Signal Type, Spread Early Spread, Tail Width

Signal Type

Selects the type of signal to be created by the signal generator. The types of signal are:

•Sine Wave — When this is selected the signal frequency parameter is used to control frequency.

•Sweep Up — 20Hz to 20KHz sweep. When this is selected the signal rate parameter is used to control rate.

•Sweep Down — 20Khz to 20Hz sweep. When this is selected the signal rate parameter is used to control rate.

•Pink Click — Broadband impulse. When this is selected the signal rate parameter is used to control rate.

•White Noise (correlated) — sends identical white noise to all outputs

•White Noise (decorrelated) — sends decorrelated white noise to all out- puts.

•Pink Noise (correlated) — sends identical pink noise to all outputs

•Pink Noise (decorrelated) — sends decorrelated pink noise to all out- puts.

Spread (Early Spread)

The spread parameter is closely tied to the Shape parameter. Spread is a win- dow of time during which a signal is injected into the reverb. Shape controls just how the signal is injected during this window.

Tail Width

This parameter is present in all stereo reverbs and rooms. The reverb tail (all components of the reverb except for early reflections, etc.) is passed through a simple 2x2 matrix. This provides an encoding of the tail that dramatically changes its spatial characteristics. The tail can be changed to feel narrower (even down to mono) or wider than normal stereo. There are values for the parameter to encode the tail in such a way that it decodes into surround channels.

The parameter operates in the range of 0 to 360 degrees, with an incremen- tal change of 1 degree. The matrix uses Sine/Cosine rules so that power dis- tribution remains constant. This may be acceptible—even highly desirable— but the mix engineer must fully understand the process and its implications.

This is a powerful tool for audio whose release format is two-channel. It is not useful in any other format. Formats include compact disc and radio/tele- vision broadcast. Some of these effects are clear and noticeable without any sort of decoder. Many are even more dramatic when a decoder is in place, such as in a home theater.

Tap Slope

This is an extremely subtle parameter and is useful in only a couple of cases:

•For halls and reverbs with relatively long reverb times, the slope should be slightly positive (0.2 or so). For rooms with very short reverb times, the slope should be slightly negative (-0.2 or so).

•Using a reverb to create a gate effect or to create a pseudo-room sound. MidRT should be at 0. Spread should be fairly high. Shape should be fairly high. Size should be fairly high. TapSlope should be in the range of (0.5 to 1.0). Play with spread, shape and size to vary the effect.

PCM96 specifications

The Lexicon PCM96 is a high-end digital effects processor renowned for its versatility, high-quality sound, and advanced signal processing capabilities. Tailored for both professional studio environments and live sound applications, the PCM96 delivers an impressive range of features that appeal to audio engineers, musicians, and producers alike.

At the core of the PCM96 lies Lexicon’s proprietary algorithm technology, which has been honed over decades of developing industry-leading reverb and effects processors. With its dual-engine architecture, the PCM96 allows users to access a wide variety of effects simultaneously. This dual-engine approach means that the processor can handle complex audio signals with unmatched clarity and precision.

One of the standout features of the PCM96 is its extensive library of reverb algorithms. From lush concert hall environments to tight and intimate spaces, the PCM96 captures the nuances of acoustic realism. Additionally, it provides advanced options for customizing reverb tails, predelay, and diffusion, allowing users to create unique soundscapes tailored to their specific needs.

Beyond reverb, the PCM96 boasts a rich selection of modulation effects, including chorus, flanging, and delay. These effects can be combined with the reverb algorithms for intricate sound design possibilities. The processor supports up to 96 kHz sample rates, ensuring high fidelity and compatibility with professional digital audio workstations (DAWs).

Another key characteristic of the PCM96 is its intuitive user interface. The front panel features a bright LCD display and straightforward controls, making it easy for users to navigate through presets and tweak parameters on the fly. Additionally, the PCM96 can be integrated seamlessly into various digital audio environments via its comprehensive connectivity options, including AES/EBU, S/PDIF, and MIDI.

The PCM96 also supports remote control and automation via MIDI, enabling users to synchronize effects with musical performances or recording sessions. This feature is particularly beneficial for live sound applications where quick adjustments can significantly impact the performance dynamics.

In summary, the Lexicon PCM96 stands out as a premier effects processor that brings together high-quality sound, innovative technologies, and user-friendly design. Its robust set of features, combined with the legendary Lexicon sound, makes it an indispensable tool for audio professionals seeking to elevate their creative possibilities in sound design and music production.