Lexicon 480L Digital Reverb and Effects Manual

Updated April 02, 2025 19:28

Mix with the world's most famous algorithmic reverb, in all its lush digital glory.

Released in 1986, the Lexicon® 480L Digital Effects System and its iconic fader-driven remote control are recognized the world over — residing at the center of famous studio consoles for more than 30 years. The 480L's spacious reverb and vivid effects textures are a coveted sonic benchmark, helping to shape thousands of chart-topping tracks to this day.

Now available exclusively for UAD hardware and UA Audio Interfaces, the UAD Lexicon 480L Digital Reverb and Effects plug-in is the world's only Lexicon-endorsed emulation of this classic studio reverb — expertly capturing its unique, infinitely moldable ambience and modulation splendor.

Record and mix with the only authentic Lexicon 480L digital reverb plug-in, derived from the final v4.10 firmware
Experiment with colorful "Plate," "Ambience," "Hall," and "Room" algorithms on your sources
Apply out-of-the-ordinary "Random," and "Effects" programs, including doubling, tremolo, and chorus textures
Sculpt your own textures with an improved version of Lexicon's famous "LARC" controller

Grammy-Winning Presets

The Lexicon 480L plug-in includes over 100 artist presets from Grammy-winning 480L power users such as Spike Stent (Beyoncé, Madonna), Chuck Zwicky (Prince, Nine Inch Nails), Ian Boxill (Janet Jackson, Quincy Jones), Jacknife Lee (The Killers, U2), and more, giving you a head start on your own mixes.

Operational Overview

The original Lexicon 480L hardware consists of two separate elements. The "mainframe" rack-mountable 3U chassis contains the logic, converter and amplifier circuitry, audio input and output connectors, and input and output gain controls. The Lexicon Alphanumeric Remote Control (LARC) unit has displays, buttons, and sliders that control the Lexicon 480L mainframe parameters and functionality.

The UAD Lexicon 480L interface resembles the appearance and functionality of the LARC, but operation has been simplified and enhanced by re-assigning functions to the buttons that are no longer necessary in a plug-in. Additional parameters, including Input Gain and Output Level, are exposed by opening a hidden panel.

Lexicon 480L

Banks and Programs

As with the original hardware, UAD Lexicon 480L factory presets are arranged into Banks and Programs. 10 Banks are available, and each Bank contains up to 10 Programs that were hard-coded in the v4.10 ROM (Read-Only Memory chip).

A single Lexicon 480L Program is a unique DSP algorithm with a set of parameter values creatively voiced by Lexicon. The UAD Lexicon 480L plug-in replicates this feature by providing Programs that always recall the factory settings.

With the exception of Bank 0 (at the bottom of the Bank drop menu) which is actually Bank 10, all Programs in each Bank use only one of the five available algorithms (although certain parameter availability may differ between Programs within a Bank).

Selecting Factory Banks and Programs

The Main Display shows the current Bank and Program by number and name. To select a Bank, click the Bank name in the Main Display and choose a bank from the drop menu or click the Bank Decrement/Increment buttons.

To select a Program in the current Bank, click the Program name in the Main Display and choose a program from the drop menu, click any of the ten numeric Program buttons, or click the Program Decrement/Increment buttons.

Note: Output levels can vary noticeably among the Banks and Programs. Bank changes are not recommended for automation.

Bank (left) and Program (right) drop menus

Programs versus Custom Presets

If the controls are adjusted for the selected Program and then the Program is reselected (or if a different Program is selected), any changes are lost and the Program's controls revert to the Program's factory settings. To store and recall custom settings as a preset (which includes the selected Bank, Program, and all current control settings), use the host DAW application's preset menu, the Settings menu in the UAD Toolbar, or use Console's preset manager with UA audio interfaces.

Important: To prevent the loss of custom settings when selecting a different Program, save the settings as a plug-in preset using the host DAW application's preset menu or the plug-in preset manager.

Machine A and B

The UAD Lexicon 480L plug-in provides two separate processor configurations: Machine A and Machine B. A Machine is simply an independent Bank and Program (factory or custom) within the same plug-in instantiation. To switch between Machine A and Machine B, click the blue A and B buttons.

This feature is useful for auditioning or automating between different reverbs or effects. Parameter changes in one Machine do not affect the other. When saving custom plug-in presets, the settings for both Machine A and B are stored and recalled with the preset.

Mono/Stereo Operation

The Lexicon 480L hardware has dual channel inputs and is a true stereo processor. As with the hardware, when the Lexicon 480L plug-in is used in a stereo-in/stereo-out plug-in configuration, the left and right input signals are processed in stereo and are output in stereo. When used in a mono-in/stereo-out configuration, the mono input signal is sent to both channels of the stereo processor and output in stereo. When used in a mono-in/mono-out configuration, the mono input signal is sent to both channels of the stereo processor and the output is summed to mono.

Artist Presets

Presets from prominent Universal Audio artists are included. You can access the artist presets using the UAD preset browser.

Chuck Zwicky	Erik Madrid	Richard Chycki
Eli Janney	Ian Boxill	Spike Stent
Eric Thorngren	Jacknife Lee	Tom Marks

Artists that have provided presets for UAD Lexicon 480L

Algorithm Overview

The UAD Lexicon 480L plug-in includes the v4.10 firmware's five most popular reverb and effects algorithms based on the original Lexicon 480L hardware: Reverb, Effects, Twin Delays, Random, and Ambience.

Bank Algorithms Used

The following tables list which algorithm is used within a given Bank. Because the algorithms cannot be selected directly when editing a Program, choose a Bank with the desired algorithm as a starting point when creating custom presets.

Bank 1–9 Algorithms

BANK	ALGORITHM USED	BANK	ALGORITHM USED
1: Halls	Reverb	6: Twin Delays	Twin Delays
2: Rooms	Reverb	7: Random Hall	Random
3: Wild Spaces	Reverb	8: Random Spaces	Random
4: Plates	Reverb	9: Ambience	Ambience
5: Effects	Effects	0: Post Ambience	Various (see table below)

Unlike Banks 1–9, which all use the same algorithm within their respective Programs, the Programs within Bank 0 (Post Ambience) use one of three different algorithms: Reverb (Hall), Random (Hall), or Ambience. This impacts the available parameters within Bank 0 Programs.

The following table lists which algorithm is used in Bank 0 Programs. Use this table to determine which algorithm parameter description to refer to when editing the program.

Bank 0 Algorithms

BANK 0 PROGRAM	ALGORITHM USED	BANK 0 PROGRAM	ALGORITHM USED
1: Car Interior	Random	6: Small Foley	Ambience
2: Living Room	Reverb	7: Warehouse	Ambience
3: Bathroom	Reverb	8: Airhead	Random
4: Kitchen	Ambience	9: (Empty Program)	(N/A)
5: Kellars Cell	Random	0: Reverb Tail	Random

Algorithm Descriptions

Note: Text in this section is sourced from the original hardware owner's manual.

Reverb

With the Reverb algorithm (Banks 1, 2, 3, 4), almost any envelope can be created using the Lexicon 480L's innovative Shape and Spread parameters, combined with Lexicon's famed "split decay" carried over from its predecessor, the Lexicon 224. Reverb has two variations in its algorithm. The primary difference between the two is the density of the reverberation.

The Reverb algorithm with greater density is used in Rooms and Plates (Banks 2 and 4) and has two pre-echo voices. Halls and Wild Spaces (Banks 1 and 3) have less density with six pre-echo voices. Both variations have static (fixed) reverberation characteristics.

Effects

The Effects algorithm (Bank 5) is based on randomly varying time delays. Within this general class, a great variety of sounds are possible. The ten Programs provide a broad palette of dramatic reverse effects, modulated delays, doubling, tremolo, and chorus sounds. The Effects algorithm can also be used to create natural acoustical sound effects, such as a forest, a drum cage, or reflections from audiences, walls, and rooms.

Most of these natural effects are quite complex and are difficult or impossible to obtain using only a delay line with fixed taps. The effect of slightly moving sources, such as several musicians, cannot be achieved with fixed time delays and only one input. With the Effects algorithm, delay patterns and the resulting timbre is randomly time-variant, so the results are always dynamic and interesting.

Twin Delays

The Twin Delays algorithm (Bank 6) uses a four-voice delay line with independently adjustable Level, Feedback, and Delay Time for each voice. Feedback can be positive or negative. Note that Feedback for Delays 3 and 4 is cross-panned. Independent pan and low pass filters, adjustable between 120 Hz and full bandwidth, are provided for the first and second delay voices and their respective feedback paths.

Note: When the Twin Delays algorithm is active and UAD-2 DSP LoadLock is inactive, UAD DSP usage is reduced.

Random

The Random algorithm (Banks 7 and 8) is similar to the Reverb algorithm, but with the addition of random delay elements to create the Lexicon 480L's famously long and otherworldly reverb tails. The Random algorithm provides a smoother reverberant characteristic and is better suited for material which requires large space emulation or a longer reverb time.

These random delay elements have several effects. First, there is a reduction of long-lived modes in the reverberant decay, which makes the decay less metallic and reduces the apparent reverb time. The random elements also improve the steady-state timbre of the program. The Random algorithm provides four pre-echo voices.

Ambience

The Reverb algorithms are designed to add a cushion of reverberance to recorded music, while leaving the clarity of the direct sound unaffected. However, the Ambience (Bank 9) algorithm is different. Ambience is intended to become a part of the direct sound—to give it both better blend and a definite position in space. Ambience is useful for adding a room sound to recorded music or speech.

In music recording, using Ambience is an effective way of realistically adding distance to a close-miced signal. If an ensemble has been recorded with close mics, Ambience can provide the missing blend and depth. The apparent position of the instruments is preserved in the reverb while the apparent distance is increased. Ambience can be used in a recording situation any time a close-miced sound is not wanted. Of course it can also be pushed far beyond the creation of realistic spaces.

Main Display Elements

The Main Display shows the current Bank and Program, selectable input or output meter levels, overload indication, and parameter/page information. Banks and Programs can also be selected using drop menus within the Main Display.

I/O Meters

Lexicon 480L provides -24 to +12 dB segmented LED style peak metering for either Input or Output. The plug-in and its meters are set to the factory-recommended -12 dB headroom "pop" calibration. The current metering view (input or output) is selected with the I/O Meter button.

Note: Output metering is not available in the original hardware.

Overload LEDs

An overload ("ovld") indicator illuminates when the modeled analog or digital system clipping occurs, or modeled arithmetic processor overloading occurs. Overloads can happen when loud signals are present at the input, when reverb decay times are long, or when self-oscillation occurs.

Unexpected sonic artifacts and/or ringing can occur when the processor overloads. If these artifacts are causing undesirable sounds, it can usually be eliminated by reducing the incoming levels or reducing reverb decay or effect feedback.

Page/Parameter Info Display

The Page/Parameter Information Display is similar to the hardware LARC's main display, dynamically showing effect parameter names and values, global utility parameter changes, or parameter pages. The plug-in improves information clarity with longer and more meaningful character strings. As with the original hardware, the default display shows the current parameter page number.

Tip: Hover the mouse pointer over any utility button or slider cap to show the full name of the parameter it adjusts, and the parameter's current value, in the Information Display.

Global Utility Controls

The UAD Lexicon 480L offers direct access to global utility functions that are either not offered on the original hardware, or are hampered by the hardware's menu logic. The Global Utility controls apply to all reverb and effects algorithms and affect both Machines (A and B) regardless of which Machine is currently selected.

Global Utility Button Behavior

As with the hardware, UAD Lexicon 480L buttons are momentary switches that don't latch in a down position.

Tip: Hover the mouse pointer over any utility button to show the full name of the parameter it adjusts, and the parameter's current value, in the Information Display.

Mute

The Mute button is used to creatively mute (or unmute) the input signal to the plug-in. When muting, the Input signal is silenced, but any delay, echo, or reverb tail continues.

Aux Outs

The Aux Outs button toggles the plug-in output between the Main outs and the Auxiliary outs, offering subtle sonic differences from the modeled analog hardware system.

I/O Meter

The I/O Meter button switches the peak meter in the Main Display between Input and Output views.

Display Hold

The Display Hold button switches the Parameter Information Display between three seconds and infinite hold.

3 SEC – When set to 3 seconds, the information displayed for any control persists for 3 seconds, after which the display reverts to showing the current Parameter Page number.

INF – When set to Infinite (INF), the information shown in the Parameter Information Display persists until any control is clicked or adjusted, at which point the Parameter Information Display is updated with the new information.

Mix Controls

The Mix Dry, Mix Wet, and Wet Solo parameters adjust the effect mix in the plug-in.

Note: Unlike the original hardware, the Mix controls are global parameters. Their state does not change when different programs are selected.

Dry/Wet Mix

These two buttons control the balance between the reverb processor and the source signal when Wet Solo mode is inactive. Click the DRY button to reduce the reverb amount; click the WET button to increase the reverb amount. Clicking the DRY button once decrements the value by one percent; clicking WET once increments the value by one percent.

Tip: To increase the fine resolution when adjusting these controls, hold SHIFT (on the computer keyboard) when clicking the controls. Shift+click decrements (DRY) and increments (WET) by a value of 0.1 percent instead of one percent.

The Dry/Wet mix is indicated in the Numerical Display as a percentage. A value of 50 produces an equal blend of the wet and dry signals. Values greater than 50 emphasize the wet signal, and values less than 50 emphasize the dry signal.

The Dry/Wet controls are typically used when Lexicon 480L is inserted on individual channels. When Lexicon 480L is used on a group/bus in a typical effect send/return bus configuration, set the Dry/Wet Mix to 100% Wet or activate Wet Solo mode.

Dry/Wet Mix Notes

The Page/Parameter Info Display shows "N/A: WET SOLO ENABLED" if adjustments are made while Wet Solo is enabled (the Wet/Dry mix can still be adjusted, but Wet Solo remains active until Wet Solo is disabled).
Dry/Wet Mix control is also available within the algorithm parameter (slider) pages.
The Mix controls are global parameters. Their state does not change when different programs are selected.

Wet Solo

When Wet Solo is enabled, the Dry/Wet mix is set to 100% wet and the Dry/Wet controls are deactivated. Wet Solo mode is optimal when using Lexicon 480L in the "classic" reverb configuration (placed on an effect group/bus that is configured for use with channel sends).

Wet Solo is enabled by default. When Lexicon 480L is used on a channel insert, Wet Solo should generally be deactivated.

Note: Wet Solo is not available in the original hardware.

Power

The Power button functions as a hard bypass of the plug-in. The LARC graphical user interface appears "powered down" and the plug-in remains loaded on UAD DSP. Unlike the host's plug-in enable switch (which unloads the plug-in from UAD DSP), this parameter allows glitch-free bypass and enabling of the Lexicon 480L plug-in.

Program Control Sliders

As with the original LARC hardware, UAD Lexicon 480L provides six sliders for adjusting various parameter settings within a Program. Depending on the algorithm, there are up to four pages of parameters that these sliders can control.

In the Page/Parameter Info Display, an abbreviated name for the parameter is displayed above the slider along with the current value of that parameter. Drag a slider for coarse adjustment, or shift+drag for fine adjustment. Double-click a slider cap to reset the parameter it is controlling to the default value for the Program or custom preset.

Tip: Hover the mouse pointer over any slider cap to show the full name of the parameter it adjusts, and the parameter's current value, in the Information Display.

There are many common parameters between different algorithms and programs, such as Reverb Time or Dry/Wet Mix. Parameter value ranges within a given Program can vary according to the algorithm design or other dependent parameters. Also, as noted in the Parameter descriptions later in this article, not all parameters are available for automation.

Note: As with the original hardware, the sliders adjust parameters in discrete steps and are not smoothed.

Decrement/Increment Buttons

The bottom row of buttons are used to navigate Banks, Programs, and Parameter Pages. Values are decremented (<) or incremented (>) by a value of one each time a decrement/increment button is pressed.

Hidden Controls

Additional UAD controls are available in a hidden control panel.

Hidden Controls with panel closed (left) and panel open (right)

Hidden Controls Access

The hidden controls are exposed by clicking the "OPEN" text label at the left of the numeric Program buttons. Conversely, the exposed panel is closed by clicking the "CLOSE" text while the panel is open.

Note: The last-used state of the hidden controls panel (Open or Closed) retained when a new Lexicon 480L plug-in is instantiated.

Input Gain

Use the independent left (L) and right (R) Input Gain controls to adjust the signal levels at the input to the reverb processor. Input Gain does not affect the dry signal, so it can be used to adjust the wet/dry mix. The available range is ±12 dB.

As signal levels into the Lexicon 480L increase, processing may become increasingly nonlinear. If signals are too high, the Lexicon 480L inputs and/or processor can overload resulting in sonic artifacts. When this occurs, the "ovld" indicator in the I/O Meter illuminates.

Tip: Click the "INPUT GAIN" text label to return the value of both channels to zero, or click the "L" or "R" labels to return the individual channels to zero when unlinked.

Output Level

The independent left ("L") and right ("R") Output Level parameters control the signal levels at the output of the plug-in right before the Output Meter. The available range is –INF (infinite) dB to +12 dB.

Tip: Click the text label ("Output Level") to return the value of both channels to zero, or click the "L" or "R" labels to return the individual channels to zero when unlinked.

Link

Link/unlink allows the left and right controls for Input Gain and Output Level to be unlinked (non-ganged) in order to apply a different value for each channel. Link is inactive when the LED is unlit. Click the Link LED to toggle the state. The default state is ON.

Note: Link cannot be switched Off when the plug-in is used in a mono-in/mono-out configuration.

If Link is Off and the Left and Right controls have different values, the Left channel value is copied to the Right channel (thereby overwriting the right channel value) when Link is switched On.

Tip: When Link is Off, click the text label ("L") to return the value of only the Left channel to zero and click the text label ("R") to return the value of only the Right channel to zero.

When Link is On, automation data is written and read for the left channel only. The automation for the left channel controls both channels in Link mode.

Note: When link is active, modifying the right channel parameters has no effect when changed from a control surface or when in "controls only" (non-GUI) mode.

Random Hall Bug Fix

During plug-in development, a bug in the Lexicon 480L firmware was discovered in the Random algorithm. This results in a ringing, metallic effect under certain conditions (such as when Spin is set to 0 and Size is adjusted). The UAD Lexicon 480L plug-in fixes this issue while retaining the ability to reproduce the effect.

Click the LED just below the Link switch to enable or disable the fix. The LED is lit when the fix is enabled and unlit when disabled.

Algorithm Parameter Descriptions

The number of parameters, and the parameters themselves, differ from algorithm to algorithm within the Lexicon 480L. Some parameters are common among two or more of the algorithms. Available parameters are defined by the underlying design of each algorithm. The number of available parameter pages span from two pages to four.

All of the original hardware parameters for these algorithms are available for adjustment, and all these parameters are saved with DAW sessions and within custom user presets.

Note: Some parameters are not available for external control surfaces and automation. These parameters are marked with an asterisk (*) in their descriptions below.

The following parameter descriptions are grouped by algorithm: Reverb, Effects, Twin Delays, Random, and Ambience. In these descriptions, the parameter abbreviation (as it appears above its control slider) is shown in parentheses. The full parameter name appears in the Main Display.

Reverb Parameters

Programs that use the Reverb algorithm provide four pages of parameters. This includes all Programs in Banks 1–4, and Programs 2 and 3 in Bank 0.

Reverb Parameters – Page 1

Reverb Time (RTM) – Reverb Time sets the mid-frequency reverb time (in seconds) for mid-frequency signals. Because low-frequency reverb time (Bass Multiply/BAS) is a multiplier of Reverb Time, Reverb Time acts as a master control for the stopped reverb time. When Decay Opt (DCO) is set to Reverb mode (Reverb 0–9), the actual value set for Reverb Time varies with the Size setting. Adjust Size before Reverb Time since Reverb Time varies depending on the Size setting. This interaction is deactivated when Decay Opt is set to Effects mode (EFX 0–9).

Shape (SHP) – Shape and Spread work together to control the overall ambience of the reverberation. Shape determines the contour of the reverberation envelope. When Shape is set to 0, reverberation builds rapidly and decays quickly. As the value for Shape is increased, reverberation builds up more slowly and sustains for the time set by Spread. Use mid-range values for Shape to create a buildup and sustain of the reverberation envelope that emulates a large concert hall. When Decay Opt is in its Reverb range, Spread is linked to Size and the actual value for Spread depends on the selected Size.

Note: Spread only functions when Shape is set to a value higher than 8.

Spread (SPR) – Spread works together with Shape to control the contour of the overall ambience of the sound created by the Lexicon 480L. Spread controls the duration of the initial contour of the reverberation envelope (Shape determines the envelope). 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. The range for Spread varies depending on the Size setting.

Spread and Shape control the rate at which reverberation builds up, and how the reverberation sustains as it begins to decay. When Decay Opt (DCO) is in Reverb mode, Spread is linked to Size and the actual value for Spread depends on the selected Size.

Size (SIZ) – Size sets the rate of buildup of diffusion after the initial period (which is controlled by Diffusion). It also acts as a master control for Reverb Time and Spread. For this reason, the Size control can be used to vary a reverb sound from very large to very small. Set the Size control to approximate the size of the acoustic space you are trying to recreate. The Size (in meters) is approximate to the longest dimension of the desired space. Note that adjusting Size while a signal is present momentarily changes to dry signal.

The range for Spread varies depending on the Size setting. The apparent size of the space is determined by the combination of the settings of Size, Shape, and Spread.

HF Cutoff (HFC) – HF Cutoff sets the frequency above which a 6 dB per octave low-pass filter attenuates the processed signal. It attenuates both pre-echoes and reverberant sound. Adjust HF Cutoff to roll off high frequencies for a more natural sounding reverberation.

Pre-delay (PDL) – Pre-delay sets the amount of time, in milliseconds, between the input of the dry signal and the onset of reverb processing.

Note: As with the original hardware, actual Pre-delay times may not match the displayed value.

Reverb Parameters – Page 2

Bass Multiply (BAS) – Bass Multiply sets the reverb time for low-frequency signals as a multiplier of the Reverb Time value. For example, if Bass Multiply is set to 2.0, and Reverb Time is set to two seconds, the low frequency reverb time will be four seconds. For a natural-sounding hall ambience, try values of 1.5 or less.

Crossover (XOV) – Crossover sets the frequency (in Hz/kHz) at which the low-frequency reverberation transitions to the mid-frequency reverberation. Crossover should be set at least two octaves higher than the low frequency you want to boost. For example, to boost a signal at 100 Hz, set Crossover to 400 Hz (this setting typically works well for classical music). Crossover works best for boosting low frequencies when set to about 500 Hz and at around 1.5 kHz for cutting low frequencies.

Reverb Time HF Cut (RTC) – Reverb Time HF Cut sets the frequency above which sounds decay at a progressively faster rate, and filters all sound except pre-echoes. Lower values create a darker reverberant tone, simulating the effect of air absorption in a real hall. This also helps keep the ambience from muddying the direct sound.

To enhance percussive sounds, use high settings for Diffusion. For clear vocals, piano, buses, and full mixes use low to moderate settings for Diffusion. The Plate Programs and some of the Room Programs using higher inherent diffusion. If high diffusion is desired, start with one of these presets. They are easily identifiable because they have only two Pre-Echoes.

Decay Opt (DCO)* – Decay Opt (optimization) alters program characteristics in response to changes in input level. This contributes to a more natural reverberation decay. Decay Opt provides two modes: Reverb and Effect. Each mode has a range of 0 to 9. Typically, Reverb 7 is a good start setting.

In Effects mode, values 0–9 have the same natural effect as they do in the Reverb mode. However, in Effects mode the Spread control is not linked to the Size control, so it is possible to use high values for Spread with low values for Size, which can result in some interesting, but unnatural sounds.

Historical note: There is a bug in the DCO calculation on the V4.10 firmware which causes persistent crackle in the audio. However, earlier versions of the firmware don't have this behavior. This artifact is intentionally not included in the UAD Lexicon 480L emulation.

Dry/Wet Mix (MIX) – See Mix Controls.

Reverb Parameters – Page 3

Pre-Echo Levels* 1 to 6 or 1, 2 – Pre-echo reflection parameters change the perceived locations of reflecting surfaces surrounding the source. Pre-echo Levels adjust the loudness of the corresponding Pre-Echo Delays found on page 4. Depending on the selected Program, either two or six pre-echoes are available.

Pre-echoes can best be understood by visualizing a stage where the early reflections are the sounds emanating from the rear and side stage walls directly after the sound from the stage. Usually the rear stage wall reflection is earlier and louder than those from the two side walls. Pre-echoes are actually clusters of echoes, with the density of the cluster set by Diffusion.

Reverb Parameters – Page 4

Pre-Echo Delay Time* 1 to 6 or 1, 2 – For each of the Pre-echo Level parameters, there is a corresponding Pre-echo Delay Time parameter. Depending on the selected Program, either two or six pre-echoes are available. Pre-echo Delay Time sets the delay time for each one of the pre-echoes. Pre-echo Delay Time is not affected by Pre-delay, so pre-echoes can be placed to occur before the reverberation starts.

Effects Parameters

Programs that use the Effects algorithm provide three pages of parameters. This includes all Programs in Bank 5.

Effects Parameters – Page 1

Spin (SPN)* – Spin sets the rate of Wander. There is always some spin, even with Spin set to 0. Note that lower Number settings increase the Spin speed.

Note: As with the hardware, after changing Spin or Length, the voices take a while to stabilize. Faster Spin settings stabilize more quickly.

Slope (SLP)* – Slope controls the amplitude of the effect delays over time. When set to below halfway (value below 128), the slope decays. When set above halfway (value above 128), the slope rises. When set halfway (value of 128), the slope is essentially flat. Overall level is adjusted to keep the loudness constant.

Length (LNG)* – The delay of each voice is equal to the Length setting divided by the number of voices set with Number.

Wander (WAN)* – Sets the amount of time, in microseconds/milliseconds, that the delay moves in any direction. With Wander set to 0, the voices are absolutely fixed to their constant ratio apart and sounds like a single delay line with feedback. As Wander is added, delays go backwards and forwards randomly in respect to each other.

Number (NUM)* – Number sets the number of voices used.

Pre-delay (PDL) – Pre-delay sets the amount of time, in milliseconds, between the input of the dry signal and the onset of effect processing.

Effects Parameters – Page 2

Input Blend (MON)* – Input Blend allows manipulation of the input configuration, from normal stereo through mono, to reverse stereo. The Effects algorithm operates in true stereo. When Input Blend is set to stereo, the Left Output is derived only from the Left Input, and the Right Output is derived only from the Right Input. To create an effect with sound movement from one output to the other, set Input Blend to Mono.

Feedback Level (FBL)* – Feedback Level controls the level of signals recirculated back to the input of the delay line. Increase the amount of Feedback for interesting resonant effects.

Feedback Delay (FBD)* – Feedback Delay sets the delay that occurs between signal input and the onset of feedback. Try setting Feedback Delay to the same value as Length for interesting effects.

Diffusion (DIF) – Diffusion spreads out the input signal over time, turning sounds with sharp transients, such as clicks and other percussive sounds, into swishing sounds.

Input Delay (IND)* – Input Delay adds delay only to the dry signal path—it has no effect on the wet signal path. This lets you "live in the past" by delaying the input to present the effect before the dry signal is even heard. Note that this only works when using Dry/Wet Mix to mix the effect with the dry signal.

Dry/Wet Mix (MIX) – See Mix Controls.

Effects Parameters – Page 3

High Pass Left (HPL) – High Pass Left adjusts a 12 dB/octave filter on the Left Input channel to attenuate low frequencies.

High Pass Right (HPR) – High Pass Right adjusts a 12 dB/octave filter on the Right Input channel to attenuate low frequencies.

Signs (SGN)* – When the Signs parameter is set to 1 (as opposed to 0), a significant increase in output gain can occur.

Twin Delay Parameters

Programs that use the Twin Delay algorithm provide four pages of parameters. This includes all Programs in Bank 6.

Twin Delay Parameters – Page 1

Left Channel Dry Level (DRY)* – Left Channel Dry Level sets the dry signal level from the left input to the left output. It is not affected by Pan Left or Pan Right.

Right Channel Dry Level (DRY)* – Right Channel Dry Level sets the dry signal level from the right input to the right output. It is not affected by Pan Left or Pan Right.

Left Delay Roll Off (ROL)* – Left Delay Roll Off is a low pass filter that can be adjusted for the Left Delay 1 voice.

Right Delay Roll Off (ROL)* – Right Delay Roll Off is a low pass filter that can be adjusted for the Right Delay 2 voice.

Pan Left (PAN)* – Pan Left sets the panning of the Left Delay 1 and Left Delay Feedback 1 signal to the left and right outputs.

Pan Right (PAN)* – Pan Right sets the panning of the Right Delay 2 and Right Delay Feedback 2 signal to the left and right outputs.

Twin Delay Parameters – Page 2

Left Delay 1 Value (DL1)* – Sets the delay time, in milliseconds, for the first (left channel) delay voice.

Left Delay 1 Level (LV1)* – Adjusts the level (amplitude) of Delay 1.

Left Delay 1 Feedback (FB1)* – Adjusts the amount of feedback (positive or negative) around Delay 1.

Right Delay 2 Value (DL2)* – Sets the delay time, in milliseconds, for the second (right channel) delay voice.

Right Delay 2 Level (LV2)* – Adjusts the level (amplitude) of level for Delay 2.

Right Delay 2 Feedback (FB2)* – Adjusts the amount of feedback (positive or negative) around Delay 2.

Twin Delay Parameters – Page 3

Left Delay 3 Value (DL3)* – Sets the delay time, in milliseconds, for the third (left channel) delay voice.

Left Delay 3 Level (LV3)* – Adjusts the level (amplitude) of Delay 3.

Left Delay 3 Feedback (FB3)* – Adjusts the level of a cross-panned (L/R) feedback line. Feedback can be positive or negative.

Right Delay 4 Value (DL4)* – Sets the delay time, in milliseconds, for the fourth (right channel) delay voice.

Right Delay 4 Level (LV4)* – Adjusts the level (amplitude) of Delay 4.

Right Delay 4 Feedback (FB4)* – Adjusts the level of a cross-panned (R/L) feedback line. Feedback can be positive or negative.

Twin Delay Parameters – Page 4

Left Fine Delay (FIN)* – Sets the delay value of the left channel fine delay (in samples).

Right Fine Delay (FIN)* – Sets the delay value of the right channel fine delay (in samples).

Master Delay Multiplier (MST)* – This is a delay multiplier for all delay voices.

Dry/Wet Mix – See Mix Controls.

Random Parameters

Programs that use the Random algorithm provide four pages of parameters. These include all Programs in Bank 7 (Random Halls), Bank 8 (Random Spaces), and Programs 1, 5, and 8 in Bank 0 (Post Ambience).

Random Parameters – Page 1

Reverb Time (RTM) – Reverb Time sets the mid-frequency reverb time, in seconds, for mid-frequency signals when the signal stops. Because low-frequency reverb time (Bass Multiply) is a multiplier of Reverb Time, Reverb Time acts as a master control for the stopped reverb time. When Decay Opt (DCO) is set to Reverb mode (Reverb 0–9), the actual value set for Reverb Time varies with the Size setting. Adjust Size before Reverb Time. This interaction is deactivated when Decay Opt is set to Effects mode (Effects 0–9).

Shape (SHP) – Shape and Spread work together to control the overall ambience of the reverberation. Shape determines the contour of the reverberation envelope. When Shape is set to 0, reverberation builds explosively and decays quickly. As the value for Shape is increased, reverberation builds up more slowly and sustains for the time set by Spread. Use mid-range values for Shape to create a buildup and sustain of the reverberation envelope that emulates a large concert hall—also, set Spread to a mid-range value and Size should be suitably large (30 meters or larger).

Spread and Shape control the rate at which reverberation builds up, and how the reverberation sustains as it begins to decay. When Decay Opt is in Reverb mode, Spread is linked to Size and the actual value for Spread depends on the selected Size. These parameters are unlinked in Effect mode.

Size (SIZ) – Size sets the rate of buildup of diffusion after the initial period (which is controlled by Diffusion). It also acts as a master control for Reverb Time and Spread. For this reason, the Size control can be used to vary a reverb sound from very large to very small. Set the Size control to approximate the size of the acoustic space you are trying to emulate. The Size is approximate to the longest dimension of the desired space.

Note: Adjusting Size while a signal is present momentarily mutes the reverb signal.

The apparent size of the space is determined by the combination of the settings of Size, Shape, and Spread. Small acoustic spaces are characterized by a rapid buildup of diffusion. However, both small and large spaces frequently have an uneven buildup of initial reverberation. This uneven buildup is controlled by Spread and Shape.

HF Cutoff (HFC) – HF Cutoff sets the frequency above which a 6 dB/octave low-pass filter attenuates the processed signal. It attenuates both pre-echoes and reverberant sound. Adjust HF Cutoff to roll off high frequencies for a more natural sounding reverberation

Pre-delay (PDL) – Pre-delay sets the amount of time, in milliseconds, between the input of the dry signal and the onset of reverb processing.

Note: Very high values of Pre-delay limit the amount of Spread available.

Random Parameters – Page 2

Crossover (XOV) – Crossover sets the frequency (in Hz) at which the low-frequency reverberation transitions to the mid-frequency reverberation. Crossover should be set at least two octaves higher than the low frequency you want to boost. For example, to boost a signal at 100 Hz, set Crossover to 400 Hz (this setting typically works well for classical music). Crossover works best for boosting low frequencies when set to about 500 Hz and at around 1.5 kHz for cutting low frequencies.

Reverb Time HF Cut (RTC) – Reverb Time HF Cut sets the frequency (in Hz/kHz) above which sounds decay at a progressively faster rate. It filters all sound except pre-echoes. Lower values create a darker reverberant tone, simulating the effect of air absorption in a real hall. This also helps keep the ambience from muddying the direct sound.

Diffusion (DIF) – Diffusion controls the degree to which initial echo density increases over time. High settings result in high initial buildup of echo density. Low settings result in a low initial buildup. After the initial period, in which echo buildup is controlled by Diffusion, density continues to change at a rate determined by the Size setting. To enhance percussion, use higher Diffusion settings. For clearer and more natural vocals, mixes, and piano music, use low or moderate settings for Diffusion.

Mode (MODE)* – Selects between linked and unlinked modes of operation for Reverb Time, Shape, Spread, and Size parameters: Reverb or Effects. Reverb mode maintains optimum relational values between these controllers as settings are changed. Effects mode permits independent parameter control.

Dry/Wet Mix (MIX) – See Mix Controls.

Random Parameters – Page 3

Pre-Echo Delay Levels* 1, 2, 3, 4 – Pre-echoes can best be understood by visualizing a stage where the early reflections are the sounds emanating from the rear and side stage walls directly after the sound from the stage. Usually the rear stage wall reflection is earlier and louder than those from the two side walls. Pre-echoes are actually clusters of echoes, with the density of the cluster set by Diffusion.

The pre-echo reflection parameters change the perceived locations of reflecting surfaces surrounding the source. Pre-echo Level adjusts the loudness of the reflection.

These controls are similar to those available in the standard Reverb algorithm but there are four pre-echoes (versus up to six in the Reverb algorithm). The remaining two sliders on Page 3 control Spin and Wander (as with the Effects or Ambience algorithms).

Spin (SPN)* – Spin is identical to the spin control in the Effects algorithm. It affects the movement of the many delay taps in the program. Spin and Wander both to continuously alter the timbre of the reverberant sound. This makes for more natural results. It is not intended to make the position of instruments unstable. Spin should typically be set to 37 or higher. However, higher values may make the pitch of piano or guitar unstable.

Wander (WAN)* – Wander is identical to the Wander control in the Effects algorithm. It sets the distance in time that the early reflections move. For best results, set Wander to about 10 milliseconds with larger Size values.

Random Parameters – Page 4

Pre-Echo Delay Times* 1, 2, 3, 4 – For each of the Pre-echo Level parameters, there is a corresponding Pre-echo Delay Time parameter. Pre-echo Delay Time sets the delay time, in milliseconds, for each one of the pre-echoes. Pre-echo Delay Time is not affected by Pre-delay, so pre-echoes can actually be placed to occur before the reverberation starts.

Output Shelf (SHL)* – This is a level control that adds pre-high frequency cutoff energy to the reverb output for a double "knee" in the low pass filter.

Note: In the original hardware, Output Shelf (SHL) had a bug where the parameter did not work. This has been partially addressed in the UAD Lexicon 480L plug-in by making Output Shelf (SHL) a duplicate of the Output Filter (HFC).

Reverb Level (LEV) – Controls the output gain from the processor. This is useful for setting different versions of overall program balance.

Note: Reverb Level values above 160 may result in algorithmic overload, which can produce undesirable results.

Ambience Parameters

Programs that use the Ambience algorithm provide two pages of parameters. This includes all Programs in Bank 9 (Ambience), and Programs 4, 6, and 7 in Bank 0 (Post Ambience).

Ambience Parameters – Page 1

Reverb Time (RTM) – This control is not of great importance to the sound as its range of action is limited. Be careful though—both long and short Reverb Time settings can sound unnatural. If a much longer or shorter apparent Reverb Time than the Program provides by default is desired, try adjusting Size first.

Reverb Level (RTL) – Reverb Level controls the level of the reverberant part of the ambient decay. When set to 0, only the early reflections are present, and there is an abrupt end to the sound when these early reflections are gone. Setting Reverb Level to about 70 results in a natural blend of early and late reflections.

Size (SIZ) – Size varies the apparent size of the space over a wide range. Adjusting Size can dramatically affect the results, so be careful to set it so that it matches the music or program material appropriately. It should be the first control that you adjust to tailor the desired space. Size also affects the Reverb Time in a similar way to the standard reverb programs.

Roll Off (ROL)* – Roll Off controls the -3 dB point of a 6 dB/octave filter on the output. It sets the effective bandwidth of both the early reflections and the reverberance.

Diffusion (DIF) – Diffusion controls the degree to which initial echo density increases over time. High Diffusion settings result in high initial buildup of echo density while low settings result in low initial buildup. After the initial period (controlled by Diffusion), density continues to change at a rate determined by Size. To enhance percussion, use high Diffusion settings. For clearer, more natural vocals, mixes, and music, use low or moderate settings.

Dry/Wet Mix (MIX) – See Mix Controls. For convenience, this control has been placed on both Pages 1 and 2.

Ambience Parameters – Page 2

Spin (SPN)* – Spin is identical to the spin control in the Effects algorithm. It affects the rate of movement of several early reflections. The object of Spin (and Wander) is to continuously alter the timbre of the early reflection parts of the ambient sound. This makes for a more natural sounding ambience. It is not intended to make the position of instruments unstable.

Wander (WAN)* – Wander is identical to the Wander control in the Effects algorithm. It sets the distance in time that the early reflections move.

Pre-delay (PDL) – Pre-delay sets the amount of time, in milliseconds, between the input of the dry signal and the onset of ambience processing.

Input Delay (IND)* – Input Delay controls the amount of delay in the dry signal mixed by the MIX control. Normally, this control should be set to 0. This control may be useful in sound reinforcement scenarios when both delayed dry sound and synthesized reflections are desired.

Dry/Wet Mix – See Mix Controls. For convenience, this control has been placed on both Pages 1 and 2.

Program Descriptions

Note: Text in this section is sourced from the original hardware owner's manual.

Bank 1: Halls

Bank 1: HALLS provides reverberation programs designed to emulate real concert halls. While useful for a wide variety of tasks, they are especially good for traditional and classical music (acoustic music). For popular music (electronic music), they can be used to give multitrack recordings the sense of belonging to the same performance, by putting the whole mix in the context of a real-sounding acoustic space.

BANK 1: HALLS
PROGRAM	DESCRIPTION
1: LARGE HALL	Large Hall emulates the space and ambience of a large concert hall for music that has already been mixed. Acoustically, the sound of this Program resembles a large, relatively square concert hall. The musicians (sound source) are not placed in a stage area at one end, but in the middle of the hall, away from nearby walls and other surfaces that produce reflections. The reverberant pickups are located between the sound source and the walls, and are directed away from the musicians, so they pick up little or no direct energy. The resulting reverberation has the space and ambience of a large hall, but does not color or muddy the direct sound of the recording. Because of the large Spread value used, the sound of the Large Hall is most effective when relatively small amounts of it are mixed with the direct signal. If the reverberation sounds obtrusive or tends to reduce clarity, reduce the Wet signal. Bass Multiply, Reverb Time HF Cutoff, and HF Cutoff have been set to values typical of good concert halls. Size is set at maximum to provide reverberation with medium density and low color. If higher density is desired (for material such as closely-miced percussion) try reducing Size to about 25.
2: LG HALL + STAGE	Large Hall + Stage is similar to Large Hall, except that the musicians (sound source) are located at one end of the hall, and several pre-echoes simulate the effects of a proscenium arch.
3: MEDIUM HALL	Medium Hall is very similar to Large Hall, but smaller.
4: MED HALL + STAGE	Medium Hall + Stage is very similar to Large Hall + Stage, but smaller.
5: SMALL HALL	Small Hall is a smaller version of Medium Hall.
6: SM HALL + STAGE	Small Hall + Stage is a smaller version of Medium Hall + Stage.
7: LARGE CHURCH	Large Church is a big space with the musicians centrally located, and a comparatively long Reverb Time.
8: SMALL CHURCH	Small Church is a smaller version of Program 7.
9: JAZZ HALL	Jazz Hall is a relatively small space with hard bright walls and a short Reverb Time. It emulates a hall full of people, without the noise they make. It has high diffusion, and typically sounds really good with jazz or pop material.
0: AUTO PARK	Auto Park reproduces the sound of an underground parking garage.

Bank 2: Rooms

The Programs in Bank 2 are similar to those in Bank 1, but the spaces they emulate are smaller and more colored. Room Programs are useful for film and video production, as well as classical and popular music recording. If you want to closely match the ambient characteristics of a space, try using the programs found in Bank 9: Ambience.

BANK 2: ROOMS
PROGRAM	DESCRIPTION
1: MUSIC CLUB	Music Club is similar to Jazz Hall, but is smaller and less reverberant (especially at high frequencies).
2: LARGE ROOM	Large Room resembles a good-sized lecture room. It is smaller and more colored than Music Club, and includes comb-filtering and slap echoes.
3: MEDIUM ROOM	Medium Room is a smaller version of Large Room.
4: SMALL ROOM	Small Room is much smaller and less reverberant than the Large and Medium Rooms. It resembles a typical American living room.
5: VERY SM ROOM	Very Small Room has the intimate, close feel of a bedroom or den.
6: LG WOOD ROOM	Large Wood Room is similar to Large Room, but has a lower Bass Multiply setting. It simulates a room with thin wooden paneling, or a cheaply made warehouse or auditorium.
7: SM WOOD ROOM	Small Wood Room is a smaller version of Program 6.
8: LARGE CHAMBER	Large Chamber has few size cues. It produces a sound similar to a good live chamber with non-parallel walls and hard surfaces. Large Chamber can be used wherever a plate would normally be used, but it provides a more subtle acoustic sound.
9: SMALL CHAMBER	Small Chamber is a smaller version of Program 8.
0: SMALL & BRIGHT	Small & Bright adds presence to a sound without adding a lot of obvious reverberation.

Bank 3: Wild Spaces

The Programs in the Wild Spaces bank can best be described as reverberation effects. They produce reverberation, but the results bear little resemblance to anything found in nature. These programs are specifically intended for use in popular and electronic music production, and have no known applications in traditional or classical music.

BANK 3: WILD SPACES
PROGRAM	DESCRIPTION
1: BRICK WALL	Brick Wall, as in running into, rather than sounding similar to. This program can best be described as a subtle gated inverse room, but it's really much more. Unlike most gated reverb effects, this one's usefulness extends well beyond drum sounds. Try it on a wide variety of material.
2: BUCKRAM	Buckram is a variation of Brick Wall. The difference is that Buckram doesn't sound as dense as the Brick Wall, and has a longer reverb tail.
3: BIG BOTTOM	Big Bottom has a relatively short Reverb Time and a much longer Bass reverb time. This produces a big boom from low-frequency material, while leaving the high end more or less untouched. This is useful for adding a big bass and tom drum sound to an existing mix, or to a drum machine with premixed stereo outputs.
4: 10W-40	10W-40 emulates the sound of an oil drum.
5: 20W-50	20W-50 provides a more aggressive oil drum.
6: METALLICA	Metallica produces dense, metallic reverberation with lots of hard echoes. Designed especially for heavy metal.
7: SILICA BEADS	Put a small monitor upside down on top of a snare drum, pour a few thousand beads on top of the drum, and hit the monitor with a couple hundred watts. The result? Not nearly as interesting as the Silica Beads program.
8: INSIDE OUT	Inside Out produces a big echo with a big difference—it's turned inside out. Listen closely to the effect with percussive material.
9: RICOCHET	Ricochet emulates a fairly large space with a dangerous slapback echo.
0: VAROOM	Varoom is a room with no resemblance to any known acoustic space: the sound accelerates as it goes by.

Bank 4: Plates

The Plate programs mimic the sounds of metal plates, with high initial diffusion and a relatively bright, colored sound. Plates are great for percussion. They are designed to be heard as part of the music, mellowing and thickening the initial sound itself. The Plate sound is what most people associate with the so-called "world reverb," but it is useful for all popular music.

BANK 4: PLATES
PROGRAM	DESCRIPTION
1: A PLATE	A Plate is a basic plate program with a very clear sound. It is useful for everything from vocals to percussion.
2: SNARE PLATE	Snare Plate has its HF Cutoff and Reverb Time HF Cutoff parameters set to Full Range, resulting in a rapid buildup in high-frequency information. As its name implies, it has been tuned to provide optimal results with snare drums.
3: SMALL PLATE	Another plate variation. As its name implies, it produces the sound of a smaller plate.
4: THIN PLATE	Another variation on the plate theme.
5: FAT PLATE	Fat Plate produces the sound of a very large, highly-colored plate.
6, 7, 8, 9, 0:	EMPTY PROGRAMS (N/A)

Bank 5: Effects

The Effects programs range from subtle to outrageous, depending on the type of source material used, and how much of the effect is added to the mix. These effects are powerful and complex, so spend some time listening and experimenting to get the best results.

BANK 5: EFFECTS
PROGRAM	DESCRIPTION
1: ILLUSION	Illusion (when added to the mix in relatively small amounts) creates a subtle effect that can enhance a sound without a listener even knowing it is there—one often doesn't notice that it is in use until it is taken away. Illusion is also useful for stereo synthesis and can be effective on complete mixes and as well as on individual tracks. When greater amounts of Illusion are added to the mix, the effect becomes more obvious, and some interesting phasing and panning become audible. The phasing is strong enough that spatial panning results, with some of the sound swirling around and even behind the listener.
2: SURFIN	Surfin produces flanging when fed with percussive material. Try it on everything from guitars to vocals and percussion.
3: VOC WHISPERS	Vocal Whispers is a delay-based effect designed to enhance vocals.
4: DOUBLER	Doubler is a doubler with a difference: The diffusion used on the delay lines thickens percussive sounds considerably. Use this program for fattening up uninteresting, dull sounds.
5: BACK SLAP	Back Slap provides a strong, fast slapback effect.
6: REBOUND	Throw something at this one and it comes rippling right back at you. Try it on vocals with short, explosive syllables (like in certain styles of rap).
7: GIT IT WET	It's Saturday afternoon in the guitar section of a large music store. Just add the metal guitar riffs and it makes its own sauce.
8: SUDDEN STOP	Sudden Stop produces a sound like a grainy, inverse gated room. Try it on snares, high toms, and cymbals. Note that it is not intended for use on low frequency material. Avoid using it with low toms, kick drums, and bass guitar.
9: IN THE PAST	In the Past is unique in that the dry signal is delayed by 504 ms so that it appears after the build-up of the effects signal. In the Past uses 40 well-diffused voices. The length of the delay is set to 500 ms with a build-up slope of 247.
0: TREMOLO L&R	Tremolo L&R uses four undiffused voices with the delay line and Wander set to 0. Spin controls the rate at which the mono blended signal tremelos between the left and right outputs. Tremolo depends for its effect on having the delay lines slightly out of sync.

Bank 6: Twin Delays

BANK 6: TWIN DELAYS
PROGRAM	DESCRIPTION
1: 4-VOICE DOUBLE	The delay voices are doubled in stereo. When added to dry signal, the effect is crisp, wide, and uncluttered.
2: DOUBLE DELAY	Two voices produce a double effect. The other two provide a longer delay synced with the double. Cross-panned feedback ices the cake.
3: 4-BOUNCE DELAY	The delays bounce between left and right channels while maintaining a very clean signal.
4: PITTER PATTER	The delays are widely spaced with reiterative and cross-panned feedback.
5: X-PAN DOUBLE	Two voices are cross panned through delays. Try using it on stereo background vocals.
6: DELAY CAVE	The name says it all.
7: CIRCLES	This provides long delays with cross-panned feedback to create a "circular" delay effect.
8: THERE & BACK	The delay starts on one channel, slaps to the other, and then returns.
9: SOFT ROLLER	This is a stereo echo with high-frequency cut.
0: ON AND ON	On and On provides long echoes that pan across the center.

Bank 7: Random Halls

Like the programs in Bank 1: HALLS, the Programs in Bank 7: RANDOM HALLS are designed to emulate real concert halls. The random elements in these programs provide smoother decays, particularly when Size and Reverb Time are set to higher values.

BANK 7: RANDOM HALLS
PROGRAM	DESCRIPTION
1: LG RAND HALL	Large Random Hall provides the sense of space and ambience of a large concert hall to music which has already been mixed. Acoustically, the sound of this program resembles a large, relatively square concert hall. The musicians (sound source) are not placed in a stage area at one end, but in the middle of the hall, away from nearby walls and other surfaces that produce reflections. The reverberant pickups are located between the sound source and the walls, and are directed away from the musicians, so they pick up little or no direct energy. The resulting reverberation has the space and ambience of a large hall, but does not color or muddy the direct sound of the recording. Because of the large value used for Spread, the sound of the Large Random Hall is most effective when relatively small amounts of it are mixed with the direct signal. If the reverberation sounds obtrusive or tends to reduce clarity, attenuate the Wet Mix. Bass Multiply, Reverb Time HF Cutoff, and HF Cutoff are set to values typical of good concert halls. Size is set at maximum to provide reverberation with medium density and low color. If a higher density is desired (for material such as closely-miked percussion) try reducing Size to about 25.
2: LG RAND HALL & STG	Large Random Hall & Stage is similar to Large Random Hall, except that the musicians (sound source) are located at one end of the hall, and several pre-echoes simulate the effects of a proscenium arch.
3: MEDIUM RAND HALL	Medium Random Hall is very similar to Large Random Hall, but smaller.
4: MED RAND HALL & STG	Med Random Hall & Stage is very similar to Large Random Hall & Stage, but smaller.
5: SM RAND HALL	Small Random Hall is a smaller version of Medium Random Hall.
6: SM RAND HALL & STG	Small Random Hall & Stage is a smaller version of Medium Random Hall & Stage.
7: LG RAND CHURCH	Large Random Church is a big space with the musicians (sound source)centrally located, and uses a comparatively long Reverb Time.
8: SM RAND CHURCH	Small Random Church is a smaller version of Program 7.
9: JAZZ RAND HALL	Jazz Random Hall is a relatively small space with hard bright walls and a short Reverb Time. It emulates a hall full of people, without the noise they make. It has high diffusion, and typically sounds good with jazz or pop material.
0: AUTO PARK RAND	Auto Park Random reproduces the sound of an underground parking garage.

Bank 8: Random Spaces

The Random Spaces Programs are similar to the Programs in Bank 2: ROOMS. Most of these Programs simulate the same room sizes as those in Bank 2. However, the random delay elements make the rooms seem more "live." These elements are useful when you are attempting to simulate atmospheres that are busy, or that have movement. In Program 9: CHORUS ROOM and Program 0: WET & TACKY these elements have been optimized to provide a chorusing effect with spatial qualities.

BANK 8: RANDOM SPACES
PROGRAM	DESCRIPTION
1: MUSIC CLUB RAND	Music Club Random is similar to Jazz Hall, but is smaller and less reverberant,especially at high frequencies.
2: LG RAND ROOM	Large Random Room resembles a good-sized lecture room. It is smaller than Music Club Random and more colored, including comb-filtering and slap echoes.
3: MED RAND ROOM	Medium Random Room is a smaller version of Large Random Room.
4: SM RAND ROOM	Small Random Room is much smaller and less reverberant than the Large and Medium Random Rooms. It resembles a typical American living room.
5: VERY SM ROOM RAND	Very Small Room Random has the intimate, close feel of a bedroom or den.
6: LG CHAMBER RAND	Large Chamber Random has few size cues. It produces a sound similar to a good live chamber with non-parallel walls and hard surfaces. Large Chamber Random can be used wherever a plate would normally be used, but with a more subtle acoustic sound.
7: SM CHAMBER RAND	Small Chamber Random is a smaller version of Program 6.
8: SM & BRIGHT RAND	Small & Bright Random adds presence to a sound without adding a lot of obvious reverberation.
9: CHORUS ROOM RAND	Chorus Room Random emulates a small room with random delay elements that create a subtle chorus effect. This is especially useful for horns, strings, and ensemble vocals.
0: WET & TACKY	Wet & Tacky simulates a larger room with a long reverb time and chorus-like random delay elements. The random delay elements add a shimmer to the reverberant decay.

Bank 9: Ambience

The Programs in Bank 9: AMBIENCE were designed to emulate real ambient spaces typically required for music, jingle, and post-production work.

BANK 9: AMBIENCE
PROGRAM	DESCRIPTION
1: VERY LG AMBIENCE	This resembles a very large ambient space (such as a large shopping mall, parking garage, or warehouse) that has far more "clutter" than a concert hall or performance environment. Lowering the Reverb Level reduces the clutter while maintaining the sense of a very large ambient space.
2: LG AMBIENCE	Large Ambience is similar to Very Large Ambience, but less spacious. This Program provides the ambience of a large symmetrical room.
3: MED AMBIENCE	Medium Ambience is similar to Large Ambience, but smaller—imagine a large courtroom or a lecture room.
4: SM AMBIENCE	Small Ambience is similar to Medium Ambience, but smaller—imagine a typical lobby or small lounge.
5: STRONG AMBIENCE	With Strong Ambience, the room size is larger than Medium Ambience, but the Reverb Level is reduced to create a strong "wash" of ambience with a relatively short decay time.
6: HEAVY AMBIENCE	Heavy Ambience resembles a large rectangular performance space with musicians or performers (sound source) positioned in the middle of the space. Microphone proximity to the sound source can be simulated by adjusting the MIX control.
7: AMBIENT HALL	Ambient Hall provides a fast, dense ambient attack with the reverberant characteristics of Large Random Hall.
8: ANNOUNCER	This Program adds ambient spaciousness to a dry announcer's dialog track.
9: CLOSET	Just as the name implies—it even feels cramped!
0: GATED AMBIENCE	This Program provides a very strong ambience with fast decay—just feed it your favorite snare drum!

Bank 0: Post Ambience

This bank contains a group of programs that are optimized to meet the requirements of post production. Several different algorithms are used in this Bank depending on the Program (the algorithm used in the program is shown in parentheses).

Note: Because the underlying algorithms in Programs within Bank 0 vary, Program changes within Bank 0 are not recommended for automation.

BANK 0: POST AMBIENCE
PROGRAM	DESCRIPTION
1: CAR INTERIOR (Random)	It's a 4-door by default Raise the value of Shape to make it a station wagon. Raise pre-echo levels to close the windows.
2: LIVING ROOM (Reverb)	This Program emulates the average suburban living room.
3: BATHROOM (Reverb)	This Program emulates a larger than average bathroom.
4: KITCHEN (Ambience)	Can you find your disposal sound effect?
5: KELLARS CELL (Random)	No, it's not a padded cell. It is small, deep, and the surfaces are hard.
6: SMALL FOLEY (Ambience)	This program uses the Ambience algorithm for foley applications. Moving Size from its 1.5M setting, causes the ambience bloom to "open up." Varying MIX from 100% wet, presents the 19 ms dry delay into the audio path.
7: WAREHOUSE (Ambience)	It's big—really big!
8: AIRHEAD (Random)	Take a pair of headphones, remove the elements and replace them with diffuser panels spaced 10" from your ears. Now, hold a diffuser panel above your head. This program eliminates the need for you to look as though you are communicating with aliens. Use aggressively!
9: EMPTY PROGRAM	N/A
0: REVERB TAIL (Random)	This Program provides a very warm, very long, but not infinite, reverberant wash that makes for a great fade.

Program Design Tips by Lexicon

Note: Text in this section is sourced from the original hardware owner's manual.

Working with Reverb

In the Lexicon 480L, the Size, Spread, and Shape controls allow adjustment of the buildup and decay of the initial part of the reverberation envelope. Shape controls the shape of the envelope, while Spread and Size set the time over which this shape is active. In the Hall and Room programs, Size acts as a master control for the apparent size of the space being created by the Lexicon 480L. Both Spread and Reverb Time vary linearly with the Size setting, so the maximum Reverb Time and Spread require high Size settings. To find an appropriate reverb for your program material, start with a Program with a similar sound to what you want. Adjusting Size is often sufficient to arrive at the exact sound you want. Once you set Size, use Spread and Shape to adjust the shape and duration of the initial reverb envelope, which together provide the principal sonic impression of room size.

When Shape is set to a minimum, the reverberation envelope builds up very quickly to a maximum amplitude, and then dies away quickly at a smooth rate. This envelope is characteristic of small chambers and plates. There are few (if any) size cues in this envelope, so it is ineffective for ambience. With this Shape setting, Spread has no effect. The density is set by the Size control, and the rate of decay is set by Reverb Time. This reverberation envelope is typical of many popular digital reverbs of the 1980s and 90s.

As Shape is raised to 32—about an eighth of the way up on the LARC slider—the initial sharp attack of the reverberation is reduced, and reverberation builds more slowly. The envelope then sustains briefly before it begins to die away at the rate set by Reverb Time. Spread has little or no effect on this shape.

When Shape is at 64—about a quarter of the way up on the LARC slider—buildup is even slower and the sustain is longer. Now Spread affects the length of both the buildup and the sustain. As a rough estimate, the time value indicated by the Spread display (in milliseconds) approximates the duration of sustain.

As Shape is raised further, the buildup and sustain remain similar, but now a secondary sustain appears in the envelope, at a lower level than the first. This secondary plateau simulates a very diffused reflection off the back wall of a hall. This creates a sense of size and space. This reflection becomes stronger and stronger, reaching an optimal loudness at a Shape value of about 128—about halfway up on the LARC slider.

The highest Shape settings are typically used for effects. Near the top of the scale the back-wall reflection becomes stronger than the earlier part of the envelope, resulting in an inverse sound.

Note that unless you have a short Reverb Time, none of these shape effects are audible. Generally, Reverb Time should be set to a value of about 1.2 seconds for small rooms and up to 2.4 seconds or so for halls. Size should also be set to a value appropriate to the desired hall size (note, however, that small sizes color the reverberation). For example, .15 meters emulates a very small room, while 38 meters emulates a large hall.

Working with Effects

The Effects algorithm in the Lexicon 480L uses randomly varying time delays. Within this general class a great variety of natural acoustical effects are possible, such as the effect of a sound in a forest, a drum cage, or reflections from audiences, walls, and rooms. Most of these natural effects are quite complex and are difficult or impossible to obtain using a delay line with fixed taps. The sound of slightly moving sources, or several musicians, cannot be emulated with fixed time delays and only one input. Simple clusters of delays that may be interesting when first heard can quickly become annoying when the timbre they create applies in exactly the same way to every sound source. With the Effects algorithm in the Lexicon 480L, the delay pattern and the resulting timbre is never constant long enough to become boring.

The Lexicon 480L uses up to 40 voices, 20 on each input channel, for chorus effects. The unique way in which the 40-voice effects algorithm processes these voices provides a chorus that does not change pitch. This is extremely useful on material such as grand piano, where detuning from standard chorusing yields unacceptable results.

Delay times can be combined in phase or out-of-phase to change the timbre of the overall effect.

For some effects 40 voices is not enough, for example, to simulate the irregular surfaces of a drum cage, many trees in a forest, or many cars in a parking lot. Use the Diffusion control to expand each of the 40 voices into a dense cluster of reflections.

Use the High-Pass Filter (12 dB/octave slope) to change the quality of emulated reflective surfaces. For example, some reflective surfaces (such as people or music stands) reflect mostly high frequencies.

The time-varying taps can be adjusted to lie on top of each other, which can result in interesting phasing and flanging effects. Phasing can be delayed using the Pre-delay, and then made into echoes with Feedback, for special effects. Additionally, using the Input Delay control, the effect can be made to precede the source sound—so, for example, a high frequency brilliant edge can be added to a cymbal crash before the crash is struck, and the amount of the edge and its tone quality will be different with every strike.

Working with Random Reverb

Random Hall is similar to the standard Hall program in the Lexicon 480L, but with the addition of random delay elements. This results in the reduction of long-decays in reverberation, which makes the decay sound less metallic and reduces the apparent reverb time. The apparent Reverb Time of Random Hall is much closer to the value indicated by the display than with the standard Hall. The random elements also improve the steady-state timbre of the processing. The amount of coloration is significantly less than the standard Reverb programs, especially with small Spread settings. Additionally, the steepness of the filter in the Decay control has been increased. You may need to set this control higher for Random Programs than you would with the standard Reverb Programs.

The Random Hall and Ambience algorithms are particularly useful in sound reinforcement—it can improve the existing acoustics of a hall by adding lateral reflections—and maybe some delayed dry signal—from speakers hidden around the listening space. The fact that many of the reflections are time-varying means that it is important to increase the signal gain before feedback. Ambience incorporates both a Pre-Delay and an Input Delay that can be set to further enhance this effect.

Lexicon 480L Reverb & Effects hardware

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