Lexicon MX200 Manual

Lexicon Effekt maskine MX200

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User Guide

IMPORTANT SAFETY INSTRUCTIONS

If you want to dispose this product, do not mix it with general household waste. There

is a separate collection system for used electronic products in accordance with legislation

that requires proper treatment, recovery and recycling.

Private households in the 25 member states of the EU, in Switzerland and Norway may return their

used electronic products free of charge to designated collection facilities or to a retailer (if you purchase

a similar new one).

For Countries not mentioned above, please contact your local authorities for a correct method of disposal.

By doing so you will ensure that your disposed product undergoes the necessary treatment, recovery and

recycling and thus prevent potential negative effects on the environment and human health.

U.K. MAINS PLUG WARNING

A molded mains plug that has been cut off from the cord is

unsafe. Discard the mains plug at a suitable disposal facility.

NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU

INSERT A DAMAGED OR CUT MAINS PLUG INTO A

13 AMP POWER SOCKET.

Do not use the mains plug without the fuse cover in place.

Replacement fuse covers can be obtained from your local retailer.

Replacement fuses are 13 amps and MUST be ASTA approved to

BS1362.

The symbols shown above are internationally accepted symbols that warn

of potential hazards with electrical products. The lightning flash with

arrowpoint in an equilateral triangle means that there are dangerous

voltages present within the unit. The exclamation point in an equilateral

triangle indicates that it is necessary for the user to refer to the owner’s

manual.

These symbols warn that there are no user serviceable parts inside the

unit. Do not open the unit. Do not attempt to service the unit yourself.

Refer all servicing to qualified personnel. Opening the chassis for any

reason will void the manufacturer’s warranty. Do not get the unit wet. If

liquid is spilled on the unit, shut it off immediately and take it to a dealer

for service. Disconnect the unit during storms to prevent damage.

The following is indicative of low

altitude use; do not use this product

above 2000m.

WARNING FOR YOUR PROTECTION

READ THE FOLLOWING:

READ THESE INSTRUCTIONS.

KEEP THESE INSTRUCTIONS.

HEED ALL WARNINGS.

FOLLOW ALL INSTRUCTIONS.

DO NOT USE THIS APPARATUS NEAR WATER.

CLEAN ONLY WITH A DRY CLOTH.

FOR INDOOR USE ONLY.

DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE

WITH THE MANUFACTURER’S INSTRUCTIONS.

DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT

REGISTERS, STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT

PRODUCE HEAT.

ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER.

UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR

LONG PERIODS OF TIME.

Do not defeat the safety purpose of the polarized or grounding-type plug. A

polarized plug has two blades with one wider than the other. A grounding type

plug has two blades and a third grounding prong. The wide blade or third prong

are provided for your safety. If the provided plug does not fit your outlet, consult

an electrician for replacement of the obsolete outlet.

Protect the power cord from being walked on or pinched particularly at plugs,

convenience receptacles, and the point where they exit from the apparatus.

Use only with the cart stand, tripod bracket, or table

specified by the manufacture, or sold with the apparatus.

When a cart is used, use caution when moving the cart/

apparatus combination to avoid injury from tip-over.

Refer all servicing to qualified service personnel. Servicing is required when the

apparatus has been damaged in any way, such as power-supply cord or plug is

damaged, liquid has been spilled or objects have fallen into the apparatus, the

apparatus has been exposed to rain or moisture, does not operate normally, or

has been dropped.

POWER ON/OFF SWITCH: The Power switch used in this piece of equipment DOES

NOT break the connection from the mains.

MAINS DISCONNECT: The plug shall remain readily operable. For rack-mount or

installation where plug is not accessible, an all-pole mains switch with a contact

separation of at least 3 mm in each pole shall be incorporated into the electrical

installation of the rack or building.

If connected to 240V supply, a suitable CSA/UL certified power cord shall be

used for this supply.

This Equipment is intended for rack mount use only.

IMPORTANT SAFETY INSTRUCTIONS

ELECTROMAGNETIC COMPATIBILITY

This device complies with part 15 of the FCC Rules and

the Product Specifications noted on the Declaration of

Conformity. Operation is subject to the following two

conditions:

• this device may not cause harmful interference, and

• this device must accept any interference received,

including interference that may cause undesired operation.

Operation of this unit within significant electromagnetic fields

should be avoided.

• use only shielded interconnecting cables.

DECLARATION OF CONFORMITY

Manufacturer’s Name: Lexicon Professional

Manufacturer’s Address: 10653 S. River Front Parkway, Suite 300

South Jordan, Utah 84095, USA

declares that the product:

Product name: Lexicon MX200

Note: Product name may be suffixed by a combination of the letters EU, M,

or V.

Product option: None

conforms to the following Product Specifications:

Safety: IEC 60065-01+Amd 1 & 2

EMC: EN 55022:2010

EN 55024:2010

FCC Part 15

Supplementary Information:

The product herewith complies with the requirements of the:

Low Voltage Directive 2014/35/EU

EMC Directive 2014/30/EU

RoHS Directive 2011/65/EU

WEEE Directive 2012/19/EU

With regard to Directive 2005/32/EC and EC Regulation 1275/2008 of

17 December 2008, this product is designed, produced, and classified as

Professional Audio Equipment and thus is exempt from this Directive.

C. Rex Reed

Director, Engineering

Signal Processing

10653 S. River Front Parkway, Suite 300

South Jordan, Utah 84095, USA

Date: August 15, 2016

European Contact:

Harman International

Salisbury House

London Wall

EC2M 5QQ

+44 207 562 9450

Harman Professional Inc.

10653 S. River Front Parkway, Suite 300

South Jordan, Utah 84095, USA

Ph: (801) 566-8800

Fax: (801) 568-7583

SAFETY INSTRUCTIONS

NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A POWER CORD.

WARNING: THIS APPLIANCE SHALL BE CONNECTED TO A MAINS SOCKET OUTLET WITH A

PROTECTIVE EARTHING CONNECTION.

THE CORES IN THE MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING

CODE:

GREEN AND YELLOW - EARTH BLUE - NEUTRAL BROWN - LIVE

AS COLOURS OF THE CORES IN THE MAINS LEAD OF THIS APPLIANCE MAY NOT COR

RESPOND WITH THE COLOURED MARKINGS IDENTIFYING THE TERMINALS IN YOUR PLUG,

PROCEED AS FOLLOWS:

• THE CORE WHICH IS COLOURED GREEN AND YELLOW MUST BE CONNECTED TO THE

TERMINAL IN THE PLUG MARKED WITH THE LETTER E, OR WITH THE EARTH SYMBOL,

OR COLOURED GREEN, OR GREEN AND YELLOW.

• THE CORE WHICH IS COLOURED BLUE MUST BE CONNECTED TO THE TERMINAL

MARKED N OR COLOURED BLACK.

• THE CORE WHICH IS COLOURED BROWN MUST BE CONNECTED TO THE TERMINAL

MARKED L OR COLOURED RED.

THIS EQUIPMENT MAY REQUIRE THE USE OF A DIFFERENT LINE CORD, ATTACHMENT

PLUG, OR BOTH, DEPENDING ON THE AVAILABLE POWER SOURCE AT INSTALLATION. IF

THE ATTACHMENT PLUG NEEDS TO BE CHANGED, REFER SERVICING TO QUALIFIED SERVICE

PERSONNEL WHO SHOULD REFER TO THE TABLE BELOW. THE GREEN/YELLOW WIRE SHALL

BE CONNECTED DIRECTLY TO THE UNITS CHASSIS.

CONDUCTOR

WIRE COLOR

Normal Alt

L LIVE BROWN BLACK

N NEUTRAL BLUE WHITE

E EARTH GND GREEN/YEL GREEN

WARNING: IF THE GROUND IS DEFEATED, CERTAIN FAULT CONDITIONS IN THE UNIT OR

IN THE SYSTEM TO WHICH IT IS CONNECTED CAN RESULT IN FULL LINE VOLTAGE BETWEEN

CHASSIS AND EARTH GROUND. SEVERE INJURY OR DEATH CAN THEN RESULT IF THE CHAS

SIS AND EARTH GROUND ARE TOUCHED SIMULTANEOUSLY.

WARNING:

• APPARATET MÅ TILKOPLES JORDET STIKKONTAKT.

• APPARATEN SKALL ANSLUTAS TILL JORDAT UTTAG.

• LAITE ON LIITETTÄVÄ SUOJAKOSKETTIMILLA VARUSTETTUUN PISTORASIAAN.

• APPARATET SKAL TILSLUTTES JORDET STIKKONTAKT.

CONSIGNES DE SÉCURITÉ IMPORTANTES

AVERTISSEMENT CONCERNANT

LA FICHE SECTEUR

Une fiche secteur moulée qui a été coupée du cordon est dangereuse.

Jeter la fiche secteur dans un centre de déchets adapté.

VOUS NE DEVEZ EN AUCUNE CIRCONSTANCE INSÉRER

UNE FICHE ENDOMMAGÉE OU COUPÉE DANS UNE PRISE

SECTEUR 13 AMP.

Ne pas utiliser la fiche secteur si le couvercle du coffret à fusibles n'est

pas bien en place. Vous pouvez vous procurer des capots de fusible de

rechange auprès de votre détaillant local. Les fusibles de remplacement

sont de 13 A et DOIVENT être approuvés ASTA, BS1362.

Les symboles illustrés ci-dessus sont des symboles acceptés

internationalement qui avertissent des dangers potentiels relatifs à

l’utilisation de produits électriques. Le voyant clignotant avec une flèche

dans un triangle équilatéral signifie la présence de tensions dangereuses

dans l'appareil. Le point d’exclamation dans un triangle équilatéral

indique que l’utilisateur doit se référer au manuel d'utilisation.

Ces symboles indiquent qu’il n’y a aucune pièce utilisable par l’utilisateur

à l’intérieur de l’appareil. Ne pas ouvrir l’appareil. Ne pas essayer de

réparer soi-même l’appareil. Confier toute réparation à du personnel

qualifié. Ouvrir la structure de l’appareil pour quelque raison que ce soit

annulera la garantie du fabricant. Ne pas mouiller l’appareil. Si du liquide

est renversé sur l’appareil, fermer immédiatement l’appareil et l’apporter

chez un réparateur. Débrancher l’appareil pendant les tempêtes afin

d’éviter des dommages.

Ce qui suit est représentatif d’une

utilisation à basse altitude ; ne pas

utiliser ce produit au-dessus de 2000 m.

AVERTISSEMENT POUR VOTRE

SÉCURITÉ LIRE ATTENTIVEMENT :

LIRE CES CONSIGNES.

CONSERVER CES CONSIGNES.

RESPECTER TOUS LES AVERTISSEMENTS.

SUIVRE TOUTES LES CONSIGNES.

NE PAS UTILISER CET APPAREIL PRÈS DE L’EAU.

NETTOYER UNIQUEMENT AVEC UN CHIFFON SEC.

POUR USAGE INTÉRIEUR UNIQUEMENT.

NE PAS OBSTRUER LES OUÏES D’AÉRATION. EFFECTUER L’INSTALLATION

CONFORMÉMENT AUX INSTRUCTIONS DU FABRICANT.

NE PAS INSTALLER À PROXIMITÉ DE SOURCES DE CHALEUR TELLES QUE DES

RADIATEURS, BOUCHES D’AÉRATION, PLAQUES CHAUFFANTES OU TOUT AUTRE

APPAREIL (Y COMPRIS DES AMPLIFICATEURS) DÉGAGEANT DE LA CHALEUR.

UTILISER UNIQUEMENT LES PIÈCES/ACCESSOIRES MENTIONNÉS PAR LE

FABRICANT.

DÉBRANCHER L'APPAREIL AU COURS DES ORAGES OU EN CAS DE NON-UTILISATION

PENDANT UNE DURÉE PROLONGÉE.

Ne pas détériorer la sécurité de la fiche polarisée ou de la fiche de terre. Les fiches

polarisées sont équipées de deux bornes de largeurs différentes. Les fiches de terre

comportent deux lames et une troisième broche de mise à la terre. La broche la

plus large ou troisième broche de mise à la terre est prévue pour votre sécurité. Si

la fiche fournie ne correspond pas à votre installation électrique, faire appel à un

électricien pour remplacer la prise hors normes.

Protéger le cordon d'alimentation contre les risques de piétinement ou de

pincement, notamment au niveau des fiches, des prises de courant et du point

d'attache avec le matériel.

Utiliser uniquement le chariot, le support, le trépied ou

la table spécifié(e) par le fabricant ou vendu(e) avec

le matériel. Si vous utilisez un chariot pour déplacer

l'appareil, soyez suffisamment prudent pour éviter une

éventuelle blessure consécutive au basculement du chariot

et de sa charge.

Les réparations doivent être confiées à un technicien S.A.V. qualifié. Une

réparation est nécessaire en cas de dommage quelconque et en particulier

en cas d'endommagement du cordon d’alimentation ou de la fiche électrique,

d'infiltration liquide, d'introduction involontaire d'un objet dans l'appareil,

d'exposition de l’appareil à la pluie ou à un milieu humide, de fonctionnement

anormal ou de chute de l'appareil.

INTERRUPTEUR MARCHE/ARRÊT : l'interrupteur d'alimentation de cet équipement

NE coupe PAS la connexion secteur.

DÉBRANCHEMENT DE L'APPAREIL : la prise de courant doit rester facilement

accessible. Pour un montage en rack ou une installation avec une prise

inaccessible, un interrupteur omnipolaire à distance d'ouverture de contact d'au

moins 3 mm doit être intégré à l’installation électrique du rack ou du local.

Si le matériel est relié à une alimentation de 240 V, utiliser impérativement un

cordon d'alimentation adapté certifié CSA/UL pour ce branchement.

Cet équipement est exclusivement destiné à un montage en rack.

Ne pas jeter ce produit avec les ordures ménagères. Il existe un système de collecte

sélective pour les produits électroniques usagés en conformité avec les lois en vigueur

en matière de traitement, de récupération et de recyclage.

Dans les 25 États membres de l’UE, en Norvège et en Suisse, les ménages peuvent envoyer leurs produits

électroniques usagés sans frais vers des centres de collecte sélective ou chez un distributeur (contre

l’achat d’un nouveau produit).

Contacter les autorités locales pour connaître les procédures de traitement des déchets adaptées dans les

pays non mentionnés ci-dessus.

Non seulement cette précaution vous permettra d’être sûr que votre produit est correctement traité,

récupéré et recyclé, mais elle vous évitera également de nuire involontairement à l’environnement et

à la santé humaine.

CONSIGNES DE SÉCURITÉ IMPORTANTES

COMPATIBILITÉ ÉLECTROMAGNÉTIQUE

Cet appareil est conforme au volet 15 des règles du FCC et

aux spécifications techniques évoquées dans la Déclaration

de conformité. Son fonctionnement est soumis aux deux

conditions suivantes :

• cet appareil ne doit pas causer d’interférences nuisibles et

• cet appareil doit accepter les interférences captées, y

compris les interférences susceptibles de nuire à son

fonctionnement.

L’utilisation de cet appareil à proximité de champs électromagné

tiques puissants n’est pas recommandée.

• utiliser exclusivement des câbles d’interconnexion blindés.

DÉCLARATION DE CONFORMITÉ

Nom du fabricant : Lexicon Professional

Adresse du fabricant : 10653 S. River Front Parkway, Suite 300

South Jordan, Utah 84095, ÉTATS-UNIS

déclare que le produit :

Nom du produit : Lexicon MX200

Remarque : Nom du produit peut être suffixé par une combinaison des

lettres de l’UE , M ou V.

Option du produit : Aucune

est conforme aux spécifications suivantes :

Sécurité : CEI/IEC 60065:2001 + Amd 1 et 2

CEM : EN 55022:2010

EN 55024:2010

Partie 15 des FCC

Informations complémentaires :

Ce produit est conforme aux exigences suivantes :

Directive sur la basse tension 2014/35/UE

Directive 2014/30/UE

Directive RoHS 2011/65/UE

Directive DEEE 2012/19/UE

Ce produit appartenant à la catégorie Matériel audio professionnel, il n’est

pas concerné par la directive 2005/32/CE ou par le règlement européen

1275/2008 du 17 décembre 2008.

C. Rex Reed

Directeur, Ingénierie

Traitement des signaux

10653 S. River Front Parkway, Suite 300

South Jordan, Utah 84095, ÉTATS-UNIS

Date : 15 août 2016

Contactez européenne :

Harman International

Salisbury House

London Wall

EC2M 5QQ

+44 207 562 9450

Harman Professional Inc

10653 S. River Front Parkway, Suite 300

South Jordan, Utah 84095, ÉTATS-UNIS

Tél. : (801) 566-8800

Fax : (801) 568-7583

CONSIGNES DE SÉCURITÉ

NOTICE ADRESSÉE AUX CONSOMMATEURS ÉQUIPÉS D’UN MATÉRIEL AVEC CORDON

D’ALIMENTATION FOURNI.

AVERTISSEMENT : CET APPAREIL DOIT ÊTRE BRANCHÉ SUR UNE PRISE SECTEUR DOTÉE

D'UNE PROTECTION PAR MISE À LA TERRE.

LES COULEURS DES NOYAUX DANS LES FILS SECTEURS DOIVENT RESPECTER LES CODES

SUIVANTS :

VERT ET JAUNE - TERRE BLEU - NEUTRE MARRON - PHASE

LES COULEURS DES NOYAUX DANS LES FILS SECTEURS DE CET APPAREIL PEUVENT NE PAS

CORRESPONDRE AUX INSCRIPTIONS COLORÉES IDENTIFIANT LES TERMINAUX DANS VOTRE

FICHE ; IL FAUT DONC PROCÉDER DE LA FAÇON SUIVANTE :

• LE NOYAU VERT ET JAUNE DOIT ÊTRE BRANCHÉ AU TERMINAL DE LA FICHE OÙ APPARAÎT

LA LETTRE E OU LE SYMBOLE DE MISE À LA TERRE, OU AU TERMINAL VERT OU VERT

ET JAUNE.

• LE NOYAU BLEU DOIT ÊTRE BRANCHÉ AU TERMINAL MARQUÉ D’UN N OU DE COULEUR

NOIRE.

• LE NOYAU MARRON DOIT ÊTRE BRANCHÉ AU TERMINAL MARQUÉ D’UN L OU DE COULEUR

ROUGE.

CE MATÉRIEL PEUT NÉCESSITER L’UTILISATION D’UN CORDON D’ALIMENTATION DIFFÉRENT

ET/OU D’UNE FICHE DE BRANCHEMENT DIFFÉRENTE SELON LA SOURCE D’ALIMENTATION

DISPONIBLE À L’INSTALLATION. SI LA FICHE DE BRANCHEMENT DOIT ÊTRE CHANGÉE, FAIRE

APPEL À UN TECHNICIEN QUALIFIÉ QUI DEVRA SE RÉFÉRER AU TABLEAU CI-DESSOUS. LE FIL

VERT/JAUNE DOIT ÊTRE BRANCHÉ DIRECTEMENT AU CHÂSSIS DE L'APPAREIL.

CONNECTEURS

COULEUR DU FIL

Normal Alt

L PHASE MARRON NOIR

N NEUTRE BLEU BLANC

E TERRE VERT/JAU VERT

ATTENTION : UN DÉFAUT DE MISE À LA TERRE PEUT PROVOQUER CERTAINS DYSFONC

TIONNEMENTS DE L'APPAREIL OU DU SYSTÈME AUQUEL IL EST RELIÉ, POUVANT SE TRADUIRE

PAR UNE TENSION COMPOSÉE ENTRE LA MASSE ET LA PRISE DE TERRE. CELA PEUT PROVO

QUER DES BLESSURES SÉRIEUSES OU FATALES SI LA MASSE ET LA PRISE DE TERRE SONT

TOUCHÉES EN MÊME TEMPS.

ATTENTION :

• APPARATET MÅ TILKOPLES JORDET STIKKONTAKT.

• APPARATEN SKALL ANSLUTAS TILL JORDAT UTTAG.

• LAITE ON LIITETTÄVÄ SUOJAKOSKETTIMILLA VARUSTETTUUN PISTORASIAAN.

• APPARATET SKAL TILSLUTTES JORDET STIKKONTAKT.

Warranty

This warranty is valid only for the original purchaser and only in the United States.

1. The warranty registration card that accompanies this product must be mailed within 30 days after purchase date

to validate this warranty. Proof-of-purchase is considered to be the burden of the consumer.

2. Lexicon Professional warrants this product, when bought and used solely within the U.S., to be free from defects

in materials and workmanship under normal use and service.

3. Lexicon Professional’s liability under this warranty is limited to repairing or, at our discretion, replacing defective

materials that show evidence of defect, provided the product is returned to Lexicon professional WITH RETURN

AUTHORIZATION from the factory, where all parts and labor will be covered up to a period of 1 year. A Return

Authorization number must be obtained from Lexicon Professional by telephone. The company shall not be liable

for any consequential damage as a result of the product’s use in any circuit or assembly.

4. Lexicon Professional reserves the right to make changes in design or make additions to or improvements upon

this product without incurring any obligation to install the same additions or improvements on products previously

manufactured.

5. The foregoing is in lieu of all other warranties, expressed or implied, and Lexicon Professional neither assumes

nor authorizes any person to assume on its behalf any obligation or liability in connection with the sale of this prod-

uct. In no event shall Lexicon Professional or its dealers be liable for special or consequential damages or from any

delay in the performance of this warranty due to causes beyond its control.

Warranty

Quick Start .....................................................1

About the MX200 ...........................................3

Overview ............................................................. 3

Diagram - Front Panel ................................... 4

Diagram - Rear Panel ....................................6

Setup ...............................................................7

Connecting the MX200 ....................................... 7

Using the MX200............................................10

Loading Programs .............................................. 10

Editing Programs ................................................ 10

Selecting Effects ................................................. 10

Tap Tempo ......................................................... 11

The Audition Feature .......................................... 11

Routing Options .................................................. 12

Storing Programs................................................ 12

Effects Descriptions ......................................13

Reverbs .............................................................. 13

Delays ................................................................. 17

dbx® Dynamics .................................................. 19

Modulated Effects ............................................... 20

MX200 Utilities ...............................................23

MIDI Channel...................................................... 23

Program AutoLoad ............................................. 23

Analog / Digital Input Select ............................... 23

Digital Out Dry Track .......................................... 24

Stereo and Mono Output Modes ........................ 24

Factory Program Banks: Serial and Parallel ...... 24

Bypass Mode Select ........................................... 25

Factory Reset ..................................................... 25

The MX-Edit Editor/Librarian - Windows .....26

Minimum System Requirements ........................ 26

Installing the MX-Edit Editor/Librarian Software . 26

Quick Start .......................................................... 26

The MX-Edit Library ........................................... 27

Opening or Creating a Program ......................... 27

The MX-Edit Program Editor .............................. 28

Editing a Program ............................................... 28

Saving a Program ............................................... 30

Storing a Program .............................................. 30

Archiving ............................................................. 30

The MX-Edit Editor/Librarian - Mac .............32

Minimum System Requirements ........................ 32

Installing the MX-Edit Editor/Librarian ................ 32

Quick Start .......................................................... 32

The MX-Edit Program Window ........................... 32

Editing a Program ............................................... 33

Quick Access Menu ............................................ 34

Using the MX200 as a Hardware Plug-In.....35

Minimum System Requirements ........................ 35

Installing the MX-Edit VST Hardware Plug-In .... 35

Connecting the MX200 ....................................... 35

Software Configuration ....................................... 36

Using the MX200 Plug-In Window ..................... 36

Controls .............................................................. 36

MIDI Port Error Message.................................... 37

Using MIDI with the MX200 ...........................37

CC Mapping........................................................ 37

MIDI Implementation Chart ................................ 37

Specifications ................................................38

Appendix ........................................................39

Program List ..................................................40

Table of Contents

Quick Start

Ideally, you should read this entire manual

before using the MX200. But, if you just

can’t wait to get started, this section

explains how to set up a simple parallel

connection (using the MX200 with a mixer)

and select a program.

Powering the Unit

1. Plug the included power supply into an

A/C outlet.

2. Connect the Power Supply to the Power

Jack connection on the MX200’s back

panel.

Made in China

3. When the MX200 first powers up, the

Audition button quickly flashes for a

moment. This indicates that the software

is loading.

Standard Parallel Connection

Made in China

Aux

Send 1

Aux

Return 1

Aux

Return 2

1. Connect the mixer’s Post Fader Aux

Send output to the MX200’s Left (Mono)

input.

2. Connect the MX200 Left and Right

outputs to a stereo Aux Return input on

the mixer (or a stereo line input, or two

adjacent line inputs if you like).

Set Audio Levels

1. Set the gain on the mixer’s input

channel appropriate to the source (vocal

mic, guitar, keyboard, etc.).

2. Set the Aux Master level (if provided on

your console) to the 12 o’clock position.

3. Set the Input level on the MX200 to the

12 o’clock position.

4. Set the Mix 1 and Mix 2 knobs on the

MX200 to their full clockwise position.

(Wet).

5. Provide source signal (by speaking or

singing into the mic, playing guitar,

keyboard, etc.) on the selected mixer

channel.

6. Turn up the Aux Send level on the

channel corresponding to the Post-fader

send (Aux 1 in this example) that the

MX200 is connected to until the Red

Input LEDs light only occasionally. If the

red Input LEDs stay lit, too much signal

is being sent to the MX200; reduce the

Aux Master or Aux Send on the mixer.

7. Turn up the Aux Return to the 12 o’clock

position, or stereo line input faders to

the 0dB position, if you used that

connection.

8. To increase or decrease the amount of

effect on the signal, adjust the Aux Send

level on the channel that you want

affected.

Select and Load a Program

Turn the Program Select knob to choose

a program. The display flashes the number

of the program to be loaded. Press the

knob to load the program.

Program Select knob

Note that the MX200 comes with 99

Factory programs and 99 User programs.

A small dot appears at the bottom right of

the Program Display window, indicating

that the displayed program is a User pro-

gram. For more information about editing

programs, see page 10.

Quick Start

Audition the Effect

udition Button

The Audition button allows you to preview

the loaded program by playing short digital

samples through the effect processors.

There are five audio samples included in

the MX200, including various drum sounds,

vocal, and guitar. In the factory setting,

tapping the Audition button cycles through

the five sounds, but you may want to

repeat a particular sound as you choose or

edit an effect. See page 11 for more infor-

mation.

Quick Start

Overview

The MX200 is a dual-processor, single

rack space multi-effects device designed

with both live sound reinforcement and

home recording in mind. Featuring the

deep, rich reverb algorithms that built

the Lexicon

legend, the MX200 offers

increased versatility with dynamics and

specialty effects—all instantly accessible

via the extremely intuitive front panel.

Either way you use the MX200 – live or in

the studio – you can choose two effects

at once in one of four routing schemes:

Dual Stereo (Parallel), Cascade (Serial),

Mono Split or Dual Mono. The MX200 has

99 carefully crafted Factory programs, and

99 User programs that allow you to cre-

ate your own custom effect settings. Front

panel controls include Input Level, Mix 1

and Mix 2 controls, effects Routing but-

ton, independent Tempo and Bypass

buttons, three Parameter knobs for each

Processor, Program Select knob, an

Audition button, and a Store button.

Studio Operation

The MX200 features a USB interface

that lets it function as a “hardware plug-

in” – recognized and functioning within a

VST

or Audio Units compatible record-

ing application as a plug-in effect, but still

operating as a dedicated hardware proces-

sor. This unique hardware plug-in feature

lets you add legendary Lexicon effects to

your computer-based recordings with full

automation and recall features via an intui-

tive cross-platform plug-in window without

overburdening your CPU.

Live Operation

Those using the MX200 in live applica-

tions will appreciate its intuitive front panel

layout. The Active Reverb/Effects Matrix

displays which two of the 32 available

reverbs and effects are active, and all edit-

ing functions require only a single button

push or turn of a knob. Dual independent

processor control areas feature dedicated

Effects Select, Tempo, and Bypass but-

tons plus three Parameter knobs that

provide instant access and control over the

most critical parameters for the selected

effect. Parameter change LEDs illuminate

to indicate any changes to the 99 Factory

or User programs. The Audition button

plays one of five digitally recorded audio

samples through the selected effects to

audition their settings without the need for

an external audio source.

About the MX200

. Dual Input Bargraph Meters

LEDs indicate input level for each channel.

2. Digital In LED

Indicates when the S/PDIF digital input is

selected and active.

3. Routing Button

Press this button to cycle through the four

signal routing options. For more informa-

tion about routing, see page 12.

4. Active Reverb / Effects Matrix

Indicates which effects are active at all

times. Green LED indicates active effect

in Processor 1, red LED indicates active

effect in Processor 2.

5. Tempo Button - P1

Tapping this button twice sets the Delay

Time of Processor 1. LED flashes to indi-

cate current tempo, or lights solid when

synched to MIDI.

6. Bypass Button - P1

Bypasses Processor 1. In the factory

default, this puts the processor into Bypass

mode and allows dry, unprocessed signal

to pass through to the outputs. To change

to Bypass Mute, which allows no signal

(wet or dry) to pass, see Bypass Mode

Select in the Utilities section on page 25.

7. Tempo Button - P2

Same as for Processor 1 (see #5).

8. Bypass Button - P2

Bypasses Processor 2. Red LED lights to

indicate effect is bypassed.

9. Store Button

Stores program modifications to one of

the 99 User program locations. Press the

Store and Audition buttons simultane-

ously to access Utility functions. (See page

23 for more information.)

10. Audition Button

Plays audio samples through the proces-

sors to audition their settings. Press the

Audition and Store buttons simultane-

ously to access the Utility functions. (See

page 23 for more information.)

11. Input Knob

Controls the input level of both Left and

Right analog inputs.

12. Mix 1 Knob

Controls the P1 Wet/Dry effects mix.

13. Mix 2 Knob

Controls the P2 Wet/Dry effects mix.

*Refer to the Effects Descriptions section for

more information about parameters.

Diagram - Front Panel

12 3

56 78 910

11 12 13 14

Diagram - Front Panel

14. Effect Select - P1

This button selects the reverb, delay, or

effect to be loaded in Processor 1.

15. Pre Delay Knob - P1

Controls Pre Delay of the reverbs or the

first parameter of the selected delay or

effect in Processor 1.*

16. Decay Knob - P1

Controls Decay of the reverbs or the sec-

ond parameter of the selected delay or

effect in Processor 1.*

17. Variation - P1

Controls Liveliness or Diffusion (depending

on the reverb selected) or the third param-

eter of the selected effect in Processor 1.*

18. Effect Select - P2

Same as for Processor 1 (see #14).

19. Pre Delay Knob - P2

Same as for Processor 1 (see #15).

20. Decay Knob - P2

Same as for Processor 1 (see #16).

21. Variation - P2

Same as for Processor 1 (see #17).

22. Program Display

2-character LED display indicates which of

the 99 Factory or User programs is loaded.

A small dot appears at the bottom right

of the Program Display window, indicat-

ing that the displayed program is a User

program. Also shows Utility settings and

parameter values during editing.

23. Program Select Knob

Navigates through Factory and User pro-

grams, as well as Utility functions.

*Refer to the Effects Descriptions section for

more information about parameters.

Diagram - Front Panel

Made in China

1234 67

1. Power Jack

Connect only the included Harman Pro

PS0913DC power supply here.

2. Footswitch Input

An optional 2-button footswitch can be

plugged into this TRS jack for independent

Bypass control of P1 and P2. Use the

Lexicon

LEX-DFS or a 2-button footswitch

wired as follows:

Tip = Bypass 2

Ring = Bypass 1

Sleeve = Ground

3. MIDI In, Out/Thru

Provides MIDI operation capabilities. Two

5-pin MIDI DIN connectors are available for

MIDI IN and MIDI OUT/THRU. (See page

37 for MIDI Implementation chart.)

4. USB Port

Provides communication with a computer

for use with MX-Edit

software and MX200

plug-in window using a standard USB

cable. When the MX200 is connected to a

computer via USB, US briefly appears in

the Program Display window.

5. S/PDIF Digital In/Out

Digital input accepts 44.1kHz / 48kHz

signals. When the S/PDIF digital input is

selected and active, the Digital In LED on

the front panel lights.

Important: It is recommended that you

do not connect any digital device to the

MX200’s S/PDIF input that transmits at any

other sample rate (such as 96kHz). Doing

so can cause unpredictable performance.

Make sure the device you are connect-

ing to the MX200’s S/PDIF In is set as

the Clock Master (if that option is avail-

able) and transmitting at a sample rate of

44.1kHz or 48kHz only. As with any other

connection, if you need to unplug the S/

PDIF cable, it is recommended that you

switch to the analog inputs (see Digital

Input Select in the Utility section) or

bypass both processors before disconnect-

ing the cable.

6. Balanced Analog Line Outputs

Left and Right RF-filtered 1/4” balanced/

unbalanced TRS line outputs are servo-

balanced, so no signal loss is incurred

when using unbalanced connections. To

use the Left output as a mono sum of both

Left and Right signals, refer to the Stereo/

Mono Output Mode Utility section on

page 24.

7. Balanced Analog Line Inputs

Left and Right active analog 1/4” TRS

balanced/unbalanced line inputs. If only a

single plug is connected to the Left input,

the signal is split and sent to both the Left

and Right input paths.

Diagram - Rear Panel

Connecting the MX200

Parallel vs. Serial

The MX200 can be used as both a Parallel

and Serial (in-line) effects processor.

Typically, reverbs and delays are used in

parallel, compressors and de-essers in

serial, and modulated effects can be used

in either configuration, depending on the

desired application.

A Parallel Processor is connected by send-

ing a copy of a signal (such as from an

Aux Send of a mixer channel) to an effects

device (such as the MX200), and the

effected (or wet) signal is returned to the

mixer or amp. It is then blended together

with the original unaffected (dry) signal.

This blend is called the Wet/Dry mix. This

connection is most often used for reverbs,

delays, and some modulated effects (such

as chorus).

A Serial Processor is connected by send-

ing the entire signal through the effects

device and then to an amplifier or mixer,

and is not blended with the unaffected

(dry) signal. This is the type of connection

most often used for a compressor, de-ess-

er, equalizer, and many modulated effects

(such as tremolo, vibrato, and rotary).

The following illustrations show how to

connect the MX200 in both Serial and

Parallel configurations, using some com-

mon, real-world examples.

Parallel Connection

Mixer - Mono In/Stereo Out Setup

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Aux

Send 1

Aux

Return 1

Aux

Return 2

This setup is the most commonly used

configuration in both live and studio appli-

cations.

1. Select routing 2 or 4 using the Routing

button.

2. Connect the mixer’s Post Fader Aux

Send output to the MX200’s Left (Mono)

input.

3. Connect the MX200’s Left and Right

outputs to a stereo Aux Return input on

the mixer (or a stereo line input, or two

adjacent line inputs if you like).

4. Set the gain on the mixer’s input

channel appropriate to the source (vocal

mic, guitar, keyboard, etc.).

5. Set the Aux Master level (if provided on

your console) to the 12 o’clock position.

6. Set the Input on the MX200 to the 12

o’clock position.

7. Set the Mix 1 and Mix 2 knobs on the

MX200 to their full clockwise (Wet)

position.

8. Turn up the Aux Send level on the

channel corresponding to the Post-

fader Aux Send (Aux 1 in this

example) that the MX200 is connected

to until the red Input Bargraph LEDs

light only occasionally. If the red Input

Setup

Bargraph LEDs stay lit, too much

signal is being sent to the MX200;

reduce the Aux Master or Aux send on

the mixer.

9. Turn up the Aux Return to the 12

o’clock position (or line input faders to

the 0db positions, if you used that

connection).

10. To increase or decrease the amount of

effect on the signal, adjust the Aux

Send level on the channel that you

want affected.

Mixer - Dual Mono Setup

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Aux

Send 1

Aux

Return 1

Aux

Send 2

Aux

Return 2

This setup applies to a mixer with two (or

more) Aux Sends and Returns. It utilizes

the two effect sections in the MX200 as

two separate effects with separate mono

outputs, or a common stereo output.

1. Select routing 1 or 4 using the Routing

button.

2. Connect Aux 1 send to the MX200 Left

input.

3. Connect Aux 2 send to the MX200

Right input.

4. Connect the MX200 Left and Right

outputs to the mixer’s Aux returns 1 and

2 for mono, or Stereo Aux L/R returns

for stereo.

5. Set Mix 1 and Mix 2 knobs fully

clockwise (Wet).

6. Set the MX200’s Input knob to the 12

o’clock position.

7. Set the Aux Return levels on the mixer

to 12 o’clock.

8. Turn up Aux Sends 1 and 2 on the

mixer for the selected channels so the

red Input Bargraph LEDs only light

occasionally with signal (adjusting the

Input knob on the MX200 may be

necessary).

9. Control the amount of effect using the

Aux Send levels on the selected mixer

channels.

Serial Connections

Guitar - Effects Loop Setup

Made in China

Preamp

Out

Power Amp

1. Select routing 2 using the Routing

button (you can always experiment

using other routings).

2. Connect guitar to the amp’s Input.

3. Connect the amp Effects Loop Send or

Preamp Out to the MX200’s Left input.

4. Connect the MX200’s Left output to the

amp’s Effects Loop Return or Power

Amp In.

5. Set Mix 1 and Mix 2 knobs to the 12

o’clock position.

6. Adjust the Input level so the red Input

Bargraph LEDs only light occasionally

with signal.

7. To adjust the effect level, use the Mix 1

and Mix 2 knobs.

Setup

Instrument – In Line Setup

Made in China

Stereo

Line Input

This setup utilizes the MX200 as a multi-

effects processor connected in line from an

instrument to a mixer. It is an ideal setup

to use when your mixer does not have an

Aux Send/Return option built in.

1. Select routing 2 using the Routing

button (you can always experiment

using other routings).

2. Connect a line level signal directly from

your instrument to the MX200 Inputs.

(use Left input for mono signals).

3. Connect the MX200’s Left and Right

outputs to two separate mixer channels

or a stereo line input.

4. Set the MX200’s Input knob to the 12

o’clock position.

5. Set Mix 1 and Mix 2 knobs to 12 o’clock

position.

6. Adjust the Input level so the red Input

Bargraph LEDs only light occasionally

with signal.

7. Adjust the Mix 1 and Mix 2 knobs for

the desired effect mix level.

Studio – Digital Setup

Made in China

S/PDIF Out

S/PDIF In

This setup is ideal if you are using the

MX200 as a hardware plug-in in a digital

recording system. This setup requires that

you are using an I/O device with S/PDIF

In/Out, or a digital mixer with S/PDIF I/O

option.

1. Select routing 2 using the Routing

button. (You can always experiment with

other routings.)

2. Connect the S/PDIF output on your

soundcard, audio interface or mixer to

the S/PDIF In on the MX200.

3. Connect the MX200 S/PDIF Out to

the S/PDIF input on your soundcard,

audio interface or mixer.

4. Make sure the device you are

connecting to the MX200’s S/PDIF In is

set as the Clock Master (if that option is

available) and transmitting at a sample

rate of 44.1kHz or 48kHz only. (Refer to

the documentation for your device

and/or software for proper setup.)

5. Once the MX200 is locked correctly with

your device, the Digital In LED lights.

If the Digital In LED does not light,

check your cables and make sure that

your I/O device is set as Master Clock.

Setup

The MX200 is equipped with 99 Factory

programs that combine the 32 reverbs and

effects to cover a wide range of applica-

tions. Additionally, there are 99 User pro-

gram locations in which to store your own

reverb and effects combinations. These

are identical to the Factory programs until

you change them.

Loading Programs

To load a program:

1. Choose a program by rotating the

Program Select knob. The selected

program number flashes in the Program

Display until loaded. A small LED dot

appears in the lower right portion of the

Program Display if a User program is

selected.

2. Press the Program Select knob to

load the program.

If you would like the programs to be loaded

automatically as they are changed with the

Program Select knob, you can enable the

AutoLoad function (see page 23 for more

information).

Editing Programs

After selecting a Factory or User program,

you may find that it needs some modifi-

cation for a particular application or use.

This may include changing one of the

three Parameter knobs on each proces-

sor, changing the Mix 1 or Mix 2 settings,

altering the Routing, changing the delay

Tempo or engaging one of the Bypass

buttons. When any of the Parameter or

Mix knobs are used, a numerical value for

that parameter will briefly appear in the

Program Display while the knob is being

turned. A small LED next to the knob will

illuminate, denoting a change from the

saved value, and the Store button will

light, indicating that the loaded program

has been modified. To retain these chang-

es, you must store them to a User program

location (see Storing Programs).

Knob and button LEDs are green for

Processor 1, and red for Processor 2, to

correspond with their respective LED color

in the Active Reverb/Effects Matrix.

Either Factory or User programs may be

edited, but they may only be stored to a

User program location.

The Parameter knobs have different

functions for each reverb and effect. For

detailed descriptions of what each knob

does, refer to the Effects Descriptions

section.

To edit a program:

1. Load a program using the Program

Select knob.

2. Make any of the following adjustments

or changes:

• Select effects with either or both

Effect Select buttons.

• Modify the program with the Pre

Delay, Decay, or Variation knobs.

• Bypass a processor using P1 or P2

Bypass button.

• Change tempo using the P1 or P2

Tempo button.

• Adjust the Wet/Dry mix for either or both

processors with the Mix 1 and Mix 2

knobs.

• Change effect routings with the Routing

button.

Selecting Effects

The MX200 features 16 classic Lexicon

reverb algorithms, six types of delay, eight

modulated/pitch effects, and two dbx

dynamics algorithms.

To select an effect, press the P1 or P2

Effect Select buttons up or down.

Using the MX200

Effect Select

An LED lights next to the selected reverb

or effect label in the Active Reverb/

Effects Matrix (green LED for P1, red for

P2).

Active Reverb/Effects Matrix

The Effect Select control is cyclical, mean-

ing if Effect Select is pressed up when

Small Hall is active, Detune will be the

next selected effect. Similarly, if Detune is

active, and Effect Select is pressed down,

the effect will change to Small Hall.

Tap Tempo

Tap tempo can be used to match the delay

times to synchronize with the music. The

Tempo button LED flashes when a delay

is loaded. To set tempo from the front

panel, press the Tempo button twice in

time with the music. The LED will flash at a

rate that corresponds to the new tempo.

MX200 can also use MIDI Sync to set the

tempo of delays. When MX200 detects

MIDI Sync present at the MIDI In, the

Tempo LEDs light constantly to indicate

that tempo is set via MIDI Sync.

Changes made to tempo with the Tempo

button are considered program edits, and

cause the Store button LED to light.

The Audition Feature

The Audition feature provides 5 digitally

recorded audio samples that are played

back through MX200’s processors at the

touch of a button. This lets you preview

the selected program and dial in reverb

or effects settings without the need for an

external audio source.

In the default setting, each tap of the

Audition button plays the next sample. To

play a single sample repeatedly, change

the Audition options.

To change Audition options:

1. Press and hold the Audition button. The

LED flashes, and the Program

Display alternately displays AU

and AL.

2. Turn the Program Select knob to

select the individual sample you want to

hear when you press the Audition

button.

The samples are:

AL - Audition All Samples. Each time

the Audition button is pressed, the

next sample is played.

A1 - Drum Stick Click

A2 - Snare Drum

A3 - Kick Drum

A4 - Female Vocal “Doo”

A5 - Acoustic Guitar Arpeggio

3. Press the Store button to save the new

Audition setup

The Audition button now plays the select-

ed sample each time it is pressed. The

Audition sample is a global setting, and is

not saved with presets.

Using the MX200

Routing Options

The MX200’s powerful Dual Processor

design and four signal routing options allow

you to use it as two independent effects

processors, or combine the reverbs and

effects for a nearly limitless palette of com-

plex sounds.

1. Dual Mono

This routing option sends the Left and

Right input signals through Processor 1

and Processor 2 respectively. Each signal

is then routed to its respective output, com-

pletely independent from the other.

2. Cascade

Left and Right input signals are sent

first through Processor 1, then through

Processor 2, then routed as a stereo signal

to their respective outputs.

3. Dual Stereo (Parallel)

Left and Right input signals are sent

through both processors independently.

The output signals of both processors are

then mixed together, and routed to both

the outputs as a single stereo signal.

4. Mono Split

Left input signal is sent through Processor

1, while the Right input signal is sent

through Processor 2. The output signals of

both processors are then mixed together,

and routed to both the outputs as a single

stereo signal.

Storing Programs

Once you have edited a program to your

liking, you can store these edits into a User

program memory location. To store a pro-

gram, follow these steps:

1. Press the Store button once. ST

appears briefly in the Program Display,

followed by the flashing User program

number (indicated by the small dot over

User Program being lit).

2. Use the Program Select knob to

select a User program location to

store your edits.

3. Press the Store button again to

complete the procedure.

To return to the program without storing

changes, press any other button on the

front panel.

Using the MX200

The MX200 effects come in four varieties:

Stereo, Mono In/Stereo Out, Mono (Wet

only), and Stereo (Wet only). When using

Wet only effects, turn the processors Mix

knob fully clockwise.

Reverbs

Reverberation (or “reverb” for short) is

the complex effect created by the way

we perceive sound in an enclosed space.

When sound waves encounter an object or

boundary, they don’t just stop. Some of the

sound is absorbed by the object, but most

of the sound is reflected or is diffused. In

an enclosed space, reverb is dependent on

many features of that space, including the

size, shape and the type of materials that

line the walls. Even with closed eyes, a lis-

tener can easily tell the difference between

a closet, a locker room and a large audito-

rium. Reverb is a natural component of the

acoustic experience, and most people feel

that something is missing without it.

Hall Reverbs Stereo

Small Hall

Large Hall

Vocal Hall

Drum Hall

A Hall is designed to emulate the acous-

tics of a concert hall – a space large

enough to contain an orchestra and an

audience. Because of the size and charac-

teristics, Halls are the most natural-sound-

ing reverbs, designed to remain “behind”

the direct sound – adding ambience and

space, but leaving the source unchanged.

This effect has a relatively low initial echo

density which builds up gradually over

time. Vocal Hall and Drum Hall reverbs

are specifically tailored for those uses.

Vocal Hall has as lower overall diffusion

which works well with program material

that has softer initial transients like a voice.

Drum Hall has a higher diffusion setting

which is necessary to smooth out faster

transient signals found in drums and per-

cussion instruments. In addition to general

instrumental and vocal applications, the

Hall program is a good choice for giving

separately recorded tracks the sense of

belonging to the same performance.

Effects Descriptions

Effects Descriptions - Reverbs

Plate Reverbs Stereo

Small Plate

Large Plate

Vocal Plate

Drum Plate

A Plate reverb is a large, thin sheet of

metal suspended upright under tension

on springs. Transducers attached to the

plate transmit a signal that makes the

plate vibrate, causing sounds to appear to

be occurring in a large, open space. The

Plates in the MX200 model the sound of

metal plates with high initial diffusion and

a relatively bright, colored sound. Plate

reverbs are designed to be heard as part

of the music, mellowing and thickening the

initial sound. Plate reverbs are often used

to enhance popular music, particularly per-

cussion.

Room Reverb Stereo

Room produces an excellent simulation of

a very small room which is useful for dialog

and voiceover applications. Room is also

practical when used judiciously for fatten-

ing up high energy signals like electric gui-

tar amp recordings.

Chamber Reverb Stereo

Historically, recording studio chambers

were oddly shaped rooms with a loud-

speaker and set of microphones to collect

ambience in various parts of the room.

Chamber programs produce even, rela-

tively dimensionless reverberation with little

color change as sound decays. The initial

diffusion is similar to the Hall programs.

However, the sense of size and space is

much less obvious. This characteristic,

coupled with the low color of the decay tail,

makes these programs useful on a wide

range of material - especially the spoken

voice, to which Chamber programs add a

noticeable increase in loudness with low

color.

Gated Reverb Mono In/Stereo Out

Gated reverb is created by feeding a

reverb, such as a metal plate, through a

gate device. Decay Time is set to instant,

while Hold Time varies duration and sound.

The Gated reverb provides a fairly con-

stant sound with no decay until the reverb

is cut off abruptly. This program works well

on percussion — particularly on snare and

toms; be sure to experiment with other

sound sources as well.

Reverse Reverb Mono In/Stereo Out

Reverse reverb works in the opposite fash-

ion from normal reverb. Whereas a normal

reverb has the loudest series of reflections

heard first that then become quieter over

time, the Reverse reverb has the soft-

est reflections (essentially the tail of the

reverb) heard first, and then grows louder

over time until they abruptly cut off.

Ambience Reverb Stereo

Ambience is used to simulate the effect

of a small or medium sized room without

noticeable decay. It is often used for voice,

guitar or percussion.

Studio Reverb Stereo

Much like Room reverb, Studio produces

an excellent simulation of smaller, well-

controlled acoustic spaces, characteristic

of the main performance areas in recording

studios. Studio is also useful with dialog

and voiceover applications as well as indi-

vidual instrument and electric guitar tracks.

Effects Descriptions - Reverbs

Arena Reverb Stereo

Arena reverb emulates a huge physical

space such as an indoor sports venue

or stadium. The characteristics of Arena

reverb are long secondary reflection times

and a reduced amount of high frequency

content. Arena is a mostly mid- and low-

frequency dominant reverb, and is an ideal

selection for “special effect” type applica-

tions that require extremely long reverb

times. It is not a good choice for a very

busy mix, since it can reduce intelligibility.

Spring Reverb Mono In/Stereo Out

A Spring reverb is created by a pair of

piezoelectric crystals—one acting as a

speaker and the other acting as a micro-

phone—connected by a simple set of

springs. The characteristic ‘boing’ of a

spring is an important component of many

classic rock and rockabilly guitar sounds.

Reverb Controls

Pre Delay

Creates an additional time delay between

the source signal and the onset of rever-

beration. This control is not intended to

precisely mimic the time delays in natural

spaces, as the build-up of reverberation is

gradual, and the initial time gap is usually

relatively short. For the most natural effect,

the Pre Delay values should be set in the

range of 10-25 milliseconds. However,

if a mix is very busy or overly cluttered,

increasing the Pre Delay time may help

clarify it, and set each instrument apart

from each other.

Decay

Controls the amount of time the reverb can

be heard. Higher settings increase rever-

beration times which are usually associat-

ed with larger acoustical environments, but

can decrease intelligibility. Lower settings

shorten reverb times and should be used

when a smaller apparent space or a more

subtle effect is desired.

Liveliness

Adjusts the amount of high frequency

content in the reverberation tails. Higher

settings increase high frequency response,

creating brighter reverbs; lower settings

create darker reverbs with more bass fre-

quency emphasis.

Diffusion

Controls the initial echo density. High set-

tings of Diffusion result in high initial echo

density, and low settings cause low initial

density. In a real-world situation, irregular

walls cause high diffusion, while large flat

walls cause low diffusion. For drums and

percussion, try using higher Diffusion set-

tings.

Shape

This control helps give a sense of both

room shape and room size. Low values for

Shape keep the majority of sound energy

in the early part of the reverb tail. High val-

ues move the energy to later in the reverb,

and are helpful in creating the sense of a

strong rear wall or “backslap.

Boing

This is a unique parameter to the Spring

reverb, designed to increase or decrease

the amount of spring rattle that is a physi-

cal characteristic of spring tank reverbs.

Effects Descriptions - Reverbs

Note: Values of 0 – 100 are displayed as 0 – 00 (100 is displayed as 00 in the Program

Display). Values of greater than 100 are shown with a decimal between the digits, i.e.

115 displayed as 1.5, 150 displayed as 5.0, and 200 is displayed as 0.0.

Reverb Control Values

Effects Descriptions - Reverbs

Delays

Delays repeat a sound a short time after it

first occurs. Delay becomes echo when the

output is fed back into the input (feedback).

This turns a single repeat into a series of

repeats, each a little softer than the last.

Studio Delay Stereo

The Studio Delay features up to 2.5 sec-

onds of stereo delay and offers a built-in

ducker that attenuates the delay output

whenever signal is present at the input.

This can be used to keep the original

signal from being muddied up by delay

repeats.

Digital Delay Mono In/Stereo Out

The Digital Delay is the cleanest, most

accurate of the delay programs, with up to

5 seconds of mono delay and the built-in

ducking feature.

Tape Delay Mono In/Stereo Out

In the days before digital, delays were

created using a special tape recorder in

which the magnetic recording tape was

looped, with closely-spaced recording and

playback heads. The delay effect was

created by the tape moving in the space

between the record and playback heads

– while delay time was adjusted by chang-

ing the speed of the tape loop. Although

very musical-sounding, wow and flutter

combined with a significant loss of high

frequencies, and to some extent also low

frequencies, are all elements commonly

associated with tape recordings. The Tape

Delay offers up to 5 seconds of mono

delay.

Pong Delay Mono In /Stereo Out

This delay effect pans the delay repeats

from left to right, while the input signal

remains at its original (center) position.

Pong Delay offers up to 5 seconds of

mono delay time.

Modulated Delay Stereo

The Modulated Delay is enhanced by

an LFO (low frequency oscillator) that

produces a chorusing effect on the delay

repeats. This is a great delay for guitar

and instrument passages that need that

“special something.” The Modulated Delay

features up to 2.5 seconds of stereo modu-

lated delay.

Reverse Delay Mono In/Stereo Out

This delay effect emulates the old studio

trick of flipping a tape over, playing it back-

wards through a tape delay, and recording

the effect. The delays “build up” from softer

to louder – creating the sensation that the

delays come before the signal. Very cool

when used judiciously. Up to 5 seconds of

mono delay time are available.

Delay Controls

Time Range

Controls the length of the delay relative

to Tap Tempo. At the 12 o’clock position,

delay repeats are synchronous with the

Tempo light (represented by a Quarter

Note); lower values create faster repeats,

higher values increase the time between

repeats. Range 0-72. See Appendix on

page 39 for exact note values.

Feedback

Controls the number of delay repeats by

feeding the delay output signal back into

the delay input. This creates a series of

delay repeats, each slightly attenuated

until they become inaudible. Higher set-

tings create more repeats; lower settings

reduce the number of repeats. When this

knob is turned fully clockwise, it engages

Repeat Hold – delay repeats play back in

an infinite loop, but no further input signal

is introduced into the delay effect. Repeat

Hold is available only on Studio, Digital

and Pong Delay.

Effects Descriptions - Delays

Ducker Threshold

MX200’s Studio and Digital delays offer a

“ducking” feature, which causes the delay

repeats to attenuate (or get softer) by -6dB

when live (or input) signal is present. This

allows the delay to remain as an effect,

and not clash with the original signal. The

higher this value is set, the louder an input

signal must be for the ducking to take

place.

Smear

This parameter controls the amount of

“smear,” or signal degradation and fre-

quency loss. Particularly evident in the

Tape Delay, the higher the setting, the

more each delay repeat loses intelligibility

compared to the original signal.

Tap Ratio

Tap Ratio sets the length between the

first and second tap repeats of the Pong

Delay. With this control set at 12 o’clock,

repeats are evenly alternated between left

and right channels. As this knob is turned

counter-clockwise, the first tap occurs ear-

lier and the second tap occurs later than

they did at the 12 o’clock position. When

the knob is turned clockwise, the first tap

occurs later and the second tap occurs

earlier.

Depth

This controls the intensity of modulation,

or “depth” in the Modulated Delay. Lower

settings produce a more subtle effect,

while higher values give a more “seasick”

feeling.

Tempo Button

Tapping this button twice sets the delay

times. The Tempo button LED flashes the

tempo tapped in, and delay taps will be

synchronized to the flashing LED. Use the

Time Range knob to increase or decrease

delay times after tapping in a tempo.

Delay Control Values

Note: When Feedback is turned past 99, the value displays as rh to indicate Repeat

Hold. (Studio, Digital, and Pong delays only.)

Effects Descriptions - Delays

dbx

Dynamics

De-Esser Mono (Wet only)

A De-Esser is a type of compressor used

to control specific frequencies. Excessive

sibilance, or the “s” sounds, can be tamed

by applying this effect.

De-Esser Controls

Knob 1: Compression Ratio

Determines the amount of compression,

from 1:1 (no effect) to Infinity:1 (complete

limiting).

Knob 2: Frequency Range

Selects the frequency range of compres-

sion in 40 discrete steps from 1600Hz to

10kHz (the most common frequencies in

which excessive sibilance occurs).

Knob 3: Bandwidth (Q)

Controls the bandwidth or “Quality” (Q) of

frequency range. The higher the selected

value, the tighter the bandwidth, and

less apparent the de-essing effect is.

Incremental in six steps from 1/4 Octave

(0) to 1/24th Octave (5). See Appendix on

page 39 for bandwidth values.

Compressor Mono (Wet only)

A compressor is used to control the

dynamic range of a signal. Typically used

to tighten bass or drum tracks, or to control

a vocal passage, a compressor is a very

useful but often misunderstood tool. To

better use the Compressor in the MX200,

a bit of understanding about compression

is helpful.

When a signal level crosses the Threshold

level, the compressor then reduces the

amount of output level by an amount deter-

mined by the Ratio. For example, if the

threshold is set to -12dB, and the ratio set

to 4:1, then when signal exceeds -12dB,

the signal level above that amount only

increases by 1dB to every 4dB of signal

level above -12dB. In this case, an incom-

ing signal of -4dB (which is 8dB above the

threshold) would result in an output signal

of -10dB, or 2dB higher than the threshold

level, since the 4:1 compression ratio only

allowed 2dB more output, based on the

8dB increase above the -12dB threshold.

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 differ-

ence between the softest and loudest parts

of the signal.

Compressor Controls

Knob 1: Threshold

Determines the threshold above which

compression begins, incrementally

between -70dB and 0dB (FS).

Knob 2: Compression Ratio

Selects the compression ratio, from 1:1 (no

effect) to Infinity:1 (or complete limiting).

Knob 3: Makeup Gain

Increases the output level to compensate

for signal attenuation during compression.

Incremental between 0dB (no gain) to

+12dB.

Effects Descriptions - dbx® Dynamics

Modulated Effects

Chorus Stereo

Chorus creates a lush, full sound by

combining two or more signals together

where one is unaffected and the other

signals vary in pitch very slightly over time.

Chorus is commonly used to fatten up

tracks and to add body to guitars without

coloring the original tone. Chorus can also

be used with discretion to thicken a vocal

track.

Chorus Controls

Knob 1: Speed

Controls the modulation rate of the Chorus

effect. Lower settings are subtle, while

higher values are much more pronounced.

Knob 2: 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: Voices

Controls the number of additional Chorus

voices. Up to 8 voices can be added, con-

tinuously variable in 100 individual steps.

Flanger Stereo

This effect was originally created by simul-

taneously recording and playing back two

identical programs on two tape record-

ers, 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 cancella-

tions and reinforcements, with characteris-

tic swishing, tunneling, and fading sounds.

Flanger Controls

Knob 1: Speed

Controls the modulation rate of the

Flanger effect.

Knob 2: Depth

Controls the intensity of the Flanger effect.

Lower settings provide a slight “whooshing”

sound while higher settings provide a much

more dramatic “jet airplane” sound.

Knob 3: Regeneration

This knob controls the amount of modu-

lated signal being fed back into the input,

creating feedback. Higher amounts add a

metallic resonance to the signal.

Phaser Stereo

The Phaser automatically moves fre-

quency 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 pre-

sets) and guitars.

Phaser Controls

Knob 1: Speed

Controls the modulation rate of the Phaser

effect.

Knob 2: Depth

Controls the intensity of the Phaser effect.

Knob 3: Regeneration

Effects Descriptions - Modulated Effects

This knob controls the amount of modu-

lated signal being fed back into the input,

creating feedback. Higher amounts add

more resonance to the effect signal.

Tremolo/Pan Stereo (Wet only)

Tremolo and Panner create rhythmic

changes in signal amplitude. Tremolo

affects both channel’s amplitude simul-

taneously, while the Panner affects the

amplitude of each channel in an alternating

manner.

Tremolo/Pan Controls

Knob 1: Speed

Controls the modulation rate of the

Tremolo/Panner.

Knob 2: Depth

Controls the intensity of the volume ampli-

tude change.

Knob 3: Phase

Controls whether the amplitude change

occurs in both channels simultaneously

(Tremolo) or alternates between channels

(Panner).

Rotary Mono (Wet only)

Rotary speaker cabinets were designed

to provide a majestic vibrato/choir effect

for electronic theater and church organs.

The most well known rotary speaker is the

Leslie™ Model 122, which has two coun-

ter-rotating elements: a high-frequency

horn and a low-frequency rotor with slow

and fast speeds. The sound generated as

the spinning elements change speed is

truly magical. The swirling, spacious effect

is difficult to describe – but clearly recog-

nizable.

The Rotary effect is modeled after a

Leslie-style cabinet. The input signal is split

into high and low-frequency bands. The

rotation effect is created by a synchronized

combination of pitch shifting, tremolo, and

panning. Like the physical cabinet, the

high (horn) and low (rotor) frequencies

are “spun” in opposite directions. Horn

and rotor speeds are independent, and

designed with acceleration and decelera-

tion characteristics to simulate the inertia of

the original mechanical elements.

A virtual requirement for organ music,

Rotary also sounds remarkable with guitar

and electric piano rhythm parts. In fact,

these programs are great alternatives to

the Chorus and Tremolo effects for any

sound source.

Rotary Controls

Knob 1: Speed

Controls the modulation rate of both rotary

speakers. The lower frequencies rotate at

a slower speed than the high frequencies.

Knob 2: Doppler

Increases or decreases the Doppler pitch

effect that is created by the physics of a

rotating speaker.

Knob 3: Stereo Spread

Increases or decreases the stereo imaging

of the Rotary effect.

Vibrato Stereo (Wet only)

Vibrato is obtained by smoothly varying

the pitch of the signal just sharp and flat of

the original at a determined rate.

Effects Descriptions - Modulated Effects

Vibrato Controls

Knob 1: Speed

Controls the modulation rate of Vibrato.

Knob 2: Depth

Controls the maximum amount of pitch

shift. Lower settings result in a mere “war-

ble,” while higher settings produce a more

exaggerated “wow” sound.

Knob 3: Phase

This control sets left and right channel

waveforms out of phase, resulting in a left-

to-right panning motion.

Pitch Shift Stereo

This effect shifts the frequency spectrum

of the input signal. Altering the pitch of

a sound produces a wide range effects -

from subtle detunes to full interval shifts up

or down a two octave range. The MX200’s

Pitch Shift effect is a chromatic shifter,

meaning all notes of the scale are shifted

by the same interval. Pitch Shift is very

useful with guitar tracks, monophonic synth

lines, or where special vocal effects are

needed.

Pitch Shift Controls

Knob 1: Shift Amount

Determines the amount of pitch shifting.

Range is 0-24 semitones (2 octaves).

Knob 2: Down/Up Shift

Determines whether the pitch shifting is up

or down from the original signal.

Knob 3: Cutoff Frequency

This controls the cutoff frequency of the

low pass filter. Lower settings roll off high

frequency response.

Detune Stereo

Detune adds a slightly pitch-shifted ver-

sion of the original source, thickening the

sound. This creates a particularly effective

simulation of “double-tracking.” This effect

is also a great alternative to the Chorus

effect, adding the richness of a chorus

without the audible sweep caused by the

chorus rate.

Detune Controls

Knob 1: Left Shift Amount

Determines the detune amount of the Left

input, from -24 cents to +24 cents.

Knob 2: Right Shift Amount

Determines the detune amount of the

Right input, from -24 cents to +24 cents.

Knob 3: Stereo Spread

Higher values increase the perceived dis-

tance of the detuned voices in the stereo

field.

Effects Descriptions - Modulated Effects

MX200 Utilities

The MX200 has several global functions

that can be customized to meet your

needs. These functions are MIDI Channel

Select, Program AutoLoad enable, Dry

Track to digital output, Analog/Digital

Input Select, and Factory Reset. To

access these Utility functions, press and

hold both the Store and Audition but-

tons simultaneously until the Audition

button LED begins to flash. The Program

Display reads Ut to indicate that you are

in Utility mode rather than Program mode.

Navigation between Utility functions is

controlled by pressing the Audition button;

changes are made by turning the Program

Select knob.

MIDI Channel

The MX200 is capable of receiving

incoming MIDI Program Change and CC

(Continuous Controller) messages via a

MIDI or USB connection. The MX200 can

be set to receive on any single MIDI chan-

nel, all MIDI channels, or can have MIDI

receive disabled.

To select the MIDI channel:

1. Press both the Store and Audition

buttons simultaneously.

2. The first menu displayed when entering

the Utility mode is the MIDI Channel

menu. The Program Display

alternates between Ch and 1 (1 is

the factory default MIDI channel).

3. Use the Program Select knob to

choose the MIDI channel that you want

the MX200 to receive incoming MIDI

Program Change and CC messages on.

The range is 1-16, AL (omni), and OF

(ignores incoming MIDI messages).

4. Press the Store button to save this

change.

Program AutoLoad

From the factory, the MX200 is configured

to have presets loaded manually once they

are selected. This is useful in live applica-

tions when a performance requires differ-

ent programs to be loaded that are not in

adjacent memory locations. Select the pro-

gram using the Program Select knob and

then press the knob to load it for use. The

previous program remains active until the

new program is loaded. If you would like

the programs to be loaded automatically as

they are changed with the Program Select

knob, you can enable the AutoLoad func-

tion.

To enable AutoLoad:

1. Press both the Store and Audition

buttons simultaneously.

2. Press the Audition button repeatedly

until Lo appears in the Program

Display. The Program Display flashes

between Lo and OF, indicating the

AutoLoad feature is disabled.

3. Turn the Program Select knob until the

display reads On to enable AutoLoad.

4. Press the Store button to save this

change.

Analog / Digital Input

Select

The MX200 has both analog and S/PDIF

digital inputs and outputs available. The S/

PDIF digital output is always operational

and any incoming analog signal is pro-

cessed and sent to both the analog and

digital outputs. When a digital signal is

received at the S/PDIF digital input from

another device, the MX200 automatically

disables the analog inputs and enables

the digital input to receive signal from the

external device. There are times however,

you may want to leave the digital device

connected but receive signal from the ana-

log inputs.

MX200 Utilities

To enable or disable the digital input:

1. Press both the Store and Audition

buttons simultaneously.

2. Press the Audition button repeatedly

until In appears in the Program

Display. The Program Display flashes

betweenIn and dI if the digital input is

selected. If you want to disable the

digital input and use the analog inputs,

turn the Program Select knob until the

Program Display reads An to select the

analog input.

3. Press the Store button to save this

change.

Digital Out Dry Track

The MX200 can send unprocessed digital

audio (Dry Track) out the S/PDIF Digital

Out while monitoring processed audio

through the analog outputs. This is useful

when you want to record a dry perfor-

mance digitally, but also hear effects pro-

cessing while you a recording.

Note: The Dry Track feature is only avail-

able for signals brought into the MX200 via

the analog inputs. Dry Track has no effect

on signals being received at the S/PDIF

In. Digital in/out signals are processed nor-

mally regardless of whether the Dry Track

parameter is enabled or disabled.

To enable Dry Track:

1. Press both the Store and Audition

buttons simultaneously.

2. Press the Audition button repeatedly

until dt appears in the Program

Display. The Program Display flashes

between dt and Of

3. Turn the Program Select knob until the

Program Display reads On to enable

the Dry Track feature.

4. Press the Store button to save this

change.

Stereo and Mono Output

Modes

The MX200 outputs can be either Stereo

or Mono depending on your application

needs. When Stereo Output Mode is

selected (MX200’s default Output Mode),

the signals maintain stereo separation as

configured by the Routing button. When

Mono Output Mode is selected, both Left

and Right output signals are summed to

mono and then sent out the Left output.

To select Mono or Stereo Output Modes:

1. Press both the Store and Audition

buttons simultaneously until Ut appears

in the Program Display.

2. Press the Audition button repeatedly

until OP appears in the Program

Display. This is the Output Mode setup

menu. The Program Display

alternately flashes OP and then St

to indicate Stereo Output Mode is

selected.

3. To change the Output Mode to Mono,

turn the Program Select knob until no

appears in the Program Display

indicating Mono Output Mode is now

selected.

4. Press the Store button to save these

changes.

Note: When Mono Output Mode is select-

ed, effects like Panner and Pong Delay

will no longer have left to right animation

as they do when Stereo Output Mode is

selected.

Factory Program Banks:

Serial and Parallel

The MX200 has two sets of Factory pro-

gram banks: the Parallel bank and Serial

bank. The Parallel processing bank is

used when the MX200 is configured in an

Auxiliary Send/Return setup with a mixer.

The Serial bank is designed for use when

the MX200 will have a signal source (such

MX200 Utilities

as an instrument) connected directly to

its inputs and the MX200’s outputs are

connected to a mixer or amplifier input

channels. The difference between these

two banks is the way the Mix 1 and Mix 2

controls are set in the Factory programs,

providing the proper wet/dry mix for either

application.

Note: The default Factory bank is the

Serial bank. If you plan to use the MX200

as a Parallel device in a mixer Aux Send/

Return setup, select the Parallel bank of

Factory programs.

To select the Parallel bank of Factory pro-

grams:

1. Press both the Store and Audition

buttons simultaneously until Ut appears

in the Program Display.

2. Press the Audition button repeatedly

until Fb appears in the Program

Display. This is the Factory Bank

program select menu. The Program

Display alternately flashes Fb

and then SE to indicate the Serial bank

of Factory programs is selected.

3. To select the Parallel bank of Factory

programs, turn the Program Select

knob until PA appears in the Program

Display.

4. Press the Store button to save these

changes.

Bypass Mode Select

From the factory, MX200 is configured so

that engaging the Bypass button on P1

or P2 causes that processor to go into

Bypass mode, allowing dry, unprocessed

signal to pass through unaffected. There

are cases when you may want to have this

button mute the output altogether, allowing

neither wet nor dry signal to pass. Note

that this configuration should only be used

for Routing options 1, 3 and 4; placing

either Processor in Bypass (mute) when

Routing 2 (Cascade) is selected will cause

the MX200 to have no output, as the entire

signal is muted by the Processor placed in

Bypass.

To change this setting:

1. Press both the Store and Audition

buttons simultaneously.

2. Press the Audition button repeatedly

until bP appears in the Program

Display. The Program Display flashes

between bP and dr (indicating dry

signal).

3. Turn the Program Select knob until the

display reads no (or no signal).

4. Press the Store button to save this

change.

Factory Reset

Use this utility if you want to erase all User

program data and restore the MX200 to its

factory state.

To perform a Factory Reset:

1. Press both the Store and Audition

buttons simultaneously.

2. Press the Audition button repeatedly

until Fr appears in the Program

Display

3. To restore the MX200 to its factory

state, press the Store button. The Store

button begins to flash.

Warning: Pressing and holding the Store

button again at this time resets all Utility

menus to their factory defaults and perma-

nently erases all User programs! This will

not affect the Factory programs or any pro-

grams saved to your computer using the

MX-Edit Librarian software.

4. Press and hold the Store button to

complete the reset procedure. The

display flashes rs to indicate the

Factory Reset was successful.

MX200 Utilities

The included MX-Edit Editor/Librarian soft-

ware lets you create, edit, compare, save

and load reverb and effects programs for

use with your MX200 on your Windows

computer. While the MX200 has 99 User

program locations, you can create and

save as many programs you like on your

computer, and load them into your MX200

via a USB or MIDI connection at any time.

Minimum System Requirements

Before installing the MX-Edit Editor/

Librarian software, make sure that your

computer meets the following minimum

requirements:

• Pentium-III, 500MHz or better.

•

Windows XP, Service Pack 2 or higher.

Installing the MX-Edit

Editor/Librarian Software

To install the included MX-Edit Editor/

Librarian software in Windows XP, insert

the provided disc into your computer’s

CD-ROM drive. You will be guided through

the installation process – just follow the

on-screen instructions and prompts. Note

that you will be prompted to connect the

MX200 via the USB port during the instal-

lation process. In order for your computer

to recognize the MX200 connection, it is

necessary to have the MX200 powered on

and connected via a standard USB cable.

Important: If you plug your MX200 into a

USB port other than the one used during

the installation of MX-Edit software and

drivers, you may need to run the USB driv-

er installer again. For your convenience,

a shortcut to the USB driver installer

is added to the Start menu during the

MX-Edit software installation. If you need

to reinstall the drivers, click Start->Program

Files->Lexicon->MX-Edit->Reinstall

Drivers, and follow the installation prompts.

Quick Start

When you first open MX-Edit, you will see

the MX-Edit Library on the left side of the

MX-Edit window, with the MX200 icon at

the top of the Library.

Double-click the MX200 icon to expand

the Library, then double-click the Factory

or User icons to see the Factory or User

program lists. The Factory list will always

be the same, as Factory programs can-

not be changed; the User program list will

represent the programs currently residing

in the User program locations 1-99 in your

MX200 hardware.

Double-click a program name to open it

in the editor. An instance of the MX-Edit

Program Editor appears, with the selected

program’s name in the Title Bar and

Program Name field. The program settings

are also reflected in the Parameter knobs

and buttons in the Program Editor window.

The MX-Edit

Editor/Librarian - Windows

The MX-Edit Editor/Librarian - Windows

The selected program is now loaded in

your MX200 as well, and can be previewed

using the Audition button on the MX200’s

front panel. Any changes made in the

MX-Edit Program Editor window will also

occur simultaneously on the MX200 hard-

ware.

The MX-Edit

Library

The MX-Edit Library contains the 99

Factory and 99 User programs that are

currently loaded in your MX200. When

you first open MX-Edit, it communicates

via USB (or MIDI) with the MX200 hard-

ware, and populates the Library with all the

information about each of the Factory and

User programs stored in MX200’s physical

memory.

To view programs in the Library window,

double-click on the MX200 icon in the

upper left corner, then double-click the

Factory or User icon to expand the Library

and see the Factory or User program lists.

The Factory list is always the same, as

Factory programs cannot be overwritten;

the User program list represents the 99

User programs currently saved in your

MX200 hardware.

Opening or Creating a

Program

To open a program, choose one of the fol-

lowing:

• To open a Factory or User

program from the MX-Edit Library,

double click on that program number in

the Library window.

•

To open a program that has been saved

to your computer (but doesn’t appear in

the MX-Edit Library), click File and

select Open Program. By default,

the Open dialog looks in the My

Documents folder (or the last folder that

a program was opened from). Double-

click the program to load it.

•

To open a program with the currently

active settings from the MX200, select

Open Current Program in the

Device menu. This will retrieve all

current settings from the MX200’s front

panel, and display those settings in the

Program Editor window.

To create a new, default program, click

File and select New Program. The default

program is a template that you can use

as a good generic starting point when you

want to create your own program from

scratch. It is stored in a file named Default

in the MX-Edit installation folder (normally

C:\Program Files\Lexicon\MX-Edit). Initially,

The MX-Edit Editor/Librarian - Windows

this program is a basic clean sound.

However, you can create your own default

program by overwriting the Default file in

the MX-Edit directory with the program of

your choice.

The MX-Edit

Program

Editor

The MX-Edit Program Editor lets you

quickly and easily view, compare and edit

any program stored in the MX200, or pro-

grams saved to your computer.

MX-Edit gives you all the same control and

functionality as the MX200 front panel, with

the exception of Input control, Audition,

and Utility functions. You’ll also see that

the Routing button has been replaced

by a pull-down menu, as have the two

Effect Select buttons. The Active Reverb/

Effects Matrix and Program Display have

been replaced by the Title Bar and values

above the Parameter adjust knobs.

With these minor differences, the Program

Editor works just like the MX200’s front

panel – and all changes that you make

in the active Program Editor window

are reflected in real-time on the MX200.

MX-Edit and the MX200 are fully interac-

tive, so any changes made on the MX200’s

front panel are reflected in real-time in the

active MX-Edit Program Editor window as

well.

When you open a program, an instance of

the MX-Edit Program Editor appears, with

the selected program’s name in Program

Name field. The settings of the loaded

program are reflected in the Parameter

knobs and buttons, and are loaded into the

MX200 hardware. The program (and any

edits you make) can be previewed at any

time by using the Audition button on the

MX200 front panel.

You can have multiple Program Editors

open at once, but only the currently

selected window is active. In other words,

MX200 processes the settings of the active

Program Editor, and you only hear the

settings of the active (selected) Program

Editor window.

Editing a Program

Signal Routing Options

To change MX200’s Routing, left click on

the Routing button in the Input/Routing

control area. A list of the MX200’s four

Routing options appears, with a check

mark next to the currently selected routing.

Highlight an item in the list and left click to

select and load it. A routing diagram will

appear next to the Routing button, and the

routing name will be shown in the button.

Reverb/Effect Selection Buttons

To change a reverb or effect in Processor

1 or Processor 2, left click on the Reverb/

Effect Select button in P1 or P2 control

area. A list of the MX200’s 32 reverbs and

effects appears, with a check mark next

to the currently selected reverb or effect.

Highlight an item in the list and left click to

select and load it. Notice that the reverb or

effect name now appears in the Reverb/

Effect Select button, and the Parameter

knobs in MX-Edit change position depend-

ing on the default values for the selected

reverb or effect.

The MX-Edit Editor/Librarian - Windows

Adjusting Knobs

To make editing in MX-Edit easy and intui-

tive, there are three ways to adjust knobs

in MX-Edit:

Mouse – Circular

Place the cursor at the outer (shadowed)

edge of a knob, then click and hold the

left mouse button. The white indicator line

on the knob jumps to the mouse cursor’s

position, and follows the cursor as it moves

around the circumference of the knob. To

make fine adjustments, continue to hold

the left mouse button down and move the

cursor away from the knob; the white line

still follows the cursor, no matter how far

away it is from the knob.

Mouse – Up / Down

Move the mouse cursor to the center of a

knob; the knob is highlighted, and the cur-

sor changes to a double-headed arrow,

pointing up and down. Click and hold the

left mouse button, causing the cursor to

disappear. Move the mouse up to turn the

knob higher, or move the mouse down to

turn the knob lower. For very fast edits,

press and hold the Ctrl key on your com-

puter keyboard while moving the mouse;

this multiplies the adjusted value by a fac-

tor of 10.

Arrow Keys

Highlight, then left-click on a knob to select

it. Use the up (or right) arrow key to turn

the knob higher and increase the value;

use the down (or left) arrow key to turn the

knob lower, decreasing the value. This is

a very effective method for making small

adjustments to fine-tune your settings. For

faster modifications, press and hold the

Ctrl key on your computer keyboard while

pressing an arrow key to multiply each

adjustment by a factor of 10.

Tempo

If one of the MX200’s six delays is select-

ed, the Tempo button in that processor

becomes active, and begins to flash at

the rate displayed above the Time Range

knob. The tempo value is shown in mil-

liseconds (ms), and a quarter-note appears

next to the displayed tempo. When the

Time Range parameter is adjusted, exact

divisions of time in milliseconds relative to

the flashing Tempo rate will cause a note

value to be displayed next to the time, e.g.

16th note, dotted-8th note, etc. The Tempo

button will continue to flash at the origi-

nally selected tempo, but the delay taps

will occur at the rate displayed in the Time

Range value.

To change the tempo value, simply place

the mouse cursor over the Tempo button,

and left-click twice to tap the tempo, just

as you would on the MX200 front panel.

The Tempo buttons on MX200 and in the

Program Editor window now flash at the

new tempo.

If something other than one of the six

delays is loaded in the processor, the

Tempo button is grayed out and inactive.

Bypass

To engage the Bypass button (and turn

off the selected effect), place the mouse

cursor over the Bypass button, and left-

click to bypass that processor. Note that

the Bypass buttons on both the MX200

front panel and the Program Editor illumi-

nate to indicate the selected processor is

bypassed.

Program Name

To create or change a program’s name,

simply left click once anywhere in the

Program Name field. The program name

will be highlighted; type the new name into

the Title Bar. The program name in the

Header area will not change until the pro-

gram has been saved.

The MX-Edit Editor/Librarian - Windows

Saving a Program

If you make any changes to a program,

an asterisk (*) will appear next to the pro-

gram name in the Title Bar of the Program

Editor. The LED associated with the cor-

responding knob or button and the Store

button on the MX200’s front panel also

illuminates, indicating a change from the

loaded program.

To save a program to disk, click File and

select Save or Save As, and enter a file

name. By default, programs are saved

to your computer in the My Documents

folder; to choose a different location,

simply navigate to a different folder or

create a new folder in which to save your

MX200 program files. (For example, C:\

Documents and Settings\username\My

Documents\MX200 Presets). Click the

Save button to complete the process.

You can also save a program simply by

closing the active Program Editor window.

If any changes have been made to the

loaded program, a dialog box appears,

asking if you want to save your changes.

Click Yes to save the changes, No to

close without saving, or Cancel to return

to the active Program Editor window. If you

choose this method to save your changes,

the current program will be over-written;

to save the program as a new file with a

different name (and keep the loaded pro-

gram’s settings intact), click File then Save

As.

MX200 programs are given the file exten-

sion .m2p, and they can be copied, moved,

attached to emails – anything you can do

with a standard document or file. These

files should, however, only be opened by

MX-Edit Editor/Librarian software to pre-

vent corruption.

Storing a Program

To store a program into one of the 99 User

program locations in the MX-Edit Library

(and the corresponding location in the

MX200’s physical memory), open the pro-

gram you wish to store. With the Program

Editor window active, click Device, then

Store Program. The Store to Device

dialog appears, allowing you to choose the

User program location and program name

to store with it. Be aware that storing a

program in this manner will over-write the

program previously stored in that location,

both in the MX-Edit Library and the MX200

itself. Click Save to store to the selected

User program location. To cancel the

operation, click Cancel, or close the Store

to Device dialog box.

To rename a User program in the Library,

right-click on its name in the Library win-

dow and select Rename. Type in the new

name and press Enter to save the change.

Since the Factory programs can never

be over-written, you cannot store to nor

rename a Factory program location. You

may edit a Factory program, but it must be

stored to a User program location.

Archiving

Archiving is a powerful tool for preserving

the current state of your MX200. When you

archive the MX200, all of its presets and

global settings are sent to the computer

and saved to a file. When an archive is

restored, the MX200 is configured exactly

how it was when you archived it. This

allows you to not only create safety back-

ups, but create unique configurations for

various purposes. For example, you might

want to create a setup specifically for that

gig you’re playing on the weekend, but still

keep all your favorite studio presets intact.

Use MX-Edit’s Backup feature to archive

the MX200’s settings, then modify and

store anything and everything you want,

without worrying about reprogramming all

The MX-Edit Editor/Librarian - Windows

your previous programs and settings.

To archive the MX200, click Device and

select Backup. A warning will appear,

advising you that a full Backup may take

a few minutes, and asking whether you

wish to proceed. To cancel without creat-

ing a Backup archive, click Cancel or

close the dialog box. To proceed, click

OK. A progress bar appears at the bot-

tom of the MX-Edit screen, indicating that

a Bulk Dump is in process. When all the

MX200 data is received, a Save dialog

box appears. The default file name is

the current day and date (e.g. Backup

Wednesday, April 27, 2005 ) with the file

extension .m2a (MX200 Archive file). Click

Save to store the Backup Archive file.

To restore a saved archive, click Device

and select Restore. When prompted,

select an MX200 archive file, and click

Open. MX-Edit then sends the MX200

archive to your MX200, replacing all the

data in the hardware with the archived

data.

Note: It is a good idea to create a new

Backup archive file anytime you plan to

restore the MX200 from a previous archive

session.

The MX-Edit Editor/Librarian - Windows

The included MX-Edit Editor/Librarian soft-

ware lets you create, edit, save and load

reverbs and effects programs for use with

your MX200 on your Macintosh® OSX

computer. While the MX200 has 99 User

program locations, you can create and

save as many programs you like on your

computer, and load them into your MX200

via a USB connection at any time.

Minimum System Requirements

Before installing the MX-Edit Editor/

Librarian software, make sure that your

computer meets the following minimum

requirements:

OSX 10.3 or higher

Installing the MX-Edit

Editor/Librarian

To install the MX-Edit, VST™ and Audio

Units software for Macintosh® computers,

insert the provided disc into the CD-ROM

drive and double-click on the disc icon

when it appears. Double-click on the

MX200.dmg.hqx file to extract and run the

installer. Follow the on-screen prompts to

install the software.

The installer sets up the standalone

MX-Edit Editor/Librarian application in

the Applications folder, the MX-Edit Audio

Unit in the Components folder, and the

MX-Edit VST in the VST folder.

Quick Start

When you first start MX-Edit, the MX-Edit

Program Editor window opens.

To load a program, click the Program

Menu field. A list of programs appears.

Select a program in the list to load it.

Make your adjustments (if any) to the

knobs and buttons in the control panel just

as you would on the MX200 itself.

If you want to save your edits to a file,

select File > Save menu or File > Save

As. The Save dialog box appears; type a

name in the Name: field and click OK.

The MX-Edit Program

Window

The Program Editor window lets you con-

veniently view and edit a program. The

Program Editor window contains a header

section that includes the Program Name.

To open a program from the MX200 click

in the Program Menu field and select a

program from the list.

To open a saved program from a file,

select File > Open Program. When the

Open dialog box appears, browse to find

the program, and double-click the program

name to load it.

To save a program to disk, select File

> Save Program or Save Program As,

enter a file name, then click the Save but-

ton.

The MX-Edit

Editor/Librarian - Mac

The MX-Edit Editor/Librarian - Mac

To store a program into one of the

MX200’s 99 User program locations, select

Device > Store Program, choose the

location and program name, then click the

Save button.

You can create new programs based either

on the User or Factory programs, but you

may only store to User program locations.

As in the MX200 hardware, Factory pro-

grams cannot be over-written.

To rename a User program, select Device

> Rename. Enter a new name, select the

User program location, and press Enter.

Editing a Program

Signal Routing Options

To change MX200’s Routing, click on

the Routing button in the Input/Routing

control area. A list of the MX200’s four

Routing options appears; highlight an item

in the list and click to select it. A routing

diagram appears next to the Routing but-

ton, and the routing name is shown in the

button.

Reverb/Effect Selection Buttons

Click on a Reverb/Effect Select button

to open a list of the MX200’s reverbs and

effects. Select an item in the list to load it.

Notice that the reverb or effect name now

appears in the Reverb/Effect Select but-

ton, and the Parameter knobs in MX-Edit

change position depending on the default

values for the selected reverb or effect.

Adjusting knobs

Move the cursor to the center of a knob.

Click and hold the mouse button.

Move the mouse up (or right) to turn the

knob higher; move the mouse down (or

left) to turn the knob lower. For fine adjust-

ments, hold the Option key while moving

the mouse.

Tempo

If one of the MX200’s six delays is select-

ed, the Tempo button in that processor

becomes active, and begins to flash at

the rate displayed above the Time Range

knob. The tempo value is shown in mil-

liseconds (ms), and a quarter-note appears

next to the displayed tempo. When the

Time Range parameter is adjusted, exact

divisions of time in milliseconds relative to

the flashing Tempo rate will cause a note

value to be displayed next to the time, e.g.

16th note, dotted-8th note, etc. The Tempo

button will continue to flash at the origi-

nally selected tempo, but the delay taps

will occur at the rate displayed in the Time

Range value.

To change the tempo value, simply place

the mouse cursor over the Tempo button,

and left-click twice to tap the tempo, just

as you would on the MX200 front panel.

The Tempo buttons on MX200 and in the

Program Editor window now flash at the

new tempo.

If something other than one of the six

delays is loaded in the processor, the

Tempo button is grayed out and inactive.

Bypass

To engage the Bypass button (and turn

off the selected effect), place the mouse

cursor over the Bypass button, and click

to bypass that processor. Note that the

Bypass buttons on both the MX200 front

panel and the Program Editor illuminate

to indicate that the selected processor is

bypassed.

The MX-Edit Editor/Librarian - Mac

Archiving

Archiving is a powerful tool for preserving

the current state of your MX200. When you

archive the MX200, all of its presets and

global settings are sent to the computer

and saved to a file. When an archive is

restored, the MX200 is configured exactly

how it was when you archived it. This

allows you to not only create safety back-

ups, but create unique configurations for

various purposes. For example, you might

want to create a setup specifically for that

gig you’re playing on the weekend, but still

keep all your favorite studio presets intact.

Use the MX-Edit Backup feature to archive

the MX200’s settings, then modify and

store anything and everything you want,

without worrying about reprogramming all

your previous programs and settings.

To archive the MX200, select File >

Backup. In the dialog box, select a name

and location for the archive file. The default

name and location is untitled.syx on your

Desktop.

To restore an archive, select File >

Restore. Select an archive file to be

restored, then wait for the data to be

received by the device. MX-Edit sends the

archive information to your MX200, replac-

ing all the data in the hardware with the

archived data.

Note: It is a good idea to create a new

Backup archive file anytime you plan to

restore the MX200 from a previous archive

session.

Quick Access Menu

For instant access to the most often used

commands, click the small down arrow in

the upper left corner of the program win-

dow to open the Quick Access Menu.

Store Program in MX200

Lets you choose a name and location in

the library for the selected program.

Rename Program in MX200

Lets you select a User program and

rename it.

Open Program

Lets you browse for and open existing pro-

grams.

Save Program

Saves the selected program window under

its current name. (If the program is untitled,

you will be prompted to name it.)

Backup

Creates an archive of the programs saved

in the MX200.

Restore

Lets you browse for and open an MX200

Archive File, which loads archived pro-

grams onto the MX200.

The MX-Edit Editor/Librarian - Mac

The MX200 comes with VST™ and Audio

Units software which allows you to use the

MX200 as a Hardware Plug-In. Now you

have access to classic Lexicon

reverbs

and effects within your software record-

ing projects, with full automation and total

recall, without burdening your CPU! Using

the MX200 with the VST and Audio Units

software works much like any other plug-

in you’d use with a DAW, except that the

audio is routed through the MX200 for the

signal processing.

Minimum System Requirements

Audio

I/O hardware with a minimum of two

inputs and four audio outputs.

Windows

P-III, 500MHz or better, WinXP Service

Pack 2 or higher plus a VST-compatible

Software Recording Package

Mac

OSX 10.3 or higher plus a VST

or Audio

Units compatible Software Recording

Package

Installing the MX-Edit VST

Hardware Plug-In

Note: If you have already installed the

MX-Edit

software for Mac or WinXP,

you have already installed the VST and/

or Audio Units software. Simply skip this

section.

For Windows XP users

To install the software in Windows, insert

the disc into your CD-ROM drive and fol-

low the on-screen prompts. (If the Autorun

feature is disabled, browse to the CD and

double-click on the setup.exe file.)

For Mac users

To install on a Mac, insert the disc into

your CD-ROM drive and double-click on

the disc icon when it appears. Double-

click on the MX200.dmg.hqx file to extract

and run the installer. Follow the on-screen

prompts to install the software.

Connecting the MX200

USB Connection

Make sure the MX200 is powered up and

connected to your computer with a stan-

dard USB cable. (For Windows XP users,

make sure the MX200 is plugged into the

same USB port as when the software was

loaded.)

Audio Connections

To use the MX200 as a hardware plug-in,

your computer needs audio hardware with

multiple audio inputs and outputs available,

at least enough to send and return two

channels from the MX200 plus two addi-

tional outputs to monitor with.

For lower latencies and the best audio per-

formance, it is recommended that you con-

nect the MX200 to your computer’s audio

I/O device using the S/PDIF Inputs and

outputs. If your I/O device does not have

a S/PDIF connection, or if it already con-

nected to another device, you may use the

analog connections from your computer’s

I/O device to the 1/4” analog inputs and

outputs on the MX200.

Important: The MX200 accepts digital

audio at 44.1kHz and 48kHz sample rates.

Do not connect any digital device to the

MX200’s S/PDIF Input that transmits at any

other sample rate (such as 96kHz). Doing

so can cause unpredictable performance.

Make sure your recording project is set to

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 configu-

rations for this; consult your software’s

documentation for information about setting

up external routing options.

Steinberg

Cubase SX

users: see infor-

mation on “External FX” connections.

Logic

Audio users: see information about

“I/O Insert Plug-Ins.”

Cakewalk

Sonar™ users: see information

about “Adding Send / Return Effects to a

Bus”

If your software does not provide specific

information about these types of configu-

rations, you can set up the connections

yourself. Each recording platform will vary

slightly, but the basic principles are the

same.

To set up a send and return path:

1. Create a Stereo Bus (or two audio

busses) that are different from your Main

Mix (Master) Bus.

2. Route these busses to the outputs on

your audio I/O hardware that you have

connected to the MX200 (Either the

S/PDIF output, or two analog outputs).

3. In your VST or Audio Units Send Effects

Routing options, send the MX200’s

effect sends to the Stereo Busses (or

Bus Pair) you created in Step 1.

4. Create two audio tracks whose inputs

correspond to those you connected to

the MX200 (Either the S/PDIF input, or

two analog inputs).

5. Route these tracks to the Main Mix

(Master) Bus.

If you have followed these steps correctly,

when you open an instance of the MX200

plug-in, its audio path will lead it to the bus

pair you created, which will send the audio

to the MX200. The processed audio is then

sent from the MX200 through your audio

hardware’s inputs to the two audio tracks

you created in Step 4, and monitored

through the Main Mix Bus, just as you

would any audio or plug-in effect.

Using the MX200 Plug-In

Window

In your DAW, open the Lexicon MX200

plug-in. You’ll see an instance of the

Program Editor window. You can use the

MX200 plug-in software just as you would

any other plug-in: Session Recall, auto-

mation – everything behaves just as any

other VST

or Audio Unit plug-in. The

primary difference is that the audio pro-

cessing occurs in the MX200 rather than

on your computer. And, since the MX200

is a physical device, you can only open

one instance of the plug-in window. If you

attempt to open more than one plug-in

window, the message shown below will

appear.

Controls

The MX200’s Plug-In window functions

much like the MX-Edit Program Editor win-

dow described on page 28.

Using the MX200 as a Hardware Plug-In

Specifications

Audio Inputs: (2) 1/4” TRS balanced or unbalanced

Input Impedance: 20k Ohms balanced, 10k Ohms unbalanced

Input Level: +4dBu Nominal, +20dBu Maximum

Frequency Response: 20 Hz - 20kHz, ref. 1kHz +/- 1dB

THD+N: <.007% 20Hz - 20kHz

Line Outputs: (2) 1/4” TRS balanced or unbalanced

Output Level: +4dBu Nominal, +20dBu Maximum

Dynamic Range: >108dB

A/D Converters: 24-bit, 48kHz

Power: 9V DC (power supply included)

Audio Processor: 24-bit

Software: WinXP/Mac OSX VST GUI Interface

Size: 1 RU

Dimensions: 19” W x 1.75” H x 4.75” D

Weight: 3.75 lbs.

Specifications

Delay

Time Range Values

Note: A value of 36 is the 12 o’clock knob

position, or equal to the Tempo LED rate.

Intermediate values (e.g. 1-3) do not repre-

sent exact note values.

De-Esser

Frequency Values

Bandwidth Values

Appendix

Program List

Effects in the list that are italicized and shaded are in Bypass in the factory programs.

Effects that are bolded are designed to be Full Wet only (e.g. Compressor).

Program List

Effects in the list that are italicized and shaded are in Bypass in the factory programs.

Effects that are bolded are designed to be Full Wet only (e.g. Compressor).

Program List

Lexicon

10653 S. River Front Parkway, Suite 300

South Jordan, UT 84095

PH: (801) 566-8800

FAX: (801) 566-7005

WEB: www.lexiconpro.com

Printed in China

Lexicon MX200 Owners Manual 5073493-B

Produkt Specifikationer

Mærke:	Lexicon
Kategori:	Effekt maskine
Model:	MX200

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