Lexicon 300L - User manual

Digital Effects/
LARC Interface Owner's
Manual
300L

Lexicon Inc.
3 Oak Park
Bedford, MA 01730 USA
Tel [phone]
Fax [phone]
Lexicon Part #070-10673
Copyright 1995
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
After unpacking the 300L, save all packing materials in case you ever need to ship the unit. Thoroughly inspect
the unit 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
TheLexicon300Lisaruggeddevicewithextensiveelectronicprotection.However,youshouldobservethesame
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 unit 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 units connectors.
• Before turning the unit on or off, mute your monitor speakers to avoid possible damage from transients.
• To prevent fire or shock hazard, do not expose the unit 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 300L
Mounting............................................................................................. 1-2
Power Requirements .......................................................................... 1-2
The Rear Panel .................................................................................. 1-3
Connectors, Cables and Configurations............................................. 1-4
About the LARC.................................................................................. 1-6
How to Interface the LARC................................................................. 1-7
Setting Analog Audio Levels............................................................... 1-8
Configurations .................................................................................. 1-10
2. System Overview
Terms used in this manual ................................................................. 2-2
Operating Modes ................................................................................ 2-4
Checking your System's Status .......................................................... 2-5
System Overview................................................................................ 2-6
3. System Operation
Getting Started ................................................................................... 3-2
SoftSlider...................................................................................... 3-3
Selecting Analog and/or Digital Input ........................................... 3-4
Single Setups ..................................................................................... 3-5
Dual Mono Setups .............................................................................. 3-6
Cascade Setups ................................................................................. 3-8
Setup Select Mode ........................................................................... 3-10
The Setup Presets ..................................................................... 3-10
Setup Select ..................................................................................... 3-13
Storing a Setup................................................................................. 3-16
Working with the Effect Programs .................................................... 3-17
Storing Individual Effect Registers ............................................. 3-19
Automatic Storing of Modified Effects ........................................ 3-20
Using Banks and Programs.............................................................. 3-21
MIDI/Modulation Patching ................................................................ 3-27
Control Mode .................................................................................... 3-28
Analog and Digital Audio Selection ............................................ 3-28
Emphasis and SCMS ................................................................. 3-29
Copy (Enable/Disable, Bypass/Mute, Program Load,
Memory Purge ..................................................................... 3-30
Offline Copy Tools...................................................................... 3-30
MIDI: Automation, Dumps and Channel Selection..................... 3-31
MIDI: Maps................................................................................. 3-31
Time Code: Snap and View ....................................................... 3-32
Time Code: Event List and Time Code Edit/Add/Delete ............ 3-32
Input/Output Gains ..................................................................... 3-33

Contents, cont'd. 4. The Algorithms and their Parameters
Single Setup Algorithms ..................................................................... 4-2
Random Hall ................................................................................ 4-2
Random Ambience....................................................................... 4-9
Rich Plate................................................................................... 4-12
Stereo Adjust.............................................................................. 4-16
Stereo Pitch Shift ....................................................................... 4-22
"Split" Setup Algorithms.................................................................... 4-25
Dual Delays................................................................................ 4-25
Chamber .................................................................................... 4-28
Mono Pitch Shift ......................................................................... 4-31
Small Stereo Adjust.................................................................... 4-33
Compressor................................................................................ 4-35
PONS (Psychoacoustically Optimized Noise Shaping).............. 4-36
5. The Presets
Single Setup Presets (and Programs) ................................................ 5-2
Split Setup Presets and Programs ................................................... 5-10
Dual Mono Setup Presets .......................................................... 5-10
Cascade Setup Presets ............................................................. 5-18
Effect Presets by Bank ..................................................................... 5-26
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
Using Fixed Program Change ............................................................ 7-4
Using MIDI Maps ................................................................................ 7-5
Making Patches .................................................................................. 7-5
Real-time MIDI Effects Automation .................................................... 7-9
Using Real-time SysEx and Non-registered Parameters ............. 7-9
Using Dynamic MIDI®to transmit and receive MIDI
Controller Information .......................................................... 7-10
Using SysEx and Dynamic MIDI®Patches................................. 7-10
Controlling Multiple 300Ls ................................................................ 7-10

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
Error Status Messages ....................................................................... 8-4
9. MIDI Implementation Chart
10. Specifications

Congratulationsonyourpurchaseofthe300LDigitalEffectsSystemwithLARC
RemoteInterface!The300Lnotonlycontainsthefinestsounds,asyou'vecome
to expect from Lexicon, it incorporates new functions that satisfy the needs of
today's audio production.
Analog and Digital Audio Interfacing
Forbothanaloganddigitalusethe300Ltakesfulladvantageofrecentadvances
in converter technology and combines them with flexible digital interfacing.
TheA/DandD/Aconvertersuseoversamplingtechniquestominimizelow-level
distortion and provide linear phase characteristics. 64x oversampling Delta/
Sigmaconversion isusedintheA/Ds;8xoversampling isused inthe D/As.The
result is sonic transparency without the artifacts normally encountered in
conversion.
ThedigitalI/OsimplifiesinterfacingwithboththeAES/EBUprofessionalandthe
EIAJconsumer format.XLR, RCAandOpticalconnectorsareprovidedforboth
inputandoutput.Thedigitalinputsofthe300Lwillautomaticallyacceptandlock
to any AES/EBU/SPDIF format; the 300L's digital output format is user-select-
able for feeding either professional or consumer equipment. This allows for
formatconversionaswellasusingthehighqualityA/Dconverterstofeeddigital
recorders. Control of additional Channel Status information is provided as well.
Dual DSP Architechture
The300Lutilizes twoproprietary highperformanceDSP engines. Theconfigu-
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,andStereoAdjust. The“split" algorithmsinclude: DualDelays,Chamber,
MonoPitchShift,Compressor,aspecialmasteringditherprogramcalledPONS
(PsychoacousticallyOptimized NoiseShaping),andalessextensiveversion of
Stereo Adjust.
Comprehensive Effects Automation
The300Lmakes effectsautomationavailable inthreedifferent ways.Ifyou use
timecode,the300'sEventListandTimeCodeReaderaddanewtwisttoeffects
processing.Eachentryinthe50-itemlistcontains atimecode valueanda300L
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
300L'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 300L can be patched to most MIDI controllers,
allowingfull controlfromremotedevices.For fullMIDIautomationallparameter
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 300L contains the very best of the Lexicon Sound — with new
refinements such as dynamic size parameters in the Reverb and Ambience
algorithms.Wehave also includedstereo and monopitchshifting, bothstraight
delay and modulated delay effects, 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’reconfidentyou’ll findthatthe 300L’scombinationof state-of-the-artsound
and extraordinary versatility, combined with the convenience of remote control
isexactlywhatyou’relookingfor—tomakesureyoudon’tmissoutonanything,
we’dlikeyoutoreadthismanual.Itprovidesathoroughexplanationofbothfront
panel and MIDI operation, digital and analog interfacing, descriptions of the
effectsandpresets, and completeMIDI Implementation data—all theinforma-
tion you need to access the full power of the 300L.

1-1
Installing the 300L
1
Installing the
300L

Lexicon
1-2
300L Owner's Manual
Mounting Before rack-mounting the 300L, you may want to remove the four rubber feet
attached to the bottom of the chassis. Gently pry off the black plastic buttons in
the center of each foot, then remove the foot itself.
The 300L 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
sure that the 300L is securely screwed into the rack adapter If the 300L is
mounted in a rack or road case, support the rear of the chassis to prevent
possible damage from mechanical shock and vibration.
Power Requirements The 300L 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.
The 300L is internally wired to operate at 100, 120, or 230 VAC. The operating
voltagesetat the factoryis marked onalabel attachedtothe 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 300L Service Manual.

1-3
Installing the 300L
OUT
MIDI
THRU IN
DO DI DI
DO
EIAJ CP340
COMM PORT
AES/EBU
DOTIME CODE IN
PUSH
DI
PUSH
R OUT R IN
PUSH
L OUT L IN
PUSH
INPUT
GAIN
MIDI Connectors
AC Power
Standard 3-pin IEC
power connector.
Communications
Port
DE9 LARC connec-
tor.
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
Analog Inputs and Outputs
Digital 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.
Digital interfaces conform to AES 3-1992 (ANSI
S4.40-1992). Input/output impedance levels of
the AES/EBU connectors comply with the
CCITT V.11 EIA RS-422A.
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)
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.

Lexicon
1-4
300L Owner's Manual
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 300L
Cables
Analog Audio I/O
and Time Code
For best performance, maintain balanced connections, and use high-quality,
low-capacitance, twisted-shielded pair cable.
Whenconnectingtosingle-ended,unbalanced devices,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-shieldedpaircable.
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-pin DIN MIDIcableasemblies, available from yourlocaldealer.
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
1-6
300L Owner's Manual
1
6
2
7
3
8
4
9
5
0
PROG REG
MUTE ENTER PAGECTRL MACHSTOBANK SETUP
VAR
-24 18 12 606+12 ovld dB
L
R
About the LARC
Main Display
Showsnamesandvaluesfor
all selections.
Headroom Indicator
+12 dBm indicates analog or
digital clipping. Proper input
level is with +12 dB and ovld
LEDs
unlit .
Program Select
Press to enter Program
mode. Press repeatedly to
scroll through presets in a
bank.
Control Sliders
Adjust parameter values.
Function Keys
Bank scrolls through
groups of programs or reg-
isters.
SETUP brings you to the
tope level of the user inter-
face.
STO stores edited setups
and program registers.
CTRL toggles in and out of
the control mode.
MACH toggles between
machines when Split or
Cascade setups are se-
lected.
MUTE toggles the removal
and restoration of proces-
sedaudio fromtheoutputs.
ENTERloadsselectedset-
ups.
PAGEstepsthroughpages
of setup and program pa-
rameters.
Numeric Keypad
Press one of these keys to
loada program selectedwith
PROG or REG. Also used to
select pages.
Slider Display Keys
Show parameter name and
value in main display. Press
twicetoengagevernier(fine)
adjustment mode when
available.
Slider Display Line
Shows abbreviated names
of the parameters currently
under the control of the slid-
ers.Fullnameappearsinthe
Main Display.
Register Select
Press to enter Register
mode. Press repeatedly to
scroll through registers in a
bank.

1-7
Installing the 300L
How to Interface
the LARC
The 300L rear panel COMM PORT connector interfaces to the Lexicon
Alphanumeric Remote Control (LARC) via a flexible 50-ft cable (supplied). The
pin assignments for the connector are shown to the right.
OUT
MIDI
THRU IN
DO DI DI
DO
EIAJ CP340
COMM PORT
AES/EBU
DOTIME CODE IN
PUSH
DI
PUSH
R OUT R IN
PUSH
L OUT L IN
PUSH
INPUT
GAIN
Wiring diagram for the 300L
COMM PORTconnector.

Lexicon
1-8
300L Owner's Manual
-24 18 12 6 0 6 +12 ovld dB
L
R
Setting Analog
Audio Levels When shipped from the factory, the 300L is set for Analog I/O configuration.
Onceyouhave connectedtheanalog inputsand outputs,youshould setupthe
analog input (pre A/D converter) and analog output (post D/A converter) levels.
First, you will need to select a Setup which represents a digital “straight wire”
through the box. To do this, press the SETUP key, then use the PRE slider to
select Setup Preset 81.
The upper display should read:
STEREOADJUST
SG: SET P 81
PressENTERtoloadthesetup.PressCTRL,thenpressPAGE,followedbythe
number 9. This will display Control Mode Page 9. The lower display will show:
IN: LFT RT OUT: LFT RT
TheI/Ostructure ofthe boxisspecified suchthat ifa+11dBu signalis inputinto
thebox,full scale conversionwill occur. Thisisindeed true ifthe LFT (left)input
and RT (right) input sliders are set to 0dB. In fact, with the Output sliders set to
0dB,youshouldreadexactlythesame,+11dBu.Inpractice,analogI/Ointerface
levels vary widely with various console types. The Input and Output controls on
page 9 allow the 300L to be optimized for use throughout the analog world.
With the Left and Right sliders fully attenuated to -10dB, the 300L can look at
signalsashighas+21dBu.Forthoseofyouwholiketo“blast”throughananalog
console, this full attenuation may be a requirement.
Ifyourconsole typicallysends a+4dBusignal whenthe sendmetersread 0VU,
the300L’s inputwillbeleftwith only7dBbeforeconvertersaturation. Thisis not
good.Acommonrockandrollsoutionwouldbeaquicktrimofthesendmasters
by -7or -10 dB to give the system a little more “breathing room”. Some analog
engineers often refer to this “breathing room” as headroom. Technically , there
isnosuchthingasheadroominadigitalsystem.Whentheconvertergoestofull
scale, overload will occur. Although the rock ‘and roll solution will usually work,
but we suggest you trim the inputs to the 300L.
Todothis, movethe LFTandRT inputslidersto therequired settings.Youmay
needto“null”theseslidersattheirmid-travelpointsinorderto“grab”thedefault
value of +0dB. Attenuate them one at a time and make sure they are matched.
Pressingthebuttons undereach oftheactive sliderswillinterrogate thecurrent
values.

1-9
Installing the 300L
Input levels between -1.5dBu and -2.9dBu will reference to 0 on the LARC
meters. You will find your own region of optimization.
On the output side, if +11dBu isn’t quite enough oomph! for the return inputs
(which is rarely the case) you may need to crank up the outputs. If you have
attenuatedtheinputs,asintheaboveexample,theoutputwillnotbeatunitygain
soyouwillhavetoboosttheoutputslidersbythesameamount.Grabeachslider
individually and match the outputs.
A note on metering reverberation programs
MostSetupshavethemeterssetforEFX-OUT.Whatwehavedescribedabove
is getting the input and outputs “environmentally” matched.
As you start running reverb programs, you will see a natural attenuation on the
meters. This is perfectly normal. If the LARC overload LEDs do light up, DSP
overload is occurring. This is usually linked to someone’s “aggressive analog
behavior”, but there may be other times when an effect running in a delay
programhastoomuchfeedbackandcross-feedback.Acommonpre-mastering
mistakeistorunclosetotheedgegoingintoanEQprocessbeforegoingdigitally
intoaDAT.BoostinghighorlowfrequenciesislikelytooverloadtheDSPoutput.
Be aware!

Lexicon
1-10
300L Owner's Manual
Effects Send (L)
Effects Send (R)
Channel Input or
Effects Return (R)
Channel Input or
Effects Return (L)
OUT
MIDI
THRU IN
DO DI DI
DO
EIAJ CP340
COMM PORT
AES/EBU
DOTIME CODE IN
PUSH
DI
PUSH
R OUT R IN
PUSH
L OUT L IN
PUSH
INPUT
GAIN
Configurations
Connection to a
mixing console's
effects sends
Ifyouwillbeusinga300Lasyourprimaryeffectsunit,andyoursystemincludes
aconsolewithoneormoreauxiliary(effects)sends,connectthe300L asshown
above. In most applications, it is preferable to connect the 300L 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—the300L'sMIXcontrolshouldbe setfor100%wet.Ifyouareusingonly
one effects send, connect the left and right inputs of the 300L in parallel.
The following diagrams give a few examples of various possible configurations
for interfacing to digital equipment.

1-11
Installing the 300L
OUT
MIDI
THRU IN
DO DI DI
DO
EIAJ CP340
COMM PORT
AES/EBU
DOTIME CODE IN
PUSH
DI
PUSH
R OUT R IN
PUSH
L OUT L IN
PUSH
INPUT
GAIN
OUT
MIDI
THRU IN
DO DI DI
DO
EIAJ CP340
COMM PORT
AES/EBU
DOTIME CODE IN
PUSH
DI
PUSH
R OUT R IN
PUSH
L OUT L IN
PUSH
INPUT
GAIN
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
S/PDIF to S/PDIF
Analog outputs for monitoring
S/PDIF Format
Out In Out Out
Out
Out
AES/EBU to AES/EBU