Lexicon 300 V3.0 - GUIDE REV 1 User manual

300
Digital Effects
System V 3.0
Owner's
Manual

Lexicon Inc.
3 Oak Park
Bedford, MA 01730 USA
Tel [phone]
Fax [phone]
Lexicon Part #070-09678
Copyright 1993
All Rights Reserved.
This triangle, which appears on
your component, alerts you to
the presence of uninsulated,
dangerous voltage inside the
enclosure...voltagethatmaybe
sufficient to constitute a risk of
shock.
CAUTION Thistriangle,which appearson
your component, alerts you to
important operating and main-
tenance instructions in this ac-
companying literature.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
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
limitsforaClassAcomputingdeviceinaccordancewiththespecificationsinSubpartJofPart15ofFCCRules,whicharedesignatedtoprovide
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 computer with respect to the receiver
Move the computer away from the receiver
Plug the computer into a different outlet so that the computer 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. 004-000-00345-4.
Notice
Afterunpacking the300, saveall packingmaterials incase youever needto shipthe unit.Thoroughly inspectthe
300 and packing materials for signs of damage. Report any shipment damage to the carrier at once; report
equipment malfunction to your dealer.
Unpacking and Inspection
TheLexicon300 is aruggeddevice withextensiveelectronic protection. However,youshould observe thesame
reasonable precautions that apply to any piece of audio equipment.
• Always use the correct line voltage. Refer to Chapter 1 of this manual for power requirements.
• Don't install the 300 in an unventilated rack, or directly above heat-producing equipment such as power
amplifiers. Maximum ambient operating temperature is 35°C (95°F).
• Never attach audio power amplifier outputs directly to any of the 300's connectors.
• Before turning the 300 on or off, mute your monitor speakers to avoid possible damage from transients.
• To prevent fire or shock hazard, do not expose the 300 to rain or moisture.
Precautions
Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class
A prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

Contents
Introduction
1. Installing the 300
Mounting............................................................................................. 1-2
Power Requirements .......................................................................... 1-2
The Rear Panel .................................................................................. 1-3
Connectors, Cables and Configurations............................................. 1-4
Connectors................................................................................... 1-4
Cables .......................................................................................... 1-5
Setting Analog Audio Levels ........................................................ 1-6
Configurations .............................................................................. 1-7
2. System Overview
Terms used in this manual ................................................................. 2-2
The Front Panel.................................................................................. 2-4
Overview of Front Panel Controls ................................................ 2-5
Overview of the 300 Display ........................................................ 2-6
System Overview................................................................................ 2-7
3. System Operation
Getting Started ................................................................................... 3-2
Selecting digital input and/or changing analog sampling rate ...... 3-3
Single Setups ..................................................................................... 3-4
Dual Mono Setups .............................................................................. 3-5
Cascade Setups ................................................................................. 3-7
Setup Select Mode ............................................................................. 3-9
The Setup Presets ....................................................................... 3-9
Using the Soft Knob as a Parameter Controller ......................... 3-12
Setup Edit Mode ............................................................................... 3-13
Single Setups ............................................................................. 3-13
Dual Mono and Cascade Setups ............................................... 3-15
Naming the Setup............................................................................. 3-17
Storing the Setup.............................................................................. 3-17
Effect Edit Mode ............................................................................... 3-18
Parameter Selection................................................................... 3-18
Naming and Storing Effects ....................................................... 3-19
Mod Edit Mode ................................................................................. 3-20
Soft Knob Patches ..................................................................... 3-21
Control Mode .................................................................................... 3-22
Time Code Event List................................................................. 3-22
MIDI Mode and Map Table......................................................... 3-23
Machine Configuration ............................................................... 3-24
Digital Interface and Sampling Rates......................................... 3-24
SCMS Mode............................................................................... 3-25
Emphasis ................................................................................... 3-25
Bypass/Effect Load Mode .......................................................... 3-26
Copy Tools ................................................................................. 3-26
Purge Tools................................................................................ 3-27

Contents, cont'd. 4. The Algorithms and their Parameters
Single Setup Algorithms ..................................................................... 4-2
Random Hall ................................................................................ 4-2
Random Ambience....................................................................... 4-8
Rich Plate................................................................................... 4-11
Stereo Pitch Shift ....................................................................... 4-15
Stereo Adjust.............................................................................. 4-18
"Split" Setup Algorithms.................................................................... 4-23
Dual Delays................................................................................ 4-23
Split Chamber ............................................................................ 4-26
Mono Pitch Shift ......................................................................... 4-29
Compressor................................................................................ 4-31
PONS (Psychoacoustically Optimized Noise Shaping).............. 4-33
Small Stereo Adjust.................................................................... 4-34
5. The Presets
Single Setup (and Effect) Presets ...................................................... 5-2
Split Setup Presets and Their Effects................................................. 5-6
Split Setup Effect Descriptions ......................................................... 5-20
Effect Preset Parameters ................................................................. 5-25
Effect Presets Using the Random Hall Algorithm....................... 5-25
Effect Presets Using the Random Ambience Algorithm............. 5-27
Effect Presets Using the Rich Plate Algorithm ........................... 5-28
Effect Presets Using the Stereo Adjust Algorithm...................... 5-29
Effect Presets Using the Stereo Pitch Shift Algorithm................ 5-30
Effect Presets Using the Dual Delays Algorithm ........................ 5-31
Effect Presets Using the Split Chamber Algorithm..................... 5-34
Effect Presets Using the Mono Pitch Shift Algorithm ................. 5-36
Effect Presets Using the Compressor Algorithm........................ 5-36
Effect Presets Using the PONS Algorithm ................................. 5-36
Effect Presets Using the Small Stereo Adjust Algorithm............ 5-36
6. Time Code Operation
Using Time Code................................................................................ 6-2
The Event List..................................................................................... 6-3
Using time code to initiate program changes ............................... 6-3
Snapping events .......................................................................... 6-4
Editing the List.............................................................................. 6-4
Trimming Time Codes in the Event List ....................................... 6-5
Programming Parameter Glides................................................... 6-6
Things to Consider about Glides.................................................. 6-8
Adding an event ........................................................................... 6-9
Deleting an event ......................................................................... 6-9
Dumping the List to MIDI storage devices.......................................... 6-9
Event List Log Sheet ........................................................................ 6-10

7. MIDI Operation
MIDI Connections ............................................................................... 7-2
Setting MIDI Channels........................................................................ 7-3
Dynamic MIDI ..................................................................................... 7-4
Using MIDI Program Change Messages with the 300........................ 7-5
MIDI Table mode.......................................................................... 7-5
Editing the MIDI Table.................................................................. 7-5
Real-time MIDI Effects Automation .................................................... 7-6
Using Real-time SysEx and Non-registered Parameters ............. 7-6
Using Dynamic MIDI®to transmit and receive MIDI
Controller Information ............................................................ 7-7
Using SysEx and Dynamic MIDI®Patches................................... 7-7
Controlling Multiple 300s .................................................................... 7-7
MIDI Dumps of Current Setup, Event List, MIDI Table, and
All Registers ................................................................................. 7-8
8. Troubleshooting
Low Voltage........................................................................................ 8-2
Overheating ........................................................................................ 8-2
Common MIDI Problems .................................................................... 8-2
Common Time Code Problems .......................................................... 8-3
Common Digital Interfacing Problems ................................................ 8-3
9. MIDI Implementation Chart
10. Specifications

Congratulationsonyourpurchaseofthe300DigitalEffectsSystem!The300not
only contains the finest sounds, as you've come to expect from Lexicon, it
incorporates new functions that satisfy the needs of today's audio production.
Analog and Digital Audio Interfacing
Forboth analoganddigital usethe 300takesfulladvantageof recentadvances
in converter technology and combines them with flexible digital interfacing.
TheA/DandD/Aconvertersuseoversamplingtechniquestominimizelow-level
distortion and provide linear phase characteristics. 64x oversampling Delta/
Sigmaconversion isusedin theA/Ds;8x oversamplingisused intheD/As. The
result is sonic transparency without the artifacts normally encountered in
conversion.
ThedigitalI/OsimplifiesinterfacingwithboththeAES/EBUprofessionalandthe
EIAJconsumer format.XLR,RCA andOpticalconnectors areprovidedforboth
input and output. The digital inputs of the 300 will automatically accept and lock
toanyAES/EBU/SPDIFformat;the300'sdigitaloutputformatisuser-selectable
for feeding either professional or consumer equipment. This allows for format
conversion as well as using the high quality A/D converters to feed digital
recorders. Control of additional Channel Status information is provided as well.
Dual DSP Architechture
The 300 utilizes two proprietary high performance DSP engines. The configu-
ration of these engines can be determined by the end-user to suit a particular
audio application. The Single Setup configuration unites both DSP engines.
Two “split” configurations: Dual Mono and Cascade, allow each DSP engine to
run a special program especially designed for “Split “ applications. The Single
algorithms include: Random Hall, Random Ambience, Rich Plate, Stereo Pitch
Shift,andStereo Adjust. The“split"algorithms include: DualDelays,Chamber,
MonoPitchShift,Compressor,aspecialmasteringditherprogramcalledPONS
(Psychoacoustically Optimized Noise Shaping), and a small version of Stereo
Adjust.
Comprehensive Effects Automation
The 300 makes effects automation available in three different ways. If you use
timecode,the300'sEventListandTimeCodeReaderaddanewtwisttoeffects
processing. Each entry in the 50-item list contains a time code value and a 300
effect preset/register number, allowing incoming time code to trigger setup and
effect changes, as well as setup and effect parameter glides. For changing
effects in music or changing rooms and environments for film and video, the
300's time code capability opens new avenues to all time code users.
Dynamic MIDI®is included for real-time performance control and effects auto-
mation. All parameters in the 300 can be patched to most MIDI controllers,
allowingfull controlfrom remotedevices. Forfull MIDIautomation allparameter
changes can be recorded on any sequencer. For additional control, complete
System Exclusive information is available.
Introduction

Lexicon Sound
Even with the best functions and features, the heart of any signal processor is
its sound. The 300 contains the very best of the Lexicon Sound — with new
refinements such as dynamic size parameters in the Reverb and Ambience
algorithms.Wehavealsoincludedstereoandmonopitchshifting,delayeffects,
a mastering algorithm with precision level/balance controls and equalization.
These sounds, combined with analog and digital audio I/O, time code based
effect change, an internal LFO, and full MIDI automation result in a system that
provides new creative options each time you use it.
We’re confident you’ll find that the 300’s combination of state-of-the-art sound
and extraordinary versatility is exactly what you’re looking for — to make sure
you don’t miss out on anything, we’d like you to read this manual. It provides a
thorough explanation of both front panel and MIDI operation, digital and analog
interfacing,descriptionsof the effects andpresets,andcomplete MIDI Implem-
entationdata —all theinformationyouneedtoaccessthe fullpower ofthe300.

1-1
Installing the 300
1
Installing the
300

Lexicon
300 V 3.0 Owner's Manual
1-2
Mounting Before rack-mounting the 300, you may want to remove the four rubber feet
attachedtothebottomofthe300chassis.Gentlypryofftheblackplasticbuttons
in the center of each foot, then remove the foot itself.
The 300 measures 19"W x 3.50"H x 13.9"D (483 x 90 x 353 mm). It uses two
EIA-standard rack spaces and can be mounted on any level surface or in a
standard 19 inch (483 mm) rack. Whatever mounting method you use, make
surethatthe300issecurelyscrewedintotherackadapter Ifthe300ismounted
in a rack or road case, support the rear of the chassis to prevent possible
damage from mechanical shock and vibration.
Power Requirements The 300 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 300, and the male end into a wall outlet.
The300isinternallywiredtooperateat100,120,220or240VAC.Theoperating
voltagesetatthe factory is marked onalabelattached to the rear panel.Check
the label before applying power to the unit.
If the voltage must be changed, refer a qualified technician to the Voltage
Changeover procedure in the 300 Service Manual.

1-3
Installing the 300
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
MIDI Connectors
AC Power
Standard 3-pin IEC
power connector.
Communications
Port
DE9 connector, re-
served for future en-
hancements.
Input Gain
2-position (In/Out)
switchformatchingin-
put gain to the source
being used.
In=+16dB;Out=0dB.
Out: Transmits MIDI data to other equipment.
Thru: Passes any MIDI data received without
change.
In: Receives MIDI information from other MIDI
equipmentsuchasmasterkeyboardcontrollers,
MIDIfootcontrollers,sequencersandsynthesiz-
ers.
The Rear Panel
3-pin XLR connectors, electronically balanced.
Either pin 2 or pin 3 can be used as high but, to
maintain polarity when transferring data to the
digital domain, pin 2 high convention is used by
Lexicon.
Pin1andeitherpin2orpin3ofeachoutput
must
be grounded for unbalanced operation.
Input impedance is 50kΩunbalanced, and
100kΩbalanced.Inputsacceptinput levelsfrom
-14dBu to +20dBu.
Output impedance is 75Ω, and levels up to
+18dBu are possible.
Analog Inputs and Outputs
Inputs
Three connectors are provided for digital input:
AES/EBU professional format (1):
3-pin female XLR
S/PDIF EIAJ CP-340 consumer format (2):
unbalanced coaxial RCA
optical (fiber-optic)
One of these connectors may be selected for
digital input.
Outputs
Output format can be AES/EBU or S/PDIF.
Output always goes to all three digital outputs.
DigitalinterfacesconformtoboththeAES ANSI
S4.40-1985 spec and the EBU doc tech 3250.
Input/output impedance levels of the AES/EBU
connectors comply with the CCITT V.11 EIA-
422A specification.
Digital Inputs and Outputs
Time Code In
3-pin female XLR con-
nector for input of
SMPTE (Drop or Non-
drop), EBU, or FILM
time code formats.
(Electronically bal-
anced, 100mV p-p
minimum)

Lexicon
300 V 3.0 Owner's Manual
1-4
Connectors, Cables
and Configurations
Signal Mating Connector Description
L and R Analog XLR A3M Active balanced, pin 2 high
Audio Input +2dBu min; +20dBu max
at 0dB setting
L and R Analog XLR A3F Active balanced; pin 2 high
Audio Output -2dBu to +18dBu
at full scale output
AES/EBU XLR A3M Balanced RS-422
Digital Input pin 2 high
AES/EBU XLR A3F Balanced RS-422
Digital Output pin 2 high
S/PDIF RCA Unbalanced 75Ω
EIAJ CP340
Consumer Digital
Input and Output
S/PDIF EIAJ Consumer Digital
EIAJ CP340 Audio format
Consumer Digital
Audio Optical
Input and Output
Time Code XLR A3M Active balanced RS-422;
pin 2 high, 100mV p-p
Input minimum
MIDI In 5-pin DIN Standard MIDI Interface
MIDI Out
MIDI Thru
Connectors
2 = high
3 = low
1 = ground
1 = ground
3 = low
2 = high
Female
Male
Pin 2 high by convention.

1-5
Installing the 300
Cables
Analog Audio I/O
and Time Code
For best performance, maintain balanced connections, and use high-quality,
low-capacitance, twisted-shielded pair cable.
Whenconnectingto single-ended,unbalanceddevices, connect thelowside to
signal ground at the unbalanced piece of equipment.
For mono connection, connect the left and right input channels in parallel.
Be careful to keep input and output to all channels wired consistently. Out-of-
phase wiring can produce audible effects.
This interface requires balanced connections using high-quality, low-capaci-
tance,controlled-impedance, datacommunication,twisted-shielded paircable.
It will not work reliably if microphone cable is used.
Thisinterfaceisunbalancedbut,becauseitcarriesdigitalsignals,itrequiresthe
use of 75ΩRG-59 coaxial cable.
Use commercially-available, consumer audio optical cable assemblies.
Usestandard5-pinDINMIDIcable asemblies, available from your local dealer.
AES/EBU
Digital Audio I/O
SPDIF (EIAJ CP340)
Consumer Digital Audio I/O
SPDIF (EIAJ CP340)
Consumer Digital Audio
Optical I/O
MIDI IN, OUT and THRU
Below are recommended manufacturer's part numbers for cable and cable
assemblies. In some cases, two types are specified: one with an overall braid
shield for heavy use, and one with a foil shield for permanent installation.
Analog Audio and Time Code
Belden 8412 (microphone cable with braided shield)
Belden 9461 (foil shield)
AES/EBU
Belden 9271 (foil shield)
Gotham GAC-2 AES-FRU
Maximum recommended length: 100 ft (30M)
S/PDIF (EIAJ CP340) Consumer Digital Audio
Belden 9259 (22 AWG conductor, .242 O.D.)
Belden 8218 (27 AWG conductor, .150 O.D.)
Maximum recommended length: 32 ft (10M)
S/PDIF (EIAJ CP340) Consumer Digital Audio Optical
Toshiba TOCP174y
Sony POC-15
Maximum recommended length: 16 ft (5M)

Lexicon
300 V 3.0 Owner's Manual
1-6
LEVEL
When shipped, the 300 is set for the Analog I/O configuration. Once you have
connected the analog inputs and outputs, you can set up the analog input and
output levels. To do this, press the 300 front panel key marked LEVEL. The
display will show:
Setting Analog
Audio Levels
ThefrontpanelPAGEUPandPAGEDOWNkeysallowyoutoswitchthedisplay
from input levels (IN L and R) to output levels (OUT L and R).
When a line is selected, the boxes on the display will be lengthened. (The
illustrationabove shows theupperline selected.)Ifboth linesonthe displayare
selected, turning the Soft knob will alter both settings simultaneously. The
buttons directly above and below the display act as toggle switches to individu-
ally select and un-select these lines.
Ifadditionalgainisneeded, therearpanelINPUTGAIN switchallowsyoutoset
unity gain of the 300 to 0dB (switch OUT), or to +16dB (switch IN).
Feed a 1kHz tone (or a musical signal at the maximum peak level used in your
system) to the 300. Use the front panel Soft knob to adjust the level so that the
peakinputlevelfallsjustshortoflightingtheredoverloadLED.Tosettheoutput
level,pressthefrontpanelPAGEUPorPAGEDOWNkeyandusetheSoftknob
to set the output to provide appropriate levels for your console or system.
Press this button to toggle
selection of INL on and off.
Press this button to toggle
selection of INR on and off.
Actual level settings (in dB)
are shown here.
This line is selected, and will
change as you turn the Soft
knob to give a visual indica-
tion of the level settings
Level Indicators
Red DSP Overload
Amber -3
-6
Green -12
-18
-24
-30
-36
-42
values are dB approximate
LEVEL
INL ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ (-10.0dB to +10.0dB)
INR ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ (-10.0dB to +10.0dB)

1-7
Installing the 300
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
Effects Send (L)
Effects Send (R)
Channel Input or
Effects Return (R)
Channel Input or
Effects Return (L)
Configurations
Connection to a
mixing console's
effects sends
If you will be using a 300 as your primary effects unit, and your system includes
aconsole withone ormore auxiliary(effects)sends,connectthe300 asshown
above.Inmostapplications, it is preferable toconnectthe300 outputs to two of
the console's input channel strips, panned full left and right, rather than the
effects returns. This allows the greatest flexibility in routing and equalization.
In this configuration the console controls are used to set the amount of effect
heard—the 300's MIX control should be set for 100% wet. If you are using only
one effects send, connect the left and right inputs of the 300 in parallel.
The following diagrams give a few examples of various possible configurations
for interfacing to digital equipment.

Lexicon
300 V 3.0 Owner's Manual
1-8
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
CONSOLE
or
HEADPHONE AMP
RDAT MACHINE
or
CD PLAYER
In
Out
Note: These digital connections can be made with fiber
optic, or XLR cables instead of 75Ωcoaxial RCA cables.
CONSOLE
or
HEADPHONE AMP
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Source Machine
AES/EBU Format
AES/EBU Format
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Destination Machine
Analog outputs for monitoring
Analog outputs for monitoring
Source Machine
S/PDIF Format
Analog outputs for monitoring
Destination Machine
RDAT
MACHINE
AES/EBU to AES/EBU
S/PDIF to S/PDIF
Out
Out In
Out
Out
Analog outputs for monitoring
S/PDIF Format
Out

1-9
Installing the 300
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
RDAT MACHINE
or
CD PLAYER
CONSOLE
or
HEADPHONE AMP
Analog outputs for monitoring
CONSOLE
or
HEADPHONE AMP
RDAT
MACHINE
Destination Machine
Analog outputs for monitoring
Analog outputs for monitoring
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Destination Machine
Source Machine
Analog outputs for monitoring
AES/EBU Format
S/PDIF Format
S/PDIF Format
AES/EBU to S/PDIF
Conversion
S/PDIF to AES/EBU
Conversion
Out
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Source Machine
Out
In Out
Out
Out Out
AES/EBU Format In

Lexicon
300 V 3.0 Owner's Manual
1-10
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
CONSOLE, HEADPHONE AMP
or
ANALOG MACHINE
CONSOLE
or
MIKE PREAMP
CONSOLE, HEADPHONE AMP
or
ANALOG MACHINE
ANALOG
MACHINE
or
CONSOLE
Source Machine
Analog Source
Analog Destination
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Digital Destination
AES/EBU Format
AES/EBU Format
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Destination Machine
Analog outputs for monitoring
Analog outputs for monitoring
Analog audio
Analog audio
ANALOG I/O and
AES/EBU Digital Output
ANALOG I/O and
AES/EBU to AES/EBU
DIGITAL AUDIO
or
DIGITAL VIDEO
MACHINE
Digital Source
AES/EBU Format
Analog audio
In In
Out In
Out Out
Out In In
Out Out
Analog audio

1-11
Installing the 300
ANALOG In
with Digital Patch Point
to ANALOG Out
DO
PUSH
L IN
MIDI
OUT
DO
IN
R IN
INPUT
GAIN
THRU
PUSH
L OUTR OUT
DI
DI
EIAJ CP340
PUSH
DIDO
PUSH
TIME CODE IN AES/EBU
COMM PORT
InOut
DIGITAL PROCESSOR
AES/EBU Format
In
Out
In
Out
In
Out
Out
In
Out
In
ANALOG
MACHINE
or
CONSOLE