I agree with this; the input gain needs to be managed carefully, and the output quality is not what we've become accustomed to over time. I put drums for a dub through mine recently, tweaking the controls of a resonant delay as it played: tremendous fun and a great result.Interestingly, once I started search engine looking up the Vortex and CV, there's a useful modwiggly thread some years back:
viewtopic.php?t=208792
Additionally, some folks in that thread discuss that the Vortex is not automatically always great sounding, timbre-wise, in all circumstances.
I know what they were talking about, but it's more that one needs to be careful with gain staging, dynamics, and EQ both going into and coming out of the Vortex. It's from the era when Lexicon were experimenting with "comparatively more affordable" designs, to mixed reviews at that time.
The algos and concepts of the Vortex are top-tier studio genius, but the ad/da is not as robust and toney as the PCM70, 80, 81 era Lexicon gear. Sample rate is 32k, audio cuts off between 12k and 15k.
Basically, don't hit the inputs too hard, and don't expect shiny fairy dust high end that's open sounding through 22k. The Vortex can get brittle or hard or harsh sounding if a lot of hot high frequency transients are pushed in. Or if overly complex program materials are fed in. The fx algos are so rich sounding and create so much new detail that it's generally a good idea to start by sending "simple" musical parts to it first, and letting the trails and evolving details breathe. Use open space as well...
Statistics: Posted by unclebastard — Sat May 11, 2024 1:56 am