Lexicon 960L owner manual Msec

Page 51

Using The Reverb Program

Lexicon, Inc.

Reverberation and Reality, Continued

length that is perceived, and the behavior of the reflections can be quite different when the sound event is short compared to when the sound event is long. Notes which are shorter than the time constant of the reverberation, ~RT/7, will excite the reverberation less strongly than longer notes.

There is another peculiarity of background envelopment. It depends on the absolute level of the reverberation, and not the direct/reverberant ratio. If we play the music louder the reverberation will be louder, and the sound will be more enveloping. Thus when we mix for envelopment we must be very careful about our monitor levels, and aware of how loud the critical customer will play our mix.

The perception of background envelopment depends on the same fluctuations in interaural time delay that cause the sense of distance. But the background is only detected when the direct sound has ceased, and only reflections are hitting the ears. Thus if the reflections come from all around us the fluctuations, and the sense of envelopment will be maximum. If reflections come only from the front we will not get much envelopment at all.

The perception of envelopment requires that the interaural time delay and level differences should be fluctuating. In a small relatively dead room the only way these differences can fluctuate is if you have at least two sound sources, and the relative phase between these sources is fluctuating. (Ideally these sound sources should be reproducing decorrelated reverberation.) The optimum direction for these two sound sources (loudspeakers) depends on frequency. Once again below 700Hz the optimum direction is from the side, and as the frequency goes up the optimum angle moves toward the medial plane – closer to the front, or closer to the rear.

Although envelopment can be perceived at all frequencies, psychologically the low frequencies are particularly important. For example, even in a dead room a standard two channel loudspeaker system (+/-30 degrees from the front) can produce envelopment if the sound source is decorrelated and contains primarily frequencies above 1000Hz – such as strings or applause. But low frequency envelopment, the life blood of lower strings and basses, is missing. Add low frequency uncorrelated reverberation to loudspeakers at the sides, and the life magically returns. (For a more thorough overview of this subject, see David Griesinger's web page at www.lexicon.com/links.)

Initial Phone

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as Part of

Phone

Risk of Reduced

Intellgibility

Reverberance

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150 msec

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Contents 960L. Digital Effects System Important Safety Instructions Table Of Contents Table Of Contents Title of Section IntroductionMainframe Unpacking the 960L DescriptionRear Panel About the 960LIEC Power Connector Clock Card Midi Connectors Five-pin DIN femaleRemote-Control Connectors Mains Power SwitchThumbscrews Standby Switch and IndicatorFront Panel Floppy DriveBehind the Front Panel DSP-Card SlotsCPU Card Location InstallationMounting VentilationDigital Audio Connections Midi ConnectionsWordclock Connections Navigating Typical Display Screens LARC2 RemoteLARC2 Remote About the LARC2Unpacking the Larc LARC2 Control Surface LARC2 Control SurfaceLARC2 Connections Getting What You WantA typical display screen Navigating Typical Display ScreensAbout the Faders and Joystick Mode Faders JoystickAudio Indicators Fine AdjustLexicon Button AN Overview of the Controls Basic OperationAn Overview of the Controls Basic OperationQuick Guide to Operation Setup Control Mode960L Owner’s MaunalBasic Operations Quick Guide to Operation Program Loading Machine SelectionStoring Your Edits Editing a Program or RegisterName screen Info screens are similar Operations in Detail Control Mode CLOCKS, ConfigurationLoading Programs Loading Programs and RegistersLoading Registers Alternative Loading TechniquesProgramming Machines Wordclock Control Mode Clocks, Configuration, and System ScreensLocked and unlocked wordclock Input, Output, and Machine Configuration960L Owner’s Maunal Operations in Detail 44.1/48kHz Dual machines 5-in and 2-in Output Assignment Left Right Center Unused Surround Surround System Screen Analog and Digital I/OEditing With the Faders Fine AdjustEditing Editing AlgorithmsQuick Comparisons via the Lexicon Button Editing with the JoystickInput Panning Editing Inputs and OutputsOutput Panning Setting Levels 960L Surround Panning RulesAvoiding Overload Using the Edit Algorithm Screen V-Page and Parameter ReassignmentFrom the Edit Algorithm, Inputs, Outputs Options screen 22 Edit V-Page screen programming the joystick Storing and Labeling Your Edits StoringNaming and Annotating Organizing Your Registers 25 a Register Info Options EnabledEdit Tools for Registers Machine ModeUsing the Floppy Drive CD-ROMUsing the Reverb Programs Reverberation and Reality Using the Reverb ProgramsUsing The Reverb Program Lexicon, Inc Reverberation and Reality Msec Sound in Space a Short History of Stereo and Surround Random Hall AlgorithmsAmbience & Surround Ambience Surround HallChamber Plate & Surround PlateAmbient Chamber Reverse & Surround ReverseInverse Parameters Used in the 960L Algorithms Using The Reverb ProgramLexicon, Inc FbckLS FbckLFbckR FbckLFLvRL LvLFLF LvLLLvRR LvLRRSpread RearRollRearRvb RShapeSpread SizeSlope SpinMidi Nomenclature Midi Channel AllocationChannel Usage Description Program # Description Card ConfigurationBank and Program Mapping Bank DescriptionMidi Sysex Incoming Inquiry Midi Byte Description960Ls response Midi Implementation Chart Specifications Specifications Factory Programs Connector48K Rack Units 96KLARC2 User Interface Appendix Halls Appendix Program DescriptionsAppendix B1 P4 B3 P4 B6 P2 B7 P2 B9 P9 B11 P5 Empty Mini Chamber Similar to Snare Chamber, but even smaller Lg Brite Room Random Hall Simply large and bright Echo Plate Like Flat Plate, but with echoes Stereo Bank Kitchen Chamber Can you find your disposal sound effect?
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