Lexicon CP-1 User Manual download pdf (Page 44)

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Page 40

In a well-damped room with loudspeakers mounted on stands away from

the walls, the Panorama effect can be very exciting, giving the closest

possible approximation to the actual hall used for the recording. With true

binaural recordings (made with a modern dummy head with accurate

external ears and proper equalization) the playback can be uncannily

realistic. And, unlike previous versions of this technique, the Panorama

program adds virtually no coloration to the original signal.

Panorama is used in two ways in the CP-1. First, there are the three

Panorama programs, designed to reproduce as closely as possible the

sound actually recorded by the engineer. If the recording has good natural

ambience, Panorama will spread that ambience around the listener, giving

a true impression of the original hall.

The Normal and Wide versions of the Panorama program differ primarily

in their handling of low-frequency signals. Normal is designed for record-

ings whose bass energy is evenly distributed across the stereo stage; Wide

is designed for recordings with centered bass. The only other difference

between these two programs is in their initial Effect Level. If you need more

bass from Panorama Normal, use Wide and reduce the Effect Level.

Conversely, if Panorama Wide is too bass-heavy, use Normal and increase

the Effect Level.

The Low Frequency Width control provides another important adjustment

to the bass in Panorama. This control is a simple implementation of a Spatial

Equalizer (a function which Alan Blumlein referred to as a “shuffler”). One

of the ways ordinary stereo excites SI is through the out-of-phase low

frequency energy in the recording. The Low Frequency Width control

allows the amount of out-of-phase bass in a recording to be adjusted. Even

when the Effect level of the Panorama control is all the way down, the Low

Frequency Width control is active, allowing the user to experiment with this

property of sound.

Recording engineers have only recently become aware of Spatial Equaliza-

tion

3,4

and many older recordings are greatly improved by increasing the

low frequency width a little. When the rest of the Panorama program is not

used (by turning down the Effect control) just turning LF Width up a bit can

make ordinary recordings quite spacious. The user should exercise caution,

however, since some recordings (such as those on Telarc) use microphone

techniques which already contain sufficient out-of-phase low frequency

energy.

The crosstalk cancellation in Panorama increases the low frequency width

as well as the high frequency width of a recording. Recordings in which the

engineer deliberately added large amounts of low frequency width will

sound too wide and phasey when played with either Panorama Normal or

Panorama Wide. Negative values of the Low Frequency Width parameter

can bring the low frequencies back in line with the higher frequencies and

make the playback with Panorama more effective. The Binaural setting of

When the front speakers are close

together, the Panorama Effect is less

precise but more dramatic, and it

works over a larger area.

Panorama can be used with music,

films, or from within the Reverb and

Ambience programs to simulate side

speakers if the listener is inside the

effective area between loudspeakers.

Theory

and

Design

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Lexicon CP-1 User Manual Page 44

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