M300 Owner's Manual-English - Lexicon

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300 V 3.0 Owner's ManualLexiconSplit ChamberGeneral DescriptionThe Split Chamber program provides several presets which can be loaded intoany Dual Mono or Cascade setup. In the Dual Mono setups it passes audio MonoIn-Mono Out. In the Cascade setups, audio is routed Mono In-Stereo Out. TheSplit Chamber program can simulate many different types of acoustic spaces ormechanical devices.Th Split Chamber algorithm is great on anything. SIZEs of 25 and larger set alower acoustic density. SHAP and SPRD help create the illusion of larger spaceswhicle using short reverb times. As in the Random Hall algorithm, the LINKparameter couples SIZE to the RTIM and SPRD. Unlink provides a method ofsetting stable RTIM and SPRD values, then adjusting SIZE to set the rightdensity and “tuning”. Split Chamber is bright by design, so you may want to uselower values of TDCY — maybe even as low as 1.0kHz or 500Hz.The randomization circuit in Split Chamber is designed to reduce coloration and/or frequency nodes caused by low frequency input. If you want to create yourown special Chambers or Halls, you should keep RAND set to 90 or 95.Typically, SIZEs of 14-24 meters with TDCYs higher than3.4kHz will emulatebright sounding metal plates. Remember to set SHAP and SPRD to extremelylow values to maintain the explosiveness of the reverb decay. Because platesare very diffuse, any preset mimicking a plate should have DIFF set relativelyhigh (70-80), while BASS is kept to some value less than 1.2kHz.DIFF and PDLY precede the reverberator. When Chamber programs are loadedinto Dual Mono setups, the audio will be Mono In-Mono Out. When loaded intoCascade setups, audio is routed summed Mono In-Stereo Out.Split ChamberParametersSplit Chamber Adjustments Page 1DM: RTIM SIZE PDLY.09-24.11s 4.0-66.4M 0-1000msMchA TDCY SHAP SPRD0.5-21.2kHz 0-255 0-202Split Chamber Adjustments Page 2DM: BASS DIFF RAND0.2-4.0x 0-99 Off,0-98%,Up FullMchA XOVR LINK -0.1-26.5kHz Link/Unlink -Effect Naming PageSplit ChamberΣDiffusionPredelayRTIME SIZE SHAPE SPREADXOVR BASS TDCY LINKRAND4-26
The Algorithms and their ParametersSplit Chamber Adjustments Page 1RTIM sets the reverb time for mid-frequency signals. Because low-frequencyreverb time (BASS) is a multiplier of RTIM, RTIM acts as a master control for thereverb time.RTIM (Mid-FrequencyReverb Time)SIZE sets the rate of buildup of diffusion after the initial period (which is controlledby DIFF). It also acts as a master control for RTIM and SPRD. The SIZE controlchanges a reverb sound from very large to very small. Generally, you should setthe SIZE control to approximate the size of the acoustic space you are trying tocreate, before adjusting anything else. The size in meters is roughly equal to thelongest dimension of the space. Moving SIZE while a signal is present maycause audible transients on critical material.SIZEThe apparent size of the space created is actually a combination of the settingsof the SIZE, SHAP, and SPRD controls. Small acoustic spaces are characterizedby a rapid buildup of diffusion. However, both small and large spacesfrequently have an uneven buildup of initial reverberation. This uneven buildupis controlled by the SPRD and SHAP controls.PDLY adjusts an additional time delay between the input of signal and the onsetof reverberation. The control is not intended to mimic the time delays in naturalspaces. In real rooms the build-up of reverberation is gradual, and the initial timegap is usually relatively short. Natural spaces are best emulated by setting SHAPat a middle value and adjusting SPRD for the desired effective pre-delay.PDLY (Pre-Delay)Additional delay added with the PDLY control can increase the initial time gapslightly, emulating a situation where reverberant pick-up microphones arelocated much further from the source than the main microphones. If less thanabout 30ms of pre-delay is added, this additional delay can add clarity with somemusic, but it can also sound unnatural. Large pre-delays can be useful for slapechoeffects.TDCY sets the frequency above which sounds decay at a progressively fasterrate. It filters all the sound except the pre-echoes. When set relatively low, it givesa darker tone to the reverberation, simulating the effect of air absorption in a realhall. TDCY also helps keep the ambience generated by the program frommuddying the direct sound.TDCY (Treble Decay)SHAP and SPRD work together to control the overall ambience of the reverberationcreated by the 300. SHAP determines the contour of the reverberationenvelope. With SHAP all the way down, reverberation builds explosively, anddecays quickly.SHAP (Shape)As SHAP is advanced, reverberation builds up more slowly and sustains for thetime set by SPRD. With SHAP in the middle, the buildup and sustain of thereverberation envelope emulates a large concert hall (assuming that SPRD is atleast halfway up, and that SIZE is suitably large—30 meters or larger.)4-27
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Unpacking and InspectionAfter unpac
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Contents, cont'd. 4. The Algorithms
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Congratulations on your purchase of
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Installing the 300Installing the300
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Installing the 300The Rear PanelTim
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Installing the 300CablesFor best pe
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Installing the 300ConfigurationsCon
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PUSHPUSHPUSHPUSHPUSHPUSHPUSHPUSHIns
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PUSHPUSHPUSHPUSHInstalling the 300A
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300 V 3.0 Owner's ManualLexiconTerm
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300 V 3.0 Owner's ManualLexiconSETU
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System Operation3System Operation3-
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300 V3.0 Owner's ManualThings to Co
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300 V 3.0 Owner's ManualTroubleshoo
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MIDI Implementation Data9MIDI Imple
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Specifications10300 Specifications1
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SpecificationsAnalog Input to Analo
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M300 Owner's Manual-English - Lexicon

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