Lexicon 300 User manual

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

Contents
Introduction
I.
2.
3.
Installing the 300
Mounting .............................................................................................. 1-2
Power Requirements ........................................................................... 1-2
The Rear Panel ................................................................................... 1-3
Connectors, Cables and Configurations .............................................. 1-4
Connectors ...................................................................................
.l-4
Cables ........................................................................................... I-5
Setting Analog Audio Levels ........................................................
.l-6
Configurations ............................................................................... I-7
Syafem Overview
Terms used in this manual ..................................................................
2-2
The Front Panel ..................................................................................
.2*4
Overview of Front Panel Conkok ................................................. 2-5
Overview of the 300 Display .........................................................
2-6
System Ovemiew ................................................................................
.2-7
System Operation
GettingStatted ...................................................................................
.3-2
Selecting digital input antior 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 ConVoller .........................
.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

Corf&ntS, cont’d. 4. TheAlgorithmsandtheir Parameters
Single Setup Algoriihms ......................................................................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 ..,......,,.....,...,,....................................................... 4-28
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
MIDIConnections ............................................................................... .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 MIDla Patches ....................................7-7
Controlling Multiple 300s ~.............................................................. i..
..
.7-7
MIDI Dumps of Current Setup, Event List, MIDITable, 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
:-

Congratuiationsonyourpurchaseof the300 DigitalEffectsSystem!The3OOnot ktwcKk.tC~~O~
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
Forbothanalog and digital use the 300takes full advantage of recentadvances
in converter technology and combines them with flexible digtial interfacing.
The ND and D/Aconvefters use oversampling techniques tominimize low-level
distortion and provide linear phase characteristics. 84~ oversampling Delta/
Sigma conversion isused inthe ,WDs;8x oversampling isused inthe D/As.The
result is sonic transparency without the artiiacts normally encountered in
conversion.
The digital l/Osimpliiies interfacingwith boththeAES/EBU professional andthe
EIAJconsumer format. XL% RCA and Optical connectors areprovided for both
input and output. The digital inputs ofthe 300 will automatically accept and lock
toanyAES/EBU/SPDlFformat; the3OO’sdigitaloutputformat isuser-selectable
for feeding either professional or consumer equipment. This allows for format
conversion as well as using the high quality AID converters to feed digital
recorders. Control of addiiional Channel Status information isprovided aswell.
Dual DSP Architechture
The300 utilizestwoproprietatyhigh 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 ‘sptii configurations: Oual Mono and Cascade, allow each DSP engine to
run a special program especially designed for “Spiii “ applications. The Single
aigoriihms include: Random Hall, Random Ambience, Rich Plate, Stereo P&h
Shift, and Stereo Adjust. The “splii algorithms include: DualDelays, Chamber,
Mono PitchShift, Compressor, aspecial mastering dither program called PONS
(Psychoacoustically Optimized Noise Shaping), and a small version of Stereo
Adjust.
Comprehensive Effects Automation
The 300 makes effects automation available inthree different ways. Ifyou use
time code,the300’s Event Listand Time Code Readeraddanew twist to effects
processing. Each entry inthe 50-item listcontains atime code value and a300
effect preset/register number, allowing incoming time code totrigger setup and
effect changes, as well as setup and effect parameter glides. For changing
effects in music or changing rooms and environments lor film and video, the
300’s time code capability opens new avenues to all time code users.
Dynamic MIDP is included for real-time performance control and effects auto-
mation. All parameters in the 300 can be patched to most MIDI controllers,
allowingfullcontrolfrom remote devices. Forfull MIDIautomation all parameter
changes can be recorded on any sequencer. For additional control, complete
System Exclusive information is available.

Lexicon Sound
Even with the best functions and features, the heart ofany signalprocessor fs
lts sound.The 300 contains the very best ofthe LexiconSound -with new
refinementssuch asdynamicsize parametersinthe Reverband Ambience af-
gorithms. Wehave also included stereoand mono pitch shifting, delay effects,
a mastering algorithm with precision level/balanceWntrOisand equaliiatlln.
These sounds,combined with analogand digttalaudio l/O, time code based
effecfchange,aninternal LFO, and full MIDI automationresultina systemthat
provides new creative optionseach time you use it.
We’re confident you’llfind that the 300’s combinationofstate-of-the-art sound
and extraordinaryversatiiiiyisexactlywhat you’relookingfor-tomake sure
you don’t miss out onanything, we’d like you toread this manual.Itprovides a
thorough explanationofboth front panel and MIDI operation,digkaland analog
interfacing,descriptionsofthe effectsand presets, and complete MIDI lmplem-
entation data-all the informationyou need toaccessthe full power ofthe 300.

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I 1
Installing the
300
l-l

300V3.0Owner’s Manual
Mounting
LCCdCCil
Before rack-mountingthe300, youmaywant to remove thefour rubber feet
attachecftothebottomofthe3OOchassis. Gentlypryoffthebiackplasticbuttons
in thecenter of each foot,then remove thefoot &elf.
The300measures19”W x35O”Hx13.9”D (493 x90 x353mm). it uses two
EIA-standardrackspacesandcan bemountedonanylevelsurfaceorinastan- dard f9 inch (433 mm)rack.Whatevermountingmethod youuse, make sure
that the300is securelyscrewed into therack adapter If the300is mounted in
arack or road case,support therear of thechassis to prevent possibledamage fmmmechanical shockandvibration.
PowerReqr.riramaDLs The300is equippedwith a3-pinIECpowerconnectoranddetachable cord,
providingchassis groundingto theAC mainsline. Plug thefemale endof the
powercord into~the300, andthemale endinto awall outlet.
The300 isinternallywired tooperateat100,129,22Oor24OVAC,Theoperating voltage setat thefactory is marked on alabelattachedto therear panel. Check
thelabelbefore applyingpowerto theunit.
If thevoftage must be changed,referaqualifiedtechnician to theVoftage
Changeover procedurein the300Service Manual.

Time Code In
3-pin female XLR con-
nector for input of
SMPTE (Drop cr Ncn-
drop), EBU, or FILM
time code formats.
(Electronically bai-
axed, 1OOmV p-p
minimum)
Digital Inputs and Outputs
Installingthe 300
The Rear Panel
Inputs
Three cormactors are provided for digi+alinput:
AES/EBU profea&nal format (1):
3-pin female XLR
SIPDIF EIAJ CP-340 oomwmer format (2):
unbalanced ccaxial RCA
optical (fiber-optic)
One of these ccnnsctcws may bs selected fCr
digital input.
outputs
Outputfcrmatoan beAESEBU crWDlF.Out~
put always gces to allthree digital outputs.
Digital interfaces conform to boththeAES ANSI
S4.40-1965 speo and the EBIJ dcc tech 3250.
Input/output impedance levels of the AESiEBU
connaotcrs oomply w!th the CClTr V.11 EIA-
422A speoifiiaticn. I
Analog Inputs and Outputs
3-pin XLR ocnnectcrs, eiec$rcnicaily balanced.
Either pin2 cr pin 3 can be used as high but,to
maintain polarity when transferring data to the
digital domain, pin2 highocnventicn is usedby
Lexicon.
PinI andeitherpinZcrpin3cf eachoutput must
be grcunded for unbalanoed operation.
Input impedance is 5OkQ unbalanced. and
1OOWbalanced. Inputsaccept input levelsfrom
-14dBu to +ZOdBu.
Output impadanos is 7562, and levels up to
+19dBu are possible.
/ I I
AC Power Communications MIDI Connectors
Standard 3-pin IEC Port
P0wercmmectcr. DE9 connector, re- Out: Transmits MIDI data to other equipment.
se~ad for futura sn~ Thru: Passes any MIDI data received without
hanoaments. change.
In: Receives MIDI information from other MIDI
aauicmsnt suchasmaster kevbcard controllers,
Input Gain
2-position (In/Out)
switch for matching
input gain to the
scuroa being used.
ln=+l6dB:Out=OdB.
M~D~fcotccntrcllers,saquan&rsand synthesis-
e*s.
1-3
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300 V 3.0 Ovm& Mcmud
Connectors, Cables
and Configurations
Connectors
Lexicon
Signal Mating Connector Description
L and RAnalog XLR A3M Active balanced, pin 2 high
Audio Input +2dBu min; +2OdBu max
at OdBsetting
L and RAnalog XLR A3F Active balanced; pin 2 high
Audio Output -2dBu to +18dBu
atfull scale output
AESIEBU XLR A3M Balanced RS-422
Digital Input pin 2 high
AESIEBU XLR A3F Balanced RS-422
Digital Output pin 2 high
SIPDIF RCA Unbalanced 75a
EIAJ CP340
Consumer Digtial
Input and Output
S/PDlF 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, 1OOmVp-p
Input minimum
MIDI In 5-pin DIN Standard MIDI Interface
MIDI Out
MIDI Thru
Pin 2 high by
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For best performance, maintain balanced connections, and use high-quality, Analog Audio l/O
low-capacitance, twisted-shielded pair cable. and Time Code
Whenconnecting to single-ended, unbalanced devices, connect the lowside to
signal ground at the unbalanced piece of equipment.
For mono connection, connect the left and right input channels in parallel.
6e careful to keep input and output to all channels wired consistently. Out-of-
phase wiring can produce audible effects.
This intedace requires balanced connections using high-quality, low-capaci-
tance, controlled-impedance, data communication, twisted-shielded paircable.
It will not work reliably if microphone cable is used.
This interface isunbalanced but,because itcarries digital signals, itrequiresthe
use of 75Q RG-59 coaxial cable.
Use commercially-available, consumer audio optical cable assemblies.
installingme 300
Cables
AESiESU
Digital Audio l/O
SPDIF (EIAJ CP340)
Consumer Digital Audio i/O
SPDIF (EIAJ CP340)
Consumer DigitaI Audio
Optical l/O
MIDI IN, OUT and THRU
6elow are recommended manufacturet% 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 pemanent installation.
Analog Audio and Time Code
Selden8412 (microphonecable with braided shield)
Belden 9461 (foil shield)
AESIEBU
Belden 9271 (foil shield) ..
Gotham GAC-2 AES-FRU
Maximum recommended length: 100fl(3OM)
S/PDlF (EIAJ CP340) Consumer Digital Audio
Belden 9259 (22 AWG conductor, ,242 0.1%)
Belden 8218 (27 AWG conductor, .I50 O.D.)
Maximum recommended length: 32 ft (1OM)
S/PDlF (EIAJ CF340) Consumer Digital Audio Optical
ToshibaTOCPl74y
Sony POC-15
Maximum recommended length: 16ft (5M)
1-5

300 ” 3.0 Owner’s Manual
Setting Analog
Audio Levels
-24
-30
-36
valuesare d6approximate
Whenshipped, 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:
Pressthis button to toggle
sActim of INL on and off. \
This line isselected, and will
change as yo” turn the Son
knobto givee visualindict-
tion of the level settings
Press this butlm to toggle /
selection of INR on and off?
Actuallevelsettings(ind6)
areshownhere.
ThefrontpanelPAGEUPandPAGEDOWNkeysallowyoutosw~chthedisplay
from input levels (IN L and Fl)to output levefs (OUT L and R).
When a line is selected, the boxes on the display will be lengthened. (The
illustration above shows the upper lineselected.) Ifboth linesonthedisplay are
selected, turning the Soft knob will alter both settings simultaneously. The
buttons directfy above and below the display actastoggle swftchesto indffidu-
ally select and un-select these lines.
ifadditional gain isneeded, the rearpanel INPUT GAINswitch allows YOUto Set
unity gain of the 300 to OdB(swftch OUT), or to +16dB (switch IN).
Feed a IkHz tone (or a musical signal atthe maximum peak level used tnyour
system) tothe 300. Usethe front panel Boft knobto adjust the level sothat the
peakinput level falls just shortof lightingthe redoverload LED.To set theoutput
level,pressfhefrontpanelPAGE UPorPAGEDOWN keyandusetheBoftknob
to setthe output to provide appropriate levels for your console or system.

-
lrstolling the 300
Configurations
Connection to a
mixing console’s
effects sends
Ifyouwillbeusinga300 as your primaryeffectsunit,andyoursystemincludes
aconsolewithoneormoreauxiliary(effects)sends,connectthe300 asshown
above.Inmostapplications,itispreferabletoconnectthe300outputstotwoof
theconsole’sinputchannelstrips,pannedfullleftandright,ratherthanthe
effectsreturns.Thisallowsthegreatestflexibilityinroutingandequalization.
Inthisconfigurationtheconsolecontrolsareusedtosettheamountofeffect
heard+he300’sMIXcontrolshouldbesetfor100%we!.Ifyouareusingonly
oneeffectssend,connecttheleftandrightinputsofthe300inparallel.
Thefollowingdiagramsgiveafewexamplesofvariouspossibleconfigurations
forinterfacingtodigitalequipment.

3DDV 3.0 Owner’s Marwd Lexicon
AES/EBU to AEWEBU
DIGITAL AUDIO
CONSOLE
WPDIF to S/PDlF
RDAT MACHINE
CONSOLE
Note: These digital connections can be made with fiber
optic, or XLR cables instead of 75Q coaxial RCA cables.

lmtdling the300
AESIEBU to WPDIF
Conversion
Source Machine
DIGITALAUDIO
S/PDlF to AES/EBU
Conversion
RDAT MACHINE
CONSOLE

3QO V 3.0 O&nets Manual Lexicon
ANALOG l/O and
AESIEBIJ to AESIEBU
DIGITAL AUDIO CONSOLE,HEADPHONEAMP
ANALOG l/O and
AES/EBU Digital Output
CONSOLE,HEADPHONEAMP
I-IO

Installing the 300
ANALOG In
with Digital Patch Point
to ANALOG Out
AESIEBUFormat
DIGITAL PROCESSOR Out
1” I
ANALCG
MACHINE
CONYOLE
1-11

2
System Overview
2-1

300” 3.0Owner’sManual
Terms used
in this manual
Indiscussing 300 operation, the following terms are used.
Lexicon
Algorithm
The3OOcontains eleven a/gorifIxns. An algorfthm isaset of instructionsthattells
the 300’s audio processors how to process the input signal. One algorithm
produces p&h shifteffects, another produces reverberation, etc.Algorkhmsare
stored inside the 300 on ROM (Read-only memory) chips.
Configuration
The 300 can deliver two effects (one from each machine) simuftaneously. The
manner inwhich the two machines relate to each other iscalled the configura-
fiofl.The machinescan beusedwith independent inputsandoutputs (DualMono
configuration), they can share the same stereo input signal (Single configura-
tion),orthe outputs of one machine can befed intothe inputofanother (Cascade
configuration).
Effect An effecrconsists of an algorithm, the parameter values which create aspecific
sound, four associated patches, and an identiiying name.
Machine
The 300 contains two processing modules, called Machine A and A&chine B.
Aithough both machinescan runsimultaneously, only oneoanbeaccessedfmm
thefmnt panel atanygiven time. Adedicated function keylabeled MACH allows
fmnt panel selection of either Machine A or Machine B.
Pagee Becauseeffeots(andothermodesofoperation) have moreparametersthancan
bedisplayed atonetime, parameters aregrouped intoseveralpages.You move
between pages bypressing the dedicated function keys labeled PAGE UP and
PAGE DOWN.
Parameter
Eachalgorithm hasa set of parameters (contmls) that uniquely characterbe it.
The settings of the parameters can be changed to create radically dtterent
sounds from a single algortthm.
Patch A p&h is a routing assignment that allows one of the 300’s parameters to be
driven by a soume controller (LFO, footswitch, mod wheel, etc.)
FiegisterYPreeet Regisfersaresimplymemo~locationswhereyou~an~oreyourownsetupsand
effects. Presefs arefactory-installed setups and effects. The presets cannot be
ovenvrftten, but they can be modified and stored as custom setups in the
registers.Registersand presets aredifferentiated onthe300displaybythe infttai
R (Register) or P (Preset) before their number.
2-2

Effecfpresefs: 100 effect presets are installed in the 300 to give you a
wide variety of sounds to use as is, or to use as a starting point when
creatingyourownsounds. (50effectregistersareprovidedforstorage.)
Setuppresets:100setuppresetsprovide aconvenient startingpointfor
selecbon of effect combinations. (50 setup registers are provided for
storage.)
Setup
A setup consists of a single effect or a pair of effects, the configuration
associated with them, and an identifying narne.The three basfosetup configu-
rations: Single, Dual Mono and Cascade, are shown below.