LEXICON MX200 PDF

Reverb Options Clearly the Lexicon reverbs are stars of this particular show, with 16 variants on offer including some nice short plates, chambers, and room ambiences. Pitch-shifting is also catered for, along with reverse delay and de-essing, making this a real processing toolbox rather than a simple one-trick pony. You can also set whether programs load as soon as they are selected or whether changes wait until the knob is pressed. Digital or analogue input selection is another global setting, though both analogue and digital outputs are always active. New effects programs can be set up using the software via its graphical panel interface, and you can also create archives of all your user patches.

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Reverb Options Clearly the Lexicon reverbs are stars of this particular show, with 16 variants on offer including some nice short plates, chambers, and room ambiences. Pitch-shifting is also catered for, along with reverse delay and de-essing, making this a real processing toolbox rather than a simple one-trick pony.

You can also set whether programs load as soon as they are selected or whether changes wait until the knob is pressed. Digital or analogue input selection is another global setting, though both analogue and digital outputs are always active. New effects programs can be set up using the software via its graphical panel interface, and you can also create archives of all your user patches. The Lexicon plug-in window is available within your plug-in list so you can open this in the channel that is set up to pass audio through the MX The controls within the plug-in window operate in much the same way as in the MX-Edit software.

Other plug-ins inserted here behaved normally. Quite a lot of zipper noise was in evidence when changing some of the parameters specifically pre-delay or anything else related to delay times during playback, so clearly you need to do a few tests to see what you can easily automate and how quickly you can make changes before artefacts become audible.

Reverb mix and decay time behave fine in this respect. The reverbs may not have quite the same PCM91 or even MPX sparkle, but they still manage to sit well in a mix without clouding the sound, and they integrate well with the dry sound rather than sitting on top like a layer of fog.

I particularly like the shorter plate and ambience treatments, though the algorithms on offer cover the full range of useful reverb types, from barely audible small-room acoustics to cathedrals.

Even the spring emulation sounds really sweet on vocals. Having made that point, it can be extremely useful to place a compressor before a reverb fed from a send to pump up the reverb energy, and a de-esser can be very effective placed before a bright reverb to stop it over-emphasising sibilance in the original vocal sound. The legends beneath the three controls also change to reflect their function, which is clearly not the case on the hardware. The four routing options make this processor very flexible, and the mixed pair of mono-in, stereo-out processors is a very practical arrangement if you want to set up two send effects using only one stereo aux return.

The parallel stereo mode is also good for creating spectacular spatial effects combining different reverbs on each engine, or using a reverse reverb or delay on one channel and a conventional treatment on the other. Total harmonic distortion plus noise: less than 0. Audio outputs: quarter-inch TRS balanced or unbalanced. Dynamic range: more than dBA.

A-D conversion: bit resolution, 48kHz sample rate. Audio processing: bit resolution. Sounding Out Aside from the small operational quirks I discovered when using the plug-in control panel within Logic, the system performed flawlessly. Being able to save tweaked effects settings within the sequencer made it almost as immediate as a software plug-in, but without the DSP load that good reverb invariably entails.

You still get the characteristic density and shimmer when you need it, albeit without the same degree of finesse at the high-frequency end, and the additional effects cover most mixing eventualities.

The future of studio audio hardware is almost certainly that it will all connect to the central system via a high-bandwidth data hub of some kind — Yamaha have been working towards this scenario for many years with mLan — but for the present day Lexicon seem to have got it about right given that they need to maintain compatibility with just about any type of recording or live-sound system.

Pros Good effect quality for the price range. Very easy to use. Can generate two effects at once with four routing options. Included software allows patches to be edited and automated within a Mac or PC sequencer and patch data is also remembered within the project file.

Costs less than many reverb plug-ins. Cons Some limitations in the implementation of automation in Logic.

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