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round-robin. For example, if MIDI note numbers are used to assign pitch,
the resonators will constantly be re-tuned to the pitches of the last six MIDI
notes received. (This can produce an effect similar to playing a piano with
the sustain pedal depressed.) In Res2>Plate, pitches are assigned to the six
resonators diatonically, harmonized with the key, scale, and root of your
choice. If MIDI note numbers are used to assign pitch, the resonators will
constantly be re-tuned to harmonize with the incoming notes.
choRUS/FLANGe (SteReo oNLy)
Chorus/Flange is quite similar to other delay algorithms in the PCM96. It
has four delay voices per channel, each delay voice having over 9 seconds of
delay. The delays may be independently panned and filtered. The difference
is in the modulation aspect. The same LFO modulators are available as in
Random Delay, but the voices react differently. In Random Delay, the voices
move abruptly. In Chorus/Flange, they move very gradually, with notice-
able (and desirable) pitch effects as they move. For the chorus effect, the
voices move somewhat independently, yielding a thickening effect without
too much filtering. For the flange effect, voices are generally paired at close
intervals. As they move, a noticeable comb-filtering takes place due to can-
cellation. The voices are often fed back, nearly to the point of instability.
coNceRt hALL (SteReo oNLy)
This is a recreation of one of Lexicon
®
’s oldest algorithms. It was an essen-
tial part of many of the mixes of the late seventies and eighties. It is a less-
dense reverb, allowing it to add lushness to a mix without stepping on the
dry source material. It also has quite noticeable modulation, causing strong
pitch effects at higher settings. The reverb tail has a life of its own, desirable
in pop music, less so in jazz or classical applications.
RooM (SteReo ANd MoNo)
A room is similar to a reverb in that it is used to create the illusion of space.
However it differs in important ways. A room is comprised of a selectable
early impulse taken from actual room measurements. There are several cat-
egories of responses, including small rooms, large rooms and odd rooms
(impulses from unconventional sources). There are parameters to allow
adjustments to this response, including scaling and reversing the response.
In many cases this is sufficient. A reverb tail can be added to the room by
means of an included small reverb algorithm.
Lexicon reverbs are renowned for smooth tails and controlled frequency
response. However, in many cases the earlier components are more impor-
tant. This may be true for some forms of popular music and is even more
true for post-production. In these cases, specific types of spaces need to be
invoked for convincing dialog and effects.
SIGNAL GeNeRAtoR
This algorithm is used to generate test signals. These signals may be used
both for building presets and for testing aspects of recording studio function-
ality.