AudioMedia - October 2008 - (Page 32)

Lexicon | PCM 96 Lexicon is very serious about DAW integration of the PCM – an attempt that most high-end hardware and synth manufacturers have been rather unsuccessful in achieving. Lexicon’s ‘Hardware Plug-In’ feature is a Mac-only application supporting Audio Units and VST formats on most major DAW applications, also under RTAS using an included FXpansion wrapper on the installer disc. Now a reverb unit with such a legacy behind it that is sporting FireWirefor streaming audio to and from your DAW has me very nervous. Following the instructions in the 'Read Me' file, I downloaded the latest version of the Lexicon Pro software ( . . as of this review) and installed it on the Quad-Core Mac Pro running my studio. After a restart I launched Digital Performer . Side By Side AM 26|02|2008 14:45 Plug M e I nto Lexicon! “I have become very accustomed to the certain quality and flavour that Lexicon is known for. That flavour is very much alive and lurking in the heart of the PCM96.” and opened a recent mix session. I created an aux track and pulled down my plug-in list only to see the Lexicon name – strange and exciting at the same time. After selecting ‘Lexicon Halls’ in anticipation it crashed my entire DAW. ”Well I guess they are still working the bugs out”, I optimistically say to myself. Since MOTU’s Digital Performer is often the last kid on the block to be tested and approved by a plug-in manufacturer I went ahead and tried it in Bias’ Peak Pro and it too crashed. Now I am sad but still hopeful. After checking the ‘Read Me’ file again I found an overlooked ‘Update Your PCM Firmware’ paragraph, and followed the instructions to update the unit (a -minute procedure – time for a coffee). So I launched Digital Performer and tried the same thing. I got a progress Side 1 wheel, and the PCM switched to displaying ‘Application Lockout’ – Yeah! Up comes the Lexicon PCM plug-in window (also a very sexy interface). Here (without reading the manual), I could easily navigate and load any of , presets and tweak all parameters (more than you could possibly imagine) with a slider laden interface not unlike the classic LARC remote control for the L – only much nicer. Working this way via Firewire (on my Quad-Core GHz Mac) the latency was almost non-existent Rock on Lexicon! Another major pat on the back for Lexicon is the ability to use the plug-in in ‘Control and Audio’ or ‘Control Only’ mode (any other manufacturers reading, please take note of this ability). This remote control can also be performed over the Ethernet connection for better stability and longer cable runs. Regardless of your connection, the ability to remotely control and edit the PCM from your DAW is a huge benefit and will tempt any engineer. sound engineering RM8 TUBE MODULES SIDE-BY-SIDE FRONT TO BACK Both as a plug-in in my DAW and connected via AES/EBU, the detail and quality of the reverb was amazing – not just regular amazing (“that was an amazing movie we just saw”), but actually AMAZING. Having armed myself with Lexicon reverb units for longer than I would care to divulge, I have become very accustomed to the certain quality and flavour that Lexicon is known for. That flavour is very much alive and lurking in the heart of the PCM . Though there certainly have been varying levels of quality within the product line over the years, we really need to be focusing any comparisons on the professional line of classic Lexicon reverb units. Studio standards like the , L, and the upper PCM series are the units to aspire to here. I am very familiar with the L sound, but without one sitting next to the PCM , suggesting that we are sounding as good or better is not easy to say. The L has long been the stuff of dreams and has been used on countless gorgeous records and films. Just starting with the ’s basic Hall I am hearing a sound very reminiscent of some experiences on a Hollywood soundstage film mix – I sense the L is coming to life here but I am trying not to be persuaded by the dark side of the honeymoon force. Saying that the PCM is performing L tricks in a product review is risky business. However a timely forum contribution of some comparison audio files between L and PCM Halls got a unanimous vote for the PCM as the 'best and most classic sounding'. I feel that we may be seeing a few Ls in the classifieds soon. You Had M e At ‘Hall ’ - CM1A, EM1A, PM1A & RM8 now shipping LYDKRAFT www.tube-tech.com For starters, the PCM can be divided in to up to four virtual machines, each of which can run its own algorithm. Even though the PCM can only use up to two physical inputs and outputs at a time, this lets you route signals through a variety of algorithm and signal flow combinations. However, the software plug-in lets the PCM use up to four inputs and outputs when connected via FireWire – as such those configurations are only accessible in the software plug-in. Choices include: Single Mono In Stereo Out, Single Stereo, Dual Mono, Cascade Stereo, Cascade Mono, Cascade Mono to Stereo, and Combined Stereo Mono In. This may sound a bit complex but the applications of this design are rather brilliant. > R eflec tions 32 AUDIO MEDIA OCTOBER 2008 http://www.tube-tech.com http://www.tube-tech.com

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Audio Media - October 2008 Content Recording Post Broadcast Geofocus:�Portugal &�Spain What's Up UK IBC Report Microtech Geffel UM 930 Steinberg Cubase 4.5 ADK�Hamburg &�Vienna Final Cut: House of Fallen Lexicon PCM96 Review The Conch Awards Feature Sound Devices 788T Review Lexicon PCM96 Allen &�Heath Zed R16 Power: Fact & Fiction, PT.2 Product Sampler Plug-ins Video Guide AMSR Plasa Report Audio Technica IEM�M3 Rushes Live Mixing Techniques:�Bruce Johnston Drawmer 4x4 Kickbox

AudioMedia - October 2008

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