At the time of its release in 1984, the Lexicon PCM 60 arrived as a relatively affordable entry point into Lexicon’s digital reverb range. It appeared with very little advance publicity, and for many users its first real introduction came through reviews and early hands on experience rather than marketing campaigns. Positioned below Lexicon’s more sophisticated flagship systems, the Lexicon PCM 60 was designed to deliver high quality digital reverberation while dramatically reducing hardware complexity and cost. In this sense, it can be seen as a digital replacement for the role that mechanical echo plates and chamber reverbs had traditionally played in the studio, stripped of the elaborate programmability found in larger systems but retaining the core sonic character Lexicon was already known for.
Design Philosophy
From a functional standpoint, the Lexicon PCM 60 was intentionally straightforward. It offered two main programs, Room and Plate, each capable of being modified through a small but effective set of controls. These adjustments focused on room or plate size, reverb time, and bass and treble contouring, giving engineers enough flexibility to tailor the sound without overwhelming them with parameters. At the time, this simplicity was very much part of the appeal, particularly for studios and engineers who wanted high quality digital reverb without the learning curve or expense associated with larger units.
Physically, the Lexicon PCM 60 conformed to standard studio practice, housed in a rackmount chassis approximately 483 mm wide, 44 mm high, and 279 mm deep. With the exception of two rear panel level matching switches, all controls were placed on the front panel and clearly laid out. A segmented LED meter provided an instantaneous peak indication of input level, marked in 6 dB steps from –24 dB to 0 dB. Lexicon recommended running the unit hot enough for the red LED to flash, and contemporary users noted that this operating range was generally safe, particularly when working with processed or compressed signals.
Control was handled almost entirely by a series of light, concave, finger sized switches, each with an associated coloured LED to indicate its status. These switches were latching and, in some cases, interlocked so that only one function within a group could be selected at a time. Three rotary controls followed, governing input level, output mix between dry and reverb signal, and output level. This layout reinforced the PCM 60’s role as a practical studio tool rather than a deep programming device.
Bypass operation was achieved via a relay that routed the input signal directly to the outputs, bypassing the processing electronics. While the bypass removed audio processing, it did not fully power down the electronics, as removal of mains power would mute the bypass path entirely. The rear panel also included provision for remote bypass control via an external footswitch, a useful feature for live or performance oriented applications.
Reverb Programs
The Room and Plate programs formed the heart of the Lexicon PCM 60. Selection was made via a dedicated switch pair, with further switches adjusting size and reverb time. Size settings altered the apparent acoustic dimensions of the selected space, while reverb time switches adjusted decay length, labelled from short to long. The actual decay times varied depending on program and size selection, ranging from very short ambiences through to longer reverbs that approached the practical limits of the unit. Bass and treble contour switches allowed further tonal shaping, with the bass contour increasing low frequency reverb content below 800 Hz and the treble contour reducing high frequency reverb above 800 Hz before introducing a gentle high frequency roll off beyond 2 kHz. With both switches disengaged, the reverb response was essentially flat.
Lexicon PCM 60 vs Model 200
Sonically, contemporary impressions placed the Lexicon PCM 60 firmly within the Lexicon family. At the time, its reverb character was often compared more closely to the Lexicon Model 200 than to the later and more complex 224X. Short programs were particularly well regarded, offering dense, natural reflections that suited general mixing tasks. Longer reverb times were also of good quality, though some users noted a slight graininess as the decay approached its maximum settings. Even so, this was considered a minor compromise given the unit’s price and intended market.
Operationally, the Lexicon PCM 60 revealed greater flexibility than its minimal control set might initially suggest. While only two basic programs were available, variations in size, decay time, and contour settings resulted in a surprisingly wide range of usable reverbs. Engineers at the time found the unit easy to integrate into mixes, with predictable behaviour and a sound that sat well without excessive adjustment.
The Lexicon PCM 60 occupies an interesting position in Lexicon’s history. It clearly set the stage for the later PCM 70, which would go on to achieve far greater recognition and long term cult status. While the Lexicon PCM 60 never quite reached the same iconic standing, it established many of the design principles that would define Lexicon’s mid range digital reverbs throughout the 1980s. Its focus on usability, musical results, and cost effective design made it a valuable tool for studios looking to adopt digital reverb technology without committing to the expense or complexity of larger systems.