNC or AES to the digital source s wordclock Slave the digital source to the 960L using the 960L AES or BNC output 4 3 Operations in Detail Lexicon Inc Control Mode Clocks Configuration and System Screens continued Use the Right Navigation Arrow to get to the Rate display For internal wordclock you must select the exact rate as shown in Fig 4 3 For external wordclock via the BNC or AES inputs you need only select 44 1 48 kHz or 88 2 96 kHz range The 960L will then lock onto your source ence is Wordclock Lock Status A small padlock icon in the System Status Display shows lock status If the wordclock becomes unlocked from the signal the icon s background flashes red Figure 4 4 and the 960L outputs are muted This lock indicator is visible in the System Status Display during all operating modes Ku oo Locked Unlocked Figure 4 4 Locked and unlocked wordclock Input Output and Machine Configuration The 960L is an 8 input 8 output device Input sources can be either analog or AES digital and all inputs must be the same input type Each output is sent to both analog and AES digital outputs For any configuration the mapping of physical chan
51. early reflections and rear early reflections In a large room the rear early reflections could be perhaps 3dB less in total level and somewhat more rolled off in frequency response However it is unlikely that these differences are audible in practice When a signal is supplied to a rear input for example the the Left Surround input the primary early reflections will come from the left surround and right surround outputs and FSLevel and FSRolloff control the level and frequency response of the early reflections that come from the front Thus with surround ambience the amplitude and frequency characteristics of a large room can be generated The Ambience algorithm is very useful for adding a room sound to recorded music or speech making it easy to match a studio recording of dialog to a typical room environment At delay settings of roughly 100 to 500 milliseconds it can be used to simulate the ambience of very small rooms without the colorations often found in actual spaces of that size When set to deal with the first 50 msec of the signal the range perceived as being part of the initial phone it can be used to realistically add distance to a close miked signal without diminishing clarity If an ensemble has been recorded with close miking and pan pots Ambience can provide the missing blend and depth increasing apparent distance while preserving the apparent positions of the instruments It is also useful in matching a closely mik
52. ed LOGIC7 matrix technology which provides a method for releasing surround recordings on standard stereo compatible CDs More importantly LOGIC7 and LexiconLogic provide a method of playing the millions of standard two channel music recordings with all the advantages of discrete surround LOGIC7 also allows Dolby surround films to be played with a wide frontal image and full rear envelopment LOGIC7 encoded recordings can be broadcast or played on any currently available reproduction equipment and yet they provide full five channel surround on a device with a LOGIC7 decoder and decent four channel surround when played with Dolby Pro Logic LOGIC7 uses matrix technology to compress the spatial aspects of a recording so it can be delivered on a two channel format There is no data 5 6 reduction of the sound waveforms themselves so the sound quality can be very high Competing with LOGIC7 and the current data reduced discrete technologies are two audio disc formats based on DVD technology DVD Audio and SACD These promise to deliver discrete 5 1 channel surround without data reduction These encoding technologies promise higher fidelity than CD thanks to 96 kHz 24 bit recording a signal format for which the 960L is already prepared The eight channel design and modular construction of the 960L make it ready for future surround advances whatever they may be Algorithms Random Hall Random Hall is a hall effect with gradual bu
53. ed accent microphone to the overall ambience of the recording this allows a soloist s level to be increased without changing the apparent distance The Ambience algorithm does not include extensive provisions for modifying the characteristics of the late reverberation the Shape Spread and Bass characteristics are fixed However the apparent size of the late reverberation is adjustable with the size control High settings of the Size control can be very effective at generating the sound of a large space with high clarity The lack of the BassMult control can be compensated by adding a low frequency shelving boost of 2 to 6dB below 200Hz to the reverberation sends or returns This type of boost is often very useful when working with music that includes both vocals and instruments 5 7 Using The Reverb Program Lexicon Inc Algorithms continued Ambient Chamber Ambient Chamber is a hybrid of the stereo Ambience and Chamber algorithms It applies front left center and right signals to the ambience algorithm and front LCR plus rear signals to the chamber algorithm This can be used to change the apparent microphone distance of the front signals or to provide different acoustics for the front and rear e g a stage house in front and a more reverberant auditorium behind it that join into one integrated reverberant field The advantage of Ambient Chamber over the Ambient Surround is that there is more control over the late reverbe
54. ed so the bright ambience is in the rear and the dark reverb is in the front Very small ambient reflections give the immediate sound of being under the canopy of a pulpit with the reverberant space of the church around you Strong large ambience with reverb gives an airy quality to vocals Use sparingly for natural effect Useful for adding more strainer to a snare that is all attack Fe a Rooms FO Rooms Name JA B6 P5 Small Room 2 T Ambient B6 P6 Tiny Room Chamber Ambience 4 Ambient i Su rround es urround Come urround am urro D Surround amber rround Small room with thin carpeting on the floor and ae reflective surfaces A medium sized highly reflective space Broad and diffuse a good chunky sound for the band Extreme setting of MidRT gives an abrupt cutoff of reverb Use Size Shape and Spread to vary the duration and texture of the gate Small like a bedroom with bright characteristics Very small space with boosted ambient reflections Trumpets Sax Tubas any type of brass instruments work well with this Program especially multiple horns in sections Multiple echoes make this program good for dramatic effects Also ideal for screamin lead guitar solos Medium sized room with heavy early reflections Good for Leslie cabinets Reverb adds body while ambient reflections keep source changes distinct B6 PO Ziggy s Place qu Open living space with lots of
55. ee parameter listing below is low the reverb will become brighter as it develops Reflections play an important part in this effect They should be adjusted so that they occur at or near the end of the reverb In other words they play the role of the original signal so they come last For Reverse to work as designed the Mix parameter must be set 100 wet both at the 960L and at the mixer Inverse The traditional inverse effect can also be achieved if desired by using any of the Hall Chamber or Plate effects and doing as follows Select a very large room Size Bring Midrt all the way down e Set the Contour parameter to a high value like 10 Control the overall shape and density using Shape Spread and Size 960L Owner s Maunal Using The Reverb Program Parameters Used in the 960L Algorithms Parameter Parameter Description Name AmbPreD Ambience PreDelay Ambience only controls the time of a predelay that precedes the early reflection ambience component of Stereo Ambience In the same algorithm RvbDly controls the predelay that precedes the reverberation component AmbSize Ambience Size scales all the delay elements of the early reflection and early energy components of Ambience and Ambient Chamber algorithms To keep the early reflection energy within the 15ms 50ms window this control should be set no higher than about 6 or 7 AmbLvl Ambience Level sets the overall level of the early reflection and early en
56. een individually optimized for each of the more than 200 factory Programs that ship with the 960L Further you can easily customize these assignments to put the parameters you use the most at your fingertips System status input levels machine configuration clock source and lock status mute state etc is always visible on LARC2 through an LED meter bridge and a dedicated region of the color LCD display Dedicated function keys a numeric keypad screen navigation arrows and eight soft buttons allow easy and quick navigation through the rest of the user interface Each screen has space for explanatory notes Some of these notes are help messages while others can be customized by the user using either the LARC2 s own text entry interface or a user supplied PS 2 computer keyboard Aux Port For user supplied PS 2 Keyboard Contrast Knob For adjusting LCD contrast not recommended The keyboard applied to the 960L LEXICON INC SERIAL NO Note Hot plugging the keyboard is should be connected before power is The LARC2 Remote Unpacking the LARC The 960L system is shipped in two cartons one containing the 960L Mainframe the other containing the LARC2 dedicated controller After unpacking save all packing materials in case you ever need to ship the unit Thoroughly inspect the 960L system and packing materials for signs of damage Report any shipment damage to the carrier at once The following accessori
57. eflections more discrete making the reflecting surfaces seem less diffuse Except for special effects it is recommended that this be set to Zero In Reverse Definition controls density buildup lower values produce more density Diffus Diffusion models the effect of irregular wall surfaces in a room by changing echo density Very low values produce sharp discrete early reflections Higher values produce groups of reflections that are smoother but less articulated Except for special effects it is recommended that this control be set to a high value 5 9 Using The Reverb Program Lexicon Inc Parameters Used in the 960L Algorithms continued dL gt L dR gt R dL gt R dR gt L dLF gt LF dLF gt LS dLF gt RF dLF gt RS dLS gt LF dLS gt LS dLS gt RF dLS gt RS dRF gt LF dRF gt LS dRF gt RF dRF gt RS dRS gt LF dRS gt LS dRS gt RF dRS gt RS EchoL EchoR EchoLF EchoLS EchoRF EchoRS EchoMST EDIyMST ErILvI ErlRoll Early or Reflection Delays In many real spaces distinct reflections and echoes are an important part of the sound so many of the 960L s reverbs have reflection delay and echo paths with appropriate controls The Early or Reflection Delays set the delay time For example dLF gt RS is the delay time in a path from the Left Front Input through the diffusor through a delay of dLF gt RS duration and finally to the Right Surround Output Each of these delay paths has its own lev
58. el control The level of the example delay path is set by the related control LvLF gt RS Echo Duration Some reflection delays have echo capabilities These appear as part of the input path echoes are passed to the reverberators as well as the reflection outputs Also echo signal is fed back through the input diffusors This means that each echo will be more diffuse and spread than its predecessor The control EchoLS sets the duration of an echo that is a feedback path on the Left Surround Input and FbckLS sets the amount of feedback for that path Any echo pattern set with EchoLS and FbckLS will be heard in the surround reverb field and also in any reflection delay whose source is the Left Surround Input Echo Master Delay multiplies all echo delays by a percentage This allows this single control to scale a complicated echo pattern Early Master Delay multiplies all reflection delays by a percentage For example if Left Surround Delay is set to 24 msec and EDIyMST is at 50 the actual Left Surround Delay time will be 12 msec and that figure will appear on the display This allows this single control to scale a complicated reflection pattern Early Level Master Control Multiplies all individually selected early reflection levels by a percentage This allows this single control to set the overall level of a complicated reflection pattern Early Rolloff controls the cutoff frequency of a 6dB per octave low pass filter on the output of the e
59. elling point for music helping create the illusion that the listener was in a better acoustic venue than his living room Some of that illusion had been created in mono days by the inclusion of reverb in the final mix largely produced in echo chambers small hard surfaced rooms containing speakers to reproduce the original sound and microphones to pick up the added echoes But in mono reverb levels had to be limited to avoid muddying the sound With stereo the listener could more readily pick out specifically positioned performers from the general ambient background enabling the amount of reverb to be increased At the same time music was being recorded more and more with close miked multi track techniques that did not capture the original ambience and in studios where there was little or no ambience to capture This accounts in large measure for the popularity of reverb processors such as the Lexicon 480L Even with stereo some spatial elements were missing In real life we hear sounds and ambience from all around us not from just the front of the room Adding additional channels at the sides or rear of the room seemed the answer and surround sound made its appearance in movies and in the home in the 1970s In films where it served a dramatic purpose and where a three channel front speaker arrangement was standardized it succeeded For several reasons surround sound flopped in the home There was a confusing array of recordi
60. erboard Caution The motherboard has a lithium battery Lithium is a hazardous substance The battery should be replaced only by qualified service personnel and disposed of properly CD ROM drive for software upgrades Standby switch Reset Switch 960L Owner s Maunal Installation Mounting The 960L mounts in stationary racks with four screws Make sure the 960L Mainframe is securely screwed into the rack For moving and in roadcases be sure that support is provided for the rear of the chassis to avoid possible damage Ventilation Provide adequate ventilation if the 960L is mounted in a closed rack with heat producing equipment such as synthesizer modules effects units or power amplifiers Avoid mounting the 960L Mainframe directly above power amplifiers Location It may be desirable to place the 960L Mainframe in a location remote from the listening environment The mainframe can be located up to 1 000 feet from the LARC2 controller with a remote power pack See Chapter 2 for more information IEC Power Connector The 960L is equipped with a 3 pin IEC power connector and detachable cord providing chassis grounding to the AC mains line Plug the female end of the power cord into the 960L mainframe and the male end into a wall outlet Mains Voltage Selector Before connecting the 960L Mainframe to power mains make sure the setting matches your local mains voltage The
61. ergy components of Ambience and Ambient Chamber algorithms BassMult Bass Multiply controls the low frequency reverberation time relative to MidRT If for example Bass Multiply is set to 2X and MidRT is set to 2 seconds the effective low frequency RT is 4 seconds For natural sounding results use settings of 1 5X or less Note that values less than 1 0X produce a low frequency RT that is shorter than MidRT BassXOV Bass Crossover sets the frequency at which the transition between MidRT and Bass Multiply takes place Except for special effects there is seldom a need for this parameter to exceed 500 Hz Contour Contour controls the profile of the energy decay in the reverberation tail At a value of zero this decay will be smooth and featureless Large positive and negative values will add noticeable bumpiness of the decay Use non zero values with great caution CtrRvb Center Reverb Level controls the reverberation level of the Center output in surround algorithms This allows the Center Reverb Level to be set relative to both early reflection levels and the Front and Rear Reverb Levels We recommend that the center reverb level be set about 4 5dB lower than the Front Reverb Level and the Rear Reverb Level RvbLvlis a master control for CtrRvb FrRvb and RearRvb Definition Definition is found only in the Chamber and Reverse algorithms It models the irregularity of reflecting surfaces in the space In Chamber turning Definition up makes r
62. eriod The LARC2 Remote THE EARG2 5th en ie 2 1 About the LARC2 rrnnnnrrorvoreennarannrnnnnnnervenvensennnenn 2 1 Unpacking The LARC2 sssssssess 2 1 LARC2 CONTROL SURFACE ere 2 2 GETTING WHAT YOU WANT eene 2 3 LARC2 CONNECTIONS esses 2 3 Control Port esses 2 3 AUX POLU uite TU qe ted 2 3 External Power Connector suus 2 3 NAVIGATING TYPICAL DISPLAY SCREENS 2 4 ABOUT THE FADERS AND JOYSTICK 2 5 AUDIO INDICATORS rnnnnnnnnnnrorrrvvennrvnsnnannnnnnnrnvvennen 2 6 FINE ADJUST satsa ae 2 6 THE LEXICON BUTTON eee 2 6 960L Owner s Maunal The LARC2 Remote About the LARC2 The 960L is controlled from the LARC2 While the LARC2 is a completely new remote its operation will seem familiar to users of the LARC remote used with the Lexicon 224XL and 480L Like the original LARC the LARC2 is compact enough to rest on or near the center of the console while keeping the 960L Mainframe out of the way hundreds of feet away in the machine room if necessary The 960Ls user interface and the LARC2 were designed to be helpful to new users and fast for experienced 480L users The LARC2 s joystick and eight touch sensitive motorized faders are always connected to and controlling audio parameters The assignment of audio parameters to each of these controls has b
63. es are packed with the LARC2 for the 960L mainframe carton see Chapter 1 LARC2 remote console 50 foot cable for connection to 960L Mainframe Warranty amp registration cards CE compliance certificates Note You will find the LARC2 to be a robust and reliable product It does contain complex electronic and electro mechanical assemblies We suggest handling it with the same care you would apply to the use of a laptop or notebook computer Important Never connect a LARC2 to anything but the 960L Mainframe Never connect either Mainframe Remote Port to anything but the LARC2 Doing so may damage your equiptment Host Port For connection to 960L Mainframe External Power Connector For use when cable run to 960L mainframe exceeds 100 feet Strain Relief For the External Power Supply cable if used Figure 2 1 LARC 2 rear panel Reset Button LARC2 hard reset switch It is recessed to avoid accidental activation 2 1 960L Owner s Manual The LARC2 Remote LARC2 Control Surface Signal present 6dB and overload indicators Color LCD Display Soft buttons Navigation arrows Numeric keypad Joystick 2E Mode keys Increment decrement buttons key noes OB Mute Machine Joystick key Mute All Fine adjust key I umb Lexicon key compare Touch sensitive motorized faders TI TI Figure 2 2 The LARC2 Control Surface 2 2 960L Owner
64. fine Italian tile and not much carpeting A 5 Appendix Lexicon Appendix continued Surround Bank 7 Plates 1 Surround Plates B7P1 Large Plate Surround Plate sk large plate Plenty of sizzle This program is great on pop vocals and 7P2 edium P late Surround Plate Larger version of Small Plate Useful on most sources 7P3 Small Plate Surround Plate Very small and short Useful on just about any source Drum Plate Surround Plate Very bright this medium sized reverb accentuates high end attack transients aE 87 B7 P9 Long Brite Space uis Cavelike good for dramatic accents or screams Long reverb with lots of motion Shortened MidRT gives this preset an abrupt cutoff Useful for drums when you BTPU P lated Gate Surround Plate want that gated sound but this is a little more natural sounding er Bank Name J Plates 2 ET Z Plates B8P1 A Plate Surround Plate Algorithm Des nn TE OO program with a clear sound Useful for everything from vocals to percussion B8 P2 Snare Plate Surround Plate A rapid buildup of high frequencies make this program a favorite on snare drums B8 P3 Thin Plate Surround Plate ee on the plate theme this Program keeps out unwanted low B8 P4 Fat Plate Surround Plate Produces the sound of a large highly colored plate B8 P5 Echo Plate Surround Plate Like Fat Plate but with echoes A 6 960L Owner s Maunal Appendix co
65. floor of LG Brite Chamber and it would sound like this LG Vocal T PNE i B4P8 Chamber Cham Low diffusion setting with delays and echoes Good starting point for a pop vocal B4 P9 Huge Chamber Size set at 40 meters with about 2 5 second MidRT This one s huge Small low diffusion with delays and slight echoes this one s slappy Good starting B4 PO Slap Chamber point for a Rockabilly type vocal sound Stereo Bank 5 Stage Chamber Stereo Chamber Stage Reflections umber ae Aoin TE Ambience Medium sized Ambience up front with about a 1 75 second MidRT setting make this like a 40 80 seat recital hall Kees Small sized ambient reflections coupled with a chamber reverb give this Program an intimate feel Good for individual acoustic instruments 960L Owner s Maunal Appendix Appendix continued BERE EE EE 0 algoritm Desc Room resembles a good sized lecture room It is smaller than Music Club B6P1 m Hall and more colored with comb filtering and slap echoes B6 P2 Medium Room Medium Room Medium Room is a smaller version of Large Room Small Room is much smaller and less reverberant than the Large and Medium B6 P3 Small Room Random Hall Rooms It resembles a typical American living room B6 P4 Very S mall andom Hall Very Small Room has the intimate close feel of a bedroom or den Large Wood Room is similar to Large Room but has a lower Bass Multiply Random Hall simulating a room with thin wooden pa
66. g continued Editing with the Joystick Check the Joystick Status Display to see what parameters are currently assigned to the joystick and what their current settings are Note whether the JOYSTICK Key on the LARC2 control surface is illuminated or not If the key is illuminated the joystick is locked to the current parameter and moving it will change the current settings The setting dot is green and the joystick cursor will be superimposed on the Joystick Map section of the display as shown on the right in Figure 4 14 Move the joystick This immediately changes the parameter settings The new settings can be read from the left half of the Joystick Status Display If the key is not illuminated the joystick is not locked and moving it will not affect parameter settings The red setting dot and joystick cursor will normally be separated on the Joystick Map as shown on the left in figure 4 14 Maneuver the joystick so its cursor lies near the red setting dot e Press the JOYSTICK Key on the LARC2 control surface to capture the parameter The setting dot will turn green and the JOYSTICK key will light If the joystick cursor is not near the current values the values will jump to the joystick position PROGRAM Large Hall Key Hall onura Fill Long Brite Space Small Hall Oz Halla 2 OG Chambers i Rooms 05 Plates 1 nj EE CTI MN B01 P 1 Large Hal svETFMASTATUS ar P
67. g the 960L Mainframe to power mains make sure the setting matches your local mains voltage Refer to the Installation section of this chapter for more information IEC Power Connector Accepts IEC power cords with mains plugs specific to your country 960L Owner s Maunal The Mainframe The Front Panel Floppy Drive Thumbscrews This is a 3 5 High Density IBM Format compatible To gain access into the front section of the chassis floppy drive This is primarily used for saving user unscrew both thumbscrews and lower the hinged panel Registers 960L DIGITAL EFFECTS SYSTEM Figure 1 2 Front panel closed Standby Switch and Indicator When your 960L is in standby the power to most This switches the 960L between on and standby the circuitry is removed To completely disconnect power indicator LED lights when the unit is on from the 960L either turn off the power by using the switch located on the rear panel of the 960L or unplug the power cable from the wall outlets The Mainframe Behind the Front Panel DSP Card Slots Top slot occupied others reserved for future Lexicon cards Important Do not plug any cards into these slots except those made by Lexicon for the 960L Card slots for DSP cards The cards can be removed for service when instructed by Lexicon Customer Service Floppy drive for saving registers Figure 1 3 Front Panel Open 1 4 Lexicon Inc CPU Card NLX type month
68. h stereo and mono Matrix 4 2 4 encoding Wander Wander and Spin introduce small random variations within the reverberation continuously altering the reverb timbre to create a more natural sound Spin controls the relative rate of motion and the speed with which changes occur expressed in arbitrary units Wander controls the amount of change At extreme settings these parameters can introduce slight pitch wobbles that are audible in critical material such as classical guitar or piano 5 14 MIDI MIDIA 6 1 NomenclatUr Gsi iniii ioa 6 1 MIDI Channel Allocation s 6 1 Program Loading eee 6 2 Bank and Program Mapping 6 2 Card Configuration sese 6 2 Continuous Controllers sess 6 2 MIDI SYSEX 5 ipte dees 6 3 MIDI IMPLEMENTATION CHART esee 6 4 960L Owner s Maunal MIDI The MIDI implementation for the Rev 1 960L is very basic Since the implementation is fixed there is no user interface for modifying it Nomenclature Numbering in MIDI i e channel number program numbers etc can be confusing since some sources start counting from zero and others start from one This description will start from zero If for example your MIDI MIDI controller s lowest channel number is 1 rather than 0 you should add one to the values found in channel table below MIDI Channel Allocation The 96
69. haracteristics of each surface s energy absorption and the distance and direction of each surface to the listener In addition in large spaces there is a high frequency rolloff caused by the sound s passage through air It is in principle possible to model the reflected energy pattern in a specific space either real or imagined and to reproduce this pattern as closely as possible through a five loudspeaker array Alternately one could measure the reflection pattern from a specific source point in a real space to a specific receiver position and reproduce this pattern through five loudspeakers One might expect this technique would yield the most accurate sonic representations of halls and rooms Alas the illusion of reality is not so easily achieved First real spaces are themselves a compromise Small rooms and stage houses tend to provide a sense of blend and distance to music but provide little warmth and envelopment and often can make the sound colored or muddy Large rooms can provide envelopment but often the sound can be too clear and present with the instruments seemingly stuck in loudspeakers To make matters worse in a real space every musician will have a completely different reflection pattern from every other musician and every listener will have a different pattern from every other listener In addition reproduction of a given sound field through a loudspeaker array is only possible if the listener occupies a s
70. he faders to the approximate values you want then press the FINE ADJ Button When this button is pressed the faders all move to the center of their travel but their parameter settings do not change The faders then operate in a vernier mode with a limited adjustment range and far fewer steps per inch of travel so that full range movement of the fader will alter the parameter value only a little from its coarse value This makes it easy to tweak the setting to the exact value you want On entering fine adjust mode the Action Display says Fine Adjust Enabled The centering of all faders is an additional indication Pressing FINE ADJ a second time will return the System to normal operation The faders will return to their appropriate full range positions When in the Edit Algorithm Mode to make fine adjustments of a single parameter simply touch the appropriate fader to select the parameter then use the Increment Decrement buttons to get the setting you want Each press of these buttons will change the parameter by its smallest possible increment EET T NN 501 P1 Large Hall ALGORITHM PARAMETERS Contour Soin Wander 142 nr 3409 Gain MET UlyMST Fiat Hicut Ti 10028 Paz ihm T SurrcundHall tus Inul CtrRub 4 0 ALGORITHM Par mg 55 a j JOYSTICK STATUS j Rr Rub Figure 4 13 Algorithm Edit Screen with one fader parameter selected 4 9 Operations in Detail Lexicon Inc Editin
71. he high end B10 P3 Big Bottom Chamber more or less untouched This is useful for adding a big bass and tom drum sound to an existing mix or to a drum machine with premixed stereo outputs 10W 40 emulates the sound of an oil drum If your facility lacks an oil drum wired B10 P4 10W 40 Chamber for sound you will be please to discover that Lexicon has supplied one before you even knew you needed it B10 P5 20W 50 A more aggressive oil drum B10 P1 Brick Wall Ambience Stereo Bank 11 Post 1 Stereo Stylized Spaces for Post Production Environments Number Name Algorithm Description bum Large Closet Big walk in Use Rolloff RtHicut and MidRT to fill it up or empty it out bum Medium Closet Medium sized closet Use Rolloff RtHicut and MidRT to fill it up or empty it out pes Small Closet Small closet User Rolloff RtHicut and MidRT to fill it up or empty it out Large fairly bright living room with hard floors and lots of tile Use Rolloff R tHicut and MidRT to add draperies and carpeting B11 P6 A small parlor with heavy carpeting and draperies B11 P7 T ate room with a high ceiling and enough space for one regulation B11 P8 Poolhall A fairly large space with wood floors low ceiling and about 10 tables B11 P9 Medium sized for a bathroom and bright with tiled walls B11 P0 Same as Bathroom only larger Big Living Room Ambience Appendix Lexicon Appendix continued rom Bank 12 2 Stereo S
72. he rear channels keeps front dry and focused while large space envelops the listener and gives great distance behind B3 P7 a Adjust reverb and ambience levels to bring yourself closer to or farther from the lence Stage B3 P8 Bright Stage ee Fairly bright stage with a darker large hall Surround Early reflections mimic a very large stage area and reverb supplies the large hall B3 PO On Stage Surround With outputs panned to the sides and reverb levels adjusted accordingly this 9 Ambience emulates the sound of being on a stage with the reverb decaying in front Verb Behind You Surround Bank 4 Chambers PEEL Chambers EUM Big aah Space Dee EKTET strong bottom end Consider using this on anything from aie Round hende Chamber dialog to Tom Toms EE Medium sized aly bright space with about a one second MidRT Good all B4 P3 Small Chamber Small bright space About half second MidRT Great on drums urro Fairly small room Size and MidRT of around 0 7 seconds Good multi purpose B4P4 Short Chamber qub utility chamber urro Very small bright space Shortened MidRT lends a more abrupt release Good for B4 P5 Tight Chamber qub i when you want the reverb short but don t want to use a gated effect en Extremely short MidRT setting gives a very abrupt cutoff but is still more natural B4P6 Gately Chamber Ene than a full gate B4P7 Slap Chamber B Nice for adding strength Slap delays are up front Use J oystick to change effe
73. ild up well suited to complex sounds like orchestral music Its reverberators change over time in controlled random ways to avoid the buildup of tinny grainy metallic or other colorations The early reflections are user adjustable in amplitude and delay Some skill is needed to set useful reflection patterns Since the reflections are adjustable they are not randomized Once set the reflection pattern is fixed The pattern can be expanded or contracted in time using the Delay Master control and the overall level of the pattern can be set with the Early Level control The most important user parameters for Random Hall are the level controls the Early Level and Reverb Level Early Level is a master control for all the early reflections Lowering the control to zero eliminates the reflections and their associated sense of distance from the sound source The Reverb Level control is a master control for the late reverberation With this control you can set the exact amount of reverberance and envelopment The apparent size of the space supplied by the late reverberation is set with the Shape Spread and Size controls Of these controls the Shape and Spread are the most natural As Shape is raised from zero to about 30 the onset of the late reverberation goes from abrupt to gradual The effect on the apparent size of the space is quite dramatic Spread has little or no effect until Shape is at about a quarter of its range
74. in the Main Operating Display and in the System Status Display To switch to a different machine enter its number on the Numeric Keypad or scan up or down to it with the Numeric Arrow keys and press the ENTER key The fader and joystick assignments on the V Page will then change to those for the machine you ve selected Machine Shortcuts 1 If you know the number of the machine you want to access simply press and hold the Machine key on the LARC2 and enter the number you needn t wait for the Machine Mode screen Hold down the MUTE MACHINE button and on the numeric keypad press the number of the machine you wish to mute or unmute Hold down PROGRAM or REGISTER and on the numeric keypad press the number of the machine you want and you will be in PROGRAM or REGISTER mode for that machine Hold down STORE and press the number of the machine you want and you will be storing the edits currently on that machine B01 P6 Medium Hall g Eee 1 Halis 1 2 Halls 1 Large Hall Hedi ini Hall RitHicut J AKHZ Basert 1 20 1 8 ar it fall CO OO JOVSTICK STATUS FROGRAM Predel Ime Mius 116 H 11 me Figure 4 26 Machine Mode 4 18 Using the Reverb Programs REVERBERATION AND REALITY eee 5 1 SOUND IN SPACE A SHORT HISTORY OF STEREO AND SURROUND ee 5 5 ALGORITHMS reervvvevvverernrrsnsvssrevrenvennnnnnrsnssnsrsrrerreveene 5 6 Random
75. ingle known position If our goal is to create a believable room impression over a wide listening area and this should be our goal then we better do something else Our solution has been to study the physics and the neurology of human hearing to discover the mechanisms by which reflected energy patterns create the useful perceptions of distance and envelopment and to discover how to recreate these perceptions without compromising clarity Using a knowledge of these mechanisms we can create reverberation devices that can give the desired acoustic impressions rooms that sound plausibly real but that give the recording engineer complete control over the sense of distance and the sense of envelopment These rooms seem real but they are not They are designed and adjusted by the engineer to the specific needs of the recording and they create their magic uniformly over a wide listening area To see how this works consider a concert space a large hall In this space we hear a sonic event as a whole package of sounds consisting of direct sound various early reflections and finally the reverberant tail The sound that reaches us directly from the performer tells us the horizontal and possibly the vertical direction of the sound source the reflections that follow give us cues for determining the distance to the source and give us some information about the space Yet describing acoustics through the concepts of direct sou
76. istic use Shelf Rolloff does not affect the frequency response of the early reflections See RefHicut RPreD Rear PreDelay Surround algorithms only is an additional predelay that can be added to rear input path to recreate the effect of the space s rear wall being farther from the listener than the front The total rear channel predelay is the sum of RvbPreD and RPreD so the latter s values are always preceded by a on the display E g with RPred of 20 and RvbPreD of 100 the onset of reverberation from the rear will occur 120 msec after the initial acoustical event For best results we recommend that the RPreD control be set to values less than 20ms Greater values tend to make the reverberation from the rear separately audible from the front reverberation and the room seems less natural 960L Owner s Maunal Using The Reverb Program Parameters Used in the 960L Algorithms continued RearRoll Rear Rolloff Surround algorithms only Like Rolloff in Stereo this controls the cutoff frequency of a 6dB per octave low pass filter at the output of all processing but affects the rear LS and RS channels only A separate parameter FrRoll controls the rolloff for the front LF C and RF channels RearRvb Rear Reverb Level Surround algorithms only Like RvbLvl in Stereo this controls the level of the reverberant tail but only for the LS and RS outputs This allows their levels to be set relative to the early reflection levels and th
77. ition to the appropriate value auto nulled You can move as many faders at a time as you like All the connected parameters will be affected If you touch several faders the last fader you release will then be displayed as the selected parameter In this mode Algorithm Edit you can use the Buttons to make fine adjustments on the selected parameter The Paging Arrow along the right side of the Main Operating Display shows that more items are available than will fit the current listing The total number of pages 8 in Figure 2 4 is listed in the lower right corner of the Main Operating Display This arrow is greyed out at the top indicating that no further items are available in that direction The rows wrap After you key down to the last row the next press of the Down Arrow will bring up the first row and vice versa if you use the Up Arrow System Status Main Operatng Display Display Effect Display BO1R1 Large Hall ALGORITHE PARAMETERS sir ST TA hen Ti Divi 5T 15028 gt Sari eure Hall Ret Hecut Fas ful FrEub Ctriub LE Soft Button Labels Scribble Strip EIS STATUS Brtyb FiHicut H2KHz Joystick Status Display Figure 2 4 typical display screen 2 4 960L Owner s Maunal The LARC2 Remote Navigating Typical Display Screens continued Shoricut Any numbered item available in the current mode visible or not can be brought up by entering its nu
78. ler so 480L users can get up to speed quickly but it was also designed for fast intuitive operation by those who have never used the 480L Extensive visual feedback and a wide variety of input Introduction Introduction devices hard and soft buttons motorized faders and a joystick provide access to everything you need to control The 960L and LARC2 were designed for maximum flexibility and control The 960Ls reverberation algorithms based on Lexicon s 3DPM for 3 Dimensional Perceptual Modeling technology embody the accumulated knowledge of more than 20 years of research and study into how humans perceive spaces With the 960L engineers working in surround can create convincing 5 1 channel spaces even spaces that sound better than real ones from a reverb designed for the purpose rather than an unconvincing assemblage of multiple stereo and mono reverbs The 3DPM algorithms Lexicon developed for the 960L take the principles of physics and psycho acoustics into account The Mainframe DESCRIPTION anehna o tte a8 1 1 About the 960L mnannvennnnnvnnnnvnnnnnnvnnnnnrnananennnnnenn 1 1 Unpacking the 960L sseeeeeeeess 1 1 THE REAR PANEL Jermont eia 1 1 I O Glock Gard reai ienee cede teen 1 2 Option Plates arerrnrrnnnnnvnnonrrrnnnnrnnnnnrnnnnvnnnnnnnnnenn 1 2 Analog Input Card ssreroonrvnrrvrnrnnnvnnrvrrennnnnnnrnnren 1 2 Analog Output Card esses 1 2
79. levels can also be set using the faders Input panning and level adjustments are not Global they affect only the current Program or Register Input Panning To edit inputs press the EDIT key then the INPUTS soft button to bring up the screen shown in figure 4 16 You can see from the System Status Display at the upper right that two machines are in use and you are editing the inputs for Machine 1 The Main Operating Display shows that the current machine has five inputs and where each input signal is positioned in the soundfield In figure 4 16 the Left Surround input channel 4 is currently selected so its header is highlighted and its pan position is indicated on the Joystick Map The JOYSTICK key is off so the joystick has not captured the parameter note the separate positions of the cursor and the setting dot Input currently mapped to joystick Joystick position 2 B01 Pi Large Hall 1 To Position Inputs 1 Select the desired channel 2 Lock thet joystick by pressing thi joystick button Bows joystick to position input Input levels now controlled by faders JOYSTICK STATUS Parameter currently controlled by joystick not captured JOYSTICK key off Figure 4 16 Editing screen for input panning and levels with joystick key off Joystick Locked Note new position of selected input Joystick has captured parameter Figure 4 17 Editing screen for input panning and leve
80. lity low loss controlled impedance shielded twisted pair cables designed for data communications such as Belden 9860 braided shield or Belden 9271 foil shield The use of ordinary microphone cable can cause digital interfaces to work unreliably Remember that the maximum recommended length for AES cabling is 100 feet 30 meters The Mainframe Following AES conventions the odd numbered channels are on the left channel of each AES stereo pair the even numbered channels on the right The word length is 24 bits at sample rates of 44 1 48 88 2 or 96 kHz To use the digital inputs the 960L can be synchronized to AES input 1 2 or to the TTL Wordclock input Note that all digital inputs must be synchronized to the same master clock for operation without artifacts For routing and panning see Chapter 4 Operations in Detail All signals sent to the digital outputs are also sent to the analog outputs MIDI Connections Use standard 5 pin DIN MIDI cable assemblies available from your local dealer Chapter 6 MIDI describes the 960L MIDI functionality Wordclock Connections Use standard 75 ohm BNC cables available from your local dealer The self terminating loop thru TTL input facilitates daisy chained clock distribution The 960L will refer its internal wordclock to the falling edge of the input square wave The 960L output is a TTL compatible square wave with the falling edge aligned with the start of the 960L sample p
81. loudness integration taking about 200ms for full loudness to develop It is the background perception of reverberation that gives us the sense of envelopment Clearly it is the reflection level 150ms and more after the end of sound events that matters Note that the relevant time is after the END of sound events We are conditioned by years of looking at impulse responses to think about reflections as always coming from hand claps or pistol shots In speech and music it is the behavior of reflected energy at the ends of sound bursts of finite 5 3 Using The Reverb Program Lexicon Inc Reverberation and Reality continued length that is perceived and the behavior of the reflections can be quite different when the sound event is short compared to when the sound event is long Notes which are shorter than the time constant of the reverberation RT 7 will excite the reverberation less strongly than longer notes There is another peculiarity of background envelopment It depends on the absolute level of the reverberation and not the direct reverberant ratio If we play the music louder the reverberation will be louder and the sound will be more enveloping Thus when we mix for envelopment we must be very careful about our monitor levels and aware of how loud the critical customer will play our mix The perception of background envelopment depends on the same fluctuations in interaural time delay that cause the sense of distance B
82. ls after panning with joystick Operations in Detail Lexicon Inc Editing continued When you press the JOYSTICK key the input position jumps to the joystick position and the setting dot turns from red to green highlighting the joystick cursor as shown on the Joystick Map and on the smaller map of the selected input The legend Joystick Locked appears in the Action Display Moving the joystick pans the selected input To pan a different channel choose its number with the Numeric Keypad or shift to it with the Navigation Arrows and press the JOYSTICK key to lock Output Panning To edit outputs press the EDIT key then the OUTPUTS soft button to bring up the screen shown in Figure 4 18 You can see from the System Status Display at the upper right that two machines are in use and that you are working on settings for Machine 1 The Main Operating Display shows that five outputs are in use Adjust Output Positions amp Levels To Position Outputs 3 Select the desired channel 2 Lock hw joyslieh by pressing the joystick button 3 Mowe joystick to position output C Ouf LS duft ho LE LE 0 0 L Out R Out and where each output signal is positioned in the soundfield In Figure 4 18 the Left output channel 1 is selected so its header is highlighted and its pan position is indicated on the Joystick Map The Joystick has not captured the parameter indicating that the JOYSTICK key is off Note If you pan a
83. mber with the Numeric Keypad on the LARC2 control surface Soft Button Labels identify the currently available soft buttons The currently active button is highlighted with a red outline Buttons with grey backgrounds will cause a context change those with yellow backgrounds cause an immediate action Buttons with blank legends do nothing The System Status Display is present in all screens In Figure 2 4 it shows that the current sample rate is 48kHz that the wordclock source is internally generated and that the 960L is locked to that clock source On the line below we see that the 960L is configured as two machines and that Machine 1 is currently selected for editing If a machine is muted the machine number is overlaid with a red flashing M If all available machines are muted the machine bar is overlaid with a red flashing ALL MUTED message If the word clock was external via either the AES input 1 2 or the BNC Wordclock input the padlock symbol would show the state of wordclock lock If lock was lost the padlock box would flash red and the 960L outputs would automatically mute About the Faders and Joystick The faders and joystick always control some aspect of the audio no matter what mode the 960L is in It is the active control mode that determines which audio parameters are controlled This table shows the mapping The Joystick Status Display is also present in all screens In Figure 2 4 it gives the joystick p
84. mm throw motorized touch sensitive Joystick Two axis Dedicated Function Keys 29 12 backlit Soft Buttons 8 Connectors 960L 9 pin D sub Aux PS 2 Keyboard Ext Power 6 pin Mini DIN concentric 2 5mm Specifications Operating Distance With power from 960L With Ext Power up to100 feet up to1000 feet Power Requirements 12 VDC 2 A max Dimensions Size 12 7 Lx 8 25 W x 5 0 H 323mm x 210mm x 127mm Weight 4 lbs Regulatory Approvals FCC Class A CE EN55103 1 EN55103 2 TUV EN60065 Environment Operating 5 to 40 C Storage 30 to 70 C Humidity 95 max non condensing Appendix Appendix Lexicon Appendix Program Descriptions Surround oe Enma Names Banks 7 8 9 0 cre Med Large Acoustic ee Brite Large Small Nn 1 Large Hall Small Hall m Key Hall Space Jazz Hall Church 2 Large Med Choir Med Vox Small Brite Short amp Taj Mahal Bottom j Verb 3 Lg Stage Med Stage Sm Stage Brite Stage Small MT Bright Stage Hall Halll Hall Stage En Front Row Stage Big Stage On 4 Round Bright Small Short Tight Gately Slap BuckN Offthe Back Hotel Fover a Chamber Chamber Chamber Chamber Chamber Chamber Chamber Chamber Wall f Large Med Small BigEmpty Med Vocal Bright Vocal Snare zx Church Front Bright Rear Pulpit Breeze Strainer Rock n Woomy Gated Small Ambience Rock n Lulu s Ziggy s 7 Medium Dessert Wavey Percussion Long Brite Plates 1 Large Plate Small Plate Dr
85. n output keep the joystick moving Panning an output signal permanently between channels causes a loss of spaciousness Due to the Haas effect such signals will collapse into the speaker whose output reaches the listener first You can pan and position input signals at will but don t pan output signals unless you keep them moving or finally place them in one speaker B01 P1 Large Hall JOYSTICK STATUS f Lo E o RS Cust 0 0 Figure 4 18 Editing screen for output panning and levels with joystick key off 960L Owner s Maunal Operations in Detail Editing continued Left Center Center Right Left Center Pan Center Right Pan N Apparent Source Location dei g AS RS LS RS Pan 4 19 Panning Rules The 960L Surround Panning Rules The 960L does not produce a phantom center in surround modes and no signal will appear in both the left and right output channels no matter where you set the joystick In other words panning across the front is either between Left and Center or between Right and Center For example an output signal panned to position 1 in Figure 4 19 would appear in the left and center front channels and the left and right surrounds but would not appear in the right front The 960L has true constant power panning As you pan a sound from one channel to the next the sum of those channels output powers will not
86. nd IDE I I I Ia Standard Hardware Configuration DSP CPU Card Compartment One System CPU Card One Reverb DSP Card Two Spare DSP card slots One MIDI Card IO Card Compartment One Analog Input Card One Analog Output Card One AES EBU Digital IO Card One IO Clock Card One Spare IO Card slot Storage Media Hard Disk 3 5 Floppy Disk Drive CD ROM Drive Specifications Specifications continued Reverb Card Configurations 48K Stereo Machines Four 2in x 50ut Machines Two 5in x 50ut Machines Two 96K Stereo Machines Two 2in x bout Machines One 5in x 50ut Machines One Internal Hard Disk Storage Factory Programs 240 User Registers 1000 Removable 3 5 Floppy Disk Storage User Registers 100 Power Requirements 100 120 220 240 VAC 50 60Hz 300W max switch selectable Connector 3 pin IEC 960L Owner s Maunal Dimensions Rack Units 4U Size 19 0 W x 7 0 H x 17 4 L 483mm x 178mm x 442mm Weight 35 Ibs Regulatory Approvals FCC Class A CE EN55103 1 EN55103 2 UL UL1419 cUL C22 2 TUV EN60065 Environment Operating 10 to 40 C Storage 30 to 70 C Humidity 9596 max non condensing Lexicon LARC2 User Interface Display Type Passive Matrix LCD Resolution 640x240 Colors 256 Backlight Fluorescent Contrast HW controlled rear panel Brightness SW controlled LED Meter Bridge Configuration 8 channels x 3 levels Levels 60dBFS Signal 6dBFS 0 5dBFS Overload Control Surface Faders 60
87. nd early reflections and reverberation is misleading from the point of view of human perception Direct sound early reflections and reverberation are only meaningful when the sound source is a very short impulse like a pistol shot Real sound sources produce sound events of finite duration notes The duration of a note is typically longer than the time between the direct sound and the early reflections The length of time a note is held dramatically changes the acoustics we perceive as short notes excite primarily early reflections and long notes excite the later reverberation For example in real rooms the direct sound is primarily perceived at the onsets of sound events notes When a sound starts abruptly there is a brief instant where we can hear the direct sound all alone before it is corrupted by or overwhelmed by reflected energy In this brief interval we can detect the direction and sometimes the elevation of the source The so called early reflections are only audible after a note starts They are sometimes audible as a change in localization or timbre while a note is held but in general they affect perception most strongly only after a note ends These reflections are heard in the space between notes and then often only as a tendency to make the notes sound longer than they actually are Reverberation also is nearly always heard after the ends of notes either in the space between notes or at the end of whole 5 1
88. neling or a cheaply made ware house or auditorium B6 P6 a Random Hall Small Wood Room is a smaller version of Large Wood Room B6 P7 Lg Brite Room Random Hall Simply large and bright B6 P8 Med Brite Room Random Hall A bit smaller than Lg Brite Room Small and Bright adds presence to a sound without adding a lot of obvious B6 P9 Small amp Bright Random Hall reverberation Music Club is similar to J azz Hall but is smaller and less reverberant especially at B6 PO Music Club Random Hall high fegueneies setae Bark 2 Bank 7 Plates 1 ei m eas 34 Stereo Plates B7P1 Large Plate E TE TEUER UU Wd large plate Plenty of sizzle This program is great on pop vocals and B7 Bo Medium P late Larger version of Small Plate Useful on most sources Another plate variation As its name implies this program produces the sound of a B7 P3 Small Plate smaller plate B7 P4 Drum Plate Very bright this medium sized reverb accentuates high end attack transients BP BP Dessert Plate Short and sweet This one s good for just about anything B7 P6 Wavey Plate Medium to large Size with a modest MidRT setting B7 P7 Percussion Plate Good all around percussion plate B7 B7P8 B7P8 vocal Plate Large and bright Good pop vocal plate B7 P9 Long Brite Space Cavelike good for dramatic accents or screams Long reverb with lots of motion Shortened MidRT gives this preset an abrupt cutoff Useful for drums when you BTPU rae d
89. nels to algorithm channels is fixed The CONFIG soft button brings up the screens for selecting the 960L s I O and machine configuration The number of machines available varies with the sample rate At 44 1 48 kHz the 960L can be configured as up to four machines At 88 2 96 kHz up to two machines can be configured Where multiple machines are available each is programmed separately In stereo configurations Figs 4 5 and 4 6 all available machines are connected as two channel in two channel out Note that each machine is numbered and each machine s I O configuration is displayed in red at the lower right corner of its diagrammed block When you switch to a new Configuration no Programs or Registers are yet loaded so the Scribble Strip is blank and the Joystick Status Display is greyed out No Program Loaded _ aS COHFIGS sbereo jinou 2 4niscaut 2 anol 4 Ginecol Four Stereo Hachires with independent W ar EN i Figure 4 5 Stereo configuration for 44 1 48 kHz sample rate four machines available 4 4 960L Owner s Maunal Operations in Detail Control Mode Clocks Configuration and System Screens continuea Stereo 44 1 48kHz Configurations the DSP card is divided into 4 stereo machines Input Assignment 1Left 1 Right 2 Left 2 Right 3 Left 3 Right 4 Left 4 Right Analog Input Channel 1 2 3 4 5 6 7 8 AES Input Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Output Assig
90. ng formats each requiring slightly different playback gear The few quadraphonic recordings available were split among these formats reducing the choice still further for listeners who were not equipped for every format Record producers could not decide whether to use the extra channels to encircle the listener with performers or to provide a front soundstage with surrounding ambience Most surround setups placed the extra speakers in the rear corners of the room despite the ear s low sensitivity to lateral directional cues from behind And many consumers balked at the idea of placing two more full sized speakers in their rooms A major reason for the failure of home surround was the recommended four channel format Without a center channel Quad sound did not improve the listening area over two channel stereo To hear a recording one had to be in the sweet spot a requirement that was greatly reduced in cinema surround Surround s salvation came from the movies and the development of stereo VCRs The widescreen films of the 1950s carried multi track sound on magnetic stripes but rear speakers mainly carried effects and were often shut off between effects to reduce noise from the narrow hissy mag stripes With the advent of 70mm film which had more room for soundtracks mixers began using offscreen channels to carry low level effects on a continuous basis adding to the films sonic realism But most theaters were equipped only
91. nment 1 Left 1 Right 2 Left 2 Right 3 Left 3 Right 4 Left 4 Right Analog Output Channel 1 2 3 4 5 6 7 8 AES Output Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Note As shown in these tables AES inputs and outputs have two channels per physical connection On the back panel these are labeled 1 2 3 4 etc The assignment of the two channels conforms to AES conventions that is the odd numbered channels will always be the left channel of that AES stereo pair and the even numbered channels will always be the right Configure System o Program Loaded JEK He COMES SYSTEM mm 1 p JOYSTICK STATUS Stereo 88 2 96 kHz Configurations the card is divided into 2 stereo machines Input Assignment 1Left 1 Right 2Left 2Right Unused Unused Unused Unused Analog Input Channel 1 2 3 4 5 6 7 8 AES Input Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Output Assignment 1Left 1 Right 2Left 2Right Unused Unused Unused Unused Analog Output Channel 1 2 3 4 5 6 7 8 AES Output Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Operations in Detail Lexicon Inc Control Mode Clocks Configuration and System Screens continued In 5 Channel configurations all available machines are sharing the same output channels On the display the configured for surround or other multi channel uses output paths of the two machines are colored differently For one configuration Fig 4 7 one machine i
92. ntinued Appendix Surround Bank 9 Ambience Surround Halls Ambience Number Name Algorithm Description o gt OO Surroun Ambien Medium Small Ambience Strong Ambience Surroun Ambien Surroun Ambien Surroun Ambien B9 P4 B9 P5 Surroun B9 P6 B9P7 Surroun Ambien Surroun Ambien Surroun Ambien B9 P8 Announcer Closet B9 P9 ce ce ce ce Reverse ce ce ce d Resembles a very large ambient space that has more clutter than a concert hall or performance space Lowering the Rvb levels reduces the clutter Similar to Very Large Ambience but less spacious Provides the ambience of a large symmetrical room Similar to Large Ambience but smaller Like a large courtroom or a lecture room Similar to Medium Ambience but smaller typical lobby or small lounge d d d d The room size is larger than Medium Ambience but the Rvb levels are reduced to provide a strong wash of ambience with a relatively short decay Heavy Ambience Surround Resembles a large rectangular space with performers in the middle Microphone y Ambience proximity can be simulated by adjusting the wet dry mix Ambient Hall Surround Hall Fast dense ambient attack Reverberant characteristics of Large Hall d Adds a very useful ambient spaciousness to a dry announcer s dialog track Just as you would imagine it even feels cramped Very strong ambience wi
93. nts seem to be stuck to the speaker up front and in your face This perception is particularly strong when a engineer tries a 5 1 mix for the first time Put the vocals in the center speaker and Bam they whack you in the face The up front perception is psychologically important But you want to use it with great caution Sometimes it is just the effect you want but after a sustained period the listener can tire and psychologically back away This is probably one of the reasons many engineers raised on two channel stereo prefer a phantom center to a hard center The phantom may be just as up front but there is no speaker in that position so it seems more acceptable There is another solution Humans perceive distance in large part through the strength and time behavior of reflected sound n a typical room the direct sound arrives uncorrupted by reflections If the sound has a fast rise time the ear is able to determine the direction of the sound by using the interaural time delay and the interaural level differences as cues After 10ms or more reflections start to arrive contaminating the time and level differences and making localization difficult Our brains are able to use this reduction in localizability of the sound as a distance cue the degree to which 5 2 precise localization is reduced after the onset of a note is a cue to both the size and the furnishings in a room Reflections from almost any direction EXCEPT the
94. ode Clocks Configuration and System Screens The LARC2 s CONTROL key provides access to the 960Ls wordclock input output configuration and system information Note that only three soft buttons operate in this mode The faders and joystick remain assigned to whatever audio parameters are on the V Page B10 R1 Large Hall Ward cock iz gererabed intenally Micdrt FetHicurt TEES 207 EN duri 1 10 ES SYSTEM 3 x T EE Predel ome Figure 4 3 Control Mode Wordclock Screen Wordclock From the Control Mode screen press the WORDCLK soft button then the number of the source you want 1 Internal Crystal controlled Use only with analog inputs or if your digital inputs are from sources that are locked to the 960L For locking to your studio s master clock Used with analog or digital input Clocked from AES input 1 2 Used with analog or digital input Note that if you are using AES as both the clock and audio source and disconnect AES input 1 2 the clock source while other inputs remain active you will hear artifacts on the non clock channels while the system detects the disconnect Entering the clock source number will select that source You can also select a source with the Up Down Navigation Arrows or the Increment Decrement keys Note Use of the internal wordclock with digital inputs can introduce audible artifacts due to sample slip even if the nominal sample rates are th
95. of range will be ignored 8192 Floppy Disk Controller 0 64 Controller 32 0 9 16383 highest Bank Card configuration For Channel 1 DSP card only Card Configuration The DSP card is partitioned through Program Change messages on channel 1 The highest Bank number Description 2 Continuous Controllers The 960L does not respond to continuous controllers except those used for Bank change 6 2 16383 0x7f on Controller 0 and Ox7f on Controller 32 is used for this purpose Other Bank numbers are reserved for future use Here are the values 0 Stereo 4 stereo machines at 48K 2 at 96K 2 Surround 5 in 5 out plus 2 in 5 out at 48K 5 in 5 out at 96K he Surround dual 2 in 5 out at 48K Single 2 in 5 out at 96K 1 8 channel Useful for wiring checks and diagnostics 960L Owner s Maunal MIDI MIDI Sysex The only Sysex message supported by the 960L is the Inquiry Message The 960L will respond with the standard descriptor as defined in the MIDI 1 0 Detailed Specification published by The MIDI Manufacturers Association MMA Incoming Inquiry MIDI Byte Description Sysex header Non realtime header Device ID The 960L will always respond to its own ID 0 or to 7F C General Information F7 Device Inquiry pr 960L s response MIDI Byte Description Sysex header Non realtime header Device ID Always 0 in 960L Software V1 0 General Information Device ID message Reserved
96. or scroll to it with the Navigation Arrows and press ENTER To select analog or digital input first use the Navigation Arrows to position yourself on any of the Input Selection Boxes Then use the Increment Decrement keys to toggle back and forth between Analog and AES inputs In Figs 3 3 and 3 4 all inputs are analog AN1 on the INPUTS strip of the Main Operating Display Pressing either the Increment or Decrement key will switch all inputs to digital AES on the INPUTS strip All inputs will be set alike The Analog and Digital Outputs receive the same signals at all times mapped channel for channel as noted by the A amp D on the OUTPUTS strip Configure System No Program Loaded Loaded IPTE JE kHz CONEFIGE Seren _ 1 JOYSTICK STATUS Figure 3 4 Configuration screen for 88 2 96 kHz clock rate stereo in out selected two machines available 3 4 960L Owner s Maunal Basic Operations A Quick Guide to Operation continued 2 Machine Selection In most configurations the 960L gives you more than one processing machine to work with each of which can be programmed individually To select the machine you wish to program use the following steps Hold down the MACHINE key on the LARC2 s control surface Using the Numeric Keypad press the number of the machine you want Release the MACHINE key The Machine Strip in the System Status Display shows which machine is
97. osition and the resulting Shape and Spread values The parameters currently assigned to the joystick and their settings are listed in two boxes to the left of the Joystick Map The small colored dot at the center of the map shows those parameter settings graphically The dot is red if the joystick is not active and green if it is The cursor shows the Joystick s current position Pressing the JOYSTICK Button on the LARC2 control surface sets the parameters to the joysticks current position and activates the joystick The V Page legend in the Joystick Status Display indicates that the joystick is set to a V page or virtual page a Program or Register specific collection of parameters and settings assigned to the faders and joystick See Chapter 3 Basic Operation and Chapter 4 Operations in Detail Fader labels are in the Scribble Strip just above the Soft Button Labels These display the parameters currently assigned to each fader and their settings When a fader is touched the associated parameter is highlighted in yellow MODE FADERS JOYSTICK Control Edit Inputs Edit Algorithm Algorithm Parameters V Page Input Levels Input Panner Edit Outputs Output Levels Output Panner 2 5 The LARC2 Remote Lexicon Inc Audio Indicators A simple meter bridge above the display holds three LEDs per channel The lowest LED indicates that a signal is present defined as a level of 60 dBFS or more
98. ound vocals sound great in here B2 P4 Echo Hall Surround Hall Use J oystick to regulate the echo component 1 Surround i B25 Big Reflex Chamber Use in small amounts short sounding B2 P6 Small Brite Hall ee Bright space with about 1 second MidRT B2P7 Short and Deep Surround Hall Strong bottom end Use Spread to control the event Ma Long MidRT and large Size with long echoes at a low level Useful for single B2P8 Taj Majal Deep6 Surround Hall sources and dramatic accent effects Large size relatively short MidRT and BassRT setting of 2 5 give this room some B2 P9 Beefy Hall Surround Hall bottom Good for drums B2 PO Bottom Heavy Surround Hall Large Size and short MidRT Adds bottom to thin source material Good for drums Large Choir Hall Surround Hall A 3 Appendix Lexicon Appendix continued me Bank Name J Stage Hall Surround Halls Ambience Description oo OO Suen A stage in the front and hall around you This one is about a 33 meter stage and a E 3 Lg Stage Hall mbience 38 meter hall E A stage in the front and hall around you This one is about a 14 meter stage and a lb A stage in the front and hall around you This one is about a ten meter stage and a cmm Small Stage Hall mbien 15 meter hall B3P4 Brite Stage Hall Som Medium sized bright stage and a fairly large hall Surround B3P5 Small MT Stage Chamber Empty performance space with an empty stage Strong reverb sent to t
99. oving the chassis from the rack I O Option plate Wordclock Analog in MIDI input loop balanced XLR in out thru out The Mainframe Unpacking the 960L The 960L system is shipped in two cartons one containing the 960L mainframe the other containing the LARC 2 dedicated controller After unpacking save all packing materials in case you ever need to ship the unit Thoroughly inspect the 960L system and packing materials for signs of damage Report any shipment damage to the carrier at once The following accessories are packed with the 960L Mainframe for the LARC2 carton see Chapter 2 Lexicon 960L Mainframe with cards installed IEC power cord CD ROM 960L Software This User Guide Warranty and Registration Cards CE compliance certificate License Agreement Bumper feet 4 The proper ordering top to bottom of the cards is I O Clock Card I O Option Plate AES I O Card Analog In Card and Analog Out Card Cards should be kept in this order Remotes Mains Mains Connect LARC2 voltage power to port 1 selector switch AES in XLR channel pairs AES out XLR channel pairs Analog out balanced XLR Option plate IEC power connector Figure 1 1 960L Rear Panel The Mainframe Lexicon Inc The Rear Panel continued I O Clock Card MIDI Connectors Five pin DIN female MIDI In Accepts MIDI data from other MIDI equipped devices MIDI Thru Retransmits un
100. pace available or the Register Bank you last stored to and the first empty Register within that bank f you d prefer a different Register Bank press the BANK key and enter the number of the desired bank or scroll to it with the Navigation Arrows f you d prefer a different Register press the REGISTER key and enter the number of the desired Register or scroll to it with the Navigation Arrows To Name a Register or Register Bank press the NAME soft button and follow the directions below To add explanatory information to a Register or Register Bank press the INFO soft button and follow the directions below When everything target Bank target Register NAME and INFO is the way you want it press STORE again to save Figure 3 6 JOYSTICK STATUS Display B01 P1 Large Bao sc FRill Fr Fols Pass B spread 3 6 LINE He GN GE GE Figure 3 7 Storing 960L Owner s Maunal Basic Operations A Quick Guide to Operation continued To enter Name or Information f you have a PS 2 keyboard connected to the AUX port on the LARC2 s rear panel you can type Using the LARC2 use the Increment Decrement in names and info It is recommended that you keys to scroll between character positions in connect the keyboard before power is applied to the Name or Information display and the the 960L Navigation Arrows to select the desired character from the matrix below then press the ENTER key Names
101. perations in Detail provides a more complete description of all available functionality Figure 3 1 is a general map to the LARC2 s control keys and the ways they take you through the 960L s user interface 1 SAVE IF Figure 3 1 Overview of 960L control system Dedicated control keys shown with square corners soft buttons with rounded corners and Option soft buttons with dashed outlines Controls with in their labels initiate no action 3 1 Basic Operations Lexicon Inc A Quick Guide to Operation Basically using the 960L involves only the following Setting up the system for the job Selecting a machine Loading the Programs and Registers you want Editing the Program or Register parameters with the faders and joystick 5 Storing your edits for quick recall at any time ENES To make this overview as clear as possible only one screen will be shown per operation In practice you may see slightly different screens depending on the selections you make These are discussed further in Chapter 4 Operations in Detail 1 Setup Control Mode Press the CONTROL key and then the WORDCLK Soft Button on the LARC2 control surface to bring up the screen shown in Figure 3 2 You can tell Figure 3 2 is in wordclock mode by the red highlight around the WORDCLK soft button You can Control Mode SOURCE Ward clock iz generated prtennally interna angie Tale of FetHicurt HE GOHZ Size 35 8
102. ration with the inclusion of the Shape Spread and BassMult controls However the early reflections generated by Ambient Chamber are more limited There are no early reflection generators for signals coming into the rear inputs of the Surround version of this program and the early reflections generated by the ambience section of the program are directed only to the front three loudspeakers Later reverberation is provided to all the loudspeakers and all inputs will generate appropriate late reverberation Ambient Chamber is particularly useful in two channel mode and whenever a surround program is being designed to play back primarily in a two channel matrix form Reverse amp Surround Reverse Reverse is a new algorithm that is somewhat different from the effect other processors call Inverse Unlike traditional Inverse which is a gated reverb whose reflection density increases until a cut off time is reached Reverse s reflection density decreases over time while its reflection level increases over time as if you had recorded a signal through a reverb device then played the recording backwards This is the exact reverse of normal reverberant behavior exactly like the time honored effect of reversing a tape The effect begins with a quiet dense reverb and gradually becomes louder and thins out to reveal the original signal It s important to remember that in Reverse all the parameters work backwards For example if RtHicut s
103. re to create a more natural sound Spin controls the relative rate of motion and the speed with which changes occur expressed in arbitrary units Wander controls the amount of change At extreme settings these parameters can introduce slight wobbles that are audible in critical material such as classical guitar or piano Spread Spread works with Shape to control the profile of initial reverberant energy growth Shape sets the contour of the energy growth and Spread stretches or compresses this contour in time to make reflections closer together or further apart With complex material it may be advisable to use a moderately high value for shape and a moderately low one for spread to create a bit of space around the original signal Large values of Spread and Shape can create inverse effects see note under Reverse algorithm See also Contour Steering Steering Stereo algorithms only controls a matrix encoder that affects only the reverberant tails This provides a reverberation that will decode into surround without strong early components that might trigger phase correction devices Steering is not continuously variable but offers the following choices Mono Mono sum tail Narrow between mono and stereo Stereo Wide Expanded Stereo Lex LexiconLogic a matrix that includes separate left and right surround signals when used with a Lexicon Logic decoder but is also compatible other commercial matrix codings and wit
104. rger lettering on the Action Display Move the fader to get the desired setting f you cant move the fader in small enough increments to get the precise setting you need get as close to that setting as you can then press the FINE ADJ key and adjust the parameter with the fader in vernier mode Press FINE ADJ again to leave Fine Adjust Mode You can move several faders at once The settings indicated on the Scribble Strip will change for all When you release the faders the last one you touched will be highlighted and appear on the Action Display For parameters assigned to the joystick Press the JOYSTICK Key on the LARC2 then adjust the joystick until the Joystick Status Display shows the desired settings Fig 3 6 5 Storing Your Edits Your edits will stay in force until you change them again or load another Program or Register To save them for Store Press Store Again to Save REGISTER 4 Empty CitrRub RrRuh 10 5 44 0 RubtAST Rin MW Koser future use press the STORE key The STORE key will blink to remind you that the store operation is pending E HALL ST STEM STATUS e lf you ve been editing a user created Register the 960L will highlight the current Bank and Register If you wish to replace that Register with your edited version press STORE a second time to save your edit e If you ve been editing a factory Program the 960L will look for the first Register Bank with s
105. rk loaded that is typical for that algorithm B01 P1 Large Hall ITH PARAMETERS Sire Hidri Fi Hirst 5 1KHr Eitt ihape F resd Predel APred FRall Areal n EE p frk 2 JK He 2 4K Hz Wander TSpan TO Spread Predel RPred SELECT Figure 4 23 Select Algorithm screen 4 15 Operations in Detail Lexicon Inc Storing and Labeling Your Edits When you ve edited a Program or Register until it just meets your needs you can store it as a Register and label it for future use Storing e Press the STORE key on the LARC2 Control Surface e f you ve edited a Program the 960L will select the next empty Bank or the Register Bank you last stored to and Register e f you ve edited a Register the 960L will offer to overwrite the original version To accept press the STORE key again To change the storage location press the BANK key and enter the number of the desired Register Bank or scroll to it with the Navigation Arrows Then press REGISTER and select the desired Register in that Bank Pressing STORE again will store your edits to that location The Register you select can be an empty one or you can choose to overwrite an existing Register Naming and Annotating Registers and Register Banks can be given any desired name of up to 16 characters and can be annotated with up to 150 characters per Register and 100 characters per Bank Press REGISTER to bring up the Register Load screen Figure 4 2
106. rom the Machine Strip in the System Status Display at the upper right of the screen If you selected a clock rate of 44 1 or 48 kHz you ll get a screen like Fig 3 3 which gives you a choice of four processing configurations 1 Stereo in and out using up to four machines 2 One machine with five channels in and five out and another with two channels in and five out 3 Two machines each with two channels in and five out 4 A single 8 in 8 out machine with a pass through algorithm which performs no processing but is useful for wiring checkout and diagnostics Configure System NoProgramLoaded Program Loaded kHz COMFIGS 4 Stereo 2 Hino 2 irdb ont Tet machinas with combined outputs Both machines sre dird Ouf Figure 3 3 Configuration screen for 44 1 48 kHz clock rate 2 in 5 out selected two machines available 3 3 Basic Operations Lexicon Inc A Quick Guide to Operation continued If you selected a clock rate of 88 2 or 96 kHz you ll get a screen like Fig 3 4 which gives you a choice of two processing configurations 1 Stereo in and out using one or two machines 2 One machine with 5 channels in and 5 channels out 3 One machine with 2 channels in and 5 channels out 4 A single 8 in 8 out machine with a pass through algorithm which performs no processing but is useful for wiring checkout and diagnostics To select a configuration enter its number with the Numeric Keypad
107. rs will expose you to hazardous voltages Notice This equipment generates and uses radio frequency energy and if not installed and used properly that is in strict accordance with the manufacturer s instructions may cause interference to radio and television reception It has been type tested and found to comply with the limits for a Class A computing device in accordance with the specification in Part 15 of FCC Rules which are designated to provide reasonable protection against such interference in a residential installation However there is no guarantee that interference will not occur in a particular installation If this equipment does cause interference to radio or television reception which can be determined by turning the equipment OFF and ON the user is encouraged to try to correct the interference by one or more of the following measures Reorient the receiving antenna Relocate the units with respect to the receiver Move the units away from the receiver Plug the unit into a different outlet so that the unit and receiver are on different branch circuits If necessary the user should consult the dealer or an experienced radio television technician for additional suggestions The user may find the following booklet prepared by the Federal Communications Commission helpful How to identify and Resolve Radio TV interference Problems This booklet is available from the U S Government Printing Office Washington DC 20402 Stock No 004
108. s Maunal Getting What You Want In general the LARC2 s faders and joystick are used to control audio parameters of your choice while all other buttons select operations and parameters That means you have several fast ways to operate the 960L Mode Buttons give you direct access to the most frequently used control actions These buttons are PROGRAM REGISTER BANK STORE EDIT CONTROL and MACHINE The functions of some buttons are implied by their names and all are explained below When selected each button glows red ENTER is used to complete an action The Numeric Keypad lets you quickly select any numbered option on the display Navigation Arrows let you move up down or sideways within the display to select the action you want Increment and Decrement Buttons can be used to select items from lists or to make fine adjustments to parameters Soft Buttons are context sensitive Their labels therefore change dynamically and appear at the bottom of the LCD display just above each button Additional LARC2 controls include Joystick primarily for input and output panning but assignable to any desired parameters JOYSTICK Button activates and deactivates the joystick FINE ADJ Button toggles faders to and from fine adjustment mode Lexicon Button temporarily returns operation to the most recently loaded Program or Register for quick sonic comparison Faders are touch sensitive and motorized
109. s for easier visualization configured as 5 in 5 out the other as 2 in 5 out both Configure p No Program Loaded sss Program Loaded WAH COP d Herad 2 Sno iini Teo machinas with combined outputs First enkehorse rg S in Second machine Es dnd Out Figure 4 7 5 in 5 out and 2 in 5 out configuration for 44 1 48 kHz two machines available 44 1 48kHz Dual machines 5 in and 2 in Input Assignment 1 Left 1 Right 1 Center 1 Left 1 Right Unused 2 Left 2 Right Surround Surround Analog Input Channel 1 2 3 4 5 6 7 8 AES Input Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Output Assignment Left Right Center Left Right Unused Lt Rt Surround Surround Analog Output Channel 1 2 3 4 5 6 7 8 AES Output Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R LURt denotes a matrix encoded version of the 5 channel surround effects This is implemented as a LexiconLogic encode and is compatible with most matrix encoding 4 6 960L Owner s Maunal Operations in Detail Control Mode Clocks Configuration and System Screens continuea In 2 in 5 out configurations the 960L generates Figure 4 8 two machines are both sharing the same surround soundfields from stereo sources Again all output channels On the display the output paths of the available machines are configured for surround or other two machines are colored differently for easier visibility multi channel output At 44 1 48 kHz sample rates Config
110. s or performers positioned in the middle of the space Microphone proximity to the musicians or B9 P6 Heavy Ambience Ambience performers can be simulated by adjusting the Mix control If the 960L is used with a mixing console and interfaced with stereo sends and returns the Mix control should be 100 Wet and the level of the sends will determine the proximity effect B9 P7 Ambient Hall Fast dense ambient attack Reverberant characteristics of a Large Hall B9 P8 Add a very useful ambient spaciousness to a dry announcer s dialog track B9 P9 Justas you would imagine it even feels cramped B9 PO Gated Ambience Very strong ambience with fast decay just add your favorite snare drum 960L Owner s Maunal Appendix Appendix continued Stereo Bank 10 Wild Spaces Stereo Unnatural and Effect Spaces Number Name l Algorithm Description S Brick Wall as in running into rather than sounding similar to This program can best be described as a subtle gated inverse room but it s really much more Unlike most gated reverb effect this one s usefulness extends well beyond drum sounds Try this on a wide variety of material Buckram is a variation of Brick Wall The difference is that Buckram doesn t sound BIR Buckram Ambience as dense as the Brick Wall and has a longer reverb tail Big Bottom has a relatively short MidRT and a much longer bass reverb time This produces a big boom from low frequency material while leaving t
111. set relative to the early reflection levels It is normally set to Full but may be reduced for effects where pre echoes should dominate In surround algorithms this is a master control for CtrRvb FrRvb and RearRvb RvbPreD Reverb PreDelay sets the number of milliseconds between a sound and the onset of the reverberations it excites equivalent to the time of first reflection In the algorithms that include the Shape and Spread controls it is better to extend the time period before reverberant decay using Shape and Spread In general we recommend leaving the Reverb PreDelay set at the preset value Shape Shape works with Spread to control the profile of initial reverberant energy growth Shape sets the envelope of the energy build up and Spread stretches or compresses this contour in time Low values of Shape produce a very rapid onset as you would find in a small chamber With larger values the reverberation blooms over a few hundred milliseconds much as it would in a good Romantic era concert hall Large values of Spread and Shape can create inverse effects see note under Reverse algorithm Shelf Shelf Random Hall only controls a shelving low pass on the reverb output It modifies the low pass characteristic of the rolloff control turning it into a shelving filter Both the pre echoes and the reverberation are affected For example if Shelf is set to 6 dB frequencies below approximately Roll 2 will be boosted by 3 5 dB while
112. sly Used to prevent processor overload by counteracting gain increases caused by high RTMid BassMult and Delay feedback levels Unless extreme values of these controls are used we recommend that you leave InLvi set at the factory preset position Using The Reverb Program Lexicon Inc Parameters Used in the 960L Algorithms continued LvL gt L Reflection Levels In many real spaces distinct reflections and echoes are an important part LvR gt R of the sound so many of the 960L s reverbs have reflection delay and echo paths with LvL gt R appropriate controls LvR gt L LvLF gt LF The Reflection Delays set the delay time For example dLF gt RS is the delay time in a path from LvLF gt LS the Left Front Input through the diffusor through a delay of dLF gt RS duration and finally to the LvLF gt RF Right Surround Output LvLF gt RS LvLS gt LF Each of these delay paths has its own level control as well as a master control for all of the LvLS gt LS ErlLvl The level of the example delay path is set by the related control LVLF gt RS LvLS gt RF LvLS gt RS LvRF gt LF LvRF gt LS LvRF gt RF LvRF gt RS LvRS gt LF LvRS gt LS LvRS gt RF LvRS gt RS MidRT Midrange Reverberation Time The basic control for setting the duration in seconds of the reverberant tail This is the control that is most like the physical RT60 parameter The perceived time will also be affected by RtHicut and Bass Generally MidRT should be
113. sstalk 1kHz A A Performance Freq Response 48K Freq Response 96K Dyn Range THD Digital Audio IO Connectors Format Word Size Sample Rates Internal Accuracy External Lock Range gt 110 dB 20 20kHz lt 002 lt 100dB 20Hz 20Khz 1dB 20Hz 40Khz 1dB gt 107 dB 20 20kHz lt 002 Four Male XLR Outputs Four Female XLR Inputs AES EBU 24 bits 44 1 48 88 2 96kHz within 10ppm 44 1 48 88 2 96kHz 1 Analog Input 44 1 kHz 48kHz 88 2 kHz 96 kHz Connectors Eight Female XLR AID 144 133 0 81 074 Impedance 50Kohm balanced Level for 0 dbFS 24dBu NA Bie ieee E NELLE s Freq Response 48K 20Hz 20KHz 1db D A 1 59 1 42 1 35 1 25 Freq Response 96K 20Hz 40KHz 1db D D 0 54 0 50 0 36 0 33 A D Conversion 24 bits 128x oversampled Synchronization A D Dyn Range gt 110 dB 20 20kHz TTL Word Clock Input THD lt 002 75 Ohm BNC CMRR gt 50db self terminating loopthru Crosstalk 1Khz lt 100dB TTL Word Clock Output Low Z BNC Falling edge marks start of frame Clock Jitter Intrinsic Exceeds AES3 Amendment 1 Jitter Gain Exceeds AES3 Amendment 1 Control Interfaces LARC2 Ports 2 MIDI In Out Thru supports program change Algorithms Ambience 48K Stereo amp Surround Plate 48K Stereo amp Surround Reverse 48K Stereo amp Surround Random Hall 48 96K Stereo amp Surround Ambient Chamber 48K Surround Chamber 48K Stereo amp Surrou
114. st Bank used BANK Key Bank Number PROGRAM Key Program Number If you don t know the location of the Program you want the procedure is similar except that you can scroll up and down through the list of Banks to find the one you want Blue shows that this menu is in focus BO01WP 1 Large Hall P FeCIG RAA E Medium Hall Big hall jus add musio and you re the conductor FRoll FrRub Spread Prent 21 msec Figure 4 1 Program Load screen 4 1 Operations in Detail Lexicon Inc Loading Programs and Registers continued Loading Registers Loading Registers is similar to loading Programs Press the REGISTER Key instead of the PROGRAM Key This will bring up a similar screen Fig 4 2 The only differences are the use of the word Register instead of Program and the addition of two soft buttons for labeling Note also that the last two Registers are unnamed and greyed out on the display indicating that theyre empty Any selection that is greyed out on any screen is unavailable Programs and Registers can be unavailable if they are empty or if they are designed for sample rates and configurations that are not currently selected Shortcut You can instantly load any Program or Register in the current Bank by pressing the corresponding key on the Numeric Keypad B10 R1 Large Hall REGISTER Lange Hall Key Hall Beoustic Fill Long Brite Space Serial Hall s
115. tely sensitive detector for differences in sound arrival times between our two ears These time differences are converted into perceived horizontal angles or azimuth In the presence of reflected energy particularly reflections not in the direction of the source the time differences are not constant As reflections come and go the time differences and level differences fluctuate with the amount of fluctuation depending on the direction and strength of the reflections When the sound source is continuous like legato strings or pink noise we perceive these fluctuations as an enveloping room impression The time delay of the reflections does not matter very much as long as they are longer than about 10ms Below 10ms there are severe combing effects we will try to avoid in this discussion But most musical sounds and all speech sounds are not continuous To understand what happens with speech or music we must learn how the brain separates sounds into streams Streams are the perceptual equivalent of musical lines Sentences from a single talker form a stream A stream has in general a specific source and a single continuous semantic content However the streams themselves are not continuous at all in music the streams are composed of notes in speech streams are composed of phones little bursts of sound roughly equivalent to syllables When we hear a string of phones our speech apparatus goes into high gear First
116. th fast decay just add your favorite snare drum d d Surround Bank 10 Wild Spaces Surround Unnatural and Special Effect Spaces Name Algorithm Descripion O Z o o Ambien Number BackUp Big Back up B10 P5 Ekoz all RoundR Surroun Surround Surround Chamber Surround A Reverse reverb with an abrupt release Good for special effects or if you need a Reverse really long gated sound Surround Big Reverse Program that originates in the rear and decays to the front Useful for Reverse special effects Best described as a subtle gated inverse room Its usefulness extends beyond just drum sounds Delays and echoes with not much reverb Use joystick to control delay time and feedback ce Setto send individual delays consecutively to each output This one starts a FL and d Plate goes around to RS Use oystick to control delay gain and time Same as Ekoz all RoundR but this one starts at FR and goes around to RS Use B10 P6 Ekoz all RoundL Surround Plate J oystick to control delay gain and time B10 P9 Long Shadow Surroun Surround Chamber Chamber Large ambience setting spaces out early reflections Use on short duration transient material and these reflections are heard as closely spaced echoes This one rides the line between a reverse reverb a plate and widely spaced ambient reflections Provides phantom like reiteration of source and smoothes it out with reverb
117. tylized Spaces for Post Production Environment Algorithm Description O ZH EE a Pu ee make it a station wagon or SUV Raise ge Pk i ef ee Kellar s Cell No It s not the padded cell Small deep and the surfaces are hard The program uses the Ambience algorithm for Foley applications Moving AmbSiz B12 P6 Small Foley Chamber from its 1 5M setting will cause the ambience bloom to open up Varying Mix from 100 Wet will present the dry delay into the audio path ot infinite A very war very long reverberant wash that makes a great fade Unlike B12 P7 Reverb Tail Chamber Chamber Nat the inputs are always active Take a pair of headphones remove the elements and replace them with diffusor panels spaced 10 from your ears Now hold a diffusor panel above your head B12 P8 Airhead Ambience This program eliminates the need for you to look as though you are communicating with aliens Use aggressively
118. um Plate Vocal P late Plated Gate 8 A Plate Snare Thin Plate FatPlate Echo Plate Plates 2 Plate 9 Very Large Large Medium Small Strong Heavy Ambient Announcer Closet Gated Ambience Amb Ambience Ambience Ambience Ambience Ambience Hall Ambience 10 Walls and BigBack EkozAll EkozAll Giant Silica Long 11 Large Medium Small Big Living Living Big 12 Hospital Law Offices Street Echo College Oil Tank Hallway Yacht Club Lobby BatCave Warehouse Coffin A 1 Appendix Lexicon Appendix continued Stereo Stereo Program Names Baks f t EE VEN pe r a f e Medium Acoustic Large Small Large Med Choir Med Vox Large Brite Small Brite Lg Stage Med Stage Sm Stage pm Hall Hall Hall Hall Medium E Mini En Brite Soft LG Brite LG Dark LG Vocal Huge KE Few Chamber E Chamber En Chamber Chamber Chamber Chamber Chamber KE S Large Med Small Snare ge Chamber Chamber Chamber Strainer rie Large Small VerySmall Wood Wood Music Club Room Room Room Room Room Room Bright 7 Medium Dessert Wavey Percussion Long Brite Plates 1 Large Plate Small Plate Drum Plate Vocal P late Space Plated Gate A Plate Snare Thin Plate FatPlate Echo Plate Plates 2 Plate 9 Very Large Large Medium Small Strong Heavy Ambient Announcer osa Gated Ambience Amb Ambience Ambience Ambience Ambience Ambience Hall Ambience _ 10 Brick Wall Buckram BigBottom 10w 40 20w 50 Wil
119. ure No Program Loaded Program Loaded kHr CONFIGS d Stereo uH EIS La ccm 2 SaruS cull in out JOYSTICK STATUS Teo machines with conbined oufputs Both machines are 2 n S Ouf Figure 4 8 2 in 5 out configuration at 44 1 48 kHz two machines available 44 1 48 kHz Dual machine 2 in and 2 in Input Assignment 1Left 1 Right 2Left 2Right Unused Unused Unused Unused Analog Input Channel 1 2 3 4 5 6 7 8 AES Input Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Output Assignment Left Right Center Left Right Unused Lt Rt Surround Surround Analog Output Channel 1 2 3 4 5 6 7 AES Output Channel 1 L 2 R 3 L 4 R 5 L 6 R 7 L 8 R Note In the four configurations shown above all available machines can be used for processing Where more than one machine is available each can be programmed individually There are also 8 in 8 out configurations Figure 4 9 No effects processing is available in this configuration but it is useful for wiring checks and diagnostics Configure La slam fin dH T Lexaciezi Eur Eysiam Figure 4 9 8 in 8 out configuration for 44 1 48 kHz left and 88 2 96 kHz right 4 7 Operations in Detail Lexicon Inc Control Mode Clocks Configuration and System Screens continued Analog and Digital I O The 960L may be set for either analog or digital input In the Configuration examples shown above the inputs are analog as shown by the legend AN1
120. ut the background is only detected when the direct sound has ceased and only reflections are hitting the ears Thus if the reflections come from all around us the fluctuations and the sense of envelopment will be maximum If reflections come only from the front we will not get much envelopment at all Initial Phone Perceived as Part of Phone Risk of Reduced Intellgibility 50 msec Time 2 0 msec 5 4 The perception of envelopment requires that the interaural time delay and level differences should be fluctuating In a small relatively dead room the only way these differences can fluctuate is if you have at least two sound sources and the relative phase between these sources is fluctuating Ideally these sound sources should be reproducing decorrelated reverberation The optimum direction for these two sound sources loudspeakers depends on frequency Once again below 700Hz the optimum direction is from the side and as the frequency goes up the optimum angle moves toward the medial plane closer to the front or closer to the rear Although envelopment can be perceived at all frequencies psychologically the low frequencies are particularly important For example even in a dead room a standard two channel loudspeaker system 30 degrees from the front can produce envelopment if the sound source is decorrelated and contains primarily frequencies above 1000Hz such as strings or applause But low frequency
121. ut the level rise if it occurs within 50ms of the first drop in level tends to cancel the effect of the first level drop The brain assumes the phone is continuing In general to find the ends of phones the brain looks for a level drop and waits for 50ms to be sure the level stays down If it does the sound event the phone is assumed to have ended Now imagine another simple experiment You are listening to someone talk in a noisy room You can easily understand the person but you are aware of the noise in the room which is perceived as continuous How can this be It is clear that during the phones of the person who is talking you are unable to hear the room the phones are masking the background Yet you perceive the background as continuous The brain is clearly separating the sound of the room into a separate stream the background stream The neurology that detects the background stream works in the spaces between phones Thus it cannot work without the participation of the mechanism that determines the ends of phones Again we can experiment It turns out that the background detection is inhibited during phones as we would expect and is still inhibited for the first 50ms after the end of each phone After this time the inhibition is gradually released so the background detector has full sensitivity within 150ms after the end of each phone The loudness of the background is then perceived through a standard
122. we must separate the phones one from another then we must use frequency and time information to assign an identity to each phone at which point the phone becomes a phoneme the basic building block of speech From phonemes to words from words to sentences from sentences to meaning all seemingly effortless and automatic our brains decode the spoken word The perception of envelopment is a useful by product of stream formation To form a foreground stream the brain must separate the sound events related to a single source from the total sonic input To do this we must be able to detect when a single phone starts and when it stops Detecting the start of sound events is easy we just look for a rapid increase in level How do we know when one phone stops and another starts There are only two ways possible we can detect the stop of a phone or we can assume it has stopped when we detect the start of another Naturally we do both But if we are to hear background sounds at all we must detect the stop of phones before a new phone starts How do you know if a phone has stopped We can do an experiment about a 2dB drop in level in a 20ms time period seems sufficient What if the level drops more slowly Experiment shows that even with a slow drop a 6dB change is sufficient What if the sound drops in level by 2dB and then within 30ms comes back up again This drop could be caused by a low level reflection Its turns o
123. wner s Maunal Operations in Detail Organizing Your Registers The 960L provides tools to help you organize the registers you make To access the tools press the REGISTER key and then the OPTION soft button Two soft buttons are displayed EDIT and FLOPPY B01 P6 Medium Hall REGISTER EGISTER 5 of Banki i La 5 Hall Sena Plata Halls KTEST User Bank Surround Flarge LONGEST VERE Figure 4 25 a Register Info Options Enabled Register Maintenance 01 P1 Large Hall BANK CATE CORY REGISTER EG FER JER 300 7 iji Small Plate y kia KTEST 1 Copy Register Bank 1 Surround Flange 2 Gear Register Bank 1 i LOHGEST VERE B Paste Register Bank 1 Figure 4 25 b Edit Tools For Registers B01 Pi Large Hall REGISTER 200 15 145 38 0 ELIINS NI ME ee ee ee Figure 4 25 c Floppy Tools For Registers 4 17 Operations in Detail Lexicon Inc Edit Tools for Registers Pressing the EDIT soft button accesses three tools 1 Copy Bank When 1 is pressed on the Numeric Keypad the contents of the currently selected Program or Register Bank are copied to an internal scratchpad Clear Register Bank When 2 is pressed the contents of the currently selected Register Bank are cleared The Bank is made empty For safety the user is prompted before the clear is executed Program Banks cannot be cleared Paste Register Bank When 3 is pressed the contents
124. y the resonance Careful with reverb time ene Hospital Hallway bus J ust down the hall from the ER Bo Yacht Club Surround Hall A large empty space with many audible reflections B12 P4 uud J acoby and Price BIPs Street Echo Slap En Famous police sound Surround NN B12 P6 Lobby Chamber Bright and airy mix return level for perspective um osu ee A 8 960L Owner s Maunal Appendix Appendix continued Stereo Bank 1 Halls 1 Stereo Halls Number Name Algorithm EHE CE of abes RU eA ag fart isin tat fon ot eenserersmesuememe i nsa ens sranane sranane O Bm m mm m E A relatively small space with hard bright walls a short MidRT and high diffusion It B1P8 Jazz Hall Ran emulates a hall full of people without the noise they make B1P9 Large Church Random Hall Large Church is a big Space with the source centrally placed and a comparatively long MidRT B1PO Small Church Random Hall A smaller version of Large Church Stereo Bank 2 Halls 2 Stereo Halls i Graduated delays widen the image of choirs and backing vocals Large Hall gives Bm Large Choir Hall Random Hall space Use Joystick to control the delay image i Graduated delays widen the image of choirs and backing vocals Medium sized on Med Choir Hall Random Hall Hall gives space Use J oystick to control the delay image B23 Medium Vox Hall Random Hall Medium density short reverb time Solo or background vocals sound great in here

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