Lexicon Stereo Amplifier PCM 80 User Manual
PCM 80  
Dig ita l Effe c ts  
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PCM 80  
Dig ita l Effe c ts  
Pro c e sso r  
Use r G uid e  
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Dansk  
Suomi  
Vigtig information om sikkerhed  
Tärkeitä turvallisuusohjeita  
Säilytä nämä ohjeet tulevaa käyttöä varten.  
Gem denne vejledning til senere brug.  
Seuraa kaikkia yksikköön merkittyjä ohjeita ja varoituksia.  
Følg alle anvisninger og advarsler på apparatet.  
Käytäainaoikeaaverkkojännitettä.Tehovaatimuksetselviävätvalmistajan  
käyttöohjeista. Huomaa, että eri käyttöjännitteet saattavat vaatia  
toisenlaisen verkkojohdon ja/tai -pistokkeen käytön.  
Apparatet skal altid tilsluttes den korrekte spænding. Der henvises til  
brugsanvisningen, der indeholder specifikationer for strømforsyning. Der  
gøres opmærksom på, at ved varierende driftsspændinger kan det blive  
nødvendigt at bruge andre lednings- og/eller stiktyper.  
Älä asenna yksikköä telineeseen jossa ei ole tuuletusta, tai välittömästi  
lämpöä tuottavien laitteiden, esim. tehovahvistimien, yläpuolelle.  
Ympäristön lämpötila käytössä ei saa ylittää tuotespesifikaation  
maksimilämpötilaa.  
Apparatet må ikke monteres i et kabinet uden ventilation eller lige over  
andet udstyr, der udvikler varme, f.eks. forstærkere. Den maksimale  
omgivelsestemperatur ved drift, der står opført i specifikationerne, skal  
overholdes.  
Kotelo on varustettu tuuletusreiillä ja -aukoilla. Luotettavan toiminnan  
varmistamiseksi ja ylilämpenemisen välttämiseksi näitä aukkoja ei saa  
sulkeatai peittää. Mitäänesineitäei saatyöntäätuuletusaukkoihin.Mitään  
nesteitä ei saa kaataa yksikköön.  
Der er ventilationsåbninger i kabinettet. For at sikre apparatets drift og  
hindre overophedningmå disse åbninger ikke blokereseller tildækkes. Stik  
aldrig noget ind igennem ventilationsåbningerne, og pas på aldrig at spilde  
nogen form for væske på apparatet.  
Tuoteonvarustettu3-johtimisella maadoitetulla verkkopistokkeella.Tämä  
on turvallisuustoiminne eikä sitä saa poistaa.  
Dette apparat er forsynet med et stik med jordforbindelse. Denne  
sikkerhedsforanstaltning må aldrig omgås.  
Älä kytke audiotehovahvistimen lähtöjä suoraan mihinkään yksikön  
liittimeen.  
Udgangsstik fra audioforstærkere må aldrig sættes direkte i apparatet.  
Sähköiskun ja palovaaran välttämiseksi yksikkö ei saa olla sateessa tai  
kosteassa, eikä sitä saa käyttää märässä ympäristössä.  
Apparatet må ikke udsættes for regn eller fugt og må ikke bruges i  
nærheden af vand for at undgå risiko for elektrisk stød og brand.  
Älä käytä yksikköä jos se on pudonnut, vaurioitunut, kostunut, tai jos sen  
suorituskyky on huomattavasti muuttunut, mikä vaatii huoltoa.  
Apparatet må aldrig bruges, hvis det er blevet stødt, beskadiget eller vådt,  
eller hvis ændringer i ydelsen tyder på, at det trænger til eftersyn.  
Yksikön saa avata vain laitteeseen perehtynyt huoltohenkilö. Kansien  
poisto altistaa sinut vaarallisille jännitteille.  
Dette apparat må kun åbnes af fagfolk. Hvis dækslet tages af, udsættes  
man for livsfarlig højspænding.  
Tämä kolmio, joka esiintyy komponentissasi, varoittaa sinua  
eristämättömänvaarallisenjännitteenesiintymisestäyksikönsisällä.  
Tämä jännite saattaa olla riittävän korkea aiheuttamaan  
sähköiskuvaaran.  
Dennemærkatpåkomponentenadvareromuisoleret,farligspænding  
i apparatet ... høj nok til at give elektrisk stød.  
Denne mærkat på komponenten advarer om vigtig drifts- og  
vedligeholdsinformation i den tilhørende litteratur.  
Tämä kolmio, joka esiintyy komponentissasi, kertoo sinulle, että  
tässä tuotedokumentoinnissa esiintyy tärkeitä käyttö- ja ylläpito-  
ohjeita.  
Norsk  
Svenska  
Viktig informasjon om sikkerhet  
Viktiga säkerhetsföreskrifter  
Ta vare på denne veiledningen for senere bruk.  
Spara dessa föreskrifter för framtida bruk.  
Følg alle anvisningene og advarslene som er angitt på apparatet.  
Följ alla anvisningar och varningar som anges på enheten.  
Apparatet skal alltid anvendes med korrekt spenning. Produktbeskrivelsen  
inneholder spesifikasjoner for strømkrav. Vær oppmerksom på at det ved  
ulike driftsspenninger kan være nødvendig å bruke en annen ledning- og/  
eller støpseltype.  
Använd alltid rätt nätspänning. Se tillverkarens bruksanvisningar för infor-  
mation om effektkrav. Märkväl, att andra matningsspänningar eventuellt  
kräver att en annan typs nätsladd och/eller kontakt används.  
Installera inte enheteni ettoventileratstativ, eller direkt ovanför utrustningar  
som avger värme, t ex effektförstärkare. Se till att omgivningens temperatur  
vid drift inte överskrider det angivna värdet i produktspecifikationen.  
Apparatet skal ikke monteres i skap uten ventilasjon, eller direkte over  
varmeproduserende utstyr, som for eksempel kraftforsterkere. Den  
maksimale romtemperaturen som står oppgitt i produktbeskrivelsen, skal  
overholdes.  
Behållaren är försedd med hål och öppningar för ventilering. För att  
garantera tillförlitlig funktionoch förhindraöverhettning får dessa öppningar  
inteblockerasellertäckas.Ingaföremålfårskuffasingenomventilationshålen.  
Inga vätskor får spillas på enheten.  
Apparatet er utstyrt med ventilasjonsåpninger. For at apparatet skal være  
pålitelig i bruk og ikke overopphetes, må disse åpningene ikke blokkeres  
eller tildekkes. Stikk aldri noe inn i ventilasjonsåpningene, og pass på at det  
aldri søles noen form for væske på apparatet.  
Produkten är försedd med en jordad 3-trådskontakt. Detta är en  
säkerhetsfunktion som inte får tas ur bruk.  
Dette apparatet er utstyrt med et jordet støpsel. Dette er en  
sikkerhetsforanstaltning som ikke må forandres.  
Anslut aldrig audioeffektförstärkarutgångar direkt till någon av enhetens  
kontakter.  
Utgangsplugger fra audioforsterkere skal aldri koples direkte til apparatet.  
För att undvika elstöt eller brandfara får enheten inte utsättas för regn eller  
fukt, eller användas på ställen där den blir våt.  
Unngå brannfare og elektrisk støt ved å sørge for at apparatet ikke utsettes  
for regn eller fuktighet og ikke anvendes i nærheten av vann.  
Använd inte enheten om den har fallit i golvet, skadats, blivit våt, eller om  
dess prestanda förändrats märkbart, vilket kräver service.  
Apparatet skal ikke brukes hvis det har blitt utsatt for støt, er skadet eller blitt  
vått, eller hvis endringer i ytelsen tyder på at det trenger service.  
Enheten får öppnas endast av behörig servicepersonal. Farliga spänningar  
blir tillgängliga när locken tas bort.  
Dette apparatet skal kun åpnes av fagfolk. Hvis dekselet fjernes, utsettes  
man for livsfarlig høyspenning.  
Denna triangel, som visas på din komponent, varnar dig om en  
oisoleradfarligspänninginneienheten.Dennaspänningäreventuellt  
så hög att fara för elstöt föreligger.  
Komponenten er merket med denne trekanten, som er en advarsel  
om at det finnes uisolert, farlig spenning inne i kabinettet ... høy nok  
til å utgjøre en fare for elektrisk støt.  
Komponenten er merket med denne trekanten, som betyr at den  
tilhørende litteraturen inneholder viktige opplysninger om drift og  
vedlikehold.  
Denna triangel, som visas på din komponent, anger att viktiga  
bruksanvisningar och serviceanvisningar ingår i dokumentationen i  
fråga.  
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Deutsch  
Español  
Wichtige Sicherheitsanweisungen  
Instrucciones importantes de seguridad  
Heben Sie sich diese Sicherheitsanweisungen auch für später auf.  
Guarde esta instrucciones para uso posterior.  
BefolgenSiealleaufderVorrichtungstehendenAnweisungenundWarnungen.  
Utilice siempre el voltaje correcto. Diríjase a las instrucciones de operación  
del fabricante para obtener las especificaciones de potencia. Esté al tanto  
de que voltajes de operación distintos requieren el uso de cables y/o  
enchufes distintos.  
ImmernurmitderrichtigenSpannungverwenden!DieGebrauchsanweisungen  
des Herstellers informieren Sie über die elektrischen Anforderungen.  
Vergessen Sie nicht daß bei verschiedenen Betriebsspannungen ggf. auch  
verschiedene Leitungskabel und/oder Verbindungsstecker zu verwenden  
sind.  
Noinstaleestaunidadenunestantesinventilación,nitampocodirectamente  
encima de equipos que generen calor tales como amplificadores de  
potencia. Fíjese en las temperaturas ambientales máximas de operación  
que se mencionan en las especificaciones del producto.  
Stellen Sie die Vorrichtung nicht in ein unbelüftetes Gestell oder unmittelbar  
über wärmeerzeugende Geräte wie z.B. Tonverstärker. Halten Sie die in den  
Produktspezifikationen angegebene maximale Umgebungstemperatur bei  
Betrieb ein.  
Las aperturas y ranuras del chasis sirven para proveer la ventilación  
necesaria para operar la unidad con seguridad y para prevenir  
sobrecalentamiento,y por lo tantonopuedenser obstruidas o cubiertas. No  
introduzca objetos de ningún tipo a través de las ranuras de ventilación, y  
nunca deje caer ningún líquido sobre la unidad.  
Schlitze und Öffnungen im Gehäuse dienen der Belüfung; um verläßlichen  
BetriebsicherzustellenundÜberheizenzuvermeidendürfendieseÖffnungen  
nich verstopft oder abgedeckt werden. Stecken Sie nie irgend einen  
Gegenstand durch die Belüftungsschlitze.VergießenSiekeineFlüssigkeiten  
auf den Apparat.  
Este producto está equipado con un enchufe de 3 clavijas con conexión a  
tierra. Éste es un elemento de seguridad que no debe ser eliminado.  
Dieses Produkt is mit einem 3-drahtigen Erdungsstecker ausgerüstet. Diese  
Sicherheitsmaßnahme darf nicht unwirksam gemacht werden.  
Nuncaconecteningúntipodesalidadeamplificadoresdesonidodirectamente  
a los conectores de la unidad.  
SchließenSienieTonverstärkerunmittelbaraneinenAnschlußdesApparates  
an.  
Paraprevenirdescargaseléctricasoincendios,mantengalaunidadalejada  
de la lluvia, humedad o cualquier lugar en el que pueda entrar en contacto  
con agua.  
Um elektrischen Schlag oder Feuer zu vermeiden, setzen Sie den Apparat  
weder Regen noch Feuchtigkeit aus und betreiben Sie ihn nicht dort wo  
Wasser eindringen könnte.  
Notratedehacerfuncionarlaunidadsisehacaído,estádañada,haentrado  
en contacto con líquidos, o si nota cualquier cambio brusco en su  
funcionamiento que indique la necesidad de hacerle un servicio de  
mantenimiento.  
Versuchen Sie nicht den Apparat zu betreiben falls er fallen gelassen,  
beschädigt, oder Flüssigkeiten ausgesetzt wurde, oder falls sich seine  
ArbeitsweisederartändertdaßdarauseinBedarfnachRaparaturzuschließen  
ist.  
Estaunidaddeberá ser abierta únicamentepor personal calificado.Si usted  
quita las coberturas se expondrá a voltajes peligrosos.  
Dieser Apparat sollte nur von qualifizierten Fachleuten geöffnet werden. Das  
Abnehmen von Abdeckungen setzt Sie gefährlichen Spannungen aus.  
Este triángulo que aparece en su componente le advierte sobre la  
existencia dentro del chasis de voltajes peligrosos sin aislantes ...  
voltajes que son lo suficientemente grandes como para causar  
electrocución.  
Dieses Dreieck auf Ihrem Apparat warnt Sie vor nicht-isolierter,  
gefährlicher Spannung im Gehäuse ... stark genug um eine  
Berührungsgefahr darzustellen.  
Dieses Dreieck auf Ihrem Apparat bedeutet daß wichtige Betriebs-  
und Wartungsanweisungen in der mitgelieferten Dokumentation zu  
finden sind.  
Este triángulo que aparece en su componente lo alerta sobre las  
instrucciones de operación y mantenimiento importantes que están  
en los materiales de lectura que se incluyen.  
Français  
Italiano  
Instructions de Sûreté Importantes  
Importanti norme di sicurezza  
Gardez ces instructions pour réference future.  
Conservare le presenti norme per l’utilizzo futuro.  
Observez toutes les instructions et tous les avertissements marqués sur  
l’appareil.  
Osservare tutte le istruzioni e le avvertenze apposte sull’unità.  
Utilizzare esclusivamente con la tensione di rete corretta. Consultare le  
istruzioni operative fornite dal fabbricante per i dati riguardanti la tensione e  
l’assorbimento di corrente. Potrebbe essere necessario l’uso di cavi di rete  
e/o di spine diverse a seconda della tensione utilizzata.  
Branchez uniquements sur un réseau de tension indiquée. Consultez le  
manuel d’instruction du fabriquant pour les spécifications de courant.  
N’oubliez pas que différentes tensions peuvent nécessiter l’utilisation de  
cables et/ou de fiches de connexion différents.  
Noninstallarel’unitàinunoscaffaleprivodiventilazioneoppuredirettamente  
sopraunafontedicalore,come,adesempio,unamplificatore.Nonsuperare  
la temperatura ambientale massima di funzionamento riportata nei dati  
tecnici del prodotto.  
N’installez pas l’appareil en un compartiment non-aéré ou directement au-  
dessus d’équipements générateurs de chaleur, tels qu’amplificateurs de  
courants, etc. Ne dépassez pas la température ambiante maximale de  
fonctionnement indiquée dans les spécifications du produit.  
Le fessure e le altreaperture nella scatolaservonoalla ventilazione. Per un  
funzionamento affidabile, e per evitare un eventuale surriscaldamento,  
questeaperturenonvannoostruiteocoperteinnessunmodo.Evitareintutti  
icasidiinserireoggettidiqualsiasigenereattraversolefessurediventilazione.  
Non versare mai del liquido di nessun tipo sull’unità.  
Des fentes et ouvertures sont prévues dans le boîtier pour l’aération; Pour  
assurerlebonfonctionnementetpourprévenirl’échauffement,cesouvertures  
ne doivent pas être couvertes ou bloquées. N’insérez pas d’objets dans les  
fentes d’aération. Empêchez tout liquide de se répandre sur l’appareil.  
Ce produit est muni d’une fiche à trois fils pour la mise à terre. Ceci est une  
mesure de sécurité et ne doit pas être contrariée.  
Questo prodotto viene fornito con una spina a 3 fili con massa. Tale  
dispositivo di sicurezza non va eliminato.  
Ne connectez jamais d’amplificateurs audio directement aux connecteurs  
de l’appareil.  
Evitare sempre di collegare le uscite dell’amplificatore audiodirettamente ai  
connettori dell’unità.  
Pourempêcherleschocsélectriquesetledangerd’incendie,évitezd’exposer  
l’appareil à la pluie ou à l’humidité, et ne le mettez pas en marche en un  
endroit où il serait exposé aux éclaboussures d’eau.  
Per prevenire il pericolo di folgorazionee di incendio non esporre l’unità alla  
pioggiaoadun’umiditàeccessiva;evitarediadoperarel’unitàdovepotrebbe  
entrare in contatto con acqua.  
N’essayez pas de faire fonctionner l’appareil s’il est tombé à terre, a été  
endommangé, exposé à un liquide, ou si vous observez des différences  
nettes dans son fonctionnement, indiquant la nécessité de réparations.  
Evitare di adoperare l’unità se la stessa è stata urtata violentemente, se ha  
subito un danno, se è stata esposta ad un liquido o in caso di un evidente  
cambiamento delle prestazioni che indichi la necessità di un intervento di  
assistenza tecnica.  
Cet appareil ne doit être ouvert que par un personnel de service qualifié. En  
enlevant les couvercles vous vous exposez à des tensions électriques  
dangereuses.  
Ogniinterventosull’unitàvaeseguitoesclusivamentedapersonalequalificato.  
La rimozione della copertura comporta l’esposizione al pericolo di  
folgorazione.  
Ce triangle, sur votre appareil vous avertit de la présence de tension  
dangereuse, non-isolée à l’intérieur du boîtier...une tension suffisante  
pour représenter un danger d’électrocution.  
Ilpresentetriangolo impressosulcomponente avverte della presenza  
di tensioni pericolose non isolate all’interno della copertura... tali  
tensioni rappresentano un pericolo di folgorazione  
Ce triangle sur sur votre appareil vous invite de suivre d’importantes  
instructions d’utilisation et d’entretien dans la documentation livrée  
avec le produit.  
Il presente triangolo impresso sul componente avverte l’utente della  
presenzanelladocumentazioneallegatadiimportantiistruzionirelative  
al funzionamento ed alla manutenzione.  
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Contents  
Introduction  
1. Product Overview  
Block Diagram .................................................................................... 1-1  
Front Panel Overview ......................................................................... 1-2  
Rear Panel Overview.......................................................................... 1-3  
Installation Notes ................................................................................ 1-4  
Mounting ...................................................................................... 1-4  
Power Requirements.................................................................... 1-4  
Audio Connections ....................................................................... 1-4  
Control Connections..................................................................... 1-4  
Setting Audio Levels .................................................................... 1-5  
Headroom Display • Overload • Setting Analog and Digital  
Input Level • Setting Output Level  
Configurations .............................................................................. 1-7  
Memory Cards.............................................................................. 1-8  
Memory Expansion ...................................................................... 1-8  
2. Basic Operation  
Modes of Operation ............................................................................ 2-1  
Navigating a Matrix ...................................................................... 2-2  
Info ............................................................................................... 2-3  
Control Mode ...................................................................................... 2-4  
Program and Register Banks ........................................................... 2-17  
Tempo Mode .................................................................................... 2-19  
Editing an Effect ............................................................................... 2-22  
The Soft Knob ............................................................................ 2-22  
The Soft Row ............................................................................. 2-23  
Compare .................................................................................... 2-24  
Bypass ....................................................................................... 2-24  
Store operations ......................................................................... 2-25  
Turning Memory Protection Off • Storing an Effect  
Renaming the Effect • Renaming the ADJUST Knob Patch  
Selecting a Bank and Register Location  
The Full Edit Matrix .................................................................... 2-27  
Creating a Soft Row  
Patching ..................................................................................... 2-30  
About Sources • The Patch Row • Assigning a Source  
Patch Sources • Assigning a Destination • Assigning  
Values • Jump • Patching Examples • Multiple Patches  
with the Same Destination • Mod Row Patching  
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Contents, cont'd.  
3. The Algorithms and their Parameters  
About the Algorithms .......................................................................... 3-1  
The 4-Voice Algorithms ...................................................................... 3-2  
The Reverb Shell ......................................................................... 3-2  
Concert Hall ................................................................................. 3-3  
Plate ............................................................................................. 3-4  
Chamber ...................................................................................... 3-5  
Inverse ......................................................................................... 3-6  
Infinite........................................................................................... 3-7  
The 6-Voice Algorithms ...................................................................... 3-8  
Glide>Hall .................................................................................... 3-9  
Chorus+Rvb ............................................................................... 3-10  
M-Band+Rvb .............................................................................. 3-12  
The Resonant Chord Algorithms Res1>Plate and Res2>Plate . 3-14  
The Parameters ................................................................................ 3-16  
Chorus........................................................................................ 3-16  
Controls ...................................................................................... 3-17  
Delay Time ................................................................................. 3-19  
Feedback/Cross-Feedback ........................................................ 3-21  
Filters ......................................................................................... 3-22  
Glide FX ..................................................................................... 3-22  
Levels ......................................................................................... 3-23  
Modulation.................................................................................. 3-24  
Panning ...................................................................................... 3-28  
Patching ..................................................................................... 3-29  
Pitch ........................................................................................... 3-30  
Resonance ................................................................................. 3-34  
Reverb Design ........................................................................... 3-34  
Reverb Time............................................................................... 3-36  
4. The Presets  
Program Bank 0 .................................................................................. 4-2  
Multi Effects (0.0-1.9) ................................................................... 4-2  
Modulation Effects (2.0-3.5) ......................................................... 4-3  
Special Effects (3.6-4.9) ............................................................... 4-5  
Program Bank 1 .................................................................................. 4-6  
Rhythmic Echo and Delay Effects (0.0-3.6) ................................. 4-6  
Ambience Effects (3.7-4.9)......................................................... 4-10  
Program Bank 2 ................................................................................ 4-11  
EQ Effects (0.0-1.0) ................................................................... 4-11  
Spatial Effects (1.1-2.4).............................................................. 4-12  
Gain Effects (2.5-4.0) ................................................................. 4-13  
Resonant Chords (4.1-4.9)......................................................... 4-15  
Program Bank 3 ................................................................................ 4-16  
Reverb Effects (0.0-2.8) ............................................................. 4-16  
Processed Reverb Effects (2.9-3.9) ........................................... 4-18  
Remix Effects (4.0-4.9) .............................................................. 4-19  
Alphabetical Index of Presets ........................................................... 4-21  
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5. MIDI Operation  
Contents, cont'd.  
Selecting a MIDI Channel ................................................................... 5-1  
Controlling PCM 80 Tempo Rate with MIDI Clock.............................. 5-2  
MIDI Tempo Control • Using the PCM 80 as a MIDI Control  
Source • Slaving two or more PCM 80s  
Controller Quirks................................................................................. 5-4  
The ADJUST Knob, Foot Pedal, Foot Sw 1 and Foot Sw 2 as  
MIDI controllers ............................................................................ 5-4  
Controlling the Soft Knob with MIDI • Controlling the Soft Knob  
with a Foot Pedal  
Program Change Messages ............................................................... 5-5  
Automation ......................................................................................... 5-7  
Bulk Data Dumps................................................................................ 5-8  
MIDI Implementation Chart ................................................................. 5-9  
6. Troubleshooting  
Low Voltage ........................................................................................ 6-2  
Overheating ........................................................................................ 6-2  
Common MIDI Problems .................................................................... 6-2  
Operational Problems ......................................................................... 6-3  
Power On Behavior ............................................................................ 6-3  
Reinitialization .................................................................................... 6-3  
Restoring Factory Default Settings ..................................................... 6-4  
7. Specifications  
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Thank you for your purchase of the PCM 80, one of Lexicon’s most powerful and Introduction  
versatile digital effects processors. The PCM 80 brings you exciting new effects  
with extensive processing and control capabilities, and uncompromising sonic  
clarity.  
The PCM 80 contains a built-in library of 200 preset programs that provide a  
comprehensive array of effects ranging from beautiful and lush to completely  
wild. The presets are organized into 4 Banks of 50, and functionally grouped for  
a wide range of applications. Be sure to experiment with all 200 presets to get  
a feel for the full range of PCM 80 capabilities.  
The Presets  
Bank P2  
Bank P3  
Bank P0  
Multi Effects  
Bank P1  
Rhythmic Echo  
& Delay Effects  
Ambience Effects  
EQ Effects  
Spatial Effects  
Gain Effects  
Reverb Effects  
Processed Reverb  
Effects  
Modulation Effects  
Special Effects  
Resonant Chord Effects  
Remix Effects  
Every preset has one or more of its parameters patched to the front panel  
ADJUST knob, giving you instant control over the primary aspect of the effect  
— without going into Edit mode. In the preset, Concert Hall, for example, Mid  
Reverb Time is patched to ADJUST. When you turn the knob, you will adjust the  
reverb decay. In Prime Blue, ADJUSTis patched to several parameters, so that  
turning the knob changes the effect from a tight chorus, to a chorus with  
recirculating echoes and, finally, into a reverb.  
The PCM 80 uses 10 stereo algorithms to create different types of effects. Each  
algorithm includes an uncompromised stereo reverb effect, as well as several  
voices of additional stereo effects. There are two general classes of algorithm:  
4-Voice and 6-Voice. The 4-Voice algorithms: Concert Hall, Plate, Chamber,  
Inverse and Infinite each combine a specific type of reverberation with a4-voice,  
general purpose, stereo effect “toolbox”, as well as additional post-processing  
for the reverb. The 6-Voice algorithms: Glide>Hall, Chorus+Rvb, M-Band+Rvb,  
Res1>Plate and Res2>Plate each combine a specific type of reverberation with  
a specialized 6-voice stereo effect.  
The Algorithms  
AllPCM80algorithmsinclude severalparametersthatmakeitpossibleto create  
dynamic spatialization effects for 2-channel or surround applications. Check out  
the Ambience Effects in Bank P1 and the Spatial Effects in Bank P2 for  
examples.  
Tempo Control  
The PCM 80 gives you a unique set of tempo controls.Tempos can be tapped  
in with the front panel Tap button (or an assigned controller) or “dialed-in”, in  
BPM (beats per minute) on the display. The PCM 80 also lets you generate MIDI  
clock from your tempo, as well as receive MIDI tempo from an external  
sequencer or drum machine. In the PCM 80, tempo can control LFO speeds and  
Time Switch controls, as well as all delay parameters, ensuring that all of your  
modulations are in tempo with your music. You can even set independent  
rhythmic values for different parameters within a single program.  
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Tempo can be set and displayed in either rhythmic value or time values. Many  
presets, particularly the Rhythmic Echo & Delay Effects in Program Bank P1,  
have delay times assigned to Tap tempo. Try loading some of these and  
pressing Tap twice in rhythm to change tempo.  
Editing  
An enormous range of editing control is provided for each algorithm, with  
parameters organized in an edit matrix of as many as 100 main controls. In  
addition to providing this powerful sound design capability, the PCM 80 also  
allows you to customize these controls for your day-to-day editing needs, or to  
use a subset of controls specially designed for each preset.  
The PCM 80 has two levels of Edit Mode control calledGo mode and Promode.  
In Go mode, the most useful parameters within an effect are grouped for instant  
access via the front panel Edit button. Each preset has a specially selected set  
of Go mode parameters which let you make value changes to the effect without  
losing the character of the sound. Pro mode gives you access to the full  
parameter editing matrix for the algorithm of any loaded effect when you press  
Edit. In this mode, you can access a complete set of Modulation and Patching  
parameters, create your own ADJUST knob patch and assign your own Go  
mode parameters.  
AuniquePatchingandModulation system providesunprecedentedcontrolover  
your effects, with a versatile set of internal modulators: LFO, AR Envelope,  
Envelope Follower, Latch and Time Switches. These allow you to create  
modulation sweeps which move in time with music, or wildly animated effects.  
You can create as many as 10 patches per effect, each with as many as 8 pivot  
points. You can patch multiple parameters to a single controller, or patch  
multiple sources to a single destination.  
The front panel memory slot will accept industry standard PCMCIA SRAM cards  
(up to 1Meg). Use these cards to store effects (as many as 2350 on a 1 Meg  
card), system setups, MIDI program maps, and more.  
Expansion  
PCM 80 internal audio memory can be expanded from a maximum stereo delay  
time of 2.6 seconds to more than 42 seconds by installing 4Meg memory  
modules (SIMMs).  
User Interface  
For all of its programming power and flexibility, you’ll find the PCM 80 simple to  
use. The large, 2-line fluorescent display is easy to see from any angle whether  
the surroundings are bright or dark. Separate SELECT and ADJUST knobs  
make program loading and editing quick and easy. We’ve even designed in a  
special Info mode — press and hold any button to find out what its function is,  
orto get status information suchas thename oftherunning effect, currenttempo  
rate, etc.  
To get the most out ofthePCM 80, wesuggest that you invest the time toexplore  
this manual. We think you’ll agree that the time spent investigating will reward  
you with enjoyment of its full capabilities.  
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1
Product Overview  
Block Diagram  
1-1  
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PCM 80 Use r G uid e  
Le xic o n  
The Front Panel  
SELECT  
Scrolls through pre-  
sets, registers or pa-  
rameters. With Pro-  
Headroom  
ADJUST  
POWER  
On/Off.  
5-position indicator for  
analog and digital sig-  
nal levels and over-  
load conditions.  
In Edit mode, changes gram Bank or Register  
values of parameters Bank selected, scrolls  
chosen with SELECT. through the 50 pro-  
With Program Banks grams in the selected  
or Register Banks se- bank. With Edit se-  
lected, behaves as a lected, scrolls only  
soft knob for patched through the param-  
Display  
Two rows of 20 alpha-  
numeric characters  
display effect names  
and ID numbers, and  
parameter names and  
values.  
Memory Card  
Slotfor optionalpreset  
ROM or register RAM  
cards. Press Eject  
buttontoremovecard.  
INPUT  
Adjusts analog input  
level.  
parameters.  
eters of the active row.  
Up/Down  
Register Banks  
Control  
Edit  
Tempo  
Press to move up and Enables selection of  
down through a pro- usermemory.IfaRAM  
gram, register, or pa- card is loaded into the  
Enables selection of  
system and global pa-  
rameters.  
Enables parameter  
selection for editing of  
values.  
Press todisplaytempo  
rate and to initiate  
tempo functions. LED  
flashes in time with  
current tempo rate.  
rameter matrix.  
Memory Card slot,  
each press of this but-  
ton selects a new reg-  
ister bank. Press and  
hold to display the  
name of the current  
bank.  
Bypass  
Bypasses or mutes  
audio, depending on Tap  
the setting of each  
program's bypass pa-  
rameter.  
Compare  
Active in Program,  
Register, and Edit  
modes. Press to com-  
paretheactiveversion  
of the current effect  
with the most recently  
stored version.  
Program Banks  
Enables selection of  
factory presets. Press  
repeatedly to cycle  
selection of 4 internal  
preset banks. Press  
andhold todisplaythe  
name of the current  
bank.  
Sets tempo. Press  
twice in rhythm to es-  
tablish tempo rate.  
Press once to reset  
LFO.  
Store  
Initiates register store  
function.  
Load/✽  
In Program or Regis-  
ter mode, loads the  
selected program. In  
Edit mode, scrolls  
throughany multi-field  
parameter.  
1-2  
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Pro d uc t O ve rvie w  
The Rear Panel  
Balanced Inputs  
Combined 3 pole XLR  
and 1/4" jacks, elec-  
tronically balanced.  
Input Level  
2-position (In/Out)  
switchfor matchingin-  
put gain to the source  
beingused. Inposition  
adds 20dB of input  
gain (unbalanced) to  
the input stages. Out  
position provides 0dB  
of gain (balanced).  
Balanced Outputs  
Output impedance is  
125Ω, each side, bal-  
anced,andlevelsupto  
+18dBu maximum full  
scale. 1/4" phone con-  
nectors and XLRs pro-  
vided.  
S/PDIF  
Input impedance is  
50kΩ unbalanced,  
and 100kΩ balanced.  
Inputs accept input  
levels from -22dBu to  
+20dBu.  
S/PDIF format digital  
connectors conform to  
CP-340 Type II and  
IEC-958 consumer  
standards.  
Foot Controller  
1/4" Tip/Ring/Sleeve  
phone jack provided  
for footpedal with  
10kΩ to 100Ω imped-  
ance.  
Footswitch  
AC Power  
Standard 3-pin IEC IN  
power connector. 100- Receives MIDI infor-  
240V, 50-60Hz auto- mation from other  
matic switching to cor- MIDI equipment such  
MIDI  
1/4" Tip/Ring/Sleeve  
phone jack for two in-  
dependent momen-  
tary footswitches  
rect voltage range.  
as master keyboard  
controllers, MIDI foot  
controllers, sequen-  
cers andsynthesizers.  
THRU  
Passes any MIDI data  
received  
change.  
without  
OUT  
TransmitsMIDIdatato  
other equipment.  
1-3  
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PCM 80 Use r G uid e  
Le xic o n  
Installation Notes  
The PCM 80 uses one EIA-standard rack space, and can be mounted on any  
level surface or in a standard 19 inch (483 mm) rack. If the PCM 80 is mounted  
in a rack or road case, support the rear of the chassis to prevent possible  
damage from mechanical shock and vibration.  
Mounting  
The maximum ambient operating temperature is 104°F (40°C). Provide ade-  
quate ventilation if the PCM 80 is mounted in a closed rack with heat-producing  
equipment such as power amplifiers.  
Power Requirements  
Audio Connections  
ThePCM80 isequippedwith a3-pinIECpowerconnectoranddetachable cord.  
The PCM 80 will operate with power sources from 100 to 240 volts AC, 50-60Hz.  
Power switching to actual line voltage is automatic.  
Analog Audio  
For best performance, maintain balanced connections, and use high-quality,  
low-capacitance, twisted-shielded pair cable.  
When connecting to single-ended, unbalanced devices, connect the low side to  
signal ground at the unbalanced piece of equipment. Output level does not  
change when connected to an unbalanced input.  
Mono Applications  
Use a Y-connector inserted at the analog inputs and outputs to have the signal  
summed to mono.  
NOTE  
Be careful to keep input and output to all channels wired consistently. Out-of-  
phase wiring can produce audible effects.  
Digital Audio  
S/PDIF (CP-340 Type II) Consumer Digital Audio I/O. 75Ω coaxial cable suited  
for digital audio or video signals is required. Audio grade cable is not suitable.  
Control Connections Footswitch/Foot Controller  
One 1/4 inch T/R/S phone jack is provided for 2 momentary footswitches.  
Another 1/4 inch T/R/S phone jack is provided for a footpedal (minimum 100Ω  
to maximum 10k impedance). Normally open or normally closed momentary  
switches are suitable. At power on, the PCM 80 assumes the switch is off. Use  
shielded, twisted-pair cable with shield connected to sleeve. See diagram on  
previous page.  
MIDI  
5-pin DIN connectors are provided for MIDI IN, THRU and OUT. Use standard  
5-pin DIN MIDI cable assemblies, available from your local dealer.  
1-4  
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Pro d uc t O ve rvie w  
The PCM80,with bothanalog and digitalinputandoutput connections, requires  
some attention to proper setting of signal level.  
Setting Audio Levels  
Analog inputs are first gain-conditioned by the rear panel input gain switch, and  
then by the front panel INPUT knob. Proper setting of both the switch and knob  
are important for best performance of the A/D converter. Audio data from the A/  
D converter is level adjusted by the Analog Lvl parameter before reaching the  
effects processors. Digital inputs are also level adjusted before reaching the  
effects processors via the Digital Lvl parameter.  
Analog and digital sources are mixed at the input to the effects processors. For  
example, setting both Analog Lvl and Digital Lvl to 50% will mix the analog and  
digital input signals equally and send them to the effects. Creating a mix which  
exceeds 100% can cause overload.  
Proper setting of Input level on the PCM 80 is dependent on:  
•
•
•
Proper signallevelintothe analog frontend toavoidsignalscausingoverload  
at the DSP input  
Proper adjustment of the signal level into the analog-to-digital converter to  
optimize noise and avoid overload  
Proper setting of signal level into the digital signal processor to optimize  
noise.  
Headroom Display  
The headroom display provides both headroom and overload information from  
a variety of measurement points. The meters display the sum of both the analog  
and the digital input data. Examining either the analog or the digital level alone  
requires that the Level parameter of the subject data stream be set to 100%,  
while the Level parameter of the other is set to 0%.  
The chartbelowillustratesthe adjustmentrange that willset inputlevels for both  
balanced and unbalanced operation.When a choice can be made, it is best to  
operate at the higher amplitude end of the recommended range to optimize  
noise performance.  
Unbalanced  
> 0dBu  
Balanced  
>+20dBu  
overload:  
acceptable:  
0dBu to -22dBu  
<-22dBu  
+20dBu to -2dBu  
<-2dBu  
too low (noisy):  
Overload  
The 0db (overload) indicators will light under the following conditions:  
•
•
A/D overload  
overload at any point in effects processing  
For example, internal peaking of high Q filters, or level buildup from certain  
reverberation modes can result in overload, even when the input A/D or digital  
receiver data stream is not at full scale. Such conditions are most often caused  
by a combination of extreme parameter settings. Adjusting parameter/level  
settings can eliminate these overload conditions.  
1-5  
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PCM 80 Use r G uid e  
Le xic o n  
Setting Analog and Digital Input Level  
1. Press Control.  
2. Press Up or Down until the leftmost digit in the lower lefthand corner of the  
display is 0.  
3. Turn SELECT to 0.2 Dig In Lvl, and turn ADJUST to display 0%.  
NOTE: If you are not running digital audio, controlled by External Clock, into  
the PCM 80, the digital audio input will be disabled or muted. Until there is  
valid digital audio input, select 0.0 External to enable the digital input level  
control.Untilvaliddigitalaudio isconnected,theDigInLvl controlwillremain  
muted.  
4. Turn SELECT to 0.1 Analog In Lvl, and turn ADJUST to display 100%.  
5. Adjust the front panel INPUT knob so that program material level peaks  
cause the headroom display to reach the top of the column without lighting  
the overload indicators. An occasional large signal peak causing momentary  
flashing of the overload indicator is acceptable in most instances, but should  
be validated by listening to the actual result.  
6. If you are running digital audio, turn SELECT back to 0.2 Dig In Lvl, and turn  
ADJUST to the desired level. You may want to back off the Analog In Lvl  
setting to prevent the analog/digital mix from overloading the effects proces-  
sor.  
Setting Output Level  
While still in Control mode, turn SELECTto 0.6 Output Level. The Output Level  
parameter has two range positions. The appropriate position depends on the  
level handling capability of the device connected to the analog outputs. Devices  
capable of handling outputs with peak levels of 18dBu require setting Output  
Level to the +4dBu setting. Devices which cannot handle peak levels greater  
than +4dBu require the -10dBu setting.  
1-6  
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Pro d uc t O ve rvie w  
Configurations  
Connection to a  
mixing console's  
effects sends  
Effects Send (R)  
Effects Send (L)  
Channel Input or  
Effects Return (R)  
Channel Input or  
Effects Return (L)  
If you will be using a PCM 80 as your primary effects unit, and your system  
includes a console with one or more auxiliary (effects) sends, connect the PCM  
80 as shown above. In most applications, it is preferable to connect the PCM  
80 outputs to two of the console's input channel strips, panned full left and right,  
ratherthanto the effects returns.Thisallows thegreatestflexibilityin routingand  
equalization.  
In this configuration the console controls are used to set the amount of effect  
heard—thePCM80'sMIXcontrolshouldbesetfor100%wet.Toassignaglobal  
MIX setting:  
1. Press Control.  
2. Press Up or Down until 1.x is displayed in the lower left of the display and  
System is displayed on the upper line.  
3. Turn SELECTuntil System Mix Mode is displayed on the upper line. 1.1 will  
be displayed in the lower left.  
4. Turn ADJUST until the lower line reads:  
1.1 ✱  
Global  
5. Press Load /✱to show the current global setting of MIX; use ADJUST to set  
it to 100% wet.  
1-7  
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PCM 80 Use r G uid e  
Le xic o n  
Memory Cards  
You can use Memory cards to store as many as 2350 PCM 80 registers (47  
banks of 50 — on a 1 Meg card). Registers stored on a properly formatted card  
will be recognized whenever the card is inserted, and can be accessed via the  
front panel Register Banks button, exactly as internal registers.  
Memory cards can also be used to store "setups" (your system configuration,  
as set in Control mode). As many as 5 PCM 80 setups can be stored on a card,  
allowing you to transport not only your effects, but complete PCM 80 environ-  
ments to another PCM 80. Cards also provide storage for additional program  
maps and effect chains.  
See Control Mode Store and Load functions for details on saving setups on a  
card and reloading them.  
Memory cards canbe used to store  
PCM 80 registers, or setups.  
Memory cards must be of the following type:  
PCMCIA SRAM Memory Card — 68 pin, Type I  
Usable densities: 64 kByte  
128 kByte  
256 kByte  
1 MByte  
Access Time:  
250 nsec or faster  
ConformstoPCMCIA 2.0/JEDIA4.1. Canuseeither 8-bitor 8/16-bitbusconfiguration.  
Attribute memory can be present, but is not used.  
The addition of SIMMs (memory modules) allows several PCM 80 algorithms  
(Glide>Hall, M-Band+Rvb and the Resonant Chords algorithms) to address up  
to 4 Meg of delay memory, providing as much as 42 seconds of stereo delay.  
PCM 80 memory can be expanded with SIMM memory modules of the following  
type:  
Memory Expansion  
30-pin SIMM Memory Module  
Usable densities: 1 Meg x 9  
4 Meg x 9  
16 Meg x 9 (See Physical Requirements. Note also  
that only 4 Meg will be addressed by the PCM 80.)  
8-bit SIMMs are not usable  
Access Time: 70 nsec or faster  
Physical Requirements: Either 3-chip or 9-chip modules may be used,  
with the following size restrictions:  
Maximum size: .208" (5.28mm) total module thickness  
1.30" (33mm) total module height  
3.50" (88.9mm) total module length  
Expanded memory is automatically detected by the PCM 80. The presence of  
additional memory will initiate internal power up testing which is longer than the  
unexpanded PCM 80 time period.  
Safety issues and various agency approvals mandate that memory expansion  
be performed only by qualified service personnel. Instructions for performing  
this procedure are, therefore, available only in Lexicon's PCM 80 Service  
documentation.  
1-8  
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2
Basic Operation  
The PCM 80 provides a wide range of control over an extraordinary set of reverb  
and modulation effects. All of the controls are easily accessed from the front  
panel and are described in detail in this section.  
Modes of Operation  
The PCM 80 has five basic modes of operation, each of which is selected by  
pressing a front panel button (Program Banks, Register Banks, Edit, Control  
andTempo).EachofthesefirstfourmodebuttonshasanLEDwhichlightswhen  
themodeisactive.TheTempo LED(unlessyouelecttohave thisfunctionturned  
off) flashes the current tempo. When Tempo mode is active, no other mode  
LEDs will be lighted.  
The PCM 80 is always operating in one of these modes.  
Here, the lighted LED indicates that Control mode is active.  
The five mode buttons give you the first level of access to all of the functions and  
parameters in the PCM 80.  
•
•
Press Program Banks repeatedly to access four banks of factory preset  
programs. Each bank contains 50 programs.  
Press Register Banks to access a bank of 50 memory locations, called  
registers, where you can store your customized effects. Memory cards can  
be used for storage of additional banks of registers. When a formatted  
memory card containing stored registers is inserted, pressing Register  
Banks repeatedly will cycle through all of the available register banks.  
•
Press Edit to access all of the available parameters for the currently running  
effect.  
•
•
Press Control to select system parameters, MIDI, card formatting, etc.  
Press Tempo to set tempo-related values that affect the delay time and LFO  
rate parameters of the currently-running effect. This is an exciting feature  
which is unique to the PCM 80, and which will be described in detail later in  
this chapter.  
2-1  
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PCM 80 Use r G uid e  
Le xic o n  
Allofthecontrolsavailableinamode arearranged inamatrixofupto10columns  
(numbered0-9)and10rows(eachnumbered.0-.9).Thisarrangmentallowsany  
one of as many as 100 parameters to be selected simply by using the SELECT  
knob and the Up and Down buttons to select a position in the matrix.  
Navigating a Matrix  
The SELECT knob moves you  
horizontally across the matrix.  
Simultaneously pressing  
Up and Down will always  
return you to 0.0  
←
→
↑
An asterisk in the display indicates that  
Load /✱ is active and, depending on the  
mode, will load effects or display  
The Up and Down  
buttons move you  
vertically through  
the rows of the  
matrix.  
additional parameters when pressed.  
XXXXXXX ✱XXXXXXXXXX  
↓
3.6 XXXXXXXXXXXXXXXXX  
Your current location in the matrix is shown  
in the lower lefthand corner of the display.  
In the Program and Register Banks, the ADJUST knob acts  
as a soft knob for adjustment of one or more patched effect  
parameters. In the other modes, ADJUST scrolls through the  
range of available settings for the control you have selected.  
Go or Pro  
The PCM 80 offers a choice between two levels of Edit mode parameter access.  
We call these Go mode and Pro mode.  
Go mode makes use of an extra row in the edit mode matrix called the Soft Row,  
where you can assign as many as 10 effect parameters for easy access.  
Selecting Go mode (Control mode 1.0) limits the action of the Edit button to  
displaying only the Soft Row parameters assigned to the current effect.  
Each preset has a set of Soft Row assignments which we've selected for you (as  
well as an assignment for the ADJUST knob). When shipped, the PCM 80 will  
power up in Go mode with the first preset (P0 0.0) loaded. Press Edit to display  
the Soft Row of parameters.  
Pro mode gives you access to the full parameter matrix, including the Soft Row.  
Use this mode when you want to do in-depth effects editing or patching, or when  
you want to customize Soft Row assignments.  
GomodeandPromodeselectionismadeinControlmode atmatrixlocation1.0.  
2-2  
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Ba sic O p e ra tio n  
The PCM 80 offers an extensive set of informative display messages which can  
be activated from the front panel.  
Info  
The frontpanel switches perform variousfunctions when pressed. Most of these  
functions are activated on release of the button. If you want to know more about  
the function of a particular button (without actually executing any action) press  
andhold thebutton down.Whileyouareholding downthebutton,anexplanatory  
messagewillappear onthedisplay.Theactivationof anInfomessage overrides  
the normal function of the button, so that no action is taken on release.  
Info messages are displayed when a button is pressed and  
held down. Generally, Info messages inform you of the  
function of a button, or provide current status information.  
Displays the currently loaded  
Displays the current tempo and the  
clock source (MIDI or Internal).  
effect name,bank, and matrix  
location.  
Displays the current function  
assigned to the Up button and  
the ADJUST knob.  
Displays the current function  
assigned to the Down button  
and the SELECT knob.  
Displays the type of system  
Displays action needed to  
bypass currently selected,  
and the current status (on  
or off).  
perform a store operation or  
Memory Protect message when  
store function is disabled.  
Inactive until an effect has been  
altered, then displays "Press to  
hear stored effect"  
2-3  
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PCM 80 Use r G uid e  
Le xic o n  
Selections of various system states and conditions are made in Control Mode.  
Press Control to enter this mode. The Control button LED will light to indicate  
that the mode is active. Note that Control Mode functions are not available when  
the Compare function is active.  
Control Mode  
The Control Mode matrix is shown below, followed by descriptions of each  
available selection.  
Simultaneously press Up  
and Down to return to 0.0.  
An asterisk (✱) accompanying a parameter name indicates that there are subparameters available  
at that matrix location. TheLoad /✱LED will light whenever an asterisk appears in the display. Press  
Load /✱ to step to the next subparameter. From any point in the matrix, press Up or Down together  
with Load /✱ to backstep to the previous parameter.  
Row 0  
Audio  
0.0 Word Clock  
The PCM 80 can use its own internal clock as a timing reference, or it can  
reference an external clock source from the rear panel S/PDIF jack. Use  
ADJUST to select Ext (External), Int: 48kHz or Int: 44.1kHz. When either  
Internal rate is selected, the digital input is disabled. To process audio from the  
digital input, you must select Ext.  
When External clock is selected, and the PCM 80 detects valid digital audio, the  
rate of the External word clock will be displayed with a label indicating the digital  
audio format type: Prf (Professional) or Cns (Consumer, also called S/PDIF).  
Note: Although the PCM 80 will  
detect AES professional format  
signals, it is designed to be used  
with S/PDIF input. If your digital  
input is not S/PDIF, please be  
alert for locking problems and  
other potential errors, and be  
prepared to take the necessary  
steps to provide the correct for-  
mat input signal.  
Audio  
✱Word Clock  
Audio  
✱Word Clock  
0.0 Ext: Cns 48kHz  
0.0 Ext: Prf 44.1kHz  
When the PCM 80 is receiving valid digital audio, selecting Word  
Clockwill display the audio format and the rate of the incoming signal.  
2-4  
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Ba sic O p e ra tio n  
When External clock is first selected, the PCM 80 will repeatedly try to establish  
lock. You can choose to have any subsequent interruptions of the incoming  
digital audio signal dealt with in one of two ways. An Auto Lock feature allows  
you to choose to have the PCM 80 attempt to re-establish lock, or not. (See 0.3  
Auto Lock.) In either case, the PCM 80 will immediately mute the digital input,  
and switch to Internal clock at the sample rate of the last valid external signal.  
When External clock is selected, any loss of lock detected in the incoming digital  
audio, or reception of non-audio data will cause the digital input to be muted. An  
error message will be displayed if this occurs.  
The following types of errors are detected when the PCM 80 is set to Ext:  
No Lock: The PCM 80, at some point, lost lock to the incoming digital  
audio signal. Digital audio input is muted.  
Out of Range: The sampling rate of the incoming audio signal is outside of  
acceptable tolerance limits of +4%. Digital audio input is  
muted.  
Non Audio: Indicates transmission of non-audio data, such as from a CD  
ROM. Digital audio input is muted.  
Dig In Status  
Pressing Load/✱ from Word Clock will display the current digital input status.  
This status display is continuously updated, acting as a real-time monitor of the  
PCM 80 digital input. This display is active even when the PCM 80 is set to  
Internal clock. Note that in the case of an AES Pro format signal, "Emphasis"  
means either CCITT or 50/15µs emphasis.  
If valid digital audio is detected, the display will show the external clock rate and  
format information, along with the status of the Emphasis bit(s) in the incoming  
audio signal. If the PCM 80 has lost lock, the display message will indicate "No  
Lock" and parenthetically show the internal clock rate now in use.  
Upon loss of lock, or reception of non-  
audio data, the PCM 80 will mute the  
digital input and display the following  
messageswhenWord Clockor Dig In  
Status is selected:  
Word Clock  
Dig In Status  
Audio  
*Dig In Status  
Audio  
*Dig In Status  
Not Locked  
Out of Range  
Non Audio: 44.1  
No Lock (Int 44.1)  
No Lock (Int 44.1)  
Non Audio: 44.1  
0.0 NoLock (Int:44.1)  
0.0 Prf 44.1 Emp:Yes  
When the PCM 80 loses lock, it will mute the digital input and switch to Internal Clock.  
Error Log  
The following errors are continuously logged and are available for review by  
pressing Load/✱ from the Dig In Status display and using ADJUST to scroll  
through the error list.  
Validity:  
A Validity error indicates that the Validity bit was set in a frame  
of incoming data and that the data attached to it may be  
corrupted.Thisbit mayalsobesentwhenthetransmittingdevice  
is paused.  
Confidence:  
The PCM 80 is detecting excessive jitter or noise on the digital  
audio line. No data has been corrupted, but corrective action  
should be taken.  
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SlipSample:  
Indicates that a single sample is misaligned with the window  
defined by the Word Clock. This may occur when an external  
master changes sample rate, or when it is just powering up, but  
should not occur in normal operation.  
CRC:  
IndicatesaCyclicRedundancyCheckerrorin theincomingdata.  
Parity, Biphase:  
Indicate that at least one bit (and therefore at least one audio  
sample) was corrupted.  
Parity,Biphase,andConfidenceerrorsaremostoftencausedby  
inappropriate cabling. Be sure to use 75Ω video-grade cable,  
kept as short as possible — standard audio cable will not work  
reliably.  
Eacherrorisreported byname,with thenumberof occurrences ofthatparticular  
type of error. The display might show, for example "CRC: 4752". As many as  
9999 instances of each error can be shown. If the number of actual errors  
exceeds 9999, the display will indicate ">9999". A special symbol (■) before the  
error type indicates the most recently received error.  
Press Load/✱ from the Dig In Status display and use ADJUST to scroll through the Error  
Log.  
A typical Error Logdisplay showing thatthe last  
Audio  
*Error Log  
error received was a CRC error (■ CRC) and  
that there have been more than (>) 9999 in-  
stances of CRC errors since Word Clock was  
last set to Ext.  
0.0 ■ CRC >9999  
To clear the Error Log, reselect Ext from the Control Mode WordClock display.  
This will cause the PCM 80 to attempt to lock to the current external source and  
will reset the Error Log. The log is also cleared on power up, and whenever it  
relocks (Auto Lock On).  
0.1 Analog In Lvl  
This is a master level control for analog left and right inputs. Use ADJUST to  
select values from 0-100%. If using only analog inputs, this should be 100% for  
best audio performance. Values between 0% and 100% are for mixing analog  
and digital sources.  
Note: If the analog signal being fed into the PCM 80 is too hot, turn it down by  
adjusting the front panel INPUTlevel control, or by changing the rear panel Input  
Gain switch. (See Setting Audio Levels in Chapter 1.)  
0.2 Dig In Lvl  
This is a master level control for digital left and right inputs (post A/D converter).  
Use ADJUST to select values from 0-100%. If using only digital inputs, this  
should be 100%, with Analog InLvl set to 0% for best audio performance.  
Values between 0% and 100% are for mixing analog and digital sources.  
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If digital audio is interrupted by lock or range errors, or by transmission of non-  
audio data, the digital input will be muted. Whenever this occurs, the PCM 80  
remains functional, while an error message, such as those shown below, is  
displayed.  
Error : Out Of Range  
(Press any button)  
Error : Lock  
(Press any button)  
Error : Non Audio  
(Press any button)  
Any such message will remain on the display until you dismiss it by pressing any  
front panel button. If the condition causing the error is corrected, and the digital  
input is unmuted, the message will still remain until you dismiss it to ensure that  
youareinformedofaconditionthathasmuteddigitalaudio,even ifonlyforabrief  
period of time. Once the message is dismissed, the display will return to its  
previous state.  
Some errors detected in an incoming digital  
audio signal will cause the PCM 80 to mute the  
digital input. When this happens, the Dig In Lvl  
display will show both the level you selected,  
and the fact that the signal is muted.  
Audio  
Dig In Lvl  
0.2 30% (Muted)  
If you select the Dig In Lvl parameter while there is a lock, range, or non-audio  
error, the display will continue to show the level you have selected, and  
parenthetically show that the signal has been muted.  
Note, if Word Clock is set to Int, Dig In Lvl is disabled. You must select Ext to  
process digital audio.  
0.3 Auto Lock  
When Word Clock is set to Ext, and the PCM 80 loses lock with an incoming  
digital audio signal, it will immediately switch to Internal Clock at the sample rate  
of the digital signal last detected. The Auto Lock control allows you to choose  
whether or not the PCM 80 will continuously try to re-establish lock. Use  
ADJUST to select On (continuous retry), or Off (continue to use Internal Clock  
as a timing reference until Ext is reselected).  
0.4 SCMS  
Digital audio signals, in order to comply with copyright standards, are encoded  
withcontrolinformationwhichcanlimittheabilitytocopy audio data. Thiscontrol  
information is generally known as SCMS (Serial Copy Management System).  
Under this system, you can choose to have the audio material processed by the  
PCM 80 encoded to allow one of three levels of copy restriction. To make your  
selection, use ADJUST to select No Copy, One Copy, or Multi Copy.  
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0.5 Emphasis Bit  
TheEmphasiscontrolallowsyoutoexplicitlysettheemphasis"flag"inthedigital  
audio, or to pass along the incoming signal without changing its emphasis  
coding. (The PCM 80 does not perform any emphasis or de-emphasis as part  
of its signal processing.) The choices available with ADJUST are: Yes, No, and  
Pass Thru.  
0.6 Output Level  
This control allows you to select the maximum output level at the PCM 80's  
analog outputs. Use ADJUST to select +4 dBu, or –10 dBu.  
Exercise care when switching this control, as a 14dB level change  
instantly occurs when going from -10dBu to +4dBu.  
Row 1  
System  
1.0 Edit Mode  
The PCM 80 has been designed with a "plug and play" feature called Go mode.  
In this mode, the most useful parameters of each effect are grouped together in  
a single row which is available whenever you press Edit.  
Each PCM 80 preset has a set of Gomode parameters which we've selected for  
you. When shipped, the PCM 80 will power up in Go mode, with the first preset  
(P0 0.0) loaded. Press Edit to display the first available parameter in the Soft  
Row.  
If you want access to the full parameter matrix for any effect, including the Soft  
Row parameters, use ADJUSTto select Pro mode. Now, when Edit is pressed,  
youcan selectanyparameterforadjustment,and customizeany effectwith your  
own Soft Row assignments. For more information about the Soft Row, see  
Editing an Effect later in this chapter.  
1.1 Mix Mode  
Each PCM 80 effect has its own Mix parameter, with the Mix setting stored as  
an integral part of the effect. Mix Mode allows you to override these individual  
Mix settings and set a global Mix value for all effects. This is useful when using  
a mixing console's controls to set the amount of wet signal in a mix. In such a  
case, you can use this control to set all PCM 80 effects to 100% wet.  
When shipped, the PCM 80 has the Mix Mode set to Pgm. This setting  
determines that effects will be loaded with their stored Mix settings, and allows  
the individual Mix controls in the edit matrix of each effect to be adjusted from  
0-100% Wet. To set a global Mix value, use ADJUST to select Global, press  
Load/✱ to display the current value, and use ADJUST to assign any value from  
0-100% Wet.  
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1.2 Tempo Mode  
ThePCM80givesyouanexcitingnewapproachto workingwith delaytimesand  
modulation parameters. Now you can set these parameters in beats, allowing  
youto control your effects in a completely musicalway.Each PCM80 effecthas  
its own Tempo parameters, with tempo settings stored as an integral part of the  
effect. These include: Tempo Rate, Tempo Beat, Tempo Source (internal or  
MIDI), Tap Duration, and Tap Average. The Global setting here allows you to  
override individual Tempo Rate settings with a global value which can then be  
changed on the fly.  
When shipped, the PCM 80 has the Tempo Mode set to Pgm, with each effect  
driven by its own stored tempo rate. To change to a global Tempo Rate, use  
ADJUST to select Global, press Load/✱ to display the current tempo in BPM  
(beats per minute), then use ADJUST to assign a global tempo value of 40-  
400BPM.  
Whether Tempo Mode is set to Global or Pgm, you can set a new tempo rate  
by pressing the front panel Tap button twice. Alternatively, you can choose to  
have tempo set automatically from incoming MIDI clock. The rate you tap, or the  
MIDI tempo, will be displayed here.  
For more information about working with the tempo parameters, see Tempo  
Mode later in this chapter.  
1.3 Bypass Mode/Bypass Src  
This control alows you to determine the behavior of the PCM 80 when the front  
panel Bypass button is pressed. You can also assign an external controller to  
performidenticallytothefrontpanelbutton.WhentheBypassbuttonispressed,  
the LED will light, and a message indicating bypass type will be displayed.  
Pressing Bypass again will turn bypass off.  
The choices available via ADJUST are:  
AllMute:  
Mutes both the input and the output signal, giving com-  
plete silence.  
InputMute:  
Mutes the input to the PCM 80, allowing the tail of the  
effect to ring out. (This is the default setting.)  
OutputMute:  
Mutes the output. Audio signals are still being fed to the  
PCM 80, so processed audio returns immediately when  
Bypass is turned off.  
Bypass:  
Completely bypasses the PCM 80, passing unproc-  
essed audio directly through to the outputs.  
To assign an external controller to perform the selected bypass function, press  
Load/✱to display Bypass Src. Use ADJUST to select a footswitch or any MIDI  
controller (or Off). Once a source is selected, it will perform the same function  
assigned to the front panel Bypass button.  
1.4 Pgm Bypass  
This control allows you to determine the behavior of the PCM 80 when a new  
effect is loaded. The choices available are: AllMute or Bypass.  
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1.5 Mem Protect  
The PCM 80 provides a memory protection feature to prevent accidental  
overwriting of your stored effects. When this control is set to On, pressing the  
front panel Store button will cause an error message to be displayed. To enable  
the Store function, turn ADJUST to select Off.  
1.6 Auto Load  
This control allows you to choose whether PCM 80 effects will be loaded  
immediately when selected with SELECT and the Up and Down buttons (On),  
or whether they will require a press of the Load/✱ button (Off).  
1.7 Patch Update  
When a controller is patched to an effect parameter, this control determines  
when the controller will take control of the parameter. If Immediate is selected,  
stored parameter values will jump to the current controller position when the  
effect is loaded. If Delayed is selected, the stored parameter value will remain  
in effect until the controller is moved. See Patching later in this chapter.  
1.8 Initialize  
Selecting this control arms the PCM 80 to revert to its factory settings.  
This will erase all registers and setups,  
and return the PCM 80 to its default states.  
If you press Store, the display will ask "Are you sure?" (Press STORE). If you  
don'twantto reinitialize your unit, press any button to canceltheoperation. Ifyou  
press Store in response to this message, the display will flash "Restoring  
original factory settings" and your unit will be reinitialized.  
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Row 2  
Card  
2.0 Bank Copy  
This control allows you to copy banks of effects from one location to another.  
Banks can be copied internally, or to and from PCMCIA Memory Cards. Try, for  
example, copying Preset Bank 0 into the internal Register Bank.  
1. Press Store. The following display will appear briefly.  
Select and copy  
effect banks  
The display will then change to show:  
Card Bank Copy  
2.0 Src: ✱P0 Dst: R  
The asterisk indicates that Src is available for adjustment. ADJUST will  
scroll through all available banks, including internal preset and register  
banks, as well as any banks on inserted PCMCIA cards. Internal banks are  
labeled "P0...P3" and "R1". Card registers will be labeled "C0, C1, C2" etc.  
2. Press Load/✱ to move the asterisk to Dst.  
Card  
Bank Copy  
2.0 Src: P0 Dst: ✱R  
Now, use ADJUST to select the destination of your copy. Selecting a  
register bank here will cause its contents to be erased and overwritten  
with the bank you have selected as the source when Store is pressed.  
4. Press Store to copy the selected source (in this case Preset Bank 0) into the  
internal Register Bank. The display will ask "Are you sure?" (Press STORE).  
Press any button to cancel. Press Store to complete the store operation.  
2.1 Load  
This control is provided for future enhancement. It will allow you to load audio  
software from a Memory Card simply by inserting the new card and responding  
to the display prompts.  
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2.2 Format  
This control allows you to format a Memory Card for PCM 80 use. Press Store  
and insert an unformatted card (or one you don't mind erasing). Make sure the  
Write Protect latch on the card is set to Off. Press Store. The display will ask  
"Are you sure?" (Press STORE). Press Store. The following display will appear  
briefly.  
Format and name  
memory card  
The display will then change as shown below.  
Card Name: New Card  
(press STORE)  
This display allows you to assign a name (of 10 characters or less) to the card.  
A blinking cursor indicates that a particular character is available for changing.  
Use ADJUST to select the character you want in that position. Turn SELECT to  
move the cursor to another character. Press Store to execute. The display will  
ask "Are you sure?" (Press STORE). Press Store again to complete the  
operation. Press any front panel button to cancel.  
Row 3  
MIDI  
3.0 Reset  
This control resets all patched parameters to their previously stored values.  
When this control is activated, a MIDI "Reset All Controllers" message is also  
transmitted on the current channel by the PCM 80.  
3.1 Receive  
Turn ADJUST to select OFF, 1-16, or OMNI for receipt of MIDI messages.  
3.2 Transmit  
Turn ADJUST to select OFF, or 1-16 for transmission of MIDI messages.  
3.3 Pgm Change  
ThiscontrolspecifiesthePCM80'sresponsetoincomingMIDIProgramChange  
messages. There are four selections available via ADJUST: On, Off, Map and  
Chain.  
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Pgm+ and Pgm –, are available as subparameters in each location. Pgm+ will  
load the next higher effect in the current bank, map , or chain. Pgm – will load  
the next lower effect. You can select the following sources to activatePgm+and  
Pgm –:  
Off  
Footswitch 1  
Footswitch 2  
•
•
•
MIDI Controller #119  
On  
Program Change messages 0—49 correspond to PCM 80 Effects 0.0 —4.9 in  
the currentbank. Program Change messages 50—127are ignored. The current  
bank can be changed with MIDI Bank Select Messages as follows:  
0–3:  
4:  
Program Banks 0–3  
Internal Register Bank  
5–9:  
reserved  
10–56:  
Memory Card Banks. The number of banks available on a given  
card will vary with its size, as follows:  
Card Size  
# Banks  
64  
256  
512  
2
11  
23  
47  
1 Meg  
Off  
All Program Change and Bank select messages are ignored.  
Map  
Program Change 0-127 can be mapped to any PCM 80 effect in any internal or  
card bank. Two 128 element maps are stored internally, additional maps may be  
stored on RAM cards. Once you have selected Map, press Load/✱ to display:  
MIDI Pgm Change  
3.3  
✱MapSelect  
0
Turn ADJUST to select the desired Program Change Map.  
Chain  
AnyProgramChangenumbercanbeselected toloadanyoneof tencustomized  
effect “chains". Additional chains can be stored on RAM cards. Once a chain is  
loaded, effects in the chain are accessed by the controller patched toPgm +and  
Pgm – (program increment and program decrement). Once you have selected  
Chain, press Load/✱ to display:  
MIDI Pgm Change  
3.3  
✱Chain  
MIDI  
Turn ADJUST to select the desired Program Chain. When set to MIDI, Program  
Chains will be loaded by MIDI Program Change messages according to the  
settings of Chain Pgm Assign in Row 6.  
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To load a specific Program Chain, without sending the PCM 80 a MIDI Program  
Change message, use ADJUST to display the desired chain number.  
MIDI Pgm Change  
3.3  
✱Chain  
3
3.4 Automation  
Thiscontrolis providedforcommunicationwithoneormoreadditionalPCM80s.  
Select Onto have values resultingfrom frontpaneloperationssentoutasSysEx  
messages. Press Load/✱ to select the ID (0-126 or All) of the target PCM 80(s).  
3.5 Send (Foot Pedal, Foot Sw 1, Foot Sw 2, ADJUST)  
If Transmit is set to On these four controllers can transmit MIDI controller  
messages. Press Load/✱ to cycle through the controller selections. Use  
ADJUST to select the MIDI Controller message to transmit.  
3.6 Int Clock  
You can choose to have the PCM 80 transmit MIDI Clock at the current tempo  
rate by setting this control to On and Tempo mode Source (0.2) to Internal. If  
this control is set to Off, MIDI Clock will not be transmitted.  
3.7 SysEx  
This control is provided for communication with one or more additional PCM 80s  
or computer editor software. On (the default setting) allows SysEx messages  
to be received by the PCM 80. Press Load/✱ to select device ID (0-126 ).  
3.8 Dump  
Press Store to configure the PCM 80 to execute MIDI dumps of single effects,  
banks, maps, chains, or setups.  
3.9 Dump Speed  
Turn ADJUST to select dump speeds of Slow, Medium or Fast to achieve  
compatibility with the connected MIDI device.  
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Row 4  
Setup  
4.0 Store  
Control mode Audio, System, and MIDI parameter settings, along with two  
settings from the Tempo matrix, comprise a "Setup." Five setups can be stored  
in the unit, or on a Memory Card, allowing you to transport not only your effects,  
but complete PCM 80 environments to another PCM 80. Press Store to initiate  
the Setup Store function.  
WhenthePCM 80is shipped (orwhenyou reinitializetheunit)default values are  
assigned to these parameters. The following table shows the Setup parameters  
along with the factory default setting of each parameter.  
Control Mode  
Matrix Location  
System Parameter  
Default Setting  
Audio 0.0  
Word Clock  
Analog Lvl  
Digital Lvl  
Auto Lock  
SCMS  
Internal 48kHz  
100%  
0%  
0.1  
0.2  
0.3  
0.4  
0.5  
0.6  
Off  
Multi Copy  
Pass Thru  
+4dBu  
Emphasis Bit  
Output Level  
System 1.0  
Edit Mode  
Go  
1.1  
Mix Mode  
Pgm  
Global Mix Value  
Tempo Mode  
Global Tempo Value  
Bypass Mode  
Bypass Src  
100% Wet  
Pgm  
120 BPM  
InputMute  
Off  
1.2  
1.3  
1.4  
1.5  
1.6  
1.7  
Pgm Bypass  
Mem Protect  
Auto Load  
AllMute  
On  
Off  
Patch Update  
Delayed  
MIDI 3.1  
3.2  
Receive  
Transmit  
Pgm Change  
Pgm+  
OMNI  
1
On  
3.3  
Off  
Pgm–  
Off  
Map select  
Chain  
Automation  
Footpedal  
Sw 1  
0
MIDI  
Off  
None  
None  
None  
None  
Off  
3.4  
3.5  
Sw 2  
ADJUST  
Int Clock  
SysEx  
3.6  
3.7  
On  
Device ID  
Dump Speed  
0
Slow  
3.9  
Tempo Mode  
Matrix Location  
System Parameter  
Default Setting  
Tempo 0.2  
Source  
Display  
Internal  
On  
Tap 1.3  
4.1 Load  
This control allows you to load your stored setup, restore the factory default  
setup shown above, or load a setup from a Memory Card.  
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Row 5  
Mapx  
Map 0 and Map 1  
When Control mode 3.3 is set to Map, received MIDI Program Change  
messages will be mapped according to the selections made here. The selec-  
tions available are: MIDI Program Change # (0-127), Bank # (PCM 80 preset,  
register, or card bank) and Pgm # (PCM 80 effect number 0-49). When shipped,  
the PCM 80 has the two internal maps configured to access all presets and  
registers:  
Map 0  
Map 1  
MIDI 0 = P0 0.0  
MIDI 127 = P2 2.7  
MIDI 0 = P2 2.8  
MIDI 121 = R 4.9  
Row 6  
Chain  
The PCM 80 has 10 internal program chains, numbered 0-9. (Ten additional  
chains are available if a register card is inserted.) Each chain is made up of 10  
"links" (numbered 0-9). You can assign any program or register to any link in the  
chain.  
A chain can be loaded with a MIDI Program Change message, or by selecting  
its number directly at Control mode 3.3. Once a chain is loaded, the source  
assigned to Pgm+ and Pgm– will load the next higher or lower program in the  
chain.  
Pgm Assign  
When Control mode 3.3 is set to Chain, received MIDI Program Change  
messages will be mapped according to the selections made here. Two assign-  
ments are available: MIDIProgramChange# (0-127) and Chain#(0-9). When  
thePCM80isshipped,allprogram numbersaremappedtoChain#0.Tochange  
assignments, set Pgm#, with ADJUST, press Load/✱ to move the ✱ to Chain#  
and set it with ADJUST. (You cannot assign more than one chain/MIDI #.)  
Chain Pgm Assign  
Pgm# : ✱ 3 Chain# :  
3
Chain 0-9  
Use SELECTto choose a chain. Once a chain is selected, any PCM 80 program  
or register can be assigned to any link in the chain. Press Load/✱ to move the  
✱ from Link# to the Bank ID, to the program number. Depending on the field  
marked with the ✱ , ADJUST will select link numbers 0-9, Banks (Pn or Rn), or  
the desired program within the displayed bank.  
Chain 3 Prime Blue  
Link# : ✱ 0  
P0 0.0  
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The PCM 80 has 200 factory-designed programs, organized into four Program  
Banks of 50 each, and 50 memory locations, called registers, for storing your  
customized effects. One Register Bank is available in the PCM 80 itself.  
Additional Register Banks can be stored on PCMCIA cards.  
Program and  
Register Banks  
The PCM 80 has 4 Program Banks, each with  
50 factory-designed programs  
A Register Bank provides 50 memory locations for  
storing your own effects.  
All PCM 80 programs have one or more parameters  
patched to the ADJUST knob.  
In Program Banks or Register Banks mode, turn  
ADJUST to change the sound of the currently  
running effect. While ADJUST is turned, the patch  
name and value are displayed.  
Selecting Effects  
The procedure for loading effects is the same, whether you are choosing from  
banks of factory presets, or from your own banks of registers. When first turned  
on, the PCM 80 will load whatever effect was running when it was last turned off.  
When shipped from the factory, the first effect in the first Program Bank (P0 0.0  
Prime Blue) is loaded. The Bank ID (P0, P1, P2, P3 ),matrix location, program  
name, and the algorithm from which the effect is derived are all displayed.  
Indicates that the ADJUST knob is patched to one or  
more parameters in the currently-running effect — in  
this case, Prime Blue.  
Turn SELECT to display another effect.  
The patch indicator remains to indicate that the  
currently running effect has an ADJUST knob  
patch, although the displayed effect may not.  
■
Chorus+Rvb  
Algorithm  
Program Bank ID  
P0 0.0 Prime Blue  
■
Chorus+Rvb  
Matrix Location  
Program Name  
P0 0.1 ✱EkoChorus  
An asterisk in the display indicates that  
the displayed effect is not loaded.  
Press Program Banks to cycle through the program banks. Simultaneously  
press Program Banks along with either Up or Down to backstep.  
Turn SELECT to scroll through all of the effects in the bank. Press Program  
Banks to reselect the last displayed effect in another bank. Press Load/✱ to  
load the displayed effect.  
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Le xic o n  
IntheProgram and RegisterBanks, ADJUSTisa SoftKnob.Each ofthefactory-  
designed programs has one or more parameters patched to this knob, providing  
a quick way to make useful changes to the effect. For example, in P0 0.0 Prime  
Blue, ADJUST varies the mix of Chorus, Echo and Reverb effects.  
The ■symbol in the upper left corner of the display indicates that the currently  
running effect has an ADJUSTknob patch. (When you display another program  
or register, this indicator continues to be displayed.) Turning ADJUSTwill cause  
the display to change to show the patch name and the current value, as well as  
the Bank, matrix location and name of the currently running effect. Continue  
turning ADJUST to alter the patched parameter's value. You can create your  
ownADJUSTknobparameter assignmentsfor yourregisters.(SeeEditing,later  
in this chapter.)  
Turn ADJUST to briefly display the Soft Knob assignment  
Current Soft Knob param-  
eter setting. Turn ADJUST  
to alter this value.  
■
Efx /Rvb X 32  
P0 0.0 Prime Blue  
Bank ID, matrix location and name of currently running effect  
Note that scrolling through the effects in the Program or Register banks will not  
loadtheeffects,but willmerely displaythem(unlessyou have specificallyturned  
on the Auto Load function in Control Mode). Displayed effect names will be  
preceded by an ✱ indicating that they can be loaded by pressing Load/✱. (The  
Load / ✱LED will light to indicate that the load function is available.) To find out  
at any time what the currently running effect is, press and hold Program Banks  
or Register Banks. An Info message will be displayed providing the name bank  
and matrix location of the currently running effect.  
To select an effect stored in a register, press Register Banks. If you have  
registers stored on a memory card, and have the card inserted, pressing  
Register Banks repeatedly will cycle through all of your stored bank selections.  
Simultaneously press Register Banks along with either Up or Down to  
backstep. Turn SELECT to scroll through all of the effects in the bank. As in  
Program Banks mode, an asterisk in front of the effect name indicates that the  
displayed effect is not loaded. Press Register Banks to reselect the last  
displayedeffectinanother bank.Unusedregistersareindicatedbythemessage  
"available" on the display. Press Load/✱ to load the displayed effect.  
Register Bank ID  
The PCM 80's internal  
register is labeled R;  
register  
R 0.0  
* available  
register banks created  
on memory cards will be  
labeled C0, C1, C2, etc.  
The name you assign to a stored effect will  
appear here. "available" indicates that no  
effect has been stored at this location.  
Matrix Location  
The organization of programs in the four program banks and descriptions of the  
200 preset programs are given in Chapter 3.  
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Tempo Mode  
The PCM 80 gives you unique control over tempo. In the PCM 80, tempo is not  
just a matter of setting echo rates. Any delay parameter (as many as 10 in some  
effects) and any time-based modulator (LFO, Sw1 and Sw2) can be individually  
assigned to an absolute time value, or assigned to a tempo value.  
For example, a delay time can be set to a specific number of milliseconds, and  
you will always get a delay of that number of milliseconds, regardless of tempo  
changes. Alternatively, a delay time can be set to a specific ratio of echoes to  
beats. Now, if you create a rhythmic echo pattern, delay times will be linked to  
tempo. When you change tempo, the delay time will change to maintain the  
same rhythm at the new tempo.  
With the LFO and time-based switches, the rate of change can be an absolute  
value (such as once per second), or it can be linked to tempo (for example, once  
every four beats). Any delay parameter, or time-based modulator, can be set to  
its own individual rhythm, allowing you to set up an effect which will change in  
a rhythmically interesting way — evolving over time, for example, as opposed  
to being a mere series of repetitions. Once delays and time-based modulators  
are assigned, tempo rate can be easily changed in a variety of useful ways.  
Tempo Rate can be setinternallyor viaMIDI.If TempoSourceisset to Internal,  
you can dial in any tempo from 40-400 BPM at location 0.0 in the Tempo mode  
matrix. Alternatively, you can press the front panel Tap button twice in rhythm  
to establish the rate you want, or you can have the value of a patch source act  
as a tap trigger. (See Patching.) TheTap function, whether performed by the  
front panel Tap button, or by an assigned controller, is always active, allowing  
youtochangetempoontheflyfrom anymode.Youcanalsochoosetohaveyour  
tempo transmitted asa MIDIClocksignalto controlthe tempo ofconnectedMIDI  
devices. (Control mode 3.6) If Source is set to MIDI Clock, PCM 80 tempo will  
sync to incoming MIDI Clock. Whether tempo is set internally or via MIDI, the  
LED in the Tempo button will flash at the current rate. (You can disable the  
TempoLEDflashing under Tempo mode1.3.) PressandholdtheTempo button  
at any time to display the current Tempo Rate and Source.  
Each effect in the PCM 80 has its own tempo rate setting which is stored with the  
effect. You can override these individual tempo rates with a global tempo rate  
at Control Mode 1.2. Tempo is also available as an independent patch source  
which can control any effect parameter. (See Patching later in this chapter.)  
When Compare is on, Tap  
will not alter the tempo, but  
will still reset the LFO's. See  
Chapter 3 Modulation.  
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PCM 80 Use r G uid e  
Le xic o n  
Press Tempo to access the following tempo parameters:  
The Tempo Mode Matrix  
Simultaneously press Up  
and Down to return to 0.0.  
An asterisk (✱) accompanying a parameter name indicates that there are  
subparameters available at that matrix location. The Load /✱LED will light whenever  
an asterisk appears in the display. Press Load /✱ to step to the next subparameter.  
From any point in the matrix, press Up or Down together with Load /✱ to backstep to  
the previous parameter.  
Row 0  
Tempo  
0.0 Rate  
This is the current tempo (in Beats Per Minute). When 0.2 is set to Internal,  
turning ADJUST allows you to select a different rate (40-400 BPM). The Tempo  
LED will flash at the new rate. Note that fractional tempos can be tapped in, but  
are not available via ADJUST. The display will always show the nearest whole  
number value.  
0.1 BeatValue  
Tempo is expressed in BPM. This control allows you to specify the value of the  
beat.Eighth,dotted-eighth,quarter,dotted-quarter,half,dotted-half,andwhole-  
note values are available. If, for example, the rate is 120 BPM, and you select  
eighth-note here, the tempo will be 120 eighth-notes per minute. If you select  
quarter-note here, the tempo will be 120 quarter-notes per minute. (The factory  
default is quarter-note.)  
0.2 Source  
You can choose to have tempo determined by the PCM 80 Tap and Rate  
controls (Internal), or by MIDI Clock. When MIDI Clock is selected as the tempo  
source,Tap actsasa reset,setting thedownbeatoftheLFOand thetime-based  
switches.  
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Row 1  
Tap  
1.0 Tap Duration  
This control determines how many beats will occur in a tap interval. The default  
setting (1 beat) is probably adequate for most applications. With the default  
setting of 1 beat, if the tempo is set to 120 bpm, and the beat value is set to  
quarter-note, each TAP = 1 quarter-note = 1 beat. Available values are: 1/8,  
1/7, 1/6, 1/5, 1/4, 1/3, 1/2, 1-8 beats  
1.1 Tap Source and Tap Level  
Press Load/✱ to toggle between these two controls.  
Tap Source allows you to assign the Tap function to any of the PCM 80’s  
Internal, MIDI, or MIDI controllers as listed under Patching.  
Tap Level allows you to set the level at which the Tap function is triggered.  
1.2 Average  
This control allows you to average the last 2-8 taps. Higher numbers mean that  
the response to incoming taps will be more gradual. (The tempo is updated on  
every tap, but with a value which is the average of the last 2-8 taps.) Higher  
average values are more useful if you're trying to lock into a pre-recorded track.  
1.3 Display  
This control allows you to disable the flashing of the Tempo LED. Turn ADJUST  
to select Off. The Tempo LED will turn off.  
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PCM 80 Use r G uid e  
Le xic o n  
Editing an Effect With 10 algorithms and 200 preset effects, the PCM 80 gives you a lot to play  
with right out of the box. An enormous range of editing control is provided for  
each algorithm, with parameters organized in an edit matrix of as many as 100  
main controls. In addition to providing this powerful sound design capability, the  
PCM 80 is also designed to allow you to customize these controls for your day-  
to-day editing needs, or to simply use a subset of controls specially designed  
for each preset.  
This section will describe three basic levels of editing, from the simplest "plug  
and play" method, through the full edit matrix.  
Every preset in the PCM 80 has one or more of its available parameters patched  
to the front panel ADJUSTknob. This Soft Knob provides the first level of editing  
control. Once you have loaded a preset, simply turn ADJUST to alter the effect.  
The Soft Knob  
When shipped, the PCM 80 will power up with the first preset (P0 0.0 Prime  
Blue) loaded. The following display will appear:  
Indicates that the ADJUST knob is patched to one or more  
parameters in the currently running effect. This indicator will  
stay on even if another effect is selected for display.  
■
Chorus+Rvb  
Algorithm  
P0 0.0 Prime Blue  
Program Bank ID  
Matrix Location  
Program Name  
Turn ADJUST. The display will change to show the name assigned to the  
ADJUST patch, and the current value of the patch. Continue turning ADJUST to  
change the value of the patch along its entire range. The range of ADJUSTknob  
control can be limited in Control Mode, making it possible, for example, to have  
a range of only 0...1, in order to have the ADJUST knob behave as an Off/On  
control. Many of the presets have range limits to make them more convenient to  
use. In some of the presets, the changes effected by ADJUST will be as simple  
as altering the wet/dry mix. In others, such as the example shown below, turning  
ADJUST will glide you all the way from a chorusing effect to a reverb effect over  
the complete control range of 0-127.  
The name that has been assigned to  
theADJUST knobpatchisshownhere.  
Controlling the Soft Knob with a  
Foot Pedal  
The current value of the  
patched parameter(s) appears  
here. Turn ADJUST toalter this  
value.  
If you have a foot pedal connected to  
the PCM rear panel Foot Controller  
jack, you can useit to control the soft  
knob patch. (Note that no MIDI con-  
nections are required to do this.)  
■
Efx/Rvb X : 33  
P0 0.0 Prime Blue  
To assign a foot pedal control over  
the soft knob patches, set both Con-  
trol mode 3.5 ADJUST and Control  
mode 3.5 Foot Pedal to the same  
MIDI Controller. See Chapter 5 MIDI  
Operation.  
Details on how to create your own ADJUST knob patches are given at the end  
of this chapter under Patching.  
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Beyond simple ADJUST knob editing, the PCM 80 offers two levels of editing  
control, called Go mode and Pro mode. Go mode is designed to be a basic  
"plug and play" mode, with easy access to a specific set of preset parameters.  
For each of the 200 presets, we have designed a Soft Row containing those  
parameters which allow you to make value changes to the effect without losing  
the character of the sound.  
The Soft Row  
When shipped, the PCM 80 will power up in Go mode with the first preset (P0  
0.0PrimeBlue)loaded.PressEdit todisplaythe SoftRowofparameterswhich  
havebeendesignedfor thispreset.Inthisexample,10softrowparametershave  
been assigned. The name of each Soft Row parameter is displayed, along with  
a reference to its row in the Edit matrix.  
Turn SELECT to scroll all of the available parameters in the Soft Row. Turn  
ADJUST to change the value of any displayed parameter along its entire range.  
An asterisk in front of a displayed parameter  
indicates additional parameters are available when  
you press Load/✱.  
Each preset has a Soft Row of parameters which have been  
specifically selected to provide everything you need to play with the  
effect. This example shows the Soft Row for P0 0.0 Prime Blue.  
Soft Row parameters are derived  
from the full Edit matrix (with the  
exception of the Patch row). In  
the presets, they are arranged  
according to their numerical  
order in the matrix.  
The Soft Row display shows:  
an Edit matrix row label...  
... the name of the parameter...  
←
→
■ Controls  
High Cut  
■
Turn SELECT to move  
horizontally across the  
Soft Row.  
12.50 kHz  
Use ADJUST to change the  
value of a displayed parameter.  
... and the current parameter value.  
The symbol ■in the upper left  
The symbol ■in the upper  
right corner of the display  
indicates that a parameter  
is a patch "destination".  
corner of the display indicates  
that a modulator is patched as  
a "source" controller.  
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PCM 80 Use r G uid e  
Le xic o n  
Whenever you edit a PCM 80 effect from the front panel, the LED in the  
Compare button will light. This lets you know that the effect has been altered  
since the last store operation, and that the edit compare function is active.  
Whenever this light is on, you can press Compare to hear the original version  
of the effect. A message will be displayed to inform you that the stored version  
of the effect is being loaded. Although this message is only displayed briefly, the  
Compare LED will flash to let you know the effect you are hearing is the stored  
version. While Compare is on, you can use the SELECT knob and the Up and  
Down buttons to view parameter values in the stored effect.  
Compare  
Press Compare again to reload your edited version. Another message will be  
displayed, and the Compare LED will stop flashing and remain lit until you store  
your edited version, or select and load another effect.  
Note: Altering parameter values with patched sources other than ADJUST will  
not light the LED.  
The Compare light is off until  
you make changes to an effect.  
As soon as you alter an effect,  
the Compare light will go on.  
If you press Compare while the light  
is on, a message will be displayed ...  
Compare is on  
stored effect active  
...and you will hear the original (stored)  
version of the effect. You can display the  
parameter values of the stored effect with  
SELECT and Up and Down.  
The Compare light will flash until you press  
Compare again to reload the edited version of  
the effect. While Compare is on, you cannot  
select another effect.  
Bypass  
The front panel Bypass button is always active, and will turn on the type of  
bypass (AllMute, InputMute, OutputMute, or Bypass) selected in Control  
Mode 1.3.  
When you press Bypass, the button LED will light and a message will be  
displayed to inform you that bypass is on. The display message will also indicate  
the type of bypass which is in effect. Press Bypass again to turn both the LED  
and the bypass condition off. A brief display message will inform you that bypass  
is off.  
Press and hold Bypass to display the current state and type of bypass.  
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Store Operations  
Turning Memory  
Protection Off  
The PCM 80 is shipped with its Memory Protection option on. When you press  
the front panel Store button, the following message will be displayed:  
Store not active  
Mem Protect is on  
To turn Memory Protection off, press Control and use Up and Down and  
SELECT to display matrix location 1.5. The display should read:  
System Mem Protect  
1.5  
On  
Turn ADJUST to select Off.  
Storing an Effect  
With Memory Protection disabled, pressing Store will cause a message like the  
following one to be displayed:  
An asterisk (✱) is positioned in front of the display  
label which is available for changing — in this  
case, the name of the effect.  
"available" means that  
this location is empty. If  
an effect is stored at this  
location, its name will  
appear here.  
Name:  
R 0.0  
✱Prime Blue  
available  
The default Bank and  
register location will  
appear here.  
Press Load/✱ to select the ADJUST patch for renaming.  
Press again to select the register bank. Press again to  
select the register location within the selected bank.  
How the PCM 80 selects a  
default Bank and Register  
If you press Store again, the display will ask "Are you sure?" (Press STORE).  
Pressing Store will cause the currently running effect to be saved, as is, in the  
location shown in the lower lefthand corner of the display. A brief message will  
inform you that the effect is being stored, then the PCM 80 willrevert to the mode  
it was in before Store was pressed, with the newly-stored effect loaded.  
If a register is loaded when Store is  
pressed, the default location will be  
the same as the loaded effect. If a  
preset is loaded when Store is  
pressed, the default location is de-  
termined as follows:  
When you store an effect, the following things are saved:  
The PCM 80 always uses the last-  
stored register location as a starting  
point. Its default choice is the next  
"available" register within that bank.  
If there are no available registers at  
a higher location number within the  
same bank, the default location will  
be that of the last stored register.  
•
Values of all Edit matrix parameters. This includes the initial values for any patch  
destinations when Patch Update (Control mode 1.7) is set to Delayed.  
Soft Row parameter assignments.  
•
•
•
•
•
•
•
Value of ADJUST when the effect was stored.  
Last parameter selected when the effect was stored.  
Tempo Rate and BeatValue.  
Tap Duration and Average.  
Ifthelaststoredregister isonaRAM  
card, and the RAM card is not in-  
serted, the PCM 80 will search for  
available registers starting at 0.0 in  
the Internal Register Bank.  
ADJUST name.  
Effect name.  
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PCM 80 Use r G uid e  
Le xic o n  
Renaming the Effect  
Renaming an effect is straightforward. With the asterisk and the cursor posi-  
tioned as shown, turn ADJUST to select a new character. Press Up or Down to  
select a new type of character (upper case, lower case, numeric, symbolic, or  
blank). Simultaneously press Up and Down to clear all characters from the  
cursor to the end of the line. Turn SELECT to reposition the cursor over another  
character, and use ADJUSTto change it. Continue in this manner until you have  
finishedenteringthe newname.Amaximumof12characters(includingspaces)  
may be used.  
Use ADJUST to select a new character. Turn  
SELECT to move the cursor to another position.  
Name:  
R 0.0  
✱Prime Blue  
available  
Renaming the  
ADJUST Knob Patch  
Press Load/✱ to select the ADJUST patch for renaming. The display will  
change to show the following:  
The name of the ADJUST Knob patch will appear here.  
Use ADJUST to select a new character. Turn SELECT  
to move the cursor to another position.  
ADJUST: ✱Efx/Rvb X  
R 0.0  
available  
Press Load/✱ to move the asterisk to the Register Bank ID.  
Selecting a Bank and  
Register Location  
When the asterisk is positioned in front of  
the Bank ID, ADJUST or SELECT will scroll  
through the available register banks.  
ADJUST: Efx/Rvb X  
✱R 0.0  
available  
Press Load/✱ again to move the asterisk to the register matrix location.  
When the asterisk is positioned in  
front of the register matrix location,  
ADJUST: Efx/Rvb X  
ADJUST or SELECT will scroll  
through the available registers.  
R ✱ 0.0  
available  
Once you have made all the changes you want to an effect, and have selected  
a register location, press Store. If you press Store, the display will ask "Are you  
sure?" (Press STORE). If you don't want to save the effect as shown, press any  
button to cancel the operation. Press Store to complete the operation.  
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Setting Edit Mode to Pro (Control Mode 1.0) gives you access to the full  
parameter matrix of the algorithm for any loaded effect whenever you press the  
front panel Edit button.  
The Full Edit Matrix  
To select any parameter for adjustment, use SELECT to move horizontally  
across the matrix and the Up and Down buttons to move vertically. An asterisk  
(✱) appearing before a displayed parameter indicates that more than one  
parameter isavailableatthat location.Press Load/ ✱ todisplaytheseadditional  
parameters.  
Each of the ten PCM 80 algorithms has a unique matrix, but many parameters  
are common to all effects, and their placement within the matrix is consistent.  
For example, all parameters within a given row of any matrix are related. This  
typeofgroupingis immediatelyapparent from the nameofthe row.Forexample  
the "Levels" row in any matrix will contain all of the available level controls for the  
effect's delay voices.  
As far as possible, rows with similar controls will always appear in the same  
position in the matrix and, within each row, parameters will generally appear in  
the same position. For example, the first row (0) in every algorithm is "Controls".  
The Mix parameter, which is available in all effects, is always located in position  
0 in this row. Similarly, the last two rows of every matrix are "Modulation" and  
Patches". This makes it very easy to find your way around the large number of  
availableparameters, andto anticipate where tofindthecontrolsyouarelooking  
for when you switch between effects.  
Concert Hall  
Plate  
M-Band+Rvb  
Similar parameters can be found in similar positions in  
every effect matrix. Once you are familiar with one edit  
matrix, you will find it easy to anticipate where to find  
controls in another matrix.  
Detailed information about each individual edit matrix, as well as parameter and  
effect descriptions are given in Chapter 3.  
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PCM 80 Use r G uid e  
Le xic o n  
Creating a Soft Row  
In Pro mode you still have complete access to the Soft Row, which appears  
above row 0 of the full edit matrix. The parameters assigned here are duplicates  
ofselected parametersinthematrixand canbeadjustedfromRow S(SoftRow),  
or from their matrix location.  
The following example shows the edit matrix for the preset, P 0.0 Prime Blue  
(Chorus+Rvb algorithm). Asyou cansee,parametersfromlocationsthroughout  
the matrix have been assigned to this Soft Row. In this preset (and in every  
preset) we have designed the Soft Row by assigning the parameters in  
numerical order, so that parameters from the Controls row are assigned in order  
to the first locations, followed by assignments from the Rvb Time row, and so on.  
As Soft Row parameters are also labeled with the name of the row from which  
theyweretaken,thismakesitrelativelyeasyto findthesourceparameterforany  
Soft Row assignment.  
The Soft Row assigned to an effect appears  
above Row 0 in the full Edit matrix.  
We have highlighted those  
parameters in the Edit matrix  
which have been assigned to the  
Soft Row of P 0.0 Prime Blue,  
for example: FX Width, and  
Mod: Sw 1.  
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Modifying the Soft Row, or creating a completely new Soft Row for an effect is  
easy:  
1. From the full Edit matrix, press Up until you get to the Soft Row, indicated by  
an S in the lower left corner of the display.  
2. With any Soft Row parameter displayed, press and hold down the Edit  
button. The following display will appear briefly.  
Entering Soft Row  
assign . . .  
When you release the Edit button, the display will change to the Soft Row  
Assignment display shown below. The Edit button LED will begin flashing  
and will continue to flash as long as you are in Soft Row Assign.  
Soft Row param :  
Controls Mix  
0
Here we show the first Soft Row parameter in our example — the actual Soft  
Row parameter selected will correspond to whichever one was displayed  
when you pressed and held Edit.  
3. Turn ADJUST to scroll through all of the available parameters in the Edit  
matrix row by row, in numerical order. The entry "available" can also be  
selected to indicate that no assignment has been made at that position.  
4. Turn SELECTto display another Soft Row position (0-9) for assignment. For  
each position, you can choose any effect parameter, including one(s) you  
have already assigned to a Soft Row position.  
5. When you have arranged the Soft Row assignments as you want them,  
press Edit to exit Soft Row Assign and return to your last position in the Edit  
matrix. Pressing Up or Down once will also cause you to exit Soft Row  
Assign. Another push of either of these buttons will move you vertically  
through the Edit matrix.  
When you return to Go mode, you will see the parameters in the order you  
assigned them —thespacesfrom anyunassignedrowpositionswillnot appear.  
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PCM 80 Use r G uid e  
Le xic o n  
Patching  
Patching is the ability to assign a control (Source) to any PCM 80 parameter  
(Destination).Thisallowsyoutoalterthevalue oftheparameterbymanipulating  
the control Source. For example, you can select the front panel ADJUST knob  
as a Source and an effect's Mix parameter as a Destination. This simple patch  
will allow you to dynamically alter the mix of the effect whenever you turn  
ADJUST. You can create as many as 10 patches, each with as many as 8 pairs  
of pivot points. You can patch multiple parameters to a single controller, or patch  
multiple Sources to a single Destination.  
About Sources  
All Sources are the same in the sense that each generates an output value in the  
range of 0-127. The output value is used to increase or decrease the setting of  
a Destination parameter. Sources differ in the manner in which they generate an  
output. Some generate values continuously (they’re always “on”); some gener-  
ate output based on the position of a particular external MIDI controller, or an  
external footpedal, or footswitch. Some Sources generate output based on  
aspects of physical performance such as how loud, how fast, or how hard you  
play. The PCM 80 allows you to choose from a selection of Sources as shown  
for each Destination. A list of the available Sources is shown on the following  
page.  
The Patch Row  
Each PCM 80 effect has an identical Patch row at the end of its Edit matrix where  
you can make as many as 10 patches.  
To make a patch, use SELECT and the Down button to move down through the  
Edit matrix to the Patch row. A display such as the following will appear.  
The asterisk (✱) indicates that Sources will be selected when  
you turn ADJUST. Press Load /✱ to change the selection to  
Dst. PressLoad /✱againtobringuptheValuesdisplaywhere  
you can select Src Value and Dst Value.  
SELECT will move you across  
the Patch row (0-9).  
Patch 0  
Int  
✱Src  
TheSourcetypeisindicatedhere.  
(Int, MIDI or 001-119to indicate a  
MIDI Controller.)  
The name of the current Source assignment is  
shownhere. (ThedefaultSourceassignmentis  
Int...Off.)  
LFO  
Pressing the Load /✱ button will change the display to allow you to sequentially  
select: Src, Dst, Src Value and Dst Value. Press Up or Down together with  
Load /✱ to backstep to the previous parameter.  
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Ba sic O p e ra tio n  
Assigning a Source  
Three types of sources are available: Internal, MIDI and MIDI Controller. These  
types are indicated in the Source list by the labels: Int, MIDI, or a number (001-  
119). Turn ADJUST to scroll through the entire list of available sources.  
Internal  
MIDI Controller Numbers  
Patch Sources  
(PCM 80 interprets 000 as Bank Select)  
LFO  
Sine  
Cosine  
Square  
Sawtooth  
Pulse  
Triangle  
Env L  
Env R  
AR Env  
Latch  
Sw 1  
070  
071  
072  
073  
074  
075  
076  
077  
078  
079  
080  
081  
082  
083  
084  
085  
...  
090  
091  
092  
093  
094  
095  
096  
097  
098  
099  
100  
101  
102  
...  
Sound Var  
Timbre  
Release  
Attack  
001  
002  
003  
004  
005  
006  
007  
008  
009  
010  
011  
012  
013  
014  
015  
016  
017  
018  
019  
020  
...  
Mod Wheel  
Breath  
Ctl 3  
Foot Ctl  
PortaTime  
Data Entry  
Volume  
Balance  
Ctl 9  
Bright  
Sound 6  
Sound 7  
Sound 8  
Sound 9  
Sound 10  
General 5  
General 6  
General 7  
General 8  
Porta Ctl  
Ctl 85  
Pan  
Xpression  
Effect 1  
Effect 2  
Ctl 14  
Sw 2  
Sw 1 & 2  
Mono Lvl  
Left Lvl  
Right Lvl  
Footpedal  
Foot Sw 1  
Foot Sw 2  
ADJUST  
Tempo  
On  
Ctl 15  
General 1  
General 2  
General 3  
General 4  
Ctl 20  
...  
Ctl 90  
FX1 Depth  
FX2 Depth  
FX3 Depth  
FX4 Depth  
FX5 Depth  
Data Inc  
Data Dec  
NRPN LSB  
NRPN MSB  
RPN LSB  
RPN MSB  
Ctl 102  
...  
031  
Ctl 31  
(PCM 80 interprets 032 as Bank Select)  
Off  
033  
...  
Ctl 33  
...  
063  
064  
065  
066  
067  
068  
069  
Ctl 63  
MIDI  
Sustain  
Porta On  
Sostenuto  
SoftPedal  
Legato  
Hold 2  
P Bend  
A Touch  
Velocity  
Last Note  
Low Note  
High Note  
...  
Ctl 119  
119  
Clk Comnds  
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Assigning a Destination Once you have selected a Source, press Load /✱ and the display will change  
to allow you to assign a Destination (Dst).  
The asterisk (✱) indicates that Destinations will be se-  
lected when you turnADJUST. Press Load /✱to bring up  
the Values display where you can assign Src Value and  
Dst Value. Press Load /✱ again to return to Source  
SELECT will move you across  
the Patch row (0-9).  
selection, etc.  
Patch 0  
✱Dst  
The name of the current Destination assign-  
ment is shown here. (✱✱✱Unassigned✱✱✱  
will appear across the bottom display line if no  
assignment is selected.)  
The Edit matrix row label for the  
currently assigned parameter is  
shown here.  
Rvb Time Ref Lvl L  
Turn ADJUST to scroll through all of the parameters in the Edit matrix of the  
currently loaded effect, including the Modulation parameters.  
Once you have assigned a parameter as a Destination, the controller you have  
assigned “owns” that parameter. Adjustments made to this parameter from the  
Edit matrix, will only affect the initial value of the parameter when the program  
is loaded.  
The behavior of the parameter on program load is determined by the setting of  
the Patch Update parameter in Control mode (1.7). This parameter can be set  
to Immediate or Delayed.  
When Immediate is selected, the initial value of the parameter value will  
correspond to the controller position.  
When Delayed is selected, the stored value of the parameter will continue to be  
ineffectuntilthecontrollerismoved.(Itis,therefore,agoodideato setasensible  
value to the parameter in the Edit matrix.)  
Mod Row parameters that can be assigned as Patch Destinations  
LFO  
AR ENV  
Env L  
Env R  
Sw 1  
Rate, Shape, P Width, Depth  
Attack, Release, Mode  
Release  
Release  
Rate, P Width, Mode  
Rate, P Width, Mode  
Sw 2  
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Ba sic O p e ra tio n  
Assigning Values  
Once you have assigned a Destination, press Load /✱ to get to the Values  
display.  
The current Dst value is displayed here. When you press  
Load /✱again, theasteriskwillmovetoindicatethatthisvalue  
is available to be changed by turning ADJUST.  
Patch 0  
Values  
Off  
✱000:  
Src values are shown here. The asterisk (✱) indicates  
that this field is available for control with the ADJUST  
knob (and that additional parameters are available by  
pressing Load /✱).  
Patch 0  
Values  
Off  
000: ✱  
This display allows you to assign Destination values to specific Source values.  
These assignments are made in pairs, each with a value for the Source and a  
value for the Destination. For example, the default is two pairs mapped as  
follows:  
minimum Src value (0) = minimum Dst value  
maximum Src value (127) = maximum Dst value  
This establishes a linear relationship between the parameter and the controller.  
Inverse control is accomplished easily by reversing these settings. As many as  
eight pairs of Destination/Source values, or pivot points, can be assigned here,  
providing an exciting new level of dynamic control.  
Jump  
When creating patches, there are situations in which you will want to leave the  
Patch row to adjust parameters. To make this convenient, a Jump command is  
available. Jumping is dependent on the current Patch display, and is activated  
simply by pressing Edit while a certain display is active. This will jump you out  
of the Patch row and to the location where you can make the necessary  
adjustments. Pressing Edit again will jump you back to the Patch Row. (Note  
that using any front panel controls other than those required to adjust the  
parameter to which you have jumped, will disable the jump. This is not  
catastrophic, but it will require you to return by using Up and Down and  
SELECT.) The following Jumps are available:  
From the Patch row Src display:  
•
With ADJUST selected as the Source, press Edit to jump to the Controls  
row, where you can specify range limits for the ADJUST knob. Press Edit  
again to return to the Patch row.  
•
With any modulation parameter selected as a Source, press Edit to jump  
to the Modulation row position of the Source. For example, if the Patch  
source LFO is displayed, press Edit to jump to Modulation row position 0  
(LFO) where you can edit any LFO parameter value. Press Edit again to  
return to the Patch row.  
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Jump cont'd.  
From the Patch row Dst selection display:  
•
Press Edit to jump to the Edit controls for the parameter you have selected  
astheDestination. Youwillhave completeaccessto allparameter controls,  
including any subparameters at that location. Press Edit again to return to  
the Patch row.  
From the Patch row Values display:  
•
Press Edit to jump to the next Src or Dst value. Default values are  
0...minimum, 127...maximum.  
The following examples illustrate how to create a patch, use the patch jump  
features, modify the default patch values and add an additional pivot point to  
the example patch values.  
Patching Examples  
Creating a patch with  
default values  
Load program P0 0.1 EkoChorus. Press Edit to enter Edit mode, then press  
Up to move to the Patch Row. Press Load/✱ until the display looks like this:  
Patch 0  
Int  
✱ Src  
ADJUST  
Turn SELECT to select Patch 1 (which is set to Off).  
Patch 1  
Int  
✱ Src  
Off  
Turning ADJUST will scroll through the entire list of available patch Sources.  
Turn ADJUST counterclockwise until LFO is displayed in the lower right.  
Patch 1  
Int  
✱ Src  
LFO  
The LFO is now assigned as a patch Source.  
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Ba sic O p e ra tio n  
Press Load/✱ to bring up patch Destinations for selection. The display should  
show that Destination is unassigned.  
Patch 1  
✱ Dst  
✱✱✱ Unassigned ✱✱✱  
The ADJUST knob will now scroll through all of the available parameters of  
EkoChorus. The lower line of the display will show the edit matrix row label on  
the left, and the parameters in that row on the right.  
Turn ADJUST clockwise until FX Width (in the effect's Controls row) is  
displayed in the lower right corner of the display.  
Patch 1  
✱ Dst  
FX Width  
Controls  
The FX Width parameter is now assigned as the patch Destination.  
Now, press Load/✱ to bring up the Values display. This will show the default  
Destination value setting (–360 MONO). This is the value assigned to FX Width  
when the LFO is at its minimum value (000).  
Patch 1  
Values  
✱ 000  
–360 MONO  
Turn ADJUST one click counterclockwise to display the default Destination  
value(+360MONO)assigned toFXWidthwhenthe LFOisatitsmaximumvalue  
(127).  
Patch 1  
Values  
✱ 127  
+360 MONO  
That’sallthere isto setting up adefault patch— select aSourceandDestination,  
and the minimum and maximum patch values are set automatically.  
Of course, you will often want to modify the patch further, either by adjusting the  
modulationsource parameters,changing thedefault valuesoraddingadditional  
pivot points. In the following sections, we’ll continue using this patch to  
demonstrate examples of these modifications. When we’re done, the new patch  
will add dynamic spatialization to the EkoChorus program.  
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Adjusting the modulation  
source parameters  
Continuing the previous example, we’ll adjust the rate of the LFO by jumping to  
it from the Patch row.  
Press Load/✱ repeatedly to return to the Patch 1 Source selection display.  
Patch 1  
Int  
✱ Src  
LFO  
Press Edit to jump directly to the LFO parameters in the Mod row.  
The asterisk (✱) indicates that LFO Rate will be altered when  
you turn ADJUST. Press Load /✱ to change the selection to  
the other LFO parameters ( Shape, P Width and Depth).  
Patch Source Indicator  
■ Mod : LFO  
✱ Rate  
8.0 0.21 Hz  
The display now shows position 8.0 in the Edit matrix Mod Row. The small  
square in the upper left corner of the display is a patch source indicator. This  
indicator appears whenever a modulator (such as the LFO in this example) has  
been assigned as a patch Source in the effect being edited.  
Turn ADJUST to change the LFO rate to 0.10Hz.  
■ Mod : LFO  
✱ Rate  
8.0 0.10 Hz  
Now, press Edit to jump back to your previous position in the Patch row.  
Patch 1  
Int  
✱ Src  
LFO  
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Ba sic O p e ra tio n  
Let’s modify the patch further by adjusting the Destination values to a more  
useful range.  
Changing the default  
destination values  
Press Load/✱ repeatedly until the Patch 1 Values screen is displayed.  
Patch 1  
Values  
✱ 000  
–360 MONO  
Notice that the ✱ is to the left of the Source value. This indicates that the Source  
value is selected and its value will be changed when you turn ADJUST.  
Press Load/✱ once to move the ✱ to the right of the Source value. When the  
✱ is in this position, ADJUST will change the Destination value.  
Patch 1  
Values  
✱ 000  
–360 MONO  
Patch 1  
Values  
000 : ✱  
–360 MONO  
Theasterisk(✱) indicatesthattheSourcevalue  
will be altered when you turn ADJUST.  
PressLoad /✱to move the asterisk tothis position,  
where it indicates that Destination values will be  
altered when you turn ADJUST.  
With the Destination value selected, turn ADJUST clockwise to set the value to  
+0.  
Patch 1  
Values  
000 : ✱  
+0 MONO  
Next, we’ll want to adjust the Destination value when the LFO is at its maximum  
value. One way to do this is to press Load/✱ three times to cycle the ✱ to the  
display of the Source value, and continue on from there — but we’ve provided  
a short cut! Press Edit to jump to the next assigned value ( in our example, the  
LFO maximum value).  
Patch 1  
Values  
127 : ✱  
+360 MONO  
Note that the ✱ remains in the same position, so you can just turn ADJUST to  
set the new Destination value. Set the value to +90.  
Patch 1  
Values  
127 : ✱  
+90 L-R, R-L  
Nowourexamplehasbeenmodifiedso thatthe LFOsweepstheFXWidthValue  
from 0 to 90. This creates a dynamic alteration of the effect’s spatial character-  
istics. Its stereo image changes smoothly from mono to stereo, to surround, and  
back again.  
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Adding an additional pivot  
point to the patch  
So far, our example uses only two pairs of patch values. The Destination  
parameter moves linearly between the value assigned at 000 and the value  
asssigned at 127.  
You can watch this change by displaying the Destination parameter. Here’s how  
to jump directly to it from the patch:  
Press Load/✱ repeatedly to return to the Patch 1 Destination selection display.  
Patch 1  
✱ Dst  
FX Width  
Controls  
Press Edit to jump directly to the FX Width parameter in the Controls Row.  
Patch Destination Indicator  
Controls  
0.5  
FX Width ■  
+0...90 MONO  
The FX Width value will be changing  
from 0 to 90 and back again.  
The display will change to show position 0.5 in the Controls Row. Note that the  
valueischangingcontinuouslyfrom0to90andbackagain.Noticealsothesmall  
square in the upper right corner of the display. This patch destination indicator  
appears whenever a parameter has been assigned as a patch Destination in the  
effect being edited.  
Now let’s return to the Patch row to add a pivot point to the effect.  
Press Edit to jump back to the Patch row.  
Patch 1  
✱ Dst  
FX Width  
Controls  
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Ba sic O p e ra tio n  
Press Load/✱ to bring up the Values display. The last value edited will be  
displayed, so you will see either the minimum or maximum value.  
Patch 1  
Values  
Patch 1  
Values  
OR  
✱ 000  
+0 MONO  
127 : ✱  
+90 L-R, R-L  
If the ✱ is not at the left of the Source value, press Load/✱ three times to move  
it there. (You can take a short cut instead — simultaneously press Down and  
Load/✱ to back-step.)  
Patch 1  
Values  
Patch 1  
Values  
OR  
✱ 000  
+0 MONO  
✱127 :  
+90 L-R, R-L  
Turn ADJUST to display 64. This will be the Source value of our new pivot point.  
Thestringofdotsinthedestination valueportionofthedisplayindicatethatthere  
is no Destination value assigned when the source value is 64.  
Patch 1  
Values  
✱ 064 : . . . . . . . . . . . . . .  
Press Load/✱ to move the ✱ to the right of the Source value, and turn ADJUST  
clockwise to set the Destination value for this point to –45.  
Patch 1  
Values  
-45 R, L  
064 : ✱  
By adding this pivot point, we have put a “kink” in the patch. The value of the  
Destination parameter no longer moves in a straight line between 0 and 90.  
Instead it moves from 0 to –45, and then from –45 to 90. This will produce a very  
different sounding spatial change from the original patch. You can see the  
difference by pressing Load/✱ twice to display the patch Destination, then  
pressing Edit to jump back to the Destination parameter to watch its value  
change.  
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If you create two or more patches with the same Destination, the Destination  
value will be the sum of all of the patches assigned to it.  
Multiple Patches with the  
Same Destination  
For example, if Pedal and ADJUST are both assigned to Mix, the Mix value will  
bethesum of the patch Destinationvaluesforthosetwo patches.Whencreating  
multiple patches to the same Destination, you should set the individual Destina-  
tions to values which, when added together, are less than or equal to the  
maximum value for the parameter. Pedal and ADJUST, for example, could each  
have a maximum value of 50%, or they could be assigned values of 25% and  
75%, 60% and 40%, etc.  
When the sum of multiple patched parameter Destination values is greater than  
the maximum value of the parameter, the parameter value will remain at  
maximum until the sum of the patches falls below it.  
Mod Row Patches  
AR ENV, Latch, Sw 1 and Sw 2 are each activated by assigning a threshold  
source to T Src that is used to turn them on and off. This assignment is a  
subparameter in the Mod row — not in the Patch row.  
For an example, check out ADJUST and Latch in the preset P0 3.1 Rotor  
Cabinet.  
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3
The Algorithms and  
Their Parameters  
The PCM 80 uses ten algorithms to create different types of effects. Each  
algorithm includes an uncompromised stereo reverb effect, as well as several  
voices of additional stereo effects. Each of these algorithms and its associated  
parameters are described in detail in this section.  
When you select any effect, the name of the algorithm from which it was derived  
will appear on the upper display line. Pressing Edit will display the last edited  
parameter in that algorithm's parameter matrix.  
Thealgorithmnameappearsontheupper lineofthedisplay  
whenever an effect is selected.  
Chorus +Rvb  
Press Edit to access the  
parameter matrix.  
P0 0.0  
Prime Blue  
About the Algorithms  
All PCM 80 algorithms share the same general structure, shown below. The  
shaded area of the diagram is detailed in the individual effect descriptions that  
follow.  
There are two general classes of algorithm: 4-Voice and 6-Voice. The 4-Voice  
algorithms: Concert Hall, Plate, Chamber, Inverse and Infinite each combine a  
specific type of reverb with a 4-voice, general purpose stereo "effect toolbox"  
whichwecalltheReverbShell.Thesealgorithmsalsoprovide"post-processing"  
for the reverb. The 6-Voice algorithms: Glide>Hall, Chorus+Rvb, M-Band+Rvb,  
Res 1>Plate, and Res 2>Plate each combine a specific type of reverb with a  
specialized 6-voice stereo effect.  
In this chapter, diagrams and descriptions of the Reverb Shell,and of each  
algorithm are presented first, along with pictures of each edit matrix. The  
diagrams are followed by a glossary of parameter descriptions, organized  
alphabetically by matrix row name. Within each matrix row, parameters are  
organized as far as possible in the sequence in which they appear in the row.  
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The 4-Voice  
Algorithms  
The Reverb Shell  
Each of the 4-Voice algorithms share a common set of controls and parameters  
built around one of five stereo reverb effects: Concert Hall, Plate, Chamber,  
Inverse and Infinite. The diagram below shows these common controls and  
parameters as they are structured around a reverb effect. We call this structure  
the Reverb Shell. (Individual reverb effects are described on the following  
pages.)  
In the 4-Voice algorithms, input levels and pans determine the signal flow to left  
and right pairs of delay voices, and also to the reverb effect. Each delay voice  
has individually adjustable level, delay, feedback, and pan controls, as well as  
master controls for all of the voices. These algorithms can be used to create a  
wide variety of stereo delay and modulation effects in parallel with studio quality  
stereo reverberation.  
The two delays after the reverb effect are referred to as post delays. The PstDly  
Mix control determines how much post delay is actually heard. The Rvb Width  
control affects only the output of the reverb portion of the effect.  
Thedelaysand theoutputof thereverbeffectaresummedattheFX Mix control.  
This control allows you to blend the relative amounts of delay and reverb.  
FX Width controls the spatial characteristics of the composite reverb and delay  
effect.  
The Hi-Cut parameterprovides highendrolloff,whileFXAdjust determinesthe  
output volume of the entire processed signal.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
Concert Hall  
This algorithm emulates a real concert hall. The reverberation is very clean, and  
designed to remain behind the direct sound — adding ambience, but leaving the  
source unchanged. This effect has a relatively low initial echo density which  
builds up gradually over time.  
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Plate  
The Plate algorithm mimics the sound of metal plates, with high initial diffusion  
and a relatively bright sound. This makes them a good choice for enhancing any  
type of percussion.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
The Chamber algorithm produces an even, relatively dimensionless reverbera-  
tion, with little change in color as the sound decays. The initial diffusion is similar  
to the Concert Hall algorithm, but the sense of space and size is much less  
obvious. This characteristic, along with the low color in the decay tail makes  
Chamber useful on a wide range of material. It is especially useful on spoken  
voice, giving a noticeable increase in loudness with very low color.  
Chamber  
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The Inverse algorithm allows you to vary the slope of the initial portion of the  
reverb envelope. The slope can decay, remain level, or rise over a variable time  
interval. When the time interval is up, the reverberation cuts off abruptly. The  
resulting effect is similar to a gate, but is not at all dependent on the level or  
complexity of the input signal. Slopes are adjustable over a negative, even, or  
positive slope. Positive slopes create inverse effects, while more even slopes  
create gated effects. Negative slope values have rather natural reverb tails.  
Inverse  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
Infinite is acoustically similar to the Chamber algorithm, with the addition of an Infinite  
Infiniteparameter.Whenthisparameteristurnedon,theinputtothereverberator  
ramps off. (Note that this still allows the Reverb Shell to be utilized.) With Infinite  
on, the reverb tail remains constant, creating strange and useful reverb effects.  
WhenInfinite isswitchedoff,inputtothereverberatorisrestored,andthecurrent  
running reverb time is utilized.  
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Each 6-Voice algorithm is a combination of a specific 6-voice stereo effect and  
aspecificreverbeffect.Thesealgorithms:Glide>Hall,Chorus+Rvb,M-Band+Rvb,  
Res1>Plate and Res2>Plate are each optimized for a particular class of audio  
processing effects in combination with studio quality stereo reverberation,  
bringing formidable processing power and flexibility to effects creation.  
The 6-Voice  
Algorithms  
The 6-Voice algorithms use the same, uncompromised, stereo reverberation  
effects as the 4-Voice algorithms but, instead of the general-purpose Reverb  
Shell, each reverb is coupled with a unique 6-voice stereo effect: gliding delays,  
6-voice chorus, multi-band EQ, and two 6-voice resonators. Voices 1-3 are  
connected to input audio panned to the left. Voices 4-6 are connected to input  
audio panned to the right. (Use the InPan L and InPan R controls at Control  
mode 0.2 to pan input audio.) Each voice has independent delay time, panning  
andlevelcontrols,in addition tootherparametersspecifictotheparticular effect.  
In the Glide>Hall, Res1>Plate and Res2>Plate algorithms, the reverb effect is  
in series with the 6-voice effect. Use FX Mix to set the relative level of dry and  
reverberated effect.  
In the M-Band+Rvb and the Chorus+Rvb algorithms, the reverb effect is in  
parallelwiththe6-voiceeffect.UseFXMixtosetthebalanceofthe6-voice effect  
and the reverb.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
Glide>Hall  
A stereo pair of 2-tap gliding delays feeds six individually adjustable delay  
voices. Each voice has its own level, feedback, delay, cross-feedback, and pan  
parameters. The output of these delay voices is fed into a Concert Hall reverb  
algorithm. Glide>Hall is useful for creating such effects as stereo flangers, loop  
samplers, pitch modulation, etc. which can then be fed into the reverb.  
This algorithm can address up to 4 Meg of delay memory (with optional SIMMs  
added to the PCM 80), providing 42 seconds of stereo delay.  
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The Chorus effect has six separately adjustable voices — allowing the PCM 80  
to sound like a rack of six digital delay boxes. Each voice has its own  
independently adjustable chorus depth and rate, level control, delay time,  
feedback and panning control. The 6-voice chorus is in parallel with a plate  
algorithm, providing two independent stereo effects.  
Chorus+Rvb  
Note that the Diffusion parameter (Rvb Design 2.1) is shared by both the reverb  
and the chorus effect.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
Chorus+Rvb cont'd.  
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This effect features six separately adjustable voices, each with its own level  
control, delay time, low and high frequency filters, feedback and pan controls.  
The multi-band effect is in parallel with a Chamber effect, providing independent  
stereo effects. Note that the Diffusion parameter (Rvb Design 2.1) is shared by  
boththemulti-bandandreverbeffects.Note alsothat,inthisparticularalgorithm,  
thediffuser iswithinthe feedbackpathsof the multi-bandvoices.Thisallowsyou  
to create filtered echoes that grow more diffuse with each repeat, or to create  
effects with filtered echoes passing through the reverberator.  
M-Band+Rvb  
This algorithm can address up to 4 Meg of delay memory (with optional SIMMs  
added to the PCM 80), providing 42 seconds of stereo delay.  
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M-Band+Rvb cont'd.  
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Le xic o n  
The Resonant Chord  
The Resonant Chord effects use impulsive energy at the inputs to excite six  
resonant voices (notes). The level, pitch, duration, and high-frequency cutoff of  
the overtones for each voice are separately controllable. Each voice can be  
panned independently. The voices resonate to some degree with any input, but  
the most effective excitation contains all frequencies, like percussion. Other  
instruments may give a quality of tonal ambience in which certain notes rise  
ethereally from the background. The output of the resonator is then fed into a  
stereo plate reverb effect.  
Algorithms:  
Res1>Plate and  
Res2>Plate  
The two algorithms differ in the way pitches are assigned to the resonators. In  
Res1>Plate, pitches are assigned to the six voices chromatically, in a round-  
robin. If, for example, 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  
notenumbersareused toassignpitch,theresonatorswillconstantlybere-tuned  
to harmonize with the incoming notes.  
These algorithms can address up to 4 Meg of delay memory (with optional  
SIMMs added to the PCM 80), providing 38 seconds of stereo delay.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
The Resonant Chord  
Algorithms:  
Res1>Plate and  
Res2>Plate cont'd.  
Res1>Plate  
Res2>Plate  
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Le xic o n  
PCM 80 parameters are organized into labeled rows within each edit matrix.  
Although there are similarities among all matrixes, such as having a row of  
Controls first, and Modulation and Patching rows last, some of the parameters  
within each row, and some entire rows are unique to specific algorithms.  
The Parameters  
This section contains descriptions for all PCM 80 parameters, organized  
alphabetically by row label as follows:  
Chorus  
Controls  
Delay Time  
Feedback/Cross-Feedback  
Filters  
Glide FX  
Levels  
Modulation  
Panning  
Patching  
Pitch  
Resonance  
Rvb Design  
Rvb Time  
Individual parameter descriptions within each row are presented, as far as  
possible, in the order in which they appear from left to right in the edit matrix.  
Chorus  
In the Chorus+Rvb algorithm, Row 5 provides parameters which provide rate  
and depth controls for each of the six chorus voices, as well as master rate and  
depth controls.  
MstDepth and MstRate  
TwoMasterChorusparametersin thefirstrowpositionallowChorus,Depthand  
Rate for all voices to be simultaneously scaled. Each control has a range of 0-  
200%. Press Load/✱ to toggle between MstDepth and MstRate.  
Voices (Depth and Rate)  
Each voice position has Depth and Rate controls to set the time range (delay)  
and rate of change across that time range (pitch) of the chorusing effect. (Press  
Load/✱to toggle between them.) Depth provides settings of 0-500ms in single  
millisecondincrements.Rateparametercanbe setto0Hz(Off), ortoone ofone-  
hundred selections from 0.01-3.50Hz. Depths of 10-30ms combined with Rates  
as high as 0.50Hz provide subtle chorusing and multivoicing effects. Depths of  
hundreds of milliseconds combined with higher Rates provide a wide range of  
pitch shifting effects.  
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Row 0 of every algorithm contains parameters that provide overall control of Controls  
both the reverb and voice effects.  
Mix  
Mix controls the ratio of dry and wet signal present at the PCM 80 outputs. When  
the PCM 80 is patched into a console or an instrument amplifier through an  
auxiliary or effects loop, this control should always be set to 100% wet. (Control  
Mode 1.1 allows you to select a global Mix setting.) When an instrument is  
plugged directly into the PCM 80, a setting between 45 and 65% is a good  
starting point.  
FX Adjust  
FX Adjust controls the level of the processed (wet) signal before it is mixed with  
the dry signal (if any) and sent to the audio outputs. The range of this parameter  
is +12dB to -73dB, and Off (wet output muted.) FX Adjust is inactive when the  
PCM80isinBypassmode,so itisagood ideato comparethelevelswithBypass  
on and off while editing this parameter. Adjust it until the audio level sounds the  
same with bypass on and off.  
InLvl L&R, InPan L&R  
InLvl L and InLvl R control the level and phase of the unprocessed dry signal into  
the effects. The range of these parameters is from Full (0dB) Phase Normal, to  
-85dB Phase Normal, Off, -85dB Phase Inverted to Full (0dB) Phase Inverted.  
InPan L and InPan R control the location of the left and right input audio as a  
stereo imageto theeffect'saudioinput.Unmodified stereoimagingto the effects  
can be achieved by setting InPan L hard left (50L) and InPan R hard right (50R).  
Changing InPanL to any other value (49L to 50R), takes the left audio input and  
presentsitasapannedsourcetothe effect'sleftandrightinput. Changing InPan  
R to any value other than 50R, does the same for the right audio input.  
High Cut  
High Cut sets the high frequency cutoff of a low-pass filter. This parameter  
affects both channels.  
Voice Dif  
This parameter is available in all of the 4-Voice Algorithms, and in Glide>Hall.  
It controls the density of echoes in the delay voices, independently of Reverb  
diffusion. High levels of diffusion thicken, or smear, the echoes. This is most  
noticeable on material with sharp transients.  
FX Mix  
FX Mix controls the balance of reverb and non-reverb effects. (Non-reverb  
effects are those processed as "voices" controlled by level, delay and feedback  
parameters generally found in rows 3-7.) The range of this control is 0 to 100%.  
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Le xic o n  
Controls cont'd.  
FX Width  
FX Width can be thought of as an extension of typical mono to stereo imaging  
controls. The range of this parameter is -360 to +360, in single digit increments.  
Values of -360, 0, or +360 cause the effect's audio output to be mono. Values  
of -315 and +45 cause the output to be normal left/right stereo. Values of -45 and  
+315 cause "swapped", or right/left stereo.  
Value  
Display Label  
Description  
360  
315  
270  
225  
180  
135  
90  
MONO  
R, L  
Phase Normal Mono  
Phase Normal R/L stereo  
R–L, L–R surround  
Phase Inverted L/R Stereo  
Phase Inverted Mono  
Phase Inverted R/L Stereo  
L–R, R–L surround  
R–L, L–R  
STEREO INV  
MONO INV  
R, L INV  
L–R, R–L  
STEREO  
MONO  
45  
0
Phase Normal L/R stereo  
Phase Normal Mono  
-45  
-90  
R,L  
Phase Normal R/L Stereo  
Phase Inverted R–L, L–R surround  
Phase Inverted L/R Stereo  
Phase Inverted Mono  
Phase Inverted R/L Stereo  
L–R, R–L surround  
R–L, L–R  
STEREO INV  
MONO INV  
R, L INV  
L–R, R–L  
STEREO  
MONO  
-135  
-180  
-225  
-270  
-315  
-360  
Phase Normal L/R Stereo  
Phase Normal Mono  
The large and duplicated range of this parameter allows smooth glides from any  
Left/Right Mix, Phase, Mono/Stereo image point to any other. These are on the  
output of the FX Mix. Of particular interest are: 0 MONO, 45 STEREO, and 90  
L–R, R–L (surround channel). This parameter can be changed in real-time for  
fascinating spatial effects.  
ADJUST  
This control allows you to specify the range of control of the ADJUSTknob when  
it is patched to a parameter. Low and High settings are available, allowing you  
to select full range (0-127) for those parameters where it is appropriate and to  
limit the range in other cases. You can, for example set the Low value to 0, and  
the High value to 1, to have ADJUST behave as an on/off control. Many of the  
presets take advantage of this, and have ADJUST range limits which are  
appropriate to the specific parameter.  
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In each algorithm, the Delay Time row contains parameters for delay settings of  
each voice, as well as master delay parameters for all voices.  
Delay Time  
Master, GldResp, GldRange, Clear  
Press Load/✱ to cycle through selections: Master, GldResp, GldRange and  
Clear.  
Master  
This control allows you to simultaneously change the delay times of all voices  
in the effect. The available range is from 0-200%. This provides a simple way to  
expand or close in all of the voice delay times. If a voice's delay time is set to  
500ms, changing the setting of the Master parameter to 200% will change the  
delay time to 1000ms. Setting this parameter to 0% is an easy way to set all the  
delays to 0 from a single control.  
GldResp  
Inallofthe 4-Voice algorithms,andin theChorus+Rvbalgorithm, thisparameter  
controls the response of the glide. The range is 0-100, with a typical default  
settingof50.Thissettingprovidesagood,real-timeglide.Changing adelaytime  
from 0 to 100ms with a glide response of 0, causes the glide delays to take a  
minute or more, allowing subtle changes in delay times and echoes with no  
noticeable pitch shifting. A glide response of 100 is ultrafast, causing high speed  
pitch shift, and even chirping effects with large delay time changes.  
GldRange  
Inallofthe 4-Voice algorithms,andin theChorus+Rvbalgorithm, thisparameter  
controls the range over which changes to the voice delay time will be performed  
as a glide. For example, if GldRange is set to 100ms, and the PstDly L and R  
times are varied over a range of 100ms, those delays will glide smoothly from  
one delay time to another. Suddenly changing the delay time to a greater value,  
such as 200ms, will cause the audio delay to change instantly to the new time  
without gliding. The available range is 0-1.365sec, with 0 causing all delay time  
changes to be "instantaneous", and 1.365 causing all delay time changes to  
glide.  
Clear  
This is an On/Off control which allows you to instantly clear all of the audio in the  
delay voices. A typical use for this control might be to patch it to a footswitch to  
allow one tap removal of all old audio from the delays to start fresh. While Clear  
is on, no new audio will pass through any delay voice set above 1ms.  
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Le xic o n  
Delay Time cont'd.  
Voices  
These parameters set the delay time, in seconds, for each individual voice. The  
rangefor each algorithmisshownbelow,along withthedelaytimeavailablewith  
optional SIMMs memory expansion for those 6-Voice algorithms which make  
use of additional memory.  
You can set and display delay val-  
ues in units of time, or with tempo  
values. PressUp andTemposimul-  
taneously to toggle between these  
two options. When time units are  
selected, delay times are set and  
displayedinmilliseconds(From0ms  
to the maximum available delay for  
that parameter). When tempo val-  
ues are selected, delay values are  
set and displayed as a ratio of ech-  
oestobeats(from24:1to1:24).This  
will automatically synchronize the  
delay to the current tempo (MIDI,  
Internal,orTAP—seeTempoMode  
in Chapter 2.) For example, a delay  
setting of 1:2 (1 echo for every 2  
beats) will produce half-note delay  
rhythms synchronized tothecurrent  
tempo.  
Algorithm  
Delay Time  
Expanded Delay Time  
Concert Hall  
Plate  
Chamber  
Inverse  
0-1.365 sec  
0-1.365 sec  
0-1.365 sec  
0-1.365 sec  
0-1.365 sec  
0-2.645 sec  
0-1.365 sec  
0-2.730 sec  
0-2.389 sec  
0-2.389 sec  
-
-
-
-
Infinite  
-
Glide>Hall  
Chorus+Rvb  
M-Band+Rvb  
Res 1>Plate  
Res 2>Plate  
42.325 sec  
-
43.690 sec  
38.229 sec  
38.229 sec  
When display of values in BPM has been selected, these are set as fractions of  
a beat. The smallest fraction is 1/24th beat. Changing these values live can  
produceavarietyofpitchshift,andflangeeffects.Delaytimescanalsobetempo  
modulated.  
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Feedback/  
Cross Feedback  
Parameters in this row provide level and phase setting for feedback of individual  
voices, as well as a master feedback parameter for all voices. In the Glide>Hall  
algorithm, a duplicate set of parameters is included for cross-feedback.  
Master  
A Master Feedback control is available in effects which have a feedback level  
control for each voice. It allows the feedback level for all voices to be simulta-  
neously adjusted over a range of 0-100%.  
Voices  
In the 4-Voice algorithms, four voice controls are provided for adjustment of the  
level and polarity of signals recirculated back to the input of individual voices.  
Note that, as Voices 1 and 2 and Voices 3 and 4 are paired, caution should be  
observed not to create feedback within a pair which exceeds more than 100%.  
In the Chorus+Rvb and the M-Band+Rvb algorithms, six voice parameters  
control the feedback level of the voice delays. Voices 1, 2, and 3 Fbk control the  
individual voice feedback levels from the left channel voice delay outputs to the  
left channel delay feedback input. Voices 4, 5, and 6 Fbk control the individual  
voice feedback levels from the right channel voice delay outputs to the right  
channel delay feedback input.  
The range of these parameters is from +100% down to 1% (Phase Normal  
feedback), 0% (Off), –1% up to –100% (Phase Inverted feedback).  
In the Glide>Hall algorithm, the Feedback row provides both Feedback and  
Cross Feedback parameters as described below. Press Load/✱ at each row  
position to toggle between Feedback and Cross Feedback parameters.  
Mstr Fbk, Mstr X-Fbk  
These parameters allow the feedback and cross feedback levels for all voices  
to be simultaneously scaled over a range of 0-100%.  
Voices 1-6 Fbk, X-Fbk  
These parameters control the feedback and cross feedback levels and the  
polarity of the voice delays.  
Voices 1, 2, and 3 Fbk control the individual voice feedback levels from the left  
channel voice delay outputs to the left channel delay feedback input.  
Voices 1, 2, and 3 X-Fbk control the individual voice feedback levels from the left  
channel voice delay outputs to the right channel delay feedback input.  
Voices 4, 5, and 6 Fbk control the individual voice feedback levels from the right  
channel voice delay outputs to the right channel delay feedback input.  
Voices 4, 5, and 6 X-Fbk control the individual voice feedback levels from the  
right channel voice delay outputs to the left channel delay feedback input. The  
range of these parameters is from +100% down to 1% (Phase Normal feed-  
back), 0% (off), –1% up to –100% (Phase Inverted feedback).  
The sumofallFbkandX-Fbkvaluesfor each channelshouldbe lessthan100%.  
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Le xic o n  
In the M-Band+Rvb algorithm, Row 5 contains parameters for cut-off frequen-  
cies of low and high cut filters for each voice, as well as master low and high cut  
controls for all voices.  
Filters  
Mstr LC/HC  
Two master controls are provided in the first row position. Press Load/✱ to  
toggle between them. The High Cut Master allows simultaneous adjustment of  
the high frequency cut-off points for the filters on all voices in single semitone  
increments up or down from the individual voice settings. The Low Cut Master  
allows simultaneous adjustment of the low frequency cut off points for the filters  
on all voices in single semitone increments up or down from the individual voice  
settings.  
V1-V6 LoCut and HiCut  
The low cut and high cut filters operate at 12dB/octave. There are individual low  
cut and high cut filters for each of six voices. The ranges of the filter cut-off points  
are from 20-20,000Hz at approximately semitone intervals across the entire  
range for a total of 121 cut off points. The low cut filters have an OFF position  
just below 20Hz. The high cut filters have an OFF position just above 20,000Hz.  
Glide FX  
In the Glide>Hall algorithm, Row 3 contains level, delay and feedback param-  
eters for a pair of stereo gliding delays that precede the 6-voice delay.  
Gld Lvl  
Gld Lvl controls the stereo output level from all gliding delays (A, B, Left and  
Right). It has a range of Full (0dB) down to -85dB and Off.  
A Left (A Lvl L and A Dly L)  
These parameters control the output level and delay time of the left channel A  
Glide Delay. A Lvl L has a range of Full (+0dB), Phase Normal down to -85dB,  
Phase Normal, OFF, -85dB Phase Inverted up to Full (+0dB), Phase Inverted.  
A Dly L has a range of 0.0 milliseconds to 42.0 milliseconds in 0.1 millisecond  
units.  
A Right (A Lvl R and A Dly R)  
These parameters control the output level and delay time of the right channel A  
Glide Delay. They have the same ranges as A Left.  
B Left (B Lvl L and B Dly L)  
These parameters control the output level and delay time of the left channel B  
Glide Delay. They have the same ranges as A Left.  
B Right (B Lvl R and B Dly R)  
These parameters control the output level and delay time of the right channel B  
Glide Delay. They have the same ranges as A Left.  
Fbk L/R  
These parameters controlthefeedbacklevelsof the corresponding left and right  
channel Glide Delays. The range of these parameters is from +100% down to  
1% (Phase Normal feedback), 0% (off), -1% up to –100% (Phase Inverted  
feedback).  
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X-Fbk L/R  
Glide FX cont'd.  
These parameters control the corresponding cross feedback levels of the left  
and right channel glide delays. Specifically, X-Fbk L controls the feedback from  
the left channel A+B glide delay output to the right channel glide delay feedback  
input. X-Fbk R controls the feedback from the right channel A+B glide delay  
output to the left channel glide delay feedback input. The range of these  
parameters is from +100% down to 1% (Phase Normal feedback), 0% (off), -1%  
up to –100% (Phase Inverted feedback).  
In each algorithm, the Levels row contains parameters for the phase and level  
of each voice, as well as a master level parameter for all voices.  
Levels  
Master  
The Master Level controls the overall level in effects which have more than one  
voice. This permits simultaneous changes in all voice levels without altering the  
balance between individual voices.  
In the Res1>Plate and Res2>Plate algorithms, the Master parameter contains  
two master parameters for the six resonator voices: Mstr Lvl and Mstr Fbk.  
(Load/✱will toggle between them.) Mstr Lvl is a master level control for all of the  
resonator voices, as described above. Use care when adjusting this value. The  
resonators will put out high levels if the input source has any components that  
are close in pitch to the resonator tunings. In general, this control should be set  
to 0dB or less.  
The Mstr Fbk control allows the feedback levels for all voices to be scaled over  
a range of 0-100%.  
Voices  
Individual controls are provided for each Voice Level. Voices can be turned  
completely off, full on, or set to any point between, in 1dB increments. There are  
as many voice level controls as there are voices in an effect.  
In the Res1>Plate and Res2>Plate algorithms, positions 1-6 contain both level  
and feedback parameters for each of the six resonator voices. (Load/✱ will  
toggle between them.) Lvl controls the individual level and polarity for each  
voice. Voices can be turned completely off, full on, or set to any point in between  
in 1dB increments. Use care when adjusting this value. The resonators will put  
out high levels if the input source has any components that are close in pitch to  
the resonator tunings. In general, this control should be set to a value less than  
Full.  
The Fbk controls set the feedback level and polarity of each voice. Voices 1-3  
Fbk control the feedback levels from the left channel delay voice outputs to the  
left channel delay voice inputs. Voices 4-6 Fbk control the feedback levels from  
the right channel delay voice outputs to the right channel delay voice inputs. The  
sum of the values for either side should be less than 100%. (Disregard the  
negative sign when adding values.)  
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Modulation  
The Modulation row, which is the same for every algorithm, contains the  
parameters for the PCM 80's internal modulation sources. Use the Patch row to  
assign these modulators to any PCM 80 effect parameter.  
Mod: LFO  
Four parameters are available: Shape, P Width, Depth, and Rate.  
Shape allows you to select the wave shape which will be used when "LFO" is  
selected as a patch Source. The choices are:  
Sine  
Cosine  
Square  
Sawtooth  
Pulse  
Triangle  
P Width determines the proportion of each pulse wave cycle for which the LFO  
is on (1-99%). For example, setting P Width to 50% means that the LFO is on  
for half of its cycle. The effect of this control will only be heard if you are using  
the Pulse shape.  
Depth scales the output of the LFO from 0 to 100%.  
Rate sets the speed (0-25Hz) at which the LFO cycles. It can be set in time  
values (such as 1.5Hz) or in tempo values (such as 3:2 cycles per beat).  
Simultaneously pressing Up and Tempo will toggle these two display options.  
Note: The PCM 80 allows six LFO shapes (sine, cosine, sawtooth, triangle,  
square and pulse) to be selected as patch Sources, as well as the LFO itself. All  
of these are generated by a single LFO, and are controlled by the single Rate  
control. When "LFO" is selected as a patch Source, the output will be the Shape  
selected here. The amplitude of the LFO output is controlled by Depth. Both  
Shape and Depth are available as patch Destinations and can be controlled  
externally. Shape, Pulse Width, Depth, and Rate are all available as patch  
Destination parameters, and can be controlled externally. See Patching in  
Chapter 2.  
Shape, Rate a
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Mod: AR Env  
Modulation cont'd.  
This envelope generator's output, when turned on, will go from 0 to127. How  
quickly it goes from 0 to 127 is determined by the setting of Attack (0-10  
seconds). Once the envelope generator has reached 127, it remains there as  
long as it is turned on. When it is turned off, it goes from 127 to 0, at the rate  
determined by Release (0 to 10 seconds).  
T Src allows you to select a Source to turn the envelope generator on and off.  
T Lvl allows you to select a specific threshold value which the T Src must reach  
to turn the envelope generator on.  
The Mode parameter allows you to determine the behavior of the envelope  
controller in relation to the threshold value. Four settings are available: Repeat,  
One Shot, Retrigger, and Off.  
Repeat As long as the threshold source remains at or above T Lvl,  
the envelope cycles from attack to release. If A=R, the  
output of the envelope is a triangle wave.  
One Shot Once T Lvl is reached, the envelope will go through its  
entire attack cycle. Once the attack cycle is completed, if  
Source value is below T Lvl, the envelope will immediately  
fall at the specified Release rate. The envelope will go  
through its entire release cycle, even if the source subse-  
quently rises above T Lvl. If the Source value is at or above  
T Lvl, the envelope will remain at 127 until the T Src falls.  
Retrigger As long as the level is at or above T Lvl, the envelope will  
go through its attack cycle. If the level falls below T Lvl  
before attack is completed, the envelope immediately be-  
gins to release.Likewise, if theTLvl is crossed again before  
the release is completed, the attack cycle will begin again.  
Off This control turns the AR envelope off (and frees up proces-  
sor time). To optimize PCM 80 real-time response, set AR  
Env to Off when it is not being used.  
Mod: Env L and Mod: Env R  
These are left and right input signal envelope followers. The only available  
parameter is Release which is set in milliseconds. This control allows you to  
specify the release rate (0-10 seconds) when the input level drops.  
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Mod: Latch  
Modulation cont'd.  
The latch is a very flexible modulation source. It can be used to do such things  
as derive a switch from a continuous “return to zero” source (like MIDI After  
Touch). It can turn a momentary (on/off) footswitch into a latching footswitch  
(push on/ push off), and it can divide the switching rates of sources in half or  
thirds.  
The latch has three parameters: Src, High and Low. Any patch source can be  
the Src (See Source listing under Patching.) High and Low are threshold  
values. The latch works as follows:  
There is no output from the latch until the Srcvalue falls within the range defined  
by the settings of High and Low. While the source value is between these  
thresholds, the output of the latch is the same value as the source. When the  
source value reaches or passes either threshold, the output of the latch holds at  
the limit value until the source value passes through the threshold twice. The  
latch can be set to hold at either the low threshold, the high threshold, or both.  
Setting Low to 0 disables latching at the low threshold. Setting High to 127  
disables latching at the high threshold.  
See preset P0 3.0 FSw2 Rotary as an example.  
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Mod: Sw 1 and Mod: Sw 2  
Modulation cont'd.  
These are identical time switches. Each has five parameters: Rate, P Width,  
Mode, T Lvl and T Src.  
Rate sets the speed at which the switch cycles. It can be set in  
time values (such as 1.5 Hz) or tempo values (such as 3:2  
Cycles per Beat). Simultaneously pressing Up and  
Tempo will toggle these display options.  
P Width determines the proportion of each switch cycle during  
which the switch is on. For example, setting P Width to  
50% means that the switch is on for one-half of a cycle.  
Mode determines the “shape” of the switch output. Three set-  
tings are available: Switch, Ramp, and Off. When Switch  
is selected, the transition from on to off is instantaneous,  
i.e. the switch output resembles a pulse wave. When  
Ramp is selected, the transition from on to off is continu-  
ous,i.e.the switchoutputresemblesatriangle orsawtooth  
wave.  
Off turns the switch off (and frees up processor time). To  
optimize PCM 80 real-time response, set switch to Off  
when it is not being used.  
T Lvl sets the threshold value at which the switch will begin to  
cycle.  
T Src selectsapatchsource todrivetheswitch.Theoutputofthe  
switch is 0 as long as T Src is set to a value below T Lvl.  
Once the source value reaches or passes TLvl,the switch  
willbegintocyclebetweenon (127)and off(0) atthe speed  
set by Rate.  
Note that both Rate and P Width are available as patch  
Destinations, allowing them to be dynamically controlled  
by other patch sources. Switches are reset to the begin-  
ning of their cycles whenever Tap is pressed.  
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PCM 80 Use r G uid e  
Le xic o n  
A special, composite output of these switches, called Sw 1&2 is available as a  
patch source. The value of Sw 1&2 alternates between the output of Sw 1 and  
the output of Sw 2. The alternation occurs on the transition from on to off. Note  
that both Sw 1 and Sw 2 must be active for the alternation to occur.  
Modulation cont'd.  
Panning  
Parameters in the Panning row provide control of panning of individual effects  
voices, as well as a master panning parameter for all voices.  
Master  
The Pan Master provides simultaneous control over the panning of all voices in  
the effect. The range of the Pan Master is 50L (full left) through L1, C (Center),  
1R through 50R (full right) for a total of 101 positions. The Master Pan is additive  
to the individual voice panners such that, if a voice is set to L10, and the Master  
is set to 20R, the voice will be at 10R.  
Voices  
Individual pan controls are provided to position the output of each voice. The  
range of each voice is 50L (full left) through 1L, C (Center), 1R through 50 R(full  
right) for a total of 101 positions.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
The last row of each algorithm's edit matrix is the Patch row. This row provides  
parametersforcreatingasmanyastenpatchesineacheffect. Eachrowposition  
(Patch 0-9) has three controls available: Src, Dst, and Values. Press Load/✱  
to cycle among these selections.  
Patching  
Src  
Use ADJUST to select any of the sources listed below.  
Dst  
Use ADJUST to select any effect parameter except those on the Patch row.  
Values  
Use ADJUST to assign Destination values to specific Source values. These  
assignments are made in pairs, each with a value for the Source and a value for  
the Destination. For example, the default is two pairs mapped as follows:  
minimum Source value (0) = minimum Destination value  
maximum Source value (127) = maximum Destination value  
This gives you a linear relationship between the parameter and the controller.  
Inverse control is accomplished easily by reversing these settings. As many as  
eight pairs of Destination/ Source values can be assigned here, providing an  
exciting new level of dynamic control.  
See Chapter 2 for a complete description of the Patching System.  
PCM 80 Patch Sources  
Internal  
MIDI Controller Numbers  
(PCM 80 interprets 000 as Bank Select)  
LFO  
Sine  
070  
071  
072  
073  
074  
075  
076  
077  
078  
079  
080  
081  
082  
083  
084  
085  
...  
090  
091  
092  
093  
094  
095  
096  
097  
098  
099  
100  
101  
102  
...  
Sound Var  
Timbre  
Release  
Attack  
001  
002  
003  
004  
005  
006  
007  
008  
009  
010  
011  
012  
013  
014  
015  
016  
017  
018  
019  
020  
...  
Mod Wheel  
Breath  
Ctl 3  
Foot Ctl  
PortaTime  
Data Entry  
Volume  
Balance  
Ctl 9  
Cosine  
Square  
Sawtooth  
Pulse  
Triangle  
Env L  
Env R  
AR Env  
Latch  
Bright  
Sound 6  
Sound 7  
Sound 8  
Sound 9  
Sound 10  
General 5  
General 6  
General 7  
General 8  
Porta Ctl  
Ctl 85  
Pan  
Xpression  
Effect 1  
Effect 2  
Ctl 14  
Sw 1  
Sw 2  
Sw 1 & 2  
Mono Lvl  
Left Lvl  
Right Lvl  
Footpedal  
Foot Sw 1  
Foot Sw 2  
ADJUST  
Tempo  
On  
Ctl 15  
General 1  
General 2  
General 3  
General 4  
Ctl 20  
...  
Ctl 90  
FX1 Depth  
FX2 Depth  
FX3 Depth  
FX4 Depth  
FX5 Depth  
Data Inc  
Data Dec  
NRPN LSB  
NRPN MSB  
RPN LSB  
RPN MSB  
Ctl 102  
...  
031  
Ctl 31  
(PCM 80 interprets 032 as Bank Select)  
Off  
033  
...  
Ctl 33  
...  
063  
064  
065  
066  
067  
068  
069  
Ctl 63  
MIDI  
Sustain  
Porta On  
Sostenuto  
SoftPedal  
Legato  
Hold 2  
P Bend  
A Touch  
Velocity  
Last Note  
Low Note  
High Note  
Clk Comnds  
...  
Ctl 119  
119  
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Pitch  
The Resonant Chord algorithms: Res1>Plate and Res 2>Plate each have a  
Pitch row that contains the parameters for setting and controlling the tuning of  
the effect's resonators. Each set of parameters is presented separately here.  
Res 1>Plate Pitch parameters  
The voice resonators take the audio impulse from a delay voice and “resonate”  
it at a desired pitch. Until a resonator is assigned a pitch, it does not resonate.  
The Res1 effect is a “round robin” pitch assign in that pitch changes are  
individually assigned to one of (as many as) six voice resonators. For example,  
assume that all six voice resonators are active in the newly loaded effect, and  
the first pitch assigned is A4. Voice 1’s resonator will be set to the A4 frequency.  
Assign B4, and Voice 2’s resonator will be set to that pitch. In this example, if we  
assign four more pitches (D5, G4, A#:Bb4, C5, for example), they will be  
assigned to the Voice 3, 4, 5, and 6 resonators, respectively. If a seventh pitch  
is assigned, for example, F3, Voice 1’s resonator will be changed from A4 to F3  
(the other resonators remain at the last assigned pitches).  
Assign  
This parameter has a range of C0 to G10 (128 pitches) to be convenient for MIDI  
patching. As the value of this parameter is changed, each “next value” is  
assigned to the next active pitch resonator of the six possible active resonators.  
An example might be driving this parameter with a slow LFO to achieve an effect  
something like strumming the strings of an open piano.  
Tuning  
This parameter allows you to tune the A440 reference of the box anywhere from  
430.0-450.0Hz in 0.1Hz increments.  
Active  
This parameter allows you to define the number of active voice resonators. You  
canchoosefrom0(noresonatorsactive) to6.Settingthevalueto1willlimitpitch  
assignments to Voice 1’s resonator. Setting the value to 2 will limit the round  
robin pitch assign to Voices 1 and 2. A value of 6 uses all the voice resonators.  
A handy feature of this parameter is the ability to mute resonators. For example,  
you can patch this parameter to a footswitch or pedal, allowing you to drive the  
parameter value down to 0 at any time, causing the resonators to stop playing  
their last assigned pitches. You can then immediately drive it back up to the  
desired number of active resonators. This “clears” the pitch assign for the  
resonators, sotheydon’tgobacktoplaying theirpreviouspitches,butrather wait  
for the next pitch assign to come along before resonating.  
Unison  
This is a simple On/Off control. When set to On, pitch assigns will be sent  
simultaneously to all active resonators. When set to Off, pitch assigns will  
operate in the round robin method described earlier. This allows you to set  
multiple delay times for all Voices and allows a single pitch assign (rather than  
6 individual assigns) to set all the resonators to the same pitch. The pitch will ring  
out at 6 different delay times from the input impulse.  
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Pitch cont'd.  
Res 2>Plate Pitch parameters  
The voice resonators take the audio impulse from a delay voice and “resonate”  
it at a desired pitch. The Res2 effect is a “interval harmonization” pitch assign in  
that pitch changes generate interval pitches to be assigned to the six voice  
resonators.  
Position 0 contains all of the pitch parameters which affect the voices in the  
remaining position in the row. Press Load/✱ to cycle through the selections at  
position 0: Assign, Tuning, Active, Key, Scale, Root and Rule.  
Assign  
This parameter has a range of C0 to G10 (128 pitches to be  
convenient for MIDI patching). As the value of this parameter is  
changed, each voice resonator is set to a pitch at the defined  
voice’s interval (described later).  
Tuning  
Active  
Thisparameter allows youto tunetheA440 referenceofthe box  
anywhere from 430.0-450.0Hz in 0.1Hz increments.  
This parameter allows you to define the number of voice  
resonators which are active. You can choose from 0 (no  
resonators active) to 6. Setting the value to 1 will permit only  
Voice 1’s resonator to ring out. Setting the value to 2 will permit  
Voices 1 and 2 to ring out. A value of 6 uses all the voice  
resonators. A handy feature of this parameter is the ability to  
mute resonators. For example, you can patch this parameter to  
a footswitch or pedal, allowing you to drive the parameter value  
down to 0 at any time, causing the resonators to stop playing  
their last assigned pitches. You can then immediately drive it  
back up to the desired number of active resonators. This  
“clears” the note assignfortheresonators,so theydon’tgoback  
toplaying theirpreviouspitches,butratherwaitforthenextpitch  
assign to come along before resonating.  
Key  
Scale  
Root  
This parameter establishes a key signature for the pitch selec-  
tion of the voice intervals. The range of this value is the 12 keys  
from C, C#, etc., up to B.  
This parameter establishes one of two scales of semitones: a  
standard Major scale (intervals of 2, 2, 1, 2, 2, 2, 1 half steps for  
the scale), or a Harmonic scale (intervals of 2, 1, 2, 2, 1, 3, 1).  
This parameter (with values of 1-7) establishes the root of the  
scale which, when combined with the scale, defines the mode.  
For example, with a Major scale selected, roots 1-7 define the  
modes — Ionian (Major), Dorian, Phrygian, Lydian, Mixolydian,  
Aeolian (minor) and Locrian.  
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Rule  
This parameter has four values: Round Down, Round Up, Shift  
Down, and Shift Up. Its exclusive purpose is to tell the interval  
harmonizer what to do with out-of-key pitch assignments. The  
values instruct the interval harmonizer as follows:  
Pitch cont'd.  
Round Down Take the input pitch assign, round it down a  
half-step to an in key pitch, then calculate  
the interval pitch.  
Round Up Take the input pitch assign, round it up a  
half-step to an in key pitch, then calculate  
the interval pitch.  
Both of these generate in-key harmonization.  
Shift Down Take the input pitch assign, round it up a  
half-step to an in-key pitch, calculate the  
interval pitch then shift the interval pitch  
down a half-step.  
Shift Up Take the input pitch assign, round it down a  
half-step to an in-key pitch, calculate the  
interval pitch then shift the interval pitch up  
a half-step.  
Both of these generate out-of-key harmonization.  
Unison and Octave interval pitches strictly follow the input pitch assign. An  
example of how to use these follows the explanation of Voice Pitch intervals.  
V1-V6 Pitch  
The Res2>Plate effect has an individual pitch interval control for each voice  
resonator. The rangeofeachcontrolisup ordownanyscaleintervalthroughfive  
octaves and Unison, for a total of 81 possible settings. For example: an interval  
of up one-fifth reads "+5th", and an interval of up one octave and a fifth reads  
"+1 Oct +5th". Down one-fifth reads "–5th", down one octave and a fifth reads  
"–1 Oct –5th".  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
Anexample applicationof Key,Scale,Root,Rule andVoice PitchIntervals.  
Active resonators set to 3.  
Pitch cont'd.  
The Key is C.  
The Scale is Major.  
The Root is 1. (C Major Ionian)  
Voice 1 Pitch is assigned to Unison.  
Voice 2 Pitch is assigned to +3rd.  
Voice 3 Pitch is assigned to +5th. (Basic triad)  
In-key pitch assignment examples:  
1. Pitch Assign:C4. Voice 1 will resonate at C4, Voice 2 at E4, and Voice 3 at  
G4. (Standard chord in the key based on the tonic)  
2. Pitch Assign: D4. Voice 1 will resonate at D4, Voice 2 at F4, and Voice 3 at  
A4. (Standard chord in the key based on the supertonic)  
3. Pitch Assign: E4. Voice 1 will resonate at E4, Voice 2 at G4, and Voice 3 at  
B4. (Standard chord in the key based on the median)  
4. Pitch Assign: B4. Voice 1 will resonate at B4, Voice 2 at D5, and Voice 3 at  
F5. (Standard chord in the key based on the leading tone)  
Out-of-key pitch assignment — Pitch Assign: C#:Db4.  
Rule: Round Down: Voice 1 will resonate at C#/Db4, Voice 2 at E4, and Voice  
3 at G4 diminished  
Round Up: Voice 1 will resonate at C#/Db4, Voice 2 at F4, and Voice 3  
at A4 augmented  
Shift Down: Voice 1 will resonate at C#/Db4, Voice 2 at E4, and Voice  
3 at G#:Ab4 minor  
Shift Up: Voice 1 will resonate at C#/Db4, Voice 2 at F4, and Voice 3 at  
G#:Ab4 Major  
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In the Resonant Chord algorithms: Res1>Plate and Res2>Plate, this row  
contains high cut filter and resonance controls for each voice, as well as master  
high cut and resonance controls for all voices.  
Resonance  
Mstr Res,Mstr HC  
Position 0 of the Resonance row contains two master parameters for the six  
resonator voices: Mstr Res and Mstr HC. (Press Load/✱ to toggle between  
them.) Mstr Res is a master resonance control for all of the resonator voices.  
It allows the resonance settings for all voices to be scaled over a range of 0-  
100%. Use care when adjusting this value. The resonators will put out high  
levels if the input source has any components that are close in pitch to the  
resonator tunings.  
The Mstr HC control allows the high cut filter settings for all voices to be scaled  
over a range of 0-100%.  
V1Res,V1 HiCut-V6 Res,V6 HiCut  
TheV1-V6 Res controls set the amount and polarity of feedback for each voice.  
The HiCut controls set the high frequency cutoff frequency of the 6dB per  
octave low pass filter for each voice.  
The Reverb Deisgn row, available in every algorithm, contains parameters that  
affect the structural aspects of the reverb effect.  
RvbDesign  
Size  
Size sets the rate of build-up of diffusion after the initial period (which is  
controlled by Diffusion). The Size control changes a reverb sound from very  
large toverysmall.Generally, you should setthiscontrolto approximatethesize  
of the acoustic space you are trying to create, before adjusting anything else.  
The size in meters is roughly equal to the longest dimension of the space. Audio  
is temporarily muted when Size is changed.  
Duration  
In the Inverse algorithm, Duration determines the length of time, in milliseconds,  
which passes before the cutoff in Inverse effects.  
Attack  
Attack is provided in the Plate algorithm to set the sharpness of the initial  
response to an input signal. High settings cause an explosive sound, while low  
settings cause the sound to build up more slowly with time. Attack only affects  
the level of sound within the first 50 milliseconds.  
Diffusion  
A Diffusion control is provided in all algorithms. It controls the degree to which  
initial echo density increases over time. High settings of Diffusion result in initial  
build-upofecho density,andlowsettingscauselowinitialbuild-up.Echodensity  
is also affected by Size; smaller spaces will sound denser. To enhance  
percussion, use high settings of Diffusion. For clearer and more natural vocals,  
mixes, and piano music, use low or moderate settings of Diffusion.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
Shape, Spread  
Rvb Design cont'd.  
In the Chamber and Infinite algorithms, Shape and Spread work together to  
control the overall ambience of the reverberation created by the PCM 80. Shape  
determines the contour of the reverberation envelope. With Shape all the way  
down, reverberation builds explosively, and decays quickly. As Shape is  
advanced, reverberation builds up more slowly and sustains for the time set by  
Spread. With Shape in the middle, the build-up and sustain of the reverberation  
envelopeemulatesa large concerthall(assumingthatSpread isatleasthalfway  
up, and that Size is suitably large — 30 meters or larger). Low Spread settings  
result in a rapid onset of reverberation at the beginning of the envelope, with little  
or no sustain. Higher settings spread out both the buildup and sustain. In the  
Inverse algorithm, Spread is fixed, and only a Shape control is available.  
Def  
Available in the Concert Hall and Glide>Hall algorithms, Definition affects the  
echo density buildup rate during the latter part of the decay period. At 0, the rate  
is determined by the program material. Raising Definition causes the sound to  
become choppier — the decrease in density of the echoes creates increasingly  
distinct, repetitive echo trails.  
Depth  
Available in the Concert Hall and Glide>Hall algorithms, this control sets the  
output amplitude envelope, changing the listener's perspective from the front to  
the rear of the hall.  
Spin  
Spin affects the movement of the reverberation tail. The object of Spin is to  
continuously alter the timbre of the reverberant sound. This makes the result  
more natural, without making the position of instruments unstable. Spin should  
typicallybesettovaluesbetween10and50.Higher valuesmaymake thetimbre  
of piano or guitar unstable.  
Chorus  
In the Concert Hall and the Glide>Hall algorithms Chorus randomizes delay  
times and introduces modulation to make reverberation sound less metallic.  
Increasing Chorus increases the rate of modulation. Because Chorusing can  
causepitch variation,thisparametershouldbesetwithcarewhenusing sources  
with very little pitch wobble (such as guitar or piano). A good practice is to  
increase the setting until pitch wobble becomes noticeable, then lower it slightly.  
Link  
This control is available in all algorithms except Inverse. When Link is set to On,  
the reverb time (Mid Rt) and Spread scale linearly as the Size control is varied.  
For some special effects, Mid Rt, Spread and Size can be unlinked.  
Rvb Width  
In all of the 4-Voice algorithms, this control performs the same function as FX  
Width, but controls the audio of only the reverb and post delay reverb.  
Rvb In/Out  
Rvb In and Rvb Out control the level of the audio going into and coming out of  
the reverb effect. Rvb In has a range of Full (0dB) down to -85dB, and Off. Rvb  
Out has a range of Full (0dB) down to -24dB, and Off. Rvb Out does not affect  
the level of the pre-echoes set by the Ref Lvl and Eko Fbk parameters.  
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PCM 80 Use r G uid e  
Le xic o n  
Rvb Time  
The Reverb Time row, available in every algorithm, contains parameters that  
affect the time-based aspects of the reverb effect.  
Mid Rt and Low Rt  
Mid Rt sets the reverb time for mid-frequency signals. Because low frequency  
reverb time (Low Rt) is a multiplier of Mid Rt, Mid Rt acts as a master control for  
the reverb time.  
Low Rt sets the reverb time for low-frequency signals, as a multiplier of the Mid  
Rt parameter. For example, if Low Rt is set to 2X, and Mid Rt is set to two  
seconds, the low frequency reverb time will be four seconds. For a natural-  
sounding hall ambience, we recommend values of 1.5X or less.  
Low Slope and Mid Slope  
These parameters are only available in the Inverse algorithm. Low Slope  
determines the shape of the reverb envelope for low frequencies. When set to  
0, the level of low reverb remains unchanged over its Duration, then cuts off  
abruptly(depending on the amount of diffusion in use). Setting Low Slope above  
0 causes the level of low-frequency reverb to rise smoothly from soft to loud until  
the sound is cut off. The greater the slope, the softer the initial reverberation and  
the more pronounced its rise. With negative values, the low frequency reverb  
drops from its initial level to a quieter one before cutoff. The lower the slope, the  
more pronounced the dropoff.  
Mid Slope is similar to Low Slope, but applies to middle and high frequencies.  
The actual frequencies affected are determined by Crossover.  
Crossover  
Crossover sets the frequency at which the transition from Mid Rt to Low Rt takes  
place. This control should be set at least two octaves higher than the low  
frequency you want to boost. For example, to boost a signal at 100Hz, set  
Crossover to 400Hz. (This setting works well for classical music.) Crossover  
works best around 400Hz for boosting low frequencies, and around 1.5 kHz for  
cutting low frequencies.  
Rt HC  
Rt HC sets the frequency above which a 6dB/octave low-pass filter attenuates  
the reverberated signal. It does not attenuate the reflections. High frequencies  
are often rolled off with this parameter, resulting in more natural-sounding  
reverberation.  
Pre Delay  
Pre Delay adjusts an additional time delay between the input of signal and the  
onset of reverberation. The maximum range is 930ms. This control is not  
intended to mimic the time delays in natural spaces. In real rooms, the build-up  
of reverberation is gradual, and the initial time gap is usually relatively short.  
Natural spaces are best emulated by adjusting Spread for the desired effective  
predelay.  
Infinite  
Inthe Infinitealgorithm, thiscontrolis providedto turn the infinite effect Onor Off.  
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The Alg o rithm s a nd The ir Pa ra m e te rs  
RefLvl L&R, RefDly L&R  
Rvb Time cont'd.  
These controls provide pre-echoes to the left and right channels. The maximum  
range for Inverse effects is 800ms. In all other effects it is 1.2 seconds. Press  
Load/✱ to cycle through the selections.  
EkoFbk L&R,EkoDly L&R  
Available in the Plate, Chamber and Infinite algorithms, these controls provide  
a pre-echo of 1.2 seconds maximum to the left and right channels, with  
feedback. Press Load/✱ to cycle through the selections.  
PstMix, PstGld  
In the 4-Voice Algorithms, these controls adjust a pair of delays after the reverb.  
Press Load/✱ to cycle through the selections: PstMix, Pst Dly L&R, GldResp  
and GldRange.  
Pst Mix  
In the 4-Voice Algorithms, this parameter controls the mix of the reverb audio  
with the post delayed reverb audio (0-100%).  
Pst Dly L&R  
In the 4-Voice Algorithms, these parameters control the time of the post  
delay. The available range of 0-682ms can produce a variety of pitch shift,  
flange, or stutter effects on the reverb audio. (Expanding PCM 80 memory  
will extend this range to 1365ms.)  
GldResp  
In the 4-Voice Algorithms, this parameter controls the response of the glide of  
thepostdelay.The range is0-100, withatypicaldefaultsettingof50. Thissetting  
provides a good, real-time glide. Changing a delay time from 0 to 100 ms with  
a glide response of 0, causes the glide delays to take a minute or more, allowing  
subtle changes in delay times and echoes with no noticeable pitch shifting. A  
glide response of 100 is ultrafast, causing high speed pitch shift, and even  
chirping effects with large delay time changes.  
GldRange  
Inthe 4-VoiceAlgorithms,thisparametercontrolsthe rangeoverwhichchanges  
to the post delay time will be performed as a glide. For example, if GldRange is  
set to 100ms, and the PstDly L and R times are varied over a range of 100ms,  
those delays will glide smoothly from one delay time to another. Suddenly  
changing the delay time to a greater value, such as 200ms, will cause the audio  
delay to change instantly to the new time without gliding. The available range is  
0-682ms, with 0 causing all delay time changes to be "instantaneous", and 682  
causing alldelaytimechanges toglide. (ExpandingPCM 80memorywillextend  
this range to 1365ms.)  
You can set and display delay val-  
ues in units of time, or with tempo  
values. PressUp andTemposimul-  
taneously to toggle between these  
two options. When time units are  
selected, delay times are set and  
displayedinmilliseconds(From0ms  
to the maximum available delay for  
that parameter). When tempo val-  
ues are selected, delay values are  
set and displayed as a ratio of ech-  
oestobeats(from24:1to1:24).This  
will automatically synchronize the  
delay to the current tempo (MIDI,  
Internal,orTAP—seeTempoMode  
in Chapter 2.) For example, a delay  
setting of 1:2 (1 echo for every 2  
beats) will produce half-note delay  
rhythms synchronized tothecurrent  
tempo.  
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PCM 80 Use r G uid e  
Le xic o n  
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4
The Presets  
The PCM 80 has 200 factory-designed presets which are organized into four  
banks of50 each (labeled P0,P1, P2and P3).Each bank isorganized ina matrix  
of 5 rows of 10. Press the front panel Program Banks button to display the first  
bank. Press it again to switch to another bank. Simultaneously press Program  
Banks and either the Up or Down button to backstep through the banks. The  
display will show the bank label and the matrix location, the preset name, and  
the algorithm from which the effect is derived.  
Turn SELECTtoscrollthroughallofthepresetsina bankinnumericalorder. Use  
Up or Down to jump forward or backward by 10. Press Load/✱ to load any  
displayed preset.  
In the Program Banks mode (as in the Register Banks mode), ADJUST is a soft  
knob. Each preset has one or more parameters patched to this knob, providing  
a quick way to make useful changes to the effect. (A ■symbol in the upper left  
corner of the display indicates that the currently running effect has an ADJUST  
knob patch.) When you turn ADJUST, the display will show the name assigned  
to ADJUST, as well as the patch value. Continue turning ADJUST to alter the  
patch value along its available range.  
The program banks are organized as follows:  
Matrix  
Bank  
Location  
Preset Type  
P0  
0.0–1.9  
2.0–3.5  
3.6–4.9  
Multi Effects  
Modulation Effects  
Special Effects  
P1  
P2  
0.0–3.6  
3.7–4.9  
Rhythmic Echo and Delay Effects  
Ambience Effects  
0.0–1.0  
1.1–2.4  
2.5–4.0  
4.1–4.9  
EQ Effects  
Spatial Effects  
Gain Effects  
Resonant Chord Effects  
P3  
0.0–2.8  
2.9–3.9  
4.0–4.9  
Reverb Effects  
Processed Reverb Effects  
Remix Effects  
Eachpresetisdescribedinthissection witha headerwhich indicatesthe matrix  
location, the program name, the name assigned to the ADJUST knob, and the  
range of ADJUST knob control. This header is followed by a brief description  
of the effect. For additional reference, at the end of this chapter is an  
alphabetical list of the presets, with references to bank and matrix location.  
4-1  
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Le xic o n  
Program Bank 0 (P0)  
0.0  
Prime Blue  
ADJUST:  
Efx/Rvb X  
0–127  
Multi Effects  
A combination of 3 stereo effects: 6 voice chorus, rhythmic echoes, and reverb. You can  
dial-intheexactproportionofeach.AsADJUSTis turnedfrom0to127theeffectsmoothly  
changes from chorus only , to chorus with echoes, to chorus with echoes and reverb, to  
reverb with echoes, and finally to reverb only. Use Tap to set the echo rhythms.  
(P0 0.0 – P0 1.9)  
0.1  
EkoChorus  
ADJUST:  
FX Mix  
0–127  
A 6 voice stereo chorus with echoes and stereo reverb. ADJUST controls the mix of  
chorus/echoes with reverb. The Soft Row provides all the tweaks you’ll need to get the  
most out of this classic multi effect.  
0.2  
Wet Chorus  
ADJUST:  
FX Mix  
0–100  
This is a thick wet chorus combinedwith a small amount of reverb toproduce a largelush  
sound. It canfattenupany trackandisespecially goodfor addingbodytoguitar. ADJUST  
controls the combination of delays and chorus with reverb.  
0.3  
Wet Chorus 2  
ADJUST:  
FX Mix  
0–100  
This is a variation of Wet Chorus with a subtle amount of delays and reverb to produce  
just the right amount of ambience. ADJUST controls the combination of delays and  
chorus with reverb.  
0.4  
Wet Chorus 3  
ADJUST:  
FX Mix  
0–100  
A variation of Wet Chorus 2 with even thicker chorus (bordering on a slight flange) and  
slightly modified delays. ADJUST controls the combination of delays and chorus with  
reverb.  
0.5  
Chorus Plate  
ADJUST:  
KorusMix  
0–100  
Combination of smooth rolling delays in the reverb shell combined with a more aggres-  
sively modulated reverb tail. ADJUST changes the non-modulated to modulated reverb  
tail. Twisted for guitar.  
0.6  
Chorus Room  
ADJUST:  
Decay  
0–80  
Slow chorus applied to one side of the reverb. The speed of the modulation follows input  
level. ADJUST controls the reverb decay.  
0.7  
ChorusToRvb  
ADJUST:  
Decay  
0–127  
Input level controls the relative mix of stereo chorus and reverb. Loud signals are mostly  
chorus and the reverb level comes up as the signal fades away. ADJUST controls the  
reverb decay time.  
0.8  
Funkus Room  
ADJUST:  
LFO Rate  
0–100  
This preset works great on electronic pianos / keyboards. Strong modulation applied to  
both delays and reverb tail. ADJUST controls the speed of the LFO modulation.  
0.9  
Detune & Room  
ADJUST:  
Detune  
0–127  
A very tight room combined with separate pitch modulation on the left and right inputs.  
ADJUST controls the depth of the detuning.  
1.0  
Detune&Dbl  
ADJUST:  
Detune  
0–127  
SimilartoDetune& Room,butseveraldelay voiceshavebeenaddedtoproducedoubling  
effects. ADJUST controls the amount of detune on each side. Soft Row goodies include  
a master delay control that allows you to vary the time difference between the delay  
voices.  
1.1  
Tight Space  
ADJUST:  
SplitWide  
0–100  
A bright, dry ambience combined with left and right detune and delay. ADJUST controls  
the amount of detune as well as the left/ right delay spread.  
4-2  
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The Pre se ts  
Multi Effects  
(P0 0.0 – P0 1.9) cont'd.  
1.2  
Flange >Rvb  
ADJUST:  
FX Mix  
0–100  
This stereoeffectfeedstheoutputofaflanger intoaconcert hallreverb. ADJUSTcontrols  
the mix of dry and wet flanged audio. The Soft Row includes master delay and feedback  
parameters for adding echoes, as well as parameters for modulation and image control.  
1.3  
Flange+Rvb  
ADJUST:  
FX Mix  
0–100  
A rich 6 voice chorus in parallel with reverb. ADJUST controls the mix of the two  
independent stereo effects. The Soft Row includes the essential parameters for creating  
many variations of this classic combination of effects.  
1.4  
X Eko Flange  
ADJUST:  
X-Fbk  
0–100  
A stereo flanger with rhythmic echoes feeding into stereo reverb. ADJUST controls the  
cross-feedback of the echoes (which causes them to bounce from side to side as they  
repeat). Press Tap to synchronize the echoes with rhythmic sources.  
1.5  
Glide > Verb  
ADJUST:  
FX Mix  
0–100  
Three stereo effects in series: gliding delays, rhythmic echoes and reverb. ADJUST  
controlsthemix ofdelay effectsandreverb. Essentialcontrols foreacheffectareincluded  
in the Soft Row.  
1.6  
Glide X-Ekos  
ADJUST:  
Eko Time  
0–100  
Similar to Glide > Verb, but ADJUST lets you dial in echo times from 0 to 2 seconds.  
Feedback and cross feedback are combined to create echopatterns that change asthey  
repeat.  
1.7  
Detuned Ekos  
ADJUST:  
Ekos/Beat  
1–24  
Plate reverb combined with independent stereo delays. The delay voices are diffused  
and modulated. The echoes are rhythmic — set the tempo with Tap or MIDI clocks. Use  
ADJUST to set the number of echoes per beat.  
1.8  
StereoEqEkos  
ADJUST:  
Ekos/Beat  
1–24  
Six rhythmic echo voices are EQ’d and panned across stereo space. ADJUST sets the  
number of repeats per beat.  
1.9  
ADJUpMyEchos  
ADJUST:  
EchosLvl  
0–10  
Concert Hall reverb with 4 panned echo voices in the background. ADJUST controls the  
level of the echo voices. Press Tap to synchronize the echoes with rhythmic material.  
Modulation Effects  
2.0  
FSw2 Elevate  
ADJUST:  
Feedback  
0–99  
Similar to Detuned Ekos, multiple echo voices with diffusion, modulation and a touch of (P0 2.0 – P0 3.5)  
plate reverb. In this effect, Foot Switch 2 is patched to turn on the AR Envelope which,  
in turn, sweeps the master delay. ADJUST controls the feedback of these rhythmic  
echoes.  
2.1  
Chorus &Pan  
ADJUST:  
LFO Rate  
0–100  
This movingchorusshifts theoutput signal fromleft toright, back andforth. ADJUSTsets  
the speed. Increasing the Delay Master parameter will smear the delay images.  
2.2  
Chorus&Amb  
ADJUST:  
MstChorus  
0–100  
Similar to Chorus&Pan but with an added ambience. ADJUST controls the speed and  
depth of the chorus.  
2.3  
6 Vox Chorus  
ADJUST:  
Less/More  
0–50  
Starting point for all chorus sounds. ADJUST controls both the chorus depth and speed.  
Use the Delay Master to open or close the spacing between the 6 delay voices.  
4-3  
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Le xic o n  
2.4  
Split C&E  
ADJUST:  
InputPan  
0–100  
Modulation Effects  
(P0 2.0 – P0 3.5) cont'd.  
Theleft inputis processedintoalush3-voice choruswiththevoicepanners adjustedfrom  
center to left. The right input is processed into a rhythmic 3-voice echo with the output  
panned from center to right. ADJUST cross-pans the inputs. 0 = left/right stereo,  
50 = mono, 100 = right/left stereo.  
2.5  
Env:PanKorus  
ADJUST:  
Chorus  
0–127  
The AR Envelope drives the speed of thepan based on the presence or absence ofinput  
signal. ADJUST varies the chorus amount.  
2.6  
6 Vox Flange  
ADJUST:  
MstrDepth  
0–100  
A rich stereo flanger with a touch of reverb. ADJUST controls the flange depth.  
2.7  
Mod Max  
ADJUST:  
Mod Knob  
0–50  
Multiple parameters all being modulatedtogether. With a stereoinput theLFO drivesthe  
input pans to each delay and reverb processor. A definite "twist your head off" effect.  
ADJUST controls several aspects of the modulation.  
2.8  
PreciseGlide  
ADJUST:  
Resonance  
0–100  
A very cleanstereoglidingdelay andreverb. ADJUST controlstheresonanceoftheglide.  
Soft Row includes master delay andfeedback parameters so you canadd stereoechoes  
to the effect.  
2.9  
Round 147  
ADJUST:  
RotorRate  
0–20  
Big wooden rotary speaker cabinet miked fairly close. ADJUST sets the speed of the  
rotors. FX Mix is available in the soft row to control the amount of reverb relative to the  
total effect output.  
3.0  
FSw2 Rotary  
ADJUST:  
Width  
0–100  
A dual-rotor speaker cabinet with a very wide stereo spin and a touch of ambience. Use  
ADJUST tocontrolthewidthanddirectionofthespinningrotors. 0=very wideleft-to-right,  
64 = mono, 127 = very wide right-to-left. Foot Switch 2 is patched to the Latch to toggle  
between slow and fast speeds. The AR envelope is used to simulate the inertial drag as  
the rotors speed up or slow down.  
3.1  
RotorCabinet  
ADJUST:  
Slow/Fast  
0–1  
SimilartoFSw2 Rotor,but ADJUSTis usedtotogglethespeedoftherotorsbetweenslow  
and fast. Soft Row parameters include FX Width which setsthe width and direction ofthe  
spin.  
3.2  
MIDI Rotary  
ADJUST:  
EkoFbk  
0–100  
Similar to FSw2 Rotor, but with echoes added and the rotors patched up for MIDI control.  
MIDI After Touch toggles speed. Press hard to spin fast, press hard again to spin slow.  
ADJUST controls the amount ofecho feedback. UseTap to synchronize the echoes with  
rhythmic material.  
3.3  
Tiled Rotary  
ADJUST:  
Slow/Fast  
0–1  
The RotorCabinet effectin atiledroom. Tryit withbackgroundvocals, aswell astheusual  
keyboard and guitar sources. ADJUST toggles the spin rates between slow and fast.  
3.4  
RotoWood  
ADJUST:  
Speed  
0–10  
ADJUST quickly advances the speed of the rotors. Increase the Feedback Master for  
more upper rotor “howling”.  
3.5  
RandomImages  
ADJUST:  
ImageKnob  
0–127  
This effect works best with solo instruments or voices. Individual input notes come out at  
random locations in the stereo image. ADJUST varies delay time, adds chorusing, and  
turns up the level of tempo related echoes. Delays "creep" slowly out to new time values.  
4-4  
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The Pre se ts  
Special Effects  
(P0 3.6– P0 4.9)  
3.6  
Under Water  
ADJUST:  
DrownKnob 0–100  
This effect really pulls you under! It will submerge any track under water. ADJUST  
controls the over all rate of the effect.  
3.7  
Thunder FX  
ADJUST:  
FlashTime  
0–127  
Anunusual special effect that producesarollingclapofthunder from apercussivesource  
(tom toms ,etc.) andetherealsweeps from synthpads. Theeffectis drivenbytheAREnv,  
which is available in the soft row. ADJUST controls the AR release rate.  
3.8  
Thunder FX 2  
ADJUST:  
FlashTime  
0–127  
A variation of Thunder FX. The zaps are produced by setting a much faster release rate.  
ADJUST controls the release rate.  
3.9  
ChaosImpuls  
ADJUST:  
GldResp  
0–100  
This special effect is hard to describe but interesting to listen to. It produces chaotic  
rhythmsanddetuningsfromtheinputsource. ADJUSTsetsthechaoticlimits.Trythis with  
individual percussive hits.  
4.0  
DemonDescent  
ADJUST:  
GldResp  
0–100  
Dark reverb and modulated detuning are combined to create an eerie special effect.  
ADJUST controls the rate and depth of the detuning.  
4.1  
RoughIdle FX  
ADJUST:  
Speed  
0–127  
Use this tomutateany steady, broadband sourceintoapoorly tunedcombustionengine.  
ADJUST controls the speed.  
4.2  
RoxStutter  
ADJUST:  
FX Mix  
0–100  
Use on those strong rock and roll lead vocals. The trailing echoes on voices 3 and 4 go  
longer as the signal disappears. ADJUST combines the delay effects with a plate reverb  
effect. Delays 2 and 5 are available in the soft row to add more echo presence.  
4.3  
Split Pitch?  
ADJUST:  
SplitWide  
0–127  
Modulated varispeed in stereo. One side goes low as the other side goes high. ADJUST  
controls the rate and depth of the varispeed. Good for special FX processing of various  
sources including synths and dialog.  
4.4  
TryTalk’n  
ADJUST:  
GldResp  
0–100  
A variationof Split Pitch? Inthis version highly colored reverband additional delay voices  
have been added. ADJUST controls the rate and depth of the varispeed.  
4.5  
AutoInfinite  
ADJUST:  
FX Mix  
0–100  
With signal present the reverb time runs long. With signal absent the infinite process is  
switched on. The threshold for the event is set high such that after a source is running  
in the infinite process, you can play softer passages against it which chorus and echo at  
thesame time. AR Envelopeparameters areincludedin thesoftrow. Adjust thethreshold  
to suit your application.  
4.6  
Remove Cntr  
ADJUST:  
Cntr Fc  
0–127  
This effect uses filters and crosstalk cancellation to remove mono material from a stereo  
mix. ADJUST controls a low pass filter for the center channel frequencies. As it is turned  
from 0-127 mono material is added back into the mix.  
4.7  
V-Eliminate  
ADJUST:  
Cut Zone  
0–127  
This effect is a vocal eliminator. It is similar to Remove Cntr, in that it will remove mono  
material from a stereo mix. In this effect, however, only frequencies in the vocal range  
are removed. Thiskeepsmonolow andhighfrequencies(kick, bass,snarecymbals, etc.)  
in the mix. ADJUST controls the width of the elimination band. Note that phase  
cancellation will occur if the two outputs are summed to mono.  
4-5  
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Special Effects  
4.8  
NoCenter Eko  
ADJUST:  
Center Fc  
0–127  
(P0 3.6– P0 4.9) cont'd.  
This is the same effect as Remove Center with delays added to the processed signal. It  
allows you toadd echoes to theleft and rightmaterial withoutaffecting the mono material  
of a stereo mix or sub mix. For example, you can add additional echoes to a mix without  
affecting the vocals, kick or snare. ADJUST controls a low pass filter for the center  
channel frequencies.  
4.9  
Rvb On L–R  
ADJUST:  
Decay  
0–127  
Similar to NoCenterEko, this effect adds dense plate reverb to the left and right material  
without affecting the mono material in a stereo mix. ADJUST controls the mid Rt of the  
reverberator.  
Program Bank 1 (P1)  
NOTE: The echoes in all of the Rhythmic Echo and Delay effects can be synchronized  
to tempo. Tempo is set by dialing it in, pressing Tap, or selecting MIDI Clock as the  
Tempo. (Tempo mode 0.2) Be sure to try these effects synchronized withMIDI sequence  
and drum patterns.  
Rhythmic Echo and  
Delay Effects  
(P1 0.0 – P1 3.6)  
0.0  
[n]Ekos/Beat  
ADJUST:  
[n]  
1–24  
This presetproduces stereoechoes witha touchof reverb. ADJUST controls thenumber  
of echoes per beat. Soft Row goodies include controls for master scaling of the delay  
rhythms and feedback, EQ and panning, as well as reverb parameters.  
0.1  
StereoTapDly  
ADJUST:  
Mstr Fbk  
0–100  
A variation of [n]Ekos/Beat this effect has left and right delay voices. ADJUST controls  
master feedback for both voices. The Soft Row includes controls for rhythm, feedback  
and panning for each voice  
0.2  
OffBeat Eko  
ADJUST:  
DarkKnob  
0–127  
This variation of [n]Ekos/Beat produces a syncopated echo rhythm pattern. ADJUST  
controls high cut filters in the echo feedback paths – great for “tape”echo effects.  
0.3  
OffBeat Eko2  
ADJUST:  
DarkKnob  
0–127  
Additional rhythmic delay voices are used to create a more complicated syncopation  
pattern than OffBeat Eko. ADJUST controls high cut filters in the echo feedback paths –  
great for “tape” echo effects.  
0.4  
Dotted 8ths  
ADJUST:  
EchoSlope  
0–127  
Rhythmic delay voices produce a dotted 8th-note pattern. ADJUST controls the slope of  
the first six repeats. 0 = loud to soft (normal echoes), 64 = six repeats of equal loudness,  
127 = soft to loud (reversed echoes).  
0.5  
Shuffle Ekos  
ADJUST:  
Shufl Lvl  
0–127  
This effect creates echoes with a shuffle feel. One repeat on the beat followed by one  
repeat off the beat. ADJUST controls the relative levels of the on-beat and off-beat  
echoes. 0 = on-beat echo only, 127 = off-beat echo only.  
0.6  
Shuffles  
ADJUST:  
EchoSlope  
0–127  
Rhythmic delay voices produce a shuffle pattern. ADJUST controls the slope of the first  
six repeats. 0 = loud to soft (normal echoes), 64 = six repeats of equal loudness, 127 =  
soft to loud (reversed echoes).  
4-6  
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The Pre se ts  
0.7  
Sliding Eko  
ADJUST:  
Slide It!  
0–100  
Rhythmic Echo and  
Thisstereodelayeffect letsyoudialintheperfect“feel”tomatchthemoment.Twoechoes  
are produced. One is fixed on the beat. The other can be slid in musical time anywhere  
in front of or behind the beat by turning ADJUST. 0-49 = in front of the beat, 50 = on the  
beat, 51–100 = behind the beat. Of course, the Soft Row contains additional controls for  
fine tuning the effect.  
Delay Effects  
(P1 0.0 – P1 3.6) cont'd.  
0.8  
Six Trips  
ADJUST:  
EchoSlope  
0–127  
Rhythmic delay voices produce a six note triplet pattern. Each repeat gets progressively  
louder.ADJUSTcontrols theslopeofthefirstsixrepeats. 0=loudtosoft(normalechoes),  
64 = six repeats of equal loudness, 127 = soft to loud (reversed echoes).  
0.9  
6 StrokeRoll  
ADJUST:  
Attack  
0–127  
Turn a single drum hit into a six-stroke roll with this effect. ADJUST controls the attack  
of the first five repeats. 0 = loud to soft (normal echoes), 64 = five repeats of equal  
loudness, 127 = soft to loud (reversed echoes).  
1.0  
TapGated Rvb  
ADJUST:  
Gate dB  
0–85  
This effect uses atempo-controlled LFO as arhythmic gate to theinputs of a largestereo  
chamber. The gate is opened every other beat for a duration of one eighth-note. Use this  
toaddreverbtoselectedbeatsofastereosource. (Try this onesynchronizedtoMIDI with  
a drum machine as a source.) ADJUST controls the input levels in dB to the reverb when  
thegateisclosed. 0=always open(0dB),85=fullyclosed(-85dB). TheSoftRowincludes  
the LFO parameters so you can adjust the overall timing of the gate.  
1.1  
TapEkoGate 1  
ADJUST:  
GateWidth  
0–127  
This effect uses a tempo-controlled LFO as a rhythmic gate to the inputs of a delay and  
reverbcombination.Thegateisopenedonceeveryfourbeatsforadurationofoneeighth-  
note. ADJUST determinestheportionofthefour beatsin which thegateis open. 0=open  
for all four beats, 127 = open for only the first 16th note of four beats. The Soft Row  
includes the LFO parameters so you can adjust the overall timing of the gate.  
1.2  
TapEkoGate 2  
ADJUST:  
GateWidth  
0–127  
This is a variation ofTapEkoGate 1 with different echo rhythms. ADJUST determinesthe  
portion of thefour beatsin which thegate is open. 0 =open four all four beats, 127 =open  
for only the first 16th note of four beats. The Soft Row includes the LFO parameters so  
you can adjust the overall timing of the gate.  
1.3  
TapEkoClear  
ADJUST:  
GateWidth  
0–127  
This presetis similar tothetwo TapEkoGatepresets, exceptthat therhythmic gateis also  
patched to clear the delay voices when it opens. This allows very high delay feedback  
values tobeusedwithoutcreatinglongechotrails. ADJUST determinestheportionofthe  
four beats in which the gate is open. 0 = open for all four beats, 127 = open for only the  
first 16thnoteoffour beats. TheSoft Row includes theLFO parameters soyoucanadjust  
the overall timing of the gate.  
1.4  
Tap Chamber1  
ADJUST:  
Width  
0–90  
ThispresetisatempocontrolledvariationofSnareChamber.Theeffect isatightchamber  
with liveness that is constantly changing. The change is tempo controlled. Press Tap to  
synchronize it to the beat. ADJUST controls the width of the reverb within the overall  
stereo image of the effect (0 = mono, 45 = stereo, 90 = surround). Use this to open up  
sampled drum mixes.  
1.5  
Tap Chamber2  
ADJUST:  
Decay  
0–127  
This is a version of Vox Chamber with a rhythmic twist. The width of the reverb, withinthe  
overall stereo image of theeffect, is changed rhythmically bySw 1. This change is tempo  
controlled. Press Tap twice to synchronize to the beat. ADJUST controls reverb decay.  
4-7  
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Rhythmic Echo and  
1.6  
LatchedEkos  
ADJUST:  
EchoWidth  
1–99  
Delay Effects  
(P1 0.0 – P1 3.6) cont'd.  
The inputs and outputs of stereo delays are gated on and off by two rhythmic switches.  
The Latch is used to trigger the AR envelope, which in turn alternates the left and right  
delay outputs. ADJUST controls how long the inputs to the delays remain open over a  
period of four beats.  
1.7  
X-PanEQ BPM  
ADJUST:  
Low Tone  
0-60  
This effect cross-pans theinputs betweenindependentleft andrightbandpass filtersand  
adds some bright, highly diffused reverb. The pan rate is tempo controlled. ADJUST  
controls the low frequency limits of both bands.  
1.8  
Pan->Eko BPM  
ADJUST:  
DarkKnob  
0–127  
This effect pans the inputs across the stereo inputs of a reverb and independent left and  
right delays, each with slightly different EQ. The pan rate is tempo controlled. ADJUST  
controls the high frequency limits of both bands.  
1.9  
Tempo Verb  
ADJUST:  
Liveness  
0–40  
In this tempo-based reverb effect, decay changes in tempo. Slow tempos yield longer  
reverb time; fast tempos result in shorter decay. Set tempo with two presses of Tap, or  
with MIDI.  
2.0  
Tempo Gate  
ADJUST:  
High Cut  
0-50  
This heavily gated reverb effect has duration set by tempo. Tap in two quarter-notes to  
set the gate duration.  
2.1  
Tape Echo  
ADJUST:  
DarkKnob  
0–127  
This preset simulates a stereo tape echo. The echo rate is tempo controlled. Press Tap  
to synchronize with rhythmic material. ADJUST controls high frequency damping – the  
echoes get darker as they repeat. The Soft Row includes parameters for adding and  
reverb as well additional controls for the delays and filters.  
2.2  
NonLinear 1  
ADJUST:  
EchoSlope  
0–127  
This effect produces echoes with non linear decay. ADJUST controls the decay slope.  
0 = loud to soft (normal echoes), 64 = six repeats of equal loudness, 127 = soft to loud  
(reversedechoes).Inthispresettheslopeissettoproduceasimplereversedechoeffect.  
Therepeat rateis tempocontrolled. The Soft Row containsparameters for controllingthe  
stereo image, adding reverb, scaling the repeat rate, and more.  
2.3  
NonLinear 2  
ADJUST:  
EchoSlope  
0–127  
Similar to NonLinear 1, with some additional processing. Chorus and reverb have been  
added, and the delays bounce from side to side as they repeat. In this preset the slope  
is set to 64 to produce repeats of equal loudness. The Soft Row includes parameters for  
controlling the stereo image, chorus depth and rate, etc.  
2.4  
NonLinear 3  
ADJUST:  
EchoSlope  
0–127  
This is a variation of NonLinear 2 with more radical processing and an inverted slope.  
2.5  
Six Across  
ADJUST:  
Spacing  
0-100  
This multi-tap delay effect filters each voice to a specific bandbass with each tap  
positioned succesively across the panoramic spectrum. ADJUST controls the overall  
spacing between the voices.  
2.6  
BandEko Rvb  
ADJUST:  
Center Fc  
0–127  
In this preset, the outputs of a stereo band pass filter are sent to left and right rhythmic  
delays. These delays are in the reverb diffusor loop. The effect produces diffuse, highly  
colored echoes and reverb. Use ADJUST to set the center frequency of the band pass  
filter.  
4-8  
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The Pre se ts  
2.7  
BandEkoSweep  
ADJUST:  
Mstr Fbk  
0–100  
Rhythmic Echo and  
A variation of BankEko Rvb. In this preset, the center frequency of the band pass filter is  
swept by the LFO producing echoes of shifting colors. Reverb and diffusion are turned  
off, but you canaddthem in from theSoft Row. ADJUST controls master feedbackfor the  
left and right delays.  
Delay Effects  
(P1 0.0 – P1 3.6) cont'd.  
2.8  
LFO EQ Echo  
ADJUST:  
LC Depth  
0–100  
A stereo rhythmic effect created by modulating low cut and high cut filters with the LFO  
sineandcosinewaves. Interestingonrhythm tracksandindividual instruments. ADJUST  
controls the depth of the low cut modulation.  
2.9  
Chase Echo  
ADJUST:  
ChaseRate  
0–100  
This is LFO EQ Echo with panning added to the filtered delay outputs. ADJUST controls  
the pan rate.  
3.0  
Panned Dlys  
ADJUST:  
Mstr Fbk  
0–100  
Inthis effect,apair ofdelays arepannedtoproduceechoes that driftacross stereospace.  
ADJUST controls the feedback of both delays. More goodies await you in the Soft Row.  
3.1  
X-Pan Delays  
ADJUST:  
Mstr Fbk  
0–100  
The outputs of the delay pair are cross-panned in this effect. Mono material will produce  
echoes that repeat, but remain in thecenter. Stereomaterial will slowly swapleft andright  
as it repeats. Use ADJUST to set the feedback for both delays.  
3.2  
Dly>EQ>Pans  
ADJUST:  
Mstr Fbk  
0–100  
The input signal is split into two frequency bands by this effect. The two bands are then  
sent through two different rhythmic delays whose outputs are panned in opposite  
directions. This effect deconstructs the tone of input material, except when the panning  
and delay rhythms align in the center of the stereo field. Try it with a drum mix or other  
broad band material. Use ADJUST to set the feedback for both delay voices.  
3.3  
Ekoz 4 Drums  
ADJUST:  
FX Mix  
0–100  
This preset is a space setter for percussive instruments. It combines a short plate reverb  
effect withfour highdensity echoes whichare highly diffused. ADJUST variestheamount  
of delay effect to reverb effect.  
3.4  
Haas PanKnob  
ADJUST:  
L=0, R=127  
0–127  
Apannerthatusestheslightdifferencesinleftandrightchanneldelay toproducepanning  
without changing relative levels. Use ADJUST to pan from left to right.  
3.5  
Dial a Delay  
ADJUST:  
Delay  
0–100  
This one is your basic delay. Use ADJUST to dial-in up to 2.5 seconds of stereo delay.  
TheSoft Row will takeyou beyondthe basics, withparameters for reverb design, EQand  
feedback.  
3.6  
PrecisionDly  
ADJUST:  
L ms/100  
0–100  
Use this preset if you need precise alignment of left and right channel audio. ADJUST  
allows you to offset the left channel by up to 1 ms in 100 increments. The Soft Row  
containstwosetsofadditional delaycontrols fortheleftandrightchannels, eachwith1ms  
resolution, as well as independent level and panning controls.  
4-9  
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Ambience Effects  
(P1 3.7 – P1 4.9)  
3.7  
PhoneOrRoom?  
ADJUST:  
Pick One  
0–1  
Use ADJUST to choose between a mono telephone filter and a small room with stereo  
ambience. The Soft Row provides access to the filter controls as well as reverb design  
parameters.  
3.8  
CheapTV Room  
ADJUST:  
The Walls  
1–10  
This stereo preset simulates the sound of a Lo-Fi TV in a small room. Use ADJUST to  
change the reflectivity of the walls. The Soft Row provides access to the filter controls as  
well as reverb design parameters.  
3.9  
Empty Stage  
ADJUST:  
Liveness  
0–100  
Made for creating live sounding spaces. ADJUST opens the space to be more reflective  
and airy.  
4.0  
Tomb Room  
ADJUST:  
The Walls  
1–10  
Use this ambiencepreset to placesource material within a very reflective tomb. ADJUST  
moves the source deeper into this scary space.  
4.1  
Comb Room  
ADJUST:  
Tone  
0–100  
This effect provides a tunable comb filter and reverb to produce a highly colored  
ambience. Use ADJUST to change the tuning of the comb filter.  
4.2  
Zoom Over  
ADJUST:  
Speed  
1–25  
Run an effect (or even a continuous synthesizer drone) into this preset, and the sound  
will approach you from the center, spread out to the sides as it passes overhead, and  
recede into the distancebehind you. ADJUST controls the speed ofthe fly-by. This effect  
will image properly in either 2-channel or Surround mixes.  
4.3  
OneShotCarBy  
ADJUST:  
Speed  
1–100  
Inputlevel triggers this left-to-right drive-by. When signal is detected, it will movefrom left  
to right. Doppler pitch shift is simulated as the image moves across the stereo field. Use  
ADJUST to set the speed of the drive-by. Once audio has been detected, the effect will  
cycle once. To drive by again, stop and restart the audio track. To reverse the direction  
of the effect, set the Width parameter to –45 — you’ll find it in the Soft Row.  
4.4  
AmbientCarBy  
ADJUST:  
Speed  
1–100  
This is avariationofOneShotCarBy. Inthispresettheeffect is enhancedwiththeaddition  
ofsomestereoambience. Also,inthisvariationtheeffectrepeatsautomatically. ADJUST  
controls the speed of the drive-by.  
4.5  
HeadOn CarBy  
ADJUST:  
Speed  
1–100  
This preset uses less ambience than ZoomOver, and is more appropriate for things that  
approach on the road than in the air. ADJUST sets the speed of the effect. This effect will  
image properly in either 2-channel or Surround mixes.  
4.6  
2WayStreet  
ADJUST:  
Speed  
1–100  
Another variation of AmbientCarBy. This preset produces both left-to-right and right-to-  
left drive-by effects — like listening to the sound of traffic on a two-way street. The speed  
for each direction is slightly different. ADJUST is a master speed control for both  
eastbound and westbound traffic.  
4.7  
IntoTunnel  
ADJUST:  
Speed  
1–25  
This preset simulates the sound of a source approaching you from the side, passing you  
and then entering a tunnel. ADJUST controls the speed of the source. To reverse the  
direction of the effect, set the Width parameter to –45 — you’ll find it in the Soft Row.  
4-10  
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The Pre se ts  
4.8  
2WayTunnel  
ADJUST:  
Speed  
1–100  
Ambience Effects  
This is avariationofIntoTunnel. Thesourceapproachesandenters thetunnel, thenturns  
around and comes back. Use ADJUST to control the speed.  
(P1 3.7 – P1 4.9) cont'd.  
4.9  
FinishLine  
ADJUST:  
Speed  
1–100  
This presetadds two pairs of stereodelays to thebasic drive-by effect to simulatethe1st,  
2nd, and 3rd place cars crossing the finish line. ADJUST controls the speed. Be sure to  
try this and the other drive-by effects with different types of source material. Almost any  
continuous source will produce interesting spatial sound effects. Low, buzzy synthesizer  
tones work particularly well.  
Program Bank 2 (P2)  
EQ Effects  
0.0  
StereoLoPass  
ADJUST:  
CutOff  
0–127  
(P2 0.0 – P2 1.0)  
This effect is a combination of a stereo low pass filter and a stereo reverb, with the two  
effects in parallel. Use ADJUST to set the cut off frequency of the filter. The reverb mix  
is turned all the way down — you can add reverb by changing the FX Mix parameter in  
the Soft Row, where you’ll also find additional parameters for delay voices, and image.  
0.1  
Low Pass HiQ  
ADJUST:  
Cutoff  
0–127  
The same basic effect as StereoLoPass, but with feedback adjusted to produce a more  
resonant filter. ADJUST sets the cutoff frequency of the filter.  
0.2  
Low Pass LFO  
ADJUST:  
Depth  
0–127  
The cutoff of thestereo low pass filter is swept witha rhythmic LFO sine wave. PressTap  
tosynchronizethesweepwithrhythmic material.ADJUSTcontrolsthelowfrequencylimit  
of the sweep.  
0.3  
StereoHiPass  
ADJUST:  
Cutoff  
0–127  
A combination of a stereo high pass filter and a stereo reverb, with the two effects in  
parallel. Use ADJUST to set the cutoff frequency of the filter. The reverb mix is turned all  
the way down — you can add reverb by changing the FX Mix parameter in the Soft Row,  
where you’ll also find additional parameters for delay voices, and image.  
0.4  
StereoB-Pass  
ADJUST:  
Center  
0–127  
A combination of a stereo band pass filter and a stereo reverb, with the two effects in  
parallel. Use ADJUST to set the center frequency of the filter. The reverb mix is turned  
allthewaydown— youcanaddreverbbychangingtheFXMix parameterintheSoft Row,  
where you’ll also find additional parameters for delay voices, and image.  
0.5  
Stereo Notch  
ADJUST:  
Center  
0–127  
A variation of StereoB-Pass which combines a phase inverted output of the band pass  
filter with unprocessed signal to create a notch filter. ADJUST sets the center frequency  
of the notch.  
0.6  
SweptNotches  
ADJUST:  
Rate  
0–100  
This preset produces vowel-like sounds by sweeping two pairs of notches with two  
independent time switches. This effect will produce very unusual tonal variations from  
broad band sources (rich pads, drums, industrial sound effects, etc.) It also generates a  
gooddeal ofspatial movement withinastereoor Surroundmix. ADJUST controls therate  
of the sweeps.  
0.7  
Env Notches  
ADJUST:  
Release  
0–100  
This preset will produce vocalization effects from dynamic sources. The inputs are  
summed to mono, and the notch filters which are tuned to vocal formants are swept by  
the resulting input envelope. ADJUST controls the release rate of the input envelope.  
4-11  
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0.8  
BandReject 4  
ADJUST:  
FX Mix  
0–100  
EQ Effects  
Three independent modulators are used to sweep filters and pan the outputs of this  
preset. The result is an effect with constantly changing tonal and spatial characteristics.  
A touch of reverb adds some overall ambience. Use ADJUST to set the mix of filters and  
reverb.  
(P2 0.0 – P2 1.0) cont'd.  
0.9  
WaaPedalEko  
ADJUST:  
FeedBack  
0–10  
Wah-wah with echoes. Foot pedal is patched to filter cutoff. ADJUST controls echo  
feedback.  
1.0  
RotorWaa  
ADJUST:  
Rate  
0–10  
A tempo controlled wah-wah effect. ADJUST controls the rhythm of the modulator.  
Spatial Effects  
(P2 1.1 – P2 2.4)  
1.1  
Movable Echo  
ADJUST:  
Position  
0-127  
This preset is designed for use with either stereo or Surround mixes. It is a dual delay  
effect that can be positioned anywhere between the center, side and rear channels.  
ADJUST sets the position. 0 = center, 64 = side channels, 127 = rear channel.  
1.2  
Movable Hall  
ADJUST:  
Position  
0–127  
Like Movable Echo, this preset is designed for use with either stereo or Surround mixes.  
It is aconcert hall reverb effect that canbe positionedanywhere betweenthe center, side  
and rear channels. ADJUST sets the position. 0 = center, 64 = side channels, 127 = rear  
channel.  
1.3  
Go Away  
ADJUST:  
How Far?  
0–127  
Use this preset to take a stereo source and move it anywhere from in your face to far, far  
away. Use ADJUST to move the source away from you. 0 = unprocessed stereo, 127 =  
far away. As ADJUST is increased, EQ, reverb and stereo width are all changed to  
produce the composite effect. This effect is compatible with stereo and Surround mixes.  
1.4  
Circular Pan  
ADJUST:  
Rate  
0–100  
Similar to Go Away, this preset sums the inputs to mono and uses the LFO to control EQ,  
reverb and stereo width to pan the sound through a circular orbit. From right through  
center,to left through rear, to right. As the soundapproaches thecenter, it grows brighter,  
louder and dryer. As it recedes towards the rear, it grows darker, softer and more  
reverberant. In a Surround mix, the center and rear positions of the orbit will feed only the  
center and rear channels of the mix. ADJUST controls the rate of the pan.  
1.5  
Spatial Hall  
ADJUST:  
Position  
0–35  
A multi-dimensional preset which changes as you increase or decrease the ADJUST  
knob value. This preset is not mono compatible.  
1.6  
Rear of Hall  
ADJUST:  
Decay  
0–60  
Thisisareallyhugespaceandyou’rein thebackofit. ADJUSTchangesthereverberation  
characteristics, making it boomier.  
1.7  
Backstage  
ADJUST:  
How Far?  
0–127  
Remember what the concert sounded like from the green room? If you need to re-create  
thatambience,thispresetwilltakeyouthereandletyouwanderaround.TurnupADJUST  
to travel further from the stage until, finally, you’re out in the parking lot. The Soft Row  
provides reverb parameters that will let you fine tune the the hall to fit your needs.  
1.8  
Steered Rear  
ADJUST:  
Decay  
0–10  
The Width parameter steers this plate effect from front to back after the AR releases  
basedoninputlevel. ADJUSTcontrols reverbdecay. Duetothestrongspatialpositioning  
at the end of the decay, this preset is not mono compatible.  
4-12  
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The Pre se ts  
1.9  
Too Deep!  
ADJUST:  
Decay  
0–40  
Spatial Effects  
The left and right envelope followers control the post delay glides while the AR generator  
controls reverb width. ADJUST controls reverb decay.  
(P2 1.1 – P2 2.4) cont'd.  
2.0  
Dyna-Hall  
ADJUST:  
Decay  
0–130  
A tamer version of Too Deep! No envelope chorusing. Good, beautiful, straight ahead,  
and spacious.  
2.1  
RotoRox  
ADJUST:  
FX Mix  
0-100  
RotoRox crossfades deeper into two delay voices whenthe envelope follower detectsan  
absence of input. Great vocal effects for thickly-produced rock and roll. ADJUST will add  
more or less reverb into the effects mix.  
2.2  
RotoRoomVox  
ADJUST:  
Decay  
0–100  
This medium largesizedroom continuouslychangesspatial widthaccordingtothespeed  
oftheLFO which tracks theinput. Faster withless input, slower with more input. ADJUST  
controls reverb decay. Nice roomy effect for background vocals.  
2.3  
RotoRoom  
ADJUST:  
Decay  
0–60  
Similar to RotoRoomVox except the speed of the spatial width modulation is stable, with  
the speed of the LFO constant. Room is smaller, more dense-sounding and brighter.  
2.4  
RotoRoom#2  
ADJUST:  
Rt & Rate  
0–60  
Speed and reverb decay are tied to ADJUST. Way cool on a stinger sound effect!  
Dynamically spacious and not mono compatible.  
2.5  
Tremolo Tap1  
ADJUST:  
Depth  
0–127  
Gain Effects  
This is a basic tremolo effect with a small amount of ambience added. The effect is true  
stereo. The left and right channels are processed separately to maintain the image of  
stereo source material. The tremolo rate is tempo controlled (2 cycles/beat). Press Tap  
to synchronize the effect with rhythmic material. ADJUST sets the tremolo depth. 0 = no  
tremolo, 127 = maximum tremolo.  
(P2 2.5 – P2 4.0)  
2.6  
X-TremoloTap  
ADJUST:  
Depth  
0-127  
This a variation of TremoloTap1. In this preset the left and right modulation are 90° out  
ofphase, producingastereoeffect that doesn’t collapsein amonomix. If theinput source  
is mono, the sound will seem to move from side to side. If the input source is stereo (or  
two different monosources) theleft and right channels will alternately grow loud andsoft.  
The modulation rate is tempo controlled. ADJUST controls the tremolo depth for both  
channels. 0 = no tremolo, 127 = maximum tremolo.  
2.7  
Panner BPM  
ADJUST:  
Pan Phase  
0–1  
This effect is a tempo controlled auto panner with the inputs independently panned left  
and right. ADJUST allows you to set the relativephase of the input panning. 0 = in phase,  
1 = 90° out of phase. In the preset, the panning is 90° out of phase. If the input source is  
mono it will pan from side to side. If the input source is stereo (or two different mono  
sources), the two sources will chase each other between the speakers. Set ADJUST to  
0 for “normal” auto panning.  
2.8  
Nice Pan!  
ADJUST:  
FX Mix  
0-100  
This preset combines static time based delays which move back and forth in the stereo  
field with a short, bright chorus plate. ADJUST varies the delay and reverb mixing. Great  
for acoustic guitars.  
4-13  
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Gain Effects  
(P2 2.5 – P2 4.0) cont'd.  
2.9  
Spin & Duck  
ADJUST:  
Spin Rate  
0–127  
In this preset, panning is combined with 6-voice chorus delays and reverb to produce a  
rich spacious effect. ADJUST controls the panning rate. 0 = slow, 127 = fast. The delays  
are tempo controlled and ducked by input level. They won’t be heard during active  
passages, but will fade up in the spaces between phrases.  
3.0  
MultiFxFade  
ADJUST:  
FX Mix  
0–100  
In this preset, the AR envelope is used to create a moderate fade-in of chorus, delay and  
reverb effects. ADJUST controls the mix of chorus/delay and reverb. The Soft Row has  
all the essentials for tweaking the three basic effects, as well as the AR envelope  
parameters so you can fine tune the fade in rate and threshold. Try this with guitars and  
keys.  
3.1  
Ghost  
ADJUST:  
FadeShape  
0–100  
Source material is accompanied by a ghostly image of itself. Not quite reverb, not quite  
backwards audio. ADJUST controls the contour of the fade in of the effect. This preset  
works well with short percussive sources as well as more sustained ones.  
3.2  
Ghost Flange  
ADJUST:  
FadeShape  
0–100  
This is a variation of Ghost with some flanging added. Try this with lead guitar. ADJUST  
controls the contour of the fade in.  
3.3  
GhostVibrato  
ADJUST:  
FadeShape  
0–100  
Another Ghost variation. This one will produce a delayed vibrato on sustained notes.  
ADJUST controls the contour of the fade-in.  
3.4  
AutoFadeIn 1  
ADJUST:  
FX Mix  
0–127  
This preset senses input level to produce an automatic volume swell into a chorus/delay  
reverbeffect. Soundsgreatwithguitar andkeyboardchords.Thefadein rateismoderate.  
ADJUST controls the mix of chorus/delay and reverb effects. The Soft Row includes  
parameters for all three effects as well as the envelope parameters which set the  
characteristics of the fade-in.  
3.5  
AutoFadeIn 2  
ADJUST:  
Fade Rate  
0–100  
This variation of AutoFadeIn allows you to set the fade-in rate with ADJUST.  
3.6  
AutoFadeIn 3  
ADJUST:  
Rvb Lvl  
0–127  
This variation of AutoFadeIn 1 has shorter delay times and a lighter touch on the chorus  
effect. ADJUST sets the mix of chorus/delay and reverb effects.  
3.7  
ChordSwells  
ADJUST:  
Rvb Lvl  
0-127  
A more dramatic version of AutoFadeIn. The fade time is quite long, and the chorus and  
delay effects are fairly strong. Try it with sustained piano or guitar chords. ADJUST  
controls the mix of chorus/delay and reverb.  
3.8  
BowedChords  
ADJUST:  
FX Mix  
0–100  
A more subtle version of AutoFadeIn. Chorusing is turned off and delays are more  
subdued. This is essentially a volume swell into reverb. Use it to pull cello-like tones from  
sustained notes or block chords. Very nice with grand piano. ADJUST sets the mix of  
clean echoes and reverb.  
3.9  
BowedEchoes  
ADJUST:  
FX Mix  
0–100  
In this preset, input level controls echo feedback as well as triggering the fade-in.  
Feedback is reduced when the signal is loud and turned up when the signal fades out.  
This producesechoes withsoftattacks that appear whentheinput signal drops. ADJUST  
controls the mix of echoes and reverb.  
4-14  
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The Pre se ts  
Gain Effects  
4.0  
Pedal Swell  
ADJUST:  
FX Mix  
0–100  
This is a combination of four 400 ms delays, a slight amount of chorus, and just a hint of  
reverb. The foot controller is controlling the left and right input levels which allows you to  
get majestic volume swells. ADJUST controls the combination of delays and chorus with  
reverb.  
(P2 2.5 – P2 4.0) cont'd.  
4.1  
Rez Climber  
ADJUST:  
Tuning  
0–60  
Resonant Chord Effects  
(P2 4.1 – P2 4.9)  
Try this preset with dialog or unpitched source material. It is a special effect that  
dynamically sweeps the resonators through the 2nd, 3rd, 4th and 5th pitches of the  
harmonic series. Thesweepis controlledbytheAR Env, which is triggeredbymonoinput  
level. ADJUST sets the fundamental pitch for the series.  
4.2  
Chord Walk  
ADJUST:  
High Cut  
0–50  
This preset uses the resonators to generate a rhythmic chord pattern from unpitched  
source material. ADJUST controls the high frequency content of the chords. The time  
switches, Sw 1 andSw 2 are used to change thechord root-note andmode and also vary  
the rhythm. Listen to this effect with a simple kick, snare and hi-hat pattern as an input  
source. PressTap twicetosynchronize thetempooftheeffect withthetempoofthedrum  
pattern.  
4.3  
Mars Bars  
ADJUST:  
High Cut  
0–50  
In this preset, the resonators are used to create a truly weird and spacey special effect.  
Use any continuous sound effect, dialog, or even instrumental tracks as source material.  
The tuning of the resonators is swept slowly through a series of pitches by the LFO. The  
resulting sound is quite unusual (an orchestra from another planet?). ADJUST controls  
the overall high frequency content of the effect. Be sure to check out the Soft Row, which  
contains parameters for tuning, voice assignment and more.  
4.4  
ModalImpulse  
ADJUST:  
Tone  
0–50  
The resonators in this preset are tuned to arpeggiate a modal 7th chord. ADJUST  
changes the overall tone of the arpeggiated notes. The rhythm of the arpeggio is tempo  
controlled. PressTap twice tosynchronize it tothe beat. The effect works well with single  
percussion hits (try it with kick or snare). You can change the key, scale, and root note  
of the arpeggio by playing with the Pitch sub parameters in the Soft Row. You’ll also find  
controls for reverb and delay there as well.  
4.5  
Major Minor  
ADJUST:  
Tone  
0–50  
This effect in this preset builds a 6-note modal chord one note at a time. Use a single  
percussion hit as an input source (a slowly repeating snare hit works well). The notes in  
thechordareaddedslowly over24beats. Theeffectis tempocontrolled.PressTap twice  
to synchronize it to the beat. ADJUST changesthe overall toneof the chordnotes. As the  
chord builds, it is changed rhythmically between major and minor scales. The root note  
of the chord is also changed in a rhythmic manner. The LFO controls the rate of the build  
and the major minor shift. Switch 2 controls the changing root notes.  
4.6  
MIDIChords  
ADJUST:  
Sparkle  
0–5  
This preset is driven by MIDI Note Number. Resonators follow the note in a diatonic tone  
cluster. ADJUST controls thebrightness oftheresonators. If theaudiosourceis thesame  
as the MIDI source (a synthesizer), the effect is a little like harmonization. If the audio  
source is different, the effect is much harder to describe. This preset will pass audio if  
there is no MIDI input.  
4-15  
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Resonant Chord Effects  
(P2 4.1 – P2 4.9) cont'd.  
4.7  
LvlSweeper  
ADJUST:  
Color  
0–24  
This preset is driven by level. Any input that exceeds the input threshold will cause a little  
burst of resonators that quickly swirl through the stereo field. ADJUST controls the pitch  
range of the resonators.  
4.8  
Sweeper  
ADJUST:  
Pitch  
0–24  
This presetis aresonant arpeggiator in which a tempo-drivenLFO controls theresonator  
pitches. ADJUST controls the pitch range of the arpeggio effect.  
4.9  
MIDISustain  
ADJUST:  
Bright  
0–5  
This preset requires MIDI note input or it will not pass audio. Resonators are assignedas  
the notes are played (when playing chords, it's best to spread them a little). Footswitch  
2workslikeapianodamperpedal.WhentheaudiosourceisthesameastheMIDIsource,  
the effect is a little like playing a piano while holding down the pedal. When the audio  
source is different, well ... ADJUST controls the brightness of the resonators.  
Program Bank 3 (P3)  
Reverb Effects  
0.0  
Small+Stage  
ADJUST:  
Stage Lvl  
0–50  
This preset combines a smooth, small reverberant space with several stage reflections.  
Use ADJUST to set the stage reflection level.  
(P3 0.0 – P3 2.8)  
0.1  
Small Room  
ADJUST:  
Liveness  
0–60  
Use ADJUST toquickly changetheambient characteristics ofthis typically tightsounding  
room. Great for ADR work.  
0.2  
Living Room  
ADJUST:  
Decay  
0–60  
Another ADR preset,medium spaced but with a short Rt. ADJUST quickly changes if not  
perfect for your application.  
0.3  
Brick Kick  
ADJUST:  
Liveness  
0–100  
Kicks *ss on kick drums or the entire submix. ADJUST increases the liveness of the  
chamber.  
0.4  
Large Room  
ADJUST:  
Decay  
0–60  
A perfectly smooth listening room with medium diffusion. Very natural sounding on any  
sound source. ADJUST lengthens or shortens the reverb decay.  
0.5  
SnareChamber  
ADJUST:  
Liveness  
0–60  
Like Brick Kick, ADJUST increases theliveness of the space. A classic from the PCM 70.  
0.6  
Tiled Room  
ADJUST:  
Decay  
0–60  
0–60  
0–60  
A future classic... ADJUST controls reverb decay.  
0.7  
Rich Chamber  
ADJUST:  
Decay  
Smooth and full sounding. ADJUST varies reverb decay.  
0.8 Vox Chamber ADJUST:  
Liveness  
Combines recirculating echoes which fall away quickly once signal is absent. Increasing  
ADJUST lengthens the reverb decay, which will mask the reflection echoes. For vocals.  
0.9  
Locker Room  
ADJUST:  
Depth  
0–127  
Just like in high school. ADJUST creates a deeper, more reverberant sound.  
1.0  
Wide Chamber  
ADJUST:  
Decay  
0–60  
Big and wide sounding with a preset short Mid Rt. ADJUST will change that if necessary.  
Use on synth pads or vocals.  
4-16  
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The Pre se ts  
1.1  
Gate Chamber  
ADJUST:  
Duration  
0–64  
Reverb Effects  
(P3 0.0 – P3 2.8) cont'd.  
Bright, moderatly dense reverb envelope with an abrupt cutoff. ADJUST sets the length  
of the gate.  
1.2  
Vox Plate  
ADJUST:  
Decay  
0–30  
Bright, straight ahead preset for vocals with some added strengthening reflections.  
ADJUST controls the reverb decay for just the right sound.  
1.3  
Good olPlate  
ADJUST:  
Decay  
0–60  
Presetfortheoldplateyoumighthaveheardyearsago.Thereverbeffectisslightlymono.  
ADJUST sets reverb decay.  
1.4  
Slap Plate  
ADJUST:  
Decay  
0–60  
Added reflections to a medium sized plate. Vary the Delay Master in the soft row to  
increase the delay time. ADJUST sets reverb decay.  
1.5  
Brass Plate  
ADJUST:  
Decay  
0–60  
AdarkheavyplatewithADJUSTcontrollingreverbdecay. Goodforpercussionorpianos.  
1.6  
Drum Plate  
ADJUST:  
Decay  
0–60  
0–60  
0–40  
Short and percussive for a drum sub-mix. ADJUST sets reverb decay.  
1.7  
Rich Plate  
ADJUST:  
Decat  
Straight ahead basic Plate sound. ADJUST sets reverb decay.  
1.8  
Concert Wave  
ADJUST:  
Wave Knob  
Wavey spacious sound. Nice on long sustained sounds. ADJUST cranks the waviness  
of the decay.  
1.9  
Concert Hall  
ADJUST:  
Decay  
0–100  
New and improved— pianos, voice, and other acoustic instruments sound greatthrough  
this preset.  
2.0  
ConcertHall2  
ADJUST:  
Emty/Full  
0-15  
Thisratherlargeconcert hallspacecontainsacoupleofreflectionstoreinforcethesource  
before the onset of reverberation. ADJUST changes the absorption characteristics from  
an empty space to a fully occupied concert hall at performance time.  
2.1  
Piano Hall  
ADJUST:  
Decay  
0-60  
Piano Hall is a long and smooth rolling preset with just the slightest hint of modulation.  
ADJUST controls the Mid Rt. Reduce the depth parameter if you want to sharpen the  
attack of the reverb.  
2.2  
Medium Hall  
ADJUST:  
Decay  
0–60  
Smaller versionofthe Concert Hall preset. ADJUST givesyouawide rangeofMid reverb  
times.Greatforvocals andacousticinstruments. Usethepredelay parametertoseparate  
the source from the acoustic space.  
2.3  
Vocal Hall  
ADJUST:  
Decay  
0–60  
Combines temporelatedearly reflectionsandlonger temporelatedpost delays. Great for  
ballads. Use ADJUST to lengthenor shorten thereverbtail. Modifying thePost Delay Mix  
will strengthen or lessen the longer post delays. Tap in a couple of quarter-notes to set  
the tempo.  
2.4  
Deep Space  
ADJUST:  
FX Mix  
0–100  
Imagine a narrow space which snakes on forever. This dynamic preset goes from bright  
todull whilethespeedofthewidthmodulationchangesaswell. ADJUST variestheecho-  
to-reverb content. Sound effect worthy!  
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Le xic o n  
Reverb Effects  
2.5  
Plate4 Horns  
ADJUST:  
Impact  
0–100  
(P3 0.0 – P3 2.8) cont'd.  
Bright and percussive for those horn tracks needing that certain edge. Use ADJUST to  
modify the attack and release characteristics.  
2.6  
Alley Slap  
ADJUST:  
Pre Delay  
0–100  
Great for any punctuated sound source — vocals, guitars, anything. Use ADJUST to  
match the delay to the music.  
2.7  
Drum Gate  
ADJUST:  
Duration  
0–70  
This inverse gated preset is low on diffusion and high on attitude. Made for drums and  
other high impact sources. ADJUST controls the duration of the effect.  
2.8  
Slope Down  
ADJUST:  
Duration  
0–100  
Very inverse sounding effect. ADJUST varies the length of the slope. The AR Envelope,  
triggered by mono level, cranks in a downward spiraling pitch shift. Unearthly on voices.  
Processed Reverb Effects  
(P3 2.9 – P3 3.9)  
2.9  
BigBoomRoom  
ADJUST:  
BoomKnob  
0–36  
The Envelope followers glide the left and right post delays giving a strong modulation  
effect to the reverb tail. ADJUST adds more or less boom. Use on punchy low frequency  
sound sources.  
3.0  
Whammy Hall  
ADJUST:  
Decay  
0–30  
If your guitardoesn’t haveawhammy bar, it doesnow.TheAR generatoris triggeredfrom  
the mono level source. The AR generator is then attached to the LFO depth which drives  
the two Post Delays after the reverb. The Release constant is set rather long so that the  
depth reaches full scale after 2.2 seconds. ADJUST sets the reverb time.  
3.1  
JetChamber  
ADJUST:  
Jet Knob  
0–127  
A bigchamber reverb withstereoflangingon theoutputs. Use ADJUST tosettheamount  
of “whoosh.” The rate of the flange is controlled by the LFO. You’ll find it in the Soft Row  
along with the essential reverb parameters.  
3.2  
EnvChamber  
ADJUST:  
Jet Knob  
0–127  
Similar to JetChamber, but here flanging is controlled by input level. The flange effect is  
most prominent when the input level drops. This lets you process drums with little or no  
reverb flanging while they are active, but individual hits and fills will have pronounced  
flanging during the reverb tail. This also works well with a variety of sources including  
acoustic guitar and piano.  
3.3  
Wizz and Wazz  
ADJUST:  
Decay  
0–127  
This tempo driven effect has delays that whiz from left to right. FX Mix is also linked to  
tempo,goingslowly fromdelaystoreverb,thenabruptlybacktodelays.ADJUSTcontrols  
reverb decay.  
3.4  
Sci Fi  
ADJUST:  
Wiggle  
0–127  
This presetusesanLFOmodulatedreverbfor its basiceffect. ADJUSTcontrols thedepth  
of the modulation. It will put a big spacious halo around unpitched sources, like drums.  
Lower settings of ADJUST will work best with pitched sources, although higher settings  
can yield some interesting sound effects. (Listen to a high piano note with ADJUST at  
about 100 –definite science fiction material!)  
3.5  
Wobble Plate  
ADJUST:  
Wobble  
0–30  
A different type of chorus plate. ADJUST controls glide response.  
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The Pre se ts  
Processed Reverb Effects  
(P3 2.9 – P3 3.9) cont'd.  
3.6  
Dyna Vibrato  
ADJUST:  
Glide  
0–127  
Input level triggers a delayed vibrato. The vibrato is created by modulating two pairs of  
gliding delays. ADJUST controls the offset between the delay pairs. Use it to thicken up  
the effect. You’ll find parameters to change the modulation depth and add reverb in the  
Soft Row. A nice effect to sweeten up acoustic guitar, dry sampler or synth tracks, etc.  
3.7  
VibroVerb  
ADJUST:  
V-Depth  
0–127  
In this effect, the reverb is processed to produce a vibrato that wanders slowly between  
two rates. ADJUST sets the depth of thevibrato. 0 = none, 127 = maximum. Low settings  
of ADJUST work nicely to open up the space around backing tracks. Higher settings can  
be used to add character to dry synthesizer tones, guitar and piano. Check out the Soft  
Row for parameters that you use to change the overall sound of the reverb.  
3.8  
SweepVerb  
ADJUST:  
GldResp  
0–100  
The left and right reverb outputs are detuned in opposite directions by the AR, which is  
triggered by input level. ADJUST controls the amount of detune. To open up the space  
around percussive sources, use very low settings of ADJUST. Higher settings will  
produce radical pitch swoops in the reverb. The Soft Row contains several useful reverb  
parameters.  
3.9  
EnveloVerb  
ADJUST:  
Rt HC  
0–40  
Great on sustained and slowly fading sound sources. The AR generator controls the  
Reverb output aswell astheReverb time. ADJUST controls thehighfrequencyresponse  
of the reverb tail.  
Remix Effects  
4.0  
Super Ball!  
ADJUST:  
Bounce It  
0–1  
Thispresetwill letyouturnanysourceintoabouncingball.Runatrackorinstrument, click  
ADJUST to 1 and back to 0 and sit back. The effect captures a stereo sample on the fly,  
loops it and decreases the loop size as it repeats. (Reverb is added while the loop plays.)  
When the loop size gets to zero, the effect resets and starts sampling the inputs again.  
The loop size is tempo controlled. Press Tap to synchronize it with rhythmic material.  
(P3 4.0 – P3 4.9)  
4.1  
LevlStutter  
ADJUST:  
Mstr Fbk  
0-100  
Delays are driven by input level (high level = shorter delays). The delays are also driven  
bytempo. Works best for deconstructingdialog, but is alsointerestingwithany audio with  
lots of holes.  
4.2  
Freeze 2 of 8  
ADJUST:  
Feedback  
0–100  
This stereopresetautomatically freezes2beats out ofevery 8. PressTap tosynchronize  
theeffect withthe sourcematerial. ADJUST lets yousetthefeedback level whentheloop  
is off. Be sure to try this one with a dance mix, or MIDI drum patterns.  
4.3  
Freeze 2over3  
ADJUST:  
Feedback  
0–100  
A slightly more diabolical version of Freeze 2 of 8. This preset also loops 2 out of every  
8 beats, but the left and right delays are set to different rhythmic values. The result is a  
2 against 3 pattern that alternates between the left and right channels. ADJUST sets the  
feedback for both delays while the loop is off.  
4.4  
Freeze&Speed  
ADJUST:  
Freeze It  
0–1  
This preset allows you to grab and freeze portions of the source material on the fly. Click  
ADJUST from 0 to 1 to freeze the loop. It will repeat infinitely, but will grow more diffused  
asit repeats. Click ADJUST back to0toturntheloopoff. Theloopwill speedupfor ashort  
time before turning off. The AR Release parameter (found in the Soft Row with other  
goodies) sets the speed-up time. The loop size is tempocontrolled. You can change it on  
the fly by pressing Tap while the loop is off.  
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PCM 80 Use r G uid e  
Le xic o n  
4.5  
ADJToFreeze  
ADJUST:  
Freeze It  
0–1  
Remix Effects  
(P3 4.0 – P3 4.9) cont'd.  
Click ADJUST to create an infinite stereo loop of the input source. Click it again to stop  
the loop. A little reverb is added while the loop is on. The loop size is tempo controlled.  
Changeit onthefly bypressingTap whiletheloopis off. Thepresetis settofreeze1beat,  
but you can set any rhythm you want by changing the Soft Row delay parameter values.  
4.6  
ADJToFreeze2  
ADJUST:  
Freeze It  
0–1  
The same basic loop effect as ADJToFreeze, but the delays are set to different values  
for the left and the right side. In this preset a 2 against 3 pattern will be created.  
4.7  
FSw2 Freeze  
ADJUST:  
Feedback  
0–100  
A very useful infinite delay effect. Press Tap to establish the tempo. Use ADJUST to set  
the feedback level. Foot switch 2 is patched to turn infinite repeat on and off.  
4.8  
FSw2 Speedup  
ADJUST:  
How Long?  
0–100  
Footswitch 2 is patched to turn on an infinite loop while it is held down. When the foot  
switch is released, the loop continues but grows shorter with every repeat until the loop  
size is 0. Use ADJUST to set the amount of time it takes for the loop to shrink to nothing.  
A footswitch must be connected to make this preset work.  
4.9  
LongestLoop  
ADJUST:  
FX Mix  
0–100  
This preset uses the cross-feedback path in the delay voices to create a 5-second mono  
loop. Footswitch 2 is patched to turn infinite repeat off and on and, at the same time, to  
change the mix from 0 % to 100 % wet. Foot switch 1 is patched to clear the delays.  
ADJUST sets the reverb level for the loop. 0 = no reverb, 127 = all reverb. The Soft Row  
containstheparameters for settingthemaster delay for theloopaswell asseveral reverb  
parameters. A footswitch must be connected to make this preset work.  
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The Pre se ts  
Alphabetical Index of Presets  
2WayStreet  
P1 4.6 EkoChorus  
P0 0.1 MultiFx Fade  
P1 3.3 Nice Pan!  
P2 3.0 Split Pitch?  
P2 2.8 Steered Rear  
P0 4.8 Stereo Notch  
P1 2.2 StereoB-Pass  
P1 2.3 StereoEqEkos  
P1 2.4 StereoHiPass  
P1 0.2 StereoLoPass  
P1 0.3 StereoTapDly  
P1 4.3 Super Ball!  
P1 1.8 Sweeper  
P1 3.0 SweepVerb  
P2 2.7 SweptNotches  
P2 4.0 Tap Chamber1  
P1 3.7 Tap Chamber2  
P3 2.1 Tape Echo  
P3 2.5 TapEkoClear  
P0 2.8 TapEkoGate 1  
P1 3.6 TapEkoGate 2  
P0 0.0 TapGated Rvb  
P0 3.5 Tempo Gate  
P2 1.6 Tempo Verb  
P0 4.6 Thunder FX  
P2 4.1 Thunder FX 2  
P3 0.7 Tight Space  
P3 1.7 Tiled Room  
P0 3.1 Tiled Rotary  
P2 2.3 Tomb Room  
P2 2.4 Too Deep!  
P2 2.2 Tremolo Tap1  
P2 2.1 TryTalk’n  
P2 1.0 Under Water  
P0 3.4 V-Eliminate  
P0 4.1 VibroVerb  
P0 2.9 Vocal Hall  
P0 4.2 Vox Chamber  
P0 4.9 Vox Plate  
P3 3.4 WaaPedalEko  
P1 0.5 Wet Chorus  
P1 0.6 Wet Chorus 2  
P1 2.5 Wet Chorus 3  
P1 0.8 Whammy Hall  
P3 1.4 Wide Chamber  
P1 0.7 Wizz & Wazz  
P3 2.8 Wobble Plate  
P3 0.1 X Eko Flange  
P3 0.0 X-Pan Delays  
P3 0.5 X-PanEQ BPM  
P2 1.5 X-TremoloTap  
P2 2.9 Zoom Over  
P0 2.4 [n]Ekos/Beat  
P0 4.3  
P2 1.8  
P2 0.5  
P2 0.4  
P0 1.8  
P2 0.3  
P2 0.0  
P1 0.1  
P3 4.0  
P2 4.8  
P3 3.8  
P2 0.6  
P1 1.4  
P1 1.5  
P1 2.1  
P1 1.3  
P1 1.1  
P1 1.2  
P1 1.0  
P1 2.0  
P1 1.9  
P0 3.7  
P0 3.8  
P0 1.1  
P3 0.6  
P0 3.3  
P1 4.0  
P2 1.9  
P2 2.5  
P0 4.4  
P0 3.6  
P0 4.7  
P3 3.7  
P3 2.3  
P3 0.8  
P3 1.2  
P2 0.9  
P0 0.2  
P0 0.3  
P0 0.4  
P3 3.0  
P3 1.0  
P3 3.3  
P3 3.5  
P0 1.4  
P1 3.1  
P1 1.7  
P2 2.6  
P1 4.2  
P1 0.0  
2WayTunnel  
6 StrokeRoll  
6 Vox Chorus  
6 Vox Flange  
ADJToFreeze  
ADJToFreeze2  
ADJUpMyEchos  
Alley Slap  
AmbientCarBy  
AutoFadeIn 1  
AutoFadeIn 2  
AutoFadeIn 3  
AutoInfinite  
P1 4.8 Ekoz 4 Drums  
P1 0.9 Empty Stage  
P0 2.3 Env Notches  
P0 2.6 Env:PanKorus  
P3 4.5 EnvChamber  
P3 4.6 EnveloVerb  
P0 1.9 FinishLine  
P3 2.6 Flange+Rvb  
P1 4.4 Flange>Rvb  
P2 3.4 Freez 2 of 8  
P2 3.5 Freez 2over3  
P2 3.6 Freeze&Speed  
P0 4.5 FSw2 Elevate  
P2 1.7 FSw2 Freeze  
P1 2.6 FSw2 Rotary  
P1 2.7 FSw2 Speedup  
P2 0.8 Funkus Room  
P3 2.9 Gate Chamber  
P2 3.8 Ghost  
P2 3.9 Ghost Flange  
P3 1.5 GhostVibrato  
P3 0.3 Glide > Verb  
P0 3.9 Glide X-Ekos  
P1 2.9 Go Away  
P1 3.8 Good olPlate  
P2 4.2 Haas PanKnob  
P2 3.7 HeadOn CarBy  
P0 0.5 IntoTunnel  
P0 0.6 JetChamber  
P0 2.2 Large Room  
P0 2.1 LatchedEkos  
P0 0.7 LevlStutter  
P2 1.4 LFO EQ Echo  
P1 4.1 Living Room  
P3 1.9 Locker Room  
P3 1.8 LongestLoop  
P3 2.0 Low Pass HiQ  
P3 2.4 Low Pass LFO  
P0 4.0 LvlSweeper  
P0 1.0 MajorMinor  
P0 0.9 Mars Bars  
P0 1.7 Medium Hall  
P1 3.5 MIDI Rotary  
P1 3.2 MIDIchords  
P1 0.4 MIDIsustain  
P3 2.7 Mod Max  
P3 1.6 ModalImpulse  
P3 3.6 Movable Echo  
P2 2.0 Movable Hall  
P1 3.9 NoCenter Eko  
P2 0.7 NonLinear 1  
P0 2.5 NonLinear 2  
P3 3.2 NonLinear 3  
P3 3.9 OffBeat Eko  
P1 4.9 OffBeatEko2  
P0 1.3 OneShotCarBy  
P0 1.2 Pan>Eko BPM  
P3 4.2 Panned Dlys  
P3 4.3 Panner BPM  
P3 4.4 Pedal Swell  
P0 2.0 PhoneOrRoom?  
P3 4.7 Piano Hall  
P0 3.0 Plate4 Horns  
P3 4.8 PreciseGlide  
P0 0.8 PrecisionDly  
P3 1.1 Prime Blue  
P2 3.1 RandomImages  
P2 3.2 Rear of Hall  
P2 3.3 Remove Cntr  
P0 1.5 RezClimber  
P0 1.6 Rich Chamber  
P2 1.3 Rich Plate  
P3 1.3 RotorCabinet  
P1 3.4 RotoRoom  
P1 4.5 RotoRoom#2  
P1 4.7 RotoRoomVox  
P3 3.1 RotoRox  
P3 0.4 RotorWaa  
P1 1.6 RotoWood  
P3 4.1 RoughIdle FX  
P1 2.8 Round 147  
P3 0.2 RoxStutter  
P3 0.9 Rvb On L-R  
P3 4.9 Sci Fi  
P2 0.1 Shuffle Ekos  
P2 0.2 Shuffles  
P2 4.7 Six Across  
P2 4.5 Six Trips  
P2 4.3 Slap Plate  
P3 2.2 Sliding Eko  
P0 3.2 Slope Down  
P2 4.6 Small Room  
P2 4.9 Small+Stage  
P0 2.7 SnareChamber  
P2 4.4 Spatial Hall  
P2 1.1 Spin & Duck  
P2 1.2 Split C&E  
Backstage  
BandEko Rvb  
BandEkoSweep  
BandReject 4  
BigBoomRoom  
BowedChords  
BowedEchoes  
Brass Plate  
Brick Kick  
ChaosImpuls  
ChaseEcho  
CheapTV Room  
Chord Walk  
ChordSwells  
Chorus Plate  
Chorus Room  
Chorus&Amb  
Chorus&Pan  
ChorusToRvb  
Circular Pan  
Comb Room  
Concert Hall  
Concert Wave  
ConcertHall2  
Deep Space  
DemonDescent  
Detune&Dbl  
Detune&Room  
Detuned Ekos  
Dial a Delay  
Dly>EQ>Pans  
Dotted 8ths  
Drum Gate  
Drum Plate  
Dyna Vibrato  
Dyna-Hall  
4-21  
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PCM 80 Use r G uid e  
Le xic o n  
4-22  
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5
MIDI Operation  
All PCM 80 parameters, programs and registers can be accessed by MIDI. All  
MIDI applications require the PCM 80 to be connected with one or more MIDI  
devices with standard MIDI cables via the rear panel MIDI jacks.  
Selecting a  
MIDI Channel  
MIDI controls, such as Transmit and Receive Channel selection are available in  
Control mode Row 3 MIDI. All of these controls are described in Chapter 2.  
Several are repeated here for your convenience.  
Before using the PCM 80 with other MIDI devices, all devices must be set to the  
same MIDI channel. To set the PCM 80 to receive MIDI:  
1.  
2.  
3.  
Set the controller you will be using (keyboard, sequencer, other PCM 80,  
etc.) to transmit on any MIDI channel (1-16).  
On the PCM 80, press Control. Use Select and Up and Down to locate  
matrix position 3.1 Receive.  
Turn ADJUSTto select OFF, 1-16, or OMNI for receipt of MIDI messages.  
Accessing Programs  
and Registers  
MIDI Out  
MIDI In  
Someextremelyusefuleffectscanbe created bycontrollingPCM80parameters  
remotely in real time. Almost all of the controllers found on a MIDI keyboard or  
MIDI foot controller (pitch benders, mod wheels, sliders, switches, breath  
controllers, foot pedals and footswitches) can be used to adjust PCM 80  
parameters. We refer to this real time remote control capability as Dynamic  
MIDI®  
Sending a MIDI Program Change message (0-49) from the controller will load  
the corresponding PCM 80 register. If any MIDI sources are active as global or  
general purpose patches, moving the appropriate control on the controller will  
cause the patched destination parameter to change. (See Patching.) If you want  
to use Dynamic MIDI, but don’t want the PCM 80 to load new registers when you  
change programson your controller,setyour controller sothatitdoesn’ttransmit  
Program Change messages, or set PCM 80 MIDI Program Change to Off at  
Control mode matrix location 3.3.  
5-1  
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PCM 80 Use r G uid e  
Le xic o n  
Controlling PCM 80  
Tempo Rate  
with MIDI Clock  
MIDI Tempo Control  
MIDI Out  
(MIDI Clock)  
MIDI In  
PCM 80 Tempo 0.2 Source set to MIDI  
Using the PCM 80 as a  
MIDI Clock Source  
MIDI In  
MIDI Out  
PCM 80 Control 3.6 Int Clock set to Transmit On  
Tempo 0.2 Source set to Internal  
Tempo 0.0 Rate set with ADJUST or Tap  
5-2  
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MIDI O p e ra tio n  
The configuration below shows the MIDI connections for controlling the PCM 80  
simultaneouslywith MIDI Clocksfroma sequencer, and messages from another  
MIDI controller. Note that the controller is set to "local control off" and the  
sequencer is set to "echo input".  
MIDI In  
MIDI Thru  
MIDI Out  
MIDI Out  
(MIDI Clock)  
MIDI In  
MIDI In  
PCM 80 Tempo 0.2 Source set to MIDI  
Slaving two or more  
PCM 80s  
Two PCM 80s can be slaved together by connecting a cable from the MIDI OUT  
jack of the master to the MIDI IN jack of the slave. Additional PCM 80s can be  
slavedtothe masterbyconnecting acablefromtheMIDITHRUport ofoneslave  
unitto theMIDIINportof the nextunit.AllofthePCM80s mustbeset tothesame  
MIDI channel.  
MIDI Out  
Control 3.4 Automation set to On  
Target ID set to All or same # as Slave device ID #  
MIDI In  
Control 3.7 MIDI SysEx set to Receive On  
5-3  
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PCM 80 Use r G uid e  
Le xic o n  
Some synthesizers and controllers cannot send the full range of MIDI program  
change messages (1-128). Others may appear to be able to send only 32, but  
actually have a bank mode that does let you send all 128 program change  
messages. Also, be aware that some MIDI devices use a program numbering  
system that uses 0-127 instead of 1-128. If in doubt, see the manual for your  
controller.  
Controller quirks  
The ADJUST Knob,  
Foot Pedal, Foot Sw 1  
and Foot Sw 2 as  
You can choose to have the PCM 80 send MIDI Controller messages whenever  
you turn ADJUST (the soft knob in Program Banks or Register Banks modes),  
or to activate analog controllers connected to the rear panel Footswitch or Foot  
Controller jacks. This makes it possible to record real-time control of PCM 80  
effects with a MIDI sequencer — A simple but quite powerful way to automate  
effects.  
MIDI Controllers  
To send MIDI data from these controllers, first set Control mode 3.2 (Transmit)  
to the desired MIDI Channel. (The default is Channel 1.)  
MIDI Transmit  
3.2  
1
Once a transmit channel has been set, go to Control mode 3.5 to assign MIDI  
Controllers. Press Load/✱to display the available controllers: Foot Pedal,Foot  
Sw1, Foot Sw2 or ADJUST. Turn ADJUST to assign the MIDI Controller data  
to be sent when the displayed controller is activated. (The default assignment is  
None.).  
MIDI ✱ Foot Sw 1  
3.5 Send  
Sustain  
When a PCM 80 controller is assigned to a MIDI Controller, the PCM 80 will  
respond to incoming controller messages as though its own controller were  
moved. In other words, if FootSw1 is assigned to Sustain, the PCM 80 will  
respond to incoming Sustain messages as though FootSw1 had been activated.  
5-4  
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MIDI O p e ra tio n  
Each PCM 80 preset has a unique soft knob patch that allows you to control the Controlling the Soft Knob  
effect directly from Program or Register Banks mode with the ADJUST knob. with MIDI  
You can also control the soft knob patch remotely from MIDI, or from the Foot  
Pedal.  
To control the soft knob with MIDI, set Control mode 3.1(Receive) to the desired  
MIDI Channel. Set Control mode 3.5 (ADJUST) to the desired MIDI Controller  
such as Mod Wheel.  
MIDI ✱ADJUST  
3.5 Send Mod Wheel  
Now, the Mod Wheel on the MIDI instrument will control the soft knob patch of  
the running effect.  
If you have a foot pedal connected to the PCM rear panel Foot Controller jack, Controlling the Soft Knob  
you can use it to control the soft knob patch. (Note that no MIDI connections are with a Foot Pedal  
required to do this.)  
Set both Control mode 3.5 ADJUST and Control mode 3.5 Foot Pedal to the  
same MIDI Controller.  
MIDI ✱ADJUST  
3.5 Send  
Ctl 3  
Ctl 3  
MIDI ✱Foot Pedal  
3.5 Send  
Now, the foot pedal will control the soft knob patch of the running effect.  
5-5  
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PCM 80 Use r G uid e  
Le xic o n  
Program Change  
Messages  
Reception of MIDI Program Change and Bank Select messages can be  
selectively enabled/disabled from Control Mode parameter 3.0, MIDI Pgm  
Change. The manner in which the PCM 80 interprets these messages is  
determined by the value of this parameter as follows:  
Pgm Change: Off  
All Program Change and Bank select messages are ignored. Pgm+ and Pgm–  
will load the next higher or lower program in the current bank.  
Pgm Change : On  
Program Change messages 0-49 correspond to PCM 80 Effects 0.0 -4.9 in the  
current bank. Program Change messages 50—127 are ignored. Pgm+ and  
Pgm– will load the next higher or lower program in the current bank.  
The current bank can be changed with MIDI Bank Select Messages as follows:  
0-3:  
4:  
Program Banks 0-3  
Internal Register Bank  
5-9:  
reserved  
10-56:  
Memory Card Banks  
The number of banks available on a given card will vary with card  
size as follows:  
Card Size  
# Banks  
64  
256  
512  
2
11  
23  
47  
1 Meg  
Pgm Change: Map  
Program Change 0-127 can be mapped to any PCM 80 Effect in any internal or  
card bank. Two 128 element maps are stored internally, additional maps may be  
stored on RAM cards.  
Map 0  
Map 1  
MIDI 0 = P0 0.0  
MIDI 0 = P2 2.8  
MIDI 127 = P2 2.7 MIDI 127 = R 4.9  
Pgm+ and Pgm– will load the next higher or lower program in the map.  
Pgm Change: Chain  
AnyProgramChangenumbercanbe selected toloadanyone oftencustomized  
effect “chains.” Once a chain is loaded, effects in the chain are accessed by the  
controller patched to Pgm + and Pgm – (program increment and program  
decrement).  
5-6  
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MIDI O p e ra tio n  
SysEx Automation  
Automation  
The PCM 80 will transmit SysEx automation messages when Control Mode  
parameter 3.4, MIDI Automation is set to On. All changes made by front panel  
operations are transmitted as PCM 80 SysEx messages. This is intended  
primarily for use by editor programs and in configurations where it is desirable  
for one or more PCM 80s to be slaved to a single PCM 80 acting as a master.  
The current mode (Program Banks, Register Banks, Edit, Control or Tempo) of  
the slave does not follow the master, but the actual parameter values do. (SysEx  
automation can also be stored on a sequencer and replayed in real-time. As a  
generalrule,automatingmorethantwoorthreeSysExprogramchangesatonce  
is not receommended.)  
The PCM 80 can receive SysEx messages when Control mode 3.7 MIDI SysEx  
is set to Receive On. Note that when using SysEx automation, the device of the  
receiving PCM 80 must match the Target ID of the transmitting PCM 80.  
The Target ID setting can be adjusted fropm Control 3.4 MIDI Automation. It is  
selected by pressing Load/✱ after setting Automation to On. The default setting  
for the Target ID is All.  
The Device ID setting can be adjusted from Control mode 3.7 MIDI SysEx. It is  
selected by pressing Load/✱ after setting SysEx to Receive On. The default  
setting for the Device ID is 0.  
Controller Automation  
For applications where it is desirable to "automate" changes made to PCM 80  
effects with its own controls ( ADJUST knob, Foot Pedal, Footswitch 1 or  
Footswitch2), werecommendassigningthecontrollerstoMIDIdestinationsand  
recording the changes with a MIDI sequencer (see Control Mode parameter 3.5,  
MIDI Destinations).  
Reset All Controllers  
The PCM 80 recognizes the “Reset All Controllers” message. When received,  
allpatched parametersareresettotheirstoredvalues.Patchedparametersmay  
also be reset from the PCM 80 front panel —Control Mode parameter 3.0 (the  
message will be transmitted from the PCM 80 as well).  
MIDI Clock and Clock Commands  
The PCM 80 recognizes MIDI clock messages when Tempo Mode parameter  
0.2, Tempo Source is set to MIDI. Any Delay or LFO parameter set to display  
tempo values will be synchronized to the tempo of the incoming MIDI clock.  
MIDI Clock and Clock Commands are also available as Dynamic MIDI patch  
sources.The valueof MIDIClockwhen used asapatchsource isalinearscaling  
of 0 to 127 (0 = 40 BPM and 127 = 400 BPM). The value of Clock Commands  
when used as a Dynamic MIDI patch source is 1 for STARTand CONTINUE and  
0 for STOP.  
5-7  
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PCM 80 Use r G uid e  
Le xic o n  
Dynamic MIDI  
The following MIDI messages are available as Dynamic MIDI patch sources:  
MIDI Controllers 1-119  
Pitch Bend  
After Touch (Polyphonic and Channel combined)  
Velocity (Note On)  
Last Note  
Low Note  
High Note  
Tempo (40–400BPM is converted to controller range 0-127)  
Clock Commands  
These MIDI messages are also available as threshold sources for several  
Modulation parameters: AR Env, Latch, Sw 1 and Sw 2. They may also be used  
as a tap source for controlling Tempo.  
MIDI Implementation Details, including System Exclusive documentation, are  
available to assist experienced programmers in developing software for use  
with the PCM 80. These can be obtained directly from Lexicon.  
Request: PCM 80 MIDI Implementation Details.  
Control mode 3.8 (MIDI Dump) allows selection of the following types of bulk  
data to be dumped directly from the PCM 80 to another PCM 80, or to editor/  
librarian software.  
Bulk Data Dumps  
Displayed Name  
Description  
CurrentPgm  
Bank R  
Currently running effect  
Internal Register Bank  
Bank C0-CK  
Map 0, 1  
Card Banks (card must be inserted)  
Internal Program Change Maps  
Card Program Change Maps (card must be inserted)  
Internal Program Chains  
Card Program Chains (card must be inserted)  
All Internal Program Chains  
All Card Program Chains (card must be inserted)  
Current Setup  
Map 2-33  
Chain 0-9  
Chain 10-19  
Int Chains  
Ext Chains  
Setup C  
Setup 0-4  
Setup 5-9  
Internal Setups  
Card Setups  
Use ADJUST to select the bulk data type. Press Store to transmit the data .  
5-8  
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MIDI O p e ra tio n  
MIDI Implementation Chart  
Lexicon PCM 80  
Digital Effects System  
Function  
Transmitted  
Recognized  
Remarks  
Basic  
Default  
1
1
Channel  
Changed  
1-16  
1-16  
Mode  
Default  
Messages  
Altered  
X
X
Mode 1, 3  
X
X
Note  
Number  
X
X
0-127  
Last Note, Low Note,  
High Note used as  
controllers  
Velocity  
Note ON  
O 9n v = 1-127  
used as controller  
Note OFF  
After  
Touch  
Keys  
Channel  
X
X
X
O
Pitch Bend  
X
O
Control  
Change  
1-119  
OX  
OX  
ADJUST, Footpedal,  
Footswitch 1, and  
Footswitch 2 can be  
assigned controllers  
1-119 for MIDI transmit  
Program  
Change  
X
0-127  
See Implementation  
Details  
True #  
System  
Exclusive  
Lexicon  
Real-time  
non Real-time  
OX  
X
X
OX  
X
OX  
product ID=6  
device ID  
System  
Common  
:Song Pos  
:Song Sel  
:Tune  
X
X
X
X
X
X
System  
Real Time  
:Clock  
:Commands  
OX  
X
OX  
OX*  
START, STOP and CON-  
TINUE are patchable as  
a switch: START/CON-  
TINUE=127; STOP=0  
Aux  
Messages  
:Local ON/OFF  
:All Notes OFF  
:Active Sense  
X
X
X
X
O
X
:Reset All Controllers  
OX  
OX  
Notes  
Mode 1: OMNI ON, POLY  
Mode 3: OMNI OFF, POLY  
Mode 2: OMNI ON, MONO  
Mode 4: OMNI OFF, MONO  
O : Yes  
X : No  
OX: Selectable  
5-9  
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PCM 80 Use r G uid e  
Le xic o n  
5-10  
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6
Troubleshooting  
This chapter is intended primarily to help you recognize some common error  
states which can be corrected from the PCM 80 front panel, or by simple means  
such as cable replacement. Any error states which are not covered here should  
be referred to your local dealer for service by a qualified technician.  
Low Voltage  
Overheating  
In a low-voltage, or "brown-out" condition, the PCM 80 will freeze in its current  
state. None of the controls will have any effect. When power returns to a normal  
level, the unit will reset itself as though it had just been powered on. If the unit  
does not reset itself, turn the power OFF, then ON to resume normal operation.  
Temperature extremes may cause the PCM 80 to exhibit unpredictable behav-  
ior. If the unit has been subjected to temperatures below 32°F (0°C) or above  
95°F (35°C), it should be turned off and allowed to return to normal temperature  
before use. The unit may be damaged by exposure to temperatures below -22°F  
(-30°C) or above 167°F (75°C), or by exposure to humidity in excess of 95%. If  
a unit exposed to such conditions fails to operate after it returns to a normal  
operating temperature, contact your local service representative.  
Common MIDI  
Problems  
The PCM 80 doesn't respond to MIDI Program Changes.  
Check Receive control at Control mode 3.1 and make sure it is set to On. Check  
the MIDI Channel selected as well as the MIDI Channel of the transmitting  
device. Make sure that Pgm Change at Control mode 3.3 is set to On. Also  
check MIDI In/Out connections between the units.  
MIDI Program Change numbers are off by 1.  
The PCM 80 transmits and recognizes ProgramChange messages 0-127. MIDI  
devices which transmit 1-128 rather than 0-127, will be off by 1. Simply adjust  
by 1 when working with such devices.  
The PCM 80 doesn't respond to SysEx commands.  
Check the SysEx setting (and the Device ID selection) at Control mode 3.7.  
The PCM 80 does not transmit SysEx Automation commands.  
Check the Automation setting (and the target device ID selection) at Control  
mod 3.4.  
6-1  
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PCM 80 Use r G uid e  
Le xic o n  
Operational Problems  
The PCM 80 will not lock onto an incoming digital signal.  
Checkthe cablesthat youareusing.DO NOTUSEANALOGAUDIOCABLETO  
CONNECT DIGITAL AUDIO.  
Also check to make sure that your input signal complies with S/PDIF format  
standards. The PCM 80 will recognize AES professional format signals from an  
appropriate connector, but will not necessarily read and transmit encoded  
information accurately.  
No Digital Audio Output  
Check the Analog Lvl and Digital Lvl controls at Control mode 0.1 and 0.2.  
No Effects Output  
Power On Behavior Check the setting of Mix Mode at Control mode 1.1. Also verify that any  
controllers patched to FX Lvl, Input Level, or Mix are not turned off.  
The PCM 80 performs a series of self tests each time it is powered on, then  
displaysthePCM80 copyrightnotice.Thisshouldbe followed bythedisplayand  
loading of the lastloaded effect. If thissequence doesnotoccur,contact Lexicon  
Customer Service.  
6-2  
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Tro ub le sho o ting  
You can restore the PCM 80 to its default state without erasing registers by  
restoring the factory default setup:  
Restoring Factory  
Default Settings  
1. Press Control.  
2. Use the Up and Down buttons to locate Row 4 Setup.  
3. Turn SELECT to 4.1 Load.  
4. Turn ADJUST counterclockwise to select "Factory Settings".  
5. Press Load/✱. The PCM 80 will display the message "Setup restored".  
The following table shows the parameters which comprise a setup, along with  
the factory default setting of each parameter.  
Control Mode  
Matrix Location  
System Parameter  
Default Setting  
Audio 0.0  
Word Clock  
Analog Lvl  
Digital Lvl  
Auto Lock  
SCMS  
Internal 48kHz  
100%  
0%  
0.1  
0.2  
0.3  
0.4  
0.5  
0.6  
Off  
Multi Copy  
Pass Thru  
+4dBu  
Emphasis Bit  
Output Level  
System 1.0  
Edit Mode  
Go  
1.1  
Mix Mode  
Pgm  
Global Mix Value  
Tempo Mode  
Global Tempo Value  
Bypass Mode  
Bypass Src  
100% Wet  
Pgm  
120 BPM  
InputMute  
Off  
1.2  
1.3  
1.4  
1.5  
1.6  
1.7  
Pgm Bypass  
Mem Protect  
Auto Load  
AllMute  
On  
Off  
Patch Update  
Delayed  
MIDI 3.1  
3.2  
Receive  
Transmit  
Pgm Change  
Pgm+  
OMNI  
1
On  
3.3  
Off  
Pgm–  
Off  
Map select  
Chain  
Automation  
Footpedal  
Sw 1  
0
MIDI  
Off  
None  
None  
None  
None  
Off  
3.4  
3.5  
Sw 2  
ADJUST  
Int Clock  
SysEx  
3.6  
3.7  
On  
Device ID  
Dump Speed  
0
Slow  
3.9  
Tempo Mode  
Matrix Location  
System Parameter  
Default Setting  
Tempo 0.2  
Source  
Display  
Internal  
On  
Tap 1.3  
6-3  
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PCM 80 Use r G uid e  
Le xic o n  
Reinitialization  
Reinitializing will erase all registers and setups  
The following procedure will return the PCM 80 to the state it was in when  
shipped from the factory. This includes erasing all registers and setups, as well  
as restoring all of the default settings:  
1. Press Control.  
2. Use the Up and Down buttons to locate Row 1 System.  
3. Turn SELECT to 1.8 Initialize.  
4. Press Store. The PCM 80 will display the message "Are you sure? (Press  
STORE).  
If you don't want to reinitialize your unit, press any button except Store to  
return to matrix position 1.8.  
If you press Store in response to this message, the display will flash  
"Restoring original factory settings" and your unit will be reinitialized.  
6-4  
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7
PCM 80  
Specifications  
Audio Input  
Connectors:  
Impedance:  
Combined 3 pole XLR and 1/4 inch T/R/S phone jacks (2)  
0 dB/BAL switch position: 100kΩ, balanced  
-20 dB/UNBAL switch position: 50kΩ, unbalanced  
A/D Dynamic  
Range:  
100 dB 1 kHz, signal present, unweighted  
Levels:  
0 dB/BAL switch position: -2 dBu min for full scale, +20 dBu max  
-20 dB/UNBAL switch position: -22 dBu min for full scale, 0 dBu max  
0 dB/BAL switch position: 40 dB minimum, 10 Hz to 20 kHz  
CMRR:  
Audio Output  
Connectors:  
Impedance:  
1/4 inch T/R/S phone jacks (2); balanced XLRs, pin 2 "high" (2)  
125Ω, each side, balanced  
D/A Dynamic  
Range:  
95 dB 1 kHz, signal present, unweighted  
Levels:  
+18 dBm max, full scale (+4 dBu setting) balanced, unbalanced  
+4 dBm max, full scale (-10 dBu setting)  
Protection:  
Relays provided for output muting during power on/off  
A/D Performance Frequency  
Response:  
Crosstalk:  
S/N Ratio:  
THD:  
10 Hz to 20 kHz, ±0.5 dB  
-65 dB max, 10 Hz to 20 kHz  
100 dB min, 20 kHz bandwidth  
0.004% max, 10 Hz to 20 kHz  
Dynamic  
Range:  
>100 dB, 20 kHz bandwidth  
Delay:  
24 samples (0.54 msec for 44.1 kHz, 0.50 msec for 48 kHz)  
D/A Performance Frequency  
Response:  
Crosstalk:  
S/N Ratio:  
THD:  
10 Hz to 20 kHz, ±0.5 dB  
-80 dB max, 10 Hz to 20 kHz  
100 dB min, 20 kHz bandwidth  
0.006% max, 10 Hz to 20 kHz  
Dynamic  
Range:  
>95 dB, 20 kHz bandwidth  
Delay:  
50 samples (1.13 msec for 44.1 kHz, 1.04 msec for 48 kHz)  
A/A Performance Frequency  
Response:  
Crosstalk:  
S/N Ratio:  
THD:  
10 Hz to 20 kHz, ±0.5 dB  
-55 dB max, 10 Hz to 20 kHz  
90 dB min, 20 kHz bandwidth  
0.008% max, 10 Hz to 20 kHz  
Dynamic  
Range:  
>94 dB, 20 kHz bandwidth, >92 dB per AES-17 section 7.3  
7-1  
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PCM 80 Use r G uid e  
Le xic o n  
Digital Audio Interface Connectors:  
Format:  
Coaxial, RCA type  
conforms to S/PDIF IEC-958 consumer standards  
Sample Rates: 44.1 kHz, 48 kHz  
Internal Audio Data Paths Conversion:  
DSP:  
18 bits  
18 to 24 bits  
Audio Memory Configuration  
Base memory: Two 256k x 18 DRAMs  
User  
Expansion:  
Two SIMM sockets provided for either 1 Meg x 9,  
4 Meg x 9 or 16 Meg x 9, 70 nsec DRAM modules  
External Memory Card  
Connector:  
Standards:  
Accepts PCMCIA Type I cards, 68 pins  
Conforms to PCMCIA 2.0 / JEIDA 4.0  
Card Format: Supports up to 1MB SRAM (attribute memory not required)  
Control Interface MIDI:  
Footswitch:  
5-pin DIN connectors provided for MIDI IN, THRU, & OUT  
1/4 inch T/R/S phone jack provided for  
2 independent momentary footswitches  
System detects normal-open, or normal-closed on power up  
Foot controller: 1/4 inch T/R/S phone jack provided for footpedal  
(100Ω minimum, 10kΩ maximum impedance)  
General  
Dimensions:  
Weight:  
19.0"W x 1.75"H x 12.0"D (483 x 45 x 305 mm)  
19 inch rack mount standard, 1U high  
Net: 6.4 lbs (2.9 kg)  
Shipping: 9.5 lbs (4.3 kg)  
Power  
Requirements: 100-240 VAC, 50-60 Hz, 35 W, 3-pin IEC power connector  
RFI/ESD:  
Conforms to FCC Class B,  
EN55022 Class B (CE), IEC 801-2, IEC 801-3  
Environment: Operating temperature: 32˚ to 104˚F (0˚ to 40˚C)  
Storage temperature: -22˚ to 167˚F (-30˚ to 70˚C)  
Humidity: maximum 95% without condensation  
Unless otherwise noted,all audiospecifications assumerear-panel switchsetto BAL,input levelcontrol  
is set for unity gain (0dB), and analog I/O connections wired for balanced configuration.  
Specifications subject to change without notice.  
7-2  
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Lexicon Inc.  
3 Oak Park  
Bedford MA 01730-1441  
Telephone 781-280-0300  
Fax 781-280-0490  
Lexicon Part # 070-11263 Rev 1  
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