PCM 81 Presets PCM 81 Presets PCM 81 Presets Are Organized in 6 Banks (P0-P5) of 50 Presets/Bank (Numbered 0.0 Ð 4.9)

Home , Behind the Beat, Flanging, Reverb effect

PCM 81 Presets PCM 81 Presets PCM 81 presets are organized in 6 Banks (P0-P5) of 50 presets/Bank (numbered 0.0 Ð 4.9). Press Program Banks repeatedly to cycle through the Banks. Within each Bank, presets are functionally grouped. Turn SELECT to view all the presets. Press Load/✱ to load any displayed preset.

Each preset has one or more parameters patched to the front panel ADJUST knob. This gives you instant access to some of the most interesting aspects of the effect. In addition, all of the presets marked with a T can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat. (Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and drum patterns.

Program Bank 0

Multi Effects 1.8 StereoEqEkos ADJUST: Ekos/Beat 1Ð24 3.5 RandomImages ADJUST: ImageKnob 0Ð127 Six rhythmic echo voices are EQ’d and panned across stereo Individual input notes come out at random locations in the 0.0 Prime Blue ADJUST: Efx/Rvb X 0Ð127 space. ADJUST sets the number of repeats per beat. T stereo image. Delays "creep" slowly out to new time values. Three stereo effects: 6-voice chorus, rhythmic echoes, and Best with solo instruments or voices. T reverb. ADJUST changes the effect smoothly from chorus, to 1.9 ADJUpMyEchos ADJUST: EchosLvl 0Ð10 chorus with echoes, to chorus with echoes and reverb, to Concert hall reverb with 4 panned echo voices in the back- reverb with echoes, then to reverb only. T ground. T Special Effects 0.1 EkoChorus ADJUST: FX Mix 0Ð127 3.6 Under Water ADJUST: DrownKnob 0Ð100 A 6-voice stereo chorus with echoes and stereo reverb. Modulation Effects Really pulls you under! This will submerge any track. 0.2 Wet Chorus ADJUST: FX Mix 0Ð100 2.0 FSw2 Elevate ADJUST: Feedback 0Ð99 3.7 Thunder FX ADJUST: FlashTime 0Ð127 A thick wet chorus combined with a small amount of reverb to Multiple echo voices with diffusion, modulation and a touch of Produces a rolling clap of thunder from a percussive source produce a large lush sound. Fattens up any track and is plate reverb. Footswitch 2 is patched to turn on the AR (such as tom toms) and ethereal sweeps from synth pads. especially good for adding body to guitar. Envelope which sweeps the master delay. T Driven by the AR Env, with ADJUST controlling the AR release rate. T 0.3 Wet Chorus 2 ADJUST: FX Mix 0Ð100 2.1 Chorus &Pan ADJUST: LFO Rate 0Ð100 A variation of Wet Chorus with a subtle amount of delays and A moving chorus that shifts the output signal from left to right. 3.8 Thunder FX 2 ADJUST: FlashTime 0Ð127 reverb to produce just the right amount of ambience. Increasing the Delay Master will smear the delay images. A variation of Thunder FX. Zaps are produced by setting a fast release rate. T 0.4 Wet Chorus 3 ADJUST: FX Mix 0Ð100 2.2 Chorus&Amb ADJUST: MstChorus 0Ð100 A variation of Wet Chorus 2 with even thicker chorus (border- Similar to Chorus&Pan but with an added ambience. T 3.9 ChaosImpuls ADJUST: GldResp 0Ð100 ing on a slight flange) and slightly modified delays. Chaotic rhythms and detunings produced from the input 2.3 6 Vox Chorus ADJUST: Less/More 0Ð50 source. Try this with individual percussive hits. 0.5 Chorus Plate ADJUST: KorusMix 0Ð100 Starting point for all chorus sounds. The Delay Master opens Smooth rolling delays combined with an aggressively modu- or closes the spacing between the 6 delay voices. 4.0 DemonDescent ADJUST: GldResp 0Ð100 lated reverb tail. Twisted for guitar. Dark reverb and modulated detuning are combined to create 2.4 Split C&E ADJUST: InputPan 0Ð100 an eerie special effect. 0.6 Chorus Room ADJUST: Decay 0Ð80 The left input is processed into a lush 3-voice chorus with the Slow chorus applied to one side of the reverb. The speed of the voice panners adjusted from center to left. The right input is 4.1 RoughIdle FX ADJUST: Speed 0Ð127 modulation follows input level. processed into a rhythmic 3-voice echo with the output panned Use this to mutate any steady, broad band source into a poorly from center to right. ADJUST cross-pans the inputs. 0=L/R tuned combustion engine. 0.7 ChorusToRvb ADJUST: Decay 0Ð127 stereo, 50=mono, 100=R/L stereo. T Input level controls the relative mix of stereo chorus and 4.2 RoxStutter ADJUST: FX Mix 0Ð100 reverb. Loud signals are mostly chorus, and the reverb level 2.5 Env:PanKorus ADJUST: Chorus 0Ð127 Use on strong rock and roll lead vocals. Trailing echoes on comes up as the signal fades away. The AR Envelope drives the speed of the pan based on the voices 3 and 4 go longer as the signal disappears. Delays 2 presence or absence of input signal. and 5 add more echo presence. 0.8 Funkus Room ADJUST: LFO Rate 0Ð100 Great on electronic pianos / keyboards. Strong modulation 2.6 6 Vox Flange ADJUST: MstrDepth 0Ð100 4.3 Split Pitch? ADJUST: SplitWide 0Ð127 applied to both delays and reverb tail. A rich stereo flanger with a touch of reverb. Modulated varispeed in stereo. One side goes low as the other side goes high. Good for special FX processing of various 0.9 Detune & Room ADJUST: Detune 0Ð127 2.7 Mod Max ADJUST: Mod Knob 0Ð50 sources including synths and dialog. A very tight room combined with separate pitch modulation on Multiple parameters modulated together. With stereo input, the left and right inputs. the LFO drives the input pans to each delay and reverb 4.4 TryTalk’n ADJUST: GldResp 0Ð100 processor. A definite "twist your head off" effect. A variation of Split Pitch with highly colored reverb and 1.0 Detune&Dbl ADJUST: Detune 0Ð127 additional delay voices. Similar to Detune & Room, but several delay voices have been 2.8 PreciseGlide ADJUST: Resonance 0Ð100 added to produce doubling effects. A very clean stereo gliding delay and reverb. T 4.5 AutoInfinite ADJUST: FX Mix 0Ð100 With signal present, the reverb time runs long. With signal 1.1 Tight Space ADJUST: SplitWide 0Ð100 2.9 Round 147 ADJUST: RotorRate 0Ð20 absent, the infinite process is switched on. Once a source is A bright, dry ambience combined with left and right detune and A big wooden rotary speaker cabinet miked fairly close. running in the infinite process, you can play softer passages delay. against it which chorus and echo at the same time. T 3.0 FSw2 Rotary ADJUST: Width 0Ð100 1.2 Flange >Rvb ADJUST: FX Mix 0Ð100 A dual-rotor speaker cabinet with a very wide stereo spin and 4.6 Remove Cntr ADJUST: Cntr Fc 0Ð127 The output of a flanger fed into a concert hall reverb. a touch of ambience. ADJUST controls the width and direction Filters and crosstalk cancellation remove mono material from of the spinning rotors. 0=very wide L→R, 64=mono, 127=very 1.3 Flange+Rvb ADJUST: FX Mix 0Ð100 a stereo mix. ADJUST controls a low pass filter for the center wide R→L. Footswitch 2 toggles slow and fast speeds. The AR A rich 6-voice chorus in parallel with reverb. channel frequencies — turn it up to add mono material back envelope is used to simulate the inertial drag as the rotors into the mix. 1.4 X Eko Flange ADJUST: X-Fbk 0Ð100 speed up or slow down. A stereo flanger with rhythmic echoes feeding into stereo 4.7 V-Eliminate ADJUST: Cut Zone 0Ð127 3.1 RotorCabinet ADJUST: Slow/Fast 0Ð1 reverb. ADJUST controls cross-feedback (which causes the A vocal eliminator. Removes mono material in the vocal range Similar to FSw 2 Rotor, but ADJUST is used to toggle the echoes to bounce from side to side as they repeat). T from a stereo mix. Mono low and high frequencies (kick, bass, speed of the rotors between slow and fast. FX Width sets the snare cymbals, etc.) are kept in the mix. ADJUST controls the 1.5 Glide > Verb ADJUST: FX Mix 0Ð100 width and direction of the spin. width of the elimination band. Phase cancellation will occur if Three stereo effects in series: gliding delays, rhythmic echoes the two outputs are summed to mono. 3.2 MIDI Rotary ADJUST: EkoFbk 0Ð100 and reverb. Similar to FSw 2 Rotor, but with echoes added and the rotors 4.8 NoCenter Eko ADJUST: Center Fc 0Ð127 1.6 Glide X-Ekos ADJUST: Eko Time 0Ð100 patched for MIDI control. MIDI AfterTouch toggles speed. Similar to Remove Cntr with delays added to the processed Similar to Glide > Verb, but ADJUST lets you dial in echo times Press hard to spin fast, press hard again to spin slow. T signal. You can add echoes to the left and right material from 0-2 seconds. Feedback and cross feedback are com- without affecting the mono material (vocals, kick, or snare) of 3.3 Tiled Rotary ADJUST: Slow/Fast 0Ð1 bined to create echo patterns that change as they repeat. a stereo mix or sub mix. ADJUST controls a low pass filter for The RotorCabinet effect in a tiled room. Try it with background the center channel frequencies. T 1.7 Detuned Ekos ADJUST: Ekos/Beat 1Ð24 vocals, as well as keyboard and guitar sources. Plate reverb combined with independent stereo delays. The 4.9 Rvb On LÐR ADJUST: Decay 0Ð127 3.4 RotoWood ADJUST: Speed 0Ð10 delay voices are diffused and modulated. The echoes are Similar to NoCenterEko, this effect adds dense plate reverb to ADJUST quickly advances the speed of the rotors. Increase rhythmic. T the left and right material without affecting the mono material the Feedback Master for more upper rotor “howling”. in a stereo mix.

Rhythmic Echo and Delay Effects 1.6 LatchedEkos ADJUST: EchoWidth 1Ð99 3.4 Haas PanKnob ADJUST: L=0, R=127 0Ð127 The inputs and outputs of stereo delays are gated on and off A panner that uses the slight differences in left and right 0.0 [n]Ekos/Beat ADJUST: [n] 1Ð24 by two rhythmic switches. The AR envelope alternates the left channel delay to produce panning without changing relative Stereo echoes with a touch of reverb. ADJUST controls the and right delay outputs. ADJUST controls how long the inputs levels. number of echoes per beat. T to the delays remain open over a period of four beats. T 3.5 Dial a Delay ADJUST: Delay 0Ð100 0.1 StereoTapDly ADJUST: Mstr Fbk 0Ð100 1.7 X-PanEQ BPM ADJUST: Low Tone 0-60 Your basic delay. Use ADJUST to dial-in up to 2.5 seconds of A variation of [n]Ekos/Beat, with left and right delay voices. T Inputs cross-panned between independent left and right band stereo delay. 0.2 OffBeat Eko ADJUST: DarkKnob 0Ð127 pass filters with some bright, highly diffused reverb. The pan 3.6 PrecisionDly ADJUST: L ms/100 0Ð100 A variation of [n]Ekos/Beat that produces a syncopated echo rate is tempo controlled. ADJUST controls the low frequency Provides precise alignment of left and right channel audio. rhythm pattern. ADJUST controls high cut filters in the echo limits of both bands. T ADJUST allows you to offset the left channel by up to 1 ms in feedback paths. Great for tape echo effects. T 1.8 Pan->Eko BPM ADJUST: DarkKnob 0Ð127 100 increments. 0.3 OffBeat Eko2 ADJUST: DarkKnob 0Ð127 Inputs are panned across the stereo inputs of a reverb and Additional rhythmic delay voices are used to create a more independent left and right delays, each with slightly different complicated syncopation pattern than OffBeat Eko. T EQ. The pan rate is tempo controlled. ADJUST controls the Ambience Effects high frequency limits of both bands. T 3.7 PhoneOrRoom? ADJUST: Pick One 0Ð1 0.4 Dotted 8ths ADJUST: EchoSlope 0Ð127 Use ADJUST to choose between a mono telephone filter and Rhythmic delay voices produce a dotted 8th-note pattern. 1.9 Tempo Verb ADJUST: Liveness 0Ð40 a small room with stereo ambience. ADJUST controls the slope of the first six repeats. 0=loud to A tempo-based reverb effect with decay changing in tempo. T soft (normal echoes), 64=six repeats of equal loudness, 2.0 Tempo Gate ADJUST: High Cut 0-50 3.8 CheapTV Room ADJUST: The Walls 1Ð10 127=soft to loud (reversed echoes). T A heavily gated reverb effect with duration set by tempo. T Simulates the sound of a Lo-Fi TV in a small room. Use ADJUST to change the reflectivity of the walls. 0.5 Shuffle Ekos ADJUST: Shufl Lvl 0Ð127 2.1 Tape Echo ADJUST: DarkKnob 0Ð127 Creates echoes with a shuffle feel. One repeat on the beat Simulates a stereo tape echo. The echo rate is tempo- 3.9 Empty Stage ADJUST: Liveness 0Ð127 followed by one repeat off the beat. ADJUST controls the controlled. ADJUST controls high frequency damping. T Made for creating live sounding spaces. ADJUST opens the relative levels of the on and off-beat echoes. T space to be more reflective and airy. 2.2 NonLinear 1 ADJUST: EchoSlope 0Ð127 0.6 Shuffles ADJUST: EchoSlope 0Ð127 Produces echoes with non linear decay. ADJUST controls the 4.0 Tomb Room ADJUST: The Walls 1Ð10 Rhythmic delay voices produce a shuffle pattern. ADJUST decay slope. 0=loud to soft (normal echoes), 64=six repeats Places source material within a very reflective tomb. ADJUST controls the slope of the first six repeats. 0=loud to soft (normal of equal loudness, 127=soft to loud (reversed echoes). The moves the source deeper into this scary space. echoes), 64=six repeats of equal loudness, 127=soft to loud slope is set to produce a simple reversed echo effect. The (reversed echoes). T 4.1 Comb Room ADJUST: Tone 0Ð100 repeat rate is tempo-controlled. T A tunable comb filter and reverb produce a highly colored 0.7 Sliding Eko ADJUST: Slide It! 0Ð100 2.3 NonLinear 2 ADJUST: EchoSlope 0Ð127 ambience. Use ADJUST to change the tuning of the comb This stereo delay effect lets you dial in the perfect “feel” to Chorus and reverb have been added to NonLinear 1, and the filter. match the moment. Two echoes are produced: one is fixed on delays bounce from side to side as they repeat. The slope is the beat, the other can be slid in musical time anywhere in front 4.2 Zoom Over ADJUST: Speed 1Ð25 set to 64 to produce repeats of equal loudness. T of or behind the beat by turning ADJUST. 0-49=in front of the Run an effect (or even a continuous synthesizer drone) into beat, 50=on the beat, 51Ð100=behind the beat. T 2.4 NonLinear 3 ADJUST: EchoSlope 0Ð127 this preset, and the sound will approach you from the center, A variation of NonLinear 2 with more radical processing and an spread out to the sides as it passes overhead, and recede into 0.8 Six Trips ADJUST: EchoSlope 0Ð127 inverted slope. T the distance behind you. ADJUST controls the speed of the fly- Rhythmic delay voices produce a 6-note triplet pattern. Each by. This effect will image properly in either 2-channel or repeat gets progressively louder. ADJUST controls the slope 2.5 Six Across ADJUST: Spacing 0-100 Surround mixes. of the first six repeats. 0=loud to soft (normal echoes), 64= six A multi-tap delay effect that filters each voice to a specific repeats of equal loudness, 127=soft to loud (reversed ech- bandbass with each tap positioned succesively across the 4.3 OneShotCarBy ADJUST: Speed 1Ð100 oes). T panoramic spectrum. Input level triggers this left-to-right drive-by. When signal is detected, it will move from left to right. Doppler pitch shift is 0.9 6 StrokeRoll ADJUST: Attack 0Ð127 2.6 BandEko Rvb ADJUST: Center Fc 0Ð127 simulated as the image moves across the stereo field. Once Turn a single drum hit into a six-stroke roll with this effect. The outputs of a stereo band pass filter are sent to left and right audio has been detected, the effect will cycle once. To drive by ADJUST controls the attack of the first five repeats. 0=loud to rhythmic delays in the reverb diffusor loop. Produces diffuse, again, stop and restart the audio track. To reverse the direction soft (normal echoes), 64= five repeats of equal loudness, highly colored echoes and reverb. T of the effect, set the Width parameter to Ð45. 127=soft to loud (reversed echoes). T 2.7 BandEkoSweep ADJUST: Mstr Fbk 0Ð100 4.4 AmbientCarBy ADJUST: Speed 1Ð100 1.0 TapGated Rvb ADJUST: Gate dB 0Ð85 A variation of BandEko Rvb. The center frequency of the band A variation of OneShotCarBy, enhanced by some stereo A tempo-controlled LFO is used as a rhythmic gate to the pass filter is swept by the LFO, producing echoes of shifting ambience. This effect repeats automatically. ADJUST con- inputs of a large stereo chamber. The gate is opened every colors. Reverb and diffusion are turned off. T trols the speed of the drive-by. other beat for a duration of 1 eighth-note. Use this to add reverb to selected beats of a stereo source. (Try synchronizing to 2.8 LFO EQ Echo ADJUST: LC Depth 0Ð100 4.5 HeadOn CarBy ADJUST: Speed 1Ð100 MIDI with a drum machine as a source.) ADJUST controls the A stereo rhythmic effect created by modulating low cut and Less ambience than ZoomOver, and more appropriate for input levels in dB to the reverb when the gate is closed. high cut filters with the LFO sine and cosine waves. Interesting things that approach on the road. This effect will image 0=always open (0dB), 85=fully closed (-85dB). T on rhythm tracks and individual instruments. T properly in either 2-channel or Surround mixes. 1.1 TapEkoGate 1 ADJUST: GateDepth 0Ð127 2.9 Chase Echo ADJUST: ChaseRate 0Ð100 4.6 2WayStreet ADJUST: Speed 1Ð100 → → A tempo-controlled LFO is used as a rhythmic gate to the LFO EQ Echo with panning added to the filtered delay outputs. Produces both L R and R L drive-by effects — like listening inputs of a delay/reverb combination. The gate is opened once T to the sound of traffic on a two-way street. The speed for each direction is slightly different. ADJUST is a master speed every four beats for a duration of 1 eighth-note. ADJUST 3.0 Panned Dlys ADJUST: Mstr Fbk 0Ð100 control for both eastbound and westbound traffic. determines the portion of the four beats in which the gate is A pair of delays are panned to produce echoes that drift across open. 0=open for all four beats, 127=open for only the first 16th stereo space. T 4.7 IntoTunnel ADJUST: Speed 1Ð25 note of four beats. T Simulates the sound of a source approaching you from the 3.1 X-Pan Delays ADJUST: Mstr Fbk 0Ð100 side, passing you, then entering a tunnel. ADJUST controls 1.2 TapEkoGate 2 ADJUST: GateWidth 0Ð127 The outputs of the delay pair are cross-panned. Mono material the speed of the source. To reverse the direction of the effect, A variation of TapEkoGate 1 with different echo rhythms. T produces echoes that repeat, but remain in the center. Stereo set the Width parameter to Ð45. 1.3 TapEkoClear ADJUST: GateWidth 0Ð127 material slowly swaps left and right as it repeats. T 4.8 2WayTunnel ADJUST: Speed 1Ð100 Similar to the two TapEkoGates, except that the rhythmic gate 3.2 Dly>EQ>Pans ADJUST: Mstr Fbk 0Ð100 A variation of IntoTunnel. The source approaches and enters is also patched to clear the delay voices when it opens. This The input signal is split into two frequency bands which are the tunnel, then turns around and comes back. allows very high delay feedback values to be used without sent through different rhythmic delays with their outputs creating long echo trails. T panned in opposite directions. This effect deconstructs the 4.9 FinishLine ADJUST: Speed 1Ð100 1.4 Tap Chamber1 ADJUST: Width 0Ð90 tone of input material, except when the panning and delay Two pairs of stereo delays added to the basic drive-by effect A tight chamber with liveness that is tempo controlled. rhythms align in the center of the stereo field. Try it with a drum simulate the 1st, 2nd, and 3rd place cars crossing the finish ADJUST controls the width of the reverb within the overall mix or other broadband material. T line. ADJUST controls the speed. Try this and the other drive- by effects with different types of source material. Almost any stereo image of the effect (0=mono, 45=stereo, 90=surround). 3.3 Ekoz 4 Drums ADJUST: FX Mix 0Ð100 continuous source will produce interesting spatial sound ef- Use this to open up sampled drum mixes. T A space setter for percussive instruments. Combines a short fects. Low, buzzy synthesizer tones work particularly well. 1.5 Tap Chamber2 ADJUST: Decay 0Ð127 plate reverb effect with four high density echoes which are A version of Vox Chamber with a rhythmic twist. The width of highly diffused. T the reverb within the overall stereo image of the effect is changed rhythmically by Sw1. T PCM 81 Presets Program Bank 2

EQEffects 1.7 Backstage ADJUST: How Far? 0Ð127 3.4 AutoFadeIn 1 ADJUST: FX Mix 0Ð100 Remember what the concert sounded like from the green Input level produces an automatic volume swell into a chorus/ 0.0 StereoLoPass ADJUST: CutOff 0Ð127 room? This effect will take you there and let you wander delay reverb effect. Great with guitar and keyboard A stereo low pass filter and a stereo reverb in parallel. Add around. Turn up ADJUST to travel further from the stage until, chords.The fade in rate is moderate. T reverb by changing FX Mix. T finally, you’re out in the parking lot. 3.5 AutoFadeIn 2 ADJUST: Fade Rate 0Ð100 0.1 Low Pass HiQ ADJUST: Cutoff 0Ð127 1.8 Steered Rear ADJUST: Decay 0Ð10 A variation of AutoFadeIn with adjustable fade-in rate. T The same basic effect as StereoLoPass, but with feedback The Width parameter steers this plate effect from front to back adjusted to produce a more resonant filter. T after the AR releases based on input level. Due to the strong 3.6 AutoFadeIn 3 ADJUST: Rvb Lvl 0Ð127 spatial positioning at the end of the decay, this preset is not A variation of AutoFadeIn 1 with shorter delay times and a 0.2 Low Pass LFO ADJUST: Depth 0Ð127 lighter touch on the chorus effect. T The cutoff of the stereo low pass filter is swept with a rhythmic mono compatible. LFO sine wave. ADJUST controls the low frequency limit of the 1.9 Too Deep! ADJUST: Decay 0Ð40 3.7 ChordSwells ADJUST: Rvb Lvl 0-127 sweep. T Left and right envelope followers control the post delay glides A more dramatic version of AutoFadeIn. The fade time is quite while the AR generator controls reverb width. long, and the chorus and delay effects are fairly strong. Try it 0.3 StereoHiPass ADJUST: Cutoff 0Ð127 with sustained piano or guitar chords. T A stereo high pass filter and a stereo reverb in parallel. Add 2.0 Dyna-Hall ADJUST: Decay 0Ð30 reverb by changing FX Mix. A tamer version of Too Deep! No envelope chorusing. Good, 3.8 BowedChords ADJUST: FX Mix 0Ð100 beautiful, straight ahead, and spacious. A subtler version of AutoFadeIn. Chorusing is turned off and 0.4 StereoB-Pass ADJUST: Center 0Ð127 delays are more subdued. Essentially a volume swell into A stereo band pass filter and a stereo reverb in parallel. Add 2.1 RotoRox ADJUST: FX Mix 0-100 reverb. Use it to pull cello-like tones from sustained notes or reverb by changing FX Mix. Crossfades deeper into two delay voices when input is absent. block chords. Very nice with grand piano. T Great vocal effects for thickly-produced rock and roll. 0.5 Stereo Notch ADJUST: Center 0Ð127 3.9 BowedEchoes ADJUST: FX Mix 0Ð100 A variation of StereoB-Pass which combines a phase inverted 2.2 RotoRoomVox ADJUST: Decay 0Ð100 Input level controls feedback and triggers the fade-in, produc- output of the band pass filter with unprocessed signal to create A medium large sized room that continuously changes width ing echoes with soft attacks that appear when the input signal a notch filter. ADJUST sets the center frequency. according to LFO speed. Nice roomy effect for background drops. T vocals. 0.6 SweptNotches ADJUST: Rate 0Ð100 4.0 Pedal Swell ADJUST: FX Mix 0Ð100 Produces vowel-like sounds by sweeping two pairs of notches 2.3 RotoRoom ADJUST: Decay 0Ð60 A combination of four 400 ms delays, a slight amount of with two independent time switches. Very unusual tonal varia- Similar to RotoRoomVox, except the speed of the spatial width chorus, and a hint of reverb. The Foot Pedal is patched to left tions from broad band sources (rich pads, drums, industrial modulation is stable, with the speed of the LFO constant. and right input levels for majestic volume swells. sound effects, etc.) Generates a good deal of spatial move- Room is smaller, more dense-sounding and brighter. ment within a stereo or Surround mix. 2.4 RotoRoom#2 ADJUST: Rt & Rate 0Ð60 Resonant Chord Effects 0.7 Env Notches ADJUST: Release 0Ð100 Way cool on a stinger sound effect! Dynamically spacious. Not Produces vocalization effects from dynamic sources. The mono compatible. 4.1 Rez Climber ADJUST: Tuning 0Ð60 inputs are summed to mono, and the notch filters, which are Try this with dialog or unpitched source material. AR Enve- tuned to vocal formants, are swept by the resulting input lope, triggered by mono input level, dynamically sweeps the envelope. Gain Effects resonators through the 2nd Ð 5th pitches of the harmonic series. ADJUST sets the fundamental pitch for the series. T 0.8 BandReject 4 ADJUST: FX Mix 0Ð100 2.5 Tremolo Tap1 ADJUST: Depth 0Ð127 Three independent modulators are used to sweep filters and A basic tremolo effect with a small amount of ambience. Left 4.2 Chord Walk ADJUST: High Cut 0Ð50 pan the outputs, resulting in an effect with constantly changing and right channels are processed separately to maintain the Resonators are used to generate a rhythmic chord pattern tonal and spatial characteristics. image of stereo source material. The tremolo rate is tempo from unpitched source material. Sw 1 and Sw 2 are used to controlled (2 cycles/beat). T change the chord root-note and mode, and to vary the rhythm. 0.9 WaaPedalEko ADJUST: FeedBack 0Ð10 Try this with a simple kick, snare and hi-hat pattern. T Wah-wah with echoes. Foot Pedal is patched to filter cutoff. T 2.6 X-TremoloTap ADJUST: Depth 0-127 A variation of TremoloTap1 with left and right modulation 90¡ 4.3 Mars Bars ADJUST: High Cut 0Ð50 1.0 RotorWaa ADJUST: Rate 0Ð10 Resonators are used to create a truly weird and spacey A tempo-controlled wah-wah effect. ADJUST controls the out-of-phase, producing a stereo effect that doesn’t collapse in a mono mix. If the input source is mono, the sound will seem special effect. Use on any continuous sound effect, dialog, or rhythm of the modulator. T even instrumental track. The tuning of the resonators is swept to move from side to side. If the input source is stereo (or two slowly through a series of pitches by the LFO. T different mono sources) the left and right channels will alter- Spatial Effects nately grow loud and soft. T 4.4 ModalImpulse ADJUST: Tone 0Ð50 Resonators are tuned to arpeggiate a modal 7th chord. The 1.1 Movable Echo ADJUST: Position 0-127 2.7 Panner BPM ADJUST: Pan Phase 0Ð1 Designed for use with either stereo or Surround mixes, this rhythm of the arpeggio is tempo-controlled. Works well with A tempo-controlled auto panner with inputs independently dual delay can be positioned anywhere between the center, single percussion hits (such as kick or snare). Change key, panned left and right. If the input source is mono it will pan from side and rear channels. ADJUST sets the position. 0=center, scale and root note of the arpeggio with the Pitch parameters. side to side. If the input source is stereo (or two different mono 64=side channels, 127=rear channel. T sources), the two sources will chase each other between the 1.2 Movable Hall ADJUST: Position 0Ð127 speakers. Set ADJUST to 0 for “normal” auto panning. T 4.5 Major Minor ADJUST: Tone 0Ð50 Similar to Movable Echo, this concert hall reverb effect can be A 6-note modal chord built one note at a time. Use a single 2.8 Nice Pan! ADJUST: FX Mix 0-100 positioned anywhere between the center, side and rear chan- percussion hit as an input source (a slowly repeating snare hit Combines static time-based delays which move back and forth nels. works well). The notes in the chord are added slowly over 24 in the stereo field with a short, bright chorus plate. Great for beats. The effect is tempo-controlled. As the chord builds, it is 1.3 Go Away ADJUST: How Far? 0Ð127 acoustic guitars. changed rhythmically between major and minor scales. The Take a stereo source and move it anywhere from in your face 2.9 Spin & Duck ADJUST: Spin Rate 0Ð127 root note of the chord is also changed in a rhythmic manner. to far, far away. Use ADJUST to move the source. 0=unproc- Panning combined with 6-voice chorus delays and reverb to The LFO controls the rate of the build and the major minor shift. essed stereo, 127=far away. Compatible with stereo and produce a rich spacious effect. Delays are tempo-controlled Sw 2 controls the changing root notes. T Surround mixes. and ducked by input level. They won’t be heard during active 4.6 MIDIChords ADJUST: Sparkle 0Ð5 1.4 Circular Pan ADJUST: Rate 0Ð100 passages, but will fade up in the spaces between phrases. T Driven by MIDI Note Number. Resonators follow the note in a Similar to Go Away, this preset sums the inputs to mono and 3.0 MultiFxFade ADJUST: FX Mix 0Ð100 diatonic tone cluster. If the audio source is the same as the uses the LFO to control EQ, reverb and stereo width to pan the AR envelope is used to create a moderate fade-in of chorus, MIDI source (a synthesizer), the effect is a little like harmoni- sound through a circular orbit. From right through center,to left delay and reverb effects. Try this with guitars and keys. T zation. Will pass audio if there is no MIDI input. through rear, to right. As the sound approaches the center, it grows brighter, louder and dryer. As it recedes towards the 3.1 Ghost ADJUST: FadeShape 0Ð100 4.7 LvlSweeper ADJUST: Color 0Ð34 rear, it grows darker, softer and more reverberant. In a Sur- Source material is accompanied by a ghostly image of itself. Driven by level. Any input that exceeds the input threshold will round mix, the center and rear positions of the orbit will feed Not quite reverb, not quite backwards audio. Works well with cause a little burst of resonators that quickly swirl through the only the center and rear channels of the mix. short percussive sources as well as more sustained ones. stereo field. T 1.5 Spatial Hall ADJUST: Position 0Ð35 3.2 Ghost Flange ADJUST: FadeShape 0Ð100 4.8 Sweeper ADJUST: Pitch 0Ð24 A multi-dimensional preset which changes as you increase or A variation of Ghost with some flanging added. Try this with A resonant arpeggiator in which a tempo-driven LFO controls decrease ADJUST. Not mono compatible. lead guitar. the resonator pitches.T 1.6 Rear of Hall ADJUST: Decay 0Ð60 3.3 GhostVibrato ADJUST: FadeShape 0Ð100 4.9 MIDISustain ADJUST: Bright 0Ð5 A really huge space, and you’re in the back of it. ADJUST Another Ghost variation. This one will produce a delayed Resonators are assigned as the notes are played. (When changes the reverberation characteristics, making it boomier. vibrato on sustained notes. playing chords, it's best to spread them a little.) Footswitch 2 works like a piano damper pedal. When the audio source is the same as the MIDI source, the effect is a little like playing a piano while holding down the pedal. This preset requires MIDI note input or it will not pass audio. PCM 81 Presets Lexicon Program Bank 3

Reverb Effects 2.3 Vocal Hall ADJUST: Decay 0Ð60 3.8 SweepVerb ADJUST: GldResp 0Ð100 Combines tempo-related early reflections with longer tempo- Left and right reverb outputs are detuned in opposite directions 0.0 Small+Stage ADJUST: Stage Lvl 0Ð50 related post delays. Great for ballads. T by the AR, which is triggered by input level. ADJUST controls A smooth, small reverberant space combined with several the amount of detune. To open up the space around percus- stage reflections. 2.4 Deep Space ADJUST: FX Mix 0Ð100 sive sources, use very low settings of ADJUST. Higher set- A narrow space which snakes on forever. Goes from bright to 0.1 Small Room ADJUST: Liveness 0Ð60 tings will produce radical pitch swoops in the reverb. dull while the speed of the width modulation changes as well. Use ADJUST to quickly change the ambient characteristics of Sound effect worthy! T 3.9 EnveloVerb ADJUST: Rt HC 0Ð40 this typically tight sounding room. Great for ADR work. Great on sustained and slowly fading sound sources. The AR 2.5 Plate4 Horns ADJUST: Impact 0Ð100 0.2 Living Room ADJUST: Decay 0Ð60 generator controls reverb output as well as Rt. Bright and percussive for horn tracks needing that certain Another ADR preset,medium spaced but with a short Rt. edge. ADJUST modifies the attack and release characteris- 0.3 Brick Kick ADJUST: Liveness 0Ð100 tics. Remix Effects Kicks *ss on kick drums or the entire submix. 2.6 Alley Slap ADJUST: Pre Delay 0Ð100 4.0 Super Ball! ADJUST: Bounce It 0Ð1 0.4 Large Room ADJUST: Decay 0Ð60 Great for any punctuated sound source — vocals, guitars, Lets you turn any source into a bouncing ball. Run a track or A perfectly smooth listening room with medium diffusion. Very anything. T instrument, click ADJUST to 1 and back to 0 and sit back. The natural sounding on any sound source. effect captures a stereo sample on the fly, loops it and 2.7 Drum Gate ADJUST: Duration 0Ð70 decreases the loop size as it repeats. (Reverb is added while 0.5 SnareChamber ADJUST: Liveness 0Ð60 An inverse gated effect that is low on diffusion and high on the loop plays.) When the loop size gets to zero, the effect A classic from the PCM 70. attitude. Made for drums and other high impact sources. resets and starts sampling the inputs again. Loop size is 0.6 Tiled Room ADJUST: Decay 0Ð60 2.8 Slope Down ADJUST: Duration 0Ð100 tempo-controlled. T A future classic... Very inverse sounding. ADJUST varies the length of the slope. 4.1 LevlStutter ADJUST: Mstr Fbk 0-100 The AR Envelope, triggered by mono level, cranks in a Delays are driven by input level (higher level=shorter delays) 0.7 Rich Chamber ADJUST: Decay 0Ð60 downward spiraling pitch shift. Unearthly on voices. Smooth and full sounding. and tempo. Works best for deconstructing dialog, but also interesting with any audio with lots of holes. T 0.8 Vox Chamber ADJUST: Liveness 0Ð60 Processed Reverb Effects Combines recirculating echoes which fall away quickly once 4.2 Freeze 2 of 8 ADJUST: Feedback 0Ð100 signal is absent. Increasing ADJUST lengthens the reverb 2.9 BigBoomRoom ADJUST: BoomKnob 0Ð36 Automatically freezes 2 beats out of every 8. ADJUST lets you decay, which will mask the reflection echoes. For vocals. Envelope followers glide the left and right post delays, giving set the feedback level when the loop is off. Try this one with a a strong modulation effect to the reverb tail. Use on punchy low dance mix, or MIDI drum patterns. T 0.9 Locker Room ADJUST: Depth 0Ð127 frequency sound sources. Just like in high school. ADJUST creates a deeper, more 4.3 Freeze 2over3 ADJUST: Feedback 0Ð100 reverberant sound. 3.0 Whammy Hall ADJUST: Decay 0Ð30 A slightly more diabolical version of Freeze 2 of 8. Loops 2 out If your guitar doesn’t have a whammy bar, it does now. The AR of every 8 beats, but left and right delays are set to different 1.0 Wide Chamber ADJUST: Decay 0Ð60 generator, triggered by mono level, controls LFO depth, which rhythmic values. The result is a 2 against 3 pattern that Big and wide sounding with a preset short Mid Rt. Use on synth drives the two post delays after the reverb. The Release alternates between left and right channels. ADJUST sets the pads or vocals. constant is set rather long so that the depth reaches full scale feedback for both delays while the loop is off. T 1.1 Gate Chamber ADJUST: Duration 0Ð64 after 2.2 seconds. 4.4 Freeze&Speed ADJUST: Freeze It 0Ð1 Bright, moderatly dense reverb envelope with an abrupt cutoff. 3.1 JetChamber ADJUST: Jet Knob 0Ð127 Grab and freeze portions of the source material on the fly. Click ADJUST sets the length of the gate. A big chamber reverb with stereo flanging on the outputs. Use ADJUST from 0 to 1 to freeze the loop. It will repeat infinitely, growing more diffuse as it repeats. Click ADJUST back to 0 to 1.2 Vox Plate ADJUST: Decay 0Ð30 ADJUST to set the amount of “whoosh.” The rate of the flange turn the loop off. The loop will speed up for a short time before Bright, straight ahead preset for vocals with some added is controlled by the LFO. turning off. The AR Release parameter sets the speed-up strengthening reflections. 3.2 EnvChamber ADJUST: Jet Knob 0Ð127 time. Loop size is tempo-controlled. Change it on the fly by 1.3 Good olPlate ADJUST: Decay 0Ð60 Similar to JetChamber with flanging controlled by input level. pressing Tap while the loop is off. T The old plate you might have heard years ago. The reverb Drums have little or no reverb flanging while active, but 4.5 ADJToFreeze ADJUST: Freeze It 0Ð1 effect is slightly mono. individual hits and fills have pronounced flanging during the reverb tail. Also works well with a variety of sources including Click ADJUST to create an infinite stereo loop of the input 1.4 Slap Plate ADJUST: Decay 0Ð60 acoustic guitar and piano. source. Click it again to stop the loop. A little reverb is added Added reflections to a medium sized plate. Vary Delay Master while the loop is on. Loop size is tempo-controlled. Change it to increase delay time. 3.3 Wizz and Wazz ADJUST: Decay 0Ð127 on the fly by pressing Tap while the loop is off. The preset is This tempo-driven effect has delays that whiz from left to right. set to freeze 1 beat, but you can set any rhythm you want by 1.5 Brass Plate ADJUST: Decay 0Ð60 FX Mix is also linked to tempo, going slowly from delays to changing the delay values. T A dark heavy plate. Good for percussion or pianos. reverb, then abruptly back to delays. T 4.6 ADJToFreeze2 ADJUST: Freeze It 0Ð1 1.6 Drum Plate ADJUST: Decay 0Ð60 3.4 Sci Fi ADJUST: Wiggle 0Ð127 The same basic loop effect as ADJToFreeze, but the delays Short and percussive for a drum sub-mix. An LFO modulated reverb puts a big spacious halo around are set to different values for the left and the right side. In this unpitched sources, like drums. ADJUST controls the depth of 1.7 Rich Plate ADJUST: Decat 0Ð60 preset a 2 against 3 pattern will be created. T modulation. Lower settings of ADJUST will work best with Straight ahead basic Plate. pitched sources. Higher settings can yield some interesting 4.7 F Sw2 Freeze ADJUST: Feedback 0Ð100 1.8 Concert Wave ADJUST: Wave Knob 0Ð40 sound effects. (Listen to a high piano note with ADJUST at A very useful infinite delay effect. Use ADJUST to set the Wavey spacious sound. Nice on long sustained sounds. about 100 Ðdefinite science fiction material!) feedback level. Footswitch 2 is patched to turn infinite repeat ADJUST cranks the waviness of the decay. T on and off. T 3.5 Wobble Plate ADJUST: Wobble 0Ð30 1.9 Concert Hall ADJUST: Decay 0Ð100 A different type of chorus plate. ADJUST controls glide re- 4.8 FSw2 Speedup ADJUST: How Long? 0Ð100 Great for pianos, voice, and acoustic instruments. sponse. Footswitch 2 is patched to turn on an infinite loop while it is held down. When the footswitch is released, the loop continues but 2.0 ConcertHall2 ADJUST: Emty/Full 0-15 3.6 Dyna Vibrato ADJUST: Glide 0Ð127 grows shorter with every repeat until the loop size is 0. Use Rather large concert hall space with a couple of reflections Input level triggers a delayed vibrato. The vibrato is created by ADJUST to set the amount of time it takes for the loop to shrink reinforcing the source before the onset of reverberation. modulating two pairs of gliding delays. ADJUST controls the to nothing. A footswitch must be connected to make this preset ADJUST changes the absorption characteristics from an offset between the delay pairs, thickening the effect. Good for work. T empty space to one that's fully occupied. sweetening up acoustic guitar, dry sampler or synth tracks, etc. 4.9 LongestLoop ADJUST: FX Mix 0Ð100 2.1 Piano Hall ADJUST: Decay 0-60 A cross-feedback path in the delay voices is used to create a A long and smooth rolling effect with just the slightest hint of 3.7 VibroVerb ADJUST: V-Depth 0Ð127 5-second mono loop. Footswitch 2 is patched to turn infinite modulation. Reduce the depth parameter to sharpen the Reverb processed to produce a vibrato that wanders slowly repeat off and on and, at the same time, to change the mix from attack of the reverb. between two rates. ADJUST sets the depth of the vibrato. Low 0 % to 100 % wet. Footswitch 1 is patched to clear the delays. settings of ADJUST work nicely to open up the space around A footswitch must be connected to make this preset work. 2.2 Medium Hall ADJUST: Decay 0Ð60 backing tracks. Higher settings can be used to add character Smaller version of the Concert Hall preset. Use Predelay to to dry synthesizer tones, guitar and piano. separate the source from the acoustic space. PCM 81 Presets Program Bank 4

1.7 MIDI Pitch ADJUST:Rvb Mix 0-100 3.2 PowerNotes ADJUST: 5ths Lvl 0-100 Vocal Shift Harmonizes source material via single notes played on a MIDI Tuned up to give you a power chord from a single note. Each keyboard. The amount of pitch shift is determined by the note is doubled at the unison and at an octave down. ADJUST 0.0 FixYerVox ADJUST:Offset 0-100 interval above or below middle C. The audio source should not lets you tune in two fifths, one below and one above the input Turns a marginal singer into a star. Bounce vocals to another be the one used to generate the MIDI notes. note. track and fix the pitch on the fly. ADJUST gives you +100 cents of offset to correct any other intonation. Stereo In/ 1.8 MIDI Harmony ADJUST: Rvb Mix 0-100 3.3 4-NoteChords ADJUST: Inversion 0-6 Stereo Out. Play 2 notes at once on a MIDI keyboard to add 2 voices to the Treats the input note as the root or fifth of a major seventh, input note to create 3-part harmonies relative to middle C. The minor seventh or dominant seventh chord. ADJUST lets you 0.1 FixYerVoxChm ADJUST:Offset 0-100 audio source should not be the one used to generate the MIDI select the chord and the inversion. T Similar to FixYerVox with an added vocal chamber for notes. occasions when you run out of tracks and need to fix the 3.4 ModalChords1 ADJUST: Mode 1-8 pitch while you mix. Stereo In/Stereo Out. 1.9 MIDI Chord ADJUST:V2 Pitch 1-25 Produce 4-note chords relative to the input note. ADJUST Creates 4-part harmonies. You can add 2 notes to the input selects the chord. The chords are voiced in parallel, each 0.2 ThickFixVox ADJUST:Thickness 0-50 note from a MIDI keyboard and dial in an additional fixed chord in root position. T Similar to FixYerVoxChm. ADJUST controls the amount of harmony with ADJUST (1 octave up or down in half steps). The detuning, in cents. Stereo In/Stereo Out. audio source should not be the one used to generate the MIDI 3.5 ModalChords2 ADJUST: Mode 1-8 notes. T A variation of ModalChords1 with the chords voice-led in close 0.3 Cocomo ADJUST: Thickness 0-100 position to minimize the amount of pitch shifting required to produce each chord. T The inputs are detuned. The left is delayed 31ms, the right Guitar Magic 47ms. ADJUST controls detuning in cents. Stereo In/Stereo Out. 3.6 Chromatic Up ADJUST: HalfSteps 0-12 2.0 SingleDetune ADJUST: 10=unison 0-20 Straightforward and simple, ADJUST lets you tune any chro- 0.4 QuadDTune ADJUST: Tune Knob 0-100 A high quality detuner. ADJUST shifts pitch up or down 10 matic interval up to an octave above the input note. Fatten up vocals with 4 pitch shift voices panned across the cents. Detune is at unison when ADJUST=10. stereo field. ADJUST sets the amount of detuning. (2 voices 3.7 Chromatic Dn ADJUST: HalfSteps 0-12 go sharp, 2 go flat.) 2.1 DualDetune ADJUST: cents +/- 0-100 This variation lets you dial in any chromatic interval down to an A classic guitar effect. 2 pitch shifters are used to spread out octave below the input note. 0.5 ADTStereoIn ADJUST: LFO Rate 0-100 and thicken up the sound. One side shifts up, the other shifts The left input is pitch shifted up, the right input is shifted down. 3.8 FootPdl Oct ADJUST: Up / Down 0-1 down. An LFO modulates the pitch from 2-12 cents. Stereo Designed to be used with a foot pedal. When connected, it In/Stereo Out. 2.2 Phat Detune ADJUST: TuneKnob 0-100 produces a whammy bar slide up or down one octave. AD- A classic detune effect with 2 additional voices. The 4 voices JUST sets the direction of the slide. 0=up, 1=down. T 0.6 TripleTrack ADJUST:Separate 0-100 are panned across stereo space to widen up the sound. Adds 2 vocal tracks. ADJUST controls how closely the pitch 3.9 FootPdlChord ADJUST: UnisonMix 0-100 shifted voices track the original. 2.3 EGtrPitchRm ADJUST: Fbk Mix 0-50 Designed to be used with a foot pedal. In this case, the pedal Produces a rich, room-like halo around every note. Sounds slides 2 voices from unison to a major sixth (a fourth below and 0.7 Quad Track ADJUST:Separate 0-100 like reverb, but it’s not — Choke off a note and you’ll hear major third above the input note). ADJUST mixes in the original Similar to TripleTrack, this preset adds a third doubling to the there’s no decay. The effect is created by using pitch shifted note so you can pedal-slide major chords. original track. echoes with cross feedback controlled by input level. When the input dies out, the X-feedback goes to 0. ADJUST lets you Percussion & Tempo 0.8 Quint Track ADJUST:Separate 0-100 dial some back in. Makes 1 voice sound like 5 by adding 4 double tracks to the original. Each one is slightly out of time and out of tune with 2.4 VibroShift1 ADJUST: Rate 0-100 4.0 SnareTools 1 ADJUST:Crack 0-100 the others. A simple unison vibrato. Mix with the original signal for Natural snare reverb with ADJUST “crack” control. Detune is chorusing or use 100% wet for straight vibrato. added to the original input before both are sent to the reverb. 0.9 Add Voices ADJUST: How many? 1-4 FX Mix controls the blend of dry vs. pitched signal to achieve A variation of QuintTrack with ADJUST adding 1-4 2.5 VibroShift2 ADJUST: Rate 0-100 optimal “crack”. Stereo In/Stereo Out. doublings to the original. Similar to VibroShift1 with a touch of octave down vibrato. Nice on single notes or chords. 4.1 SnareTools 2 ADJUST:Crack 0-100 Trippy backwards effect. Reverb feeds the pitch shifter. Mono Vocal Harmony 2.6 VibroTrem ADJUST: Rate 0-100 In/Stereo Out. Pitch shift vibrato and out-of-phase tremolo combined for a 1.0 Major Thirds ADJUST:Inversion 0-4 new take on a retro sound. ADJUST controls the rate of the 4.2 SnareTools 3 ADJUST:Crack 0-100 Allows you to treat the input note as the root or third in major throb. For the fullest effect, don’t mix any dry signal with the Inverse snare reverb with ADJUST “crack” control. Detune is third harmony. ADJUST 0=slight detune, 1=sixth below, PCM 81 output. added to the original input before both are sent to the reverb. 2=third below, 3=third above, 4=sixth above. FX Mix controls the blend of dry vs. pitched signal to achieve 2.7 VibroTremRvb ADJUST: Rate 0-100 optimal “crack”. Mono In/Stereo Out. 1.1 Minor Thirds ADJUST: Inversion 0-4 Another cool take on a vintage effect with reverb added Allows you to treat the input note as the root or third in minor between the vibrato and the tremolo. Play some chunky 4.3 TomTomTools ADJUST: Booom! 0-100 third harmony. ADJUST 0=slight detune, 1=sixth below, chords and listen to the verb pump. Turns oatmeal boxes into cannons. Stereo In/Stereo Out. 2=third below, 3=third above, 4=sixth above. 2.8 OctDown Verb ADJUST:Oct Mix 0-100 4.4 Slap Up BPM ADJUST: pitch 0-100 1.2 Major Triads ADJUST:Inversion 0-6 Great with muted single note licks and runs, or chords. The A tuned percussion plate with a slap predelay. Great for The input note can be harmonized as the root, third or fifth reverb is fed by a unison vibrato and an additional vibrato unpitched percussion. Use ADJUST to tune the pitch of the of a major chord. ADJUST 0=slight detune, 1=input is root shifted down one octave. ADJUST controls the mix of the reverb above the pitch of the percussion. T (1st inversion), 2=input is root (2nd inversion),3=input is unison and octave. 0=unison only, 50=unison and octave third (1st inversion), 4=input is third (2nd inversion), 5=input down, 100=octave down only. 4.5 Slap Dn BPM ADJUST: pitch 0-100 is fifth (1st inversion), 6=input is fifth (2nd inversion). A variation with ADJUST tuning the reverb below the pitch of 2.9 PitchSlapRvb ADJUST: Rvb Tune 0-100 the percussion source. T 1.3 Minor Triads ADJUST:Inversion 0-6 Delivers a tight reverb slap after each note. You can tune the The input note can be harmonized as the root, third or fifth reverb sharp relative to the original note with ADJUST — a 4.6 Thick Slap ADJUST: detune 0-100 of a minor chord. ADJUST selects the harmony and inver- little goes a long way. This preset detunes the reverb above and below the original sion as for Major Triads. source. A great alternative for thickening drums.

1.4 Major & Dbls ADJUST:Inversion 0-4 Instrument Shift & Harmony 4.7 RepeatSlaps ADJUST: Fbk 0-100 The input note is doubled and harmonized as the root of a Pitched reverb echoes produce arpeggios. Try this with any major triad. T 3.0 24 String ADJUST:8va Level 0-100 short percussive track for an interesting effect. ADJUST con- Fatten up your 6-string with both detuning and an octave up. trols the decay of the arpeggio. 1.5 Minor & Dbls ADJUST: Inversion 0-4 Stereo In/Stereo Out. T The input note is doubled and harmonized as the root of a 4.8 AutoScratch ADJUST: Rvb Mix 0-100 minor triad. T 3.1 HonkyTonkPno ADJUST: Delay 0-100 Run a rhythm bed or drum machine into this preset and it will Go West, young man, to the frontier...and don’t forget the “scratch it” in tempo. ADJUST adds reverb. T 1.6 4ths & Dbl ADJUST: Inversion 0-4 pretzels and beer. Stereo In/Stereo Out. The input note is doubled and harmonized as the root of 4.9 Stop n Go ADJUST: Rvb Mix 0-100 chord made of 4 perfect fourths. A more radical version of AutoScratch. T PCM 81 Presets Lexicon Program Bank 5

1.6 FootPdlEkos ADJUST: Detune 0-100 3.5 SpatialDuck ADJUST: cents +/- 0-100 Sci-Fi FX A detune chorus is routed through stereo delays and reverb Produces a wash of detuned echoes with long reverb decay. with foot pedal control of input level. Use the pedal to capture Reverb OutWidth is modulated to create spatial movement 0.0 PullThePlug! ADJUST: Off/On 0-1 specific phrases in the delays/reverb. Great with guitar and and the entire effect is ducked by input level. A special effect that simulates the sound of a tape machine, other solo instruments. T juke box (etc.) running down when power is cut off in the middle 3.6 Vibrato BPM ADJUST: Depth 0-100 of a tune. Turn ADJUST from 1 to 0 to cut the power, and from 1.7 DualDTuneDly ADJUST: cents +/- 0-100 Tempo control for vibrato synchronized to the beat. T 0 to 1 to turn it back on. Two detuned voices combined with delays. 3.7 Verbato ADJUST: Depth 0-100 0.1 Stargate ADJUST: Velocity 0-100 1.8 QuaDTuneDly1 ADJUST: TuneKnob 0-100 A small stereo chamber reverb routed through a stereo pitch Transforms a single percussive sound into a spatial wash of For thicker detune and delay effects, this preset uses 4 pitch shifter set to create vibrato. A nice way to thicken up a track ascending and descending pitches. Try this with single drum shifters for detuning. ADJUST controls the pitch spread of the without messing with the dry sound. T hits or short sound effect samples. shifters. Utility Programs 0.2 WhiteHole ADJUST: Big>Small 0-100 1.9 QuaDTuneDly2 ADJUST: TuneKnob 0-100 A variation of Stargate that transforms a single sonic event into Similar to QuadTuneDly1 with the delays set to rhythmic a randomized series of pitched echoes. values (eighths and triplets). T 3.8 Stereo VSO ADJUST:Rvb Mix 0-100 For pitch correcting stereo off-speed playback material. Set 0.3 MotherShip ADJUST:Velocity 0-100 Pitch Sequences the Varispeed parameter (in the Soft row) to match the amount Processing for lift-off or acceleration effects. Drive it with a of varispeed used for playback. single impulse or short sound effect to produce a spatial glide that ascends to the limits of audibility. 2.0 Major Across ADJUST: MasterDly 0-100 3.9 Mono VSO ADJUST:Rvb Mix 0-100 A major triad arpeggiated across the stereo field. For pitch correcting mono off-speed playback material. Set the 0.4 XplodeDown ADJUST: Velocity 0-100 Varispeed parameter (in the Soft row) to match the amount of Transforms the input source into an eerie downward glide. Use 2.1 Minor Across ADJUST: MasterDly 0-100 varispeed used for playback. this to add more drama to special effects or single drum hits. A minor triad arpeggiated across the stereo field. Pitch Correct 0.5 Xplode Up ADJUST:Velocity 0-100 2.2 Dim hARP ADJUST: GlissRate 0-100 The inputs rise in a diminished arpeggiated scale. This preset A variation of XplodeDown with the input source transformed WIth the exception of Demo Correct (0.9), the following pre- turns a harp note into a glissando, or a quarter-note into a harp into an upward glide. sets are designed to accept a mono vocal track on either (or chord. Individual voices are panned across the stereo field. both) inputs. In each preset the reverb is turned off and all pitch Stereo In/Stereo Out. 0.6 DialogCloner ADJUST: Tuning 0-100 parameters that are not patched can be found in the Soft Row. Creates the effect of several people speaking at once. 4 additional voices are added above and below the pitch of the 2.3 Dim hARP Vrb ADJUST: GlissRate 0-100 input source. T Similar to Dim hARP with an added reverb. 4.0 VoxFix E2>C6 ADJUST: On/Off 0-1 This preset is set up to be used with a MIDI controller with a 0.7 Toon Voices ADJUST: Character 0-7 2.4 DimScaleDown ADJUST: ScaleRate 0-100 keyboard, pitch bender and sustain pedal. It provides three Changes the character of vocals for special effect dialog The inputs descend into a diminished arpeggiated scale. different methods to correct pitch problems. You can: use the tracks. ADJUST creates a range of characters from scary Turns one note into a scale or glissando. Individual voices are bender to change the pitch "on the fly," use the sustain pedal monsters, to chipmunks, to talking bees. panned across the stereo spectrum. A little reverb is added. to turn correction on and off, or fix a bad note by playing the correct one on the keyboard. Press Edit to see the notes 0.8 Evil Voice ADJUST:Pitch 0-100 2.5 GlassCascade ADJUST: MasterDly 0-100 displayed. ADJUST is patched to turn correction on and off. All Downward pitch shift and a touch of reverb are used to turn a A glassy, chime-like tail makes this great for sustained single- of the pitch parameters that aren't patched are in the Soft Row. normal male speaking voice into something decidedly dark note melodies. Spooky and pretty at the same time. Stereo In/ Low Note and High Note are tuned to the full vocal range (E2 and nasty. ADJUST selects the amount of evil. Stereo Out. through C6).

0.9 Evil Echoes ADJUST:Pitch 1-100 2.6 Carnival ADJUST: MstrFdbk 0-100 4.1 VoxFix Bass ADJUST: On/Off 0-1 A special effect with echoes that change pitch as they repeat. Turns guitar or piano into steel drums, especially if you play Similar to VoxFix E2>C6, except that it is tuned to the bass ADJUST 1-49=descending pitch, 50=no change, 51-100=as- diatonic thirds. Stereo In/Stereo Out. range (E2-A4). cending pitch. 2.7 Sequence 1 ADJUST:MasterFbk 0-100 4.2 VoxFix Tenor ADJUST: On/Off 0-1 Adds M6 and M9 to single note lines. Stereo In/Stereo Out. T Similar to VoxFix E2>C6, except that it is tuned to the tenor Pitch & Delay range (C3-C5). 2.8 Sequence 2 ADJUST:MasterFbk 0-100 1.0 Pitch Across ADJUST: Detune 0-100 Similar to Sequence1 with a very different sound. T 4.3 VoxFix Alto ADJUST: On/Off 0-1 A single note produces a 4-voice panned delay. ADJUST Similar to VoxFix E2>C6, except that it is tuned to the alto controls the amount of pitch shift for the 4 voices. Small values 2.9 Pentatonics! ADJUST: MasterFbk 0-100 range (F3-F5). produce detuning. The maximum value produces a major A sequence of notes from the minor pentatonic scale are arpeggio. T played for each input note. The input note is treated as the root 4.4 VoxFix Sprno ADJUST: On/Off 0-1 of the scale. T Similar to VoxFix E2>C6, except that it is tuned to the soprano 1.1 PitchEkoRvb ADJUST:Eko/Rvb 0-100 range (C4-C6). Dual pitch shifters produce a detune/echo effect with reverb. Pads & Drones ADJUST lets you set the balance of the two effects from 0 4.5 KnobCentsUp ADJUST: Sharp 0Ð100 (detune echoes only) to 100 (reverb only). T For tracks that are consistently flat. Use ADJUST to tune the 3.0 JurassicSolo ADJUST:Decay 0-100 track up, and a MIDI keyboard to fix bad notes. 1.2 PitchPong ADJUST: DelayRate 0-100 A long plate reverb pitched down a minor third. Spooky. Good The inputs are delayed, pitched down a little, then cross fed to for single-note melody soundtracks. Stereo In/Stereo Out. 4.6 KnobCentsDN ADJUST: Flat 0-100 the other side. Slap echoes bounce from left to right and fall For tracks that are consistently sharp. Use ADJUST to tune the slightly in pitch. an LFO adds chorusing. Stereo In/Stereo Out. 3.1 SwrlWhlNt ADJUST:MasterDly 0-100 track down, and a MIDI keyboard to fix bad notes. An LFO controls FX Width. FX Mix=100% reverb, delay 1.3 AR DlyVerb ADJUST: Detune 0-100 time=0ms. Slightly detuned swirling voices produce reverb 4.7 Double Effect ADJUST: On/Off 0-1 When the input level drops, delays fade away into reverb. that is wonderful on whole notes. Stereo In/Stereo Out. An alternative double track effect. Mix the PCM 81 output with Stereo In/Stereo Out. T the original vocal track. Use ADJUST to randomize the amount 3.2 Sweet Chorus ADJUST: Spd/Width 0-100 of delay and pitch difference between the original and pro- 1.4 In The Air ADJUST: Go 0-1 An LFO sine wave alternates detuning from positive to nega- cessed tracks. The inputs are detuned + and - 8 cents. When ADJUST is tive pitch values. ADJUST changes both the speed and width changed from 0 to 1, a quarter-note delay recirculates through of detuning (faster=wider). Stereo In/Stereo Out. 4.8 Knob Freeze ADJUST: On/Off 0Ð1 the detuner. Stereo In/Stereo Out. Turn ADJUST from 0 to 1 to freeze the pitch of the vocal track 3.3 MirrorChorus ADJUST:Speed 0-100 to whatever was being sung when the knob was turned. Turn 1.5 Thick>Ducked ADJUST: Detune 0-100 An LFO square wave alternates detuning from positive to it back down to 0 to release the pitch. Mixed with the original, The inputs are detuned. When the input level drops below the negative pitch values. The pitch shift of the left output is the this creates drone-like harmonies. By itself, this effect is a new threshold, quarter-note delays with regeneration recirculate opposite of the right. Stereo In/Stereo Out. take on “robot” voices. into the detuners. Stereo In/Stereo Out. T 3.4 LFO Detune ADJUST: Detune 0-100 4.9 Demo Correct ADJUST: unused A slow, chorusy detuner. Stereo In/Stereo Out. For demonstration use. The left input is turned off and all the pitch parameters are in the Soft Row. PCM 81 Presets PCM 81 Presets Lexicon

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Lexicon Part No. 070-12616