Lexicon PCM 42 - 4.1.2 Double Tracking; DOUBLE TRACKING SETTINGS

CLETRALE DAE
FEEDEACK
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SELAODE
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delay
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DELAY VCO-SWEEP
Figure 4.5-c — MULTI-ECHO
More obvious echoes and less ambient effect than with the settings of Fig. 4.5-b. For more repeats, increase the
FEEDBACK: for more prominent echoes, advance OUTPUT MIX.
INPUT
VCCE SWEEP
Figure 4.5-d — LONG ECHO
For layering effects, the delayed outputs should be made equal to the direct sound by centering the OUTPUT MIX. In-
creasing the FEEDBACK will increase the number of layers. These settings only begin to show the layering of which
the PCM 42 is capable; see Section 4.2 for further information.
Longer delay times provide a more distinct repetition
of the source. The PCM 42 has 2400 milliseconds of
delay time available in standard configuration, and up to
4800 milliseconds with the memory aption. This cor-
responds to a reflecting surface a half a mile away!
4.1.2 Double Tracking
ORLAY X2 LEVEL FEEDBACK, PUTER
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Figure 4.5-e — DOUBLE TRACKING
Doubling is most effective in stereo; feed one channel from the DIRECT output, the other from the MAIN output, and
turn the OUTPUT MIX all the way to DELAY. (See Fig. 4.3.)
Doubling, also called automatic double tracking or
chorusing, combines original and delayed sound in
order to make a single performer sound like two or
more. Doubling was originally done with a multitrack
tape recorder by having a performer overdub a perfor-
mance on two or more tracks; when the takes are com-
bined, normal pitch and timing variations between the
“identical” performances provide enhancement and
thickening. The PCM 42 can of course provide doubling
during a live performance — something not practical
with tape recorded effects.
Doubling provides the most convincing effect in
stereo mode: use the DIRECT and MAIN outputs to
feed different tape tracks, console inputs or
amplifier/speaker systems, as in Fig. 4.3. If the effect is
Recirculating the delayed signal with the FEEDBACK
control provides multiple repeats, suggesting an echo-
canyon effect. Large amounts of feedback give an ar-
tificial ‘infinite layering’ effect at long delays. (See
Section 4.2.)
MANUAL DEPTH WAWEFORM RATE
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VCO. SWEEP
done in mono, the amount of delayed sound should not
exceed the amount of direct sound in the output mix:
set the OUTPUT MIX control between “INPUT” and
“= Delay times in the range of 10 to 60 ms are useful.
A small amount of VCO modulation should be used: set
WAVEFORM to “SINE or mix ENVELOPE
FOLLOWER and SINE, then bring DEPTH up very
slowly until there is a noticeable vibrato in the output.
Back off again until the vibrato subsides to a subtle
enhancement, then adjust RATE for the desired effect.
Short doubling times, coupled with some feedback
and somewhat exaggerated sweep provide the ‘rotary
speaker’ effect, which is more exaggerated than simple
doubling.