Lexicon Mpx 100 Users Manual

MPX 100 to the manual b4c940b2-aa4d-4387-814b-ff99c35b2e55

2015-02-02

: Lexicon Lexicon-Mpx-100-Users-Manual-435756 lexicon-mpx-100-users-manual-435756 lexicon pdf

Open the PDF directly: View PDF .
Page Count: 1

User Guide

MPX 100 Dual Channel Processor

Stereo 44.1kHz S/PDIF Digital Output

Lexicon Part #070-11935

Unpacking and Inspection

After unpacking the unit, save all packing materials in case you ever need to re-ship. Thoroughly inspect the unit and packing materials for signs of damage.

Report any shipment damage to the carrier at once; report equipment malfunction to your dealer.

Notice

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause

interference to radio and television reception. It has been type tested and found to comply with the limits for a Class B computing device in accordance with the specifications in

Subpart J of Part 15 of FCC Rules, which are designated to provide reasonable protection against such interference in a residential installation. However, there is no guarantee

that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment

OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures: reorient the receiving antenna; relocate the computer with respect

to the receiver; move the computer away from the receiver; plug the computer into a different outlet so that the computer and receiver are on different branch circuits. If necessary,

the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal

Communications Commission helpful: "How to identify and Resolve Radio/TV Interference Problems." This booklet is available from the U.S. Government Printing Office,

Washington, DC 20402, Stock No. 004-000-00345-4.

Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class B prescrites dans le Règlement sur

le brouillage radioélectrique édicté par le ministère des Communications du Canada.

Acknowledgement

All product names indicated by a Trade Mark are registered by their respective manufacturers.

Lexicon Inc.

3 Oak Park

Bedford MA 01730 USA

Telephone 781-280-0300

Fax 781-280-0490

Program Descriptions............................................................17

Single Programs .................................................................. 18

Dual Programs.....................................................................32

Special FX ........................................................................... 41

User Programs .................................................................... 42

Restoring Factory Defaults

MIDI Operation........................................................................43

MPX 100 MIDI Behavior........................................................... 43

Assigning a MIDI Channel for Program Load........................... 44

Using Program Change Messages for Program Load

Learning Continuous Controllers.............................................. 46

Activating Bypass or Tap Functions with Program Change

Messages ............................................................................ 47

Clearing a Learned Assignment ............................................... 48

MIDI Clock................................................................................ 49

MIDI Dumps ............................................................................. 49

MIDI Implementation Chart ...................................................... 50

Specifications ......................................................................... 52

Getting Started .........................................................................1

Introduction ............................................................................ 1

Front Panel Overview ............................................................ 2

Setting Audio Levels

Rear Panel Connections........................................................ 4

Audio Connections • Headphones • Footswitch

Basic Operation........................................................................7

Selecting Programs ............................................................... 7

Single Programs • Dual Programs • User Programs

Editing ................................................................................... 9

Tap Tempo Functions: Varying the rhythm • Audio

Tap • Setting Tempo via MIDI

Bypass ................................................................................. 11

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

System Mode ..........................................................................13

System Mode Parameters ................................................... 14

Bypass • Patching • Program Load • Digital Output

MIDI OUT/THRU • MIDI Pgm Change • MIDI Clock

Receive • Tempo • MIDI Dumps

Table of Contents

Getting Started

Introduction

Thank you for your purchase of the MPX

100 Dual Channel Processor.

The MPX 100 is a true stereo dual-

channel processor with 24-bit internal pro-

cessing, 20-bit A/D-D/A and S/PDIF digital

output. Powered by a new version of Lexicon’s

proprietary Lexichip™, the MPX 100 has 240

presets with classic reverb programs such as

Ambience, Plate, Chamber and Inverse, as

well as Tremolo, Rotary, Chorus, Flange,

Pitch, Detune, 5.7 second Delay and Echo.

Dual-channel processing gives you two in-

dependent effects in a variety of configura-

tions: Dual Stereo (Parallel), Cascade, Mono

Split and Dual Mono. To make sure you get the most

out of the MPX 100, be sure to

read the manual.

A front panel Adjust knob allows instant

manipulation of each preset’s critical param-

eters and an Effects Lvl/Bal knob lets you

control effect level or the balance of dual

effect combinations. An easy Learn mode

allows MIDI patching of front panel controls.

In addition, tempo-controlled delays and

modulation rates lock to Tap or MIDI clock,

and Tap tempos can be controlled by audio

input, the front panel Tap button, dual

footswitch, external MIDI controller or MIDI

Program Change.

Other features include dual 2-stage

headroom indicators, a headphone output, a

software-selectable MIDI OUT/THRU port,

pushbutton or footswitch selection of dry or

muted audio output and a 20Hz-20kHz ±1dB

Frequency Response.

Input

Sets the level of the incoming

signal. LEDs indicate accept-

able signal level (green), or

clipping (red).

Output

Controls the analog output level.

Front Panel Overview

VARIATION

Selects program variations for the effect bank cur-

rently selected by the PROGRAM knob (8 variations

for each Single effect and 16 variations for each Dual

effect). When PROGRAM is set to User, selects one

of 16 memory locations for user programs.

Mix

Controls the proportion of processed

(wet) to unprocessed (dry) signals.

TAP

Flashes for tempo-

based programs. Press

twice to set a tempo.

Hold to have input level

determine tempo.

(When pressed with

Store activates MIDI

Learn.)

Bypass

Mutes or bypasses the signal depending on the

setting of the System Bypass parameter. (Press for

2 seconds to access System Parameters.)

Effects Lvl/Bal

Sets the level of the Single

effects and the balance of

the Dual effects.

PROGRAM

Selects program banks

(Single, Dual, or User).

Store

Initiates store procedure.

(When pressed with Tap, ac-

tivates MIDI Learn.)

Edit LED

Lights to indicate

program is altered

but not stored.

Adjust

Modifies the param-

eters of the current

program.

Setting Audio Levels

1. Start with INPUT set to 9:00 o'clock and

OUTPUT all the way down (fully counter-

clockwise).

2. Set the instrument output or effects send

being input to the MPX 100 to a nominal

level and play, or send audio to the MPX

100. The Level LEDs* should light green.

If the Clip LEDs light red at this point, turn

down the output of the instrument or

effects send until the Clip LEDs remain

off during the loudest passages.

* The Level LEDs are off when the incoming signal

is low (more than 30dB below overload). The Clip

LEDs light red when the signal approaches over-

load (-2.5dB). Acceptable signals will cause the

Level LEDs to light green almost continuously,

with the Clip LEDs flashing red on peaks.

3. While still sending audio to the MPX 100,

gradually turn up the INPUT control until

the Clip LEDs show red on only the

loudest peaks.

4. Set the MIX control to Dry.

5. Turn OUTPUT to the desired level.

6. If the MPX 100 is using a console’s sends

and returns, set the MIX control fully

clockwise (100% wet). If you are using an

instrument amplifier, start with MIX set

halfway up.

As with any audio product, it is good

practice to first power on all outboard

gear, then the mixer, then any loud-

speakers.

Rear Panel Connections

MIDI

Two 5-pin DIN MIDI connectors

are provided for MIDI IN and soft-

ware selectable MIDI OUT/THRU.

POWER

Use Lexicon 9VAC power pack.

OUPUT

Single-ended (unbalanced) stereo outputs provide +8dBu

typical output level. Use the right output connector for mono

output. If no connection is made at the right output, the left

output can be used to drive headphones at modest volume.

FOOTSWITCH

1/4" TRS connector, for momentary con-

tact footswitch, allows footswitch control

of front panel Tap and Bypass functions.

INPUT

Single-ended (unbalanced) inputs accept levels

as low as -30dBu. Input impedance is 500 kΩ. Use

the right input for mono sources. Can be used as

direct input for guitar.

DIGITAL OUTPUT

RCA S/PDIF connector.

Headphones

A stereo signal which is adequate to drive

headphones is available at the left output

(provided no connections are made through

the right output). This feature is provided as

a convenience for practice purposes, and is

intended to provide only modest volume.

Audio Connections

Audio connections to the MPX 100 are

unbalanced and should be made with high

quality shielded cables with 1/4" tip-sleeve

phone plugs at the MPX 100 end.

The MPX 100 produces effects from either

mono or stereo sources. With mono sources,

the dry signal appears, along with audio ef-

fects, at both outputs. For instruments and

sources with stereo outputs, use both inputs.

We recommend using the outputs in stereo

whenever stereo inputs are used, but if mono

output is required, use the right output jack.

The left and right signals are summed inter-

nally when only the right output is used.

Footswitch

A footswitch connected via the rear-panel

footswitch jack allows control of Tap and

Bypass. A momentary footswitch can be

wired to a tip-ring-sleeve connector. A stereo

Y-connector allows two identical single

switches to be used.

Power off the MPX 100 before plugging in

the footswitch. (Otherwise, Bypass will be

enabled.)

A dual-function footswitch with a set of labels

to identify footswitch functionality (Tap and

Bypass) is available from Lexicon dealers.

Modes of Operation

The MPX 100 can be used as two indepen-

dent Effects Processors with Dual Program

Variations 11-16. Designate two auxiliary

sends on your console and connect one to

the left MPX 100 input, and the other to the

right input. Refer to the Program Descrip-

tions to take advantage of this configuration.

Connecting to a Balanced Console

Mono Guitar Input with

Mono or Stereo Amplifiers Dual Processor Setup with a Console

Basic Operation

Use the PROGRAM knob to

select the Single, Dual or

User effect you want.

Turn VARATION to

select one of 16

programs.

Selecting Programs

All of the programs on the MPX 100 are

selected with the front panel PROGRAM and

VARIATION knobs.

The PROGRAM knob selects Single or

Dual program banks. The VARIATION knob

selects different program versions.

The Single selections are arranged

around the left side of the PROGRAM knob;

the Dual selections and the User bank are

arranged around the right side of the knob.

Single Programs

When a Single program is selected, turn-

ing the VARIATION knob to positions 1-8 will

load eight versions of the first effect; posi-

tions 9-16 will load eight versions of the

second effect.

For example, when Plate, Gate is se-

lected, VARIATION 1-8 will load eight differ-

ent Plate programs; VARIATION 9-16 will

load eight different Gate programs.

When Special FX is selected, the VARIA-

TION knob will load 16 different programs

(one at each knob position).

Dual Programs

When one of the Dual Programs is se-

lected, the VARIATION knob will load 16

different programs, each containing two ef-

fects.

User Programs

When User is selected with the PRO-

GRAM knob, VARIATION selects 16

memory locations available for storing your

own programs.

(When shipped, User variations 1-16

contain duplicates of a selection of the fac-

tory-installed programs.)

Use Adjust to

edit the current

program.

Editing MPX 100 programs is easy. We've

arranged the critical parameters of each

program under the front panel Adjust knob,

so all you have to do is turn the knob to adjust

the program to suit you.

You can also adjust the level of the Single

programs, or the Effects Balance of the Dual

programs with the Effects Lvl/Bal knob.

Changes made with either knob are rec-

ognized as edits, and will cause the front

panel Edit LED to light to alert you to the fact

that the program has been altered.

Editing

Turn Effects Lvl/Bal to

adjust the level of a

Single program... ...or the balance of the

two effects in a Dual

program

The Edit LED will light to show

that the program has been

altered from its stored state.

Tap Tempo Functions

Varying the Rhythm

The MPX 100 Tap Tempo feature al-

lows you to set the delay times and modula-

tion rates of tempo-based programs to the

beat of the music.

To set the tempo from the front panel,

simply press the Tap button twice in time with

the music. That’s your tempo. No more dial-

ing up what “could be” the delay time in

milliseconds — just tap twice — the MPX 100

will figure out the time for you. When you

want to change tempo, just tap twice again in

the new rhythm.

Audio Tap

You can also use audio input to set the

tempo of the MPX 100 delay times.

1. Press and hold the Tap button for two

seconds. (The optional dual footswitch

lets you press and hold Tap without

taking your hands off your instrument. )

2. While holding down Tap, play 2 short

notes in rhythm, then release the Tap

button.

3. The MPX 100 automatically calculates

the tempo from the space between your

two notes.

For live performances this is a must — an

easy way to set delay rates to follow your

rhythm.

Many factory programs are stored with

their own tempo rate. You can tap in a new

tempo (and store your version in a User

location) or set the MPX 100 to always recall

the last tempo used and apply it to every

program. (See System Mode.)

When you select Global Tempo from the

MPX 100 System mode, the last tempo

tapped in will be applied to all programs with

tempo-controlled parameters. (You will know

if a program is tempo-controllable because

the Tap button LED will flash when the pro-

gram is loaded.)

The Tap LED will flash whenever

a tempo-based preset is loaded.

Bypass

Setting Tempo via MIDI

When used in conjunction with the Learn

feature, Tap can be set remotely from any

MIDI device. MIDI controllers, such as

Lexicon's MPX R1 Foot Controller, can be

used to send Continuous Controller mes-

sages or Program Changes to the MPX 100

or you can send Continuous Controller or

Program Change messages from the button

and fader moves of many mixing consoles.

The MPX 100 will Learn these messages

and allow you to set tempo via MIDI.

Pressing the front panel Bypass button

will cause the MPX 100 to pass only dry,

unprocessed audio, or to mute the inputs to

the current effect.

The MPX 100 can also receive and

utilize MIDI Clock. So, when used with a

MIDI sequencer or drum machine, the

MPX 100 automatically adjusts its internal

tempo to match. (See MIDI Operation.)

A System Mode parameter determines

which of these two options is in effect. (See

System Mode.) Bypass functions can also

be activated by footswitch or via MIDI.

Bypass can be set to mute or

bypass effects.

Storing Programs

When you want to save a program,

press Store. The Store LED will flash slowly

to indicate that the MPX 100 store function is

armed. (If you want to exit without saving the

current program, press Store again.)

Turn the PROGRAM knob to User, then

use VARIATION to select one of the 16 User

locations.

Press Store again to save your program

to the selected location (and overwrite the

program previously stored there). The Store

LED will flash rapidly while the store opera-

tion is completed. The store operation is

complete when the LED stops flashing and

turns off. The Edit LED will also turn off, as

the current program is now your saved ver-

sion.

Press Store.

The Store LED will

flash slowly.

Turn PROGRAM to User and use

VARIATION to select a User location.

Press Store again.

The Store LED will flash rapidly

while the store operation is

completed.

System parameters and MIDI dumps

are activated in System mode. To enter this

mode, press and hold Bypass for approxi-

mately 2 seconds. The Bypass and Store

LEDs will blink slowly to indicate you are in

System mode.

The adjustable parameters available in

this mode are shown in the chart on the

following page.

System Mode

Turn the VARIATION knob to select a

parameter. Press Store to toggle the state of

the parameter, or to execute a MIDI dump.

The Edit LED will show the current state of

each parameter.

When you have finished editing param-

eters and are ready to resume normal opera-

tion, return the VARIATION knob to its prior

setting, or you will load a new program based

on its position when you exit System Mode.

(The Tap LED will light when VARIATION

matches its prior setting.)

To exit System Mode, Press Bypass. If

you have changed any System parameters,

the Store LED will flash rapidly.

Variation State when Edit LED is:

Setting Parameter On Off

1 Bypass Mute Bypass*

2 Patching Disabled Enabled*

3 Program Load Mute Bypass*

4 Digital Output Dry Wet*

5 MIDI OUT/THRU Out* Thru

6 MIDI Pgm Change Disabled Enabled*

7 MIDI Clock Receive Disabled Enabled*

8 Tempo Program* Global

MIDI Dumps (Press Store to Transmit)

14 Dump User Programs

15 Dump Current Program

16 Dump System and Learned patches

Press and hold Bypass

for 2 seconds... ...The Bypass and Store

LEDs will blink slowly to

indicate you are in

System mode.

Turn VARIATION to select a parameter.

System

parameters MIDI

Dumps

Press Store to

toggle the

parameter state

(or to execute a

MIDI dump).

System Mode Parameters

Turn VARIATION until the Tap LED goes on

to find the last loaded program...then press

Bypass to exit System Mode.

* Factory Default

System Mode Parameters

1 Bypass Mute/Bypass

This parameter sets the Bypass button (or

the footswitch, or MIDI controller assigned to

Bypass) to mute the inputs, or to bypass the

processed audio (passing only dry audio to

the outputs).

2 Patching Disable/Enable

This parameter allows you to temporarily

suspend (Disable) and restore (Enable) any

Learned patches.

3 Program Load Mute/Bypass

This parameter determines whether the

MPX 100 will engage wet mute or simply

bypass processed audio during program

load.

4 Digital Output Dry/Wet

For certain recording and monitoring appli-

cations, this parameter allows you to choose

to pass only dry audio, or to resume output of

the full, processed signal.

5 MIDI OUT/THRU Out/Thru

Sets the rear panel MIDI OUT/THRU jack for

either MIDI OUT or MIDI THRU functionality.

6 MIDI Pgm Change Disable/Enable

The setting of this parameter determines

whether or not the MPX 100 will recognize

MIDI Program Change messages for loading

programs.

7 MIDI Clock Receive Disable/Enable

The setting of this parameter determines

whether or not the MPX 100 will recognize

MIDI Clock messages.

8 Tempo Program/Global

Determines whether the current tempo of the

MPX 100 will be applied to all programs

(Global), or whether program-specific tem-

pos are restored on each program load.

14-16 MIDI Dumps

These selections allow you to execute MIDI

Dumps. See MIDI Operation.

The 240 programs in the MPX 100 are

designed to provide a full palette of high

caliber ambience, reverb, delay, pitch shift

and other effects. As you audition the pro-

grams, be sure to vary the Adjust knob.

The Adjust knob has been carefully cus-

tomized for each individual program. In many

cases it controls several effect parameters

simultaneously to provide simple control of a

complicated editing process. In many Cham-

ber and Room programs, for example, Ad-

just controls the "liveness" of the space by

changing decay, EQ and early reflections all

at the same time.

Program Descriptions

The behavior of the Adjust knob is also

customized for different functions. Some-

times it acts as a linear control (at its mini-

mum value when turned fully counterclock-

wise — like a volume control) and sometimes

it acts as a bi-polar control (at its minimum

value when centered — like a cut/boost EQ

control).

The following section provides a general

description of each MPX 100 program along

with tables that detail all of the program

versions available with the VARIATIONS

knob. These details include the function of

the Adjust knob and the Tap button (for

variations that use tempo-controlled rate or

delay times).

... or it may increase

values as it is turned

to either side of its

center position.

Adjust can increase

values linearly...

Plate

Plate VARIATIONs Adjust Tap

1 Small Plate Liveness –

2 Medium Plate Liveness –

3 Large Plate Liveness Predelay (1/32 Note)

4 Larger Plate Decay Time Predelay (1/32 Note)

5 Tape Slap Plate ± Decay/15ips or 7.5ips –

6 Rich Plate Decay Time Predelay (1/32 Note)

7 Large Bright Plate Decay Time Predelay (1/32 Note)

8 Vocal Plate Low Cut, Decay Time Echo

Plate reverb was originally generated by a large, thin sheet of metal suspended

upright under tension on springs. Transducers attached to the plate transmitted a

signal that made the plate vibrate — making sounds broadcast through the plate

seem to be occurring in a large open space.

The Plate program in the MPX 100 syn-

thesizes the sound of metal plates with high

initial diffusion and a relatively bright, colored

sound. This program is designed to be heard

as part of the music, mellowing and thicken-

ing the initial sound. It is a popular choice for

enhancing popular music, particularly per-

cussion.

Gate

In the MPX 100, the Gate program pro-

vides a fairly constant sound with no decay

until the reverb is cut off abruptly. This pro-

gram works well on percussion — particu-

larly on snare and toms, but be sure to

experiment with other sound sources as well.

* Note that audio is muted briefly when Duration is

altered with Adjust.

Gated reverbs were originally created by feeding a reverb, such as a metal plate,

through an analog gate device. The decay time was set to instant, and the hold time

varied the duration of the sound.

Gate VARIATIONs Adjust Tap

9 Straight Gate Duration* –

10 Drum Gate Duration* –

11 Slope Down Duration* –

12 140 ms Gate High Cut Predelay (1/32 Note)

13 240 ms Gate High Cut Predelay (1/32 Note)

14 340 ms Gate High Cut Predelay (1/32 Note)

15 440 ms Gate High Cut Predelay (1/32 Note)

16 540 ms Gate High Cut Predelay (1/32 Note)

Hall

The clean reverberation of the Hall pro-

gram is designed to add spaciousness, while

leaving the source material unchanged. In

addition to general instrumental and vocal

applications, the Hall program is a good

choice for giving separately recorded tracks

the sense of belonging to the same perfor-

mance.

Lexicon's Hall programs recreate the acoustics of actual places, from grand

reverberant enclosures to small concert halls.

Hall VARIATIONs Adjust Tap

1 Recital Hall Decay –

2 Small Church Decay –

3 Jazz Hall Decay –

4 Dance Hall Decay –

5 Synth Hall Decay –

6 Medium Hall Decay –

7 Large Hall Decay –

8 Large Church Decay –

Chamber

In the MPX 100, the stereo Chamber

program produces an even, relatively dimen-

sionless reverberation, with little change in

color as the sound decays. The initial diffu-

sion is similar to the Hall program, but the

sense of space and size is much less obvi-

ous. This characteristic, along with the low

color of the decay tail makes Chamber useful

on a wide range of material. It is especially

useful on spoken voice, giving a noticeable

increase in loudness with very low color.

Historically, recording studio chambers were often oddly shaped rooms with a

loudspeaker and set of microphones to pick up the ambience in various parts of the

room.

Chamber VARIATIONs Adjust Tap

9 Brick Wall Liveness –

10 Basement Liveness –

11 Live Concert Liveness Eko Delay

12 Percussion 1 Liveness –

13 Percussion 2 Liveness –

14 Live Chamber Liveness –

15 Vocal 1 Liveness Eko Delay

16 Vocal 2 Liveness Eko Delay

Ambience

The Ambience program simulates reflec-

tions from room surfaces with random reflec-

tions, a gradual decay of overall level, and a

gradual narrowing of the bandwidth.

The variations (1-8) provide a series of

rooms in increasing sizes.

Ambience gives warmth, spaciousness and depth to a performance without

coloring the direct sound, and is commonly used to add a room sound to recorded

music or speech.

Ambience VARIATIONs Adjust Tap

1 Voice Over High Cut –

2 Very Small Ambience High Cut –

3 Small Ambience High Cut –

4 Medium Ambience High Cut –

5 Studio D High Cut –

6 Bright Ambience Decay Level –

7 Dark Ambience Decay Level –

8 Marble Foyer Liveness –

Room

The Room program is very useful on

drums and percussion and can also be ap-

plied to electric guitar tracks.

The variations (9-16) provide a series of

rooms in increasing sizes.

The Room program emulates actual rooms where there is a more apparent

sense of being in a small live place.

Room VARIATIONs Adjust Tap

9 Bedroom Wall Reflections –

10 Tiled Room Low Frequency Cut –

11 Studio C Liveness –

12 Small Room Liveness –

13 Studio B Decay Time –

14 Rehearsal Room High/Low Equalizer –

15 Studio A Decay Time –

16 Large Room High/Low Equalizer –

Tremolo

The MPX 100 tremolo variations offer a

variety of tremolo shapes (square, sawtooth,

triangle, sine and rectified sine). The syn-

chronization of the left and right sides can be

adjusted to produce mono and stereo ef-

fects. As the tremolo rates of several varia-

tions are set with Tap, it’s easy to match the

tempo of the music. Other variations let you

set left and right channel waveforms out-of-

phase, resulting in a panning motion.

All of the variations of this program (1-8)

should be used with Mix set to fully Wet. By

adding more dry to the wet/dry mix, Mix

effectively sets the depth of the Tremolo.

Tremolo is a rhythmic change in loudness, commonly employed as an expres-

sive technique by vocalists and wind instrument players. It is also one of the oldest

electronic effects — frequently used with electric guitar, electric piano and,

sometimes, vocals. Different tremolo effects are largely determined by the rate and

waveform shape of the loudness change (fast or slow, smooth or sharp). If the

effect is used in a stereo mix, the left and right can be synchronized in a variety of

ways to produce dramatic side-to-side motion.

Tremolo VARIATIONs Adjust Tap

1 Rectified Sine Wave Rate: 0.4-15Hz –

2 Square Wave Rate: 0.4-15Hz –

3 Sawtooth Wave Rate: 0.4-15Hz –

4 Rectified Sine Wave Sweep: 0, 90, 180, 270 Rate (1/8 Note)

5 Square Wave Sweep: 0, 90, 180, 270 Rate (1/8 Note)

6 Sawtooth Wave Sweep: 0, 90, 180, 270 Rate (1/8 Note)

7 Triangle Wave Sweep: 0, 90, 180, 270 Rate (1/8 Note)

8 Sine Wave Sweep: 0, 90, 180, 270 Rate (1/8 Note)

As tremolo is essentially a rhythmic effect,

care should be taken to make the rate work

with the tempo of the music.

Rotary

The MPX 100 rotary effect is a detailed

simulation of a Leslie-style cabinet. The in-

put 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 model,

the high (horn) and low (drum) frequencies

are “spun” in opposite directions. Horn and

drum speeds are independent, and are de-

signed with acceleration and deceleration

characteristics to simulate the inertia of the

original mechanical elements.

A virtual requirement for any organ sound,

the rotary effect also sounds great with guitar

and electric piano rhythm parts. In fact, it’s a

great alternative to chorus and tremolo ef-

fects for any sound source.

All of the variations of this program (9-16)

should be used with Mix set to fully Wet for

the full effect.

Rotary speaker cabinets were originally 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 counter-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 hard to describe, but is instantly reconizable.

Rotary VARIATIONs Adjust Tap

9 Rotary Slow/Fast –

10 Rotary Slow/Fast, Width –

11 Rotary Slow/Fast, Balance –

12 Slow Rotary ± Resonance –

13 Varispeed Rotary Speed –

14 Tap Rotary Balance Rate (Quarter-Note)

15 Tap Rotary Width Rate (Quarter-Note)

16 Tap Rotary ± Resonance Rate (Quarter-Note)

Chorus

The stereo Chorus program uses six in-

dependently randomized delay voices

panned across the stereo field. This pro-

gram, inherited from Lexicon's PCM 80, gen-

erates a rich, airy effect that can simulate the

sound of multiple sound sources from a

single source.

This program is stunning on acoustic or

clean electric guitar.

All of the variations of this program (1-8)

should be used with Mix set to fully Wet to

achieve the full richness of the 6-voice cho-

rus.

Chorus VARIATIONs Adjust Tap

1 Rich Chorus ± Resonance –

2 Rich Chorus ± Depth –

3 Rich Chorus Rate –

4 Rich Chorus High Cut –

5 Diffuse Chorus Diffusion –

6 Slap Chorus Diffusion –

7 Slap Chorus ± Resonance –

8 Slap Chorus ± Depth –

Chorus effects multiply the original audio source to create a lush, full sound.

Traditionally used to fatten up tracks and to add body to guitar without coloring the

original tone, chorus effects are also often used in combination with echoes, plates

and other reverb effects.

Flange

In the MPX 100, the stereo Flanger has

two 2-tap delays —one per channel. The first

tap is fixed, and the second sweeps past it.

Mixing the two delay taps together creates

the flanging effect.

All of the variations of this program (9-16)

should be used with Mix set to fully Wet to

achieve the full flange effect.

Flanging effects were originally created by simultaneously recording and

playing back two identical programs on two tape recorders, then using hand

pressure against the flange of the tape reels to slow down first one machine, then

the other. The result was a series of changing phase cancellations and reinforce-

ments, with a characteristic swishing, tunnelling and fading sound.

Flange VARIATIONs Adjust Tap

9 Light Flange: in phase sweep ± Resonance —

10 Light Flange: out of phase sweep ± Resonance —

11 Light Flange: in phase sweep Rate —

12 Light Flange: out of phase sweep Rate —

13 Deep Flange: in phase sweep ± Resonance —

14 Deep Flange: out of phase sweep ± Resonance —

15 Light Flange Sweep: 0, 90, 180, 270 —

16 Deep Flange Sweep: 0, 90, 180, 270 —

Pitch

The stereo polyphonic Pitch program in

the MPX 100 allows complete program ma-

terial or monophonic sources to be shifted

down two octaves or up one octave.

For pitch correction, use this algorithm

with Mix set to fully Wet. For harmonization,

use the desired amount of wet/dry Mix.

Altering the pitch of a sound allows a variety of effects from subtle detuning to

the creation of harmonies and chords.

Pitch VARIATIONs Adjust Tap

1 Semi-tone Shift -2 to +1 octaves —

2 Glide Shifter ± 1 octave —

3 +/-100 cents ± 100 cents —

4 Minor 3rd to 4th Harmony Flat 3rd to 4th Up —

5 4th/5th Harmony 4th to 5th Up —

6 5th/6th Harmony 5th to 6th Up —

7 2nd Inversion Triad Minor/Major 3rd —

8 Power Chords Inversion —

Detune

The 4-voice stereo Detune program in

the MPX 100 has one pair of voices per

channel. As more detune amount is applied

(with Adjust), the pair grow more out of tune,

providing a lush sound without the need for a

dry signal to be mixed in.

All of the variations of this program (9-16)

should be used with Mix set to fully Wet to

achieve the full effect.

Detune effects add a delayed/pitch shifted version of the original source —

thickening up the sound. They can be particularly effective when used to simulate

double-tracking. They are also great alternatives to chorus effects, adding the

richness of a chorus without the audible sweep caused by the chorus rate.

Detune VARIATIONs Adjust Tap

9 Mild Detuning –

10 Moderate Detuning –

11 Heavy Detuning –

12 FullRange Detuning –

13 Warm & Mild Detuning –

14 Warm & Moderate Detuning –

15 Warm & Heavy Detuning –

16 Slap Detuner Detuning –

Delay, Echo

Delays and echoes are effects that repeat a sound a short time after it first occurs.

The simplest (and oldest) delay effect is tape slap — a single repeat about 100ms

after the original sound. (It was often used on Elvis’s voice and rockabilly guitar

tracks.) Tape slap becomes tape echo when the output of the tape is fed back into

the input (feedback),turning a single repeat into a series of repeats — each a little

softer and a little darker than the last. This darkening of each repeat is characteristic

of the analog tape recording process. Digital delays don’t have this characteristic

— each repeat has the same exact timbre and the only difference from repeat to

repeat is in loudness.

Digital delay and tape echo are both useful, but they are different. Tape echo is

warmer and allows the original sound to stand out more, while digital delay can

present a “perfect” copy of the orignal sound.

The MPX 100 Delay, Echo variations

include mono (5.5 seconds), stereo (2.7 sec-

onds) and 6-voice multitap effects. Each of

the 16 variations can be used for digital delay

or tape echo effects. When Adjust is turned

past its center postion to the right, tape echo

effects are produced. (Each repeat is darker

and softer.) When Adjust is turned to the left

of center, digital delay effects are produced.

(Each repeat is the same timbre, but softer.)

In variations 1-8, Adjust also sets the

amount of feedback — a single repeat when

the knob is centered, more repeats as the

knob is moved past center in either direction.

Delay time is set with Tap. Each variation is

preset with a different useful rhythm.

In Variations 9-16, the amount of feed-

back is preset and Adjust determines Delay

time — the delay time is shortest when the

knob is centered, increasing as the knob is

moved away from center in either direction.

When using any type of delay or echo

effects with music, always pay attention to

the way the repeats fall rhythmically to the

beat. The most effective delay and echo

patterns are those that lock in with the

tempo of the tune.

Delay, Echo VARIATIONs Adjust Tap

1 Mono Quarter-Note Delay/Echo Feedback Delay Time

2 Stereo Quarter-Note Delay/Echo Feedback Delay Time

3 Triplet Shuffle Delay/Echo Feedback Delay Time

4 Dotted Eighth-Note Delay/Echo Feedback Delay Time

5 Eighth-Note and Triplet Delay/Echo Feedback Delay Time

6 Ping Pong Quarter-Note Delay/Echo Feedback Delay Time

7 Triplet Rhythm 1 Delay/Echo Feedback Delay Time

8 Triplet Rhythm 2 Delay/Echo Feedback Delay Time

9 Mono Delay/Echo Time: 0-5.5sec

10 Stereo Delay/Echo Time: 0-2.7sec

11 Tape Slap Delay/Echo Time: 3 3/4 to 30ips

12 Multi Bounce Delay/Echo Time: 0-100ms

13 Multi Linear Delay/Echo Time: 0-400ms

14 Multi Inverse Delay/Echo Time: 0-400ms

15 Multi Repeat Delay/Echo Time: 0-150ms + Fbk

16 Multi Pong Delay/Echo Time: 0-200ms + Fbk

About the Dual Programs

The MPX 100 Dual programs combine

either a Delay or Reverb algorithm with a

Flange, a Pitch or a Chorus. Effects Lvl/Bal

controls the relative balance of each effect in

the combination.

Four routing configurations are used in

the variations of each Dual program: Dual

Stereo (Parallel), Cascade, Mono Split and

Dual Mono.

Variations 1-6 are set up in the Parallel

configuration - two stereo effects placed side

by side so that they receive and output stereo

audio from both left and right channels.

Variations 7-10 are set up in the Cas-

cade configuration - two stereo effects, one

placed after the other (for example, Flange-

Delay, Flange passes its stereo signal to the

Delay).

Variations 11-14 are set up in the Mono

Split configuration which is similar to Parallel,

however one effect (Flange) receives audio

from the left input and the other effect (Delay)

receives audio from the right input. Both

effects then output stereo audio.

Variations 15 and 16 are set up in the

Dual Mono configuration where one effect

(Flange) appears on the left channel only

and the other effect (Delay) appears on the

right channel only.

Generally, the Effects Lvl/Bal knob con-

trols the balance of the two effects in each

dual program. In the cascade variations,

rather than simply controlling balance, the

knob varies the amount of the first effect or

dry signal which is fed into the second effect.

Behavior of Effects Lvl/Bal in the cascade variations. Several

points from the knob's continuous range are illustrated here, using

the Pitch-Delay program as an example.

At the leftmost setting,

you get only pitch shift

At the rightmost setting, you

get only delayed dry signal

This setting provides pitch

shift plus delayed pitch shift

At center, you get

delayed pitch shift

This setting provides delayed

pitch plus delayed dry signal

Flange-Delay VARIATIONs Adjust Tap Routing

1 Deep Flange - Stereo Delay Delay/Echo Feedback Delay Time (1/4 Note)

2 Deep Flange - Stereo Delay Delay/Echo Feedback Dotted 1/8 Note

3 Deep Flange - Stereo Delay Delay/Echo Feedback 1/8 Note Triplet

4 Light Flange - Ping Pong Delay/Echo Feedback Delay Time (1/4 Note)

5 Light Flange - Repeat Delay/Echo Time: 0-150ms, Feedback —

6 Light Flange - Bounce Delay/Echo Time: 0-200ms, Feedback —

7 Deep Flange>Stereo Delay Delay/Echo Feedback Delay Time (1/4 Note)

8 Deep Flange>Repeat Delay/Echo Time: 0-150ms, Feedback —

9 Deep Flange>Ping Pong Delay/Echo Feedback Delay Time (1/4 Note)

10 Deep Flange> Bounce Delay/Echo Time: 0-200ms, Feedback —

11 Light Flange+Stereo Delay Delay/Echo Feedback Delay Time (1/4 Note)

12 Ligth Flange+Ping Pong Delay/Echo Feedback Delay Time (1/4 Note)

13 Light Flange+Repeat Delay/Echo Time: 0-150ms, Feedback —

14 Light Flange+Bounce Delay/Echo Time: 0-200ms, Feedback —

15 Deep Flange/Mono Delay Delay/Echo Feedback Delay Time (1/4 Note)

16 Deep Flange/Mono Delay Delay/Echo Feedback Delay Time (Dotted 1/4 Note)

Flange – Delay

Pitch – Delay

Pitch-Delay VARIATIONs Adjust Tap Routing

1 5th Up/Down - Stereo Quarter-Note ± 5th Delay Time

2 Octave Up/Down - Triplet Shuffle ± 1 octave Delay Time

3 Octave Up/Down - Eighth and Triplet ± 1 octave Delay Time

4 3rd Up/4th Up - Ping Pong Quarter-Note Minor 3rd to 4th Up Delay Time

5 4th Up/5th Up - Triplet Rhythm 1 4th to 5th Up Delay Time

6 5th Up/6th Up - Triplet Rhythm 2 5th to 6th Up Delay Time

7 Octave Up/Down > Triplet Rhythm 1 ± 1 octave Delay Time

8 5th Up/Down > Triplet Rhythm 2 ± 5th Delay Time

9 Major/Minor Minor/Major 3rd w/Feedback Delay Time

10 Intervals Up Ascending Intervals w/Feedback Delay Time

11 5th Up/Down + Stereo Quarter-Note ± 5th Delay Time

12 Octave Up/Down + Triplet Shuffle ± 1 octave Delay Time

13 4th Up/5th Up + Triplet Rhythm 1 4th to 5th Up Delay Time

14 5th Up/6th Up + Triplet Rhythm 2 5th to 6th Up Delay Time

15 Octave Up/Down / Mono Quarter-Note ± 1 octave Delay Time

16 Octave Up/Down / Triplet Shuffle ± 1 octave Delay Time

Chorus – Delay

Chorus-Delay VARIATIONs Adjust Tap Routing

1 Rich Chorus 1 - Stereo 1/4 Note Delay/Echo Feedback Delay Time

2 Rich Chorus 1 - Dotted 1/8 Note Delay/Echo Feedback Delay Time

3 Rich Chorus 1 - 1/8 Note and Triplet Delay/Echo Feedback Delay Time

4 Rich Chorus 1 - Ping Pong 1/4 Note Delay/Echo Feedback Delay Time

5 Rich Chorus 1 - Multi Repeat Delay/Echo Time: 0-150ms, Feedback —

6 Rich Chorus 1 - Multi Pong Delay/Echo Time: 0-200ms, Feedback —

7 Rich Chorus 1 - Stereo 1/4 Note Delay/Echo Feedback Delay Time

8 Rich Chorus 2 - Multi Repeat Delay/Echo Time: 0-150ms, Feedback —

9 Rich Chorus 2 - Ping Pong 1/4 Note Delay/Echo Feedback Delay Time

10 Rich Chorus 3 - Multi Pong Delay/Echo Time: 0-200ms, Feedback

11 Rich Chorus 1 - Stereo 1/4 Note Delay/Echo Feedback Delay Time

12 Rich Chorus 1 - Ping Pong 1/4 Note Delay/Echo Feedback Delay Time

13 Rich Chorus 1 - Crossfeed Delay/Echo Time: 0-150ms, Feedback —

14 Rich Chorus 1 - Multi Pong Delay/Echo Time: 0-200ms, Feedback —

15 Rich Chorus 4 - Mono 1/4 Note Delay/Echo Feedback Delay Time

16 Rich Chorus 4 - Dotted 1/8 Note Delay/Echo Feedback Delay Time

Delay – Reverb

Delay-Reverb VARIATIONs Adjust Tap Routing

1 Stereo 1/4 Note - Small Space Decay Time Delay Time

2 Triplet Shuffle - Medium Space Decay Time Delay Time

3 1/8 Note and Triplet - Large Space Decay Time Delay Time

4 Ping Pong 1/4 Note - Small Space Decay Time Delay Time

5 Triplet Rhythm 1 - Medium Space Decay Time Delay Time

6 Triplet Rhythm 2 - Large Space Decay Time Delay Time

7 Stereo 1/4 Note > Room Decay Time Delay Time

8 1/8 Note and Triplet > Large Space Decay Time Delay Time

9 Triplet Rhythm 1 > Room Decay Time Delay Time

10 Triplet Rhythm 2 > Large Space Decay Time Delay Time

11 Stereo 1/4 Note + Medium Space Decay Time Delay Time

12 Ping Pong 1/4 Note + Large Space Decay Time Delay Time

13 Triplet Rhythm 1 + Medium Space Decay Time Delay Time

14 Triplet Rhythm 2 + Small Space Decay Time Delay Time

15 Mono 1/4 Note / Room Decay Time Delay Time

16 Triplet Rhythm 2 / Large Space Decay Time Delay Time

Flange – Reverb

Flange-Reverb VARIATIONs Adjust Tap Routing

1 Light Flange - Small Space Decay Flange Rate (Whole Note)

2 Light Flange - Medium Space Decay Flange Rate (Whole Note)

3 Light Flange - Large Space Decay Flange Rate (Whole Note)

4 Deep Flange - Small Space Decay —

5 Deep Flange - Medium Space Decay —

6 Deep Flange - Large Space Decay —

7 Light Flange > Large Space Decay Flange Rate (Whole Note)

8 Deep Flange > Large Space Decay —

9 Light Flange > Room Liveness Flange Rate (Whole Note)

10 Deep Flange > Room Liveness —

11 Light Flange + Medium Space Decay Flange Rate (Whole Note)

12 Light Flange + Room Liveness Flange Rate (Whole Note)

13 Deep Flange + Medium Space Decay —

14 Deep Flange + Room Liveness —

15 Light Flange / Large Space Decay Flange Rate (Whole Note)

16 Light Flange / Large Space Decay Flange Rate (Whole Note)

Pitch – Reverb

Pitch-Reverb VARIATIONs Adjust Tap Routing

1 Minor 3rd to 4th - Room 3rd to 4th Up PreDelay (1/32 Note)

2 4th to 5th - Room 4th to 5th Up PreDelay (1/32 Note)

3 5th to 6th - Room 5th to 6th Up PreDelay (1/32 Note)

4 ±1 Octave - Medium Space ± 1 octave PreDelay (1/32 Note)

5 Power Chords - Medium Space Decay Time PreDelay (1/32 Note)

6 Manual Detune - Room Detuning PreDelay (1/32 Note)

7 ±100 > Small Space ± 100 cents PreDelay (1/32 Note)

8 Power Chords - Large Space Decay Time PreDelay (1/32 Note)

9 4ths > Medium Space Decay Time PreDelay (1/32 Note)

10 Octaves > Medium Space Decay Time PreDelay (1/32 Note)

11 4th to 5th + Room 4th to 5th Up PreDelay (1/32 Note)

12 5th to 6th + Room 5th to 6th Up PreDelay (1/32 Note)

13 4ths + Large Space Decay Time PreDelay (1/32 Note)

14 Octaves + Medium Space Decay Time PreDelay (1/32 Note)

15 Octaves / Medium Space Decay Time PreDelay (1/32 Note)

16 4ths / Large Space Decay Time PreDelay (1/32 Note)

Chorus – Reverb

Chorus-Reverb VARIATIONs Adjust Tap Routing

1 Rich Chorus 1 - Small Space Decay Time —

2 Rich Chorus 1 - Medium Space Decay Time —

3 Rich Chorus 1 - Large Space Decay Time —

4 Rich Chorus 2 - Small Space Decay Time —

5 Rich Chorus 2 - Medium Space Decay Time —

6 Rich Chorus 2 - Large Space Decay Time —

7 Rich Chorus 1 > Room Liveness —

8 Rich Chorus 2 > Room Liveness —

9 Rich Chorus 3 > Room Liveness —

10 Rich Chorus 1 > Small Space Decay Time —

11 Rich Chorus 1 + Small Space Decay Time —

12 Rich Chorus 2 + Medium Space Decay Time —

13 Rich Chorus 2 + Large Space Decay Time —

14 Rich Chorus 1 + Large Space Decay Time —

15 Rich Chorus 1 / Room Liveness —

16 Rich Chorus 4 / Room Liveness —

The Special FX variations showcase the

flexibility and creative possibilities of the

MPX 100. Adjust is completely different in

each of the Variations, so be sure to experi-

ment with all of them.

Special FX

Delay, Echo VARIATIONs Adjust Tap

1 Infinite Reverb High Cut Echo

2 The Abyss ± Pitch Bend –

3 Jet Flange Tone Rate (Whole Note)

4 Chorus Verb High Cut –

5 Rotary Delay Dly/Echo Time: 0-150ms+Fbk Rate (1/4 Note)

6 Fader Verb Input Volume Echo

7 PCM 60 - LgSize Decay Time –

8 LowRumble Decay Time –

9 Ducking Reverb Decay Time –

10 Ducking Chorus>Delay ± Resonance –

11 Ducking Triplets Delay/Echo Feedback –

12 Subdividing Delay Beat Value: 1/32-Whole Note Delay Time

13 Panning Delays Delay/Echo Feedback Dly Time, Pan Rate

14 Dream Sequence ± Shift Amount –

15 Infinite Repeat Feedback: 0-Infinite Dly Time (Whole Note)

16 Diffusor Diffusion –

When shipped from the factory, the six-

teen MPX 100 User locations contain dupli-

cates of the following programs:

User

VARIATION

1 Plate 2

2 Gate 9

3 Hall 5

4 Hall 6

5 Chamber 13

6 Ambience 3

7 Room 14

8 Tremolo 1

9 Rotary 9

10 Rotary 15

11 Chorus 3

12 Flange 12

13 Pitch 1

14 Detune 12

15 Delay, Echo 8

16 Delay, Echo 12

User Programs

Reinitialization

Reinitializing the MPX 100 will reset all of

the System Mode parameters to their factory

defaults, replace any programs stored in the

User bank with the factory-loaded preset

copies, and clear any Learned patches. To

do this:

1. Hold the Store button while powering up

the MPX 100. (Store and Tap will flash

rapidly.) Press Tap or Bypass to exit

without reinitializing.

2. Press Store to reinitialize the MPX 100.

MIDI Operation

MPX 100 MIDI Behavior

The MPX 100 “learns” MIDI Channel, Pro-

gram Change and Continuous Controllers in

its Learn Mode.

Any of these controls can be patched

to Continuous Controllers.

These buttons can also be

patched to Program Change.

As many as five Learn patches (for the

front panel Mix, Effects Lvl/Bal, Adjust,

Bypass and Tap controls) on as many as

five MIDI Channels are supported.

Program Change messages 0-15 are re-

served for executing program loads on any

learned MIDI Channel — or a separate MIDI

Channel can be selected for program load.

Program Change messages can

also be used to load programs.

Assigning a MIDI Channel

for Program Load

In order to use Program Change mes-

sages for Program loads as well as to control

front panel buttons, the MPX 100 is de-

signed to have one MIDI channel dedicated

to loading programs. This is called the Pro-

gram Load MIDI Channel.

Although this channel can be used to

receive other Program Change messages,

numbers 0-15 will always load the 16 varia-

tions of the currently loaded program. Pro-

gram Change messages 0-15 will be ignored

on all other MIDI Channels.

When shipped from the factory, the MPX

100 has MIDI Channel 1 assigned as the

default Program Load channel. To re-define

the Program Load assignment:

1. Simultaneously press Store and Tap to

enter Learn Mode. (The Store LED

flashes slowly and the Tap LED lights

steadily to indicate Learn Mode is active.)

2. Send a Program Change message to the

MPX 100. (The Edit LED will flash to

show incoming MIDI activity.)

3. The MPX 100 learns the MIDI Channel of

the transmitting device and re-assigns

the Program Load function to that chan-

nel.

4. Simultaneously press Store and Tap to

exit.

This Program Load channel assignment

is remembered until it is deliberately re-set

with the same procedure.

Using Program Change Messages for

Program Load

The MPX 100 will allow loading of all of its

240 preset and 16 User programs via stan-

dard MIDI Program Change messages. It

also conforms to the use of MIDI controller 32

to perform Bank Select, starting with the

User bank as the first bank. (For the pur-

poses of this discussion, each setting of the

MPX 100 PROGRAM knob selects a “bank”

of 16 programs.) The MPX 100 “banks” are

ordered numerically from 0-15.

Here’s how it works. If a standard MIDI

Program Change is sent to the MPX 100 on

its Program Load MIDI Channel, Program

Change messages 0-15 will load programs

1-16 from the current Program Bank.

If a Bank Select message (controller 32)

precedes a Program Change message, any

one of the 256 programs can be loaded.

For example, Program Change 1 with

PROGRAM pointing to Plate, Gate, will cause

the first Plate program to be loaded. Sending

controller 32 with a value of 0, followed by

Program Change 1, loads the first program of

the User bank. Sending controller 32 with a

value of 1, then Program Change 2, loads the

second program in the Flange-Delay bank.

Sending controller 32 with a value of 8, then

program change 15 will load the last Gate

program in the Plate, Gate bank.

Once a bank is selected, all subsequent

Program Change messages will select pro-

grams within that bank until a new value for

controller 32 is received, or until the PRO-

GRAM or VARIATION knob is moved.

This function can be disabled with the

MIDI Pgm Change parameter in System

Mode.

MPX 100 Program Banks

0 User

1 Flange-Delay

2 Pitch-Delay

3 Chorus-Delay

4 Delay Reverb

5 Flange-Reverb

6 Pitch-Reverb

7 Chorus-Reverb

8 Plate, Gate

9 Hall, Chamber

10 Ambience, Room

11 Tremolo, Rotary

12 Chorus, Flange

13 Pitch, Detune

14 Delay, Echo

15 Special FX

Learning Continuous

Controllers

The MPX 100 recognizes Pitch Bend,

AfterTouch and MIDI Continuous Controllers

1-31 and 33-119. To Learn a Continuous

Controller:

1. Simultaneously press Store and Tap to

enter Learn Mode. (The Store LED flashes

slowly and the Tap LED lights steadily to

indicate Learn Mode is active.)

2. Move one of the MPX 100 front panel

controls (Mix, Effects Lvl/Bal, Adjust,

Bypass or Tap) to assign it to the control-

ler.

4. Press Store to commit to the assignment.

The Store LED will flash rapidly.

NOTE: When a MIDI controller is assigned to

Bypass or Tap, moving it through the mid-point

of its Learned range will execute a “press” of

the front panel button.

5. To assign another front panel control to a

MIDI controller, repeat steps 2 - 5.

6. Simultaneously press Store and Tap to

exit. The Store LED will flash rapidly if

you have created or changed any assign-

ments.

3. Move the MIDI controller through its full

range. To use only a fraction of the

controller’s range, limit your movement to

the desired range.

The Edit LED will flash to indicate incom-

ing MIDI activity.

5. Simultaneously press Store and Tap to

exit. The Store LED will flash rapidly if you

have created or changed any assign-

ments.

Activating Bypass or Tap

functions with Program

Change Messages

The MPX 100 recognizes MIDI Program

Changes 16-127 (17-128 on some MIDI

devices) on any channel. To assign a Pro-

gram Change message to Bypass or Tap:

1. Simultaneously press Store and Tap to

enter Learn Mode. (The Store LED flashes

slowly and the Tap LED lights steadily to

indicate Learn Mode is active.)

2. Press the front panel button you want to

control (Bypass or Tap).

3. Send a MIDI Program Change to the MPX

100. The Edit LED will flash to indicate

incoming MIDI activity.

4. Press Store to commit to the assignment.

The Store LED will flash rapidly.

To aid MIDI controllers (such as some foot

controllers) which do not allow repeated Pro-

gram Change messages to be sent by a single

button, the MPX 100 learns the next highest

Program Change along with every Program

Change message it learns for Bypass and/or

Tap. For example, if you Learn Program Change

20 as the source for Bypass, Program Change

21 will also control Bypass functions. To avoid

conflicting Bypass and Tap assignments, leave

a space between the two buttons’ assignments.

(i.e. if you learn Program Change 20 for By-

pass, remember that 21 will also be learned, so

you will have to jump to Program Change 22

(and 23) for Tap.

Clearing a Learned

Assignment

1. Simultaneously press Store and Tap to

enter Learn Mode. (The Store LED flashes

slowly and the Tap LED lights steadily to

indicate Learn Mode is active.)

3. Press Store to clear the assignment.

The Store LED will flash rapidly. Learnable Front Panel controls and

Assignable MIDI Sources

MIDI MIDI

Front Panel Controllers Pgm Change

Control 1-31, 33-119 16-127*

Mix Yes No

Effects Lvl/Bal Yes No

Adjust Yes No

Bypass Yes Yes

Tap Yes Yes

*Program Change numbers 0-15 will be ignored

except on the MIDI Channel assigned for pro-

gram load.

2. Move the front panel control that you

want to clear (Mix, Effects Lvl/Bal, Ad-

just, Bypass or Tap).

4. To clear another front panel assignment,

repeat steps 2 and 3.

5. Simultaneously press Store and Tap to

exit. The Store LED will flash rapidly if

you have changed any assignments.

MIDI Clock

The MPX 100 recognizes MIDI Clock mes-

sages and applies the tempo (40-400 BPM)

to any program which utilizes the Tap-tempo

feature. Connect a MIDI device which out-

puts MIDI Clock (such as the MPX R1 foot

controller or a MIDI sequencer) to the MPX

100 MIDI IN jack, to have the MPX 100

automatically recognize and begin to pro-

cess the MIDI clocks. When you change

tempo on the connected device, the MPX

100 will follow along and adjust its delay

times or rates to match the tempo.

This can be disabled with the MIDI Clock

Receive parameter in System Mode.

MIDI Dumps

MIDI Dumps allow you to back up the 16

User programs, the currently running pro-

gram, or your System Mode settings and

Learned patch assignments, to a storage

device (typically, a sequencer).

MIDI Dumps are performed in System

Mode. To perform a dump of the User pro-

grams, the current program, or all of the

System Mode parameter settings:

1. Press and hold Bypass for 2 seconds.

The Bypass and Store LEDs will blink

slowly to indicate you are in System

Mode.

2. Turn VARIATION to:

14 to dump the User programs

15 to dump the current program

16 to dump the System settings and

Learned patch assignments

3. Press Store to execute the dump.

4. Press Bypass to exit System Mode.

Lexicon MPX 100

Function Transmitted Recognized Remarks

Basic Default X 1 Learned

Channel Channel X 1-16

Mode Default Mode 2

Messages X X

Altered X

Note X X

Number True Voice

Velocity Note ON X X (Off=9n v=0)

Note OFF X X

After Keys X X used as controller

Touch Channels X OX Learned

Pitch Bender X OX used as controller, Learned

Control X OX 1-119 (0 and 32 used as Bank Select)

Change Learned

MIDI Implementation

Program X 0-15=1-16 16-127 ignored; Program message

Change True # 1-15=Program Change 1-16 for

current Program Group

Bank Select X O

System Lexicon O O Product ID=14 (decimal)

Exclusive Real-Time X X Device ID=MIDI Channel

non Real-Time X X 0-15 = 1-16

System :Song Pos X X

:Song Sel X X

Common :Tune X X

System :Clock X O

Real Time :Commands X X

Aux :Local ON/OFF X X

Messages :All Notes OFF X X

:Active Sense

:Reset X X

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O : Yes

Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO X : No OX: Selectable

Specifications subject to change without notice.

Specifications

Audio Inputs (2)

Level -30dBu to +4dBu

Impedance 500K unbalanced for

Direct Instrument input

(Unit detects a mono input

on the right input)

1/4" connectors

Audio Outputs (2)

Level +8dBu typical

Impedance 75Ω for Headphone output

(Right only used for mono

output; Left only used for

stereo headphones)

1/4" connectors

Digital Audio Output

20-bit Digital S/PDIF output (always active)

Sample Rate: 44.1kHz

Connector: Coaxial, RCA type

Footswitch

Tip/Ring/Sleeve phone jack for

Bypass and Tap (optional)

Frequency Response

Wet/Dry: 20Hz-20kHz, ±1dB

THD+N

<0.05%, 20Hz-20kHz

Dynamic Range

A/A: >95dB typical, 20Hz-20kHz, unweighted

A/D: >100dB typical, 20Hz-20kHz, unweighted

Conversion

20 bits A/D, 20 bits D/A

44.1kHz sample rate

Crosstalk

>45dB

Internal Audio Data Path

DSP: 24-bit

Power Requirements

9VAC wall transformer provided

Dimensions

19"W x 1.75"H x 4"D (483 x 45 x 102mm)

Weight

Unit: 2 lbs, 2 oz (0.959kg)

Environment

Operating

Temperature 32° to 104°F (0° to 40°C)

Relative

Humidity 95% non-condensing

Lexicon Mpx 100 Users Manual

MPX 100 to the manual b4c940b2-aa4d-4387-814b-ff99c35b2e55

Navigation menu

Versions of this User Manual:

Views

Navigation