Lexicon MPX 1 User manual

MPX 1

Multi Processor FX

User Guide

Unpacking and Inspection

After unpacking the MPX 1, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the unit and packing materials for signs of damage. Report any shipment damage to the carrier at once; report equipment malfunction to your dealer.

Precautions

Save these instructions for later use.

Follow all instructions and warnings marked on the unit.

Always use with the correct line voltage. Refer to the manufacturer's operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug.

Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed in the product specification.

Slots and openings on the case are provided for ventilation; to ensure reliable operation and prevent it from overheating, these openings must not be blocked or covered. Never push objects of any kind through any of the ventilation slots. Never spill a liquid of any kind on the unit.

This product is equipped with a 3-wire grounding type plug. This is a safety feature and should not be defeated.

Never attach audio power amplifier outputs directly to any of the unit's connectors.

To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water.

Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating the need for service.

This unit should only be opened by qualified service personnel. Removing covers will expose you to hazardous voltages.

This triangle, which appears on your component, alerts you to the presence of uninsulated, dangerous voltage inside the enclosure... voltage that may be sufficient to constitute a risk of shock.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

This triangle, which appears on your component, alerts you to important operating and maintenance instructions in this accompanying literature.

Notice

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designated to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient the receiving antenna

Relocate the computer with respect to the receiver

Move the computer away from the receiver

Plug the computer into a different outlet so that the computer and receiver are on different branch circuits.

If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful:

"How to identify and Resolve Radio/TV Interference Problems."

This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-000-00345-4.

Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class

B prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

Acknowledgements

Cry Baby, Leslie, Moog, Mutron and Vox are trademarked by their respective companies.

Copyright



1997

All Rights Reserved.

Lexicon Inc. • 3 Oak Park • Bedford MA 01730-1441 USA • Telephone 781-280-0300 • Fax 781-280-0490

Lexicon Part # 070-11097 Rev 1

MPX 1

Multi Processor FX

User Guide

Dansk

Vigtig information om sikkerhed

Gem denne vejledning til senere brug.

Følg alle anvisninger og advarsler på apparatet.

Apparatet skal altid tilsluttes den korrekte spænding. Der henvises til brugsanvisningen, der indeholder specifikationer for strømforsyning. Der gøres opmærksom på, at ved varierende driftsspændinger kan det blive nødvendigt at bruge andre lednings- og/eller stiktyper.

Apparatet må ikke monteres i et kabinet uden ventilation eller lige over andet udstyr, der udvikler varme, f.eks. forstærkere. Den maksimale omgivelsestemperatur ved drift, der står opført i specifikationerne, skal overholdes.

Der er ventilationsåbninger i kabinettet. For at sikre apparatets drift og hindre overophedning må disse åbninger ikke blokeres eller tildækkes. Stik aldrig noget ind igennem ventilationsåbningerne, og pas på aldrig at spilde nogen form for væske på apparatet.

Dette apparat er forsynet med et stik med jordforbindelse. Denne sikkerhedsforanstaltning må aldrig omgås.

Udgangsstik fra audioforstærkere må aldrig sættes direkte i apparatet.

Apparatet må ikke udsættes for regn eller fugt og må ikke bruges i nærheden af vand for at undgå risiko for elektrisk stød og brand.

Apparatet må aldrig bruges, hvis det er blevet stødt, beskadiget eller vådt, eller hvis ændringer i ydelsen tyder på, at det trænger til eftersyn.

Dette apparat må kun åbnes af fagfolk. Hvis dækslet tages af, udsættes man for livsfarlig højspænding.

Denne mærkat på komponenten advarer om uisoleret, farlig spænding i apparatet ... høj nok til at give elektrisk stød.

Denne mærkat på komponenten advarer om vigtig drifts- og vedligeholdsinformation i den tilhørende litteratur.

Suomi

Tärkeitä turvallisuusohjeita

Säilytä nämä ohjeet tulevaa käyttöä varten.

Seuraa kaikkia yksikköön merkittyjä ohjeita ja varoituksia.

Käytä aina oikeaa verkkojännitettä. Tehovaatimukset selviävät valmistajan käyttöohjeista. Huomaa, että eri käyttöjännitteet saattavat vaatia toisenlaisen verkkojohdon ja/tai -pistokkeen käytön.

Älä asenna yksikköä telineeseen jossa ei ole tuuletusta, tai välittömästi lämpöä tuottavien laitteiden, esim. tehovahvistimien, yläpuolelle.

Ympäristön lämpötila käytössä ei saa ylittää tuotespesifikaation maksimilämpötilaa.

Kotelo on varustettu tuuletusreiillä ja -aukoilla. Luotettavan toiminnan varmistamiseksi ja ylilämpenemisen välttämiseksi näitä aukkoja ei saa sulkea tai peittää. Mitään esineitä ei saa työntää tuuletusaukkoihin. Mitään nesteitä ei saa kaataa yksikköön.

Tuote on varustettu 3-johtimisella maadoitetulla verkkopistokkeella. Tämä on turvallisuustoiminne eikä sitä saa poistaa.

Älä kytke audiotehovahvistimen lähtöjä suoraan mihinkään yksikön liittimeen.

Sähköiskun ja palovaaran välttämiseksi yksikkö ei saa olla sateessa tai kosteassa, eikä sitä saa käyttää märässä ympäristössä.

Älä käytä yksikköä jos se on pudonnut, vaurioitunut, kostunut, tai jos sen suorituskyky on huomattavasti muuttunut, mikä vaatii huoltoa.

Yksikön saa avata vain laitteeseen perehtynyt huoltohenkilö. Kansien poisto altistaa sinut vaarallisille jännitteille.

Tämä kolmio, joka esiintyy komponentissasi, varoittaa sinua eristämättömän vaarallisen jännitteen esiintymisestä yksikön sisällä.

Tämä jännite saattaa olla riittävän korkea aiheuttamaan sähköiskuvaaran.

Tämä kolmio, joka esiintyy komponentissasi, kertoo sinulle, että tässä tuotedokumentoinnissa esiintyy tärkeitä käyttö- ja ylläpitoohjeita.

Norsk

Viktig informasjon om sikkerhet

Ta vare på denne veiledningen for senere bruk.

Følg alle anvisningene og advarslene som er angitt på apparatet.

Apparatet skal alltid anvendes med korrekt spenning. Produktbeskrivelsen inneholder spesifikasjoner for strømkrav. Vær oppmerksom på at det ved ulike driftsspenninger kan være nødvendig å bruke en annen ledning- og/ eller støpseltype.

Apparatet skal ikke monteres i skap uten ventilasjon, eller direkte over varmeproduserende utstyr, som for eksempel kraftforsterkere. Den maksimale romtemperaturen som står oppgitt i produktbeskrivelsen, skal overholdes.

Apparatet er utstyrt med ventilasjonsåpninger. For at apparatet skal være pålitelig i bruk og ikke overopphetes, må disse åpningene ikke blokkeres eller tildekkes. Stikk aldri noe inn i ventilasjonsåpningene, og pass på at det aldri søles noen form for væske på apparatet.

Dette apparatet er utstyrt med et jordet støpsel. Dette er en sikkerhetsforanstaltning som ikke må forandres.

Utgangsplugger fra audioforsterkere skal aldri koples direkte til apparatet.

Unngå brannfare og elektrisk støt ved å sørge for at apparatet ikke utsettes for regn eller fuktighet og ikke anvendes i nærheten av vann.

Apparatet skal ikke brukes hvis det har blitt utsatt for støt, er skadet eller blitt vått, eller hvis endringer i ytelsen tyder på at det trenger service.

Dette apparatet skal kun åpnes av fagfolk. Hvis dekselet fjernes, utsettes man for livsfarlig høyspenning.

Komponenten er merket med denne trekanten, som er en advarsel om at det finnes uisolert, farlig spenning inne i kabinettet ... høy nok til å utgjøre en fare for elektrisk støt.

Komponenten er merket med denne trekanten, som betyr at den tilhørende litteraturen inneholder viktige opplysninger om drift og vedlikehold.

Svenska

Viktiga säkerhetsföreskrifter

Spara dessa föreskrifter för framtida bruk.

Följ alla anvisningar och varningar som anges på enheten.

Använd alltid rätt nätspänning. Se tillverkarens bruksanvisningar för information om effektkrav. Märkväl, att andra matningsspänningar eventuellt kräver att en annan typs nätsladd och/eller kontakt används.

Installera inte enheten i ett oventilerat stativ, eller direkt ovanför utrustningar som avger värme, t ex effektförstärkare. Se till att omgivningens temperatur vid drift inte överskrider det angivna värdet i produktspecifikationen.

Behållaren är försedd med hål och öppningar för ventilering. För att garantera tillförlitlig funktion och förhindra överhettning får dessa öppningar inte blockeras eller täckas. Inga föremål får skuffas in genom ventilationshålen.

Inga vätskor får spillas på enheten.

Produkten är försedd med en jordad 3-trådskontakt. Detta är en säkerhetsfunktion som inte får tas ur bruk.

Anslut aldrig audioeffektförstärkarutgångar direkt till någon av enhetens kontakter.

För att undvika elstöt eller brandfara får enheten inte utsättas för regn eller fukt, eller användas på ställen där den blir våt.

Använd inte enheten om den har fallit i golvet, skadats, blivit våt, eller om dess prestanda förändrats märkbart, vilket kräver service.

Enheten får öppnas endast av behörig servicepersonal. Farliga spänningar blir tillgängliga när locken tas bort.

Denna triangel, som visas på din komponent, varnar dig om en oisolerad farlig spänning inne i enheten. Denna spänning är eventuellt så hög att fara för elstöt föreligger.

Denna triangel, som visas på din komponent, anger att viktiga bruksanvisningar och serviceanvisningar ingår i dokumentationen i fråga.

Deutsch

Wichtige Sicherheitsanweisungen

Heben Sie sich diese Sicherheitsanweisungen auch für später auf.

Befolgen Sie alle auf der Vorrichtung stehenden Anweisungen und Warnungen.

Immer nur mit der richtigen Spannung verwenden! Die Gebrauchsanweisungen des Herstellers informieren Sie über die elektrischen Anforderungen.

Vergessen Sie nicht daß bei verschiedenen Betriebsspannungen ggf. auch verschiedene Leitungskabel und/oder Verbindungsstecker zu verwenden sind.

Stellen Sie die Vorrichtung nicht in ein unbelüftetes Gestell oder unmittelbar

über wärmeerzeugende Geräte wie z.B. Tonverstärker. Halten Sie die in den

Produktspezifikationen angegebene maximale Umgebungstemperatur bei

Betrieb ein.

Schlitze und Öffnungen im Gehäuse dienen der Belüfung; um verläßlichen

Betrieb sicherzustellen und Überheizen zu vermeiden dürfen diese Öffnungen nich verstopft oder abgedeckt werden. Stecken Sie nie irgend einen

Gegenstand durch die Belüftungsschlitze. Vergießen Sie keine Flüssigkeiten auf den Apparat.

Dieses Produkt is mit einem 3-drahtigen Erdungsstecker ausgerüstet. Diese

Sicherheitsmaßnahme darf nicht unwirksam gemacht werden.

Schließen Sie nie Tonverstärker unmittelbar an einen Anschluß des Apparates an.

Um elektrischen Schlag oder Feuer zu vermeiden, setzen Sie den Apparat weder Regen noch Feuchtigkeit aus und betreiben Sie ihn nicht dort wo

Wasser eindringen könnte.

Versuchen Sie nicht den Apparat zu betreiben falls er fallen gelassen, beschädigt, oder Flüssigkeiten ausgesetzt wurde, oder falls sich seine

Arbeitsweise derart ändert daß daraus ein Bedarf nach Raparatur zu schließen ist.

Dieser Apparat sollte nur von qualifizierten Fachleuten geöffnet werden. Das

Abnehmen von Abdeckungen setzt Sie gefährlichen Spannungen aus.

Dieses Dreieck auf Ihrem Apparat warnt Sie vor nicht-isolierter, gefährlicher Spannung im Gehäuse ... stark genug um eine

Berührungsgefahr darzustellen.

Dieses Dreieck auf Ihrem Apparat bedeutet daß wichtige Betriebsund Wartungsanweisungen in der mitgelieferten Dokumentation zu finden sind.

Español

Instrucciones importantes de seguridad

Guarde esta instrucciones para uso posterior.

Utilice siempre el voltaje correcto. Diríjase a las instrucciones de operación del fabricante para obtener las especificaciones de potencia. Esté al tanto de que voltajes de operación distintos requieren el uso de cables y/o enchufes distintos.

No instale esta unidad en un estante sin ventilación, ni tampoco directamente encima de equipos que generen calor tales como amplificadores de potencia. Fíjese en las temperaturas ambientales máximas de operación que se mencionan en las especificaciones del producto.

Las aperturas y ranuras del chasis sirven para proveer la ventilación necesaria para operar la unidad con seguridad y para prevenir sobrecalentamiento, y por lo tanto no pueden ser obstruidas o cubiertas. No introduzca objetos de ningún tipo a través de las ranuras de ventilación, y nunca deje caer ningún líquido sobre la unidad.

Este producto está equipado con un enchufe de 3 clavijas con conexión a tierra. Éste es un elemento de seguridad que no debe ser eliminado.

Nunca conecte ningún tipo de salida de amplificadores de sonido directamente a los conectores de la unidad.

Para prevenir descargas eléctricas o incendios, mantenga la unidad alejada de la lluvia, humedad o cualquier lugar en el que pueda entrar en contacto con agua.

No trate de hacer funcionar la unidad si se ha caído, está dañada, ha entrado en contacto con líquidos, o si nota cualquier cambio brusco en su funcionamiento que indique la necesidad de hacerle un servicio de mantenimiento.

Esta unidad deberá ser abierta únicamente por personal calificado. Si usted quita las coberturas se expondrá a voltajes peligrosos.

Este triángulo que aparece en su componente le advierte sobre la existencia dentro del chasis de voltajes peligrosos sin aislantes ...

voltajes que son lo suficientemente grandes como para causar electrocución.

Este triángulo que aparece en su componente lo alerta sobre las instrucciones de operación y mantenimiento importantes que están en los materiales de lectura que se incluyen.

Français

Instructions de Sûreté Importantes

Gardez ces instructions pour réference future.

Observez toutes les instructions et tous les avertissements marqués sur l’appareil.

Branchez uniquements sur un réseau de tension indiquée. Consultez le manuel d’instruction du fabriquant pour les spécifications de courant.

N’oubliez pas que différentes tensions peuvent nécessiter l’utilisation de cables et/ou de fiches de connexion différents.

N’installez pas l’appareil en un compartiment non-aéré ou directement audessus d’équipements générateurs de chaleur, tels qu’amplificateurs de courants, etc. Ne dépassez pas la température ambiante maximale de fonctionnement indiquée dans les spécifications du produit.

Des fentes et ouvertures sont prévues dans le boîtier pour l’aération; Pour assurer le bon fonctionnement et pour prévenir l’échauffement, ces ouvertures ne doivent pas être couvertes ou bloquées. N’insérez pas d’objets dans les fentes d’aération. Empêchez tout liquide de se répandre sur l’appareil.

Ce produit est muni d’une fiche à trois fils pour la mise à terre. Ceci est une mesure de sécurité et ne doit pas être contrariée.

Ne connectez jamais d’amplificateurs audio directement aux connecteurs de l’appareil.

Pour empêcher les chocs électriques et le danger d’incendie, évitez d’exposer l’appareil à la pluie ou à l’humidité, et ne le mettez pas en marche en un endroit où il serait exposé aux éclaboussures d’eau.

N’essayez pas de faire fonctionner l’appareil s’il est tombé à terre, a été endommangé, exposé à un liquide, ou si vous observez des différences nettes dans son fonctionnement, indiquant la nécessité de réparations.

Cet appareil ne doit être ouvert que par un personnel de service qualifié. En enlevant les couvercles vous vous exposez à des tensions électriques dangereuses.

Ce triangle, sur votre appareil vous avertit de la présence de tension dangereuse, non-isolée à l’intérieur du boîtier...une tension suffisante pour représenter un danger d’électrocution.

Ce triangle sur sur votre appareil vous invite de suivre d’importantes instructions d’utilisation et d’entretien dans la documentation livrée avec le produit.

Italiano

Importanti norme di sicurezza

Conservare le presenti norme per l’utilizzo futuro.

Osservare tutte le istruzioni e le avvertenze apposte sull’unità.

Utilizzare esclusivamente con la tensione di rete corretta. Consultare le istruzioni operative fornite dal fabbricante per i dati riguardanti la tensione e l’assorbimento di corrente. Potrebbe essere necessario l’uso di cavi di rete e/o di spine diverse a seconda della tensione utilizzata.

Non installare l’unità in uno scaffale privo di ventilazione oppure direttamente sopra una fonte di calore, come, ad esempio, un amplificatore. Non superare la temperatura ambientale massima di funzionamento riportata nei dati tecnici del prodotto.

Le fessure e le altre aperture nella scatola servono alla ventilazione. Per un funzionamento affidabile, e per evitare un eventuale surriscaldamento, queste aperture non vanno ostruite o coperte in nessun modo. Evitare in tutti i casi di inserire oggetti di qualsiasi genere attraverso le fessure di ventilazione.

Non versare mai del liquido di nessun tipo sull’unità.

Questo prodotto viene fornito con una spina a 3 fili con massa. Tale dispositivo di sicurezza non va eliminato.

Evitare sempre di collegare le uscite dell’amplificatore audio direttamente ai connettori dell’unità.

Per prevenire il pericolo di folgorazione e di incendio non esporre l’unità alla pioggia o ad un’umidità eccessiva; evitare di adoperare l’unità dove potrebbe entrare in contatto con acqua.

Evitare di adoperare l’unità se la stessa è stata urtata violentemente, se ha subito un danno, se è stata esposta ad un liquido o in caso di un evidente cambiamento delle prestazioni che indichi la necessità di un intervento di assistenza tecnica.

Ogni intervento sull’unità va eseguito esclusivamente da personale qualificato.

La rimozione della copertura comporta l’esposizione al pericolo di folgorazione.

Il presente triangolo impresso sul componente avverte della presenza di tensioni pericolose non isolate all’interno della copertura... tali tensioni rappresentano un pericolo di folgorazione

Il presente triangolo impresso sul componente avverte l’utente della presenza nella documentazione allegata di importanti istruzioni relative al funzionamento ed alla manutenzione.

Contents

Introduction

1.

Product Overview

The Front Panel .................................................................................. 1-1

The Rear Panel .................................................................................. 1-2

Installation Notes ................................................................................ 1-3

Mounting ...................................................................................... 1-3

Power Requirements .................................................................... 1-3

Audio Connections ....................................................................... 1-4

Analog Audio • Digital Audio • Mono Applications

Footswitch/Footpedal • MIDI

Setting Audio Levels .................................................................... 1-4

Headroom Display • Rear Panel Input Level Switch

Overload • Setting the Input Mode • Using Soft Sat

Setting Input Level • Setting Output Level

Configuration ................................................................................ 1-8

2.

Basic Operation

MPX 1 Menus ..................................................................................... 2-1

Loading and Playing with Programs ................................................... 2-2

Program Load .............................................................................. 2-2

Effect Bypass ............................................................................... 2-3

Mix ............................................................................................... 2-3

Tap ............................................................................................... 2-4

A/B ............................................................................................... 2-4

Soft Value Editing ......................................................................... 2-5

Program Sort, Search and Show - Using the DataBase ..................... 2-6

Program Store .................................................................................... 2-7

MPX 1 Preset Summary ..................................................................... 2-8

3.

Editing

Effect Editing ...................................................................................... 3-1

The MPX 1 Edit Menus ....................................................................... 3-3

Compare ...................................................................................... 3-3

Meter Assign ................................................................................ 3-4

Copy Effect ................................................................................... 3-5

Soft Row Parameter Assignment ................................................. 3-6

Tempo .......................................................................................... 3-6

Rate • Source • Beat Value • Tap Average • Tap Source

Tap Source Level

DataBase — Assigning DataBase Source and Effect types to the current program ........................................................... 3-8

Routing Map ................................................................................. 3-9

How to change routing connections • How to change routing options • Routing Example • Notes and Tips on Routing

Effect Order ................................................................................ 3-13

Setting the Parameters of the Internal Controllers

(Knob, LFO 1 and 2, Arpeggiator, ADR 1 and 2, Random,

A/B, Sample & Hold, Env 1 and 2) ...................................... 3-14

Look here for information on setting levels and hooking up to other equipment.

Easy operation of the

MPX 1 — loading, playing with, and storing programs, plus a list of the Presets.

Check here for information on editing Effects and programs.

Contents, cont'd.

4.

Patching

All about the MPX 1

Patch System

Patch Jump from Edit Mode ............................................................... 4-2

Selecting a Source and Destination .................................................... 4-2

Changing the Range of the Source Controller .................................... 4-3

Viewing Source Controller Activity ............................................... 4-3

MIDI Learn — Automatic Controller Assignment ......................... 4-4

Copying Patches ................................................................................ 4-4

Changing the Range of the Destination Parameter ............................ 4-5

Linear or Nonlinear Control .......................................................... 4-6

Suspending and Clearing Patches ..................................................... 4-7

Multiple Patches with the Same Destination ...................................... 4-7

Complete details on all of the MPX 1 System parameters

5.

System Controls

The System Menus ............................................................................. 5-1

Audio Controls .................................................................................... 5-2

Input/clck ...................................................................................... 5-2

Error Log and Status

Input Mode ................................................................................... 5-2

Output Mode ................................................................................ 5-2

Dig In Lvl ...................................................................................... 5-3

ChanStatus .................................................................................. 5-3

Soft Sat ........................................................................................ 5-3

Modes ............................................................................................... 5-3

Pgm Load ..................................................................................... 5-3

Mix ............................................................................................... 5-4

Bypass ......................................................................................... 5-4

Bypass Source Assignments

Pgm Bypass ................................................................................. 5-4

Tempo Mode ................................................................................ 5-5

Memory Protect ............................................................................ 5-5

StorePrompt

Contrast ........................................................................................ 5-5

Sleep ............................................................................................ 5-5

Setup Load and Setup Store ........................................................ 5-6

MIDI ............................................................................................... 5-8

Program Change .......................................................................... 5-8

Pgm# Offset, Pgm+ and Pgm-

Receive ........................................................................................ 5-8

Transmit ....................................................................................... 5-8

Ctl Send ....................................................................................... 5-8

MIDI Reset

Ctl Smooth ................................................................................... 5-9

Clock Send ................................................................................... 5-9

Automation ................................................................................... 5-9

Xmit Device ID

SysEx ........................................................................................... 5-9

Receive Device ID

Dump .......................................................................................... 5-10

Xmit Speed

MIDI Maps ........................................................................................ 5-10

Program Chains ................................................................................ 5-11

Initialize ............................................................................................. 5-12

Clear Programs ................................................................................ 5-13

Copy Programs ................................................................................. 5-14

Global Patches ................................................................................. 5-15

MIDI Learn and Dst Edit ............................................................. 5-15

Calibrate Pedal ................................................................................. 5-16

6.

MIDI Operation

Selecting a MIDI Channel ................................................................... 6-1

Accessing Programs ........................................................................... 6-1

Controlling MIDI Tempo Rate with MIDI Clock ................................... 6-2

MIDI Tempo Control ..................................................................... 6-2

Using the MPX 1 as a MIDI Clock Source ................................... 6-2

Slaving two or more MPX 1s ........................................................ 6-3

Controller Quirks ................................................................................. 6-4

The Knob, Footpedal and Footswitch as MIDI Controllers ................. 6-4

The Arpeggiator .................................................................................. 6-5

Program Change Messages ............................................................... 6-6

Automation ......................................................................................... 6-7

SysEx Automation ........................................................................ 6-7

Controller Automation .................................................................. 6-7

Reset All Controllers .................................................................... 6-7

MIDI Clock and Clock Commands ............................................... 6-7

Dynamic MIDI ............................................................................... 6-8

Bulk Data Dumps ................................................................................ 6-8

MIDI Implementation Chart ................................................................. 6-9

7.

The Effects and Parameters

Notes on Combining Effects ............................................................... 7-2

Notes on Controlling Effect Parameters ............................................. 7-2

Notes on the Effect Descriptions ........................................................ 7-2

Pitch Effects ........................................................................................ 7-3

Detune (M), Detune (S) and Detune (D) ...................................... 7-3

Shift (M), Shift (S) and Shift (D) ................................................... 7-4

Volume (M), Volume (S) and Volume (D) .................................... 7-4

Test Tone ..................................................................................... 7-5

Chorus Effects .................................................................................... 7-6

Chorus .......................................................................................... 7-6

Flanger (M) and Flanger (S) ......................................................... 7-7

Phaser .......................................................................................... 7-7

Rotary Cab ................................................................................... 7-8

Aerosol ......................................................................................... 7-8

Orbits ............................................................................................ 7-9

Centrifuge1 and Centrifuge2 ...................................................... 7-10

Comb 1 and Comb 2 .................................................................. 7-11

EQ Effects ........................................................................................ 7-12

1-Band (M), 2-Band (M), 3-Band (M) and 4-Band (M) ............... 7-14

1-Band (S) and 2-Band (S) ........................................................ 7-14

1-Band (D) and 2-Band (D) ........................................................ 7-14

SweepFilter ................................................................................ 7-15

Wah ............................................................................................ 7-15

Fc Splitter ................................................................................... 7-16

Crossover ................................................................................... 7-16

The 2-Tone and 3-Tone Effects ................................................. 7-17

2-Tone (M), 2-Tone (S) and 2-Tone (D) ..................................... 7-17

3-Tone (M), 3-Tone (S) and 3-Tone (D) ..................................... 7-18


Information on working with MIDI

Complete details on all of the MPX 1 Effects


Complete descriptions of the MPX 1 Internal controllers

Complete descriptions of the MPX 1 presets

Mod Effects ....................................................................................... 7-19

Panner ........................................................................................ 7-19

Auto Pan .................................................................................... 7-19

Tremolo (M) and Tremolo (S) ..................................................... 7-20

Overdrive .................................................................................... 7-20

Volume (M), Volume (S) and Volume (D) .................................. 7-21

Delay Effects ..................................................................................... 7-22

Delay (M), Delay (S) and Delay (D) ........................................... 7-23

Echo (M), Echo (S) and Echo (D) .............................................. 7-24

Looper ........................................................................................ 7-25

Ducker ........................................................................................ 7-25

Reverb Effects .................................................................................. 7-26

Chamber .................................................................................... 7-26

Hall ............................................................................................. 7-26

Plate ........................................................................................... 7-27

Gate ........................................................................................... 7-27

Ambience ................................................................................... 7-28

8.

MPX 1 Internal Controllers

Knob ............................................................................................... 8-1

LFO1 and LFO2 .................................................................................. 8-1

Arpeggiator ......................................................................................... 8-2

ADR1 and ADR2 ................................................................................ 8-3

Random Generator ............................................................................. 8-3

A/B Glide ............................................................................................ 8-4

S/H ............................................................................................... 8-5

Env1 and Env2 ................................................................................... 8-5

Footswitch Controllers ........................................................................ 8-6

9.

Preset Descriptions

Check here for solutions to common problems

10. Troubleshooting

Low Voltage ...................................................................................... 10-1

Overheating ...................................................................................... 10-1

Common MIDI Problems .................................................................. 10-1

Operational Problems ....................................................................... 10-2

Power On Behavior........................................................................... 10-2

11. Specifications

Thank you for your purchase of the MPX 1, the vanguard of Lexicon’s latest line of effects processors. The MPX 1 multi processor technology gives you multi effects the way you expect them to work — with instant access to individual effects, and the ability to run uncompromised stereo reverb at all times. In addition to the superb sonic quality you expect from Lexicon, the MPX 1 gives you easy, top level control over even the most complex functions, and visual feedback to let you know exactly where you are and what features are available at all times.

Introduction

Six primary effect types: Pitch, Chorus, EQ, Modulation, Delay and Reverb give you push button access to an arsenal of 57 effects. 200 presets make maximum use of these effects in combination — using as many as 4 stereo effects in

addition to uncompromised stereo reverb.

Effect buttons light to show you which are active in any program.

Push any lighted effect button to instantly bypass the effect. Press it again to turn the effect back on.

The preset library is organized under database control to allow you to quickly find programs designed for specific sources such as Guitar, Vocals or Live

Performance, or to find all of the programs using certain effects such as Pitch or EQ.

Be sure to experiment with all 200 presets to get a feel for the full range of

MPX 1 capabilities.

Visual feedback is available every step of the way when you're using the

MPX 1, with lighted buttons indicating the state of the unit and alerting you to extra features available from the front panel. A large numeric display shows program (and patch) numbers. A second alphanumeric display shows you program and parameter names and settings.

Like all Lexicon processors, the MPX 1 gives you as much depth of control as you're ever likely to want, while keeping the details out of your way. Surface control of the MPX 1 is straightforward and intuitive, with the most useful parameters of every program available right in Program mode. In addition to this specially designed "soft row", common functions and controls are brought right out to the front panel for instant access.

For example, Mix and Level controls, for the entire system, or for any individual effect, can be accessed at any time by pressing the front panel Mix button. The front panel Patch button, which gives you similar instant access to the Patching system, lights whenever a patched parameter is selected to remind you that you can jump right in and out of the patching system at will.

The MPX 1 gives you tap tempo control when you want it. You can assign tempo control to modulation rates, delay times or any effect parameter, ensuring that your effects are in tempo with your music. Tempos can be tapped in with the front panel Tap button (or an assigned controller) or “dialed-in”, in BPM (beats per minute) on the display. The MPX 1 also lets you generate MIDI clock from your tempo, as well as receive MIDI tempo from an external sequencer or drum machine. Many presets have delay times assigned to Tap tempo. Try loading some of these. (Select source type: Tempo in the database to find all of them.)

When you load a tempo driven program, the front panel Tempo LED will flash at the current tempo to let you know the Tap button is active. Press Tap twice in rhythm to change tempo.

Database Sorting Options

Sort selections by: name number source type:

Acoustic

Drums

Guitar

Keyboard

Live PA

Tempo

Sound FX

Vocal effect type:

Pitch

Chorus

EQ

Mod

Delay

Reverb:

Ambient

Chamber

Plate

Hall

Inverse

Gate

Dual source & effect type members of MIDI maps members of pgm chains last 10 programs loaded

The Tempo light will flash in tempo whenever the Tap button is active.

Press Tap twice in rhythm to match the tempo of effects to your music.

An A/B glide function is also available from the front panel — and of course we've designed presets to show this function off to its fullest. Whenever the A or B LED is lit, press the A/B button to activate the glide.

When you want to create your own versions, you'll find A/B available as an internal controller in Edit mode along with two LFOs, a MIDI arpeggiator, two

ADRs, Envelopes, and more.

The A or B LED will light whenever a program with A/B Glide is loaded.

Press A/B to activate a parameter glide whenever these lights are lit.

Complete editing control is provided under the Edit button, where you can customize presets or make new ones from scratch, design your own soft row parameters, copy effects into new programs, and put effects in any sequence or routing configuration you want. Easy access to all of the parameters of any effect is just a button push away.

Many features are brought out under the Options button – which will light whenever options are available.

All of the front panel functions (Tap, A/B, Effect selection, etc.) can easily be connected to MIDI controllers, footswitches, or footpedals, letting you set up all of the functions the way you want them.

About the manual

We designed the MPX 1 to be simple to use, and have provided a quick reference card to show you around the main features, but to get the most out of the MPX

1, we suggest that you invest the time to explore this manual. We think you’ll agree that the time spent investigating will reward you with enjoyment of its full capabilities.

To get off to a quick start, turn directly to Chapter 1 Product Overview and

Chapter 2 Basic Operation. The first section provides button definitions and necessary information for setting audio levels and connecting to other equipment. The second will tell you everything you need to know about loading and playing with programs.

When you want to know more, check out the Table of Contents. We've divided topics into many easy to read (or skip) chapters so that you can find what you need without wading through what you don't.

When the MPX 1 is left idle for any length of time, a "Sleep" mode is activated. In this mode, a set of messages is cycled across the display.

When shipped, the Sleep mode is set to "English Promo" for display of

MPX 1 features. You can change this mode to display features in other languages, Help messages which give you general information, or you can turn off the messages completely. To select the mode you want: press System. Use the knob to select Modes, then use the < and > buttons to select Sleep. Use the knob to select Off, Help or Promo in

English, French, German, Italian or Spanish.

Product Overview

Product Overview

1

The Front Panel

Input/Output

Adjust analog input and output level.

Options

LED lights to indicate additional options exist for the displayed parameter. Press to access options. (LED will flash while options are displayed.) Press again to exit.

In Program mode, accesses database sorting selection.

Effect Select: Pitch, Chorus, EQ, Mod, Delay, Reverb

Buttons light to indicate effect is active. In Program mode, pressing button turns off LED and bypasses effect. In Edit mode, pressing button selects effect parameters for editing.

Program*

Activates Program Mode where you can select and load programs, see which effects are active in any program, and access a special set of soft parameters for the current program.

*In Autoload, displayed programs load automatically.

In Manual mode, press Program to load any displayed program.

Edit

Activates Edit mode, for access to all parameters of the currently loaded effect.

Tap

When Tempo LED is flashing, sets tempo.

Press twice in rhythm to establish tempo rate. Press once to reset LFO.

Display

Digital In LED lights to indicate presence of digital input. The Clock LED lights to indicate digital signal lock. The MIDI LED lights to indicate incoming or outgoing MIDI data.

3-Digit Display indicates ID number of currently loaded program or patch.

6-position headroom indicator shows analog and digital signal levels and overload conditions.

Two rows of 16 characters display program and effect names, parameter names and values, and help and alert messages. An edit indicator shows edited effects.

Tempo LED flashes in time with current tempo rate when Tap is active.

A/B LEDs light to indicate A/B function is active.

A/B

Activates a variable glide between patched parameters.

Power

On/Off.

Store

Initiates program store function.

Mix

Instant access to mix and level parameters of any effect in the current program.

Patch

Accesses patc h parameters.

Bypass

Bypasses currently loaded program.

System

Activates System mode parameters such as auto or manual load, MIDI dumps,

I/O configuration, etc.

Value, Knob and < >

In Program mode, the knob selects programs, <and > jump through program categories. Pressing Value displays the Soft Row parameters of the currently loaded program. When Value is lit, the knob adjusts the value of the displayed parameter, < and > select other Soft Row parameters.

In Edit and System modes, Value assigns Select and Adjust functions to the knob or to the < > buttons. When Value is lit, the < > buttons select a parameter for modification and the knob adjusts the displayed parameter's value. When Value is off (unlit), the knob selects and the buttons adjust.

1-1

MPX 1 User Guide

The Rear Panel

Lexicon

S/PDIF

S/PDIF format digital connectors conform to CP-340 Type II consumer standards. (44.1kHz only)

Balanced Outputs

Output impedance is 600

Ω

, each side, balanced, and levels up to +18dBu maximum full scale. 1/4" phone connectors and XLRs provided.

Balanced Inputs

Input impedance is 50k

Ω

unbalanced, and 100k

Ω balanced. Inputs accept input levels from -14dBu to

+20dBu. 1/4" phone connectors and XLRs provided.

Input Level

2-position (In/Out) switch for matching input gain to the source being used. The In position adds 12dB of input gain (unbalanced) to the input stages. Out position provides 0dB of gain (balanced).

REMOTE POWER IN

2.5mm connector for 9

VAC MIDI remote power.

AC Power

Standard 3-pin IEC power connector.

100-240V, 50-60Hz automatic switching to correct voltage range.

MIDI

IN

7-pin DIN connector for MIDI IN or powered bidirectional MIDI remote.

THRU

5-pin DIN connector passes any

MIDI data received without change.

OUT

5-pin DIN connector transmits MIDI data to other equipment.

Foot Pedal

1/4" Tip/Ring/Sleeve phone jack provided for footpedal with 10k

Ω to 100k

Ω

impedance.

Foot Switch

1/4" Tip/Ring/Sleeve phone jack for three independent footswitches.

For control voltage input, use a 1/4" stereo plug with Sleeve connected to ground, Tip connected to the control voltage, and Ring unconnected.

1-2

Product Overview

The MPX 1 uses one EIA-standard rack space, and can be mounted on any level surface or in a standard 19 inch (483 mm) rack. If the unit is mounted in a rack or road case, support the rear of the chassis to prevent possible damage from mechanical shock and vibration.

Installation Notes

Mounting

The maximum ambient operating temperature is 104°F (40°C). Provide adequate ventilation if the unit is mounted in a closed rack with heat-producing equipment such as power amplifiers.

The MPX 1 is equipped with a 3-pin IEC power connector and detachable cord.

The unit will operate with power sources from 100 to 240 volts AC, 50-60Hz.

Power switching to actual line voltage is automatic.

Power Requirements

Analog Audio

For best performance, maintain balanced connections, and use high-quality, low-capacitance, twisted-shielded pair cable.

Audio Connections

When connecting MPX 1 outputs to single-ended, unbalanced devices, leave the low side floating and connect the grounds between the units.

Digital Audio

Connectors are provided for S/PDIF (CP-340 Type II) Consumer Digital Audio

I/O. 75

Ω

coaxial cable suited for digital audio or video signals is required. Audio grade cable is not suitable. Only 44.1kHz signals are recognized.

Mono Applications: Using the MPX 1 Inputs with a Mono Source

Many of the programs in the MPX 1 are designed to process stereo input signals.

These programs will also work and sound great with mono signals - but you need to configure the unit for mono. It will not automatically compensate for single-wire mono input connections.

There are two ways to use the MPX 1 in an installation where its inputs will be driven from a single, mono source:

• Use a Y-connector to send the signal to both inputs.

• Connect the mono signal to either the Left or Right input connector, then change the System mode Audio Input Mode parameter. If the Left input is connected, change the setting to Mono (L only). If the Right input is connected, change it to Mono (R only). The Mono settings of this parameter apply to the S/PDIF digital inputs as well. This allows you to select either the left or the right digital channel for processing.

NOTE

Individual programs can be optimized for mono input by simply inserting a mono effect, such as Volume (M), into the first block of the routing map. See Chapter

3: Editing for more information on routing. See Chapter 7: The Effects and

Parameters for more information on individual effects.

1-3

MPX 1 User Guide Lexicon

Mono Applications: Using the MPX 1 Outputs with Mono Return

Virtually all of the MPX 1 programs generate stereo or dual output signals, even when driven by a mono source. For the best sonic results, the MPX 1 outputs should be connected in stereo. If you are using the MPX 1 in a mono system with only a single input, use a simple 2 x 1 mixer or a Y-connector to combine both outputs.

NOTE

Individual programs can be optimized for mono input by simply inserting a mono effect, such as Volume (M), into the last block of the routing map. See Chapter

3: Editing for more information on routing. See Chapter 7: The Effects and

Parameters for more information on individual effects.

Be careful to keep input and output to all channels wired consistently. Outof-phase wiring can produce audible effects.

Footswitch/Footpedal

One 1/4 inch T/R/S phone jack is provided for 3 momentary footswitches.

Another 1/4 inch T/R/S phone jack is provided for a footpedal (minimum 10k to maximum 100k impedance). Normally open or normally closed momentary switches are suitable. At power on, the MPX 1 assumes the switch is off. Use shielded, twisted-pair cable with shield connected to sleeve. See diagram on previous page. See also Chapter 5: System Controls for information on pedal calibration.

MIDI

5-pin DIN connectors are provided for MIDI THRU and OUT. A 7-pin DIN connector is provided for MIDI IN or a powered remote. Use standard MIDI cable assemblies, available from your local dealer.

1-4

Setting Audio Levels

The MPX 1, with both analog and digital input and output connections, requires some attention to proper setting of signal level.

Analog inputs are first gain-conditioned by the rear panel input level switch, and then by the front panel Input knob. Proper setting of both the switch and knob are important for best performance of the A/D converter.

Analog and digital sources are selected in System mode on the Input/Clck screen of the Audio menu. The selections are: Analog/Int, Analog/Ext and

Dig/Ext.

Proper setting of Input level is dependent on:

• Proper signal level into the analog front end to avoid signals causing overload at the Digital Signal Processing (DSP) input (rear panel Input button)

• Proper adjustment of the signal level into the analog-to-digital converter to optimize noise and avoid overload (front panel Input knob)

• Proper setting of signal level within the digital signal processor to optimize noise (Lvl parameter in each effect block)

Digital input level is adjustable from the Dig In Lvl screen of the Audio menu in

System mode. Level can be set to Off, -89dB to +6db to optimize noise and

avoid overload.

Headroom Display

The headroom display provides both headroom and overload information from a variety of measurement points.

The information on the headroom display is selectable from the Meters Assign menu in Edit mode and the assignment made here is saved as a part of each program. The available assignments are:

Inputs

Outputs

InLevel, OutLevel or In&OutLevel for all effect blocks. (when In&Out is selected, the left side of the headroom display will display InLevel and the right side of the headroom display will display OutLevel.)

LFO 1 and LFO 2 (Left and right sides of the display)

Envelope 1 and Envelope 2 (Left and right sides of the display)

Footpedal

ADR 1 and ADR 2 (Left and right sides of the display)

Simulation display (for test purposes)

Rear Panel Input Level Switch

The chart below illustrates the adjustment range that will set input levels for both balanced and unbalanced operation.When a choice can be made, it is best to operate at the higher amplitude end of the recommended range to optimize noise performance.

overload: acceptable: too low (noisy):

Unbalanced (-10)

> +8dBu

8dBu to -14dBu

<-14dBu

Balanced (+4)

>+20dBu

+20dBu to -2dBu

<-2dBu

Overload

The Clip (overload) indicators will light under the following conditions:

• Analog-to-Digital (A/D) overload

• overload at any point in effects processing within .1dB of maximum

• input level within .1dB of maximum

For example, internal peaking of high Q filters, or level buildup from certain reverberation modes can result in overload, even when the input A/D or digital receiver data stream is not at full scale. Such conditions are most often caused by a combination of extreme parameter settings. Adjusting parameter/level settings can eliminate these overload conditions.

Product Overview

1-5


Setting the Input Mode

The MPX 1 can be set for stereo input, mono left input or mono right input. To set the mode, press System, select Audio, then select Input Mode. If cables are connected to both XLR and 1/4" connectors, the 1/4" inputs will override and disable the XLR inputs. Selecting either Mono setting routes the selected audio input channel (left or right) to both left and right DSP signal paths. (This is true for both digital and analog inputs.)

Using Soft Sat

Soft Sat is a built-in analog limiter that precedes the A/D converters in the

MPX 1. If the source to the MPX 1 is “hot”, you can use Soft Sat to reduce the harshness caused by overloading the A/D converters. Press System, select the

Audio menu, then select Soft Sat to turn the limiter On or Off.

Setting Input Level

1. Set the rear panel Input button to the appropriate position for balanced or unbalanced operation.

2. Press Edit and scroll to the Meters Assign parameter. Make sure that the meter assignment is Input (the default setting).

3. Press System.

4. Select the Audio menu and scroll to the Input/Clck screen.

5. Select the desired input mode.

6. If you have selected Analog/Int or Analog/Ext, run audio through the unit and adjust the front panel Input knob so that program material peaks cause the headroom display to reach the top of the column without lighting the Clip indicators. An occasional peak which momentarily lights the Clip indicators is acceptable in most instances, but should be validated by listening to the actual result. If the the 0dB headroom indicator illuminates frequently, you may want to use the Soft Sat limiter to reduce overload of the A/D converters.

Press System, select the Audio menu, then select Soft Sat to turn the limiter

On or Off.

If you have selected Dig/Ext, scroll to the Audio Dig In Lvl screen and adjust the level so that program material peaks cause the headroom display to reach the top of the LED column without ever lighting the Clip indicators.

The meters are calibrated to light the Clip indicators at a level of > 0.1dBfs.

For digital inputs, a very brief flashing of the Clip indicators means that you have reached, or are dangerously close to digital clipping.

1-6

Setting Output Level

1. Press System and select the Audio menu.

2. Scroll to Audio Output and select Analog or Digital.

3. Press System again and select the Modes menu.

4. Scroll to Modes: Bypass and make sure that the assignment is Bypass (the default setting).

5. Press the front panel Bypass button. The button will light to indicate that bypass is engaged.

6. Press Edit, scroll to Meters Assign and select Output.

7. Run audio through the unit and use the front panel Output knob to set the

level on your console or amplifier.

The signal level from the 1/4" and XLR outputs is +4dBu. If you have both 1/4" and XLR cables attached to the output connectors, there will be no change in level unless you are driving very low impedance loads (600

Ω

), where an attenuation of output level may occur.

Product Overview

1-7

MPX 1 User Guide

Configuration

Connection to a mixing console's effects sends

Lexicon

Channel Insert or Pre or Post Effects Send (R)

Channel Insert or Pre or Post Effects Send (L)

Channel Input or

Effects Return (R)

Channel Input or

Effects Return (L)

If you will be using the MPX 1 as your primary effects unit, and your system includes a console with one or more auxiliary (effects) sends, connect the units as shown above.

Use channel inserts or prefader sends for best results with programs that are not delay-based or reverb-based (Rotary Cab, Telephone, GuitarCabEQ etc.).

In most applications, it is preferable to connect the MPX 1 outputs to two of the console's input channel strips, panned full left and right, rather than to the effects returns. This allows the greatest flexibility in routing and equalization.

In this configuration the console controls are used to set the amount of effect heard—the MPX 1 Mstr Mix control should be set to 100%.

1-8

Basic Operation

This section is provided to get you up and running on the MPX 1 in the shortest possible time. Beginning with a menu tree to guide you through the major areas of the MPX 1, this chapter focuses on the basics that you want to get to first — finding, loading, tweaking and storing programs.

Basic Operation

2

MPX 1 Menus

2-1


Loading and Playing with Programs

Pressing the front panel Program button accesses the MPX 1 library of 250 presets and user programs. In this mode, you can select and load programs, select database sorting criteria and access the "Soft Row" — a selected set of the most useful parameters for each program. You can also access Tap, A/B,

Mix and Patch functions, as well as selecting and bypassing effects in the program. Each of these is described in this section.

When loading programs, the knob selects programs. The < and > buttons jump to the next DataBase sorting category.

Program Load

When you press the Program button, its LED will light to let you know you're in

Program mode.

Press and hold the Pro-

gram button to display the name and number of the currently running program while another program is displayed.

If the displayed program is currently loaded, pressing and holding Pro-

gram will display the effect routing assignment.

Auto Load

When first shipped, the MPX 1 will default to automatic program load, with all of the programs available in numerical order from 1 to 250. The top line of the display will show the DataBase sorting option "Sorted by number". The bottom line of the display will show a program name. The large numeric display will show the ID number of the displayed program.

Turn the knob to display and load other programs.

Manual Load

To switch to manual program load, press System. Use the knob to select

Modes, then use the < and > buttons to display:

2-2

In Manual Load, press the flashing Program button to load the displayed program.

Modes: Pgm Load

< > Auto

Turn the knob to select Manual. In this mode, an asterisk (

✱

) before the program name indicates that the displayed program is not loaded, and the flashing

Program button LED indicates that the program is cued for loading when

Program is pressed. (When the currently loaded program is selected, the

Program button LED will light steadily, and there will be no asterisk in the

display.)

Basic Operation

The front panel Effect buttons light to show you which effect blocks are active.

— When you're scrolling through programs, they'll change to show you the effects in any displayed program. Once you stop scrolling, they'll return to display of the effects that are active in the currently loaded program.

Effect Bypass

To bypass any active effect, press its button. The light will turn off and the effect will be bypassed. Press the button again to make the effect active again.

Press and hold down any effect button to display the name of the effect and information about its status in the program (on or off).

The active effects of the currently loaded program are lighted. Press any lighted button to turn the effect off. Press it again to make the effect active again.

Mix and level controls in the MPX 1 are brought right out to the front panel for easy access. From any mode of operation, just press Mix to access these controls. The button LED will flash to let you know Mix is active.

Mix

The display will show mix and level labels on the upper line, and the current settings on the lower line. One of the values on the lower line will be flashing to let you know which is selected for adjustment. Use the < and > buttons to select

Mstr Mix, Mstr Level, or to step to the Mix and Level controls for any active effect

in the currently running program. Use the knob to adjust the flashing parameter value.

Use > to step to the Mstr Level parameter, or to step forward to the next screen of Effect Mix and Level parameters.

From anywhere, press Mix to access mix and level parameters for the system, or for any active effect.

Mstr Mix

> 100%

Level

0dB

The knob will adjust the flashing parameter value.

When you've finished adjusting the mix and level controls, push Mix to return to the previous display.

2-3


Tap

MPX 1 tempo controls are available right on the front panel through the Tempo

LED and the Tap button. Many preset programs are designed with their own tempo rate settings which are stored with the programs. The front panel Tempo

LED will flash in tempo whenever you load a program with tempo control. This flashing indicates that the Tap button is active, allowing you to change tempo on the fly. Whenever you see the Tempo light flashing, simply press Tap twice in rhythm to establish the rate you want.

Flashing of the Tempo LED indicates that Tap is active. Press Tap twice in rhythm to change the tempo of delay or modulation parameters in the current program.

You can override these individual tempo rates with a global tempo rate in the

System Setup menu. Tempo is also available as an independent patch source which can control any effect parameter. (See Chapter 4: Patching and Chapter

5: System Controls.)

A/B

A/B is a unique glide function which allows you to morph between selected parameters. Most effect parameters (or groups of parameters) can be patched to the A/B controller. Once a parameter is patched, the A/B controls in Edit mode allow you to select the rate at which you want to glide from A to B and from B to

A when the front panel A/B button is pressed. You can also assign the glide function to be triggered by any internal source, such as input level, or by an internal or external controller.

When A is lit, pressing the A/B button activates a parameter glide.

Pressing A/B again reverses the glide.

Many of the presets are designed with A/B patches that allow you to morph between two effects, glide from slow to fast rotary speakers, start and stop loop delays, etc. Loading any program with A/B control assigned, will cause the front panel A LED to light, indicating that the A/B function is active. Press A/B to activate a glide from the parameter values assigned to A to the parameter values assigned to B. Press A/B again to glide back to the A parameter values. (When you want to change the A/B parameters, control A/B remotely, assign a trigger source, or alter the rate of glide, refer to Chapter 4: Patching and Chapter 8:

MPX 1 Internal Controllers.)

2-4

Basic Operation

Soft Value Editing

The MPX 1 offers access to the most useful parameters of any program without having to enter a separate Edit mode. These parameters are available from

Program mode in a "Soft Row" which is accessed by pressing Value.

From Program mode, simply press Value to display one of the Soft Row parameters of the currently loaded program.

The upper line of the display will show the Effect type, the parameter name and the current parameter value. The lower line of the display will show the name of the program. Use the knob to change the parameter value. Use the < and > buttons to move back and forth between the available parameters. A scroll indicator in the lower left corner of the display tells you whether or not there are more parameters in either direction.

With Program and Value lit, MPX 1 Soft Row parameters will be displayed. The Effect type and the parameter name will appear on the upper line.

The parameter value will flash in the upper right. Use the knob to change the parameter value, use < and > to select another parameter screen.

In Program mode...

... press Value to access the Soft Row – a set of the most useful parameters for each program.

Ptch Vol-L

> MPX Blue

100%

The Program name appears on the bottom line, along with scroll indicators (< and >) that point you in the direction of additional screens.

Changes you make to parameters in the Soft Row will be saved only until you load another program unless you store your modified version of the program.

See Program Store later in this section.

2-5


Program Sort, Search and Show — Using the DataBase

In Program mode

(with Value off)...

The MPX 1 has a database sorting function which allows you to sort and search for programs in various categories. This is a great timesaver when you're looking specifically for guitar effects, or EQ effects, or for EQ effects for guitar. When shipped, the DataBase sorting option is set to "Sort by number", allowing you to use the knob to scroll through all of the 250 programs in numerical order in

Program mode. (The < and > buttons will jump you forward and back ten programs at a time. Simultaneously pressing < and > jumps from 1 to 201 or from

201 to 1.)

You can select other sorting criteria in Program mode by pressing Options. The

Options LED will blink and the display will show:

Sort programs by number

... press Options to access the

DataBase sorting options.

Use the knob or the < and > buttons to select any of the main sorting options listed below: name number source type

(Acoustic, Drums, Guitar, Keyboard

Live PA, Tempo, Sound FX, Vocal) effect type

(Pitch, Chorus, EQ, Mod, Delay, Reverb:

Plate, Hall, Inverse, Gate, Dual) source & effect type

(any combination of source and effect types) members of MIDI maps members of pgm chains last 10 programs loaded

Press Options again to return to Program mode with the database sorted to show only those programs that fit the criteria you've selected. If you select

"name", the knob will scroll you through all 250 programs in alphabetical order

(The < and > buttons will jump you forward and back through letters of the alphabet.)

If you select any sorting option other than sort by name or number, the displayed selection of programs will be limited to those which fit the category. — We've made sure that all 200 of the preset programs are tagged for a variety of appropriate sorting options, so you'll find plenty to play with in the source, effect, and the source&effect categories.

When you select source or effect type as an option and return to Program mode, the knob will scroll through the programs in the first of the categories listed in parenthesis above. The < and > buttons will jump to the next sorting category.

When you select source&effect and return to Program mode, the < button will select source types, the > button will select effect types, and the knob will scroll through any programs which fit into the two categories selected.

Assigning source and effect types to programs is done in a database menu in

Edit Mode.

2-6

Basic Operation

Once you've made changes to a program, such as turning an effect off, or modifying any of the soft row parameters, an edit indicator in the display (•) will appear in front of the program name. This identifies the program as having been altered since the last store procedure. This edit indicator, along with all of your changes, will disappear when you load another program.

Program Store

To save your changes, press Store. The LED in the Store button will flash to let you know you are in the middle of a store procedure and the display will show:

Press Store to initiate the store procedure.

Program Name

201 available

The Store LED will flash while you change the name of the program and decide where to store it.

The upper line of the display shows the name of the currently running program.

The lower line shows a user program number (201-250) and the name of the program currently stored there. (When the MPX 1 is shipped, the user programs are all "available".)

The < and > buttons move an underbar cursor in the display from the program number to each letter of the current name. Turning the knob will select another program number, or will select alphanumeric characters when the cursor is in the upper line of the display.

Once you've made changes to the program name or selected a new location for it, press Store again. The display will show:

Press the flashing Store button to verify your changes.

Are you sure?

Yes or No

The numeric display will flash the user program number you have selected while you decide to press > Yes or < No. Once you have stored your program, it will automatically be added to the database and you will return to Program Load mode.

Press Yes to complete the store.

NOTE: If the stored program no longer meets the DataBase sorting criteria of the original version, the MPX 1 will automatically switch the DataBase setting to

"Sort by number".

2-7


MPX 1 Preset Summary

# Name

Gate 4 PA

Plate 4 PA

Bright Plate

Sweet+Wet

Vocal Plate

Snare Plate

BigDrumPlate

DrumgateFlng

Drum Booth

Big Bottom

Percus Place

Snare Gate

Md Drumroom

Miked Room

Live Room

Empty Club

Big Studio

Garage

Chamber&Refl

Chamber 101

MPX Blue

RvbEko Morph

480PrimeFlng

RandomDetune

Vintage Trem

Tap Delay

Tape Echo

ParametricEQ

Chorus Chambr

Autowah Chrs

Dialog

Small Booth

PCM 60 Room

Tiled Room

Bright Room

Plate Space

Ambience4 PA

Short Nonlin

Multigate

Jazz Chamber

Nice Chamber

Chamber Pan

Big Chamber

Chamber 4 PA

Hall 4 PA

Small Hall

Medium Hall

Large Hall

Piano Hall

Rich Hall

35

36

37

38

39

30

31

32

33

34

25

26

27

28

29

20

21

22

23

24

45

46

47

48

49

40

41

42

43

44

50

15

16

17

18

19

10

11

12

13

14

7

8

5

6

9

3

4

1

2

Effects

P C E M D R

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■

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# Name

85

86

87

88

89

80

81

82

83

84

75

76

77

78

79

70

71

72

73

74

65

66

67

68

69

60

61

62

63

64

55

56

57

58

59

51

52

53

54

Concert Hall

Tajma Hall

Small Church

Cathedral

M Sq. Garden

Morph Spaces

Process Verb

Ducker Verb

Reverse Rvb

Wavewash

Ghost Flange

Phased Space

Mod Space

DoubleEQ Rvb

Rev Wahtouch

Tap GatedRvb

TapDly/Rvb

Diffuse Dlys

IPS Tape Slap

95

96

97

98

99

90

91

92

93

94

Another Brick

Rich ChrsEko

Dynamic Chrs

Rubberate

FlangeNonlin

TalkinFlange

Tape Flange

CircleFlange

Slow Flange

FlangSweepAB

100 EP Tremolo

Frame Delay

DlyFlangePan

ChaseEkoPan

Delay>Detune

Ducked Delay

Spin + Dlys

Ping Pong

Swept Echoes

EkoSweepFltr

Rockabilly

Guitar Solo

Sax Solo

Sidestik/Snr

MIDI Dot 8th

MIDI 1/4Note

AeroFreezeAB

Wide Chorus

RandomChorus

Chorus Hall

ChrsRvbMorph

Effects

P C E M D R

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■ ■

P=Pitch C=Chorus E=EQ M=Mod D=Delay R=Reverb

2-8

Basic Operation

# Name

Effects

P C E M D R

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

Phat Detune

Detune&Dlys

Detune+Hall

Pitch-O-Latr

S/H Pitch

Uni to Chord

Doubler

Wet Triads

Up 3 Down 5

4 Funky Comp

5th Plate

7th Octaverb

Oct Cascade

Power Chords

EkoVerbSweep

Telephone

TV in Room

Car Radio

Capture EQ

Miked Cab EQ

Vocal EQ

GuitarCab EQ

Tone 4 Gtr

Phased Place

Fazer->DlyPan

FazerEkoRvb

FazerTremolo

PhaserOnStun

DblPhaseGate

WahFazerPdl

Wah Delays

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132 Wah Pan Dly

133 Wah Ped+Dist

134

135

136

137

138

139

140

141

142

143

144

145

Echo-Wah

Res A/Bsweep

Filter Thing

BigGtrChords

Rock Organ

OD Rotary

Rotary Cab

SynthChamber

Touch Spinner

Random Pan

StereoSpin

L=Dly R=Chmb

146 L=Dly R=Ambi

147 L=Dly R=Dtun

■

148 L=Ptch R=Chmb

■

149 L=Dly R=Ptch

■

150 L=2BndR=Chmb

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■

# Name

151 Dual 2-Band

152 Dual TapDlys

153 Ghost Mist

154 Submarine

155 50’s Sci Fi

156 Synthis- izer

157 S/H Improv

158 MIDI Arp 1

159 MIDI 16thArp

160 A/B Freeze

161 VolumePedal

162 Open the Door

163 No Traction

164 Call Waiting

165 ClassicDtune

166 Major/Minor

167 Transposer

168 Stereo Shift

169 MIDIfixVocal

170 Tuning Note

171 Rich Chorus

172 Rotary

173 Aerosol

174 Phaser

175 Flanger

176 Comb

177 Stereo 2Band

178 DigitalEQ(S)

179 DigitalEQ(M)

180 Crossover

181 Wah Pedal

182 Pedal Filter

183 3-Tone

184 LFO Filter

185 RumbleFilter

186 DynaTremolo

187 Auto Pan BPM

188 Broken Speakr

189 Short Delay

190 Double Delay

191 [n]Ekos Beat

192 ShuffleDly

193 Dual Echoes

194 Wild Thing

195 Small Foley

196 Small Room

197 Drum Gate

198 Small Gym

199 Tight Plate

200 Clean Slate

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P=Pitch C=Chorus E=EQ M=Mod D=Delay R=Reverb

2-9

Editing

3

This chapter describes all of the MPX 1 edit functions. As the first thing you are likely to want to modify in a program are its effects, this section starts there and then moves on to all of the functions available in Edit mode.

Editing

Note that, in Edit mode, as elsewhere, the Value button acts as a toggle to allow you to assign "select" and "adjust" functions to either the knob or the < and > buttons, whichever is most convenient. As the default state of the Value button is On (lit) in Edit mode, any step by step instructions given in this section will assume this state.

When Value is lit, the < and > buttons select parameters, and the knob adjusts the value of the selected parameter.

Effect Editing

To edit any effect, press Edit, then press an Effect button to view all of the Effects of that type, and to edit the parameters of the current Effect. The display will show the Effect type and the name of the currently loaded Effect . Turn the knob to view other Effects of the displayed type.

If you load a new Effect, an edit indicator will be displayed to show that the current program has been modified.

EQ . select:

>

✱

Effect Name

The Effect name will be marked with an asterisk (

✱

) and the Effect button light will blink rapidly if the displayed effect can be loaded in the current program.

(Press and hold the Effect button to display the name of the Effect currently in use.)

3-1


Coarse and Fine Editing of ms and Hz values

Parameters whose values are displayed in ms or Hz have overall ranges of more than 1000 units.

When you select one of these parameters for editing, you’ll notice that either the left or right portions of the value can be selected for editing.

For quick, coarse adjustments, select the left portion of the value. For fine adjustments, select the right portion of the value. The fine and coarse increments for each type of parameter are:

ms (delay times)

coarse increments=100 ms fine increments=1ms

Hz (LFO rates)

coarse increments=1 Hz fine increments=.01Hz

Hz (EQ Fc)

coarse increments=100 Hz fine increments=1Hz

To load any available Effect, press the Effect button again. The asterisk will disappear from the displayed name and the button light will return to its normal slow blinking edit state. An edit indicator is displayed to indicate that the active program has been modified.

To edit the parameters of the current effect, press > . The display will show one or more parameters as shown below.

The Effect type is shown in the upper left of the display.

One or two parameters will be shown on each parameter screen. An edit indicator appears in front of the parameter name if the value has been changed since the last store operation.

EQ Fc .Gain1

< > 2500 -5 dB

Parameter values are shown on the bottom line of the display.

Fields which are selected for changing will blink.

The item on the lower line of the display which is selected for adjustment will flash. Turn the knob to scroll through the entire range of parameter values. Use the < and > buttons to select another parameter value field and to move to another parameter screen.

Detailed information on each Effect and its parameters is provided in Chapter 7.

Press Edit to return to the main Edit menu.

3-2

Editing

The MPX 1 Edit Menus give you access to all of the controls you need to create your own programs. Whether you want to reassign the front panel meter display, re-route the effects in a program, or create an entirely new sound, you will find the tools you need in this section.

The MPX 1 Edit Menus

The complete Edit mode menu structure is shown below, followed by detailed explanations of each main menu selection.

Press Edit to enter the main Edit menu, and use the knob to select the particular submenu you want (Compare, Meter Assign, etc.). Use the < and > buttons to enter the submenu and select parameters, and the knob to adjust parameter values. Press Edit again to return to the main Edit menu.

Whenever you edit an MPX 1 program, an edit indicator will appear in Program mode, in front of the program name on the display to let you know that the program has been changed since the last store operation.

Compare

EQ programs

.Splitter

AB

In Program mode an edit indicator appears before the program name if the program has been changed since the last store operation.

To hear the original version, press Edit to show the Edit select screen. Turn the knob to display Compare.

3-3


Edit select:

> Compare

Press the > button. If the program has not been edited, the message Pgm is

unchanged will be displayed. If the program has been edited, the display will

change to show:

Compare:

Edited Original

Use the < and > buttons to select and hear your edited version, or the original.

To exit, press Edit to return to the main Edit menu.

NOTE: If you exit with Original selected, you can view the original program parameters, but cannot edit them. To continue editing, exit with Edited selected.

Meter Assign

The MPX 1 front panel meters default to showing Input Level, but they can be assigned to display other levels in

Edit mode.

When shipped, the headroom display on the MPX 1 front panel is set to display

Input Level. In the Meter Assign menu, you can change the assignment for the current program to have the display meters show any of the following:

Inputs

Outputs

Effect Input Level

Effect Output Level

Effect Input and Output Level

LFO 1&2

Envelopes 1&2

Footpedal

ADR 1&2

Simulation

The selection that you make here will take effect immediately and will be stored with the program. Press Edit to exit to the main Edit menu.

3-4

Editing

Copy Effect lets you take an Effect from any program in the MPX 1 and copy it into the current program. To use this function, select Copy Effect from the Edit menu. Press the > button and use the knob to display any of the MPX 1 programs. The front panel Effect buttons light to show you which effect blocks are active in the displayed program. Press any lit button to display:

Copy Effect

The name of the effect from the displayed program appears on the upper line.

new: Looper old: Echo (S)

When you select

Copy Effect, the active effects of the displayed program are lighted. Press any lighted button to initate the copy procedure.

The name of the effect you will be replacing in the current program appears on the lower line.

The effect button will flash to show that it is selected for copying. Press it to copy the effect you selected into the current program. If the copy procedure is successful, a confirmation message will be displayed briefly, and the display will revert to showing the Copy Effect selections.

As different effects vary widely in the amount of processing they require, not all combinations of effects are possible. If the current program is already using many effects, or if it is using a combination which requires maximum processing power, a message will be displayed informing you that there are not enough resources to run the effect you have selected. If this happens, you can try copying another effect, or you can copy an inactive effect (by pressing an unlit button running "No Effect") to reduce the processing requirements.

Note that patches are not copied along with effects.

Press Edit to exit to the main Edit menu.

The button will flash.

Once you have selected the specific effect you want to copy, press the effect button again to complete the procedure.

3-5


Soft Row Parameter

Assignment

Parameters that you want to assign to the Program mode Soft Row for easy access are selected from the Edit mode Soft Row menu. When you first select

Soft Row in Edit mode, you have direct access to all of the Soft Row parameters,

exactly as in Program mode. You can scroll through these and alter values with the knob and < and > buttons.

To change the Soft Row assignments, press and hold Edit with any Soft Row parameter displayed. Continue to hold the button down until the message:

Entering Soft Row Assign is displayed. The Edit LED will blink, and the first

Soft Row parameter will appear on the display as shown:

Edit Soft 1:

> EQ Mix

Use the knob to scroll through the entire list of parameters for the current program. Use the < and > buttons to select any of the ten Soft Row positions. With the parameter and position you want assigned to the Soft Row displayed, press

Edit. The display will return to the Soft Row, with the new parameters in the

positions you have selected. Turn the knob to move across the Soft Row and the

< and > buttons to adjust the parameter values. Press Edit to return to the main

Edit menu. When you return to Program mode, your new Soft Row will be in

place.

Tempo

The parameters in the Tempo menu: Rate, Source, Beat Value, Tap Average,

Tap Source and Source Level, allow you to select the way in which the actual tempo in BPM is determined for each effect.

The MPX 1 gives you unique control over tempo. In the MPX 1, any delay parameter and any time-based modulator (LFO, etc.) can be individually assigned to an absolute time value, or assigned to a tempo value.

For example, a delay time can be set to a specific number of milliseconds, and you will always get a delay of that number of milliseconds, regardless of tempo changes. Alternatively, a delay time can be set to a specific ratio of echoes to beats. Now, if you create a rhythmic echo pattern, delay times will be linked to tempo. When you change tempo, the delay time will change to maintain the same rhythm at the new tempo.

With the LFOs, the rate of change can be an absolute value (such as once per second), or it can be linked to tempo (for example, once every four beats). Any delay parameter or LFO rate can be set to its own individual rhythm, allowing you to set up an effect which will change in a rhythmically interesting way — evolving over time, for example, as opposed to being a mere series of repetitions. Once delays and LFO rates are assigned, tempo rate can be easily changed in a variety of useful ways.

3-6

Editing

Tempo Rate can be set internally or via MIDI Clock. If Tempo Source is set to

Internal, you can dial in any tempo from 41-400 BPM, or you can press the front

panel Tap button twice in rhythm to establish the rate you want (allowing you to change tempo on the fly from any mode). You can also have the value of a patch source act as a tap trigger (See Chapter 4: Patching.) or choose to have your tempo transmitted as a MIDI Clock signal to control the tempo of connected MIDI devices. (See Chapter 5: System Controls or Chapter 6: MIDI Operation.) If

Source is set to MIDI Clock, MPX 1 tempo will sync to incoming MIDI Clock.

Whether tempo is set internally or via MIDI, the front panel Tempo LED will flash at the current rate whenever any delay or LFO rate is set for tempo control.

MPX 1 programs can have their own tempo rate settings which are stored with the program. (Check out those tagged for DataBase sorting by "Tempo" for some examples.) You can override these individual tempo rates with a global tempo rate in the System Setup menu. Tempo is also available as an independent patch source which can control any program parameter. (See Chapter 4: Patching and

Chapter 5: System Controls.)

This is the current tempo (in beats per minute). When Source is set to Internal, you can select any rate here from 41 to 400 BPM. The Tempo LED will flash at the new rate. Fractional tempos can be tapped in, but the display will always show the nearest whole number value.

Rate

You can choose to have tempo determined by the MPX 1 Tap and Rate controls

(Internal), or by MIDI Clock (MIDI). Tap also acts as a reset, setting the downbeat of the LFOs.

Source

Tempo is expressed in BPM. This control allows you to specify the value of the beat (Eighth, DottedEighth, Quarter, DottedQuarter, Half, DottedHalf, Whole).

If, for example, the rate is 120 BPM, and you select EighthNote here, the tempo will be 120 eighth-notes per minute. If you select QuarterNote here, the tempo will be 120 quarter-notes per minute. (The factory default is QuarterNote.)

Beat Value

Option: Tap Average

Press Options to access the Tap Average control which allows you to average the last 2-8 Taps. Higher numbers mean that the response to incoming Taps will be more gradual, as the tempo will be updated on each Tap with an averaged value.

Press Options to set a Tap Aver-

age for more gradual tempo changes when you press Tap.

Assign the Tap function to any of the MPX 1 Internal, MIDI or MIDI controllers(None, On, Knob, Puls1, Tri1, Sine1, Cos1, Puls2, Tri2, Sine2, Cos2,

Rand, Arp, ADR1, ADR2, S/H, Env1, Env2, Mtr1, Mtr2, A/B, ATrg, BTrg, ABTrg,

Pedal, Tog1, Tog2, Tog3, Sw1, Sw2, Sw3, CC1-31, CC32-119, Bend, Touch,

Vel, Last Note, Low Note, High Note, Tempo, Cmnds, Gate, Trig, LGate, TSw).

Tap Source

Option: Tap Source Level

Press Options to access the Tap Source Level control which allows you to set the level (0-127) at which the Tap function is triggered.

Press Options to set a Tap

Source Level for the Tap function.

3-7


DataBase —

Assigning DataBase

Source and Effect types to the current program

The MPX 1 allows you to individually tag all 250 programs for easy sorting by

Source and/or Effect type. The DataBase controls in the Edit menu let you assign your programs to any (or all) of the categories shown below.

Source type: Acoustic

Drum

Guitar

Keyboard

Live PA

Tempo

Sound FX

Vocal

Effect type: Pitch

Chorus

EQ

Mod

Delay

Ambient

Chamber

Plate

Hall

Inverse

Gate

Dual

When you select DataBase, the display will show selection like the one below.

The upper line identifies the selection as a Source or Effect type.

DBase Source Type

Live PA: NO

The lower line shows the Source or Effect type and the current DataBase selection (YES or NO). The selected field will flash to let you know which is selected for changing.

The item on the lower line of the display which is selected for adjustment will flash. Use the < and > buttons to move between the display fields. Use the knob to scroll through all of the Source and Effect types in the left field, and to select

YES or NO in the right field.

If you make changes in the DataBase menu, when you exit, the Store LED will flash and the following message will be displayed.

Press Store to update DBase

Press Store to save your changes to the DataBase. Press any other button to exit with the DataBase unchanged.

Press Edit to return to the main Edit menu.

3-8

The MPX 1 allows you to reconfigure the effect blocks along audio paths of your own design. The Routing Map is a graphic display that shows routing and connections between the MPX 1 effect blocks. Use the Routing Map to change connections between individual effects and also to change the overall routing configuration of all six effect blocks as a group. All of the routing controls available in the Routing Map menu are explained in this section, along with examples of the selections you can make. Remember that you can change the

order of the effect blocks as well. This is covered in the next section Effect

Ordering. In these examples, we'll use the default effect order to keep things simple.

Routing Map

The MPX 1 supports two independent stereo paths for signal routing between blocks. The input path can be split into two, and once split, the two paths can be merged together again. These two paths are referred to as Upper and Lower.

Editing

The audio path through a generic MPX 1 Effect block looks like this:

Note that the dry path through the block is stereo. The wet path through the block can be stereo or mono in, and stereo or mono out, depending on the particular effect.

Each of the Effect blocks (Pitch, Chorus, EQ, Mod, Delay and Reverb) is represented in the following discussion as a simple box identified by its first initial

(P, C, E, M, D and R). This is also the way each block is represented in the

MPX 1 Routing Map display. MPX 1 inputs and outputs are represented by the letters

I

and

O

.

Active Effects are represented (here and in the Routing Map) by upper case letters.

Inactive Effects are represented (here and in the Routing Map) by lower case letters.

3-9


How to Change Routing

Connections

The routing page lets you alter the connections between the inputs of the selected block and the outputs of the blocks in front of it. It is easy to think of these connections as patch cords connecting the different blocks. There are five possible connections for the inputs of any block.

On the Routing Map, use the < and > buttons to select any upper case letter.

(Lower case letters indicate inactive effects, which cannot be edited.) Use the knob to set your connection choice.

How to Change Routing

Options

The Routing Map options allow the six Effect blocks to be placed in any configuration on one (upper) or both (upper and lower) paths. The following examples shows the six effects on a variety of path configurations. (Connections between all blocks are shown as stereo.)

All six effects are on the upper path.

The six effects are configured on both upper and lower paths.

The path is split at the input, merged at the EQ effect, split again at the Mod outputs and merged at the output.

Press Options to determine the routing configurations for all blocks. Press Options again to return to the Routing Map.

The path is split at the Pitch outputs, merged at the EQ inputs, split again at the EQ outputs and merged at the

Reverb inputs.

To change the routing, from the Routing Map, press Options. Use the < and > buttons to select individual blocks. Use the knob to change the configuration.

Note that the MPX 1 will only display the routing options that are available in the current configuration. For example, if all six blocks are on the upper path, the only available option will be Split. The next block downstream from a Split will have

Upper, Lower, and Merge available as options, and blocks further downstream

will have Parallel as an option as well.

3-10

In the following example we've selected one of the presets, FazerTremolo, as an illustration of the kind of programs that can be created with the MPX 1 routing and connection capabilities.

Routing Example

FazerTremolo Routing Map

Editing

In this program, the input signal is routed into an EQ block (Crossover) where it is summed to mono. The low frequencies are sent out the left, and the high frequencies out the right.The EQ block option is set to Split, creating two parallel audio paths. The Chorus block (Phaser) is on the upper path, the Mod block

(AutoPanner) is on the lower path.

The Chorus inputs are connected to the left output of the EQ block. The inputs of the Mod block are connected to the right output of the EQ block. The Chorus outputs are connected to the Reverb block.

The Reverb and Mod block outputs are merged at the MPX 1 outputs. Inactive effects (Pitch and Delay) are not shown.

This creates a program that phase shifts the low frequencies and auto pans the high frequencies. Ambience is applied only to the low frequencies. (This preset is great for clean guitars, bass and keys.)

3-11


Notes and Tips on Routing

1.

The number of configurations you can create is huge. The best approach to take is to think about what you want before changing anything.

2.

When changing the routing options, work from left to right — from the input block to the output block.

3.

The MPX 1 will only display the routing options that are available in the current configuration. For example, if all six blocks are on the upper path, the only available option will be Split. The next block downstream from a

Split will have Upper, Lower, and Merge available as options, and blocks further downstream will have Parallel as an option as well.

4.

The MPX 1 automatically updates the routing options downstream from the selected block as necessary. For example, if you change a Split path to

Upper, all of the following blocks will be set to Upper as well.

3-12

Selecting Effect Order from the Edit menu allows you to put the six MPX 1 Effect blocks in any order you wish. Press

> to display the current ordering and routing configuration. An ordering display such as the one shown below will appear.

Effect Order

An underscore identifies the Effect block which is selected for moving to a new location.

Ord p=C=e=m=D=R

Effect types are represented by their initial letters. Upper case letters indicate that the Effect is active in the current program.

Lower case letter indicate that the Effect is inactive.

Each Effect block is represented by a single letter, upper case if the Effect is active in the current program, lower case if it is not. The symbols between each letter indicate the current routing connection options. An underscore identifies the Effect block that is currently selected for repositioning. (In the example shown above, the Chorus block is selected.) To move the selected block to a new position, simply turn the knob. Use the < and >buttons to select (underscore) a different Effect block for repositioning.

Using the same example, turn the knob two clicks to the right to move the Chorus block and alter the Effect Order as shown below.

The Chorus block is selected for repositioning.

Ord p=C=e=m=D=R

Turn the knob one click to the right to swap the Chorus block with the EQ block.

Ord p=e=C=m=D=R

Turn the knob one more click to the right to move the Chorus block another step to the right.

Ord p=e=m=C=D=R

Press Edit to return to the main Edit menu.

Editing

3-13


Setting the Parameters of the Internal Controllers (Knob, LFO 1 and 2,

Arpeggiator,

ADSR 1 and 2,

Random, A/B,

Sample & Hold,

Env 1 and 2

The last of the MPX 1 Edit menu selections provide controls for making individual adjustments and assignments for each of the MPX 1 internal controllers. This section describes controller editing. For detailed information on the controllers themselves, see Chapter 8.

Making controller adjustments is straightforward. Press Edit and select the controller you want to adjust. The first of the controller selections (Knob) is shown here as an example. (Although each controller has a different set of parameters, the method for selecting and adjusting them is identical.)

Use the < and > buttons to step through the available parameters of the selected controller and the knob to adjust controller settings.

Step or scroll as you like.

Press Value at any time to toggle the functions of the knob and the < and

> buttons.

Edit select:

> Knob

Controller selected for adjustment

Successive screens show each controller parameter and its current value

Ctls:Knob Value

< > n

value of displayed controller parameter

Ctls:Knob

< >

Low n

Use the < and >buttons to move back and forth between the controller selection screen and each of the related parameter screens.

Ctls:Knob

< >

High n

Ctls:Knob Name

< CustomAdj

Once you have adjusted the selected controller to your satisfaction, you can step back through the parameter screens, or press Edit to return to the main Edit menu.

To exit Edit mode, press Program or System to select another mode of operation.

3-14

Patching

4

Patching is the ability to assign a control (Source) to a parameter (Destination).

This allows you to alter the value of the parameter by manipulating the control

Source. For example, you can select the front panel knob as a Source and an effect's Mix parameter as a Destination. This simple patch will allow you to dynamically alter the mix of the effect whenever you turn the knob. You can create as many as five patches. You can patch multiple parameters to a single controller, or patch multiple Sources to a single Destination. This chapter contains all the information you need to use the MPX 1 patching system. Global

Patching is described in Chapter 5: System Controls.

Patching

Note that, in the Patching System, as elsewhere, the Value button acts as a toggle to allow you to assign "select" and "adjust" functions to either the knob or the < and > buttons, whichever is most convenient. As the default state of the

Value button is On (lit), any step by step instructions given in this section will

assume this state.

MPX 1 Patch controls are brought right out to the front panel for easy access.

From any mode of operation, just press Patch to access these controls.


From anywhere, press Patch to immediately access any patch assigned to a displayed parameter, or to create or alter a patch.

The Patch button LED will flash to let you know Patch is active. The display will show:

Use the knob to select a Patch number (1-5).

Patch select:

> Patch 1

The numeric display will show the Patch number you have selected, as long as the

Patch button is active.

The Patch number you select in the alphanumeric display will be displayed on the large numeric display as well. This display will remain on as long as you are in the Patching System to identify the currently selected patch.

4-1


Patch Jump from Edit Mode

Whenever a patched parameter is selected for adjustment in Edit mode, the

Patch LED will light to let you know that the parameter is being used in a patch.

If you press Patch, you will "jump" directly to the patch that uses the displayed parameter so that you can view and modify the patch. Pressing Patch again will jump you back to the parameter in Edit mode.

Selecting a Source and Destination

From the patch number display, press > to step to the patch Source and

Destination assignment screen. The display will show the current Source assignment on the top line, and the current Destination assignment on the bottom line. One of the assignments will be flashing to let you know which is selected for adjustment. Use the < and > buttons to select the Source assignment field, and the knob to select a Source from the available list.

Patch Sources

All Sources are the same in the sense that each generates an output value in the range of 0-127. The output value is used to increase or decrease the setting of a Destination parameter value. Some generate values continuously (they're always "on" ); some generate output based on the position of a particular external MIDI controller, or a footpedal, or footswitch. Some

Sources generate output based on aspects of physical performance such as how loud, how fast, or how hard you play. The MPX 1 allows you to choose a Source for each

Destination from the following list.

Patch Sources

Ctls: Off

On

Knob

Puls1

LFO1

LFO2

Tri1

Sine1

Cos1

Puls2

Tri2

Sine2

Cos2

Rand

Arp

ADR1-2

S/H

Env1-2

Mtr1-2

A/B

ATrg

BTrg

ABTrg

Pedal

Tog 1-3

Sw 1-3

MIDI:CC 1

•

•

•

•

•

•

CC31

CC33

CC119

Bend

Touch

Vel

Last Note

Low Note

High Note

Tempo

Cmnds

Gate

Trig

LGate

Tsw

Sources are displayed with the prefix

Ctls or MIDI. Ctls are internal MPX 1 controllers and rear panel switches and pedal inputs. MIDI sources are all designated MIDI controllers.

< >

< >

Src: Ctls

Dst: RvbDecay

Src: Ctls

A/B

A/B

Dst: RvbDecay

In this example, the Source assignment field is selected. The knob will scroll through all of the available Source selections.

From the same screen, use the < and > buttons to select the Destination assignment field, and the knob to select a Destination from the list of parameters of the currently loaded program.

With the Destination assignment field selected, the knob will scroll through all of the parameters of the currently loaded program.

For most applications, that's all there is to setting up a patch. The default patch values will set the controller to match the full range of its travel to the full range of the Destination parameter. To customize your patches, the MPX 1 provides a full set of additional controls. Each of these is described in the following sections.

4-2

Patching

With Src selected, pressing Options will allow you to specify range limits for the controller you have selected. With the following screen displayed, use the < and

> buttons to select the Min, Mid or Max field, and the knob to set the value from

0-127. The default settings of Min=0 and Max=127, cause the parameter to be controlled linearly by the controller. Reversing these values (Min=127 and

Max=0) will establish inverse control over the parameter. Adding a Mid value allows you to put a pivot point in the patch. All patches have default settings of

Min=0, Max=127, with no Mid values assigned.

Changing the Range of the Source Controller

Src: Min Mid Max

> 0 - - 127

In this example, the underscore indicates that the

Min value field is selected. The knob will select values from 0-127. Press > once to select the Mid field, once again to select the Max field.

With Src selected, press Options to set range limits for the controller you have selected. Press Options again to return to the Patch Source and Destination assignment screen.

From the Src Value screen pressing the > button beyond the Max value field selects a reference screen where you can view the actual behavior of the controller you've selected.

Viewing Source

Controller Activity

With the Max value field selected, pressing > will forward you to the Source Activity screen.

Src: Min Mid Max

> 0 - - 127

Press < to return to the

Source Value screen.

Source Val: 0

< > Peak: 0

The Source Activity screen lets you reference actual controller values to help you determine the most useful range.

The Source Activity screen displays the actual activity of the controller you have designated as the Patch Source. Moving the controller will allow you to view the actual controller value in real time (Val). The peak controller value is referenced on the lower line (Peak). This lets you quickly determine the most useful range settings for the controller.

For example, if you have selected Input Level as the Source, and you notice from the Activity screen that the actual level never rises above 100, you can quickly back up to the Src Value screen ( press < once) and set the Max value to 100.

4-3


MIDI Learn — Automatic

Controller Assignment

You can have the MPX 1 automatically recognize a MIDI controller as a patch

Source, as well as assigning its MIDI Receive channel to match any controller with the MIDI Learn function.

From the Source Activity screen, press > to access the MIDI Learn screen. With this screen displayed, simply move any active MIDI controller to automatically assign it as the Source for the current patch. The MPX 1 will also recognize the

MIDI channel of the controller and reset to that channel for receipt of all incoming

MIDI messages.

From the Source Activity screen, press > to access MIDI Learn.

Source Val: 0

< > Peak: 0

4-4

Src: MIDI learn

< CC1 Ch: 1

Press < to return to the

Source Activity screen.

Simply move any atttached MIDI controller to have the

MPX 1 recognize it as the patch Source and switch to its MIDI channel. This example shows the result of moving a Mod Wheel (CC1) on a connected MIDI device transmitting on Channel 1.

From the MIDI Learn screen, press < repeatedly to step back through the Patch

Source Options. Press Options to return to the Source and Destination assignment screen. Press Patch to exit the Patching system.

Copying Patches

From the Source and Destination assigmment screen, selecting Dst and pressing Options will allow you to copy any other patch to the patch you are working on. With the following screen displayed, use the knob to select patch 1-

5, or — to leave the current patch unchanged.

Dst: Copy patch

– –

In this example, – indicates no patch information is to be copied.

Other selections (1-5) will automatically copy information from the indicated patch to the current patch when you exit Options.

With Dst selected on the Source and Destination assignment screen, press Options to copy any other patch into the current patch.

You selection will take effect immediately when you exit by pressing Options again.

Patching

For most applications, the default full-range Destination values are all you will want, as these allow your selected Source to exert direct control over the full range of parameter values. In other cases, you may want to adjust the

Destination values to a more limited range, or establish a nonlinear relationship between the controller and the parameter values.

Changing the Range of the Destination

Parameter

With a Destination assigned, and the Destination field selected, press > to display the first of two Patch Value screens where you can set Min and Max limits for the selected parameter. With Max selected, press > again to display a Mid

Point selection screen where you can set a pivot point within the Destination parameter range to allow nonlinear control.

Note that, once a Mid value is selected, it can only be eliminated by repatching the Destination, or by clearing the patch.

With the Destination assignment field selected, press > to display the Destination value screen.

Src: Ctls A/B

< > Dst: RvbDecay

Min

< > 0.14s

Max

26.2s

Use the < and > buttons to select the parameter value fields. Use the knob to adjust the value within the selected field.

With the rightmost field selected, press > again to access the Mid

Point selection screen.

Press < to step back to the previous screen.

<

Mid

0.975

Use the knob to enter a Mid Point value.

4-5


Linear or Nonlinear

Control

From either of the Destination Values screens, pressing Options will allow you to set the control relationship between your Source and Destination, temporarily suspend the current patch, or to clear one or more patches entirely.

Pressing Options from either of the Destination value screens lets you determine the control relationship between the Source and Destination, and clear any or all patches. Your selection will take effect immediately when you press Options again.

Patch Values

> Unchanged

"Unchanged" is provided as a selection to allow you to exit Options without altering or erasing any patches. Pressing > will step you forward through the other options.

As selections made in Options will take effect immediately when you press

Options to exit, the first screen, "Unchanged", gives you the choice of exiting

without altering or erasing any patches.

Press > to step through the other control selections: Normal, Inverted, Mid

Peak, and Mid Dip. These let you set the control relationship between the

controller and the parameter as described below.

4-6

Continuing to press > will step you to the Suspend option. Selecting Suspend temporaily suspends the patch until such time as you return to the Patch System

Destination Option and select Unsuspend.

Suspending and

Clearing Patches

Continuing to press > will step you to the options: Clear 1-5, and Clear All. These allow you to select any or all patches to be cleared.

Once you have made any selection, press Options to have your choice take effect and to return to the Source and Destination Assignment screen.

Patching

If you create two or more patches with the same Destination, the Destination value will be the sum of all patches assigned to it.

For example, if a Footpedal, and the knob are both assigned to Mstr Mix, the Mix value will be the sum of the patch Destination values for those two patches.

When creating multiple patches to the same Destination, you should set the individual Destinations to values which, when added together, are less than or equal to the maximum value for each parameter. The Footpedal and the knob, for example, could each have a maximum value of 50%, or they could be assigned values of 25% and 75%, 60% and 40%, etc.

When the sum of multiple patched parameter Destination values is greater than the maximum value of the parameter, the parameter value will remain at maximum until the sum of the patches falls below it.

Multiple Patches with the Same Destination

4-7

System Controls

The System menus shown below provide access to all of the controls which affect overall operation of the MPX 1, such as Bypass state, MIDI transmit and receive channels, as well as some unique options that make the MPX 1 adapt to your personal requirements. These controls are each explained in detail in this chapter, in the order in which they are displayed in System mode.

System Controls

5

Note that, in System mode, as elsewhere, the Value button acts as a toggle to allow you to assign "select" and "adjust" functions to either the knob or the < and

> buttons, whichever is most convenient. As the default state of the Value button

is On (lit), any step by step instructions given in this section will assume this state.


The System Menus

Press System to enter the System menu, and use the knob to select the particular menu you want. With the menu of your choice displayed (Audio,

Modes, etc.), use the < and > buttons to enter the submenu and select

parameters, and the knob to adjust parameter values. When you're finished making adjustments within any menu, press System to return to the main

System menu, or press the < and > buttons to select another control from the

same menu.

5-1


Audio Controls

The Audio menu allows you to change the settings of controls which affect the

MPX 1 audio input and output characteristics. These include: configuring the inputs for stereo or mono applications, selecting analog or digital inputs and outputs, etc. The controls available are each described below.

Input/clck

The MPX 1 can use its own internal clock or it can reference an external clock.

Depending on your rear panel connections, select Analog/Int, Analog/Ext or

Dig/Ext. When Analog/Ext or Dig/Ext is first selected, the MPX 1 will repeatedly

try to establish lock with an external digital source. If it is unable to establish lock, an error message will be displayed. Pressing any button will allow you to clear the error message and will return you to the Audio screen with Analog/Int selected. To select Analog/Ext you must connect a source of digital clock at the digital input. Note that the MPX 1 will accept only signals at 44.1kHz.

During operation, loss of lock will trigger an error message if repeated resync attempts fail. LEDs on the front panel numeric display inform you when digital signals are being received, and when lock is established.

Front panel indication of the presence of incoming digital signals, and lock success is presented at the top of the numeric display.

From anywhere in the Audio menu, press Options to display status and error log information.

Press Options again to exit.

Options: Error Log and Status

Pressing Options gives you access to the following status and error log information:

Error Log: Data: nnnn 4-digit parity error count

Clck Status:

Invalid: nnnnn

Internal

Locked

5-digit invalid data error count indicates Analog/Int selected as input

Analog/Ext or Dig/Ext selected as input and valid clock is present

Input Mode

The setting of Input Mode affects both analog and digital inputs. Select Stereo to have left and right inputs processed separately. Select Mono (L only), or

Mono (R only) to have only the left or only the right input processed. (The other

input is ignored.)

Output Mode

In Output Mode, select Analog or Digital as the output mode of the MPX 1.

5-2

Dig In Lvl is a master control for digital inputs. Select Off or a value from -89dB

to +6dB to optimize the level of the digital input signal.

Dig In Lvl

When digital input is connected to the MPX 1 and Dig/Ext is selected in the

Input/Clck menu, the ChanStatus menu allows you to determine whether or not

Channel Status information received via the MPX 1 digital input is transmitted unchanged through the MPX 1 or whether the MPX 1 is to generate its own

Channel Status data. The available selections are: Pass thru and Generate CS.

(If Analog/Int or Analog/Ext is selected in the Input/Clck menu, the display will show Generate CS without the option of another selection.)

ChanStatus

System Controls

The Soft Sat control puts an analog soft-knee limiter in front of the input of the

MPX 1 A/D converter. This control essentially allows you to trade the harshness of digital distortion for a softer, analog version. The harshness associated with

A/D overload at signal levels above -3dBfs is reduced. Increased analog distortion will occur in the range of -3dBfs to 0dBfs. The available settings are

On and Off.

Soft Sat

The MPX 1 Modes menu allows you to specify certain system-wide parameters and modes of operation for convenience. Each of these is described in this section.

Modes

Pgm Load allows you to choose whether programs will be loaded manually or

automatically.

Pgm Load

Selecting Manual allows you to scroll through programs in Program mode, viewing them according to the DataBase criteria you've selected. Programs which are not loaded are identified by an asterisk (

✱

) preceding the displayed name, and flashing of the Program button LED. Press Program to load the displayed program.

Selecting Auto (the default setting) will cause programs to be loaded automatically following a brief timeout whenever they are selected in Program mode.

5-3


Mix

Each MPX 1 program has its own Master Mix and Level parameters, as well as individual mix and level settings for each Effect. These settings are stored as integral parts of the program. The Mix parameter allows you to select Program, to have each program load with its own master mix setting, or Global which allows any program Master Mix setting to become the global setting for all subsequently loaded programs.

Note that you can alter the global setting at any time by pressing Mix and changing the Mix setting on the Mstr Mix and Level screen. Once you have altered Mstr Mix, subsequent programs will load with the new value as the global setting.

Bypass

The Bypass parameter allows you to determine the behavior of the MPX 1 when the front panel Bypass button is pressed. When the Bypass button is pressed, it will light and a message will be briefly displayed to indicate that Bypass is on.

Pressing Bypass again will briefly display the message that Bypass is off, and turn the button light off.

The choices available from the Bypass Mode menu are:

Bypass:

Completely bypasses the MPX 1, passing unprocessed audio directly through to the outputs. (This is the default setting.)

All Mute:

Mutes both the input and the output signal, giving complete silence.

Input Mute:

Mutes the input to the MPX 1, allowing the tail of the effect to ring out.

Press Options to select external controllers to perform the same functions as the front panel By-

pass and the Effect Bypass buttons. Press Options again to exit.

Option: Bypass Source Assignments

You can assign external controllers to activate Master Bypass and or Bypass for any of the six effect blocks: Pitch, Chorus, EQ, Mod, Delay or Reverb.

Press Options to display the Bypass Source list. Use the < and > buttons to select the bypass function: Mstr, Pitch, etc. Use the knob to assign the control you want to have activate the selected function. The choice of controllers is:

None (the default setting)

Tog 1-3

Sw 1-3

CC 1-31

CC 33-119

Pgm Bypass

Pgm Bypass allows you to determine the behavior of the MPX 1 when a new

program is loaded. The choices available are: All Mute or Bypass.

5-4

The MPX 1 gives you an exciting approach to working with delay times and modulation parameters. You can set these parameters in beats, allowing you to control your programs in a completely musical way. Each MPX 1 program has its own Tempo parameters, with tempo settings stored as an integral part of the program. These include Tempo Rate, Tempo Source (Internal or MIDI), Beat

Value and Tap Source. The Global setting here allows you to override individual

Tempo Rate settings with a global value which can then be changed on the fly.

Tempo Mode

When shipped, the MPX 1 has the Tempo Mode set to Program, with each program driven by its own stored tempo rate. To change to a global tempo rate, select Global here.

Whether Tempo Mode is set to Global or Program, you can set a new tempo rate by pressing the front panel Tap button twice. Alternatively, you can choose to have tempo set automatically from incoming MIDI clock. The rate you tap, or the MIDI tempo, will become the global setting.

For more information about working with the tempo parameters, see Chapter 3:

Editing.

System Controls

The MPX 1 provides a memory protection feature to prevent accidental overwriting of your stored programs. When this control is set to On, attempting to store a program will cause the Store process to abort, and an error message to be displayed. To enable the Store function, select Off. (This is the default setting.)

Memory Protect

Option: StorePrompt

To have the MPX 1 warn you whenever loading a new program would erase changes you have made but have not saved, press Options and set

StorePrompt to On.

Press Options to set StorePrompt

On or Off. Press Options again to exit.

This control allows you to adjust the contrast of the alphanumeric display along a range of 0-15.

Contrast

The setting of Sleep mode determines the behavior of the MPX 1 when it is left idle. When it is on, a set of messages is cycled across the display. Like a computer screen saver, any activity on any panel control will automatically return the MPX 1 to normal operation. When shipped, Sleep is set to English Promo for display of MPX 1 features. You can change this mode to display feature messages in other languages, to display general Help messages, or you can turn the messages completely Off.

Sleep

5-5


Setup Load and

Setup Store

A set of parameters from System mode, including audio parameters, Modes,

MIDI parameters and your current DataBase sorting method are collectively called a "Setup". Five Setups can be stored in the unit, allowing you to quickly reconfigure the MPX 1 at any time. The Setup Load and Setup Store controls allow you to save your current configuration as Setup 1-5 and to reconfigure the

MPX 1 to any of these stored states.

When the MPX 1 is shipped (or when you reinitialize the unit) default values are assigned to the Setup parameters. The following table shows these parameters and the factory default setting of each.

Menu

Program

System

Audio

Modes

MIDI

Parameter

Database Sort

Input/clck

Input Mode

Output Mode

Dig In Lvl

ChanStatus

Soft Sat

Pgm Load

Mix Mode

Bypass Mode

Master Bypass Src

Pgm Mode

Tempo Mode

MemProtect

StorePrompt

Contrast

Sleep

Pgm Change

Pgm# Offset

Receive

Transmit

Pgm Change

Pgm+

Pgm–

Ctl Send

Ctl Smooth

MIDI Clock

Automation

Xmit ID

SysEx

Receive ID

Xmit Speed

Default Setting

by Number

None

100

Off

Off

0

On

0

Fast

On

1

1

1

On

Off

Off

Analog/Int

Stereo

Analog

0dB

Generate CS

Off

Auto

Global

Bypass

None

Bypass

Program

Off

Off

10

English Promo

To load a Setup, select Setup Load from the System Modes menu.

Modes: Setup Load

< > (Press Store)

5-6

The LED in the Store button will flash. When you press Store the display will show:

Load #n: Setup1

(Press Store)

The upper line of the display shows the Setup number currently selected for loading. Turn the knob to select any Setup number 1-5. Press Store again. The display will show:

New setup loaded

Then the MPX 1 will return to normal operation with the new Setup parameters in effect.

The procedure for storing a new Setup is almost identical, but includes the option of assigning a name to your Setup. Select Setup Store from the System Modes menu.

<

Modes: Setup Store

(Press Store)

The LED in the Store button will flash. When you press Store the display will show:

Setup 1

#1: Setup 1

Use the < and > buttons to move an underbar cursor to anyone of 9 characters available in the upper line for naming, or to the Setup # in the lower line.

The upper line shows a default Setup name (Setup 1 in our example). The lower line shows a Setup number (1-5) and the current name of that Setup. The < and

> buttons move an underbar cursor in the display from each one of the nine

characters available for the name, to the # on the bottom line.The knob selects alphanumeric characters at each cursor location.

Once you've made changes to the Setup name or selected a new number for it, press Store again. The display will show:

Are you sure?

Yes or No

To store your new Setup, press Yes. To return to the Setup Store display without saving the Setup, press No.

System Controls

5-7


MIDI

This menu contains all of the MPX 1 MIDI controls. The operation of each of these controls is described here. More information on working with MIDI is presented in Chapter 6.

Program Change

The Pgm Change control allows you to enable or disable the Reception of MIDI

Program Change messages. The manner in which the MPX 1 interprets these messages is determined by your selection here.

Press Options to access Pgm+ and Pgm- controls and to set a program number offset. Press

Options again to return to the

MIDI menu.

Off

All Program Change and Bank Select messages are ignored. Pgm + and Pgm - will load the next higher or lower program.

On

Program Change messages 0-99 correspond to MPX 1 programs

1-100.

Options: Pgm# Offset, Pgm+ and Pgm-

Pressing Options from the Pgm Change display allows you to offset MPX 1 program numbers to match another MIDI device.

From Options you can also map Pgm+ and Pgm- controls to load the next higher or lower program. The following sources can be selected to activate these controls:

None

Tog 1-3

Sw 1-3

CC 1-119

Receive

Select 1-16, OMNI or Off for receipt of MIDI messages.

Transmit

Select 1-16, or Off for transmission of MIDI messages.

5-8

Ctl Send

Ctl Send Selections

None

On

Knob

Puls1

Tri1

Sine1

Cos1

Puls2

Tri2

Sine2

Cos2

Rand

Arp

ADR1-2

S/H

Env1-2

Mtr1-2

A/B

ATrg

BTrg

ABTrg

Pedal

Tog 1-3

Sw 1-3

CC 1-31

CC33-119

Bend

Touch

Vel

Last Note

Low Note

High Note

Tempo

Cmnds

Gate

Trig

LGate

TSW

If Transmit is active (set to any channel), you can select any of the controllers shown to the side to transmit MIDI controller messages if they are used in a patch.

The display presents two selection fields for mapping the controllers as shown below.

MIDI Ctl Send

< > Knob= CC78

Two fields are available for mapping

MPX 1 controls to MIDI controllers.

System Controls

Options: MIDI Reset

The MPX 1 recognizes the “Reset All Controllers” MIDI message. When received, all patched parameters are reset to their stored values. Patched parameters may also be reset from the MPX 1 front panel —in System mode select Ctl Send from the MIDI menu and press Options, then press Yes. (The message will be transmitted from the MPX 1 as well). If you do not want to perform the reset, press Options to exit.

Press Options to access MIDI Reset.

Press Yes in response to the display prompt to reset all patched parameters to their stored values. Press Options again to return to the MIDI Ctl

Send menu.

The Ctl Smooth parameter is an intelligent filter that provides a smoothing function for incoming MIDI data. At 100, the filter is essentially bypassed. With decreasing values, the filter becomes more sluggish in its response to small MIDI controller value changes while maintaining a fast response to large changes.

This is useful for smoothly interpolating sparse MIDI controller data. As the value is lowered, the filter's response slows for both large and small MIDI controller value changes.

Ctl Smooth

You can choose to have the MPX 1 transmit MIDI Clock at the current tempo rate by setting this control to On and Tempo Source (in the Edit menu) to Internal.

If this control is set to Off, MIDI Clock will not be transmitted.

Clock Send

This control is provided for control of one or more additional MPX 1s. Select On to have values resulting from front panel operations sent out as System

Exclusive messages.

Automation

Options: Xmit Device ID

Press Options to access the Xmit Device ID screen where you can select 0-126 or All to identify the target MPX 1s.

Press Options to access Xmit Device

ID selection. Press Options again to exit.

This control is provided for communication with one or more additional MPX 1s, or computer editor software. On (the default setting) allows System Exclusive messages to be received by the MPX 1.

SysEx

Options: Receive Device ID

Press Options to access the Receive Device ID screen where you can select

0-126 to identify the MPX 1.

Press Options to access Receive Device

ID selection. Press Options again to exit.

5-9


Dump

This control allows you to perform MIDI dumps of Current Pgm, All Programs,

Map 1-3, Chain 1-10, Setup 1-5. Select whichever of these categories you want,

and press Store.

Press Options to select MIDI transmit speed. Press Options again to exit.

Options: Xmit Speed

Press Options to select one of four MIDI transmission speeds (Slow, Medium

Slow, Medium Fast and Fast.)

NOTE: The Device ID used in dumps is the current Receive Device ID.

5-10

MIDI Maps

Program Change 0-127 can be mapped to any MPX 1 program. Three 128element maps are available. When you select MIDI Maps from the System menu, you can select any one of the three maps and make your selections from screens like the ones shown below.

Pgm Maps select:

< > Map 1

With the map number you want to work with displayed in the lower right of the display, use the < and

> buttons to scroll to the mapping screen.

1 MPX Blue

< Map 1 Pgm# 1

Select either of these two fields to display any MPX 1 program number (and the corresponding program name) on the top line, and the MIDI Program Change number you want the program mapped to on the bottom line.

Once you've created maps, you can make them active by setting the DataBase sorting option to Show Members of MIDI Maps. (Press Program, then press

Options.)

Options: Unchanged, Start at n, Clear Map, and Clear n-n

Press Options from either of the Map screens to access an additional set of controls which allow you to quickly alter map assignments.

Unchanged:

Selections made in Options take effect immediately on returning to the Map menu. This selection allows you to enter and exit Options without effecting any change.

Start at n:

This control allows you to completely reassign a map, starting with the program number selected here, and including the next consecutive 127 program numbers.

Clear Map:

This control allows you to completely clear all assignments for the active map.

Clear n-n:

This control allows you to completely clear only a specified section of assignments for the active map.

The MPX 1 has 10 internal program chains, each made up of ten "links". You can

System Controls assign any program to any link in the chain with the controls in this menu. A chain can be loaded with a MIDI Program Change message, or by selecting Members

of Pgm Chains as a DataBase sorting option and loading the chain from

Program mode. When the Members of Pgm Chains is selected as a DataBase

sorting option, use the < and > buttons (or MIDI Program Change numbers) to select a chain. Use the knob ( or Pgm+/Pgm-) to load programs assigned to the selected chain.

Program Chains

Once a chain is loaded, the source assigned to Pgm+ and Pgm- will load the next higher or lower program in the chain. The screens in the Program Chains menu allow you to select chains, and make chain and link assignments as shown below.

Chain select:

< > Chain 1

With the chain number you want to work with displayed in the lower right of the display, use the knob or the < and > buttons to scroll to the chain assignment screen.

Assign Chain 1

< > to Pgm# 1

Select the MIDI Program Change number (1-128) that you want to load the chain.

1 MPX Blue

< Chain 1 Link 1

Select either of these two fields to display any MPX 1 program number (and the corresponding program name) on the top line, and the position you want the displayed program to occupy in the chain (Link 1-10) on the bottom line.

Options: Unchanged, Start at n, and Clear chain

Press Options from any of the Chain screens to access an additional set of controls which allow you to quickly alter chain assignments.

Unchanged:

Selections made in Options take effect immediately on returning to the Chain menu. This selection allows you to enter and exit Options without effecting any change.

Start at n:

This control allows you to completely reassign a chain, starting with the program number selected here, and including the next consecutive nine program numbers. This is particularly useful for creating chains from your own programs.

Clear Chain:

This control allows you to completely clear all assignments for the active chain.

Press Options to access Start at n, which allows you to quickly configure any 10 consecutively numbered programs as a Chain, and Clear Chain, which removes all assignments from the active

Chain.

5-11


Initialize

Selecting any item in the Initialize menu will restore portions of the MPX 1 to their factory default settings. These controls allow you to perform a complete reset of the unit to its factory defaults, or to reset only selected functions.

For any displayed selection, the initialization procedure is the same. When a selection is displayed, as in the Initialize All example shown below, the Store button LED will flash, indicating that the MPX 1 is armed to perform the reset procedure.

Initialize

All

Select the initialization option you want.

The Store button will flash. Pressing it will display the following message ...

Are you sure?

Yes or No

Press Yes to initialize. Press

No to cancel the operation.

Press Store. The display query "Are you sure?" prompts you to select Yes or No as a response. If you don't want to perform the initialization, press No to cancel the operation. If you press the front panel Yes button in response to this message, the procedure will be performed immediately. The message Init

Complete indicates that the procedure has been performed.

Note that the time for reinitialization will vary, with selections including DataBase reset taking more time.

The selections in this menu are as follows:

All:

Resets all MPX 1 parameters to their original factory settings.

This will erase all User programs and Setups.

User pgms only:

Erases all User programs (program #s 201-250).

System only:

Resets all MPX 1 parameters except User programs.

Controllers:

Resets the MPX 1 internal controllers (Knob, LFOs, etc.) to their default settings.

Bypass Patches:

Removes any patches made between Bypass buttons and external controllers.

Global Patches:

Clears all global patches.

DataBase:

Resets DataBase assignments for all programs.

This will remove DataBase assignments from programs 201-250.

5-12

System Controls

This control allows you to clear a single User program, or any number of consecutively numbered User programs.

Clear Programs

From the Clear Programs screen, press > to display the following screen.

Clear Programs

201 to 250

Two fields are available for selecting any number of User programs between 201 and 250.


Are you sure?

Yes or No

Press Yes to clear the selected programs. Press No to cancel the operation.

The Store button LED will flash, indicating that the MPX 1 is armed to perform the clear procedure. Press Yes to execute the clear operation. Note that this will override the Memory Protect function if it is on.

A displayed message indicates that the clear operation is complete. Press

System to return to the main System menu.

Note that if you clear the active program, you can still use it and make modifications to it (including restoring it) until you load another program, at which time the clear action will take effect.

5-13


Copy Programs

This control allows you to copy a single program, or any number of consecutively numbered programs into a new location in User memory (program #s 201-250).

Selections you make here will overwrite programs currently at the location(s) you designate.

From the Copy Programs screen, press > to display the following screen.

Copy 201 to 250

Starting at: 201

Two fields are available for selecting any number of programs between 1 and

250.

Select the location where you want the first of your selected programs to be placed. The remainder of the programs you have selected will be placed consecutively after this point.


Are you sure?

Yes or No

Press Yes to copy the designated programs into the selected location. Press No to cancel the operation.

The Store button LED will flash, indicating that the MPX 1 is armed to perform the copy procedure. Press Yes to execute the copy operation. Note that this will override the Memory Protect function if it is on.

A displayed message indicates that the copy operation is complete. Press

System to return to the main System menu.

5-14

System Controls

Ten global patch assignments are available which allow you to assign an external controller to the MPX 1 Master Mix or Master Level controls, or to individually control any one of the MPX 1 Effect Mix or Level controls. Global patches override, but do not clear, program patches with the same parameter

Destination.

Global Patches

From the Global Patches screen, press > to display the following screen.

Global Src: None

# 1 Dst: -----------

Assign a Global Patch number (1-10).

Select any patch source from the available source list shown here.

Select the parameter you want to control with the displayed Global Src.

Use the < and > buttons to select one of the display fields shown above. Use the knob to assign a source, a destination parameter and a patch number.

When you've completed your selections, press System to return to the main

System menu.

Options: MIDI Learn and Dst Edit

When Global Source is selected, pressing Options accesses a MIDI Learn function which automatically assigns any connected MIDI controller as the

Source as soon as the controller is moved. Once you have moved the controller, press Options again to return to the Global Patches display.

When Dst is selected, pressing Options accesses a set of controls which allow you to edit all assigned Destinations.

Unchanged:

Selections made in Options take effect immediately on returning to the Global Patches menu. This selection allows you to enter and exit Options without effecting any change.

Clear All:

This control allows you clear all Destination assignments.

Mix Params:

This control allows you to assign Mix parameters to all

Destinations.

Level Params:

This control allows you to assign Level parameters to all

Destinations.

Press Options again to return to the Global Patches display.

With Global Src selected, press

Options to access MIDI Learn.

With Dst selected, press Options to select Dst editing parameters.

5-15


Calibrate Pedal

This control allows you to achieve full range output of any connected 10k-100k continuously variable footpedal.

From the main System menu, select Calibrate Pedal and press Yes. A display prompt will allow you to choose to continue the calibration procedure, overwriting any pre-existing pedal settings, or to discontinue the procedure.

Pressing Yes in response to the display prompt displays:

Move pedal from min to max . . .

Move your footpedal from its minimum to its maximum position. 127 should be displayed when you reach the maximum point of footpedal travel.

Press Yes to save the calibrated settings and to return to the System menu. Your settings will be stored as part of the current Setup.

To restrict the active range of a pedal, position the pedal within the desired range, then select Calibrate Pedal and press Yes. When the display prompts you to move the pedal, move it only within the restricted range, then press Yes. Once calibrated, any pedal positions below the range will produce pedal controller values of 0. Positions above the range will produce values of 127.

The pedal jack will also work with control voltages as high as 0-10V, or as low as 0-1V When prompted to move the pedal, move the control voltage between its minimum and maximum values, then press Yes. Refer to Chapter 1: Product

Overview for pedal wiring information.

5-16

MIDI Operation

MIDI Operation

All MPX 1 parameters and programs can be accessed by MIDI. All MIDI applications require the MPX 1 to be connected with one or more MIDI devices with standard MIDI cables via the rear panel MIDI jacks.

Selecting a

MIDI Channel

MIDI controls, such as Transmit and Receive Channel selection are available in the System mode MIDI menu. All of these controls are described in Chapter 5:

System Controls. Several are repeated here for your convenience.

6

Before using the MPX 1 with other MIDI devices, all devices must be set to the same MIDI channel. To set the MPX 1 to receive MIDI:

1.

Set the controller you will be using (keyboard, sequencer, other MPX 1, etc.) to transmit on any MIDI channel (1-16).

2.

On the MPX 1, press System. Use the knob to scroll to the MIDI menu.

Use the < and > buttons to select MIDI Receive.

3.

Use the knob to select OFF, 1-16, or OMNI for receipt of MIDI messages.

Accessing Programs

MIDI Out

MIDI In

Some extremely useful effects can be created by controlling MPX 1 parameters remotely in real time. Almost all of the controllers found on a MIDI keyboard or

MIDI foot controller (pitch benders, mod wheels, sliders, switches, breath controllers, foot pedals and footswitches) can be used to adjust MPX 1 parameters. We refer to this real time remote control capability as Dynamic

MIDI.

®

Sending a MIDI Program Change message (0-99) from the controller will load the corresponding MPX 1 register. If any MIDI sources are active as global or general purpose patches, moving the appropriate control on the controller will cause the patched destination parameter to change. (See Chapter 4: Patching.)

If you want to use Dynamic MIDI, but don’t want the MPX 1 to load new registers when you change programs on your controller, set your controller so that it doesn't transmit Program Change messages, or set MPX 1 Pgm Change to Off in the System mode MIDI menu.

6-1

MPX 1 User Guide

Controlling MPX 1

Tempo Rate with MIDI Clock

MIDI Tempo Control

MIDI Out (MIDI Clock)

Using the MPX 1 as a

MIDI Clock Source

MIDI In

Edit mode Tempo Source set to MIDI

MIDI In

MIDI Out

System mode MIDI Clock Send set to On

Tempo Rate set in Edit mode or by Tap

Lexicon

6-2

MIDI Operation

The configuration below shows the MIDI connections for controlling the MPX 1 simultaneously with MIDI Clocks from a sequencer, and messages from another

MIDI controller. Note that the controller is set to "local control off" and the sequencer is set to "echo input".

MIDI In

MIDI Thru MIDI In MIDI Out

MIDI In

MIDI Out

(MIDI Clock)

Edit mode Tempo Source set to MIDI

Two MPX 1s can be slaved together by connecting a cable from the MIDI OUT jack of the master to the MIDI IN jack of the slave. Additional MPX 1s can be slaved to the master by connecting a cable from the MIDI THRU port of one slave unit to the MIDI IN port of the next unit.

Slaving two or more

MPX 1s

MIDI In

MIDI Out

System mode MIDI Automation set to On

Slave

System mode MIDI SysEx set to On

Receive Device ID must match Master Xmit Device ID

Master

6-3

MPX 1 User Guide

Lexicon

Controller Quirks

Some synthesizers and controllers cannot send the full range of MIDI program change messages (1-128). Others may appear to be able to send only 32, but actually have a bank mode that does let you send all 128 program change messages. Also, be aware that some MIDI devices use a program numbering system that uses 0-127 instead of 1-128. If in doubt, see the manual for your controller.

The Knob,

Footpedal and

Footswitch as MIDI Controllers

If the Knob, footpedal, or footswitch is active in the current program, you can choose to have the MPX 1 send MIDI Controller messages whenever you adjust it. This makes it possible to record real-time control of MPX 1 effects with a MIDI sequencer — A simple but quite powerful way to automate effects.

To send MIDI data from a controller, first create a patch using the controller, then set System mode MIDI Xmit to the desired MIDI Channel. (The default is

Channel 1.)

Once a transmit channel has been set, go to System mode MIDI Ctl Send to assign MIDI Controllers. The display will show MPX 1 controllers and parameters in one field, and MIDI controller output selections in another field. (The default assignments are None.)

MIDI Ctl Send

< > Pedal = CC7

Select the MIDI controller you want to transmit.

Select the MPX 1 control you want to transmit as a MIDI controller.

The MIDI Controller messages transmitted by MPX 1 controllers can be recorded in any MIDI sequencer. Once recorded, they can be played back to control the MPX 1 (and other MIDI devices) in real time. To control the MPX 1 from recorded controller messages, reassign the patch sources to the controller value that was assigned to Ctl Send in the System MIDI menu.

The procedures for recording footpedal movements on a MIDI sequencer, then using the sequencer to control the MPX 1, are given below as an example:

To transmit pedal moves to the sequencer:

• Create a patch that uses Pedal as a source to control the deisred parameter.

• In the System MIDI menu, select Ctl Send and assign Pedal to any controller

(for this example, use CC4.)

To automate the MPX 1 from the sequencer:

• Change the patch source from Pedal to CC4.

6-4

MIDI Operation

The MPX 1 has a full featured MIDI arpeggiator. It processes held notes received from MIDI IN and transmits them as arpeggios through MIDI OUT. You can process the output of the sound generator through the MPX 1, but this is not necessary to hear the effect of the arpeggiator.

The Arpeggiator

To use the arpeggiator, first make the MIDI connections:

• Connect a keyboard or other source of MIDI notes to the MPX 1 rear panel

MIDI IN.

• Connect the MPX 1 rear panel MIDI OUT to a MIDI sound generator.

• Make sure everything is on the same MIDI channel.

At this point you can load either of two presets that have the arpeggiator connected (MIDI Arp 1, or MIDI 16th Arp), or you can set up the arpeggiator from scratch.

To set up a basic arpeggiator:

• Press Edit to display the Edit Select menu and select Arp.

• Set the Arp parameters as follows:

Mode: Up-Dn

V Src: 0

Clock: Puls1

OnSrc: LGate

OnLvl: 64

• Press Edit to return to the Edit Select menu and select LFO 1.

• Set the LFO parameters as follows:

Mode: On

Rate Options: cycles : beat

Rate: 2:1

PW: 50%

Depth: 100%

Play two or more notes at once on the MIDI keyboard and you will hear them arpeggiated on the sound generator. Press Tap twice to change the arpeggiation rhythm. Change the Arp Mode parameter to hear different note orderings. Change LFO1 PW to experiment with staccato and legato phrasing.

6-5

MPX 1 User Guide

Lexicon

Program Change

Messages

Reception of MIDI Program Change and Bank Select messages can be selectively enabled/disabled from the System mode MIDI menu. The manner in which the MPX 1 interprets these messages is determined by the value of this parameter as follows:

Pgm Change: Off

All Program Change and Bank select messages are ignored. Pgm+ and Pgm– controllers will load the next higher or lower program in the current bank.

Pgm Change : On

Program Change messages 0-99 correspond to MPX1 programs 1-100. Program Change messages 100—127 are ignored except when MIDI maps or chains are active.

Pressing Options from the Pgm Change display allows you to select a Pgm#

Offset (to allow matching of MPX1 program numbers to another MIDI device) or

to map Pgm+ and Pgm– controls to load the next higher or lower program in the current bank.

Controller 32 is used to select Banks.

Program memory is organized into three banks as follows:

Program Bank 1 Preset programs 1-100

Program Bank 2 Preset programs 101-200

Program Bank 3 User programs 201-250

Three 128 element MIDI maps are stored internally. Program Change 0-127 can be mapped to any MPX 1 program. When first shipped, the MPX 1 has each map loade with the following defaults:

Map 1, 2 or 3

MIDI 1 = Program 1

MIDI 128 = Program 128

Pgm+ and Pgm– will load the next higher or lower program in the map.

Any Program Change number can be selected to load any one of ten customized effect “chains.” Once a chain is loaded, effects in the chain are accessed by the controller patched to Pgm + and Pgm – (program increment and program decrement).

6-6

MIDI Operation

The MPX 1 will transmit SysEx automation messages when the System mode

MIDI Automation parameter is set to On. Virtually all changes made by front

panel operations are transmitted as MPX 1 SysEx messages. This is intended primarily for use by editor programs and in configurations where it is desirable for one or more MPX 1s to be slaved to a single MPX 1 acting as a master. The current mode (Program, Edit or System) of the slave does not follow the master, but the actual parameter values do. (SysEx automation can also be stored on a sequencer and replayed in real-time. As a general rule, automating more than two or three SysEx parameter changes at once is not recommended.)

Automation

SysEx Automation

To set up the MPX 1 to receive SysEx automation messages from another

MPX 1, or from a computer editor/sequencer, the transmitting and receiving

MPX 1s should be set up as follows:

Transmitting MPX 1:

System mode MIDI Automation set to On

Recieving MPX 1:

System mode MIDI SysEx Receive set to On

The Receive Device ID of the receiving MPX 1, and the Xmit Device ID of the transmitting MPX 1 must match. The Receive Device ID is an Option of the MIDI

SysEx Receive parameter. The Xmit Device ID is an Option of the MIDI

Automation parameter.

For applications where it is desirable to "automate" changes made to MPX 1 effects with its own controls ( the knob, Footpedal or Footswitch), we recommend assigning the controllers to MIDI destinations (see Chapter 5: System

Controls MIDI Send) and recording the MPX 1 MIDI output with a MIDI sequencer.

Controller Automation

The MPX 1 recognizes the “Reset All Controllers” message. When received, all patched parameters are reset to their stored values, or to the last front paneledited values. Patched parameters may also be reset from the MPX 1 front panel

—in System mode select Ctl Send from the MIDI menu and press Options.

(The message will be transmitted from the MPX 1 as well).

Reset All Controllers

The MPX 1 recognizes incoming MIDI clock messages when the Edit mode

Tempo Source parameter is set to MIDI. Any Delay parameter set to

echoes:beat, or any LFO parameter set to cycles:beat, will be synchronized to the tempo of the incoming MIDI clock.

MIDI Clock and

Clock Commands

MIDI Clock and Clock Commands (Start, Stop, Continue) are also available as

Dynamic MIDI patch sources. The value of MIDI Clock when used as a patch source is a linear scaling of 0 to 127 (0 = 41 BPM and 127 = 400 BPM). The value of Clock Commands when used as a Dynamic MIDI patch source is 1 for START and CONTINUE and 0 for STOP.

6-7

MPX 1 User Guide

Lexicon

Dynamic MIDI

The following MIDI controllers are available as Dynamic MIDI patch sources:

MIDI Controllers

1-31, 33-119

Pitch Bend

After Touch

Velocity

Last Note

High Note

Low Note

Tempo

Clock Commands

Gate

Trigger

Legato Gate

Touch Switch

Continuous or switches: 0–127

0=max flat, 64=no bend, 127=max sharp

Channel pressure: 0–127

Note On velocity value of last received note: 1-127

Note Number value of last received note: 0-127

Note Number value of highest note when more than one note is on: 0-127. (Same value as Last Note when only one note is on.)

Note Number value of lowest note when more than one note is on: 0–127. (Same value as Last Note when only one note is on.)

MIDI or internal tempo ranging from 41–400 BPM converted to a continuous range of 0–127.

MIDI Clock commands received as a switch: Start and Continue=127, Stop=0

Generates 127 when any note is on and 0 when all notes are released.

Generates a pulse (0, 127, 0) everytime a Note On is received.

Generates 127 whenever two or more notes are on and 0 whenever fewer than two notes are on.

Toggles between 0 and 127 whenever After Touch rises above

32 (allowing After Touch to be used as a latching switch).

These MIDI controllers are also available as threshold sources for several modulation parameters such as ADR1 and 2. They may also be used as a tap source for controlling Tempo.

MIDI Implementation Details, including System Exclusive documentation, are available to assist experienced programmers in developing software for use with the MPX 1. These can be obtained directly from Lexicon.

Request: MPX 1 MIDI Implementation Details.

6-8

Bulk Data Dumps

The System mode MIDI menu provides a Dump control which allows selection of the following types of bulk data to be dumped directly from the MPX 1 to another MPX 1, or to editor/librarian software. Options allows you select MIDI transmit speeds of Slow, Medium Slow, Medium Fast or Fast.

Displayed Name

CurrentPgm

All Programs

Map 1-3

Chain 1-10

Setup 1-5

Description

Currently running effect

Internal Program Change Maps

Internal Program Chains

Internal Setups

With the dump type you want displayed, press Store to transmit the data .

MIDI Operation

MIDI Implementation Chart

Lexicon MPX 1

Digital Effects System

Function

Basic

Channel

Mode

Default

Changed

Default

Messages

Altered

Note

Number

Velocity

After

Touch

Pitch Bend

Control

Change

Program

Change

Note ON

Note OFF

Keys

Channel

1-119

Bank Select

System

Exclusive

System

Common

System

Real Time

Lexicon

Real-time non Real-time

:Song Pos

:Song Sel

:Tune

:Clock

:Commands

Transmitted

1

1-16

Mode 1

X

0-127

O

O

O

X (Off-9n v=0)

X

X

X

OX

X

X

X

OX

X

Device ID

OX

X

Aux

Messages

:Local ON/OFF

:All Notes OFF

:Active Sense

:Reset All Controllers

Notes

Mode 1: OMNI ON, POLY

Mode 3: OMNI OFF, POLY

X

X

X

OX

X

O

X

OX

Mode 2: OMNI ON, MONO

Mode 4: OMNI OFF, MONO

Recognized

1

1-16, OMNI

Mode 1, 3

X

X

0-127

Remarks

O

X

O

O

OX

0-99=1-100

O

Last Note, Low Note,

High Note, LGate, Gate,

Trig used as controllers used as controller

TSW and Touch used as continuous controllers used as controller

1-119 for MIDI transmit

0, 32 for Bank Select

100-127 ignored in

Program mode

0-127 recognized for

MIDI maps

MIDI maps selectable via Bank Select product ID=09

Device ID

X

X

X

OX

X

Device Inquiry

OX

OX START, STOP and CON-

TINUE are patchable as a switch: START/CON-

TINUE=127; STOP=0

O : Yes

X : No

OX: Selectable

6-9

The Effects and Parameters

The MPX 1 contains a library of 57 effects, each of which is described in detail in this section.

The Effects and

Parameters

7

The effects are organized into six effect types corresponding to the Effect

Selector buttons on the front panel (Pitch, Chorus, EQ, Mod, Delay, and

Reverb). All of the effects available in each category are listed below.

Pitch

Detune (M)

Detune (S)

Detune (D)

Shift (M)

Shift (S)

Shift (D)

Volume (M)

Volume (S)

Volume (D)

Test Tone

Chorus

Chorus

Flanger (M)

Flanger (S)

Phaser

Rotary Cab

Aerosol

Orbits

Centrifuge1

Centrifuge2

Comb 1

Comb 2

EQ

1-Band (M)

2-Band (M)

3-Band (M)

4-Band (M)

1-Band (S)

2-Band (S)

1-Band (D)

2-Band (D)

Sweep Filter

Wah

Fc Splitter

Crossover

2-Tone (M)

2-Tone (S)

2-Tone (D)

3-Tone (M)

3-Tone (S)

3-Tone (D)

Mod

Panner

Auto Pan

Tremolo (M)

Tremolo (S)

Overdrive

Volume (M)

Volume (S)

Volume (D)

Delay

Delay (M)

Delay (S)

Delay (D)

Echo (M)

Echo (S)

Echo (D)

Looper

Ducker

Reverb

Chamber

Hall

Plate

Gate

Ambience

Lighted effect buttons indicate which effect blocks are active and turned on in the currently loaded program. (Effects can be active, i.e. available for use in a program, but bypassed and, therefore, "off".) To identify the particular effect which is running, press and hold any of the effect buttons. A message informs you if the effect block is active, or not. The name of the particular effect in use in an active block is identified by name.

To access the edit parameters of any active effect, press Edit, then select the effect by pressing the appropriate button. Use the knob and the < and > buttons to select and modify the effect parameters. Press Edit again to return to the Edit menu. See Chapter 3: Editing for more information.

7-1


Notes on

Combining Effects

Different effects require different amounts of MPX 1 processing. The following notes should be kept in mind when creating new combinations of effects in a program.

All reverb effects have dedicated processing and can be used in combination with any other effect. (You can always add any reverb to any MPX 1 program.)

The Pitch, Chorus, EQ, Mod and Delay effects share processing resources. This means that some combinations of these effects may not be possible –depending on which effects are already loaded. If you attempt to load an effect that requires more resources than are available, an error message will be displayed.

The Detune, Shift, Chorus, Flange, Rotary, Orbits, Centrifuge and Comb effects require dedicated processing resources for delay interpolation. Only one of these effects can be active at any given time any MPX 1 program.

Notes on the processing requirements of other specific effects is given in the following description whenever applicable.

Notes on

Controlling Effect

Parameters

Any effect parameter in the MPX 1 can be patched for real time control. In some cases, audible artifacts may be produced, depending on the particular parameter and the rate and range of control. In many effects, we’ve added additional processing power to parameters that are obvious candidates for drastic dynamic control. These parameters are “interpolated” to produce extremely smooth, noise free control.

It is often possible to compensate for a non-interpolated parameter, such as

Pitch Detune Level, by combining the effect block with one with an interpolated

Level parameter, such as Mod Volume.

Notes on the Effect

Descriptions

In the following effect descriptions, interpolated parameters are indicated by an asterisk (*) following the parameter name.

Examples of presets which use the effect are listed at the end of each description.

7-2


In the Pitch effects: Detune (M), (S) and (D) and Shift (M), (S) and (D), Tune controls the amount of pitch shift. The Optimize parameter (an option of Tune) allows balancing of any artifacts vs. the amount of delay through the effect. Higher settings of Optimize are good for chords and low notes, lower settings minimize the delay through the effect.

Pitch Effects

A set of Volume effects: Volume (M), (S) and (D) are included in this block for convenience when constructing programs that don't use pitch effects. A sine wave generator (Test

Tone) is also included to allow generation of test tones, tuning, etc.

Detune (M), Detune (S) and Detune (D)

Detune (M) Detune (S)

Detune (D)

Mix

Level

0-100%

Off, -89 to +6dB

Tune, Tune1, 2

0-100

(Optimize)

10-60ms (M), (D)

10-40ms (S)

P Dly

0-70ms (M), (D)

0-25ms (S)

Dry/Wet ratio

Amount of effect in the processed signal

Pitch shift

An option of Tune 1 — Adjusts the amount of delay in the tuner

Amount of delay before the onset of the effect

As the detune effects use up relatively few processing resources, they can be combined with reverb and many other effects. When creating effects that don’t require pitch shifting by large intervals (semitones) the detuners are the most efficient choice.

Detune effects are useful for thickening up sounds by adding delayed/pitch shifted versions of the original source. They can be particularly effective when used to simulate double-tracking. They are also great alternatives to chorus effects as a detuner can add the richness of a chorus effect without the audible sweep caused by the chorus rate. Detuners are also traditionally used to turn a sixstring guitar into a twelve-string, or an in-tune piano into a honky-tonk.

The MPX 1 detuners are optimized to provide very fine amounts of pitch shift.

Detune (M) is a single-channel detuner that creates a pair of signals, pitch-shifted up and down from the input. The pair is always mixed together, and presented equally to the outputs.

Detune (S) creates a pair of signals, pitch-shifted up and down from the inputs. The left and right channels are separate.

Detune (D) sums left and right inputs to mono,then creates two pairs of signals, pitch-shifted up and down from the inputs by Tune1 and Tune 2. The first pair goes out the left, the second pair out the right.

Delay>Detune Doubler

RandomDetune

* = Interpolated; ( ) = Option of preceding parameter

7-3


Shift (M), Shift (S) and Shift (D)

Shift (M)

The pitch shift effects are designed to provide both fine (1 cent resolution) and coarse (semitone resolution) pitch shift effects. Use them to create harmonizations, detuning, or special effects. The

Tune parameters can be glided smoothly across their entire range. Try controlling Tune with a foot pedal or MIDI controller for

“whammy-bar” and pedal steel effects with guitars.

Shift (M) is a single-channel pitch shifter.

Shift (S) is a stereo version of

Shift (M) with synchronized crossfades.

Shift (D) provides mono input to two independent pitch shifters controlled by Tune1 and Tune 2.

The first shifter goes to the left output, the second to the right output.

ClassicDetune 5th Plate

Wet Triads

Shift (D)

Shift (S)

Mix

Level

Tune

(Optimize)

Glide

0-100%

Off, -89 to +6dB

-4800 to +1900 cents

0-100

Off, On

Dry/Wet ratio


Pitch shift

Adjusts the amount of delay in the pitch shifter

Coarse, fine resolution of pitch shift

These effects use more processing resources than the detuners. Shift (S) and Shift (D) are among the largest effects in the MPX 1.

Volume (M), Volume (S) and Volume (D)

The Volume effects can be placed in front of, or behind, other effect blocks to provide smooth level control through a 95dB range. You can use them for dynamic input or output control, EQ input trim (helpful when adding large amounts of gain with an EQ effect), stereo to mono mixer, cross fade controls, volume pedal, etc.

Volume (M)

In Volume(M) the left and right inputs are mixed together, then sent to both outputs through a volume control.

In Volume (S) the left and right inputs are sent through a ganged pair of volume controls.

In Volume (D) the left and right inputs are sent through independent volume controls.

ChrsRvbMorph Volume Pedal

Mix

Level*

Vol*

0-100%

Off, -89 to +6dB

0-100%

Volume (D)

Volume (S)

Dry/Wet ratio




7-4


Test Tone

Mix

Level*

Note

Bal*

0-100%

Off, -89 to +6dB

C0-G10

-50 to +50

Handy pitches:

D#0=19.445Hz

A4=440Hz

Dry/Wet ratio


Sine wave pitch, expressed as MIDI notes

(0=C0, 127=G10)

Relative level of left and right output attenuation

B5=987.77Hz

D#8=4978Hz D#9=9956Hz

Test Tone is an audio sine wave generator with its output quantized to correspond with the pitches of a chromatic scale (A = 440 Hz) over a nine-and-one-half octave range.

It is provided primarily as a convenient way of generating test tones and tuning references.

The Level and Note parameters allow it to be used in musical and sound effect applications as well.

It can be “played” from a MIDI keyboard or sequencer by patching Last Note to Note and an ADR to Level (use MIDI Gate to trigger the ADR). Other useful patch sources for controlling pitch include: S/H, MIDI Arpeggiator and the Random Generator.

Bal controls the relative level of left and right output attenuation.

When Bal=-50, the left output has no attenuation, and the right output is fully attenuated. When

Bal=0, neither output is attenuated. When Bal=+50, the left output is fully attenuated and the right output has no attenuation. Level and Bal can be patched to a global

LFO to get tone bursts, etc. Pitch accuracy is better than 1/4 cent.

Big Bottom 50's Sci Fi


7-5


Chorus Effects

The chorus effects are generally used to enhance a sound by modulating delay times and/ or frequency content in various ways. Of course, the classic effects of this type : Chorus,

Flanger and Phaser are all here – along with several other variations such as: Rotary

Cab, Aerosol, Orbits, Centrifuge, Comb 1 and Comb 2.

All of the Chorus effects have one or two resonance parameters. These parameters control the level and phase of the effect output signal that is recirculated into the effect inputs. Use care when adjusting these parameters, as they can cause overload (or feedback-like howls) if they are set too high — even with little or no input signal present.

As a general rule, the combined value of any resonance parameters should always be less than 100 — but pay close attention to levels whenever the total resonance is above

50. If you use high resonance values (to produce a deep flange effect, for example) and the clip LEDs light while the Headroom LEDs are less than 0dB, try turning down the level of the effect that precedes the Chorus block.

Chorus

This is a true stereo, multi-voice chorus. Use it to enrich guitars, keyboards, etc. It has Dual 2-tap modulators with cross resonance.

The Pulse Width controls allow independent adjustment of the waveshape. (At 0, the sinewave becomes a sawtooth with a fast rise and slow fall.) The Depth controls provide adjustment of the chorus from 0-100%.

Dynamic Chrs Rich Chorus

Mix

Level

Rate1

(Rate1 Units)

PW 1

Dpth1*

Rate2

(Rate 2 Units)

PW 2

Dpth2*

Res 1

Res 2

0-100%

Off, -89 to +6dB

0-50Hz or

1:24-24:1 cycles/beat

0-100%

0-100%

-100 to +100

-100 to +100

Dry/Wet ratio


Left and right A rate

0-100%

0-100%

0-50Hz or

1:24-24:1 cycles/beat)

Selects frequency or cycles/beat

Left and right A pulse width

Left and right A depth

Left and right B rate


Left and right B pulse width

Left and right B depth

Left to right resonance

Right to left resonance

7-6



Flanger (M) and Flanger (S)

Flanger (M)

Flanger (S)

Mix

Level*

Rate

(Rate Units)

PW

Depth*

Phase

Res

Blend

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Flange rate or period ratio

0-100%

0-100%

0°-270°

-100 to +100

0-100%


Flange pulse width

Flange depth

In Flanger (S) sets the phase difference between the right and left flangers

Resonance

Amount of fixed tap mixed with moving tap

Originally, flanging effects were created by simultaneously playing 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, providing a comb filter and a characteristic swishing, tunneling and fading sound.

In the MPX 1, the Flanger effects are two-tap delays. The first tap is fixed, and the second sweeps past it. Mixing the two taps together creates a flanging effect. In

Flanger (M), the moving tap is swept with an internal LFO.

In the stereo version, Flanger

(S), the delays are modulated by two sine waves from the same

LFO. The phase relation between the two waves is set by the Phase parameter.

480PrimeFlng FlangeSwp AB

Phaser

The Phaser effect is a simulated

Mutron phaser.

FazerEkoRvb Phased Place

Mix

Level

Rate

(Rate Units)

PW

Depth*

Res

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Phaser rate or period ratio

0-100%

0-100%

-100 to +100%


Phaser pulse width

Phaser depth

Amount of feedback from output of filters to inputs


7-7

MPX 1 User Guide

Rotary Cab

This effect simulates a Leslie speaker with one pair of stereo mics on the rotating low-frequency drum, and another pair on the rotating high-frequency horn. Bal sets the relative mix of Drum and Horn mics. Width controls the stereo spread of both pairs of mics. Rate and Depth 1 control the speed and depth of the rotating low-frequency drum. Rate 2 and Depth 2 control the speed and depth of the rotating high-frequency horn. The preset,

Rotary Cab, is set up so that A/B switches the speed from fast to slow. Different A and B rates are used to simulate the inertia of the mechanical system.

Rotary Cab

Mix

Level*

Rate1

(Rate1 Units)

Dpth1*

Rate2

(Rate2 Units)

Dpth2*

Res

Width*

Bal

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Drum rate or period ratio

0-100%

0-50Hz or


Selects frequency or cycles/beat of drum

Drum depth (tremolo)

Horn rate or period ratio

0-100%

-100 to +100

0-100%

-50 to +50

Selects frequency or cycles/beat of horn

Horn depth (tremolo)

Resonance

Panning width for horn and drum

Relative level of horn and drum

Lexicon

Aerosol

Aerosol is a true stereo chorus/ flanger with dual rate, depth and resonance controls. It can produce very deep resonant flange sweeps, subtle multi-vibrato, stereo image enhancement and a wide variety of other chorus and flanger-like effects.

A pair of single-tap modulated delays is each modulated by a separate LFO. Pulse Width allows independent adjustment of left and right LFOs from full left to full right skew. (At 0, the sinewave becomes a sawtooth with a fast rise and slow fall.) Depth controls provide adjustment of modulated depth from 0-100%.

AeroFreez AB Aerosol

Mix

Level

Rate1

(Rate 1 Units)

PW 1

Dpth1*

Rate2

(Rate 2 Units)

PW 2

Dpth2*

Res1

Res2

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Left Mod rate or period ratio.

0-100%

0-100%

0-50Hz or



Left Mod pulse width

Left Mod depth (tremolo)

Right Mod rate or period ratio.

0-100%

0-100%

-100 to +100

-100 to +100


Right Mod pulse width

Right Mod depth (tremolo)

Cross resonance

Resonance


7-8


Orbits

Mix

Level*

Rate1

(Rate 1 Units)

PW 1

Sync1

Dpth1*

Rate2

(Rate 2 Units)

PW 2

Sync2

Dpth2*

Res

Width*

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Left Mod and Pan rate or period ratio

0-100%

-120° to +120°

0-100%

0-50Hz or



Left Mod and Pan pulse width

Phase difference between left LFO Mod and Pan

Left Mod and Pan depth

Right Mod and Pan rate or period ratio

0-100%

-120° to +120°

0-100%

-100 to +100

0-100%


Right Mod and Pan pulse width

Phase difference between right LFO Mod and Pan

Right Mod and Pan depth

Resonance

Panning width

Orbits processes the left and right inputs independently with a pair of modulated delay/auto panners. This effect can be used to create spatial effects via a combination of Doppler and level panning.

In the Orbits effect, Pulse Width controls allow independent adjustment of left and right LFOs from full left to full right skew. (At 0, the sinewave becomes a sawtooth with a fast rise and slow fall.) Depth controls provide adjustment of Mod and Pan depth from 0-100%. Width allows adjustment of the panning depth from 0 (mono) to 100 (maximum stereo spread).

OD Rotary


7-9

MPX 1 User Guide

Centrifuge1 and Centrifuge2

The Centrifuge effects have a pair of modulated left and right delays routed into a single auto panner. In these effects, mod and pan rate and depth (Rate1, Depth1) are modulated by an additional set of rate and depth controls (Rate2,

Depth2). These can create unique chorus and flanger effects with complex, undulating modulation rhythms.

Centrifuge1

Circle Flange

Centrifuge2

Mix

Level*

Rate1

(Rate 1 Units)

PW 1

Sync1

Dpth1*

Rate2

(Rate 2 Units)

PW 2

Sync2

Dpth2*

Res

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Left Mod and Pan rate or period ratio

0-100%

-120 to +120

0-100%

0-50Hz or



Left Mod and Pan pulse width

Phase difference between left LFO Mod and Pan

Left Mod and Pan depth

Right Mod and Pan rate or period ratio

0-100%

-120 to +120

0-100%

-100 to +100

Selects frequency or cycles/beat.

Right Mod and Pan pulse width

Phase difference between right LFO Mod and Pan

Right Mod and Pan depth

Resonance

Lexicon

7-10



Comb 1 and Comb 2

Comb 1

Comb 2

Mix

Level

LoCut

HiCut

Comb

Notch

Rate

(Rate Units)

PW

Depth*

Res

Phase

0-100%

Off, -89 to +6dB

100-10000Hz

100-10000Hz

0-100

-100 to +100

0-50Hz or


Dry/Wet ratio


Corner frequency of the low cut filter

Corner frequency of the high cut filter

A microdelay which positions the notch

Increases the audibility of the notch

Ratio of filter and delay output levels:

Notch

-100

-50

0

50

100

Filter Output Mod DelayOutput

0%

100%

100%

100%

0%

-100%

-100%

0%

100%

100%

Mod rate or period ratio (Comb 2 only)

0-100%

0-100%

-100 to +100

0°-270°

Selects frequency or cycles/beat (Comb 2 only)

Mod pulse width (Comb 2 only)

Mod depth (Comb 2 only)

Resonance (Comb 2 only)

Phase difference between the right and left Mod

(Comb 2 only)

The Comb effects work by combining the original input signal with a micro-delayed version. The tiny delay difference between the two signals causes certain frequencies to be cancelled or reinforced when the two are combined. The result is a highly colored version of the original source. The coloration can be “tuned” with the Comb

(Comb 1) or Depth (Comb 2). Low and High pass filters are included so you can limit the frequency band in which the combing occurs.

Comb 1 is a mono flanger with single-pole low and high cut filters.

There are two ways to get the comb effect. The first is to set mix to 100% (wet), then set depth to 50 or -50. This essentially creates a band-limited signal (limited by

LoCut and HiCut) which is then run through a flanger. You can also set mix= 50%, Lvl = 0dB, and Notch=

+100. In this case, the band-limiter is part of the flanger. In this version, the effect produces shallower notch depths outside the band-limit region.

Comb 2 is a dual mono flanger with a second tap, controlled by a single LFO with adjustable phase.

The phase relation between the two waves can be adjusted between 0-270°.

Comb Rubberate


7-11


EQ Effects

At its simplest, equalization is the process of cutting and boosting certain frequencies to make portions of program material more or less audible. This is generally accomplished by combining filters which affect a specific “band” of frequencies together with gain controls.The three types of filters commonly used to perform basic EQ functions are: High Cut, Low Cut and Bandpass/Notch.

High Cut

High cut filters remove frequencies above a fixed level. As this allows frequencies below the threshold to pass through unchanged, high cut filters are also commonly referred to as “lowpass” filters.

Low cut filters, which remove frequencies below a fixed level and allow higher frequencies to pass through are also known as “highpass” filters.

Bandpass/Notch filters allow only a certain range of frequencies to pass through without attenuation. They are plotted as curves, with a peak (or dip in the case of notch filters) at the center frequency.

Low Cut

Bandpass/Notch

Shelf filters

When a specific frequency value is selected for cutting or boosting, and compensating gain controls are provided, a shelving filter is created, with gradual build up of the boost or cut to the selected frequency, followed by a leveling off beyond the selected frequency. When the effect of the filter is plotted, it resembles a shelf, with constant levels of boost or cut preceding and following the “knee” or “corner point” at the selected frequency.

A typical application of these filters uses 2-band equalization with two shelf filters, one low and one high, to provide bass and treble tone control. These two filters affect only the high and low frequency signals, leaving the center frequencies unaltered. Adding a third or fourth band of equalization in the form of midrange bandpass filters provides more control over those frequencies where hearing is most sensitive, and where most of the energy in music exists.

(500Hz-4kHz). These midrange bands peak, or dip, at a center frequency which can be varied to provide much greater control over different aspects of the sound, allowing for bass or treble rolloff to decrease boominess, thicken sounds, reduce noise, or increase brightness.

High Shelf

Low Shelf

Parametric EQ

Parametric equalizers provide boost and cut controls, sweepable center frequencies, and adjustment of “Q”, or the broadness or sharpness of the EQ curve

— all of the parameters of equalization. This ability to broaden or narrow the peak at certain frequencies allows specific sounds to be accented or diminished with minimal effect on adjacent frequencies. As all equalization has potentially adverse side effects on program material, this ability to precisely adjust only specific frequencies has the advantage of minimizing the amount of EQ applied to program material. It also allows the creation of specific effects such as sharply narrowed EQ curves (notches) which are useful for feedback control or removal of specific noise artifacts.

7-12


Fc=1000Hz

MPX 1 Parametric EQ: Gain

Q=1.0

Gain=+24dB, +18dB, +12dB,

+6dB, 0dB, -6dB, -18dB,

-24dB, -36dB, -72dB

MPX 1 Parametric EQ: Q

Fc=1000Hz Gain=±18dB Q=0.1, 0.3, 0.5, 1.0, 2.0,

4.0, 6.0, 8.0, 10.0

EQ Tips (for tweakers only)

About “Q”

Q is a measure of the sharpness of an EQ curve. The larger the Q value, the sharper the curve. In some situations it is convenient to think of Q in terms of bandwidth in octaves. Some examples:

Q Bandwidth

0.1

approximately 6 1/2 octaves

0.4

approximately 3 octaves

0.7

approximately 2 octaves

1.4

approximately 1 octave

2.9

approximately 1/2 octave

4.3


5.8


7.2


8.7


10.0


There are mathematical limits to how small the Q value can be in MPX 1

EQ effects. For any given frequency, the Q must be greater or equal to the frequency divided by 10,000. For example if the frequency is 5kHz, the actual Q value won’t go below 0.5.

(The MPX 1 will allow you to dial in lower values, but the actual Q will not go below the mathematical limit.)

For most shelving applications, Q should be set very low (Around 0.2).

As you increase the Q, the filter becomes peaky, but a dip also develops just outside the passband. For many applications, a bandpass or band cut filter with a moderate Q and a low (or high) center freq will prove sonically superior to the shelving filter.

Making a Low Pass Filter

To make a two-pole low-pass filter, start with a high shelf, and set Gain to

-72 (effectively off). This creates a low pass filter with a corner frequency at Fc. A Q of 0.7 makes a flat passband. Higher Q settings produce a peak at Fc, and lower Q settings produce a droop.

MPX 1 Parametric EQ: Shelf

Fc=1000Hz Gain=+10dB Q=0.1, 0.2, 0.5, 1.0, 2.0,

4.0, 10.0

7-13

MPX 1 User Guide

1-Band (M), 2-Band (M), 3-Band (M) and 4-Band (M)

The 1-Band (M) effect provides a single band of double-precision parametric EQ.

2-Band (M), 3-Band (M) and 4-

Band (M) have two, three and four bands, respectively, of double-precision parametric EQ. Each effect has adjustable center frequency,

Q, boost/cut and filter type (low shelf, band, high shelf).

Call Waiting Vocal EQ

Mix

Level

Gain (1-4)

Fc (1-4)

Q (1-4)

Mode (1-4)

0-100%

Off, -89 to +6dB

-72 to +24dB

20-20000Hz

0.1-10.0

LShlf, Band, HShlf

Dry/Wet ratio


Boost/cut gain of filter(s)

Center or corner frequency of filter(s)

Q of filter(s)

Determines EQ type(s)

1-Band (S), and 2-Band (S)

1-Band (S) has two bands of double-precision parametric EQ, one on each channel. 2-Band (S) has four bands of double-precision parametric EQ, two on each channel.

The two channels share the filter controls. Center frequency, Q, boost/cut and filter type (low shelf, band, high shelf) are adjustable.

Digital EQ (S) Piano Hall

Mix

Level

Gain (1-2)

Fc (1-2)

Q (1-2)

Mode (1-2)

0-100%

Off, -89 to +6dB

-72 to +24dB

20-20000Hz

0.1-10.0

LShlf, Band, HShlf

Dry/Wet ratio


Boost/cut gain of filter(s)

Center or corner frequency of filter(s)

Q of filter(s)


1-Band (D) and 2-Band (D)

1-Band (D) has two bands of double-precision parametric EQ, one on each channel. 2-Band (D) has four bands of double-precision parametric EQ, two on each channel.

Center frequency, Q, boost/cut and filter type (low shelf, band, high shelf) are adjustable.

Dual 2-Band L=2BndR=Chmb

Mix

Level

G-L, G-L1, G-L2

Fc-L, Fc-L1, Fc-L2

Q-L, Q-L1, Q-L2

M-L, M-L1, M-L2

G-R, G-R1, G-R2

0-100%

Off, -89 to +6dB

-72 to +24dB

20-20000Hz

0.1-10.0

LShlf, Band, HShlf

-72 to +24dB

Fc-R, Fc-R1, Fc-R2 20-20000Hz

Q-R, Q-R1, Q-R2 0.1-10.0

M-R, M-R1, M-R2 LShlf, Band, HShlf


Dry/Wet ratio


Boost/cut gain of left filter(s)

Center or corner frequency of left filter(s)

Q of left filter(s)


Boost/cut gain of right filter(s)

Center or corner frequency of right filter(s)

Q of right filter(s)


7-14

Lexicon


Mix

Level*

Fc*

FRes*

Mod*

Scale*

Pan*

SweepFilter

0-100%

Off, -89 to +6dB

20-20000Hz

1-100

20-20000Hz

-100 to +100%

50L to C to 50R

Dry/Wet ratio


Corner frequency offset of filter

Filter resonance: 7=a maximally flat filter added to corner frequency offset to produce corner frequency scales Mod

Left/right pan control

SweepFilter simulates a Moogtype resonant low-pass filter. Cutoff frequency and output level are interpolated, and can be swept.

The performance of this filter is high enough that it can be used as a lowpass filter for hiss reduction.

The parameters were designed to allow synthesizer-like control of the filter. For example:

Use FC like the manual “cutoff” knob of an analog synth – set it to the filter frequency desired when all modulation sources are at minimum.

Use Mod as the patch destination for as many as five modulation sources (LFO, ADR, Env,

LastNote, S/H. etc.).

Use Scale as a master depth control for all modulation sources.

EkoSweepFltr SynthChmbr

Wah

Mix

Level*

Sweep*

(Type)

Bass

Resp

0-100%

Off, -89 to +6dB

0-100

C, V

0-100

0-100

Dry/Wet ratio


Wah center frequency

C=Crybaby, V=Vox

Adds a low frequency boost to the wah

Responsiveness to changes in Sweep


Wah is a mono wah filter modelled after two classic wah-wah pedals. With Sweep selected, press Options to select Model C

(CryBaby) or Model V (Vox).

These models capture both the characteristic signature and nonlinear pedal response of the original pedals. The Bass control allows you to change the wah from a band-pass type effect to a lowpass type effect by progressively adding more low end into the effect. (Try it with bass and keyboards.) Resp controls how quickly the wah responds to changes of Sweep. (100 is very fast, 0 is very, very slow).

To make a Mutron-like envelope filter, patch sweep to Env1 or

Env2. Use Resp to control the effect’s responsiveness to changing dynamics.

To make an Auto Wah effect, try patching Sweep to an LFO sine or triangle wave.

AutoWah Chrs Wah Pedal

7-15

MPX 1 User Guide

Fc Splitter

The Fc Splitter effect splits a mono input into a low-passed output on the left channel and a highpassed output on the right, with independent control of the corner frequencies of both filters. If the corner frequencies are the same, and the balance is set to 0, the frequency response will be flat when the two outputs are summed.

Bal controls the relative level of left and right outputs. When Bal=0, the left and right outputs are not attenuated. Negative values attenuate the right output (highs). Positive values attenuate the left (lows).

OpenTheDoor

Mix

Level*

LoCut

HiCut

Bal*

0-100%

Off, -89 to +6dB

100-10000Hz

100-10000Hz

-50 to +50

Dry/Wet ratio


Corner frequency for the low cut (highpass)band

Corner frequency for the high cut (lowpass) band

Relative level of the low and high band

Lexicon

Crossover

The Crossover effect is similar to Fc Splitter, but with only one crossover frequency, shared by low and high. In this effect, Level and Bal are not interpolated.

Fazer Tremolo OD Rotary

Mix

Level

Fc

Bal

0-100%

Off, -89 to +6dB

100-10000Hz

-50 to +50

Dry/Wet ratio


Crossover frequency

Relative level of the low and high band

7-16



The Tone effects allow you to create a unique set of EQs to make simple tone adjustments.

The 2-Tone and

3-Tone Effects

The 2-Tone effects split the signal into two bands, one low and one high, with the controls to create low or high shelving filters. Gain1 cuts or boosts all of the frequencies below the frequency selected by Fc and Gain 2 cuts or boosts all frequencies above this point, creating a basic bass/treble control.

Setting Gain 1 to 0dB creates a simple treble control

2-Tone (M) , 2-Tone (S) and 2-Tone (D)

2-Tone (M)

2-Tone (D)

2-Tone (S)

Mix

Level

Fc, FcL, FcR

Gain1, G-L1, G-L2

Gain2, G-R 1, G-R2

0-100%

Off, -89 to +6dB

100-10000Hz

-90 to +6dB

-90 to +6dB

Dry/Wet ratio


Corner frequency of both low and high band(s)

Level of low band(s) (frequencies below Fc or FcL)

Level of high band(s) (frequencies above Fc or FcR)


Setting Gain 2 to 0dB creates a simple bass control

The 2-Tone (M) effect splits the signal into low and high bands with independent adjustment of low and high levels, as well as the split frequency to create low and/or high shelving filters.

2-Tone (S) is a stereo version of

2-Tone (M). 2-Tone (D) is a dual version.

Rock Organ Sweet+Wet

7-17


The 3-Tone effects have two selectable frequency selectors (Fc1 and Fc2) which split the signal into three bands controlled by Gain1, Gain2 and Gain3. The diagram below shows a few of the infinite variety of EQ curves which can be obtained from the 3-Tone effects.

3-Tone (M), 3-Tone (S) and 3-Tone (D)

3-Tone (M)

The 3-Tone (M) effect splits the signal into low, mid, and high bands, and allows the user to adjust the three levels, as well as the two split frequencies to create both low and high shelving filters in a single effect. Setting the frequencies to the same value and the mid and high levels to Off creates a 4pole low-pass filter.

3-Tone (S) is a stereo version of

3-Tone (M). 3-Tone (D) is a dual version.

3-Tone TV in Room

3-Tone (D)

3-Tone (S)

Mix

Level

Fc 1, Fc-L1, Fc-L2

Fc 2, Fc-R1, Fc-R2

Gain1, GL-1,GR-1

Gain2, GL-2, GR-2

Gain3, GL-3, GR-3

0-100%

Off, -89 to +6dB

100-10000Hz

100-10000Hz

-90 to +6dB

-90 to +6dB

-90 to +6dB

Dry/Wet ratio


Corner frequency of low band

Corner frequency of high band

Level of low band(s) (frequencies below

Fc1, Fc-L1 or Fc-L2)

Level of mid band(s) (frequencies between Fc1 and 2)

Level of high band(s) (frequencies above

Fc2, Fc-R1 or Fc-R2)


7-18


The Mod effects are a collection of pan, gain, and volume processors that can be modulated with built-in contollers or with any MPX 1 patch source.

With the exception of Overdrive, all Mod effects require relatively small amounts of processing resources and can therefore be used in combination with many other effects.

Mod Effects

Panner

The Panner effect has the left input panned to outputs with Pan 1, right input with Pan 2. Because all the parameters of this effect are interpolated, this can be used to add interpolated outputs to effects which have non-interpolated output levels.

Random Pan

Mix*

Level*

Pan 1*

Pan 2*

0-100%

Off, -89 to +6dB

50L to C to 50R

50L to C to 50R

Dry/Wet ratio


Left input panner

Right input panner

Auto Pan

Mix*

Level*

Rate

(Rate Units)

PW

Depth*

Phase

0-100%

Off, -89 to +6dB

0-50Hz or


Dry/Wet ratio


Pan rate or period ratio

0-100%

0-100%

0°-270°


Pan pulse width

Pan depth

Phase difference between right and left pan

Auto Pan is a version of Panner with the pans controlled by a local

LFO. The left input is panned by the LFO’s sine output. The right input is panned by the cosine output, which is offset by 0°, 90°,

180° or 270° by the Phase parameter.

Stereo Spin Auto Pan BPM


7-19


Tremolo (M) and Tremolo (S)

In Tremolo (M), the left and right inputs are mixed together, then a local sinewave generator modulates the volume.

In Tremolo (S) the left input is modulated by a local sinewave generator before going to the left output. The right input is modulated by sin, cos, -sin, or -cos, depending on the Phase parameter.

These are the smallest mono and stereo effects with interpolated output level controls. You can use them (with the tremolo turned off) to add smooth output level control to a stereo effect that doesn’t have output level interpolation.

Mix*

Level*

Rate

(Rate Units)

PW

Depth*

Phase

Vintage Trem Dyna Tremolo

Tremolo (M) Tremolo (S)

0-100%

Off, -89 to +6dB

0-50Hz


Dry/Wet ratio


Tremolo rate or period ratio

0-100%

0-100%

0°-270°


Tremolo pulse width

Tremolo depth

In Tremolo (S), controls the phase difference between the right and left tremolo

Overdrive

Overdrive is a simple gain effect that produces non-linear distortion as the Drive control is turned up. This effect is useful for such things as simulating the sound of distorted radios and televisions, or adding some “edge” to other effects, etc. While not intended to be used as a full-blown guitar amp simulator, combinations of Overdrive and EQ or

Comb effects can produce some very useful tone effects.

Car Radio Rock Organ

Mix

Level*

Drive

0-100%

Off, -89 to +6dB

0-100

Dry/Wet ratio


Distortion control

7-20


Volume (M), Volume (S) and Volume (D)

Volume (M)

Volume (S)

Volume (D)

Mix

Level*

Vol*

0-100%

Off, -89 to +6dB

0-100%

Dry/Wet ratio




The Volume effects are included here for convenience when constructing programs that don't use Modulation effects.

These effects are simple, but have many applications. Place them in front of, or behind, other effect blocks to provide smooth level control through a 95dB range. You can use them for dynamic input or output control, EQ input trim (helpful when adding large amounts of gain with an EQ effect), stereo to mono mixer, cross fade controls, volume pedal, etc.

In Volume(M) the left and right inputs are mixed together, then sent to both outputs through a volume control.

In Volume (S) the left and right inputs are sent through a ganged pair of volume controls.

In Volume (D) the left and right inputs are sent through independent volume controls.

ChrsRvbMorph Volume Pedal


7-21


Delay Effects

The Delay effects include delay, echo, looping and ducking effects. Delays are high quality digital delays. Echoes are similar to delays, but low-pass filters have been added to simulate the high-frequency rolloff that occurs naturally in acoustic echoes and in echoes created with analog tape.

All MPX 1 Delay effects allow you to choose how delay times will be displayed. Select any

Time parameter and press Options. The following choices are available for each Time parameter: ms: time is displayed as milliseconds (delay time is fixed) feet: time is displayed as feet – the equivalent distance from a sound source requried to produce the delay (delay time is fixed) meters: time is displayed as meters – the equivalent distance from a sound source required to produce the delay (delay time is fixed) echoes/beat: time is displayed as a rhythmic ratio of echoes per beat (delay time varies with Tempo and can be changed at any time by pressing TAP twice.)

TAP ms: time is displayed as milliseconds (new delay value can be “tapped in” when this Time value is displayed for editing).

Another feature shared by all MPX 1 Delay effects is Fbk Insert. This option of the feedback parameter allows you to route the outputs of another effect block to the delay’s feedback input. If the other block is after the delay block, Fbk Insert will place it inside the delay/echo feedback loop. This powerful feature is the key to obtaining many classic effects.

7-22

Delay (M), Delay (S) and Delay (D)

Delay (M)


Delay (S)

Delay (M) is a simple mono delay with feedback.

Delay (S) is a simple stereo delay with feedback.

Delay (D) is a dual delay with feedback, crossfeedback, independent output level adjusts, and panners.

Detune+Dlys Tap Delay

Delay (D)

Mix

Level

Time

(Time Units)

Lvl 1*

Lvl 2*

Pan 1*

Pan 2*

Fbk 1

(Fbk insert)

Fbk 2

XFbk1

XFbk2

0-100%

Off, -89 to +6dB

0-2000ms (M)

1:24-24:1echo/beat,

0-2260 ft, 0-688 M

Off, -95 to 0dB

Off, -95 to 0dB

50L to C to 50R

50L to C to 50R

-100 to +100%

Pitch, Chorus, EQ,

Mod, Reverb, Delay

-100 to +100%

-100 to +100%

-100 to +100%

Dry/Wet ratio


Delay time

(in stereo and dual versions, 0-1000ms, 0-1130ft, 0-344 M)

Selects ms, note, feet, meters, or Tap ms

In Delay (D), controls left delay output level

In Delay (D), controls right delay output level

In Delay (D), controls left delay output panner

In Delay (D), controls right delay output panner

Left feedback level

The outputs of the selected source are scaled by Fbk

Right feedback level

In Delay (D), controls level from left feedback source to right delay in

In Delay (D), controls level from right feedback source to left delay in


7-23

MPX 1 User Guide

Echo (M), Echo (S) and Echo (D)

The Echo effects are similar to the Delay effects, except the feedback inputs are sent through 1pole low-pass filters.

Damp provides control over the cutoff frequency of the filter. (Increasing Damp lowers cutoff frequency.)

Echo (M)

Guitar Solo Tape Echo

Echo (D)

Echo (S)

Lexicon

7-24

Mix

Level

Time

(Time Units)

Time1

(Time1 Units)

Time2

(Time2 Units)

Lvl 1*

Lvl 2*

Fbk 1

(Fbk insert)

Fbk 2

Damp1

Damp2

0-100%

Off, -89 to +6dB

0-2000ms

1:24-24:1echo/beat,

0-2260 ft, 0-688 M

Dry/Wet ratio


Delay time in mono version


Left delay time 0-1000ms

1:24-24:1echo/beat,

0-1130 ft, 0-344 M

0-1000ms,

1:24-24:1echo/beat

0-1130 ft, 0-344 M


Right delay time

Off, -95 to 0dB

Off, -95 to 0dB

-100 to +100%

Pitch, Chorus, EQ,

Mod, Reverb, Delay

-100 to +100%

0 to +100%

0 to +100%


In Echo (D) controls left delay output level

In Echo (D) controls right delay output level

Left feedback level

The outputs of the selected source are scaled by Fbk

Right feedback level

Cutoff frequency of low-pass filter in left feedback path

Cutoff frequency of low-pass filter in right feedback path



Looper

Mix

Level

Time

(Time Units)

InMix

(Fbk insert)

Sense

Pan

Rls

Atk

0-100%

Off, -89 to +6dB

0-2000ms

1:24-24:1echo/beat

0-2260 ft, 0-688 M

0-100%

Pitch, Chorus, EQ,

Mod, Reverb, Delay

0-100

50L to C to 50R

0-100

0-100

Dry/Wet ratio


Delay time


Ratio of input to feedback going into the delay

The left output of the selected source is scaled by Fbk

Sensitivity of InMix to input amplitude

Output panner

Envelope release time constant

Envelope attack time constant

In the Looper effect InMix controls the ratio of input to feedback into the delay. This parameter is ducked by the input level, so that louder signals route the input signal into the delay, and softer signals route the feedback signal into the delay. When Sense is at 0, no ducking will occur. At 100 the input will be ducked by even the lowest input levels.

A/B Freeze Capture EQ

Ducker

Mix

Level

Time

(Time Units)

Fbk

(Fbk insert)

Sense

Rls

0-100%

Off, -89 to +6dB

0 -2000ms

1:24-24:1echo/beat

0-2260 ft, 0-688 M

-100 to +100%

Pitch, Chorus, EQ,

Mod, Reverb, Delay

0-100

0-100

Dry/Wet ratio


Delay time


Feedback level

The left output of the selected source is scaled by Fbk

Amount of ducking

Envelope release time constant

Similar to Looper, with the wet output getting quieter as the input gets louder. When Sense is at 0, no ducking will occur. At 100 the input will be ducked by even the lowest input levels.

DuckedDelay


7-25


Reverb Effects

The MPX 1 Reverb effects provide a full suite of reverberation and ambience algorithms.

All of the reverbs are true stereo in that differerent processing is applied to the left and right input signals. Dedicated processing resources are allocated to the reverb effects so that you can always load any reverb into any program, regardless of what other effects are loaded.

Chamber

The Chamber effect produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar to the Hall effect, but the sense of space and size is much less obvious. This characteristic, along with the low color of the decay tail makes Chamber useful on a wide range of material. It is especially useful on spoken voice, giving a noticeable increase in loudness with very low color.

Chamber 4PA Jazz Chamber

Mix

Level

Size

Link

Diff

P Dly

Bass

Decay

Xover

Rt HC

Shape

Spred

0-100%

Off, -89 to +6dB

4.0-35 meters

Off, On

0-100%

0-250ms

0.2-4.0x

0.07-65.4s

30Hz to 19.5kHz, Off

525Hz-21.2kHz

0-255

0-255

Dry/Wet ratio


Length of Chamber

Scales Decay and Spred with Size

Increase of initial echo density over time

Delay inserted before the onset of reverberation

Reverb time for low frequency signals

Reverb time for mid frequency signals

Frequency of transition from Decay to Bass

High frequency content of Decay

Contour of the reverberation envelope

Sustain of reverberation after initial build up

Hall

The Hall effect emulates a real concert hall. The reverberation is very clean, and designed to remain behind the direct sound — adding ambience, but leaving the source unchanged. This effect has a relatively low initial density which builds up gradually over time.

Hall 4PA Concert Hall

Mix

Level

Size

Link

Diff

P Dly

Bass

Decay

Xover

Rt HC

Shape

Spred

0-100%

Off, -89 to +6dB

20-76 meters

Off, On

0-100%

0-250ms

0.2-4.0x

0.12-65.4s


525Hz-21.2kHz

0-255

0-255

Dry/Wet ratio


Length of Hall





Length of the reverb tail






7-26

Plate

Mix

Level

Size

Link

Diff

P Dly

Bass

Decay

Xover

Rt HC

Shape

Spred

0-100%

Off, -89 to +6dB

4.0-76.0 meters

Off, On

0-100%

0-250ms

0.2-4.0x

0.07-65.4s


525Hz-21.2kHz

0-255

0-255

Dry/Wet ratio


Length of room





Length of the reverb tail






Plate effects were originally generated by large, thin sheets of metal suspended upright under tension on springs. Transducers attached to the plate would transmit a signal which would, in turn, vibrate the plate. Because the plate provided a denser medium than air, sounds broadcast through it would seem to be ocurring in a large open space.

The Plate effect synthesizes the sound of metal plates, with high initial diffusion and a relatively bright, colored sound. This effect is designed to be heard as part of the music, mellowing and thickening the initial sound. It is a popular choice for enhancing popular music, particularly percussion.

Plate 4PA Vocal Plate

Mix

Level

Time

Link

Diff

P Dly

LoSlp

HiSlp

Xover

Rt HC

Shape

Spred

Gate

0-100%

Off, -89 to +6dB

140-700ms

Off, On

0-100%

0-250ms

-16 to +16

-16 to +16


525Hz-21.2kHz

0-255

0-255

Dry/Wet ratio


Reverb time for mid and low frequency signals

Scales Spred with Size



Determines low frequency envelope shape

Determines mid and high frequency envelope shape

Frequency of transition from LoSlp to Slope

High frequency content of Slope



Gate is a reverb effect with a fairly constant sound and no decay until the reverb is cut off abruptly. This effect works well on percussion — particularly on snare and toms, but be sure to experiment with other sound sources as well.

The Mix, P Dly and Rt HC parameters are very important in this effect, allowing you to create anything from an enhancement or subtle thickening, to a solid wall of reverb.

Gate 4PA

Snare Gate

Reverse Rvb


7-27

MPX 1 User Guide

Ambience

The Ambience effect gives warmth, spaciousness and depth to a performance without coloring the direct sound, and is commonly used to add a room sound to recorded music or speech. The effect simulates reflections from room surfaces, with random reflections, a gradual decay of overall level, and a gradual narrowing of the bandwidth. DTime settings can be varied to create larger or smaller spaces while variations of

D Lvl and Rt HC correspond to the hardness of the imaginary reflecting surfaces and the effects of air absorption on the high end of the sonic spectrum.

Ambi 4PA

TV in Room

Miked Cab EQ

Mix

Level

Size

Link

Diff

P Dly

DTime

D Lvl

Rt HC

0-100%

Off, -89 to +6dB

4.0-76 meters

Off, On

0-100%

0-250ms

0.07-65.4s

Off, -48dB to Full

0.5-21.2kHz

Dry/Wet ratio


Length of room

Scales DTime with Size



Length of the ambience tail

Level of the ambience tail

High frequency content of DTime

Lexicon

7-28


MPX 1 Internal Controllers

8

This chapter describes all of the MPX 1 internal controllers. Examples of presets which make use of a controller are noted to the side of each description. The controls for making individual adjustments and assignments to the controllers are available in the Edit menu and are described in Chapter 3: Editing.

MPX 1 Internal

Controllers

The Knob controller allows you to define your own custom patch controller. Once defined, you can place it in the Soft Row with its own label. You can even define the upper and lower limits of the control. Use Knob when you want to manually adjust the values of more than one parameter simultaneously, or when you want to limit the range of control over a single parameter.

Knob

Knob (Soft knob assignment for front panel parameter control)

Parameter

Value

Low

High

Name

Range

0-127

0-127

0-127

9 characters

Description

initial setting

Low point of range

High point of range

Custom name

AeroFreeze AB [n]Ekos:Beat

In general an LFO is a source whose output cycles constantly between 0, 127 and 0. Each LFO produces four simultaneous output waveforms: Sine, Cosine,

Triangle and Pulse. Rate controls how fast the output cycles — you can set the rate as either a frequency (such as 3Hz) or as a rhythmic value (such as 2:3 cycles per beat). A Depth parameter scales the output range. Several additional parameters make the MPX 1 LFOs very flexible. Mode, OnSrc and OnLvl allow you to turn the LFOs on and off in different ways based on the output levels of other MPX 1 controllers. PW allows you to dynamically modify the shape of LFO waveforms. Phase lets you change the phase of the Cosine relative to the other waveforms (Sine, Triangle, and Pulse).

NOTE: In all modes, the LFO completes its current cycle before stopping.

The first press of Tap resets the LFOs.

LFO (1 or 2)

Parameter

Mode

Rate

(Rate units)

PW

Phase

Depth

OnLvl

OnSrc

Range

Off, On, Latch, Gate,

Once, Reset, RTrig

0-50.00/1:24-24:1

0-100%

-120° to +120°

0-100%

0-127

Off, On, any internal or MIDI controller

Description

Controls behavior of Source when OnLvl is reached

LFO speed

Option of Rate: Hz or Cycles per Beat

Varies the pulse width of all shapes

Relative phase difference between Sine and

Cosine

Controls the amplitude of all shapes

Start/Stop level for Latch, Gate, Once, Reset and RTrig modes

Determines which control source is used to turn LFO on and off in Latch, Gate, Once,

Reset and RTrig modes.

LFO1 and LFO2

LFO Modes

Off: LFO is disabled (OnSrc and

OnLvl are ignored)

On: LFO is always on (OnSrc and OnLvl are ignored)

In the remaining modes, when the value of OnSrc rises above or falls below the value of OnLvl the LFO is switched on and off as follows:

Latch: LFO toggles on and off whenever OnSrc value rises above OnLvl

Gate: LFO stays on while OnSrc value is greater than OnLvl

Once: LFO sweeps through one complete cycle when OnSrc value rises above OnLvl.

(During the sweep, further changes of OnSrc value are ignored.)

Reset: LFO is always on, but its phase resets to 0° whenever

OnSrc value rises above

OnLvl.

RTrig: LFO completes one cycle when OnSrc value rises above OnLvl. (The phase of the LFO can be reset to 0° if


OnLvl during the sweep.)

Filter Thing MPX Blue

8-1


Arpeggiator

The MPX 1 arpeggiator requires a MIDI note source (keyboard, sequencer, etc.) to be connected to the MIDI IN connector. Once connected it will arpeggiate keys

Arpeggiator Modes and V Src

Off:

Up:

Arpeggitator is disabled

Notes play in ascending order

Down: Notes play in descending order that are held down. You can use the arpeggiator as a source to control MPX 1 parameters (like SweepFilter fc , for example), but the real fun starts when you connect a MIDI sound source to the MPX 1 MIDI OUT connector. The arpeggiator will “play” the sound source. Parameters are provided to allow you to turn the arpeggiator on and off, connect a clock source to set the arpeggiation speed, set the order that the notes are played, and control their loudness.

Up-Dn: Notes play in ascending, then descending order

Arpeggiator

Rand: Notes play in random order

Frwrd: Notes play in the order they are held down

Bkwrd: Notes play in reverse order

Fd-Bd: Notes play forward, then backward

The V Src parameter allows you to set the MIDI Velocity value for the arpeggiated notes. The range of this parameter is 0–127. When set to 0, the arpeggiated notes will have the same velocity values that were played on the MIDI source. This allows you to control the dynamics of the notes in the arpeggio by how quickly you strike the keys.

Parameter

Mode

V Src

Clock

OnSrc

OnLvl

Range

Off, Up, Down

Up-Dn, Rand,

Frwrd, Bkwrd

Fd-Bd

0-127 or MIDI controller

Off, On, any internal


0-127

Description

Order in which notes will be played

Sets velocity value of notes played

Arpeggio speed

Turns arpeggiator on or off

Value at which arpeggiator turns on or off

The arpeggiated notes will all have the same dynamics when V Src is set to values between 1 and 127 (1 is extremely soft, 127 is very loud). Try patching MIDI Mod wheel to V Src.

Move the Mod Wheel to its minimum position and the arpeggiator will track your playing dynamics — move it beyond minimum and it becomes a volume control for the arppeggios.

MIDI Arp 1 MIDI 16th Arp

8-2


These ADSR-type envelope generators can be gated on and off via any MPX 1 patch source. Aside from the usual attack, decay, sustain and release parameters. The MPX 1 ADRs include additional controls that allow you to further customize their behavior.

Note that the rate parameters (attack, decay and release) are logarithmic. The highest value, 100, is very fast (less than a millisecond). The lowest value, 0, is very slow (more than two minutes). Values above 50 are generally the most useful unless you are creating effects with control changes that take place over several tens of seconds.

ADR (1 or 2)

Parameter

Mode

OnDly

ARate

DRate

S Lvl

STime

RRate

OnLvl

OnSrc

Range

Off, Once, RTrig, Loop

0-100

0-100

0-100

0-127

0-100

0-100

0-127


Description

Cycle repetition behavior (See notes.)

ADR output delay for multiple ADSR offset

Attack rate

Decay rate from 127 to S Lvl

Sustain level

Length of time cycle is maintained at S Lvl while OnSrc is at or above OnLvl

Rate of change from S Lvl to 0

Threshold

Selected trigger

ADR1 and ADR2

ADR Modes

Off: ADR is disabled (OnSrc and

OnLvl are ignored)

Once: ADR completes a full attack, decay, sustain, release cycle when OnSrc value rises above OnLvl. (During the cycle, further changes of

OnSrc value are ignored.)

RTrig: ADR restarts its attack, decay, sustain, release cycle whenever OnSrc value rises above OnLvl.

Loop: ADR repeats its attack, decay, sustain, release cycle endlessly

50's Sci Fi EkoSweepFilter

This controller produces a random stream of numbers whose maximum range is 0-127. You can limit both the lowest and highest values and control the rate at which the numbers are generated.

Random Generator

Random (Random Number Generator)

Parameter

RndLo

RndHi

Rate

(Rate Units)

Range

0-127

0-127

0-50.00

Description

Low limit

High Limit

Speed

Option of Rate: Hz or Cycles per Beat

RandomChorus S/H Improv

8-3


A/B Glide

A/B Glide Modes

The A/B Glide controller is linked to the front panel A/B button and LEDs.

Pressing the button toggles the state of the controller between A and B, as indicated by the LEDs.

Trig: Toggles between A and B whenever A/B button is pressed or OnSrc value rises above OnLvl.

Gate: Glide from A to B when


OnLvl. Glides from B to A whenever OnSrc value falls below OnLvl. The A/B button is ignored.

Like the LFOs, A/B Glide has several simultaneous outputs that can be used as patch sources:

A/B: The A/B Glide controller is linked to the front panel

A/B button and LEDs.

Pressing the button toggles the state of the controller between A and

B, as indicated by the

LEDs.

ATrg: This value changes from 0 to 127 and back to 0 again whenever A/B changes from B to A.

BTrg: This value changes from 0 to 127 and back to 0 again whenever A/B changes from A to B.

ABTrg : This value changes from 0 to 127 and back to 0 again whenever A/B changes from A to B or B to A.

When the controller is at A, its output is 0. When it is at B, its output is 127.

Controls are provided to allow you to determine the rate at which it glides from

A to B and from B to A.

Of the many presets in the MPX 1 that use this controller, the most straightforward example is Rotary Cab. In this preset, A/B is used to glide between the fast and slow rates of a rotary speaker effect. Different A and B rates are used to simulate the mechanical inertia of the real thing. Note that you can use the

OnSrc parameter to select other controllers to initiate the glide.

A/B

Parameter

Mode

ARate

BRate

OnLvl

OnSrc

Range

Trig, Gate

0-100

0-100

0-127


Description

See notes.

Time to go from A to B

Time to go from B to A

Threshold

Selected trigger

Rotary Cab

Spin+Dlys

RvbEkoMorph

8-4


The sample and hold controller is similar to functions found in many synthesizers. Its output is derived by “sampling” the value of an input signal.The MPX 1 version allows you to select any controller as the input signal, and also allows you to select any controller to trigger the sample.

S/H

A typical use would be to use LFO1 Sine as the input signal and LFO2 Pulse as the sampling clock. With both LFOs set to different rates, the output will be a constantly changing staircase pattern. Before you decide that this is too techno for you – be sure to listen to the presets 50’s Sci Fi and Synthis Izer!

S/H (Sample & Hold)

Parameter

InSrc

Clock

OnSrc

CkLvl

Range




0-127

Description

Signal to be sampled

Selected trigger

Signal that gates the S/H clock

Threshold

50's Sci Fi

Synthis Izer

S/H Pitch

Env1 and Env2 are two identical envelope followers which create an output that varies with the level of the Src parameter. For each envelope follower you can choose any two audio level as sources. To follow the levels on both main inputs, set Src1 to Left Input and Src 2 to Right Input. Use Resp and ATrim to customize the response to level changes. Note that these controls are logarithmic. Resp values below 50 take many seconds to “catch up” with audio level changes. For most situations, you’ll find values above 50 to be the most useful.

Env1 and Env2

Env (1 or 2)

Parameter

Src (1 or 2)

Atrim

Resp

Range

Off, Left Input, Right

Input, Pitch L Out,

Pitch R Out, Chorus L Out,

Chorus R Out, Mod L Out,

Mod R Out, EQ L Out,

EQ R Out, Reverb L Out,

Reverb R Out, Delay L Out,

Delay R Out

0-100

0-100

Description

Allows attack time to be shortened relative to overall response. 0=same as Resp, larger numbers shorten response.

Responsiveness

AutoWah Chrs Big Bottom

ChrsRvbMorph

8-5


Footswitch Controllers

The rear panel Foot Switch jack can be connected to as many as three independent analog switches. Each switch appears as two simultaneous patch sources.

Tog1: Value toggles between 0 and 127 at each off/on transition of foot switch 1.



Sw1: Value is 0 when foot switch 1 is off, 127 when foot switch 1 is on.



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1 MPX Blue

This preset illustrates the power and complexity of the MPX 1 with 6 simultaneous effects blocks, split-path routing, and 5 patches to the internal controllers. Centrifuge and plate on one path, and a filtered, autopanned delay on the other path create a unique effect for vocals or instruments.

2 RvbEko Morph

Press A/B to moprh between a long decay reverb and echoes.

9

Preset Descriptions

3 480PrimeFlng

The Stereo Flanger effect is used to emulate the characteristics of the Lexicon 480L

Prime Flange program.

4 RandomDetune

This program uses randomly demodulated dual detuners. Press Value to access the overall depth of the detuning. The program loads with stereo delay and plate reverb bypassed — press Delay or Reverb to add them to the effect. Great for thickening vocals, guitars, and other instruments.

5 Vintage Trem

A new twist on a classic effect – a reverb “tank” feeding into a deep tremolo to modulate the decay of the reverb. The twist here is that, because the tremolo is stereo, the spaciousness of the reverb is maintained. Press Value to access controls for tremolo rate and depth as well as tweaks for the reverb.

6 Tap Delay

A single quarter-note slap. Press Tap twice to sync up with the beat. Press Value for delay rhythm, feedback and damping parameters.

7 Tape Echo

The echoes get darker as they repeat. Press Value for time, feedback, and damping controls.

8 ParametricEQ

A 4-band mono EQ setup like a “channel strip” equalizer – low shelf at 250 Hz, high shelf at 6kHz, and two variable mid-range bands centered at 500Hz and 3kHz. The Mod block is used to add an input volume trim for the EQ, so you can compensate for gain boost.

Press Value for gain, frequency, and Q controls.

9 Chorus Chambr

A Chorus effect in front of a small Chamber adds dimension to any guitar or electric piano.

10 Autowah Chrs

Input level-controlled wah fed into a stereo chorus. Press Value for wah and chorus controls.

11 Dialog Booth

A tiny ambient space.

12 Small Booth

A small, partially dark recording booth.

13 PCM 60 Room

This program is designed to replicate a room with the smaller Size and Reverb Time settings from the Lexicon PCM 60.

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14 Tiled Room

A small bright room for percussion and tight rhythm guitar.

15 Bright Room

A small, airy room. An excellent general purpose ambience effect.

16 Plate Space

A huge, bright, loooong plate reverb.

17 Ambience4 PA

Optimized for PA, this program adds “air” around vocals or other sources without making them muddy. The ambience effect is followed by a stereo 2-band EQ so you can fine tune to the room. Press Value to get to the critical controls fast.

18 Short Nonlin

A short bright nonlinear reverb.

19 Multigate

A short, delayed gate reverb with three syncopated repeats.

20 Gate 4 PA

Optimized for PA, this program can thicken up drums or other sources without making them muddy. The gate effect is followed by a stereo 2-band EQ so you can fine tune to the room. Press Value to get to the critical controls fast.

21 Plate 4 PA

A bright, dense plate tuned especially for PA use.The plate effect is followed by a stereo

2-band EQ so you can fine tune to the room. Press Value to get to the critical controls fast.

22 Bright Plate

A bright percussive plate with moderate decay.

23 Sweet+Wet

The name speaks for itself. This program combines tone controls, dual detuners, stereo

Tap echoes and rich plate reverb. (Press and hold Program to see how the effects are routed.) Press Tap twice to change the echo rhtyhm. Press Value to get at the goodies in the Soft Row.

24 Vocal Plate

A plate reverb designed specifically with vocals in mind.

25 Snare Plate

This program has been tuned for optimal results with a Snare drum. The high setting of

Rt HC without high cutoff filters allows for rapid high frequency buildup.

26 BigDrumPlate

A medium long bright plate reverb for drums and vocals.

27 DrumgateFlng

A flanged gated reverb for drums.

28 Drum Booth

A very small dead booth.

29 Big Bottom

This program adds a low frequency tone (92.5Hz) as well as a small Chamber to the audio passing through the unit. The knob allows you to tune the frequency, attack and decay characteristics of the tone.

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30 Percus Place

A bright medium-sized room for percussion.

31 Snare Gate

Fatten up the snare with this short, EQ’d, gated Chamber. Controls for the gate rates and sensitivity, as well as reverb and EQ settings are in the Soft Row.

32 Md Drumroom

A medium-sized, bright room for drums.

33 Miked Room

Adds a realistic sense of space to direct sources. Chorus and delay effects are used to simulate a “close mic” sound and a parallel ambience effect provides the sound and feel of stereo far mics. A stereo volume effect, placed in the Mod block provides independent level for the far mics. Press Value for this parameter as well as additional ambience controls.

34 Live Room

A small bright live room with far mic’s.

35 Empty Club

A small empty night club.

36 Big Studio

A big bright studio room with far mic’s.

37 Garage

A medium-large highly reflective bright room.

38 Chamber&Refl

A large dark Chamber with heavy reflections and a set of short delays. This is a good program to use as a starting block for creating reverbs.

39 Chamber 101

Even a rocket scientist could figure it out. Your standard, everyday, great-sounding chamber.

40 Jazz Chamber

A medium-sized space, with a gentle EQ boost. Great for blending several direct sources into an ensemble sound.

41 Nice Chamber

A large, fairly reverberant chamber reverb.

42 Chamber Pan

A medium chamber fed into an auto panner.

43 Big Chamber

A big bright chamber reverb.

44 Chamber 4 PA

A bright, medium chamber tuned espcially for PA use.The chamber effect is followed by a stereo 2-band EQ so you can fine tune to the room. Press Value to get to the critical controls fast.

45 Hall 4 PA

A bright, large hall tuned espcially for PA use.The chamber effect is followed by a stereo

2-band EQ so you can fine tune to the room. Press Value to get to the critical controls fast.


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46 Small Hall

The name says it all.

47 Medium Hall

A bright, empty medium-sized hall.

48 Large Hall

A very large space with a little extra emphasis in the low end.

49 Piano Hall

A long smooth hall optmized for acoustic piano. Stereo EQ follows the reverb so you can fine tune the tone or the reverberation to fit the mix.

50 Rich Hall

A large bright smooth hall.

51 Concert Hall

Big and rich – great for vocals, piano and acoustic instruments.

52 Tajma Hall

A huge reverb space with long decay.

53 Small Church

A moderately sized space with characteristics of a small chapel.

54 Cathedral

A Cathedral — for organ music.

55 M Sq. Garden

A large arena reverb. Great for imitating the big venues.

56 Morph Spaces

A/B glides from a large room to a tiny closet. Press Value to adjust the glide times between the two spaces.

57 Process Verb

A panned and swept filtered-hall reverb.

58 Ducker Verb

As you input a signal, the reverb level is turned down. Once the signal goes away, watch out for the wave of reverb coming your way.

59 Reverse Rvb

The reverberation density builds up very slowly, producing an eerie, backwards effect.

Stereo EQ follows the Reverb block and provides some punch at 1kHz. Press Value to get at the critical parameters.

60 Wavewash

A fluttery, long reverb wash into a stereo chorus.

61 Ghost Flange

A stereo flanger follows a reverse reverb effect, with ghostly results. (Can you say poltergeist?). Great for vocal sound effects, but be sure to try it with a sustaining guitar solo.

62 Phased Space

A strange ambience reverb with slight slap delay and phasing.

63 Mod Space

A tremolo’d and slightly delayed short ambience reverb.

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64 DoubleEQ Rvb

A bright, EQ’d and slightly predelayed small room reverb.

65 Rev Wahtouch

A bright reverse reverb through a wah. The wah filter is controlled by input level.

66 Tap GatedRvb

A tempo-contolled LFO is used as a rhythmic gate to a large plate. The gate is opened every other beat for the duration of an eighth-note. Use this program to add reverb to selected beats of a stereo source. Press Tap twice to sync up with the beat.

67 TapDly/Rvb

Use this program as a simple Tap-driven delay with moderate feedback, or press A/B to add a clean plate on a separate path. Great for live sound where you can Tap in the delay and then bring reverb in and out with A/B.

68 Diffuse Dlys

This program uses the delay Fbk Insert Option to place an ambience effect inside of the delay feedback loop. The result is echoes that grow more diffuse as they repeat. A subtle alternative to plain vanilla delays, this program will thicken up acoustic sources without detracting from them.

69 IPS Tape Slap

Press A/B to select delays that simulate 7 1/2 or 15 ips tape slaps.

70 Frame Delay

A stereo delay that allows audio to be offset by as many as 5 frames at 30 frames per second. Press Value to find the Frames control in the Soft Row.

71 DlyFlangePan

A cool multi-effect combo. Mono echo, stereo flanger, auto panner and plate reverb.

Press and hold Program to check out the routing of these effects. Press A/B to glide between fast and slow pan rates. Use Tap to change delay times. Press Value for the key controls for each individual effect.

72 ChaseEkoPan

Auto panner and echo effects combined so that the echoes chase the dry signal through stereo space. A/B glides between slow and fast pan rates. Press Tap twice to set the echo rhythm.

73 Delay>Detune

A detune block that is fed into a regenerating delay creates a big impression on small sounds.

74 Ducked Delay

A delay effect that is controlled by input level. The delays are ducked out ot the way when the input is moderate to loud, but rise in level when input gets very soft or stops. A nice way to put some repeats on the end of phrases.

75 Spin + Dlys

This multi-effect combination is a great alternative to chorus/delay or rotary/delay programs. Detuned echoes are sent through an auto panner and plate reverb. Press A/

B to glide between fast and slow pan rates. Press Tap to change the echo rhythms.

76 Ping Pong

Echoes that bounce back and fourth between left and right sides of a stereo mix.

77 Swept Echoes

On the upper path is an autopanned, envelop-driven wah. The lower path is a tapcontrolled dual delay. This is a great dynamic effect for vocals or instruments.


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78 EkoSweepFltr

This program employs the 4-pole resonant sweep filter. Its frequency is swept by the output level of the dual delay that feeds into it – and it’s inside the delay feedback loop!

Way cool with percussive sources. Be sure to check this one out with guitar and bass too.

79 Rockabilly

Single slap tape echo combined with some tasty ambience.

80 Guitar Solo

Detune, echo and reverb, combined for melodic guitar solos.

81 Sax Solo

Detune, echo, reverb and EQ combined to sweeten melodic woodwind solos.

82 Sidestik/Snr

A Hall reverb in conjunction with a mono band pass filter tailored specifically for drum sounds.

83 MIDI Dot 8th

Great delay factor for lead vocals. Set your MIDI controller to send tempo information to the MPX-1.

84 MIDI 1/4Note

MIDI tempo in, 1/4 note out.

85 AeroFreezeAB

Press A/B to freeze the sweep of this slow resonant flanger effect. You’ll find a “Manual” control in the Soft Row to let you manually adjust the sweep point. This program really shines with sustaining, broad band sources – distorted guitars, drums, sound effects – even an entire mix. You’ll find all sorts of spatial and comb effects just dialing in different values.

86 Wide Chorus

A silky smooth chorus that adds width to anything sent through it. Press A/B to add speed and wobble to the chorus. Excellent for guitars and keyboards.

87 RandomChorus

The multi-voice stereo chrorus effect in this program has rate and depths randomized by the Random generator and S/H.

88 Chorus Hall

A stereo chorus fed into a medium large hall.

89 ChrsRvbMorph

Input level controls morphing between stereo chorus and plate reverb. Loud signals are chorus only. As the signal fades, the program morphs from the chorus to the reverb.

Useful with any dynamic source.

90 Another Brick

This echo/chorus program was inspired by Pink Floyd. “Hey! Leave those kids alone!”

91 Rich ChrsEko

Dual echoes combined with rich chorus. The chorus is inserted in the echo feedback loop so every delay is recirculated through the chorus.

92 Dynamic Chrs

Input level controls the depth of this stereo chorus effect. The effect is very slight for loud signals, but increases dramatically as the level fades. (A hint of stereo echo is added as well.) Good with any dynamic source, but a killer with electric and acoustic guitars.

9-6

93 Rubberate

A comb flange controlled by input level with slight delays and ambience.

94 FlangeNonlin

A flange fed into a nonlinear reverb.

95 TalkinFlange

A throaty vowel effect controlled by input level. Works well with percussive or melodic sources.

96 Tape Flange

Simulated version of over-the-top analog tape flanging.

97 CircleFlange

A resonant multiswept high flange in a small reverberant space.

98 Slow Flange

A slow sine wave attached to the flanger’s depth creates a patiently flanged effect.

99 FlangSweepAB

A very deep, fixed resonant flange with added delays. Press A/B to initiate a single sweep.

Press Value to change sweep rates, resonance and delay times.

100 EP Tremolo

A Rhodes-like satellite tremolo with some detuning and reverb.

101 Phat Detune

This detune and delay effect will really thicken up sustained sounds. Try it with synthesizer pads, sustained guitar chords, or any long tones.

102 Detune&Dlys

Dual detuner combined with dual delays. The detuner is inserted in the delay feedback loop so delays are detuned further with each repeat. A very useful, general purpose delay effect.

103 Detune+Hall

For the creamiest detuning, this preset’s the one — with an LFO constantly inverting the two detunes. Press A/B to add a medium hall on another path.

104 Pitch-O-Latr

Fast stepped and panned pitch shifters with a slight hall reverb.

105 S/H Pitch

Definitely a special effect! The pitch shifter is controlled by the S/H generator to create semi-random angular melodies, which are internally routed through a delay and reverb.

As the pitch shift effect is driven by input level, things don’t start to get weird until the level is pretty low.

106 Uni to Chord

Press A/B to glide from unison to major chord.

107 Doubler

Detuners and delays combined to produce randomized double track effects

108 Wet Triads

Need some extra harmony? Load this and you’ve instantly got major chords. Need some minors instead? Press A/B to change the chord status. By the way, you’re playing the third of the chord...


9-7


109 Up 3 Down 5

Standard triad harmony. Press A/B to change the third from major to minor.

110 4 Funky Comp

A detuned and phased signal fed into a very very small predelayed hall reverb.

111 5th Plate

A pitch shifter tuned to a fifth, fed into a medium plate.

112 5th Octaverb

A larger hall reverb fed into pitch shifters set to fifth down and octave up.

113 Oct Cascade

Octave pitch shifts recirculated through delays. A/B selects between octave below or above the original pitch.

114 Power Chords

A 2-voice pitch shifter with one voice set for octave down. A/B toggles the second voice between down a fourth and unison detune.

115 EkoVerbSweep

Flanged ping pong delays in a medium hall.

116 Telephone

A basic telepone filter with some added distortion.

117 TV in Room

A slightly distorted mono TV set in a carpeted living room. Press A/B to cut the TV filter in and out.

118 Car Radio

The EQ is tuned to simulate a car radio. Ambience is set up to simulate an automobile interior. Overdrive adds some distortion. Press A/B to switch between AM and FM.

119 Capture EQ

This program is designed to help you find the perfect EQ settings without having to constantly rewind tape, or having to ask the drummer to keep whacking the tom until you find what you need. A loop delay feeds a mono parametric EQ. Roll the tape (whack the tom) and press A/B to capture a 2-second sample that will repeat endlessly while you dial in the perfect EQ. (Press Value for the EQ controls.) When you’re ready, press A/B again to kill the loop.

120 Miked Cab EQ

Need to add some realism to a direct recorded distorted guitar track? EQ and ambience are used together to simulate a guitar cabinet miked in a small live room. Press A/B to switch between closed and open back cabinets.

121 Vocal EQ

3- band parametric EQ optimized for vocal tracks. A Mod block volume effect is used as an input trim to the EQ. This program loads with the reverb block bypassed. Press Reverb to add a rich plate reverb after the EQ.

122 GuitarCab EQ

A great finishing touch for direct guitar or keyboard tracks. The EQ in this program has been tweaked to simulate a guitar cabinet. Press A/B to switch between closed and open back versions.

123 Tone 4 Gtr

Mono 4-band EQ set up like Low, Mid, Presence and High tone controls.

9-8

124 Phased Place

A small room with predelay and phase shifting.

125 Fazer->DlyPan

Phase shifter, tap tempo echo and panners are combined to produce a richly undulating wash of tone. Dry and delayed versions of the phase shifter are panned separately and chase each other through stereo space. Press Tap to change the echo rhythm. Press

A/B to glide between fast and slow pan rates.

126 FazerEkoRvb

A cool combination of classic effects. The phase shifter is inserted inside of the echo feedback loop so that each repeat is recirculated through the phase shifter.

127 FazerTremolo

Here’s a program that really shows off the power of the routing system. The first effect is a crossover EQ. Low frequencies (below 800Hz) are routed through a phase shifter, and from there into an ambience effect. The high frequencies (above 800Hz) are routed separately to a stereo tremolo.

128 PhaserOnStun


129 DblPhaseGate

A small short gate-type reverb with slap delay and phase shift.

130 WahFazerPdl

Plug in a foot pedal and this one’s ready to go. A phase shifter feeds a pedal wah which has some reverb added to it.

131 Wah Delays

A sweeping wah filter fed into repeating ping pong echoes.

132 Wah Pan Dly

A wah wah filter fed into repeating panning delays.

133 Wah Ped+Dist

Here’s your classic wah pedal. Need that extra boost to get it up to 11? Press A/B to add some overdrive before the wah.

134 Echo-Wah

A fluttery wah-swept sound with ping pong echoes.

135 Res A/Bsweep

Press A/B to trigger a single sweep of a resonant filter which, in turn, feeds into rhythmic echo and chamber effects.

136 Filter Thing

Panning and double-swept resonant lowpass filters fed into a small hall reverb.

137 BigGtrChords

This program enhances just about any guitar sound, but it’s a stand out with big open, ringing chords.

138 Rock Organ

An alternate rotary speaker effect – dark and gritty. If you listen carefully, you can even hear the wind noise created by the horn wizzing past the mike. Press A/B to switch between fast and slow speeds. This program is already set up to use MIDI AfterTouch to toggle between slow and fast speeds.


9-9


139 OD Rotary

A rotary speaker effect with some built-in overdrive. Press A/B to switch between fast and slow speeds. This program is already set up to use MIDI AfterTouch to toggle between slow and fast speeds.

140 Rotary Cab

This program emulates a Leslie speaker and adds a bit of Chamber to fatten up the sound.

MIDI Controller 68 (Legato) is pre-patched to A/B for remote fast/slow of the rotating speakers.

141 SynthChamber

SweepFilter in front of Stereo Flanger and Chamber to add a resonant, shimmering effect with a hint of space to any dynamic instrument.

142 Touch Spinner

A detuned phased signal fed into a hall reverb. The motion speeds up as you play louder.

143 Random Pan

This program moves a signal randomly between left and right sides of the stereo mix.

144 StereoSpin

A rotary speaker alternative – great for guitar and keyboard, or as an alternative vocal effect. The input is detuned, then sent through a crossover. The low and high frequency outputs are then routed separately into an auto panner. From there, stereo delay and ambience are added. Press A/B to glide between slow and fast pan rates.

Programs 145-152 are designed for dual mono applications. The left and right channels each have independent mono effects. We had PA applications in mind when we created these, but you’ll find they come in handy whenever you want to get the most out of your console’s aux sends.

145 L=Dly R=Chmb

Left channel echo. Right channel large room reverberation.

146 L=Dly R=Ambi

Left channel echo. Right channel ambience.

147 L=Dly R=Dtun

Left channel echo. Right channel detuner.

148 L=Ptch R=Chmb

Left channel pitch shifter. Right channel large room reverberation.

149 L=Dly R=Ptch

Left channel echo. Right channel pitch shifter.

150 L=2BndR=Chmb

Left channel 2-band EQ. Right channel large room reverberation.

151 Dual 2-Band

Independent 2-band EQ’s on the left and right channels – each with independent gain, frequency and Q for both bands.

152 Dual TapDlys

Independent tap delay on the left and right channels. Each with its own delay rhythm, feedback and damping controls.

153 Ghost Mist

A phased ping pong delay into a long strange ambience reverb. Kind of creepy!

9-10

154 Submarine

Who could have possibly fathomed an underwater sound as deep as this?

155 50’s Sci Fi

Inspired by the score of “Forbidden Planet”. This preset plays a cascade of descending pitches all by itself — complete with echoes and reverberation! Press A/B to turn off the pitch generator and process the input of your choice.

156 Synthis izer

A randomly swept filter with mono flange and reverse reverb. Great with sustained sounds.

157 S/H Improv

In this program, every input note is shifted chromatically to a different note within a oneand-a-half octave range. The shift is triggered by input level – a new note for each attack.

The rhythm of your playing determines the overall “shape” of the melodies produced.

Check it out with any percussive source. It works particularly well with muted guitar or bass.

158 MIDI Arp 1

This program is designed to work with a MIDI keyboard or sequencer. Connect the keyboard MIDI OUT to the MPX 1 MIDI IN and MPX 1 MIDI OUT to the MIDI IN of any

MIDI sound source. When you play two or more notes at once on the keyboard, the MPX

1 will automatically arpeggiate them. Press Tap twice to set the arpeggiator speed. Run the audio of the MIDI source into the MPX 1 and you’ll hear phase shifting and delay synchronized to the arpeggiator. Audio is panned with the arpgegiator as well — lower notes to the left and higher notes to the right.

159 MIDI 16thArp

Similar to MIDI Arp 1, but with a 16th note rhythm and different effects.

160 A/B Freeze

Press A/B to freeze the last two seconds of audio into an endless loop. The loop is played through an Aerosol flanger. Press A/B again to kill the loop.

161 VolumePedal

This program is designed to work with a volume pedal connected to the MPX 1 pedal input. The input is routed through a pedal-controlled volume effect in the Mod block. From there, it travels through a crossover, dual detuners, stereo delay and ambience – all in series. Pump the pedal to create ethereal crescendos of sound. If you don’t have a pedal connected, and you want to listen to the effects in this program, press Mod to bypass the volume effect.

162 Open the Door

This program was made for dialog and sound effect work. It puts your sound inside a small ambient room. Press A/B to open and close the door.

163 No Traction

Have you ever felt stuck in life. A large hall with panned pitch shifting that rises and speeds up with strength of input signal.

164 Call Waiting

Need to simulate “call waiting” for dialog sound effect? This will do it. The basic effect is a telephone filter, but you can press A/B to interupt the dialog and inject a call-waiting beep.


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Programs 165-199 each contain a single effect. While each of these programs is meant to be used alone, many can be used as building blocks when you create your own multieffect programs from scratch. Use Copy Effect in Edit mode to copy different combinations of these effects into a single program.

165 ClassicDtune

A simple, but very useful effect. Use it to fatten up just about anything in a PA or recording mix. The left side is shifted up 8 cents, and the right side is shifted down 8 cents.

166 Major/Minor

The first parameter in the Soft Row selects A Major or minor 3rd above for the left output.

The right output is a perfect fifth above.

167 Transposer

The first parameter in the Soft Row lets you change the key of your processed sound.

168 Stereo Shift

The first parameter in the Soft Row allows you to shift the pitch of a stereo signal in semitones.

169 MIDIfixVocal

Use MIDI Pitch Bend to pitch shift your stereo signal, in 1 cent intervals, +1 semitone.

170 Tuning Note

An internal sine wave generator is set to output a tone equivalent to A4. The first parameter in the Soft Row changes the pitch.

171 Rich Chorus


172 Rotary

Fast speed rotary cabinet.

173 Aerosol

Deep resonant stereo flanger.

174 Phaser

Slow speed phase shifter.

175 Flanger

Slow mono flanger with lots of resonance.

176 Comb

Comb filter set to create a highly colored sound. Change the value of the Comb parameter to change colors.

177 Stereo 2Band

2- band stereo parameteric EQ.

178 DigitalEQ(S)

Stereo 2-band EQ routed for best digital performance.

179 DigitalEQ(M)

Mono 4-band EQ routed for best digital performance.

180 Crossover

In this crossover EQ effect, the input is summed to mono. Frequencies below the crossover point are sent out the left output and frequencies above the crossover point are sent out the right output.

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181 Wah Pedal

The wah effect, patched up for pedal control.

182 Pedal Filter

Four pole resonant filter with pedal-controlled cut-off frequency. A very analog sounding effect.

183 3-Tone

A simple low, mid, high tone control.

184 LFO Filter

A low pass filter modulated by an LFO.

185 RumbleFilter

EQ with very steep roll-off below 50 Hz created by cascading four low shelf filters.

Frequency control is in the Soft Row. For best results, set all four to the same frequency.

186 DynaTremolo

This preset follows your playing note for note and behaves accordingly. The harder you play, the faster the tremolo. As your notes die out, the tremolo slows down. Perfect for electric guitar and organ.

187 Auto Pan BPM

An auto panner set to pan once per quarter-note. Press Tap twice to sync up with the beat.

188 Broken Speakr

Overdrive effect is used to simulate the sound of a broken speaker.

189 Short Delay

A 125 millisecond slap.

190 Double Delay

A repeating double eighth-note pattern. Press Tap twice to sync up with the beat.

191 [n]Ekos Beat

A basic tempo-controlled echo effect. Press Tap twice to set the tempo of a beat. Press

Value to access the [n] control – which determines the number of echoes per beat.

192 ShuffleDly

Delays that repeat in a shuffle pattern.

193 Dual Echoes

Independent echoes on the left and right channels.

194 Wild Thing

A syncopated repeating delay.

195 Small Foley

A small Ambience effect adds light space to any sound effect recording.

196 Small Room

A small bright rectangular room.

197 Drum Gate

A bright gated reverb for drums.

198 Small Gym

Come back with me to those good old high school days. This preset is great for recreating those squeaky sounds your sneakers use to make on those wooden floors.


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MPX 1 User Guide

199 Tight Plate

A nice short plate reverb for drums and percussion.

200 Clean Slate

Want to start from scratch? This one’s as empty as they get.

Lexicon

9-14

Troubleshooting

10

Troubleshooting

This chapter is intended primarily to help you recognize some common error states which can be corrected from the MPX 1 front panel, or by simple means such as cable replacement. Any error states which are not covered here should be referred to your local dealer or Lexicon Customer Service.

In a low-voltage, or "brown-out" condition (less than 40VAC), the MPX 1 will freeze in its current state. None of the controls will have any effect. When power returns to a normal level, the unit will reset itself as though it had just been powered on. If the unit does not reset itself, turn the power OFF, then ON to resume normal operation.

Low Voltage

Temperature extremes may cause the MPX 1 to exhibit unpredictable behavior.

If the unit has been subjected to temperatures below 32°F (0°C) or above 95°F

(35°C), it should be turned off and allowed to return to normal temperature before use. The unit may be damaged by exposure to temperatures below -22°F

(-30°C) or above 167°F (75°C), or by exposure to humidity in excess of 95%. If a unit exposed to such conditions fails to operate after it returns to a normal operating temperature, contact your local service representative.

Overheating

The MPX 1 doesn't respond to MIDI Program Changes.

The MPX 1 and connected devices must be set to matching MIDI Channels, or the MPX 1 must have OMNI selected for receipt of MIDI messages. In the

System mode MIDI menu, check the Receive control for the MIDI Channel

selected, as well as the MIDI Channel of the transmitting device.

Common MIDI

Problems

Make sure that Pgm Change in the System mode MIDI menu is set to On. See

Chapter 6: MIDI Operation for Program Change messages which may be ignored by the MPX 1.

Check MIDI In/Out connections between the units.

MIDI Program Change numbers are off by 1.

The MPX 1 transmits and recognizes ProgramChange messages 0-127. MIDI devices which transmit 1-128 rather than 0-127, will be off by 1.

The MPX 1 doesn't respond to SysEx commands.

Check the SysEx setting (and the Receive Device ID selection) in the System mode MIDI menu.

10-1


The MPX 1 does not transmit SysEx Automation commands.

Check the Automation setting (and the Xmit Device ID selection) in the System mode MIDI menu.

Operational Problems

The MPX 1 will not lock onto an incoming digital signal.

Check the cables that you are using. DO NOT USE ANALOG AUDIO CABLE TO

CONNECT DIGITAL AUDIO.

Check to make sure that your input signal complies with S/PDIF format standards. The MPX 1 will only lock onto valid 44.1kHz signals.

The front panel knob and the < and > buttons are not performing the expected function.

In Edit and System modes, the Value button acts as a toggle to determine whether the knob or the < and > buttons perform the functions of selecting displayed items, or adjusting their values.

No Effects Output

Check the setting of Mix Mode in the System mode Setup menu, the setting of

Mstr Mix and Lvl at the Mix button and the Effect Mute at the Bypass button. Also verify that any controllers patched to Input Level, or Mix are not turned off.

Power On Behavior

The MPX 1 performs a series of self tests each time it is powered on, then displays the MPX 1 copyright notice. This should be followed by the display and loading of the last loaded effect. If this sequence does not occur, contact Lexicon

Customer Service.

10-2

Specifications

11

MPX 1

Specifications

Audio Input Connectors:

1/4 inch T/R/S phone jacks (2), XLR 3-wire balanced (2)

Impedance:

Levels:

+4dB/BAL switch position: 100k

Ω

-10dB/UNBAL switch position: 50k

Ω

+4dB/BAL switch position: -2dBu min for full scale, +20dBu max

-10dB/UNBAL switch position: -14dBu min for full scale, +8dBu max

CMRR:

+4dB/BAL switch position: 40dB minimum, 10Hz to 20kHz

Audio Output Connectors:

1/4 inch T/R/S phone jacks (2); XLR 3-wire balanced (2)

Impedance:

600

Ω

, unbalanced

Levels:

+18 dBu max, full scale

A/D Performance Frequency

Response:

Crosstalk:

S/N Ratio:

THD:

Dynamic

Range:

Delay:

20Hz to 20kHz,±1dB

-60dB max

90dB min, 20kHz bandwidth

0.01% max, 20Hz to 20kHz


55.5 samples (1.25ms @ 44.1kHz)

D/A Performance Frequency

Response:

Crosstalk:

S/N Ratio:

THD:

Dynamic

Range:

Delay:

20Hz to 20kHz, ±1dB

-60dB max




25 samples (0.57ms @ 44.1 kHz)

A/A Performance Frequency

Response:

Crosstalk:

S/N Ratio:

THD:

Dynamic

Range:

20Hz to 20kHz, ±1dB

-60dB max

95dB typical, A-weighted


95dB typical, A-weighted

Digital Audio Interface Connectors:

Coaxial, RCA type

Format:

conforms to S/PDIF CP-340 Type II

Sample Rate:

44.1kHz

11-1

MPX 1 User Guide

Internal Audio Data Paths Conversion:

DSP:

S/PDIF I/O:

18 bit A/D, 20-bit D/A

32 bits

24 bits

Lexicon

Control Interface MIDI:

Footswitch:

Foot pedal:

Remote

Power In:

7-pin DIN connector for MIDI IN/powered bidirectional remote

5-pin DIN connectors for MIDI THRU and OUT

1/4 inch T/R/S phone jack for 3 independent footswitches

1/4 inch T/R/S phone jack (10k

Ω

min, 100k

Ω

max impedance)

2.5mm barrel for 9VAC remote power

General Dimensions:

19.0"W x 1.75"H x 9.0"D (483 x 45 x 289mm)

19 inch rack mount standard, 1U high

Weight:

Net: 6lbs 2oz (2.8kg)

Shipping: 9lbs 3oz (4.2kg)

Power

Requirements: 100-240VAC, 50-60Hz, 25W, 3-pin IEC power connector

Environment:

Operating temperature: 32˚ to 104˚F (0˚ to 40˚C)

Storage temperature: -22˚ to 160˚F (-30˚ to 70˚C)

Humidity: maximum 95% without condensation

Electrical Approvals Safety

Compliance:

UL1419 and CSA 22.2 No. 1-94 (UL and C-UL marks)

EN60065 (TUV-GS and CE marking per Directive 73/23/EEC)

EMC

Compliance:

FCC Class B

EN55022 Class B and EN50082-1

(CE marking per Directive 89/336/EEC)

Specifications subject to change without notice.

11-2

Lexicon Inc.

3 Oak Park

Bedford MA 01730-1441 USA

Telephone 781-280-0300

Fax 6781-280-0490

Lexicon Part # 070-11097 Rev 1

Lexicon MPX 1 User manual

MPX 1

Multi Processor FX

User Guide

Unpacking and Inspection

Precautions

CAUTION

Notice

Acknowledgements

MPX 1

Multi Processor FX

User Guide

Contents

Introduction

1.

Product Overview

2.

Basic Operation

3.

Editing

Contents, cont'd.

4.

Patching

5.

System Controls

6.

MIDI Operation

7.

The Effects and Parameters

Contents, cont'd.

Contents, cont'd.

8.

MPX 1 Internal Controllers

9.

Preset Descriptions

10. Troubleshooting

11. Specifications

Introduction

About the manual

Product Overview

The Front Panel

The Rear Panel

Installation Notes

Mounting

Power Requirements

Analog Audio

Audio Connections

Digital Audio

Mono Applications: Using the MPX 1 Inputs with a Mono Source

Mono Applications: Using the MPX 1 Outputs with Mono Return

Be careful to keep input and output to all channels wired consistently. Outof-phase wiring can produce audible effects.

Footswitch/Footpedal

MIDI

Setting Audio Levels

Dig/Ext.

System mode. Level can be set to Off, -89dB to +6db to optimize noise and

Headroom Display

Rear Panel Input Level Switch

Unbalanced (-10)

Balanced (+4)

Overload

Setting the Input Mode

Using Soft Sat

Soft Sat is a built-in analog limiter that precedes the A/D converters in the

Audio menu, then select Soft Sat to turn the limiter On or Off.

Setting Input Level

On or Off.

Setting Output Level

7. Run audio through the unit and use the front panel Output knob to set the

Configuration

Connection to a mixing console's effects sends

Basic Operation

MPX 1 Menus

Loading and Playing with Programs

Program Load

Auto Load

Manual Load

Modes, then use the < and > buttons to display:

Modes: Pgm Load

< > Auto