advertisement
MX200
User
Guide
Warranty
This warranty is valid only for the original purchaser and only in the United States.
1. The warranty registration card that accompanies this product must be mailed within 30 days after purchase date to validate this warranty. Proof-of-purchaseis considered to be the burden of the consumer.
2. Lexicon Professional warrants this product, when bought and used solely within the U.S., to be free from defects in materials and workmanship under normal use and service.
3. Lexicon Professional’s liability under this warranty is limited to repairing or, at our discretion, replacing defective materials that show evidence of defect, provided the product is returned to Lexicon professional WITH RETURN
AUTHORIZATION from the factory, where all parts and labor will be covered up to a period of 1 year. A Return
Authorization number must be obtained from Lexicon Professional by telephone. The company shall not be liable for any consequential damage asa result of the product's use in any circuit or assembly.
4. Lexicon Professional reserves the right to make changes in design or make additions to or improvements upon this product without incurring any obligation to install the same additions or improvements on products previously manufactured.
5. The foregoing is in lieu of all other warranties, expressed or implied, and Lexicon Professional neither assumes nor authorizes any person to assume on its behalf any obligation or liability in connection with the sale of this product. In no event shall Lexicon Professional or its dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond its control.
Loading Programs .............................................................................................10
Editing Programs...............................................................................................10
Selecting Effects................................................................................................10
Tap Tempo .........................................................................................................11
The Audition Feature .........................................................................................11
Routing Options.................................................................................................12
Storing Programs...............................................................................................12
Stereo and Mono Output Modes ......................................................................24
Factory Program Banks: Serial and Parallel.....................................................24
Bypass Mode Select .........................................................................................25
Minimum System Requirements.......................................................................26
Installing the MX-Edit Editor/Librarian Software ...............................................26
Storing a Program.............................................................................................30
Archiving ...........................................................................................................30
The MX-Edit Editor/Librarian - Mac .........................................................................32
Minimum System Requirements.......................................................................32
Minimum System Requirements.......................................................................35
Installing the MX-Edit VST Hardware Plug-In...................................................35
Using the MX200 Plug-In Window....................................................................36
Appendix ..................................................................................................................39
Program List.............................................................................................................40
Quuiicckk SSttaarrtt
Ideally, you should read this entire manual before using the MX200. But, if you just can’t wait to get started, this section explains how to set up a simple parallel connection (using the MX200 with a mixer) and select a program.
Powering the Unit
1. Plug the included power supply into an
A/C outlet.
2. Connect the Power Supply to the Power
Jack connection on the MX200’s back panel.
Power
3. When the MX200 first powers up, the
Audition button quickly flashes for a moment. This indicates that the software is loading.
Standard Parallel Connection
Aux
Return 1
Aux
Return 2
Aux
Send 1
Set Audio Levels
1. Set the gain on the mixer’s input channel appropriate to the source (vocal mic, guitar, keyboard, etc.).
2. Set the Aux Master level (if provided on your console) to the 12 o’clock position.
3. Set the Input level on the MX200 to the
12 o’clock position.
4. Set the Mix 1 and Mix 2 knobs on the
MX200 to their full clockwise position.
(Wet).
5. Provide source signal (by speaking or singing into the mic, playing guitar, keyboard, etc.) on the selected mixer channel.
6. Turn up the Aux Send level on the channel corresponding to the Post-fader send (Aux 1 in this example) that the
MX200 is connected to until the Red
Input LEDs light only occasionally. If the red Input LEDs stay lit, too much signal is being sent to the MX200; reduce the
Aux Master or Aux Send on the mixer.
7. Turn up the Aux Return to the 12 o’clock position, or stereo line input faders to the 0dB position, if you used that connection.
8. To increase or decrease the amount of effect on the signal, adjust the Aux Send level on the channel that you want affected.
Select and Load a Program
Turn the Program Select knob to choose a program. The display flashes the number of the program to be loaded. Press the knob to load the program.
Program Select knob
1. Connect the mixer’s Post Fader Aux
Send output to the MX200’s Left (Mono) input.
2. Connect the MX200 Left and Right outputs to a stereo Aux Return input on the mixer (or a stereo line input, or two adjacent line inputs if you like).
Note that the MX200 comes with 99
Factory programs and 99 User programs.
A small dot appears at the bottom right of the Program Display window, indicating that the displayed program is a User program. For more information about editing programs, see page 10.
1
Audition the Effect
Audition Button
The Audition button allows you to preview the loaded program by playing short digital samples through the effect processors.
There are five audio samples included in the MX200, including various drum sounds, vocal, and guitar. In the factory setting, tapping the Audition button cycles through the five sounds, but you may want to repeat a particular sound as you choose or edit an effect. See page 11 for more information.
2
Overview
The MX200 is a dual-processor, single rack space multi-effects device designed with both live sound reinforcement and home recording in mind. Featuring the deep, rich reverb algorithms that built the
Lexicon
® legend, the MX200 offers increased versatility with dynamics and specialty effects—all instantly accessible via the extremely intuitive front panel.
Either way you use the MX200 – live or in the studio – you can choose two effects at once in one of four routing schemes: Dual
Stereo (Parallel), Cascade (Serial), Mono
Split or Dual Mono. The MX200 has 99 carefully crafted Factory programs, and 99
User programs that allow you to create your own custom effect settings. Front panel controls include Input Level, Mix 1 and Mix 2 controls, effects Routing button, independent Tempo and Bypass buttons, three Parameter knobs for each
Processor, Program Select knob, an
Audition button, and a Store button.
Studio Operation
The MX200 features a USB interface that lets it function as a “hardware plug-in” – recognized and functioning within a VST
TM or Audio Units compatible recording application as a plug-in effect, but still operating as a dedicated hardware processor. This unique hardware plug-in feature lets you add legendary Lexicon effects to your computer-based recordings with full automation and recall features via an intuitive crossplatform plug-in window without overburdening your CPU.
Live Operation
Those using the MX200 in live applications will appreciate its intuitive front panel layout. The Active Reverb/Effects Matrix displays which two of the 32 available reverbs and effects are active, and all editing functions require only a single button push or turn of a knob. Dual independent processor control areas feature dedicated
Effects Select, Tempo, and Bypass buttons plus three Parameter knobs that provide instant access and control over the most critical parameters for the selected effect. Parameter change LEDs illuminate to indicate any changes to the 99 Factory or User programs. The Audition button plays one of five digitally recorded audio samples through the selected effects to audition their settings without the need for an external audio source.
3
m -- FFrroonntt PPaanneell
1 2 3
4
5 6 7 8 9 10
11 12 13 14
1
. Dual Input Bargraph Meters
LEDs indicate input level for each channel.
15
16
17
18
19
20
21
22
23
7. Tempo Button - P2
Same as for Processor 1 (see #5).
2. Digital In LED
Indicates when the S/PDIF digital input is selected and active.
8. Bypass Button - P2
Bypasses Processor 2. Red LED lights to indicate effect is bypassed.
3. Routing Button
Press this button to cycle through the four signal routing options. For more information about routing, see page 12.
4. Active Reverb / Effects Matrix
Indicates which effects are active at all times. Green LED indicates active effect in
Processor 1, red LED indicates active effect in Processor 2.
5. Tempo Button - P1
Tapping this button twice sets the Delay
Time of Processor 1. LED flashes to indicate current tempo, or lights solid when synched to MIDI.
6. Bypass Button - P1
Bypasses Processor 1. In the factory default, this puts the processor into Bypass mode and allows dry, unprocessed signal to pass through to the outputs. To change to Bypass Mute, which allows no signal
(wet or dry) to pass, see Bypass Mode
Select in the Utilities section on page 25.
9. Store Button
Stores program modifications to one of the
99 User program locations. Press the
Store and Audition buttons simultaneously to access Utility functions. (See page 23 for more information.)
10. Audition Button
Plays audio samples through the processors to audition their settings. Press the
Audition and Store buttons simultaneously to access the Utility functions. (See page
23 for more information.)
11. Input Knob
Controls the input level of both Left and
Right analog inputs.
12. Mix 1 Knob
Controls the P1 Wet/Dry effects mix.
13. Mix 2 Knob
Controls the P2 Wet/Dry effects mix.
* Refer to the Effects Descriptions section for more information about parameters.
4
14. Effect Select - P1
This button selects the reverb, delay, or effect to be loaded in Processor 1.
15. Pre Delay Knob - P1
Controls Pre Delay of the reverbs or the first parameter of the selected delay or effect in Processor 1.*
16. Decay Knob - P1
Controls Decay of the reverbs or the second parameter of the selected delay or effect in Processor 1.*
17. Variation - P1
Controls Liveliness or Diffusion (depending on the reverb selected) or the third parameter of the selected effect in Processor 1.*
18. Effect Select - P2
Same as for Processor 1 (see #14).
19. Pre Delay Knob - P2
Same as for Processor 1 (see #15).
20. Decay Knob - P2
Same as for Processor 1 (see #16).
21. Variation - P2
Same as for Processor 1 (see #17).
22. Program Display
2-character LED display indicates which of the 99 Factory or User programs is loaded.
A small dot appears at the bottom right of the Program Display window, indicating that the displayed program is a User program. Also shows Utility settings and parameter values during editing.
23. Program Select Knob
Navigates through Factory and User programs, as well as Utility functions.
* Refer to the Effects Descriptions section for more information about parameters.
5
1 2 3 4 5 6 7
1. Power Jack
Connect only the included Harman Pro
PS0913B power supply here.
2. Footswitch Input
An optional 2-button footswitch can be plugged into this TRS jack for independent
Bypass control of P1 and P2. Use the
Lexicon
®
LEX-DFS or a 2-button footswitch wired as follows:
Tip = Bypass 2
Ring = Bypass 1
Sleeve = Ground
3. MIDI In, Out/Thru
Provides MIDI operation capabilities. Two
5-pin MIDI DIN connectors are available for MIDI IN and MIDI OUT/THRU. (See page 37 for MIDI Implementation chart.)
4. USB Port
Provides communication with a computer for use with MX-Edit
TM software and MX200 plug-in window using a standard USB cable. When the MX200 is connected to a computer via USB, US briefly appears in the Program Display window.
5. S/PDIF Digital In/Out
Digital input accepts 44.1kHz / 48kHz signals. When the S/PDIF digital input is selected and active, the Digital In LED on the front panel lights.
6
Important: It is recommended that you do not connect any digital device to the
MX200’s S/PDIF input that transmits at any other sample rate (such as 96kHz). Doing so can cause unpredictable performance.
Make sure the device you are connecting to the MX200’s S/PDIF In is set as the
Clock Master (if that option is available) and transmitting at a sample rate of
44.1kHz or 48kHz only. As with any other connection, if you need to unplug the
S/PDIF cable, it is recommended that you switch to the analog inputs (see Digital
Input Select in the Utility section) or bypass both processors before disconnecting the cable.
6. Balanced Analog Line Outputs
Left and Right RF-filtered 1/4” balanced/unbalanced TRS line outputs are servo-balanced, so no signal loss is incurred when using unbalanced connections. To use the Left output as a mono sum of both Left and Right signals, refer to the Stereo/Mono Output Mode Utility section on page 24.
7. Balanced Analog Line Inputs
Left and Right active analog 1/4” TRS balanced/unbalanced line inputs. If only a single plug is connected to the Left input, the signal is split and sent to both the Left and
Right input paths.
SSeettuupp
Connecting the MX200
Parallel vs. Serial
The MX200 can be used as both a Parallel and Serial (in-line) effects processor.
Typically, reverbs and delays are used in parallel, compressors and de-essers in serial, and modulated effects can be used in either configuration, depending on the desired application.
A Parallel Processor is connected by sending a copy of a signal (such as from an
Aux Send of a mixer channel) to an effects device (such as the MX200), and the effected (or wet) signal is returned to the mixer or amp. It is then blended together with the original unaffected (dry) signal.
This blend is called the Wet/Dry mix. This connection is most often used for reverbs, delays, and some modulated effects (such as chorus).
A Serial Processor is connected by sending the entire signal through the effects device and then to an amplifier or mixer, and is not blended with the unaffected
(dry) signal. This is the type of connection most often used for a compressor, deesser, equalizer, and many modulated effects (such as tremolo, vibrato, and rotary).
The following illustrations show how to connect the MX200 in both Serial and
Parallel configurations, using some common, real-world examples.
Parallel Connection
Mixer - Mono In/Stereo Out Setup
Aux
Return 1
Aux
Return 2
Aux
Send 1
This setup is the most commonly used configuration in both live and studio applications.
1. Select routing 2 or 4 using the Routing button.
2. Connect the mixer’s Post Fader Aux
Send output to the MX200’s Left (Mono) input.
3. Connect the MX200’s Left and Right outputs to a stereo Aux Return input on the mixer (or a stereo line input, or two adjacent line inputs if you like).
4. Set the gain on the mixer’s input channel appropriate to the source (vocal mic, guitar, keyboard, etc.).
5. Set the Aux Master level (if provided on your console) to the 12 o’clock position.
6. Set the Input on the MX200 to the 12 o’clock position.
7. Set the Mix 1 and Mix 2 knobs on the
MX200 to their full clockwise (Wet) position.
8. Turn up the Aux Send level on the channel corresponding to the Postfader Aux Send (Aux 1 in this example) that the MX200 is connected to until the red Input Bargraph LEDs light only occasionally. If the red Input
7
SSeettuupp
Bargraph LEDs stay lit, too much signal is being sent to the MX200; reduce the Aux Master or Aux send on the mixer.
9. Turn up the Aux Return to the 12 o’clock position (or line input faders to the 0db positions, if you used that connection).
10. To increase or decrease the amount of effect on the signal, adjust the Aux
Send level on the channel that you want affected.
Mixer - Dual Mono Setup
to 12 o’clock.
8. Turn up Aux Sends 1 and 2 on the mixer for the selected channels so the red Input Bargraph LEDs only light occasionally with signal (adjusting the
Input knob on the MX200 may be necessary).
9. Control the amount of effect using the
Aux Send levels on the selected mixer channels.
Serial Connections
Guitar - Effects Loop Setup
Aux
Return 1
Aux
Return 2
Aux
Send 1
Aux
Send 2
Power Amp
In
Preamp
Out
This setup applies to a mixer with two (or more) Aux Sends and Returns. It utilizes the two effect sections in the MX200 as two separate effects with separate mono outputs, or a common stereo output.
1. Select routing 1 or 4 using the Routing button.
2. Connect Aux 1 send to the MX200 Left input.
3. Connect Aux 2 send to the MX200
Right input.
4. Connect the MX200 Left and Right outputs to the mixer’s Aux returns 1 and
2 for mono, or Stereo Aux L/R returns for stereo.
5. Set Mix 1 and Mix 2 knobs fully clockwise (Wet).
6. Set the MX200’s Input knob to the 12 o’clock position.
7. Set the Aux Return levels on the mixer
8
1. Select routing 2 using the Routing button (you can always experiment using other routings).
2. Connect guitar to the amp’s Input.
3. Connect the amp Effects Loop Send or
Preamp Out to the MX200’s Left input.
4. Connect the MX200’s Left output to the amp’s Effects Loop Return or Power
Amp In.
5. Set Mix 1 and Mix 2 knobs to the 12 o’clock position.
6. Adjust the Input level so the red Input
Bargraph LEDs only light occasionally with signal.
7. To adjust the effect level, use the Mix 1 and Mix 2 knobs.
SSeettuupp
Instrument - In Line Setup
Studio – Digital Setup
S/PDIF Out
S/PDIF In
Stereo
Line Input
This setup utilizes the MX200 as a multieffects processor connected in line from an instrument to a mixer. It is an ideal setup to use when your mixer does not have an
Aux Send/Return option built in.
1. Select routing 2 using the Routing button (you can always experiment using other routings).
2. Connect a line level signal directly from your instrument to the MX200 Inputs.
(use Left input for mono signals).
3. Connect the MX200’s Left and Right outputs to two separate mixer channels or a stereo line input.
4. Set the MX200’s Input knob to the 12 o’clock position.
5. Set Mix 1 and Mix 2 knobs to 12 o’clock position.
6. Adjust the Input level so the red Input
Bargraph LEDs only light occasionally with signal.
7. Adjust the Mix 1 and Mix 2 knobs for the desired effect mix level.
This setup is ideal if you are using the
MX200 as a hardware plug-in in a digital recording system. This setup requires that you are using an I/O device with S/PDIF
In/Out, or a digital mixer with S/PDIF I/O option.
1. Select routing 2 using the Routing button. (You can always experiment with other routings.)
2. Connect the S/PDIF output on your soundcard, audio interface or mixer to the S/PDIF In on the MX200.
3. Connect the MX200 S/PDIF Out to the S/PDIF input on your soundcard, audio interface or mixer.
4. Make sure the device you are connecting to the MX200’s S/PDIF In is set as the Clock Master (if that option is available) and transmitting at a sample rate of 44.1kHz or 48kHz only. (Refer to the documentation for your device and/or software for proper setup.)
5. Once the MX200 is locked correctly with your device, the Digital In LED lights.
If the Digital In LED does not light, check your cables and make sure that your I/O device is set as Master Clock.
9
The MX200 is equipped with 99 Factory programs that combine the 32 reverbs and effects to cover a wide range of applications. Additionally, there are 99 User program locations in which to store your own reverb and effects combinations. These are identical to the Factory programs until you change them.
Loading Programs
To load a program:
1. Choose a program by rotating the
Program Select knob. The selected program number flashes in the Program
Display until loaded. A small LED dot appears in the lower right portion of the
Program Display if a User program is selected.
2. Press the Program Select knob to load the program.
If you would like the programs to be loaded automatically as they are changed with the
Program Select knob, you can enable the
AutoLoad function (see page 23 for more information).
Editing Programs
After selecting a Factory or User program, you may find that it needs some modification for a particular application or use. This may include changing one of the three
Parameter knobs on each processor, changing the Mix 1 or Mix 2 settings, altering the Routing, changing the delay
Tempo or engaging one of the Bypass buttons. When any of the Parameter or
Mix knobs are used, a numerical value for that parameter will briefly appear in the
Program Display while the knob is being turned. A small LED next to the knob will illuminate, denoting a change from the saved value, and the Store button will light, indicating that the loaded program has been modified. To retain these
10 changes, you must store them to a User program location (see Storing Programs).
Knob and button LEDs are green for
Processor 1, and red for Processor 2, to correspond with their respective LED color in the Active Reverb/Effects Matrix.
Either Factory or User programs may be edited, but they may only be stored to a
User program location.
The Parameter knobs have different functions for each reverb and effect. For detailed descriptions of what each knob does, refer to the Effects Descriptions section.
To edit a program:
1. Load a program using the Program
Select knob.
2. Make any of the following adjustments or changes:
• Select effects with either or both
Effect Select buttons.
• Modify the program with the Pre
Delay, Decay, or Variation knobs.
• Bypass a processor using P1 or P2
Bypass button.
• Change tempo using the P1 or P2
Tempo button.
• Adjust the Wet/Dry mix for either or both processors with the Mix 1 and Mix 2 knobs.
• Change effect routings with the Routing button.
Selecting Effects
The MX200 features 16 classic Lexicon
® reverb algorithms, six types of delay, eight modulated/pitch effects, and two dbx
® dynamics algorithms.
To select an effect, press the P1 or P2
Effect Select buttons up or down.
Effect Select
An LED lights next to the selected reverb or effect label in the Active
Reverb/Effects Matrix (green LED for P1, red for P2).
Active Reverb/Effects Matrix
The Effect Select control is cyclical, meaning if Effect Select is pressed up when Small Hall is active, Detune will be the next selected effect. Similarly, if Detune is active, and Effect Select is pressed
down, the effect will change to Small Hall.
Tap Tempo
Tap tempo can be used to match the delay times to synchronize with the music. The
Tempo button LED flashes when a delay is loaded. To set tempo from the front panel, press the Tempo button twice in time with the music. The LED will flash at a rate that corresponds to the new tempo.
MX200 can also use MIDI Sync to set the tempo of delays. When MX200 detects
MIDI Sync present at the MIDI In, the
Tempo LEDs light constantly to indicate that tempo is set via MIDI Sync.
Changes made to tempo with the Tempo button are considered program edits, and cause the Store button LED to light.
The Audition Feature
The Audition feature provides 5 digitally recorded audio samples that are played back through MX200’s processors at the touch of a button. This lets you preview the selected program and dial in reverb or effects settings without the need for an external audio source.
In the default setting, each tap of the
Audition button plays the next sample. To play a single sample repeatedly, change the Audition options.
To change Audition options:
1. Press and hold the Audition button. The
LED flashes, and the Program
Display alternately displays AU and AL.
2. Turn the Program Select knob to select the individual sample you want to hear when you press the Audition button.
The samples are:
A L
- Audition All Samples. Each time the Audition button is pressed, the next sample is played.
A 1
- Drum Stick Click
A 2
- Snare Drum
A 3
- Kick Drum
A 4
- Female Vocal “Doo”
A 5
- Acoustic Guitar Arpeggio
3. Press the Store button to save the new
Audition setup
The Audition button now plays the selected sample each time it is pressed. The
Audition sample is a global setting, and is not saved with presets.
11
Routing Options
The MX200’s powerful Dual Processor design and four signal routing options allow you to use it as two independent effects processors, or combine the reverbs and effects for a nearly limitless palette of complex sounds.
1. Dual Mono
This routing option sends the Left and
Right input signals through Processor 1 and Processor 2 respectively. Each signal is then routed to its respective output, completely independent from the other.
2. Cascade
Left and Right input signals are sent first through Processor 1, then through
Processor 2, then routed as a stereo signal to their respective outputs.
3. Dual Stereo (Parallel)
Left and Right input signals are sent through both processors independently.
The output signals of both processors are then mixed together, and routed to both the outputs as a single stereo signal.
4. Mono Split
Left input signal is sent through Processor
1, while the Right input signal is sent through Processor 2. The output signals of both processors are then mixed together, and routed to both the outputs as a single stereo signal.
Storing Programs
Once you have edited a program to your liking, you can store these edits into a User program memory location. To store a program, follow these steps:
1. Press the Store button once. ST appears briefly in the Program Display, followed by the flashing User program number (indicated by the small dot over
User Program being lit).
2. Use the Program Select knob to select a User program location to store your edits.
3. Press the Store button again to complete the procedure.
To return to the program without storing changes, press any other button on the front panel.
12
The MX200 effects come in four varieties:
Stereo, Mono In/Stereo Out, Mono (Wet only), and Stereo (Wet only). When using
Wet only effects, turn the processors Mix knob fully clockwise.
Reverbs
Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed space. When sound waves encounter an object or boundary, they don’t just stop. Some of the sound is absorbed by the object, but most of the sound is reflected or is diffused. In an enclosed space, reverb is dependent on many features of that space, including the size, shape and the type of materials that line the walls. Even with closed eyes, a listener can easily tell the difference between a closet, a locker room and a large auditorium. Reverb is a natural component of the acoustic experience, and most people feel that something is missing without it.
Hall Reverbs
Stereo
Small Hall
Large Hall
Vocal Hall
Drum Hall
A Hall is designed to emulate the acoustics of a concert hall – a space large enough to contain an orchestra and an audience.
Because of the size and characteristics,
Halls are the most natural-sounding reverbs, designed to remain “behind” the direct sound – adding ambience and space, but leaving the source unchanged.
This effect has a relatively low initial echo density which builds up gradually over time. Vocal Hall and Drum Hall reverbs are specifically tailored for those uses.
Vocal Hall has as lower overall diffusion which works well with program material that has softer initial transients like a voice.
Drum Hall has a higher diffusion setting which is necessary to smooth out faster transient signals found in drums and percussion instruments. In addition to general instrumental and vocal applications, the
Hall program is a good choice for giving separately recorded tracks the sense of belonging to the same performance.
13
Plate Reverbs
Stereo
Small Plate
Large Plate
Vocal Plate
Drum Plate
A Plate reverb is a large, thin sheet of metal suspended upright under tension on springs. Transducers attached to the plate transmit a signal that makes the plate vibrate, causing sounds to appear to be occurring in a large, open space. The
Plates in the MX200 model the sound of metal plates with high initial diffusion and a relatively bright, colored sound. Plate reverbs are designed to be heard as part of the music, mellowing and thickening the initial sound. Plate reverbs are often used to enhance popular music, particularly percussion.
Gated Reverb
Mono In/Stereo Out
Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. Decay Time is set to instant, while Hold Time varies duration and sound.
The Gated reverb provides a fairly constant sound with no decay until the reverb is cut off abruptly. This program works well on percussion — particularly on snare and toms; be sure to experiment with other sound sources as well.
Reverse Reverb
Mono In/Stereo Out
Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflections (essentially the tail of the reverb) heard first, and then grows louder over time until they abruptly cut off.
Room Reverb
Stereo
Room produces an excellent simulation of a very small room which is useful for dialog and voiceover applications. Room is also practical when used judiciously for fattening up high energy signals like electric guitar amp recordings.
Ambience Reverb
Stereo
Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often used for voice, guitar or percussion.
Chamber Reverb
Stereo
Historically, recording studio chambers were oddly shaped rooms with a loudspeaker and set of microphones to collect ambience in various parts of the room.
Chamber programs produce even, relatively dimensionless reverberation with little color change as sound decays. The initial diffusion is similar to the Hall programs.
However, the sense of size and space is much less obvious. This characteristic, coupled with the low color of the decay tail, makes these programs useful on a wide range of material - especially the spoken voice, to which Chamber programs add a noticeable increase in loudness with low color.
14
Studio Reverb
Stereo
Much like Room reverb, Studio produces an excellent simulation of smaller, wellcontrolled acoustic spaces, characteristic of the main performance areas in recording studios. Studio is also useful with dialog and voiceover applications as well as individual instrument and electric guitar tracks.
Arena Reverb
Stereo
Arena reverb emulates a huge physical space such as an indoor sports venue or stadium. The characteristics of Arena reverb are long secondary reflection times and a reduced amount of high frequency content. Arena is a mostly mid- and lowfrequency dominant reverb, and is an ideal selection for “special effect” type applications that require extremely long reverb times. It is not a good choice for a very busy mix, since it can reduce intelligibility.
Spring Reverb
Mono In/Stereo Out
A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker and the other acting as a microphone—connected by a simple set of springs. The characteristic ‘boing’ of a spring is an important component of many classic rock and rockabilly guitar sounds.
Reverb Controls
Pre Delay
Creates an additional time delay between the source signal and the onset of reverberation. This control is not intended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual, and the initial time gap is usually relatively short. For the most natural effect, the Pre Delay values should be set in the range of 10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the Pre Delay time may help clarify it, and set each instrument apart from each other.
Decay
Controls the amount of time the reverb can be heard. Higher settings increase reverberation times which are usually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shorten reverb times and should be used when a smaller apparent space or a more subtle effect is desired.
Liveliness
Adjusts the amount of high frequency content in the reverberation tails. Higher settings increase high frequency response, creating brighter reverbs; lower settings create darker reverbs with more bass frequency emphasis.
Diffusion
Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large flat walls cause low diffusion. For drums and percussion, try using higher Diffusion settings.
Shape
This control helps give a sense of both room shape and room size. Low values for
Shape keep the majority of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and are helpful in creating the sense of a strong rear wall or “backslap.
Boing
This is a unique parameter to the Spring reverb, designed to increase or decrease the amount of spring rattle that is a physical characteristic of spring tank reverbs.
15
RReevveerrbb CCoonnttrrooll VVaalluueess
Note: Values of 0 – 100 are displayed as 0 – 00 (100 is displayed as 00 in the Program
Display). Values of greater than 100 are shown with a decimal between the digits, i.e.
115 displayed as 1.5, 150 displayed as 5.0, and 200 is displayed as 0.0.
16
Delays
Delays repeat a sound a short time after it first occurs. Delay becomes echo when the output is fed back into the input (feedback).
This turns a single repeat into a series of repeats, each a little softer than the last.
Studio Delay
Stereo
The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in ducker that attenuates the delay output whenever signal is present at the input.
This can be used to keep the original signal from being muddied up by delay repeats.
Digital Delay
Pong Delay
Mono In/Stereo Out
The Digital Delay is the cleanest, most accurate of the delay programs, with up to
5 seconds of mono delay and the built-in ducking feature.
Tape Delay
Mono In/Stereo Out
In the days before digital, delays were created using a special tape recorder in which the magnetic recording tape was looped, with closely-spaced recording and playback heads. The delay effect was created by the tape moving in the space between the record and playback heads – while delay time was adjusted by changing the speed of the tape loop. Although very musical-sounding, wow and flutter combined with a significant loss of high frequencies, and to some extent also low frequencies, are all elements commonly associated with tape recordings. The Tape
Delay offers up to 5 seconds of mono delay.
Mono In /Stereo Out
This delay effect pans the delay repeats from left to right, while the input signal remains at its original (center) position.
Pong Delay offers up to 5 seconds of mono delay time.
Modulated Delay
Stereo
The Modulated Delay is enhanced by an
LFO (low frequency oscillator) that produces a chorusing effect on the delay repeats. This is a great delay for guitar and instrument passages that need that “special something.” The Modulated Delay features up to 2.5 seconds of stereo modulated delay.
Reverse Delay
Mono In/Stereo Out
This delay effect emulates the old studio trick of flipping a tape over, playing it backwards through a tape delay, and recording the effect. The delays “build up” from softer to louder – creating the sensation that the delays come before the signal. Very cool when used judiciously. Up to 5 seconds of mono delay time are available.
Delay Controls
Time Range
Controls the length of the delay relative to
Tap Tempo. At the 12 o’clock position, delay repeats are synchronous with the
Tempo light (represented by a Quarter
Note); lower values create faster repeats, higher values increase the time between repeats. Range 0-72. See Appendix on page 39 for exact note values.
Feedback
Controls the number of delay repeats by feeding the delay output signal back into the delay input. This creates a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more repeats; lower settings reduce the number of repeats. When this knob is turned fully clockwise, it engages Repeat
Hold – delay repeats play back in an infinite loop, but no further input signal is introduced into the delay effect. Repeat
Hold is available only on Studio, Digital and Pong Delay.
17
Ducker Threshold
MX200’s Studio and Digital delays offer a
“ducking” feature, which causes the delay repeats to attenuate (or get softer) by -6dB when live (or input) signal is present. This allows the delay to remain as an effect, and not clash with the original signal. The higher this value is set, the louder an input signal must be for the ducking to take place.
Smear
This parameter controls the amount of
“smear,” or signal degradation and frequency loss. Particularly evident in the
Tape Delay, the higher the setting, the more each delay repeat loses intelligibility compared to the original signal.
Tap Ratio
Tap Ratio sets the length between the first and second tap repeats of the Pong
Delay. With this control set at 12 o’clock, repeats are evenly alternated between left and right channels. As this knob is turned counter-clockwise, the first tap occurs earlier and the second tap occurs later than they did at the 12 o’clock position. When the knob is turned clockwise, the first tap occurs later and the second tap occurs earlier.
Depth
This controls the intensity of modulation, or
“depth” in the Modulated Delay. Lower settings produce a more subtle effect, while higher values give a more “seasick” feeling.
Tempo Button
Tapping this button twice sets the delay times. The Tempo button LED flashes the tempo tapped in, and delay taps will be synchronized to the flashing LED. Use the
Time Range knob to increase or decrease delay times after tapping in a tempo.
Note: When Feedback is turned past 99, the value displays as rh to indicate Repeat
Hold. (Studio, Digital, and Pong delays only.)
18
dbx
®
Dynamics
De-Esser
Mono (Wet only)
A De-Esser is a type of compressor used to control specific frequencies. Excessive sibilance, or the “s” sounds, can be tamed by applying this effect.
amount determined by the Ratio. For example, if the threshold is set to -12dB, and the ratio set to 4:1, then when signal exceeds -12dB, the signal level above that amount only increases by 1dB to every
4dB of signal level above -12dB. In this case, an incoming signal of -4dB (which is
8dB above the threshold) would result in an output signal of -10dB, or 2dB higher than the threshold level, since the 4:1 compression ratio only allowed 2dB more output, based on the 8dB increase above the
-12dB threshold.
De-Esser Controls
Knob 1: Compression Ratio
Determines the amount of compression, from 1:1 (no effect) to Infinity:1 (complete limiting).
Knob 2: Frequency Range
Selects the frequency range of compression in 40 discrete steps from 1600Hz to
10kHz (the most common frequencies in which excessive sibilance occurs).
Knob 3: Bandwidth (Q)
Controls the bandwidth or “Quality” (Q) of frequency range. The higher the selected value, the tighter the bandwidth, and less apparent the de-essing effect is.
Incremental in six steps from 1/4 Octave
(0) to 1/24th Octave (5). See Appendix on page 39 for bandwidth values.
Because the resulting output is less than the original signal, a third control, Makeup
Gain compensates for this loss of level, but with less dynamic range, or the difference between the softest and loudest parts of the signal.
Compressor
Mono (Wet only)
A compressor is used to control the dynamic range of a signal. Typically used to tighten bass or drum tracks, or to control a vocal passage, a compressor is a very useful but often misunderstood tool. To better use the Compressor in the MX200, a bit of understanding about compression is helpful.
When a signal level crosses the
Threshold level, the compressor then reduces the amount of output level by an
Compressor Controls
Knob 1: Threshold
Determines the threshold above which compression begins, incrementally between -70dB and 0dB (FS).
Knob 2: Compression Ratio
Selects the compression ratio, from 1:1 (no effect) to Infinity:1 (or complete limiting).
Knob 3: Makeup Gain
Increases the output level to compensate for signal attenuation during compression.
Incremental between 0dB (no gain) to
+12dB.
19
Modulated Effects
Chorus
Stereo
Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time.
Chorus is commonly used to fatten up tracks and to add body to guitars without coloring the original tone. Chorus can also be used with discretion to thicken a vocal track.
Chorus Controls
Speed
Controls the modulation rate of the Chorus effect. Lower settings are subtle, while higher values are much more pronounced.
Depth
Controls the amount of pitch shifting for each voice. Lower settings provide subtle thickening and warmth to a track, while higher settings give a more pronounced, multi-voice effect.
Voices
Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously variable in 100 individual steps.
Flanger Controls
Knob 1: Speed
Controls the modulation rate of the
Flanger effect.
Knob 2: Depth
Controls the intensity of the Flanger effect.
Lower settings provide a slight “whooshing” sound while higher settings provide a much more dramatic “jet airplane” sound.
Knob 3: Regeneration
This knob controls the amount of modulated signal being fed back into the input, creating feedback. Higher amounts add a metallic resonance to the signal.
Phaser
Stereo
The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low frequency oscillator (LFO), creating an oscillating
“comb-filter” type effect. This effect is very userful on keyboards (especially pad presets) and guitars.
Flanger
Stereo
This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one machine, then the other. The result was a series of changing phase cancellations and reinforcements, with characteristic swishing, tunneling, and fading sounds.
20
Phaser Controls
Knob 1: Speed
Controls the modulation rate of the Phaser effect.
Knob 2: Depth
Controls the intensity of the Phaser effect.
Knob 3: Regeneration
This knob controls the amount of modulat-
ed signal being fed back into the input, creating feedback. Higher amounts add more resonance to the effect signal.
Tremolo/Pan
Stereo (Wet only)
Tremolo and Panner create rhythmic changes in signal amplitude. Tremolo affects both channel’s amplitude simultaneously, while the Panner affects the amplitude of each channel in an alternating manner.
Tremolo/Pan Controls
Knob 1: Speed
Controls the modulation rate of the
Tremolo/Panner.
Knob 2: Depth
Controls the intensity of the volume amplitude change.
Knob 3: Phase
Controls whether the amplitude change occurs in both channels simultaneously
(Tremolo) or alternates between channels
(Panner).
Rotary
Mono (Wet only)
Rotary speaker cabinets were designed to provide a majestic vibrato/choir effect for electronic theater and church organs. The most well known rotary speaker is the
Leslie™ Model 122, which has two counter-rotating elements: a high-frequency horn and a low-frequency rotor with slow and fast speeds. The sound generated as the spinning elements change speed is truly magical. The swirling, spacious effect is difficult to describe – but clearly recognizable.
The Rotary effect is modeled after a
Leslie-style cabinet. The input signal is split into high and low-frequency bands. The rotation effect is created by a synchronized combination of pitch shifting, tremolo, and panning. Like the physical cabinet, the high
(horn) and low (rotor) frequencies are
“spun” in opposite directions. Horn and rotor speeds are independent, and designed with acceleration and deceleration characteristics to simulate the inertia of the original mechanical elements.
A virtual requirement for organ music,
Rotary also sounds remarkable with guitar and electric piano rhythm parts. In fact, these programs are great alternatives to the Chorus and Tremolo effects for any sound source.
Rotary Controls
Knob 1: Speed
Controls the modulation rate of both rotary speakers. The lower frequencies rotate at a slower speed than the high frequencies.
Knob 2: Doppler
Increases or decreases the Doppler pitch effect that is created by the physics of a rotating speaker.
Knob 3: Stereo Spread
Increases or decreases the stereo imaging of the Rotary effect.
Vibrato
Stereo (Wet only)
Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of the original at a determined rate.
21
Knob 3: Cutoff Frequency
This controls the cutoff frequency of the low pass filter. Lower settings roll off high frequency response.
Vibrato Controls
Knob 1: Speed
Controls the modulation rate of Vibrato.
Knob 2: Depth
Controls the maximum amount of pitch shift. Lower settings result in a mere “warble,” while higher settings produce a more exaggerated “wow” sound.
Knob 3: Phase
This control sets left and right channel waveforms out of phase, resulting in a leftto-right panning motion.
Detune
Stereo
Detune adds a slightly pitch-shifted version of the original source, thickening the sound. This creates a particularly effective simulation of “double-tracking.” This effect is also a great alternative to the Chorus effect, adding the richness of a chorus without the audible sweep caused by the chorus rate.
Pitch Shift
Stereo
This effect shifts the frequency spectrum of the input signal. Altering the pitch of a sound produces a wide range effects from subtle detunes to full interval shifts up or down a two octave range. The MX200’s
Pitch Shift effect is a chromatic shifter, meaning all notes of the scale are shifted by the same interval. Pitch Shift is very useful with guitar tracks, monophonic synth lines, or where special vocal effects are needed.
Detune Controls
Knob 1: Left Shift Amount
Determines the detune amount of the Left input, from -24 cents to +24 cents.
Knob 2: Right Shift Amount
Determines the detune amount of the
Right input, from -24 cents to +24 cents.
Knob 3: Stereo Spread
Higher values increase the perceived distance of the detuned voices in the stereo field.
Pitch Shift Controls
Knob 1: Shift Amount
Determines the amount of pitch shifting.
Range is 0-24 semitones (2 octaves).
Knob 2: Down/Up Shift
Determines whether the pitch shifting is up or down from the original signal.
22
MXX220000 U
The MX200 has several global functions that can be customized to meet your needs. These functions are MIDI Channel
Select, Program AutoLoad enable, Dry
Track to digital output, Analog/Digital
Input Select, and Factory Reset. To access these Utility functions, press and hold both the Store and Audition buttons simultaneously until the Audition button
LED begins to flash. The Program Display reads Ut to indicate that you are in Utility mode rather than Program mode.
Navigation between Utility functions is controlled by pressing the Audition button; changes are made by turning the Program
Select knob.
MIDI Channel
The MX200 is capable of receiving incoming MIDI Program Change and CC
(Continuous Controller) messages via a
MIDI or USB connection. The MX200 can be set to receive on any single MIDI channel, all MIDI channels, or can have MIDI receive disabled.
To select the MIDI channel:
1. Press both the Store and Audition buttons simultaneously.
2. The first menu displayed when entering the Utility mode is the MIDI Channel menu. The Program Display alternates between Ch and 1 (1 is the factory default MIDI channel).
3. Use the Program Select knob to choose the MIDI channel that you want the MX200 to receive incoming MIDI
Program Change and CC messages on.
The range is 1-16, AL (omni), and OF
(ignores incoming MIDI messages).
4. Press the Store button to save this change.
Program AutoLoad
From the factory, the MX200 is configured to have presets loaded manually once they are selected. This is useful in live applications when a performance requires different programs to be loaded that are not in adjacent memory locations. Select the program using the Program Select knob and then press the knob to load it for use. The previous program remains active until the new program is loaded. If you would like the programs to be loaded automatically as they are changed with the Program Select knob, you can enable the AutoLoad function.
To enable AutoLoad:
1. Press both the Store and Audition buttons simultaneously.
2. Press the Audition button repeatedly until Lo appears in the Program
Display. The Program Display flashes between Lo and OF, indicating the
AutoLoad feature is disabled.
3. Turn the Program Select knob until the display reads On to enable AutoLoad.
4. Press the Store button to save this change.
Analog / Digital Input
Select
The MX200 has both analog and S/PDIF digital inputs and outputs available. The
S/PDIF digital output is always operational and any incoming analog signal is processed and sent to both the analog and digital outputs. When a digital signal is received at the S/PDIF digital input from another device, the MX200 automatically disables the analog inputs and enables the digital input to receive signal from the external device. There are times however, you may want to leave the digital device connected but receive signal from the analog inputs.
To enable or disable the digital input:
1. Press both the Store and Audition
23
buttons simultaneously.
2. Press the Audition button repeatedly until In appears in the Program
Display. The Program Display flashes betweenIn and dI if the digital input is selected. If you want to disable the digital input and use the analog inputs, turn the Program Select knob until the
Program Display reads An to select the analog input.
3. Press the Store button to save this change.
Digital Out Dry Track
The MX200 can send unprocessed digital audio (Dry Track) out the S/PDIF Digital
Out while monitoring processed audio through the analog outputs. This is useful when you want to record a dry performance digitally, but also hear effects processing while you a recording.
Note: The Dry Track feature is only available for signals brought into the MX200 via the analog inputs. Dry Track has no effect on signals being received at the S/PDIF In.
Digital in/out signals are processed normally regardless of whether the Dry Track parameter is enabled or disabled.
To enable Dry Track:
1. Press both the Store and Audition buttons simultaneously.
2. Press the Audition button repeatedly until dt appears in the Program
Display. The Program Display flashes between dt and Of
3. Turn the Program Select knob until the
Program Display reads On to enable the Dry Track feature.
4. Press the Store button to save this change.
Stereo and Mono Output
Modes
The MX200 outputs can be either Stereo or Mono depending on your application needs. When Stereo Output Mode is selected (MX200’s default Output Mode), the signals maintain stereo separation as configured by the Routing button. When
Mono Output Mode is selected, both Left and Right output signals are summed to mono and then sent out the Left output.
To select Mono or Stereo Output Modes:
1. Press both the Store and Audition buttons simultaneously until Ut appears in the Program Display.
2. Press the Audition button repeatedly until OP appears in the Program
Display. This is the Output Mode setup menu.The Program Display alternately flashes OP and then St to indicate Stereo Output Mode is selected.
3. To change the Output Mode to Mono, turn the Program Select knob until no appears in the Program Display indicating Mono Output Mode is now selected.
4. Press the Store button to save these changes.
Note: When Mono Output Mode is selected, effects like Panner and Pong Delay will no longer have left to right animation as they do when Stereo Output Mode is selected.
Factory Program Banks:
Serial and Parallel
The MX200 has two sets of Factory program banks: the Parallel bank and Serial bank. The Parallel processing bank is used when the MX200 is configured in an
Auxiliary Send/Return setup with a mixer.
The Serial bank is designed for use when
24
the MX200 will have a signal source (such as an instrument) connected directly to its inputs and the MX200’s outputs are connected to a mixer or amplifier input channels. The difference between these two banks is the way the Mix 1 and Mix 2 controls are set in the Factory programs, providing the proper wet/dry mix for either application.
Note: The default Factory bank is the
Serial bank. If you plan to use the MX200 as a Parallel device in a mixer Aux
Send/Return setup, select the Parallel bank of Factory programs.
To select the Parallel bank of Factory programs:
1. Press both the Store and Audition buttons simultaneously until Ut appears in the Program Display.
2. Press the Audition button repeatedly until Fb appears in the Program
Display. This is the Factory Bank program select menu. The Program
Display alternately flashes Fb and then SE to indicate the Serial bank of Factory programs is selected.
3. To select the Parallel bank of Factory programs, turn the Program Select knob until PA appears in the Program
Display.
4. Press the Store button to save these changes.
Bypass Mode Select
From the factory, MX200 is configured so that engaging the Bypass button on P1 or
P2 causes that processor to go into
Bypass mode, allowing dry, unprocessed signal to pass through unaffected. There are cases when you may want to have this button mute the output altogether, allowing neither wet nor dry signal to pass. Note that this configuration should only be used for Routing options 1, 3 and 4; placing either Processor in Bypass (mute) when
Routing 2 (Cascade) is selected will cause the MX200 to have no output, as the entire signal is muted by the Processor placed in
Bypass.
To change this setting:
1. Press both the Store and Audition buttons simultaneously.
2. Press the Audition button repeatedly until bP appears in the Program
Display. The Program Display flashes between bP and dr (indicating dry signal).
3. Turn the Program Select knob until the display reads no (or no signal).
4. Press the Store button to save this change.
Factory Reset
Use this utility if you want to erase all User program data and restore the MX200 to its factory state.
To perform a Factory Reset:
1. Press both the Store and Audition buttons simultaneously.
2. Press the Audition button repeatedly until Fr appears in the Program
Display
3. To restore the MX200 to its factory state, press the Store button. The Store button begins to flash.
Warning: Pressing and holding the Store button again at this time resets all Utility menus to their factory defaults and permanently erases all User programs! This will not affect the Factory programs or any programs saved to your computer using the
MX-Edit Librarian software.
4. Press and hold the Store button to complete the reset procedure. The display flashes rs to indicate the
Factory Reset was successful.
25
TThhee M
TTM
The included MX-Edit Editor/Librarian software lets you create, edit, compare, save and load reverb and effects programs for use with your MX200 on your Windows
® computer. While the MX200 has 99 User program locations, you can create and save as many programs you like on your computer, and load them into your MX200 via a USB or MIDI connection at any time.
Minimum System Requirements
Before installing the MX-Edit
Editor/Librarian software, make sure that your computer meets the following minimum requirements:
• Pentium-III, 500MHz or better.
• Windows XP, Service Pack 2 or higher.
Installing the MX-Edit
Editor/Librarian Software
To install the included MX-Edit
Editor/Librarian software in Windows XP, insert the provided disc into your computer’s CD-ROM drive. You will be guided through the installation process – just follow the on-screen instructions and prompts. Note that you will be prompted to connect the MX200 via the USB port during the installation process. In order for your computer to recognize the MX200 connection, it is necessary to have the
MX200 powered on and connected via a standard USB cable.
Important: If you plug your MX200 into a
USB port other than the one used during the installation of MX-Edit software and drivers, you may need to run the USB driver installer again. For your convenience, a shortcut to the USB driver installer is added to the Start menu during the MX-
Edit software installation. If you need to reinstall the drivers, click Start->Program
26
Files->Lexicon->MX-Edit->Reinstall
Drivers, and follow the installation prompts.
Quick Start
When you first open MX-Edit, you will see the MX-Edit Library on the left side of the
MX-Edit window, with the MX200 icon at the top of the Library.
Double-click the MX200 icon to expand the
Library, then double-click the Factory or
User icons to see the Factory or User program lists. The Factory list will always be the same, as Factory programs cannot be changed; the User program list will represent the programs currently residing in the
User program locations 1-99 in your
MX200 hardware.
Double-click a program name to open it in the editor. An instance of the MX-Edit
Program Editor appears, with the selected program’s name in the Title Bar and
Program Name field. The program settings are also reflected in the Parameter knobs and buttons in the Program Editor window.
The selected program is now loaded in your MX200 as well, and can be previewed using the Audition button on the MX200’s front panel. Any changes made in the MX-
Edit Program Editor window will also occur simultaneously on the MX200 hardware.
The MX-Edit
TM
Library
The MX-Edit Library contains the 99
Factory and 99 User programs that are currently loaded in your MX200. When you first open MX-Edit, it communicates via
USB (or MIDI) with the MX200 hardware, and populates the Library with all the information about each of the Factory and User programs stored in MX200’s physical memory.
To view programs in the Library window, double-click on the MX200 icon in the upper left corner, then double-click the
Factory or User icon to expand the Library and see the Factory or User program lists.
The Factory list is always the same, as
Factory programs cannot be overwritten; the User program list represents the 99
User programs currently saved in your
MX200 hardware.
Opening or Creating a
Program
To open a program, choose one of the following:
• To open a Factory or User program from the MX-Edit Library, double click on that program number in the Library window.
• To open a program that has been saved to your computer (but doesn’t appear in the MX-Edit Library), click File and select Open Program. By default, the Open dialog looks in the My
Documents folder (or the last folder that a program was opened from). Doubleclick the program to load it.
• To open a program with the currently active settings from the MX200, select
Open Current Program in the
Device menu. This will retrieve all current settings from the MX200’s front panel, and display those settings in the
Program Editor window.
To create a new, default program, click File and select New Program. The default program is a template that you can use as a good generic starting point when you want to create your own program from scratch. It is stored in a file named Default in the MX-
Edit installation folder (normally
C:\Program Files\Lexicon\MX-Edit). Initially,
27
this program is a basic clean sound.
However, you can create your own default program by overwriting the Default file in the MX-Edit directory with the program of your choice.
The MX-Edit
TM
Program
Editor
The MX-Edit Program Editor lets you quickly and easily view, compare and edit any program stored in the MX200, or programs saved to your computer.
MX-Edit gives you all the same control and functionality as the MX200 front panel, with the exception of Input control, Audition, and Utility functions. You’ll also see that the Routing button has been replaced by a pull-down menu, as have the two Effect
Select buttons. The Active
Reverb/Effects Matrix and Program
Display have been replaced by the Title
Bar and values above the Parameter adjust knobs.
With these minor differences, the Program
Editor works just like the MX200’s front panel – and all changes that you make in the active Program Editor window are reflected in real-time on the MX200. MX-
Edit and the MX200 are fully interactive, so any changes made on the MX200’s front panel are reflected in real-time in the active
MX-Edit Program Editor window as well.
When you open a program, an instance of the MX-Edit Program Editor appears, with the selected program’s name in Program
Name field. The settings of the loaded program are reflected in the Parameter knobs and buttons, and are loaded into the
MX200 hardware. The program (and any edits you make) can be previewed at any time by using the Audition button on the
MX200 front panel.
You can have multiple Program Editors open at once, but only the currently selected window is active. In other words,
MX200 processes the settings of the active
Program Editor, and you only hear the settings of the active (selected) Program
Editor window.
Editing a Program
Signal Routing Options
To change MX200’s Routing, left click on the Routing button in the Input/Routing control area. A list of the MX200’s four
Routing options appears, with a check mark next to the currently selected routing.
Highlight an item in the list and left click to select and load it. A routing diagram will appear next to the Routing button, and the routing name will be shown in the button.
Reverb/Effect Selection Buttons
To change a reverb or effect in Processor 1 or Processor 2, left click on the
Reverb/Effect Select button in P1 or P2 control area. A list of the MX200’s 32 reverbs and effects appears, with a check mark next to the currently selected reverb or effect. Highlight an item in the list and left click to select and load it. Notice that the reverb or effect name now appears in the Reverb/Effect Select button, and the
Parameter knobs in MX-Edit change posi-
28
tion depending on the default values for the selected reverb or effect.
Adjusting Knobs
To make editing in MX-Edit easy and intuitive, there are three ways to adjust knobs in MX-Edit:
Mouse - Circular
Place the cursor at the outer (shadowed) edge of a knob, then click and hold the left mouse button. The white indicator line on the knob jumps to the mouse cursor’s position, and follows the cursor as it moves around the circumference of the knob. To make fine adjustments, continue to hold the left mouse button down and move the cursor away from the knob; the white line still follows the cursor, no matter how far away it is from the knob.
Mouse – Up / Down
Move the mouse cursor to the center of a knob; the knob is highlighted, and the cursor changes to a double-headed arrow, pointing up and down. Click and hold the left mouse button, causing the cursor to disappear. Move the mouse up to turn the knob higher, or move the mouse down to turn the knob lower. For very fast edits, press and hold the Ctrl key on your computer keyboard while moving the mouse; this multiplies the adjusted value by a factor of 10.
Arrow Keys
Highlight, then left-click on a knob to select it. Use the up (or right) arrow key to turn the knob higher and increase the value; use the down (or left) arrow key to turn the knob lower, decreasing the value. This is a very effective method for making small adjustments to fine-tune your settings. For faster modifications, press and hold the
Ctrl key on your computer keyboard while pressing an arrow key to multiply each adjustment by a factor of 10.
Tempo
If one of the MX200’s six delays is selected, the Tempo button in that processor becomes active, and begins to flash at the rate displayed above the Time Range knob. The tempo value is shown in milliseconds (ms), and a quarter-note appears next to the displayed tempo. When the
Time Range parameter is adjusted, exact divisions of time in milliseconds relative to the flashing Tempo rate will cause a note value to be displayed next to the time, e.g.
16th note, dotted-8th note, etc. The Tempo button will continue to flash at the originally selected tempo, but the delay taps will occur at the rate displayed in the Time
Range value.
To change the tempo value, simply place the mouse cursor over the Tempo button, and left-click twice to tap the tempo, just as you would on the MX200 front panel. The
Tempo buttons on MX200 and in the
Program Editor window now flash at the new tempo.
If something other than one of the six delays is loaded in the processor, the
Tempo button is grayed out and inactive.
Bypass
To engage the Bypass button (and turn off the selected effect), place the mouse cursor over the Bypass button, and left-click to bypass that processor. Note that the
Bypass buttons on both the MX200 front panel and the Program Editor illuminate to indicate the selected processor is bypassed.
Program Name
To create or change a program’s name, simply left click once anywhere in the
Program Name field. The program name will be highlighted; type the new name into the Title Bar. The program name in the
Header area will not change until the program has been saved.
29
Saving a Program
If you make any changes to a program, an asterisk (*) will appear next to the program name in the Title Bar of the Program
Editor. The LED associated with the corresponding knob or button and the Store button on the MX200’s front panel also illuminates, indicating a change from the loaded program.
To save a program to disk, click File and select Save or Save As, and enter a file name. By default, programs are saved to your computer in the My Documents folder; to choose a different location, simply navigate to a different folder or create a new folder in which to save your MX200 program files. (For example,
C:\Documents and
Settings\username\My
Documents\MX200 Presets). Click the
Save button to complete the process.
You can also save a program simply by closing the active Program Editor window.
If any changes have been made to the loaded program, a dialog box appears, asking if you want to save your changes.
Click Yes to save the changes, No to close without saving, or Cancel to return to the active Program Editor window. If you choose this method to save your changes, the current program will be over-written; to save the program as a new file with a different name (and keep the loaded program’s settings intact), click File then Save
As.
MX200 programs are given the file extension .m2p, and they can be copied, moved, attached to emails – anything you can do with a standard document or file. These files should, however, only be opened by
MX-Edit Editor/Librarian software to prevent corruption.
Storing a Program
To store a program into one of the 99 User program locations in the MX-Edit Library
(and the corresponding location in the
MX200’s physical memory), open the program you wish to store. With the Program
Editor window active, click Device, then
Store Program. The Store to Device dialog appears, allowing you to choose the
User program location and program name to store with it. Be aware that storing a program in this manner will over-write the program previously stored in that location, both in the MX-Edit Library and the MX200 itself. Click Save to store to the selected
User program location. To cancel the operation, click Cancel, or close the Store to
Device dialog box.
To rename a User program in the Library, right-click on its name in the Library window and select Rename. Type in the new name and press Enter to save the change.
Since the Factory programs can never be over-written, you cannot store to nor rename a Factory program location. You may edit a Factory program, but it must be stored to a User program location.
Archiving
Archiving is a powerful tool for preserving the current state of your MX200. When you archive the MX200, all of its presets and global settings are sent to the computer and saved to a file. When an archive is restored, the MX200 is configured exactly how it was when you archived it. This allows you to not only create safety backups, but create unique configurations for various purposes. For example, you might want to create a setup specifically for that gig you’re playing on the weekend, but still keep all your favorite studio presets intact.
Use MX-Edit’s Backup feature to archive the MX200’s settings, then modify and store anything and everything you want, without worrying about reprogramming all
30
your previous programs and settings.
To archive the MX200, click Device and select Backup. A warning will appear, advising you that a full Backup may take a few minutes, and asking whether you wish to proceed. To cancel without creating a
Backup archive, click Cancel or close the dialog box. To proceed, click OK. A progress bar appears at the bottom of the
MX-Edit screen, indicating that a Bulk
Dump is in process. When all the MX200 data is received, a Save dialog box appears. The default file name is the current day and date (e.g. Backup
Wednesday, April 27, 2005 ) with the file extension .m2a (MX200 Archive file). Click
Save to store the Backup Archive file.
To restore a saved archive, click Device and select Restore. When prompted, select an MX200 archive file, and click
Open. MX-Edit then sends the MX200 archive to your MX200, replacing all the data in the hardware with the archived data.
Note: It is a good idea to create a new
Backup archive file anytime you plan to restore the MX200 from a previous archive session.
31
TThhee M
TTM
The included MX-Edit Editor/Librarian software lets you create, edit, save and load reverbs and effects programs for use with your MX200 on your Macintosh® OSX computer. While the MX200 has 99 User program locations, you can create and save as many programs you like on your computer, and load them into your MX200 via a USB connection at any time.
Minimum System Requirements
Before installing the MX-Edit
Editor/Librarian software, make sure that your computer meets the following minimum requirements:
OSX 10.3 or higher
Installing the MX-Edit
Editor/Librarian
To install the MX-Edit, VST™ and Audio
Units software for Macintosh® computers, insert the provided disc into the CD-ROM drive and double-click on the disc icon when it appears. Double-click on the
MX200.dmg.hqx file to extract and run the installer. Follow the on-screen prompts to install the software.
The installer sets up the standalone MX-
Edit Editor/Librarian application in the
Applications folder, the MX-Edit Audio
Unit in the Components folder, and the
MX-Edit VST in the VST folder.
Quick Start
When you first start MX-Edit, the MX-Edit
Program Editor window opens.
To load a program, click the Program Menu
32
Maacc
field. A list of programs appears.
Select a program in the list to load it.
Make your adjustments (if any) to the knobs and buttons in the control panel just as you would on the MX200 itself.
If you want to save your edits to a file, select File > Save menu or File > Save
As. The Save dialog box appears; type a name in the Name: field and click OK.
The MX-Edit Program
Window
The Program Editor window lets you conveniently view and edit a program. The
Program Editor window contains a header section that includes the Program Name.
To open a program from the MX200 click in the Program Menu field and select a program from the list.
To open a saved program from a file, select File > Open Program. When the
Open dialog box appears, browse to find the program, and double-click the program name to load it.
To save a program to disk, select File >
Save Program or Save Program As, enter a file name, then click the Save button.
To store a program into one of the
MX200’s 99 User program locations, select
Device > Store Program, choose the location and program name, then click the
Save button.
You can create new programs based either on the User or Factory programs, but you may only store to User program locations.
As in the MX200 hardware, Factory programs cannot be over-written.
To rename a User program, select Device
> Rename. Enter a new name, select the
User program location, and press Enter.
Editing a Program
Signal Routing Options
To change MX200’s Routing, click on the
Routing button in the Input/Routing control area. A list of the MX200’s four
Routing options appears; highlight an item in the list and click to select it. A routing diagram appears next to the Routing button, and the routing name is shown in the button.
Reverb/Effect Selection Buttons
Click on a Reverb/Effect Select button to open a list of the MX200’s reverbs and effects. Select an item in the list to load it.
Notice that the reverb or effect name now appears in the Reverb/Effect Select button, and the Parameter knobs in MX-Edit change position depending on the default values for the selected reverb or effect.
Adjusting knobs
Move the cursor to the center of a knob.
Click and hold the mouse button.
Move the mouse up (or right) to turn the knob higher; move the mouse down (or left) to turn the knob lower. For fine adjustments, hold the Option key while moving the mouse.
Tempo
If one of the MX200’s six delays is selected, the Tempo button in that processor becomes active, and begins to flash at the rate displayed above the Time Range knob. The tempo value is shown in milliseconds (ms), and a quarter-note appears next to the displayed tempo. When the
Time Range parameter is adjusted, exact divisions of time in milliseconds relative to the flashing Tempo rate will cause a note value to be displayed next to the time, e.g.
16th note, dotted-8th note, etc. The Tempo button will continue to flash at the originally selected tempo, but the delay taps will occur at the rate displayed in the Time
Range value.
To change the tempo value, simply place the mouse cursor over the Tempo button, and left-click twice to tap the tempo, just as you would on the MX200 front panel. The
Tempo buttons on MX200 and in the
Program Editor window now flash at the new tempo.
If something other than one of the six delays is loaded in the processor, the
Tempo button is grayed out and inactive.
Bypass
To engage the Bypass button (and turn off the selected effect), place the mouse cursor over the Bypass button, and click to bypass that processor. Note that the
Bypass buttons on both the MX200 front panel and the Program Editor illuminate to indicate that the selected processor is bypassed.
33
Archiving
Archiving is a powerful tool for preserving the current state of your MX200. When you archive the MX200, all of its presets and global settings are sent to the computer and saved to a file. When an archive is restored, the MX200 is configured exactly how it was when you archived it. This allows you to not only create safety backups, but create unique configurations for various purposes. For example, you might want to create a setup specifically for that gig you’re playing on the weekend, but still keep all your favorite studio presets intact.
Use the MX-Edit Backup feature to archive the MX200’s settings, then modify and store anything and everything you want, without worrying about reprogramming all your previous programs and settings.
To archive the MX200, select File >
Backup. In the dialog box, select a name and location for the archive file. The default name and location is untitled.syx on your
Desktop.
To restore an archive, select File >
Restore. Select an archive file to be restored, then wait for the data to be received by the device. MX-Edit sends the archive information to your MX200, replacing all the data in the hardware with the archived data.
Note: It is a good idea to create a new
Backup archive file anytime you plan to restore the MX200 from a previous archive session.
Quick Access Menu
For instant access to the most often used commands, click the small down arrow in the upper left corner of the program window to open the Quick Access Menu.
Store Program in MX200
Lets you choose a name and location in the library for the selected program.
Rename Program in MX200
Lets you select a User program and rename it.
Open Program
Lets you browse for and open existing programs.
Save Program
Saves the selected program window under its current name. (If the program is untitled, you will be prompted to name it.)
Backup
Creates an archive of the programs saved in the MX200.
Restore
Lets you browse for and open an MX200
Archive File, which loads archived programs onto the MX200.
34
The MX200 comes with VST™ and Audio
Units software which allows you to use the
MX200 as a Hardware Plug-In. Now you have access to classic Lexicon
® reverbs and effects within your software recording projects, with full automation and total recall, without burdening your CPU! Using the MX200 with the VST and Audio Units software works much like any other plug-in you’d use with a DAW, except that the audio is routed through the MX200 for the signal processing.
Minimum System Requirements
Audio
I/O hardware with a minimum of two inputs and four audio outputs.
Windows
P-III, 500MHz or better, WinXP Service
Pack 2 or higher plus a VST-compatible
Software Recording Package
Mac
OSX 10.3 or higher plus a VST
Package
TM
or Audio
Units compatible Software Recording
Installing the MX-Edit VST
Hardware Plug-In
Note: If you have already installed the
MX-Edit
TM software for Mac or WinXP, you have already installed the VST and/or
Audio Units software. Simply skip this section.
For Windows XP users
To install the software in Windows, insert the disc into your CD-ROM drive and follow the on-screen prompts. (If the Autorun feature is disabled, browse to the CD and double-click on the setup.exe file.)
For Mac users
To install on a Mac, insert the disc into your CD-ROM drive and double-click on the disc icon when it appears. Double-click on the MX200.dmg.hqx file to extract and run the installer. Follow the on-screen prompts to install the software.
Connecting the MX200
USB Connection
Make sure the MX200 is powered up and connected to your computer with a standard USB cable. (For Windows XP users, make sure the MX200 is plugged into the same USB port as when the software was loaded.)
Audio Connections
To use the MX200 as a hardware plug-in, your computer needs audio hardware with multiple audio inputs and outputs available, at least enough to send and return two channels from the MX200 plus two additional outputs to monitor with.
For lower latencies and the best audio performance, it is recommended that you connect the MX200 to your computer’s audio
I/O device using the S/PDIF Inputs and outputs. If your I/O device does not have a
S/PDIF connection, or if it already connected to another device, you may use the analog connections from your computer’s
I/O device to the 1/4” analog inputs and outputs on the MX200.
Important: The MX200 accepts digital audio at 44.1kHz and 48kHz sample rates.
Do not connect any digital device to the
MX200’s S/PDIF Input that transmits at any other sample rate (such as 96kHz). Doing so can cause unpredictable performance.
Make sure your recording project is set to
35
either 44.1kHz or 48kHz sample rate to avoid problems.
Software Configuration
Because the audio is being processed within the MX200 hardware, and not inside your computer, your DAW (Digital Audio
Workstation, or Recording Software) needs to be set up to send and receive audio to and from the MX200.
Many DAW’s have built-in routing configurations for this; consult your software’s documentation for information about setting up external routing options.
Steinberg
®
Cubase SX
®
users: see information on “External FX” connections.
Logic
®
Audio users: see information about
“I/O Insert Plug-Ins.”
Cakewalk
®
Sonar™ users: see information about “Adding Send / Return Effects to a
Bus”
If your software does not provide specific information about these types of configurations, you can set up the connections yourself. Each recording platform will vary slightly, but the basic principles are the same.
To set up a send and return path:
1. Create a Stereo Bus (or two audio busses) that are different from your Main
Mix (Master) Bus.
2. Route these busses to the outputs on your audio I/O hardware that you have connected to the MX200 (Either the
S/PDIF output, or two analog outputs).
3. In your VST or Audio Units Send Effects
Routing options, send the MX200’s effect sends to the Stereo Busses (or
Bus Pair) you created in Step 1.
4. Create two audio tracks whose inputs correspond to those you connected to
36 the MX200 (Either the S/PDIF input, or two analog inputs).
5. Route these tracks to the Main Mix
(Master) Bus.
If you have followed these steps correctly, when you open an instance of the MX200 plug-in, its audio path will lead it to the bus pair you created, which will send the audio to the MX200. The processed audio is then sent from the MX200 through your audio hardware’s inputs to the two audio tracks you created in Step 4, and monitored through the Main Mix Bus, just as you would any audio or plug-in effect.
Using the MX200 Plug-In
Window
In your DAW, open the Lexicon MX200 plug-in. You’ll see an instance of the
Program Editor window. You can use the
MX200 plug-in software just as you would any other plug-in: Session Recall, automation – everything behaves just as any other
VST
TM or Audio Unit plug-in. The primary difference is that the audio processing occurs in the MX200 rather than on your computer. And, since the MX200 is a physical device, you can only open one instance of the plug-in window. If you attempt to open more than one plug-in window, the message shown below will appear.
Controls
The MX200’s Plug-In window functions much like the MX-Edit Program Editor window described on page 28.
mppoorrttaanntt!!
MIDI Port Error Message
If you see this message, the MX200 is either disconnected or its USB MIDI ports are in use by an application. Some hosts, such as Cubase, may automatically open the MX200’s MIDI ports by default. In this case, you will need to deselect or disable the port named “Lexicon MX200 Control” in the application’s MIDI Devices setup.
37
SSppeecciiffiiccaattiioonnss
Audio Inputs:
Input Impedance:
Input Level:
(2) 1/4” TRS balanced or unbalanced
20k Ohms balanced, 10k Ohms unbalanced
+4dBu Nominal, +20dBu Maximum
Frequency Response: 20 Hz - 20kHz, ref. 1kHz +/- 1dB
THD+N: <.007% 20Hz - 20kHz
Line Outputs:
Output Level:
(2) 1/4” TRS balanced or unbalanced
+4dBu Nominal, +20dBu Maximum
Dynamic Range: >108dB
Power: 9V AC (power supply included)
Audio Processor: 24-bit
Software: WinXP/Mac OSX VST GUI Interface
Dimensions:
Weight:
19" W x 1.75" H x 4.75" D
3.75 lbs.
38
Delay
Time Range Values
De-Esser
Frequency Values
Note: A value of 36 is the 12 o'clock knob position, or equal to the Tempo LED rate.
Intermediate values (e.g. 1-3) do not represent exact note values.
Bandwidth Values
39
40
Effects in the list that are italicized and shaded are in Bypass in the factory programs.
Effects that are bolded are designed to be Full Wet only (e.g. Compressor).
Effects in the list that are italicized and shaded are in Bypass in the factory programs.
Effects that are bolded are designed to be Full Wet only (e.g. Compressor).
41
L ex n
®
8 76 0 S ou
Sa nd h S an
Utta y P h 8 arrk
07 wa
P H ((8 011)) 5 66 88 0
F AX 56 70 5
M w an ww co np co m urre d iin e U
20 05 arrm an
L ex on X2 ntte d 7 /2 00
Ow ne Ma nu errn attiio all IIn us nc orrp
8--0 32 atte d,, a s rre errv d..
advertisement
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project