Lexicon 960L Surround Hall, Chamber, Plate & Surround Plate, Ambience & Surround Ambience

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960L Owner’s Maunal

Using The Reverb Program

Algorithms, Continued

level; this simulates a very diffused reflection off the back wall of the hall, helping to create a sense of size and space. This reflection becomes stronger and stronger, reaching optimal loudness when Shape is at about 2/3 of its range. The highest Shape settings are typically used for effects. Near the top of the scale, the rear hall energy buildup becomes stronger than the earlier part of the envelope, an effect used to create an inverse sound (see Reverse).

To avoid colorations, the signal is randomized by the Spin and Wander parameters. The randomizers controlled by the Spin and Wander parameters principally affect the perceived acoustics of the space. High settings can be used to break up small-room modes, as when recording a voice-over in an announce booth, but extreme settings can have pitch effects.

Surround Hall

Surround Hall is a surround version of Random Hall having 16 delay voices, one for each possible channel pairing (LF to C, C to LF, LF to LS, etc.). It may be useful for Foley work by giving a more precise sense of a space’s size.

Chamber

Chamber is a complex miniature-space effect resembling an echo chamber at its smaller settings and, at its larger ones, a small performance space with a more rapid build-up of reflection density than Random Hall. Reverberant tails are randomized.

Plate & Surround Plate

The Plate programs mimic the sounds of metal plates, with high initial diffusion and a relatively bright, colored sound. For this reason, they are good choices for percussion. They are designed to be heard as part of the music, mellowing and thickening the initial sound itself. The Plate sound is what most people associate with the word reverb, and it is useful for all popular music.

Ambience & Surround Ambience

Ambience generates the strong reflections that appear in the first few hundred milliseconds of the reverberation process. These early reflections become part of the direct sound without coloring it, giving it better blend and a definite position in space and conveying the impression of a hall surrounding you while the music is playing. It lends warmth, spaciousness and depth to a performance.

When a signal is supplied to a single input of Surround Ambience – for example the left front – the program

generates early reflections first in the front left and right output channels. If the FSLevel control is set to maximum, reflections are then generated in the left rear and right rear output channels. FSLevel and FSRolloff control the relative level and frequency response between the front early reflections and rear early reflections. In a large room the rear early reflections could be perhaps 3dB less in total level, and somewhat more rolled-off in frequency response. (However, it is unlikely that these differences are audible in practice.)

When a signal is supplied to a rear input, for example the the Left Surround input, the primary early reflections will come from the left surround and right surround outputs, and FSLevel and FSRolloff control the level and frequency response of the early reflections that come from the front. Thus with surround ambience the amplitude and frequency characteristics of a large room can be generated.

The Ambience algorithm is very useful for adding a room sound to recorded music or speech, making it easy to match a studio recording of dialog to a typical room environment. At delay settings of roughly 100 to 500 milliseconds, it can be used to simulate the ambience of very small rooms without the colorations often found in actual spaces of that size. When set to deal with the first 50 msec of the signal, the range perceived as being part of the initial phone, it can be used to realistically add distance to a close-miked signal without diminishing clarity. If an ensemble has been recorded with close miking and pan pots, Ambience can provide the missing blend and depth, increasing apparent distance while preserving the apparent positions of the instruments. It is also useful in matching a closely miked accent microphone to the overall ambience of the recording; this allows a soloist’s level to be increased without changing the apparent distance.

The Ambience algorithm does not include extensive provisions for modifying the characteristics of the late reverberation; the Shape, Spread, and Bass characteristics are fixed. However the apparent size of the late reverberation is adjustable with the size control. High settings of the Size control can be very effective at generating the sound of a large space with high clarity. The lack of the BassMult control can be compensated by adding a low frequency shelving boost of 2 to 6dB below 200Hz to the reverberation sends or returns. This type of boost is often very useful when working with music that includes both vocals and instruments.

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Contents 960L. Digital Effects System Important Safety Instructions Table Of Contents Table Of Contents Introduction Title of SectionMainframe About the 960L DescriptionRear Panel Unpacking the 960LMains Power Switch Clock Card Midi Connectors Five-pin DIN femaleRemote-Control Connectors IEC Power ConnectorFloppy Drive Standby Switch and IndicatorFront Panel ThumbscrewsBehind the Front Panel DSP-Card SlotsCPU Card Ventilation InstallationMounting LocationDigital Audio Connections Midi ConnectionsWordclock Connections LARC2 Remote Navigating Typical Display ScreensLARC2 Remote About the LARC2Unpacking the Larc LARC2 Control Surface LARC2 Control SurfaceGetting What You Want LARC2 ConnectionsNavigating Typical Display Screens A typical display screenMode Faders Joystick About the Faders and JoystickAudio Indicators Fine AdjustLexicon Button Basic Operation AN Overview of the ControlsBasic Operation An Overview of the ControlsSetup Control Mode Quick Guide to Operation960L Owner’s MaunalBasic Operations Quick Guide to Operation Machine Selection Program LoadingEditing a Program or Register Storing Your EditsName screen Info screens are similar Control Mode CLOCKS, Configuration Operations in DetailLoading Programs and Registers Loading ProgramsLoading Registers Alternative Loading TechniquesProgramming Machines Control Mode Clocks, Configuration, and System Screens WordclockInput, Output, and Machine Configuration Locked and unlocked wordclock960L Owner’s Maunal Operations in Detail 44.1/48kHz Dual machines 5-in and 2-in Output Assignment Left Right Center Unused Surround Surround Analog and Digital I/O System ScreenEditing Algorithms Fine AdjustEditing Editing With the FadersEditing with the Joystick Quick Comparisons via the Lexicon ButtonEditing Inputs and Outputs Input PanningOutput 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 25 a Register Info Options Enabled Organizing Your RegistersCD-ROM Machine ModeUsing the Floppy Drive Edit Tools for RegistersUsing the Reverb Programs Using the Reverb Programs Reverberation and RealityUsing The Reverb Program Lexicon, Inc Reverberation and Reality Msec Sound in Space a Short History of Stereo and Surround Algorithms Random HallPlate & Surround Plate Surround HallChamber Ambience & Surround AmbienceAmbient Chamber Reverse & Surround ReverseInverse Parameters Used in the 960L Algorithms Using The Reverb ProgramLexicon, Inc FbckLF FbckLFbckR FbckLSLvLR LvLLLvRR LvRL LvLFLFRShape RearRollRearRvb RSpreadSpin SizeSlope SpreadMidi Nomenclature Midi Channel AllocationChannel Usage Description Bank Description Card ConfigurationBank and Program Mapping Program # DescriptionMidi Sysex Incoming Inquiry Midi Byte Description960Ls response Midi Implementation Chart Specifications Specifications 96K Connector48K Rack Units Factory ProgramsLARC2 User Interface Appendix Appendix Program Descriptions HallsAppendix 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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