User manual LEXICON MX200

[. . . ] MX200 User Guide Warranty This warranty is valid only for the original purchaser and only in the United States. 2. Lexicon Professional warrants this product, when bought and used solely within the U. S. , to be free from defects in materials and workmanship under normal use and service. Lexicon Professional's liability under this warranty is limited to repairing or, at our discretion, replacing defective materials that show evidence of defect, provided the product is returned to Lexicon professional WITH RETURN AUTHORIZATION from the factory, where all parts and labor will be covered up to a period of 1 year. A Return Authorization number must be obtained from Lexicon Professional by telephone. [. . . ] Incremental in six steps from 1/4 Octave (0) to 1/24th Octave (5). See Appendix on page 39 for bandwidth values. Because the resulting output is less than the original signal, a third control, Makeup Gain compensates for this loss of level, but with less dynamic range, or the difference between the softest and loudest parts of the signal. Compressor A compressor is used to control the dynamic range of a signal. Typically used to tighten bass or drum tracks, or to control a vocal passage, a compressor is a very useful but often misunderstood tool. To better use the Compressor in the MX200, a bit of understanding about compression is helpful. When a signal level crosses the Threshold level, the compressor then reduces the amount of output level by an Mono (Wet only) Compressor Controls Knob 1: Threshold Determines the threshold above which compression begins, incrementally between -70dB and 0dB (FS). Knob 2: Compression Ratio Knob 3: Makeup Gain Selects the compression ratio, from 1:1 (no effect) to Infinity:1 (or complete limiting). Increases the output level to compensate for signal attenuation during compression. Incremental between 0dB (no gain) to +12dB. 19 Modulated Effects Chorus Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time. Chorus is commonly used to fatten up tracks and to add body to guitars without coloring the original tone. Chorus can also be used with discretion to thicken a vocal track. Stereo Flanger Controls Knob 1: Speed Knob 2: Depth Controls the modulation rate of the Flanger effect. Controls the intensity of the Flanger effect. Lower settings provide a slight "whooshing" sound while higher settings provide a much more dramatic "jet airplane" sound. Chorus Controls Speed Controls the modulation rate of the Chorus effect. Lower settings are subtle, while higher values are much more pronounced. Depth Controls the amount of pitch shifting for each voice. Lower settings provide subtle thickening and warmth to a track, while higher settings give a more pronounced, multi-voice effect. Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input, creating feedback. Higher amounts add a metallic resonance to the signal. The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low frequency oscillator (LFO), creating an oscillating "comb-filter" type effect. This effect is very userful on keyboards (especially pad presets) and guitars. Phaser Stereo Voices Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously variable in 100 individual steps. Flanger This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one machine, then the other. The result was a series of changing phase cancellations and reinforcements, with characteristic swishing, tunneling, and fading sounds. 20 Stereo Phaser Controls Knob 1: Speed Knob 2: Depth Controls the modulation rate of the Phaser effect. Controls the intensity of the Phaser effect. Knob 3: Regeneration This knob controls the amount of modulat- ed signal being fed back into the input, creating feedback. [. . . ] Do not connect any digital device to the MX200's S/PDIF Input that transmits at any other sample rate (such as 96kHz). Doing so can cause unpredictable performance. Make sure your recording project is set to 35 either 44. 1kHz or 48kHz sample rate to avoid problems. Using the MX200 as a Hardware Plug-In Software Configuration Because the audio is being processed within the MX200 hardware, and not inside your computer, your DAW (Digital Audio Workstation, or Recording Software) needs to be set up to send and receive audio to and from the MX200. Many DAW's have built-in routing configurations for this; consult your software's documentation for information about setting up external routing options. the MX200 (Either the S/PDIF input, or two analog inputs). [. . . ]