M300 Owner's Manual-English - Lexicon

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300 V 3.0 Owner's ManualLexiconStereo Adjust DC Offsets PageDCSW (DC Offset Nulling)This control provides three choices: RESET, MANUAL ADJUST and AUTOADJUST. RESET disables all DC adjustment. AUTO ADJUST enables routinesfor correcting DC offset from material recorded through analog-to-digital convertersthat are not properly trimmed for DC. MANUAL ADJUST allows Softknobselection of offset values.L-DC and R-DC(Lch and Rch DC Offset)Replaces any previously obtained value with the value set here via the soft knob.The display indicates the percent of the correction.SHUF (Binaural Shuffler)SHUF controls a spatial equalizer designed to make recordings from a dummyhead, or closely-spaced omni microphones, more suitable for loudspeakerreproduction. Due to the close spacing of the microphones, there is very littledifference between the two stereo channels below about 300Hz. The shufflerrestores the low frequency separation by first matrixing the L and R signals intoL+R and L-R, bass-boosting the L-R channel, then rematrixing back to L and R.The effect is to convert small time differences (which are not audible inloudspeaker reproduction) between the two microphones into level differences,which are audible. The effect can be dramatic.The frequency below which the boost acts is set by the SHUF control. A settingof 5 will give a 3dB L-R boost at about 150Hz; a setting of 10 will be 3dB up at250Hz. Response rises at 6dB/octave below this frequency. More than 18dB ofgain can be obtained at 20Hz when SHUF is set to 10.This control has been optimized for true binaural recordings, where the differencesignal at low frequencies is minimal. If it is used on ordinary stereo material,or with binaural material to which reverberation has been added, excessive lowfrequency difference signals can result. On such material, it is better to use theSPEQ control which will achieve a similar result.The SHUF control varies from 0 (shuffler off) to a maximum of 10. While theorywould suggest a setting of 10 for a dummy head, a setting of 5 appears to be moreuseful in practice. The setting is very much a matter of taste. If closely spacedmicrophones are used, the setting will scale inversely with the microphonedistance in centimeters. For a spacing of 15cm, try a shuffler setting of 5. For aspacing of 30cm, try a setting of 3. For a spacing of 7cm, try a setting of 10.4-22
The Algorithms and their Parameters"Split" SetupAlgorithmsThe Dual Delay algorithm consists of 2 types of delay lines: Gliding Flangedelays and Fixed delays. This is a true stereo algorithm. (If run in a Dual Monosetup, however, it will be mono.)Dual DelaysGeneral DescriptionTwo independet gliding flange predelays are available, each with a 20ms rangein single sample steps. There is also a ganged stereo gliding flange delay. Thereare two flange gain controls which vary the overall amount of flange effect.The flange glides are typically modulated by the internal LFO. Setting the flangegains very high will cause an “over the top” type of flange to occur as the flangeglide delays cross over the predelay pointers. The outputs of the flange delaysare fed to the delay left and delay right lines which are 2.5 seconds long. Onceinto these delay lines, you can create many different delay effects. There are twoprogrammable taps on each delay line. DLY1 (left) and DLY2 (right) can beprogrammed anywhere along this 2.5 second path. There will, however, be noapparant delay unless a feedback value is assigned to the delay values via FBK1and FBK2. All Pass filters, or diffusors, in line with the feedback paths are labeledAPD (All Pass Delay) and APG (All Pass Gain). The actual “tuning” of the All passdelay is accomplished with the APD control. The amount of diffusion is set byAPG. When APG is turned high and FBK1 is adjusted away from the 0% value,each feedback loop will be rediffused.DLY3 and DLY4 are cross feedback delay lines. They are also adjustableanywhere along the 2.5 second delay line. DLY3 feeds from the left delayposition to the input of the right delay line. The same is true with DLY4 feedinginto the left delay line. The feedback parameters adjust the amount (level)passed into the destination delay lines.The last pair of delay pointers (LDLY and RDLY) can be thought of asindependently adjustable post delays. These can be adjusted anywhere alongthe 2.5 second delay line.The output of each delay line can be positioned anywhere in the stereo pan field.LPAN adjusts the position of the left delay loop; RPAN positions the output of theright delay loop.4-23
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Contents, cont'd. 4. The Algorithms
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M300 Owner's Manual-English - Lexicon

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