Lexicon 300L.. would you buy one?

[lemix]

Hi there,
It kills me, but I don't remember when I've bought mine..
Mid 90-ies ??
Anyhow..the basic model is M300 and the "L" version is LARC enabled. I do love that box for the signature Lexicon sound. Nor sure what the current used price is..I'd estimate $ 1250-$ 2000.
There was a software update for it...again, I don't remember when.
If you like the Lex type sounds, this unit will not disappoint.
The digital IO is only 20 bit capable, and this info isn't widely known.
Lexicon product page

good luck,

[zakco]

Originally Posted by lemix

The digital IO is only 20 bit capable, and this info isn't widely known.

Interesting. does it dither on the inputs when using the digital i/o or do you need to set this up on the send in your DAW?

-Z-

[lemix]

Originally Posted by zakco

Interesting. does it dither on the inputs when using the digital i/o or do you need to set this up on the send in your DAW?

-Z-

I remember having a longish correspondence with their support people a while back about this.
It only puts 20 bits through, but has an algo ( think it called "PONG"..or similar) which can dither the digital outs to 16 bit.
So..your 24bit digital input would be truncated !
I have it hooked up analog only.

andrew

[max cooper]

yes, $1200 seems like the going rate.

re: the 20-bit thing, I've noticed that better digital (better converters, bitrate, etc.) seems to make nicer reverb tails.

So would that make it a silly idea to invest in 20-bit technology since I'm ITB?

[RKrizman]

I love mine. I run it analog.

-R

[HudHudson]

Max, if you can find ANY Lexi 300 for $1200, buy it fast. A non-LARC 300 generally sells for $1800-2000 and the 300L with LARC about $2500 (the 300L has no controls on the front panel...some 300s have a V 3.5L EPROM but can be front-panel controlled without a LARC).

[max cooper]

I think I'd definitely want the LARC. What do you guys think?

Is the general consensus that it's gonna be fine to use the analog interface with my DAW?

The one I used back when was in a totally analog studio, and so, of course, I was using the internal conversion and I thought it was good.

I suppose the thing to do is buy one for a decent enough price that if it doesn't make my dreams come true, I could get back out of it.

[PhilE]

I never had any problems - mixing otb on a console from PT.
I love the 300 its a great box and really miss one being around in my new room.

[Jim Williams]

I was loaned one for several months in 1990 or so, I liked it and it sounded pretty good. I have one in the shop now and decided to give it another go with it.

I'm pretty disappointed with it. Seems all the short patches have this digital metallic overtone I sometimes hear with their cheaper stuffand some Japanese reverbs. It's not very musical and doesn't hide in the mix very well. No way I can create a sellable room with it.

I was comparing it to my LXP-15 II and the LXP sounds more natural. The 224XL is in another class. All of these are modified, hot-rodded versions so it's the cream vs the cream.

So now my 224XL OPT pcb has a H01 error with the startup diagnostic eproms and I'm stuck. I'm doing a mix of Ken Kashiwa, Kim Stone and the rest of the Rippingtons minus Russ Freeman and the 224 room is perfect, very lush. The 300 won't cut it. I must wait to fix the 224, can't mix....

Jim Williams
Audio Upgrades

[PhilE]

I've always had a plate or a big spring in the mix so I don't know about it as a main verb- love it on snares or gtrs. i'm comparing to PCM 80 though... I'm always wary of trying to do real with digital units... apart from ams ambiance!

[Etnier]

I did fine with my 300 without a LARC. Bought it before that was an option, actually. The 300 is a reverb I sold and do not miss. It was nice, but not essential.

[lawrence_o]

Originally Posted by max cooper

yes, $1200 seems like the going rate.

That's too low a price. On eBay they go above 2.500 USD! And they're very rare because they're really really good! Have one too, as good as new, would never sell it!

[lawrence_o]

Originally Posted by Jim Williams

I was loaned one for several months in 1990 or so, I liked it and it sounded pretty good. I have one in the shop now and decided to give it another go with it.

I'm pretty disappointed with it. Seems all the short patches have this digital metallic overtone I sometimes hear with their cheaper stuffand some Japanese reverbs. It's not very musical and doesn't hide in the mix very well. No way I can create a sellable room with it.

I was comparing it to my LXP-15 II and the LXP sounds more natural. The 224XL is in another class. All of these are modified, hot-rodded versions so it's the cream vs the cream.

So now my 224XL OPT pcb has a H01 error with the startup diagnostic eproms and I'm stuck. I'm doing a mix of Ken Kashiwa, Kim Stone and the rest of the Rippingtons minus Russ Freeman and the 224 room is perfect, very lush. The 300 won't cut it. I must wait to fix the 224, can't mix....

Jim Williams
Audio Upgrades

Hi Jim,

Saying the 300L is worse than the LXP-15?? I can imagine if you're looking for really bright plates and stuff the 300 could indeed sound a lot warmer,hence less bright but an LXP-15 doesn't even enter my studio, ever!

The 300 is sooo sweet, produces such warmth. I love the unit. But true, for plates and rooms I tend to use my sony R7 becuase its more crispy but I could do it with the 300 either way... I really love it!

Cheers

[bgrotto]

We use a 300L as our main outboard verb at the studio I work at; it sounds great. I particularly like the Plate, Ambience (Med Amb KILLS on drum tracks!!), and Spatial patches.

The LARC strikes me as a bit clumsy, especially if you're used to the 480 or (if you're really spoiled) TC's System 6000 (that thing RULES!!).

Thanks to whomever pointed out the 20-bit limitation; I was totally unaware of that! I guess the good news is I couldn't hear any strange truncation artifacts from it...those tails are silky-smooth to my ears.

The prices you mentioned seem like a bargain...I say go for it.

[Musiclab]

get a KSP8 with the RSP8 remote, it's a much nicer verb and you get 4 seperate stereo
machines with their own i/O

[edvdr76]

I would definately tell you to buy it. i own a Lex300 and I love it. It has the Lexicon sound that just melts into your mixes. I bought mine a few years ago and I paid 3 grand for mine. Now I see them going for around $1200-$1500 US. It's a good sounding unit that I think you will enjoy for a long time.

[GYang]

Prices depend on condition, too. I was lucky to grab one 300L from guy who didn't have time to use it, completely like new and it was well worth 2400, although I had offers for much less same time.
I have two 300s in rack (with some other reverbs) and love them, as any gear they are better on some things than others.
For 1,5 k M300 is must have.

[SiliconAudioLab]

Originally Posted by lawrence_o

Hi Jim,

Saying the 300L is worse than the LXP-15?? I can imagine if you're looking for really bright plates and stuff the 300 could indeed sound a lot warmer,hence less bright but an LXP-15 doesn't even enter my studio, ever!

The 300 is sooo sweet, produces such warmth. I love the unit. But true, for plates and rooms I tend to use my sony R7 becuase its more crispy but I could do it with the 300 either way... I really love it!

Cheers

Yeah I was thinking the same thing about what Jim said too. I sold my LXP1/LXP15 years ago - consumer...er...prosumer boxes all the way - right there. Agree about the 224XL though - I love mine.

Both do duties (simultaneously) that are irreplaceable in the studio!! The 300 is great in Ambience mode for KING KONG PERCUSSION! I use mine analog and it's FANTASTIC!

Buying a 300 L or M for ANYTHING under $2000 is robbery. I'm callin' the cops!

[Jim Williams]

Originally Posted by lawrence_o

Hi Jim,

Saying the 300L is worse than the LXP-15?? I can imagine if you're looking for really bright plates and stuff the 300 could indeed sound a lot warmer,hence less bright but an LXP-15 doesn't even enter my studio, ever!

The 300 is sooo sweet, produces such warmth. I love the unit. But true, for plates and rooms I tend to use my sony R7 becuase its more crispy but I could do it with the 300 either way... I really love it!

Cheers

Not on long patches, just the shorter ones. It's something I've noticed about some Lexicon stuff, seems some boxes work better with long reverb times while others work better with short ones. That LXP-15 is heavily tweaked, it doesn't resemble the stock one. I use it for drum ambience as it's pretty easy to dial up a good room setting. When I do it with the 300, I hear that digital eeeeyyyyaannggg on the decays, go to the halls and it's gone. Go figure.

Jim Williams
Audio Upgrades

[lemix]

Originally Posted by Musiclab

get a KSP8 with the RSP8 remote, it's a much nicer verb and you get 4 seperate stereo
machines with their own i/O

Yes...and the M300...and some more...
Go sluttish >>
>we use the KSP8, Lex200, Lex300, H3000 SE, Ursa Major ST, DP4, AKG BX-20, Yamaha REV-1<

later,

[TheLastByte]

Originally Posted by lemix

I remember having a longish correspondence with their support people a while back about this.
It only puts 20 bits through, but has an algo ( think it called "PONG"..or similar) which can dither the digital outs to 16 bit.
So..your 24bit digital input would be truncated !
I have it hooked up analog only.

andrew

Andrew- your talking about the 300M/L Program Pons Dither with its noise shaping like Apogee UV22. It's a compressor & noise algo (On the 480L as well) that makes the most of a 16 bit dynamic range - increasing level by 6dB.
The AES/SPDIF IN/OUT - are 20 BIT
ANALOG - 16-18-20 user trim post using the same D/A & Op Amp as the 480L
(Usually set to 18 bit! @ Factory - though user adjustable!)

The 300 has 2 different paths - Digital and then Analog Bussed off the Digital - Oh and Jim, you must of had a version 1.02 M/L300 otherwise Rich Plate 224XL would have suited you perfectly in version 2/3.00 of the 300L/M.

No need to truncate M/L300 when working with Digital - the RS422/PLL/ in AES will lock to 24 bits no problem, indeed you can run the AES of the 300 as master! As there is SMPTE Time Code + MIDI
Cheers
TLB.

[TheLastByte]

300? how can you lose?
Great unit!

[Musiclab]

Originally Posted by TheLastByte

300? how can you lose?
Great unit!

when it breaks and no one can fix it for you, you totally lose, the 300 is not supported for years now.

[TheLastByte]

2008 was the Last Time I ever got Lex reps in my country to Support the 300M/L
Pretty good Life...All the Schematics & support docs are there awaiting a Digital Tech to fix her up?.....480L....Very different Story as with 224/XL.

200M was a damn nice box.....great Drum verb....Plates a Blasting!

[fnninns]

How does a six year-old thread get revived?

[ionian]

Originally Posted by fnninns

How does a six year-old thread get revived?

By someone hitting "reply"?


Regards,
Frank

[nickelironsteel]

only if my old one dies

[TheLastByte]

Actually "Old Threads" come alive again by googling a subject or following a similar thread underneath the say 480L thread your looking at in 2012.....gotta admit it is pretty amazing LoL....more so when someone whom wanted to buy a 480L or H3000 or 300M/L in 2006 is still in the mix for one as the Bricasti or PCM96-92 don't suit them! I'd say 70% of the time people don't use the search function for looking at old thread's & info and instead create a new one.. (Maybe it's the Me need info now Gen?)...Others bring back the dead thread to life, literally!
Just like,
THIS THREAD!
Does that help any.......?
Peace!
TLB

[ionian]

Originally Posted by TheLastByte

Others bring back the dead thread to life, literally!
Just like,
THIS THREAD!
Does that help any.......?
Peace!
TLB

I'd rather them bring the thread back from the dead if it's a relevant post just to keep the amount of posts about the same thing down to a minimum. It's always nicer to keep all the relevant info contained to one thread, no matter how far back it goes.

Regards,
Frank