Lexicon PCM 80 User manual

PCM 80 Pres
exicon, Inc. 1997 Printed in U.
PCM 80 Presets
PCM 80 presets are organized in 4 Banks (P0,P1, P2 andP3) of 50 presets/Bank (numbered 0.0 – 4.9). Press Program Banks repeatedly to cycle through the
Banks. Within each Bank, presets are functionally grouped. Turn SELECT to view thepresets in the selected Bank. Press Load/✱to load any displayed preset.
Each preset has one or more parameters patched to the front panel ADJUST knob. This gives you instant access to some of the most interesting aspects of the
effect. In addition, allofthepresetsmarkedwitha Tcanbe synchronizedtotempo.To setthetempo, pressthe frontpanelTapbutton twice in timewiththe beat.
(Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and
drum patterns.
Multi Effects
Prime Blue ADJUST: Efx/Rvb X 0–127
ee stereo effects: 6-voice chorus, rhythmic echoes, and
erb. ADJUST changes the effect smoothlyfrom chorus, to
rus with echoes, to chorus with echoes and reverb, to
erb with echoes, then to reverb only. T
EkoChorus ADJUST: FX Mix 0–127
-voice stereo chorus with echoes and stereo reverb.
Wet Chorus ADJUST: FX Mix 0–100
ick wet chorus combined with a small amount of reverb to
duce a large lush sound. Fattens up any track and is
ecially good for adding body to guitar.
Wet Chorus 2 ADJUST: FX Mix 0–100
ariation of Wet Chorus with a subtle amount of delays and
erb to produce just the right amount of ambience.
Wet Chorus 3 ADJUST: FX Mix 0–100
ariation of Wet Chorus 2 with even thickerchorus (border-
on a slight flange) and slightly modified delays.
Chorus Plate ADJUST: KorusMix 0–100
ooth rolling delays combined with an aggressively modu-
d reverb tail. Twisted for guitar.
Chorus Room ADJUST: Decay 0–80
wchorusappliedtoonesideofthereverb.Thespeedofthe
dulation follows input level.
ChorusToRvb ADJUST: Decay 0–127
ut level controls the relative mix of stereo chorus and
erb. Loud signals are mostly chorus, and the reverb level
mes up as the signal fades away.
Funkus Room ADJUST: LFO Rate 0–100
at on electronic pianos / keyboards. Strong modulation
lied to both delays and reverb tail.
Detune & Room ADJUST: Detune 0–127
erytightroomcombinedwithseparatepitchmodulationon
left and right inputs.
Detune&Dbl ADJUST: Detune 0–127
ilartoDetune& Room,butseveraldelayvoiceshavebeen
ed to produce doubling effects.
Tight Space ADJUST: SplitWide 0–100
ight,dryambiencecombinedwithleftandrightdetuneand
ay.
Flange >Rvb ADJUST: FX Mix 0–100
output of a flanger fed into a concert hall reverb.
Flange+Rvb ADJUST: FX Mix 0–100
ch 6-voice chorus in parallel with reverb.
X Eko Flange ADJUST: X-Fbk 0–100
tereo flanger with rhythmic echoes feeding into stereo
erb. ADJUST controls cross-feedback (which causes the
oes to bounce from side to side as they repeat). T
Glide > Verb ADJUST: FX Mix 0–100
eestereoeffectsinseries: glidingdelays,rhythmicechoes
reverb.
Glide X-Ekos ADJUST: Eko Time 0–100
ilartoGlide>Verb,butADJUSTletsyoudialinechotimes
m 0-2 seconds. Feedback and cross feedback are com-
ed to create echo patterns that change as they repeat.
Detuned Ekos ADJUST: Ekos/Beat 1–24
e reverb combined with independent stereo delays. The
ay voices are diffused and modulated. The echoes are
hmic. T
1.8 StereoEqEkos ADJUST: Ekos/Beat 1–24
Six rhythmic echo voices are EQ’d and panned across stereo
space. ADJUST sets the number of repeats per beat. T
1.9 ADJUpMyEchos ADJUST: EchosLvl 0–10
Concert hall reverb with 4 panned echo voices in the back-
ground. T
Modulation Effects
2.0 FSw2 Elevate ADJUST: Feedback 0–99
Multiple echo voices with diffusion, modulation and a touch of
plate reverb. Footswitch 2 is patched to turn on the AR
Envelope which sweeps the master delay. T
2.1 Chorus &Pan ADJUST: LFO Rate 0–100
A moving chorus that shifts the output signal from left to right.
Increasing the Delay Master will smear the delay images.
2.2 Chorus&Amb ADJUST: MstChorus 0–100
Similar to Chorus&Pan but with an added ambience. T
2.3 6 Vox Chorus ADJUST: Less/More 0–50
Starting point for all chorus sounds. The Delay Master opens
or closes the spacing between the 6 delay voices.
2.4 Split C&E ADJUST: InputPan 0–100
The left input is processed into a lush 3-voice chorus with the
voice panners adjusted from center to left. The right input is
processedintoarhythmic3-voiceechowiththeoutputpanned
from center to right. ADJUST cross-pans the inputs. 0=L/R
stereo, 50=mono, 100=R/L stereo. T
2.5 Env:PanKorus ADJUST: Chorus 0–127
The AR Envelope drives the speed of the pan based on the
presence or absence of input signal.
2.6 6 Vox Flange ADJUST: MstrDepth 0–100
A rich stereo flanger with a touch of reverb.
2.7 Mod Max ADJUST: Mod Knob 0–50
Multiple parameters modulated together. With stereo input,
the LFO drives the input pans to each delay and reverb
processor. A definite "twist your head off" effect.
2.8 PreciseGlide ADJUST: Resonance 0–100
A very clean stereo gliding delay and reverb. T
2.9 Round 147 ADJUST: RotorRate 0–20
A big wooden rotary speaker cabinet miked fairly close.
3.0 FSw2 Rotary ADJUST: Width 0–100
A dual-rotor speaker cabinet with a very wide stereo spin and
atouchofambience. ADJUSTcontrolsthewidthanddirection
ofthespinningrotors.0=verywide L→R,64=mono,127=very
wideR→L.Footswitch2togglesslowandfastspeeds.TheAR
envelope is used to simulate the inertial drag as the rotors
speed up or slow down.
3.1 RotorCabinet ADJUST: Slow/Fast 0–1
Similar to FSw 2 Rotor, but ADJUST is used to toggle the
speed of the rotors between slow and fast. FX Width sets the
width and direction of the spin.
3.2 MIDI Rotary ADJUST: EkoFbk 0–100
Similar to FSw 2 Rotor, but with echoesadded and the rotors
patched for MIDI control. MIDI AfterTouch toggles speed.
Press hard to spin fast, press hard again to spin slow. T
3.3 Tiled Rotary ADJUST: Slow/Fast 0–1
The RotorCabineteffectina tiledroom.Tryitwithbackground
vocals, as well as keyboard and guitar sources.
3.4 RotoWood ADJUST: Speed 0–10
ADJUST quickly advances the speed of the rotors. Increase
the Feedback Master for more upper rotor “howling”.
3.5 RandomImages ADJUST: ImageKnob 0–12
Individual input notes come out at random locations in
stereo image. Delays "creep" slowly out to new time valu
Best with solo instruments or voices. T
Special Effects
3.6 Under Water ADJUST: DrownKnob 0–10
Really pulls you under! This will submerge any track.
3.7 Thunder FX ADJUST: FlashTime 0–12
Produces a rolling clap of thunder from a percussive sou
(such as tom toms) and ethereal sweeps from synth pa
DrivenbytheAREnv,withADJUSTcontrollingtheARrele
rate. T
3.8 Thunder FX 2 ADJUST: FlashTime 0–12
A variationofThunderFX.Zapsareproducedbysettinga
release rate. T
3.9 ChaosImpuls ADJUST: GldResp 0–10
Chaotic rhythms and detunings produced from the in
source. Try this with individual percussive hits.
4.0 DemonDescent ADJUST: GldResp 0–10
Dark reverb and modulated detuning are combined to cre
an eerie special effect.
4.1 RoughIdle FX ADJUST: Speed 0–12
Usethistomutateanysteady,broadbandsourceintoapo
tuned combustion engine.
4.2 RoxStutter ADJUST: FX Mix 0–10
Use on strong rock and roll lead vocals. Trailing echoes
voices 3 and 4 go longer as the signal disappears. Delay
and 5 add more echo presence.
4.3 Split Pitch? ADJUST: SplitWide 0–12
Modulatedvarispeedinstereo.Onesidegoeslowastheo
side goes high. Good for special FX processing of vari
sources including synths and dialog.
4.4 TryTalk’n ADJUST: GldResp 0–10
A variation of Split Pitch with highly colored reverb
additional delay voices.
4.5 AutoInfinite ADJUST: FX Mix 0–10
With signal present, the reverb time runs long. With sig
absent, the infinite process is switched on. Once a sourc
running in the infinite process, you can play softer passa
against it which chorus and echo at the same time. T
4.6 Remove Cntr ADJUST: Cntr Fc 0–12
Filters and crosstalk cancellation remove mono material f
a stereo mix. ADJUST controls a low pass filter for the ce
channel frequencies — turn it up to add mono material b
into the mix.
4.7 V-Eliminate ADJUST: Cut Zone 0–12
Avocaleliminator.Removesmonomaterialinthevocalra
froma stereo mix.Mono lowand highfrequencies(kick, ba
snare cymbals, etc.) are kept inthe mix. ADJUST controls
width of the elimination band. Phase cancellation will occ
the two outputs are summed to mono.
4.8 NoCenter Eko ADJUST: Center Fc 0–12
Similar to Remove Cntr with delays added to the proces
signal. You can add echoes to the left and right mate
without affecting the mono material (vocals, kick, or snare
a stereo mix or sub mix. ADJUSTcontrols a low pass filte
the center channel frequencies. T
4.9 Rvb On L–R ADJUST: Decay 0–12
Similarto NoCenterEko,thiseffectaddsdenseplaterever
the left and right material without affecting the mono mate
in a stereo mix.
Program Bank 0

Lexic
CM 80 Presets
Program Bank 1
3.4 Haas PanKnob ADJUST: L=0, R=127 0–12
A panner that uses the slight differences in left and r
channel delay to produce panning without changing rela
levels.
3.5 Dial a Delay ADJUST: Delay 0–10
Your basic delay. Use ADJUST todial-in up to 2.5 second
stereo delay.
3.6 PrecisionDly ADJUST: L ms/100 0–10
Provides precise alignment of left and right channel au
ADJUST allows you to offset the left channel by up to 1 m
100 increments.
Ambience Effects
3.7 PhoneOrRoom? ADJUST: Pick One 0–
Use ADJUST to choose between a mono telephonefilter
a small room with stereo ambience.
3.8 CheapTV Room ADJUST: The Walls 1–1
Simulates the sound of a Lo-Fi TV in a small room. U
ADJUST to change the reflectivity of the walls.
3.9 Empty Stage ADJUST: Liveness 0–12
Made for creating live sounding spaces. ADJUST opens
space to be more reflective and airy.
4.0 Tomb Room ADJUST: The Walls 1–1
Placessource material withina veryreflective tomb. ADJU
moves the source deeper into this scary space.
4.1 Comb Room ADJUST: Tone 0–10
A tunable comb filter and reverb produce a highly colo
ambience. Use ADJUST to change the tuning of the co
filter.
4.2 Zoom Over ADJUST: Speed 1–2
Run an effect (or even a continuous synthesizer drone)
this preset, and the sound will approach you from the cen
spreadouttothesidesasitpassesoverhead,andrecede
thedistancebehindyou.ADJUSTcontrolsthespeedofthe
by. This effect will image properly in either 2-channe
Surround mixes.
4.3 OneShotCarBy ADJUST: Speed 1–10
Input level triggers this left-to-right drive-by. When signa
detected, it will move from left to right. Doppler pitch shi
simulated as the image moves across the stereo field. O
audiohasbeendetected,theeffectwillcycle once.To drive
again,stopandrestarttheaudiotrack.Toreversethedirec
of the effect, set the Width parameter to –45.
4.4 AmbientCarBy ADJUST: Speed 1–10
A variation of OneShotCarBy, enhanced by some ste
ambience. This effect repeats automatically. ADJUST c
trols the speed of the drive-by.
4.5 HeadOn CarBy ADJUST: Speed 1–10
Less ambience than ZoomOver, and more appropriate
things that approach on the road. This effect will im
properly in either 2-channel or Surround mixes.
4.6 2WayStreet ADJUST: Speed 1–10
ProducesbothL→RandR→Ldrive-byeffects—likelisten
to the sound of traffic on a two-way street.The speed for e
direction is slightly different. ADJUST is a master sp
control for both eastbound and westbound traffic.
4.7 IntoTunnel ADJUST: Speed 1–2
Simulates the sound of a source approaching you from
side, passing you, then entering a tunnel. ADJUST cont
the speed of the source. Toreverse the direction of the eff
set the Width parameter to –45.
4.8 2WayTunnel ADJUST: Speed 1–10
A variation of IntoTunnel. The source approaches and en
the tunnel, then turns around and comes back.
4.9 FinishLine ADJUST: Speed 1–10
Two pairs of stereo delays added to the basic drive-by ef
simulate the 1st, 2nd, and 3rd place cars crossing the fin
line. ADJUST controls the speed. Try this and the other dr
by effects with different types of source material. Almost
continuous source will produce interesting spatial sound
fects. Low, buzzy synthesizer tones work particularly wel
Rhythmic Echo and Delay Effects
[n]Ekos/Beat ADJUST: [n] 1–24
reo echoes with a touch of reverb. ADJUST controls the
mber of echoes per beat. T
StereoTapDly ADJUST: Mstr Fbk 0–100
ariation of [n]Ekos/Beat, with left and right delay voices. T
OffBeat Eko ADJUST: DarkKnob 0–127
ariation of [n]Ekos/Beat that produces a syncopated echo
hm pattern. ADJUST controls high cut filters in the echo
dback paths. Great for tape echo effects. T
OffBeat Eko2 ADJUST: DarkKnob 0–127
ditional rhythmic delay voices are used to create a more
mplicated syncopation pattern than OffBeat Eko. T
Dotted 8ths ADJUST: EchoSlope 0–127
ythmic delay voices produce a dotted 8th-note pattern.
JUST controls the slope of the first six repeats. 0=loud to
(normal echoes), 64=six repeats of equal loudness,
=soft to loud (reversed echoes). T
Shuffle Ekos ADJUST: Shufl Lvl 0–127
ates echoes with a shuffle feel. One repeat on the beat
owed by one repeat off the beat. ADJUST controls the
tive levels of the on and off-beat echoes. T
Shuffles ADJUST: EchoSlope 0–127
ythmic delay voices produce a shuffle pattern. ADJUST
trolstheslopeofthefirstsixrepeats.0=loudtosoft(normal
oes), 64=six repeats of equal loudness, 127=soft to loud
ersed echoes). T
Sliding Eko ADJUST: Slide It! 0–100
s stereo delay effect lets you dial in the perfect “feel” to
chthemoment.Two echoesareproduced:oneisfixed on
beat,theothercanbeslidinmusicaltimeanywhereinfront
r behind the beat by turning ADJUST. 0-49=in front of the
t, 50=on the beat, 51–100=behind the beat. T
Six Trips ADJUST: EchoSlope 0–127
ythmic delay voices produce a 6-note triplet pattern. Each
eat gets progressively louder. ADJUST controls the slope
he first sixrepeats.0=loud tosoft (normal echoes), 64= six
eats of equal loudness, 127=soft to loud (reversed ech-
). T
6 StrokeRoll ADJUST: Attack 0–127
n a single drum hit into a six-stroke roll with this effect.
JUST controls the attack of the first five repeats. 0=loud to
(normal echoes), 64= five repeats of equal loudness,
=soft to loud (reversed echoes). T
TapGated Rvb ADJUST: Gate dB 0–85
empo-controlled LFO is used as a rhythmic gate to the
uts of a large stereo chamber. The gate is opened every
erbeatforadurationof1eighth-note.Usethistoaddreverb
elected beats of a stereo source. (Try synchronizing to
DI with a drum machine as a source.) ADJUST controls the
ut levels in dB to the reverb when the gate is closed.
lways open (0dB), 85=fully closed (-85dB). T
TapEkoGate 1 ADJUST: GateDepth 0–127
empo-controlled LFO is used as a rhythmic gate to the
utsofadelay/reverbcombination.Thegateisopenedonce
ry four beats for a duration of 1 eighth-note. ADJUST
ermines the portion of the four beats in which the gate is
n.0=openforallfourbeats,127=openforonlythefirst16th
e of four beats. T
TapEkoGate 2 ADJUST: GateWidth 0–127
ariation of TapEkoGate 1 with different echo rhythms. T
TapEkoClear ADJUST: GateWidth 0–127
ilartothetwo TapEkoGates,exceptthattherhythmicgate
lso patched to clear the delay voices when it opens. This
ws very high delay feedback values to be used without
ating long echo trails. T
Tap Chamber1 ADJUST: Width 0–90
tight chamber with liveness that is tempo controlled.
JUST controls the width of the reverb within the overall
eoimageoftheeffect(0=mono,45=stereo,90=surround).
e this to open up sampled drum mixes. T
Tap Chamber2 ADJUST: Decay 0–127
ersion of Vox Chamber with a rhythmic twist. The width of
reverb within the overall stereo image of the effect is
nged rhythmically by Sw1. T
1.6 LatchedEkos ADJUST: EchoWidth 1–99
The inputs and outputs of stereo delays are gated on and off
bytwo rhythmicswitches.The ARenvelopealternatestheleft
andright delayoutputs.ADJUSTcontrolshowlongtheinputs
to the delays remain open over a period of four beats. T
1.7 X-PanEQ BPM ADJUST: Low Tone 0-60
Inputscross-pannedbetweenindependentleftandrightband
pass filters with some bright, highly diffused reverb. The pan
rate is tempo controlled. ADJUST controls the low frequency
limits of both bands. T
1.8 Pan->Eko BPM ADJUST: DarkKnob 0–127
Inputs are panned across the stereo inputs of a reverb and
independent left and right delays, each with slightly different
EQ. The pan rate is tempo controlled. ADJUST controls the
high frequency limits of both bands. T
1.9 Tempo Verb ADJUST: Liveness 0–40
Atempo-basedreverb effectwithdecaychangingintempo.T
2.0 Tempo Gate ADJUST: High Cut 0-50
A heavily gated reverb effect with duration set by tempo. T
2.1 Tape Echo ADJUST: DarkKnob 0–127
Simulates a stereo tape echo. The echo rate is tempo-
controlled. ADJUST controls high frequency damping. T
2.2 NonLinear 1 ADJUST: EchoSlope 0–127
Producesechoeswith nonlineardecay.ADJUSTcontrolsthe
decay slope. 0=loud to soft (normal echoes), 64=six repeats
of equal loudness, 127=soft to loud (reversed echoes). The
slope is set to produce a simple reversed echo effect. The
repeat rate is tempo-controlled. T
2.3 NonLinear 2 ADJUST: EchoSlope 0–127
Chorus and reverb have been added toNonLinear1, and the
delays bounce from side to side as they repeat. The slope is
set to 64 to produce repeats of equal loudness. T
2.4 NonLinear 3 ADJUST: EchoSlope 0–127
AvariationofNonLinear2withmoreradicalprocessingandan
inverted slope. T
2.5 Six Across ADJUST: Spacing 0-100
A multi-tap delay effect that filters each voice to a specific
bandbass with each tap positioned succesively across the
panoramic spectrum.
2.6 BandEko Rvb ADJUST: Center Fc 0–127
Theoutputsofastereobandpassfilteraresenttoleftandright
rhythmic delays in the reverb diffusor loop. Produces diffuse,
highly colored echoes and reverb. T
2.7 BandEkoSweep ADJUST: Mstr Fbk 0–100
AvariationofBandEkoRvb.Thecenterfrequencyoftheband
pass filter is swept by the LFO, producing echoes of shifting
colors. Reverb and diffusion are turned off. T
2.8 LFO EQ Echo ADJUST: LC Depth 0–100
A stereo rhythmic effect created by modulating low cut and
highcutfilterswiththeLFOsineandcosinewaves.Interesting
on rhythm tracks and individual instruments. T
2.9 Chase Echo ADJUST: ChaseRate 0–100
LFOEQEchowithpanningaddedtothefiltereddelayoutputs.
T
3.0 Panned Dlys ADJUST: Mstr Fbk 0–100
Apairofdelaysarepannedtoproduceechoesthatdriftacross
stereo space. T
3.1 X-Pan Delays ADJUST: Mstr Fbk 0–100
Theoutputsofthedelaypairarecross-panned.Monomaterial
producesechoesthatrepeat,butremaininthe center.Stereo
material slowly swaps left and right as it repeats. T
3.2 Dly>EQ>Pans ADJUST: Mstr Fbk 0–100
The input signal is split into two frequency bands which are
sent through different rhythmic delays with their outputs
panned in opposite directions. This effect deconstructs the
tone of input material, except when the panning and delay
rhythmsaligninthecenterofthestereofield.Tryitwithadrum
mix or other broadband material. T
3.3 Ekoz 4 Drums ADJUST: FX Mix 0–100
A space setter for percussive instruments. Combines a short
plate reverb effect with four high density echoes which are
highly diffused. T

PCM 80 Pres
Program Bank 2
EQEffects
StereoLoPass ADJUST: CutOff 0–127
tereo low pass filter and a stereo reverb in parallel. Add
erb by changing FX Mix. T
Low Pass HiQ ADJUST: Cutoff 0–127
e same basic effect as StereoLoPass, but with feedback
usted to produce a more resonant filter. T
Low Pass LFO ADJUST: Depth 0–127
e cutoff of thestereo low pass filter is swept with a rhythmic
Osinewave.ADJUSTcontrolsthelowfrequencylimitofthe
eep. T
StereoHiPass ADJUST: Cutoff 0–127
tereo high pass filter and a stereo reverb in parallel. Add
erb by changing FX Mix.
StereoB-Pass ADJUST: Center 0–127
tereo band pass filter and a stereo reverb in parallel. Add
erb by changing FX Mix.
Stereo Notch ADJUST: Center 0–127
ariationof StereoB-Passwhich combinesa phaseinverted
putofthebandpassfilterwithunprocessedsignaltocreate
otch filter. ADJUST sets the center frequency.
SweptNotches ADJUST: Rate 0–100
ducesvowel-likesoundsbysweepingtwopairsof notches
htwo independenttimeswitches.Veryunusualtonalvaria-
s from broad band sources (rich pads, drums, industrial
nd effects, etc.) Generates a good deal of spatial move-
nt within a stereo or Surround mix.
Env Notches ADJUST: Release 0–100
duces vocalization effects from dynamic sources. The
uts are summed to mono, and the notch filters, which are
ed to vocal formants, are swept by the resulting input
elope.
BandReject 4 ADJUST: FX Mix 0–100
ee independent modulators are used to sweep filters and
theoutputs,resultinginaneffectwithconstantlychanging
al and spatial characteristics.
WaaPedalEko ADJUST: FeedBack 0–10
h-wah with echoes. Foot Pedal ispatched to filter cutoff.T
RotorWaa ADJUST: Rate 0–10
empo-controlled wah-wah effect. ADJUST controls the
hm of the modulator. T
Spatial Effects
Movable Echo ADJUST: Position 0-127
signed for use with either stereo or Surround mixes, this
l delay can be positioned anywhere between the center,
e and rear channels. ADJUST sets the position. 0=center,
side channels, 127=rear channel.
Movable Hall ADJUST: Position 0–127
ilartoMovableEcho,thisconcerthallreverbeffectcanbe
itioned anywhere between the center,side and rearchan-
s.
Go Away ADJUST: How Far? 0–127
e a stereo source and move it anywhere fromin your face
ar, far away. Use ADJUST to move the source. 0=unproc-
ed stereo, 127=far away. Compatible with stereo and
round mixes.
Circular Pan ADJUST: Rate 0–100
ilar to Go Away, this preset sums the inputs to mono and
stheLFOtocontrolEQ,reverbandstereowidthtopanthe
ndthroughacircularorbit.Fromrightthroughcenter,toleft
ough rear, to right. As the sound approaches the center, it
ws brighter, louder and dryer. As it recedes towards the
r, it grows darker, softer and more reverberant. In a Sur-
nd mix, the center and rear positions of the orbit will feed
y the center and rear channels of the mix.
Spatial Hall ADJUST: Position 0–35
ulti-dimensional preset which changes as you increase or
rease ADJUST. Not mono compatible.
Rear of Hall ADJUST: Decay 0–60
eally huge space, and you’re in the back of it. ADJUST
nges the reverberation characteristics, making it boomier.
1.7 Backstage ADJUST: How Far? 0–127
Remember what the concert sounded like from the green
room? This effect will take you there and let you wander
around. Turn up ADJUST to travel further from thestage until,
finally, you’re out in the parking lot.
1.8 Steered Rear ADJUST: Decay 0–10
TheWidth parametersteersthisplateeffectfromfrontto back
after the AR releases based on input level. Due to the strong
spatial positioning at the end of the decay, this preset is not
mono compatible.
1.9 Too Deep! ADJUST: Decay 0–40
Left and right envelope followers controlthe post delay glides
while the AR generator controls reverb width.
2.0 Dyna-Hall ADJUST: Decay 0–30
A tamer version of Too Deep! No envelope chorusing. Good,
beautiful, straight ahead, and spacious.
2.1 RotoRox ADJUST: FX Mix 0-100
Crossfadesdeeperintotwodelayvoiceswheninputisabsent.
Great vocal effects for thickly-produced rock and roll.
2.2 RotoRoomVox ADJUST: Decay 0–100
A medium large sized room that continuously changes width
according to LFO speed. Nice roomy effect for background
vocals.
2.3 RotoRoom ADJUST: Decay 0–60
SimilartoRotoRoomVox,exceptthespeedofthespatialwidth
modulation is stable, with the speed of the LFO constant.
Room is smaller, more dense-sounding and brighter.
2.4 RotoRoom#2 ADJUST: Rt & Rate 0–60
Waycoolonastingersoundeffect!Dynamicallyspacious.Not
mono compatible.
Gain Effects
2.5 Tremolo Tap1 ADJUST: Depth 0–127
A basic tremolo effect with a small amount of ambience. Left
and right channels are processed separately to maintain the
image of stereo source material. The tremolo rate is tempo
controlled (2 cycles/beat). T
2.6 X-TremoloTap ADJUST: Depth 0-127
A variation of TremoloTap1with left and right modulation 90°
out-of-phase,producingastereoeffectthatdoesn’tcollapsein
a mono mix. If the input source is mono, the sound will seem
to move from side to side.If the input source isstereo (or two
different mono sources) the left and right channels will alter-
nately grow loud and soft. T
2.7 Panner BPM ADJUST: Pan Phase 0–1
A tempo-controlled auto panner with inputs independently
pannedleftandright.Iftheinputsourceismonoitwillpanfrom
sidetoside.If theinputsourceisstereo(ortwodifferentmono
sources), the two sources willchase each other between the
speakers. Set ADJUST to 0 for “normal” auto panning. T
2.8 Nice Pan! ADJUST: FX Mix 0-100
Combinesstatictime-baseddelayswhichmovebackandforth
in the stereo field with a short, bright chorus plate. Great for
acoustic guitars.
2.9 Spin & Duck ADJUST: Spin Rate 0–127
Panning combined with 6-voice chorus delays and reverb to
produce a rich spacious effect. Delays are tempo-controlled
and ducked by input level. They won’t be heard during active
passages, but will fade up in the spaces between phrases. T
3.0 MultiFxFade ADJUST: FX Mix 0–100
AR envelope is used to create a moderate fade-in of chorus,
delay and reverb effects. Try this with guitars and keys. T
3.1 Ghost ADJUST: FadeShape 0–100
Source material is accompanied by a ghostly image of itself.
Not quite reverb, not quite backwards audio. Works well with
short percussive sources as well as more sustained ones.
3.2 Ghost Flange ADJUST: FadeShape 0–100
A variation of Ghost with some flanging added. Try this with
lead guitar.
3.3 GhostVibrato ADJUST: FadeShape 0–100
Another Ghost variation. This one will produce a delayed
vibrato on sustained notes.
3.4 AutoFadeIn 1 ADJUST: FX Mix 0–10
Input level produces an automatic volume swellinto a cho
delay reverb effect. Great with guitar and keybo
chords.The fade in rate is moderate. T
3.5 AutoFadeIn 2 ADJUST: Fade Rate 0–10
A variation of AutoFadeIn with adjustable fade-in rate. T
3.6 AutoFadeIn 3 ADJUST: Rvb Lvl 0–12
A variation of AutoFadeIn 1 with shorter delay times an
lighter touch on the chorus effect. T
3.7 ChordSwells ADJUST: Rvb Lvl 0-12
Amoredramaticversionof AutoFadeIn.Thefadetimeisq
long, and the chorus and delay effects are fairly strong. T
with sustained piano or guitar chords. T
3.8 BowedChords ADJUST: FX Mix 0–10
A subtler version of AutoFadeIn. Chorusing is turned off
delays are more subdued. Essentially a volume swell
reverb. Use it to pull cello-like tones from sustained note
block chords. Very nice with grand piano. T
3.9 BowedEchoes ADJUST: FX Mix 0–10
Input level controls feedback and triggers the fade-in, prod
ing echoes with soft attacksthat appear when the inputsig
drops. T
4.0 Pedal Swell ADJUST: FX Mix 0–10
A combination of four 400 ms delays, a slight amoun
chorus, and a hint of reverb. The Foot Pedal is patched to
and right input levels for majestic volume swells.
Resonant Chord Effects
4.1 Rez Climber ADJUST: Tuning 0–6
Try this with dialog or unpitched source material. AR En
lope, triggered by mono input level, dynamically sweeps
resonators through the 2nd – 5th pitches of the harmo
series. ADJUST sets the fundamental pitch for the series
4.2 Chord Walk ADJUST: High Cut 0–5
Resonators are used to generate a rhythmic chord pat
from unpitched source material. Sw 1 and Sw 2 are use
changethechordroot-noteand mode,andtovarytherhyt
Try this with a simple kick, snare and hi-hat pattern.T
4.3 Mars Bars ADJUST: High Cut 0–5
Resonators are used to create a truly weird and spa
special effect. Use on any continuous sound effect, dialog
even instrumental track. The tuning ofthe resonators issw
slowly through a series of pitches by the LFO. T
4.4 ModalImpulse ADJUST: Tone 0–5
Resonators are tuned to arpeggiate a modal 7th chord.
rhythm of the arpeggio is tempo-controlled. Works well w
single percussion hits (such as kick or snare). Change k
scale androotnoteof thearpeggiowiththePitchparamet
T
4.5 Major Minor ADJUST: Tone 0–5
A 6-note modal chord built one note at a time. Use a sin
percussionhit as an input source (aslowly repeating snare
works well). The notes in the chord are added slowly ove
beats. The effect is tempo-controlled. Asthe chord builds,
changed rhythmically between major and minor scales.
root note of the chord is also changed in a rhythmic man
TheLFOcontrolstherateofthebuildandthemajorminors
Sw 2 controls the changing root notes. T
4.6 MIDIChords ADJUST: Sparkle 0–
Driven by MIDI Note Number.Resonators follow the note
diatonic tone cluster. If the audio source is the same as
MIDI source (a synthesizer), the effect is a little like harm
zation. Will pass audio if there is no MIDI input.
4.7 LvlSweeper ADJUST: Color 0–3
Drivenbylevel.Anyinputthatexceedstheinputthreshold
cause a little burst of resonators that quickly swirl through
stereo field. T
4.8 Sweeper ADJUST: Pitch 0–2
A resonant arpeggiator in which a tempo-driven LFOcont
the resonator pitches.T
4.9 MIDISustain ADJUST: Bright 0–
Resonators are assigned as the notes are played. (W
playing chords, it's best to spread them a little.) Footswitc
workslikeapianodamperpedal.Whentheaudiosourceis
same as the MIDI source, the effect is a little like playin
pianowhile holdingdownthepedal.Thispreset requiresM
note input or it will not pass audio.

Program Bank 3
3 Oak Park • Bedford MA 01730-1441 • Tel: [phone] • Fax: [phone]
3.8 SweepVerb ADJUST: GldResp 0–1
0
Leftandrightreverboutputsaredetunedinoppositedirecti
by the AR, which is triggered by input level. ADJUST cont
the amount of detune. To open up the space around perc
sive sources, use very low settings of ADJUST. Higher
tings will produce radical pitch swoops in the reverb.
3.9 EnveloVerb ADJUST: Rt HC 0–4
Great on sustained andslowly fading sound sources. The
generator controls reverb output as well as Rt.
Remix Effects
4.0 Super Ball! ADJUST: Bounce It 0–
Lets you turn any source into a bouncing ball. Run a trac
instrument, click ADJUST to 1 and back to 0and sit back.
effect captures a stereo sample on the fly, loops it
decreases the loop size as it repeats. (Reverb is added w
the loop plays.) When the loop size gets to zero, the ef
resets and starts sampling the inputs again. Loop size
tempo-controlled. T
4.1 LevlStutter ADJUST: Mstr Fbk 0-10
Delays are driven by input level (higher level=shorter dela
and tempo. Works best for deconstructing dialog, but a
interesting with any audio with lots of holes. T
4.2 Freeze 2 of 8 ADJUST: Feedback 0–10
Automaticallyfreezes2beatsoutofevery8.ADJUSTlets
set the feedback level when the loop is off. Try this one wi
dance mix, or MIDI drum patterns. T
4.3 Freeze 2over3 ADJUST: Feedback 0–10
AslightlymorediabolicalversionofFreeze 2of8.Loops2
of every 8 beats, but left and right delays are set to diffe
rhythmic values. The result is a 2 against 3 pattern
alternates between left and right channels. ADJUST sets
feedback for both delays while the loop is off. T
4.4 Freeze&Speed ADJUST: Freeze It 0–
Grabandfreezeportionsofthesourcematerialonthefly.C
ADJUST from 0 to1 to freeze the loop. It will repeat infinit
growing more diffuse as it repeats. Click ADJUST back to
turn the loop off. The loop will speed up fora shorttime be
turning off. The AR Release parameter sets the speed
time. Loop size is tempo-controlled. Change it on the fly
pressing Tap while the loop is off. T
4.5 ADJToFreeze ADJUST: Freeze It 0–
Click ADJUST to create an infinite stereo loop of the in
source. Click it again to stop the loop. A little reverb is ad
while the loop is on. Loop sizeis tempo-controlled. Chang
on the fly by pressing Tap while the loop is off. The prese
set to freeze 1 beat, but you can set any rhythm you wan
changing the delay values. T
4.6 ADJToFreeze2 ADJUST: Freeze It 0–
The same basic loop effect as ADJToFreeze, but the del
are set to different values for the left and the right side. In
preset a 2 against 3 pattern will be created. T
4.7 F Sw2 Freeze ADJUST: Feedback 0–10
A very useful infinite delay effect. Use ADJUST to set
feedback level. Footswitch 2 is patched to turn infinite rep
on and off. T
4.8 FSw2 Speedup ADJUST: How Long? 0–10
Footswitch2ispatchedtoturnonaninfiniteloopwhileitish
down.When thefootswitchisreleased,theloopcontinues
grows shorter with every repeat until the loop size is 0. U
ADJUSTtosettheamountoftimeittakesforthelooptosh
tonothing.Afootswitchmustbeconnectedtomakethispre
work. T
4.9 LongestLoop ADJUST: FX Mix 0–10
A cross-feedback path in the delay voices is used to crea
5-second mono loop. Footswitch 2 is patched to turn infi
repeatoffandonand,atthesametime,tochangethemixf
0 % to100 % wet. Footswitch 1 is patched toclear the dela
A footswitch must be connected to make this preset work
Reverb Effects
Small+Stage ADJUST: Stage Lvl 0–50
mooth, small reverberant space combined with several
ge reflections.
Small Room ADJUST: Liveness 0–60
eADJUSTtoquicklychangetheambientcharacteristicsof
typically tight sounding room. Great for ADR work.
Living Room ADJUST: Decay 0–60
other ADR preset,medium spaced but with a short Rt.
Brick Kick ADJUST: Liveness 0–100
ks *ss on kick drums or the entire submix.
Large Room ADJUST: Decay 0–60
erfectlysmoothlisteningroomwithmediumdiffusion.Very
ural sounding on any sound source.
SnareChamber ADJUST: Liveness 0–60
assic from the PCM 70.
Tiled Room ADJUST: Decay 0–60
uture classic...
Rich Chamber ADJUST: Decay 0–60
ooth and full sounding.
Vox Chamber ADJUST: Liveness 0–60
mbines recirculating echoes which fall away quickly once
nal is absent. Increasing ADJUST lengthens the reverb
ay, which will mask the reflection echoes. For vocals.
Locker Room ADJUST: Depth 0–127
t like in high school. ADJUST creates a deeper, more
erberant sound.
Wide Chamber ADJUST: Decay 0–60
andwidesoundingwithapresetshortMidRt.Useonsynth
s or vocals.
Gate Chamber ADJUST: Duration 0–64
ght,moderatlydensereverbenvelopewithanabruptcutoff.
JUST sets the length of the gate.
Vox Plate ADJUST: Decay 0–30
ght, straight ahead preset for vocals with some added
ngthening reflections.
Good olPlate ADJUST: Decay 0–60
e old plate you might have heard years ago. The reverb
ct is slightly mono.
Slap Plate ADJUST: Decay 0–60
dedreflectionstoamediumsizedplate.Vary DelayMaster
ncrease delay time.
Brass Plate ADJUST: Decay 0–60
ark heavy plate. Good for percussion or pianos.
Drum Plate ADJUST: Decay 0–60
ort and percussive for a drum sub-mix.
Rich Plate ADJUST: Decat 0–60
aight ahead basic Plate.
Concert Wave ADJUST: Wave Knob 0–40
vey spacious sound. Nice on long sustained sounds.
JUST cranks the waviness of the decay. T
Concert Hall ADJUST: Decay 0–100
at for pianos, voice, and acoustic instruments.
ConcertHall2 ADJUST: Emty/Full 0-15
her large concert hall space with a couple of reflections
forcing the source before the onset of reverberation.
JUST changes the absorption characteristics from an
pty space to one that's fully occupied.
Piano Hall ADJUST: Decay 0-60
ong and smooth rolling effect with just the slightest hint of
dulation. Reduce the depth parameter to sharpen the
ck of the reverb.
Medium Hall ADJUST: Decay 0–60
aller version of the Concert Hall preset. Use Predelay to
arate the source from the acoustic space.
2.3 Vocal Hall ADJUST: Decay 0–60
Combines tempo-related early reflections with longer tempo-
related post delays. Great for ballads. T
2.4 Deep Space ADJUST: FX Mix 0–100
A narrow space which snakes on forever. Goes from bright to
dull while the speed of the width modulation changes as well.
Sound effect worthy! T
2.5 Plate4 Horns ADJUST: Impact 0–100
Bright and percussive for horn tracks needing that certain
edge. ADJUST modifies the attack and release characteris-
tics.
2.6 Alley Slap ADJUST: Pre Delay 0–100
Great for any punctuated sound source — vocals, guitars,
anything. T
2.7 Drum Gate ADJUST: Duration 0–70
An inverse gated effect that is low on diffusion and high on
attitude. Made for drums and other high impact sources.
2.8 Slope Down ADJUST: Duration 0–100
Veryinversesounding.ADJUSTvariesthelengthoftheslope.
The AR Envelope, triggered by mono level, cranks in a
downward spiraling pitch shift. Unearthly on voices.
Processed Reverb Effects
2.9 BigBoomRoom ADJUST: BoomKnob 0–36
Envelope followers glide the left and right post delays, giving
astrongmodulationeffecttothereverbtail.Useonpunchylow
frequency sound sources.
3.0 Whammy Hall ADJUST: Decay 0–30
Ifyourguitardoesn’thaveawhammybar,itdoesnow.TheAR
generator,triggeredbymonolevel,controlsLFOdepth,which
drives the two post delays after the reverb. The Release
constantis set rather long so that the depth reaches fullscale
after 2.2 seconds.
3.1 JetChamber ADJUST: Jet Knob 0–127
Abig chamberreverb withstereoflangingontheoutputs.Use
ADJUST to set theamount of “whoosh.” The rate of theflange
is controlled by the LFO.
3.2 EnvChamber ADJUST: Jet Knob 0–127
Similar to JetChamber with flanging controlled by input level.
Drums have little or no reverb flanging while active, but
individual hits and fills have pronounced flanging during the
reverb tail. Also works well with a variety of sources including
acoustic guitar and piano.
3.3 Wizz and Wazz ADJUST: Decay 0–127
Thistempo-driveneffecthasdelaysthatwhizfromlefttoright.
FX Mix is also linked to tempo, going slowly from delays to
reverb, then abruptly back to delays. T
3.4 Sci Fi ADJUST: Wiggle 0–127
An LFO modulated reverb puts a big spacious halo around
unpitched sources, like drums. ADJUST controlsthe depth of
modulation. Lower settings of ADJUST will work best with
pitched sources. Higher settings can yield some interesting
sound effects. (Listen to a high piano note with ADJUST at
about 100 –definite science fiction material!)
3.5 Wobble Plate ADJUST: Wobble 0–30
A different type of chorus plate. ADJUST controls glide re-
sponse.
3.6 Dyna Vibrato ADJUST: Glide 0–127
Inputleveltriggersadelayedvibrato.Thevibratoiscreatedby
modulating two pairs of gliding delays. ADJUST controls the
offset between the delay pairs, thickening the effect.Good for
sweetening up acoustic guitar, dry sampler or synth tracks,
etc.
3.7 VibroVerb ADJUST: V-Depth 0–127
Reverb processed to produce a vibrato that wanders slowly
betweentworates.ADJUSTsetsthedepthofthevibrato.Low
settings of ADJUST work nicely to open up the space around
backing tracks. Higher settings can be used to add character
to dry synthesizer tones, guitar and piano.
Lexicon Part No. 070-10108 R