User manual LEXICON MPX 100

[. . . ] MPX 100 Dual Channel Processor Stereo 44. 1kHz S/PDIF Digital Output User Guide Unpacking and Inspection After unpacking the unit, save all packing materials in case you ever need to re-ship. 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. 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. [. . . ] See MIDI Operation. 15 16 Program Descriptions The 240 programs in the MPX 100 are designed to provide a full palette of high caliber ambience, reverb, delay, pitch shift and other effects. As you audition the programs, be sure to vary the Adjust knob. The Adjust knob has been carefully customized for each individual program. In many cases it controls several effect parameters simultaneously to provide simple control of a complicated editing process. In many Chamber and Room programs, for example, Adjust controls the "liveness" of the space by changing decay, EQ and early reflections all at the same time. The behavior of the Adjust knob is also customized for different functions. Sometimes it acts as a linear control (at its minimum value when turned fully counterclockwise -- like a volume control) and sometimes it acts as a bi-polar control (at its minimum value when centered -- like a cut/boost EQ control). Adjust can increase values linearly. . . or it may increase values as it is turned to either side of its center position. The following section provides a general description of each MPX 100 program along with tables that detail all of the program versions available with the VARIATIONS knob. These details include the function of the Adjust knob and the Tap button (for variations that use tempo-controlled rate or delay times). 17 Plate VARIATIONs 1 2 3 4 5 6 7 8 Small Plate Medium Plate Large Plate Larger Plate Tape Slap Plate Rich Plate Large Bright Plate Vocal Plate Adjust Liveness Liveness Liveness Decay Time ± Decay/15ips or 7. 5ips Decay Time Decay Time Low Cut, Decay Time Tap ­ ­ Predelay (1/32 Note) Predelay (1/32 Note) ­ Predelay (1/32 Note) Predelay (1/32 Note) Echo Plate The Plate program in the MPX 100 synthesizes the sound of metal plates with high initial diffusion and a relatively bright, colored sound. This program 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 reverb was originally generated by a large, thin sheet of metal suspended upright under tension on springs. Transducers attached to the plate transmitted a signal that made the plate vibrate -- making sounds broadcast through the plate seem to be occurring in a large open space. 18 Gate VARIATIONs 9 10 11 12 13 14 15 16 Straight Gate Drum Gate Slope Down 140 ms Gate 240 ms Gate 340 ms Gate 440 ms Gate 540 ms Gate Adjust Duration* Duration* Duration* High Cut High Cut High Cut High Cut High Cut Tap ­ ­ ­ Predelay (1/32 Note) Predelay (1/32 Note) Predelay (1/32 Note) Predelay (1/32 Note) Predelay (1/32 Note) Gate In the MPX 100, the Gate program provides a fairly constant sound with no decay until the reverb is cut off abruptly. This program works well on percussion -- particularly on snare and toms, but be sure to experiment with other sound sources as well. * Note that audio is muted briefly when Duration is altered with Adjust. Gated reverbs were originally created by feeding a reverb, such as a metal plate, through an analog gate device. The decay time was set to instant, and the hold time varied the duration of the sound. 19 Hall VARIATIONs 1 2 3 4 5 6 7 8 Recital Hall Small Church Jazz Hall Dance Hall Synth Hall Medium Hall Large Hall Large Church Adjust Decay Decay Decay Decay Decay Decay Decay Decay Tap ­ ­ ­ ­ ­ ­ ­ ­ Hall The clean reverberation of the Hall program is designed to add spaciousness, while leaving the source material unchanged. In addition to general instrumental and vocal applications, the Hall program is a good choice for giving separately recorded tracks the sense of belonging to the same performance. Lexicon's Hall programs recreate the acoustics of actual places, from grand reverberant enclosures to small concert halls. 20 Chamber VARIATIONs 9 10 11 12 13 14 15 16 Brick Wall Basement Live Concert Percussion 1 Percussion 2 Live Chamber Vocal 1 Vocal 2 Adjust Liveness Liveness Liveness Liveness Liveness Liveness Liveness Liveness Tap ­ ­ Eko Delay ­ ­ ­ Eko Delay Eko Delay Chamber In the MPX 100, the stereo Chamber program produces an even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar to the Hall program, 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. Historically, recording studio chambers were often oddly shaped rooms with a loudspeaker and set of microphones to pick up the ambience in various parts of the room. 21 Ambience VARIATIONs 1 2 3 4 5 6 7 8 Voice Over Very Small Ambience Small Ambience Medium Ambience Studio D Bright Ambience Dark Ambience Marble Foyer Adjust High Cut High Cut High Cut High Cut High Cut Decay Level Decay Level Liveness Tap ­ ­ ­ ­ ­ ­ ­ ­ Ambience The Ambience program simulates reflections from room surfaces with random reflections, a gradual decay of overall level, and a gradual narrowing of the bandwidth. The variations (1-8) provide a series of rooms in increasing sizes. Ambience 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. 22 Room VARIATIONs 9 10 11 12 13 14 15 16 Bedroom Tiled Room Studio C Small Room Studio B Rehearsal Room Studio A Large Room Adjust Wall Reflections Low Frequency Cut Liveness Liveness Decay Time High/Low Equalizer Decay Time High/Low Equalizer Tap ­ ­ ­ ­ ­ ­ ­ ­ Room The Room program is very useful on drums and percussion and can also be applied to electric guitar tracks. The variations (9-16) provide a series of rooms in increasing sizes. The Room program emulates actual rooms where there is a more apparent sense of being in a small live place. 23 Tremolo VARIATIONs 1 2 3 4 5 6 7 8 Rectified Sine Wave Square Wave Sawtooth Wave Rectified Sine Wave Square Wave Sawtooth Wave Triangle Wave Sine Wave Adjust Rate: 0. 4-15Hz Rate: 0. 4-15Hz Rate: 0. 4-15Hz Sweep: 0, 90, 180, 270 Sweep: 0, 90, 180, 270 Sweep: 0, 90, 180, 270 Sweep: 0, 90, 180, 270 Sweep: 0, 90, 180, 270 Tap ­ ­ ­ Rate (1/8 Note) Rate (1/8 Note) Rate (1/8 Note) Rate (1/8 Note) Rate (1/8 Note) Tremolo The MPX 100 tremolo variations offer a variety of tremolo shapes (square, sawtooth, triangle, sine and rectified sine). The synchronization of the left and right sides can be adjusted to produce mono and stereo effects. As the tremolo rates of several variations are set with Tap, it's easy to match the tempo of the music. [. . . ] Simultaneously press Store and Tap to exit. The Store LED will flash rapidly if you have created or changed any assignments. 3. Send a MIDI Program Change to the MPX 100. The Edit LED will flash to indicate incoming MIDI activity. [. . . ]