Foe over a decade, the 480L Digital Effects System has been the standard by which all other signal processors are measured. The 480L remains a clear product of choice among top producers for the most discerning clients.

Extended information

Standard Features
Modular multi-machine architecture- Capable of simultaneous usage by two LARCs (Lexicon Alphanumeric Remote Control) sharing a single mainframe.

The most realistic reverb available and stunning effects that maintain the harmonic integrity of the incoming signal through to the output.

With resident software, the 480L has 21 Banks of 10 Presets each
containing the widest variety available of premier quality algorithms,
including the classic 480 Halls, and Rooms, Brick Wall, Silica Beads,and 40 Voice Effects (like the classic Vocal Whispers), Digital Compression, Stereo Adjust mastering, 3 second stereo or 6 second mono Sampler, Prime Time III, Mix Finish, Doppler and Pitch Effects, Plates, Random Halls, Rooms and Ambience (the smallest room size now extends down to 2 square meters).

The optional Classic Cart provides the sought after sounds of Lexicon's 224XL, including the Concert Hall, Rich Plate, 6-Voice Chorus and Multiband Delays algorithms.

2-in/4-out stereo processing, the 480 is capable of running two uncompromised stereo programs in Cascade or two mono in/stereo out in the Split Modes

The pervasive and powerful LARC (Lexicon Alphanumeric Remote
Control) is standard, enabling the mainframe to be located in a machine room.

Full Dynamic MIDI implementation allows for simple program change
messages or automated effects when using a SysEx recording device.
MIDI Bulk Dumps provide instant recall via consoles capable of SysEx
automation. Innovation Is Our Only Constant
Applying creativity, research, and technology to advance the art and the science of digital audio is the driving passion at Lexicon. Since introducing the world's first digital audio product in 1971, we have continually enhanced digital technology in the audio world.

The 480L Digital Effects System embodies Lexicon's relentless pursuit of the state-of-the-art. Top producers and engineers the world over rely upon its extensive sonic capabilities and processing power. Since its inception, the 480L has been used on more gold and platinum recordings, as well as top-grossing film soundtracks, than any other system of its kind. Moreover, Lexicon processing is used by over 80% of all record companies for mixing and mastering.

Good Isn't Good Enough Anymore
The advent of CD and Laserdisc, DAT, stereo TV, hi-fi VCR's, DolbyŸ and THXŸ decoders for home theater, and emerging technologies like HDTV, have forever changed our expectations of sonic quality. Today, more than ever, audiences are scrutinizing audio quality.

To meet higher levels of audio sophistication, the recording and post-production industries have increasingly become digital environments. More stringent standards for audio quality are demanded of every link in the signal chain. Reverb and effects are no exception.

Recent technological advances have spawned a proliferation of inexpensive units with sounds and performance that would have been more than adequate a few years ago. Although this new technology has helped improve the specifications of these units, something is clearly missing when they try to recreate spaces. Lexicon's on-going research and collective experience has helped develop software algorithms and complimentary hardware platforms which provide a more accurate interpretation of reality.

The 480L is considerably more than the worldÆs finest digital reverb. Its processing tools are unmatched by any other effects device in the world. Its modular hardware provides LexiconÆs engineers the freedom to write software on a new level of sophistication and complexity. This has allowed us to create programs tailored for a wide range of recording, mixing, and mastering applications. After all, why would a studio invest in a processor whose limitations become obvious after only one or two projects?

Furthermore, its direct digital interface allows the 480L to integrate seamlessly into all digital production and mastering. Analog performance is also exceptional. With 98 dB dynamic range and 20 Hz to 20 kHz frequency response in the "wet" signal path, the 480L processes without raising the noise floor, even on a digital master.

Multi-Machine Architecture
The 480L can run two entirely different programs simultaneously, without compromise, in three configurations. Mono Split provides independent mono inputs with stereo outputs. Stereo Split processes a stereo input signal in two different ways, with separate outputs for each Machine. Cascade digitally connects the output of one program to the input of the other, with digital wet/dry mixing. ItÆs important to note that you can use the 480L as two completely independent processors, each with a separate LARC controller. Thus, your "A" room can do drum replacement, while your "B" room runs a reverb program; each has full access to the entire menu of programs.

All of the programs in the 480L can be controlled with Dynamic MIDŸ, Lexicon's proprietary system of MIDI program and parameter control. For even more automation flexibility, MIDI SysEx control is incorporated.

LARC
More than any other element of the 480L Digital Effects System, the LARC (Lexicon Alphanumeric Remote Console) is the systemÆs identity. In fact, in a majority of the most acclaimed facilities around the world, you'll find a LARC.

The LARC provides easy access to all the 480L's functions and parameters, and its lightweight design allows you to sit it on top of a console or hold it in your hand. The supple, thin cable provides a direct link with the mainframe from up to 1,000 feet away. Large alphanumeric LED displays provide pertinent information at a glance and can be read at almost any viewing angle; a must in the high-pressure environment of your critical mixes.

Most significantly, the LARC allows you to control all of your most important processing parameters without moving from the ideal monitoring position.

With one LARC you can access both of the 480L's processors or "Machines." You can even control a 480L and a 224XL from a single LARC (the 224XL is addressed as the third machine). With two LARCs, separate rooms can independently access one of the 480L's machines.

Ambience, Reverberation and Acoustics
As ubiquitous as Lexicon digital processers are, we haven't ceased investigating the complex phenomena of recreating and simulating true-to-life acoustics. The 480L presents a new perspective on spatial simulation with programs that impart stunning clarity and realism. More than just "reverberation", these programs give you an unprecedented level of creative and problem-solving tools. With the 480L, you can contour both ambience and reverberance in ways never before dreamed possible. Our most recent research into the physics of acoustics is embodied in our new Random Hall algorithm. LexiconÆs analysis of real halls have dispelled the myths of pre-delay and early reflections. In actual spaces, there is no empty interval between the direct sound's arrival and maximum reverb density to be filled-in by early reflections. Instead, ambience builds gradually with diffuse and complex reflections which do not color the timbre of the sound the way that fixed delay taps do.

Random Hall's unique Size, Shape and Spread parameters control the build-up and decay of the ambient envelope. Size determines how large the environment will be. Shape controls the contour of the ambient build-up. A Low Shape value enables the ambience to build instantly to maximum density. This produces the sound of chambers, plates as well as the most popular digital reverbs. As Shape is raised to higher values, the ambience begins to build more slowly and sustains briefly before ramping down. A higher Shape value introduces a secondary sustain û like that of an ADSR curve. At the highest setting, Shape provides an inverse envelope for effects and gating.

The Spread parameter controls the duration of Shape, lengthening the build-up and sustain. The interaction of these controls is used to simulate depth of ambience and diffuse reflections from the rear wall of a large hall.

Random Hall includes precision filters for spectrally controlling reverberation time and its unique Spin and Wander parameters add random movement to the entire algorithm, insuring silky smooth reverberant decay.

We have also included an Infinite RT function as part of the reverberation time parameter. With this control, you can create an infinite passage and then fade it through reverberation into another musical passage!

Our latest software developments for the 480L include every iteration of Lexicon spatial algorithms. Over 60 spatial enhancement programs are provided, assuring that you'll find a "room" to your liking.

Ambience Matching Made Simple
While our Reverberation and Plate programs are well suited for musical production, we realized that something different is required for film and post-production. Hence, we created our latest ambience algorithm, Random Ambience. It permits accurate matching of recorded ambience and allows new elements to be blended seamlessly. You can realistically place sound effects, dialogue, even musical instruments or recorded music at different depths and panning within the "space". Using your console's automation, dynamic movement in the space is easy to create and repeat û extremely important when you want Foley effects to match the scenes. More important, it is simple and fast to operate.

For musical applications, Ambience provides a new dynamic for room simulations. With recordings made with closely-spaced microphones, a sensation of uniform depth and blending of instruments can now be achieved.

Wild Spaces; Beyond Reality
Using the Effects mode in the Hall and Room programs unleashes a new and different ambience and reverberance effects generator. You can look at the 480L's exclusive Spread, Shape, and Size parameters as another way to create spatial envelopes. Adjust the envelope for fast attack and release and you have gated effects. Open it up for slow attack and ramped release to produce inverse ambience or reverb effects. Add cross-panned pre-echoes of up to 500 milliseconds and you create unique sounds that only the 480L can produce. Want a 1 meter room with a gated ambient envelope, 5.29 seconds of reverb decay and cross-panned 125 millisecond delays? Only with a 480L can you achieve this unique sounding "space".

Sampling Made Practical
With 18-bit analog and digital I/O, the 480LÆs sampler is one of the quietest and most versatile digital recorders available. The 48 kHz or 44.1 kHz sampling rates have been chosen with real-world interfacing in mind. Dual 1.5 second Drum Replace samplers provide rate change that can be mapped to MIDI note values. Audio threshold triggered recording and playback is provided, head and tail times can be edited to sample accuracy, and the 300 ´s trigger time insures correct placement.

The 480L's dual machine architecture, combined with on-board digital wet/dry mixing allows you to add reverb or effects in one machine, and then sample it in the other. Or, you can capture a sound effect on one machine, rate change it down to add "beef", and then process it through the Doppler program on the other machine to match a picture and action.

Mono 6 second and Stereo 3 second programs are included and the SME (Sampling Memory Expander) option provides 12 second stereo or 24 second mono sampling times with forward and reverse variable-rate playback and overdub capability.

Mastering With The 480L
A variety of programs are included in the 480L that are specifically designed for the requirements of digital mastering and audio transfer.

Stereo Adjust
The Stereo Adjust program is a two-channel digital mixer that provides high-precision level, stereo balance, and shelving equalization adjustment in the digital domain. Also included are unique controls like Rotation for binaural panning, Spatial Equalization that can add or subtract stereo width, DC Offset Nulling, and a Shuffler Boost for binaural recording. Stereo Adjust also enables M/S decoding in the digital domain.

PONS
The new PONS Adjust (Psychoacoustically Optimized Noise Shaping) program features many of the Stereo Adjust parameters and includes shaped dither noise that can improve the S/N ratio of 16-bit recordings by 6 dB.

Digital Parametric EQ
Both 2-band stereo and 4-band mono Parametric EQ programs are provided. The frequency of each band is adjustable between 20 Hz and 20 kHz, and the Q is adjustable between 0.5 and 7. A notch mode with a Q of 32 is also provided for low frequencies. Hi and Low shelving is also available.

Compressor
The 480L's Digital Compressor is designed specifically for digital mastering and provides an increase in gain below the threshold, maintaining unity peak above the threshold. This means that peak information can remain unaltered while overall loudness is increased!

With the 480L, you can easily combine these programs to meet the requirements of any project. Combine Stereo or PONS Adjust with Stereo Parametric EQ for a mixer with shelving and parametric EQ. For gain and shelving EQ touch-up, add the Compressor. Add Ambience or Reverberation to tailor room space and optimize signal level û the choice is yours.

Adding It All Up
The 480L features nearly 200 programs between the internal ones and the Classic Cart. We've also provided 50 internal storage registers for your own effects creations. In addition, the 480L's Nonvolatile RAM Memory Cartridges allow you to store and transport up to 50 personal setups in addition to the internal registers. RAM carts can also be used to build and store libraries of 480L setups like: "Dopplers", "Classical", "Jazz", "Metal - or the carts can be stored with master tapes to save the session's effects settings.