Each of these cards addresses different aspects and abilities within the PCM-80. While there are similarities between them, the differences are much more pronounced. The Dual FX and Pitch FX cards offer additional algorithms while Gershin and Rosenthal are presets only. New algorithms can be the fountain-of-youth for any overworked signal processor (or overworked engineer). Also, the Dual FX card boasts 250 presets whereas the others have 100. All cards share the same basic reverbs, but not all cards share the same multi-effects.

Dual FX

In this card, each of the 25 algorithms contain two independent effects blocks. These can be used separately or at the same time. One of five stereo reverbs are available within the reverb block and one of five stereo multi-effects are in the other block. Multi-effects are comprised of four voices as are reverb blocks (same as the standard PCM-80 reverbs). The routing and configuration of the Dual FX card is provided by a dedicated submixer in each algorithm. For example, reverbs can be fed into the multi-effects, multi-effects back into reverbs or both can run in parallel. Also, any PCM-80 patch source can control submixer parameters.

The 250 presets cover a wide range of material. Some effects like “4PoleRvb HP” are designed for specific applications. By using a 24db/octave highpass filter, this preset imparts a chamber reverb only on the upper frequencies of the stereo signal. Other presets offer simulations of stereo tunnels, 15 ips tape echoes, parking garages and outdoor ambience. However, my favorites are the true dual effects patches. For example, in “Flange+Ghost,” the left input feeds a stereo flanger and the right input feeds a reverse stereo reverb. On “Bounce+Rvb1,” the left input feeds a triplet echo that bounces between the left and right channels. And the right input is routed into a stereo chamber reverb.

Granted, not everything in Dual FX will be everyone’s cup of tea; there are some pretty unique effects (try “Weird,” “Weirder” or “Wierdest”). But with 250 presets, there are plenty of choices available.

Pitch FX

When the PCM-80 hit the streets a few years ago the response was the same: “It’s a great unit but there’s no pitch shifting.” With the Pitch FX card, that can be laid to rest. This card offers six new pitch shifting algorithms. Like the Dual FX card, there are two independent effects blocks. Five of the six algorithms utilize one of three stereo reverbs. These are combined with one of three stereo pitch blocks. The remaining algorithm has a four voice pitch shifter (the other algorithms are one and two voice) combined with a Concert Hall reverb. Pitch is adjustable up or down over a three octave range with a resolution of 1 cent. Submixer options are also available.

The Pitch FX card does not do gender-bending or address formants like other new processors. But what it provides are very solid and convincing algorithms. Presets include simple detunings, chorusing and standard harmonic intervals (like major and minor triads, thirds, fourths, octaves, etc.). Strong patches are the sci-fi presets like “Stargate’, and “White Hole” These bend the sound into large and beautiful spatial washes of delayed pitched echoes. Also, this card is easy to use. Initially, I found myself designing my own programs much more than surfing the existing ones.

Lexicon has recently announced a new companion card to Pitch FX: Harmony FX. This one will provide 100 presets of “Intelligent” pitch shifting with Diatonic Harmonization and Automatic Pitch Correction. We’ll look forward to this when it becomes available.

Scott Martin Gershin Post FX

Scott Martin Gershin works for Soundelux Media Labs. This company is dedicated to creating illusions with sound for film and interactive entertainment. Yes, this card should be killer - my kind of stuff. Unfortunately, I found the results to be rather inconsistent. The first twenty or so presets are designed to make the PCM 80 sound like a bad telephone speaker. These include “PhoneSqueez”,”SpeakerPhone”, “Radio Mic” and “TV Speaker.” Also available are several patches to simulate bad microphone cables. If you need this kind of stuff, it is all here, and keep in mind that it is designed to sound bad; otherwise the “bypass” button sounds better.

Gershin likes to create sounds with long predelayed reverbs and delayed voicings. This creates a slap back echo type of effect. And it works very well on many of the patches. Some of the interesting presets include “SweeperSaw” and “Strange FX.” These sounds utilize an interesting wah-type of filter sweep. Also useful are several tap-tempo presets. These can be used for setting delay times. However, the strongest in the bunch are seven effects Gershin calls Cyber FX. Within this category, the two “CyberFdbak” patches are exceptional! These impart a shimmering metallic resonance underneath the source material. This card is a mixed bag with the main focus being reverbs and delays. There’s not much in the way of chorusing and flanging.

David Rosenthal Music FX

The first preset in this package is “BrtKybdHall”. Rosenthal used this on one of Billy Joel’s tours. It is a fine all-purpose reverb, which is what this set is all about. What we have is a conservative collection of effects that will be useful in everyday applications.

Rosenthal divides the presets into numerous categories each containing nine effects. These include presets for keyboards, guitars/bass, drums, vocals, modulation effects, delays, etc. The problem with these kinds of categories is that they are generalizations at best. For example, the liner notes describe “Gtr Chamber” as being optimized for fattening up guitar sounds. Hey, it sure sounded fine on vocal tracks! And surprisingly, the vocal effects category didn’t focus on any vocal-type reverbs but rather on delayed effects.

This card has some fine chorusing and flanging - very rich and buttery. Also excellent is a patch called “The Abyss.” This is one of the biggest reverbs I have heard in a while. “Up and Down LFO” takes the sound and stretches it like a rubber band. “Dyna Pan” is an autopanner that begins as the input signal rises. There are also a bunch of good rhythmic delays.

This card could best be described as bread-and-butter effects. There are no real knockouts, but the usability ratio is high. We can all use quality effects in our arsenal of sounds and this card will help.

Summary

Since the Dual FX and Pitch FX cards offer additional algorithms, Lexicon was smart to provide extensive documentation. There are detailed diagrams showing the signal flow and parameter matrix for each algorithm. In addition, these User Guides are excellent companion pieces to the original PCM-80 manual. The Gershin and Rosenthal cards merely have a patch list with short descriptions of each preset. However, this is adequate for these two cards.

Like most things in life, the choice of digital effects is a personal decision. And one person’s delight is another’s agony. But one thing is true: anyone with a PCM-80 should consider these cards. Which one should you get? The answer is simple: get them all. Then pick the best presets from each card and save them into your own personal bank of favorite effects. Guaranteed the results will be great!