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MPX 500
24-Bit Dual Channel Processor
User Guide
Related Manuals for Lexicon MPX 500
Summary of Contents for Lexicon MPX 500
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Page 1: User Guide
MPX 500 24-Bit Dual Channel Processor User Guide…
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Page 2
Le présent appareil numérique de la classe B respecte toutes les exigences du Règlement sur le materiel brouiller du Canada. Lexicon Inc. 3 Oak Park Bedford MA 01730-1441 Telephone 781-280-0300 Copyright 1999, Lexicon Inc. Fax 781-280-0490 All Rights Reserved. www.lexicon.com Lexicon Part No. 070-14116… -
Page 3: Table Of Contents
15 Flange-Delay …………39 Audio Connections • Footswitch 16 Pitch-Delay …………… 39 Basic Operation 17 Chorus-Delay …………40 The MPX 500 Display …………7 18 Delay-Reverb …………40 Selecting and Loading Programs ……..8 19 Flange-Reverb …………41 Editing …………….9 20 Pitch-Reverb ………….
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Page 4: Getting Started
Other features include a software-selectable MIDI OUT/THRU port, pushbutton or footswitch selection of dry or muted audio output and a built-in power supply. To make sure you get the most out of the MPX 500, be sure to read the manual.
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Page 5: Front Panel Overview
LED lights to indicate another activates MIDI Learn.) but not stored. eters, routing information, tempo rate. program is cued. EDIT PROGRAM MPX 500 24-Bit Dual Channel Processor Power Input Trim Edit Pages Load 3rd4th-Room 146bpm(p) Edited –…
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Page 6: Setting Audio Levels
The Input Trim control allows the MPX 500 to be driven by an input level in the range of +20dBu to +8dBu. The minimum setting (fully counterclockwise) should be optimal for +4dBu (balanced) inputs.
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Page 7: Rear Panel Connections
Audio Connections The MPX 500 produces effects from either mono or stereo sources. With mono sources, the dry signal appears, along with audio effects, at both outputs. For instruments and sources with stereo outputs, use both inputs.
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Page 8
The MPX 500 can be used as two independent Effects Processors with the Dual Programs. Designate two auxiliary sends on your console and connect one to the left MPX 500 input, and the other to the right input. Refer to the Program Descriptions to take advantage of this configuration. -
Page 9
Getting Started Lexicon… -
Page 10: Basic Operation
Basic Operation Basic Operation The MPX 500 Display The MPX 500 Program Select display shows detailed program information, including routing, the current tempo setting, a full page of as many as four editable parameter settings, and real-time input level meters.
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Page 11: Selecting And Loading Programs
Lexicon Selecting and Loading Programs MPX 500 programs are organized into 24 Banks plus a User Bank. (The programs are described in detail later in this manual.) When powered on, the unit will display and load the last program used.
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Page 12: Editing
Basic Operation Editing Each MPX 500 program has as many as 16 editable parameters, organized into edit «pages» of as many as four parameters each. The front panel Edit Pages button cycles through all of the available pages for the current program.
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Page 13
. You can set a global tempo for all of the MPX 500 programs, or have each program stored with its own tempo. (See System Mode. ) The global (g) or Program (p) system parameter selection is shown to the right of the tempo display. -
Page 14: Audio Tap
That’s your tempo. No more dialing up what “could be” the delay time in milliseconds — just tap twice — the MPX 500 will figure out the time for you. When you want to change tempo, just tap twice again in the new rhythm.
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Page 15: Bypass
Learn these messages and allow you to set tempo via MIDI. The MPX 500 can also receive and utilize MIDI Clock. So, when used with a MIDI sequencer or drum machine, the MPX 500 automatically adjusts its internal tempo to match. (See MIDI Operation .)
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Page 16: Storing Programs
When you want to save a program, press Store. The Store and the Tap/Cancel LEDs will light to indicate that the MPX 500 store function is armed. (If you want to exit without saving the current program, press Tap/Cancel at any time before completing the store operation.) The first available location in the User Bank will be selected by default when Store is pressed.
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Page 17
Basic Operation Lexicon… -
Page 18: System Mode
MPX 500 User Guide System Mode System Mode System parameters and MIDI dumps are activated in System mode. To enter this mode, press System. The System LED will light to indicate you are in System mode. The adjustable parameters available in this mode are described on the following page. Edit knob 1 will select parameters, edit knob 3 will change the selected parameter’s setting.
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Page 19
System Mode Lexicon System Mode Parameters Parameter Settings Default Setting Output Level 0dB to -24dB, Off Input Source Analog Stereo, Analog Mono L, Analog Stereo Analog Mono R, S/PDIF Digital Clock Source Internal 44.1K, Internal 48K, External (S/PDIF) Internal 44.1K… -
Page 20
When Dry is selected, Analog In to Digital Out provides an auxiliary A/D converter. Mix Mode Determines whether the current Mix setting of the MPX 500 will be applied to all programs (Global), or whether program-specific Mix levels are restored on each program load. -
Page 21
Lexicon Tempo Mode Determines whether the current tempo of the MPX 500 will be applied to all programs (Global), or whether program-specific tempos are restored on each program load. NOTE: A default Tempo is stored with each program. These individual stored tempos will take effect if Tempo Mode is set to Program —… -
Page 22
System Mode Operating Mode Allows the MPX 500 front panel controls to be locked into their current settings, or to be placed in continuous program load cycle for demonstration purposes. When Locked is selected, only the User Bank is available. Program Load Mode is set to Auto Load and only Bypass, Program Select and System modes are available. -
Page 23
System Mode Lexicon… -
Page 24: Program Descriptions
Program Descriptions Program Descriptions The 240 programs in the MPX 500 are designed to provide a full palette of high caliber ambience, reverb, delay, pitch shift and other effects. As you audition the programs, be sure to vary the Adjust parameter.
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Page 25: Plate
Program Descriptions Lexicon 1 Plate The Plate programs synthesize the sound of metal plates with high initial diffusion and a relatively bright, colored sound. These programs are designed to be heard as part of the music, mellowing and thickening the initial sound. They are a popular choice for enhancing pop music, particularly percussion.
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Page 26: Gate
MPX 500 User Guide Program Descriptions 2 Gate The Gate programs provide a fairly constant sound with no decay until the reverb is cut off abruptly. These programs work well on percussion — particularly on snare and toms, but be sure to experiment with other sound sources as well.
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Page 27: Hall
Large Church MidRT – Jazz Hall MidRT – Dance Hall MidRT – Synth Hall MidRT – Concert Hall MidRT – Gothic Hall MidRT – Lexicon’s Hall programs recreate the acoustics of actual places, from grand reverberant enclosures to small concert halls.
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Page 28: Chamber
MPX 500 User Guide Program Descriptions 4 Chamber The stereo Chamber programs produce even, relatively dimensionless reverberation, with little change in color as the sound decays. The initial diffusion is similar to the Hall programs, but the sense of space and size is much less obvious. This characteristic, along with the low color of the decay tail makes these programs useful on a wide range of material.
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Page 29: Ambience
Program Descriptions Lexicon 5 Ambience The Ambience programs simulates reflections from room surfaces with random reflections, a gradual decay of overall level, and a gradual narrowing of the bandwidth. In these programs, the Mix control adds depth — emulating the movement of a coincident pair of microphones from the sound source into the room.
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Page 30: Rooms
MPX 500 User Guide Program Descriptions 6 Room The Room programs are very useful on drums and percussion and can also be applied to electric guitar tracks. Room PROGRAMs Adjust Bedroom Walls – Tiled Room LF Boost – Studio «C»…
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Page 31: Tremolo
Program Descriptions Lexicon 7 Tremolo The tremolo programs offer a variety of tremolo shapes (square, sawtooth, triangle, sine and rectified sine). The synchronization of the left and right sides can be adjusted to produce mono and stereo effects. As the tremolo rates of several variations are set with Tap, it’s easy to match the tempo of the music.
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Page 32: Rotary
MPX 500 User Guide Program Descriptions 8 Rotary The rotary effect is a detailed simulation of 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.
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Page 33: Chorus
The stereo Chorus programs uses six independently randomized delay voices panned across the stereo field. These programs, inherited from Lexicon’s PCM 80, generate a rich, airy effect that can simulate the sound of multiple sound sources from a single source. These programs are stunning on acoustic or clean electric guitar.
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Page 34: Flange
Program Descriptions 10 Flange The MPX 500 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 these programs should be used with Mix set to fully Wet to achieve the full flange effect.
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Page 35: Detune
Program Descriptions Lexicon 11 Detune The 4-voice stereo Detune programs have 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.
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Page 36: Pitch
MPX 500 User Guide Program Descriptions 12 Pitch The stereo polyphonic Pitch programs allow complete program material or monophonic sources to be shifted from two octaves down through one octave up. For pitch correction, use these programs with Mix set to fully Wet. For harmonization, use the desired amount of wet/dry Mix.
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Page 37: Delay, Echo
Program Descriptions Lexicon 13 Delay, Echo The Delay, Echo variations include mono (5.5 seconds), stereo (2.7 seconds) and 6-voice multitap effects. Each of the programs can be used for digital delay or tape echo effects. When the Adjust parameter (Page 1, Edit knob 1) is set to a value between 63 and 3, tape echo effects are produced.
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Page 38
MPX 500 User Guide Program Descriptions Delay, Echo PROGRAMs Adjust Dly Mono Tap Feedbk Delay Time DlyStereo Tap Feedbk Delay Time Dly ShuflTap Feedbk Delay Time Dly Dot8 Tap Feedbk Delay Time Dly 8+3plTap Feedbk Delay Time Dly Pong Tap… -
Page 39: About The Dual Programs
Program Descriptions Lexicon About the Dual Programs (Banks 14-24) The Dual programs combine either a Delay or Reverb algorithm with a Flange, a Pitch or a Chorus. The Effects Lvl/Bal parameter (Page 1 Edit knob 3) controls the relative balance of each effect in the combination.
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Page 40
MPX 500 User Guide Program Descriptions Generally, the Effects Lvl/Bal parameter (Page 1, Edit knob 3) controls 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. -
Page 41: Special Fx
Program Descriptions Lexicon 14 Special FX The Special FX programs showcase the flexibility and creative possibilities of the MPX 500. Adjust is completely different in each of the programs, so be sure to experiment with all of them. Special FX PROGRAMs…
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Page 42: Flange-Delay
MPX 500 User Guide Program Descriptions 15 Flange – Delay Flange-Delay PROGRAMs Adjust Routing Flng Tap Feedbk Delay Time (1/4 Note) Flng .8Tap Feedbk Dotted 1/8 Note Flange Flng 3plTap Feedbk 1/8 Note Triplet Flng PongTap Feedbk Delay Time (1/4 Note)
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Page 43: Chorus-Delay
Program Descriptions Lexicon 17 Chorus– Delay Chorus-Delay PROGRAMs Adjust Routing Chor Tap Feedbk Delay Time Chor .8Tap Feedbk Delay Time Chorus Chor 8+3pl Feedbk Delay Time Chor Pong Feedbk Delay Time Delay Chor Repeat Time – Chor Bounce Time –…
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Page 44: Flange-Reverb
MPX 500 User Guide Program Descriptions 19 Flange – Reverb Flange-Reverb PROGRAMs Adjust Routing LiteFl Smal MidRT Speed (Whole Note) LiteFl MidSz MidRT Speed (Whole Note) Flange LiteFl Large MidRT – DeepFl Small MidRT – Reverb DeepFl MidSz MidRT –…
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Page 45: Chorus-Reverb
Program Descriptions Lexicon 21 Chorus – Reverb # Chorus-Reverb PROGRAMs Adjust Routing Chor1 Small MidRT – Chor1 MidSiz MidRT – Chorus Chor1 Large MidRT – Chor2 Small MidRT – Reverb Chor2 MidSiz MidRT – Chor2 Large MidRT – Chor1 > Room Livenes –…
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Page 46: Monosplitdly
MPX 500 User Guide Program Descriptions 22 MonoSplitDly MonoSplitDly PROGRAMs Adjust Routing Flng+Tap Feedbk 1/4 Note Flng+Pong Feedbk 1/4 Note Flange Flng+Xfeed Time – Delay Flng+Bnce Time – DeepFl+Dly Time – 5th+Tap Pitch Delay Time 8ve+3plTap Pitch Delay Time Pitch…
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Page 47: Monosplitrvb
Program Descriptions Lexicon 23 MonoSplitRvb MonoSplitRvb PROGRAMs Adjust Routing Tap+MidSiz MidRT Delay Time Pong+Large MidRT Delay Time Delay Bnce+MidSz MidRT Delay Time Reverb Xfeed+Small MidRT Delay Time Xfeed+MidSiz MidRT Delay Time LiteFL+MidSz MidRT Speed LiteFl+Large MidRT – Flange DeepFl+Small MidRT –…
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Page 48: Dual Mono
MPX 500 User Guide Program Descriptions 24 Dual Mono Dual Mono PROGRAMs Adjust Tap | Small MidRT Delay Time Tap | MidSz MidRT Delay Time Tap | Large MidRT Delay Time Tap | Room Livenes Delay Time DeepFl | Tap…
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Page 49
Program Descriptions Lexicon… -
Page 50: Midi Operation
Edit knobs, as well as the Bypass and Tap buttons are supported. As all MPX 500 messages use a single, selectable MIDI Channel, before using any of the MIDI control features, you should go to System Mode and select the MIDI Channel you want to use. (See System Parameters .)
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Page 51: Using Program Change Messages For Program Load
Using Program Change Messages for Program Load The MPX 500 will allow loading of all of its preset and User programs via standard MIDI Program Change messages. It also conforms to the use of MIDI controller 32 to perform Bank Select. The MPX 500 banks are ordered numerically from 0-24.
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Page 52: Learning Continuous Controllers
Store Tap/Cancel 2. Move one of the MPX 500 front panel controls (Edit Knob 1-4 with any of the four edit pages displayed, Bypass or Tap) to assign it to the controller. (Make sure that the Edit knob you want assigned is displayed before you move its corresponding Edit knob.
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Page 53: Activating Bypass Or Tap Functions With Program Change Messages
Learn Bypass Store Tap/Cancel Push for Bank 3. Send a MIDI Program Change to the MPX 500. The display MIDI indicator will come on to indicate incoming MIDI activity. 4. Press Store to commit to the assignment. Learn Store Tap/Cancel…
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Page 54: Clearing A Learned Assignment
To aid MIDI controllers (such as some foot controllers) which do not allow repeated Program Change messages to be sent by a single button, the MPX 500 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.
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Page 55: Midi Clock
Tap-tempo feature. Connect a MIDI device which outputs MIDI Clock (such as the MPX R1 foot controller or a MIDI sequencer) to the MPX 500 MIDI IN jack, to have the MPX 500 automatically recognize and begin to process the MIDI clocks. When you change tempo on the connected device, the MPX 500 will follow along and adjust its delay times or rates to match the tempo.
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Page 56: Midi Implementation Chart
MPX 500 User Guide MIDI Operation MIDI Implementation Lexicon MPX 500 Function Transmitted Recognized Remarks Basic Default Selected in System Mode Channel Channel 1-16 Mode Default Mode 2 Messages Altered Note Number True Voice Velocity Note ON X (Off=9n v=0)
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Page 57
MIDI Operation Lexicon… -
Page 58: Specifications
MPX 500 User Guide Specifications Specifications Digital Audio I/O Audio Inputs Power Requirements Connectors: Coaxial RCA; Connectors: XLR/TRS balanced 90-250V 50-60Hz; 12.5W S/PDIF (IEC-958, CP-340) 3-pin IEC Connector Level: +20 to +8dBu full scale Impedance: 50K bal.; 25K unbal. System Sample Rates…
249 ₽
Инструкция (руководство пользователя) на Процессор эффектов Lexicon MPX-500
Артикул: lexicon-mpx-500
Категория: Lexicon
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Описание
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Детали
Описание
Инструкцию по эксплуатации Lexicon MPX-500 на русском языке можно будет скачать в личном кабинете после оформления и оплаты заказа.
Детали
| Формат файла |
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|---|---|
| Размер инструкции в кб |
2020 |
MPX 500 User Guide
12 Pitch
The stereo polyphonic Pitch programs allow complete program material or monophonic sources to
be shifted from two octaves down through one octave up.
For pitch correction, use these programs with Mix set to fully Wet. For harmonization, use the desired
amount of wet/dry Mix.
#
85
86
87
88
89
Altering the pitch of a sound allows a variety of effects from subtle detuning to the creation of
harmonies and chords.
Pitch PROGRAMs
Pch Chrmatic
Pitch Fine
Pch 4th-5ths
Pch PowerInV
Vocal Chorus
Adjust
Pitch
Pitch
Pitch
Pitch
HighCut
Program Descriptions
Tap
–
–
–
–
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33
Lexicon’s new mid‑priced unit strikes a balance between the ease of use of their budget gear and the flexibility and sonic class of their high‑end products. Paul White gets an exclusive first look…
The quality of artificial reverberation effects makes a huge difference to the perceived quality of a finished project, especially where acoustic instruments are involved. High‑end studio reverbs, such as the Lexicon 240 and 480L models, have always been very expensive, though their mid‑price PCM90/91 models are popular with both project and professional facilities as they approach high‑end performance at a rather lower price point. Even so, one of these units will still cost you as much as a complete PC‑based studio, which is probably why Lexicon felt the need to introduce their lower‑cost MPX range. The Lexicon MPX1 is an established multi‑effects/reverb all‑rounder that started life at over a grand, but now sells for little over half its original price, while the more recent MPX100 is an altogether simpler device based on presets with limited editability at under £200. I think it’s fair to say that the MPX100 set a new standard for very‑low‑cost reverb/effects, but although it sounds impressive for the price, if you put it up against a PCM90 or 91 you can hear straight away that the more expensive unit sounds richer, smoother and more spacious.
While the MPX100 is a fine reverb for the fiscally challenged project studio, the more serious user may demand a little more sonic refinement and more editability, which is why Lexicon developed the subject of this review — the MPX500. Based on the same Lexichip III reverb engine that powers the new generation of Lexicon reverb processors, the MPX500 expands on the MPX100’s philosophy while offering a sound quality that lies somewhere between the MPX100 and the PCM90/91. So new is this processor that I had to visit the Lexicon factory in Boston in order to get my hands on one in time for this review, and while I was there, I was able to perform a direct comparison with other Lexicon products in a studio environment before bringing it home to do further tests. If the MPX100 sits at 1 on a scale of 1 to 10 with the PCM90 at 10, I’d say the reverbs of the MPX500 score a 5 or better.
The MPX500 is a mains‑powered 1U processor (no wall‑warts) with balanced analogue I/O on both XLRs and jacks, and S/PDIF digital I/O on phono connectors. The converters are 24‑bit and an analogue dynamic range of 105dB is claimed. The unit features stereo operation and the signal path provides a number of routing options, from stereo‑in, stereo‑out to dual mono‑in, stereo‑out or dual mono‑in, dual mono‑out. It’s also possible to select from a number of dual effects connected either in series or in parallel and, in the case of series connection, to vary the amount of the first effect feeding the second: normally, the Effects Level parameter accessed via the third Edit knob in parameter page one sets the balance of the two effects in a dual effect program, but in serial configurations, it varies the balance of effect one/dry signal that feeds effect two. In this respect, the paradigm isn’t very different from that of the MPX100.
MIDI In and Out/Thru connectors are provided for patch dumping, real‑time parameter control or tempo control, and live users will be glad to find a TRS footswitch jack that allows two switches to be connected for control over both bypass and tap tempo.
The main operational difference between this machine and the MPX100 is in the degree of editing that’s possible, although the system adopted is actually very straightforward and still far less comprehensive than for the PCM90/91 or the MPX1. Essentially, the LCD window shows up to four parameters at any one time, each of which can be directly adjusted via one of four rotary Edit knobs. The first knob in the first row is always designated as the Adjust knob, a concept existing Lexicon users will probably be familiar with. Adjust is generally mapped to change several parameters simultaneously in order to provide a straightforward and meaningful way of tweaking a patch if you don’t want to get involved with too much editing; in some cases, Adjust even accesses parameters that aren’t available in the standard edit menu. For many of the reverbs, it changes the apparent liveness of the virtual room by simultaneously altering the decay time, EQ and room size.
Pressing the Edit Pages button steps around a maximum of four screens, so it follows that each effect can have up to 16 different user‑adjustable parameters. The LCD also handles the input stereo metering and output‑level adjustment as well as showing patch name and location details. A further rotary control is used to step through the available programs, and the system setup page provides the option to have patches load automatically after just under a second when you stop turning the knob; alternatively, you can opt for the more traditional Lexicon approach of using the Load button to load in the selected patch. In all, there are 240 factory preset effects and effect combinations, with space to store 30 user edits.
If the MPX100 sits at 1 on a scale of 1 to 10 with the PCM90 at 10, I’d say the reverbs of the MPX500 score a 5 or better.
A new touch is the cue feature — if you select a new patch but don’t load it, the display will switch back to showing the original effect after a few seconds, but the location of the new one is remembered (and displayed as being cued) so that it can be loaded at any time by hitting Load. This will be particularly welcomed by live sound users, as will the dual mono‑in, dual mono‑out mode. Other than that, there are relatively few controls. A Trim control provides a useful degree of input gain adjustment (though it isn’t a conventional pot that goes down to full attenuation), while the System button accesses system functions such as the patch loading method, the way the bypass switch operates (Dry, Full Mute/Input mute), output level adjustment, MIDI functions, sample rate/external sync, input source and so on. You can also decide here whether the wet/dry Mix settings should apply globally or be set per patch: this option can be useful if you’re working with a mixer and want to kill the dry sound for all patches.
A front‑panel Bypass button may be used instead of a footswitch, and in addition to the usual Load and Store buttons, there’s also a Tap/Cancel button used for setting tempo‑related effects directly or for cancelling certain operations. Pressing Tap/Cancel and Store at the same time activates a MIDI learn mode that enables any of the 16 edit parameters to be linked to any continuous MIDI controller 1 to 31, 33 to 119, aftertouch or pitch‑bend. This is a very simple auto‑recognise routine that involves twiddling the edit knob relating to the destination parameter, then sending the type of MIDI controller you want to control it with. There’s also a simple routine for clearing assignments that are no longer wanted.
The Tap button may be used to set the delay time or modulation rate of relevant effects, but these may also be locked to MTC or MIDI Clock.
Using The MPX500
I suffered a moment of panic when I first switched on the unit and was greeted by a uniformly green display window, but after adjusting the screen contrast using the rear‑panel twiddle pot, the display took on a more familiar appearance. I found the operating system of the MPX500 really friendly: there’s more than enough flexibility to satisfy all but the most anorakish programmer, yet everything can be accessed so quickly that adjusting effects mid‑session is quite a trivial operation. Creating a new effect program is achieved by finding a preset that already uses the combination and routing arrangement of the effects you need, then editing it. If you’re short on effects boxes, you can connect one aux send to the left input and another to the right, then use one of the dual effect modes to provide two independently adjustable effects that are either mono‑in, mono‑out or mono‑in, stereo‑out with both stereo outputs mixed together. The choices here generally break down into reverb plus something else or delay plus something else.
There are a number of presets for each effect type (as indicated in the sidebar) and the algorithms are quite similar to those offered by the MPX100, with all the regular modulation, delay and pitch effects included alongside reverb. It’s probably fair to say that the greatest improvement in quality over the MPX100 is noticeable on the reverb settings, which are generally denser and more spacious. In addition to the usual suspects of plate, hall, chamber and room, the unit offers its version of the classic Lexicon Ambience algorithm that simulates a live environment using a pattern of early reflections. This is a hugely useful treatment when you want a sense of space without adding obvious reverb.
One of Lexicon’s proprietary tricks in producing smooth reverb or ambience effects is to slowly modulate the early reflection spacing using parameters called ‘Spin’ and ‘Wander’. I’m not sure how (or even if) these are applied in the MPX500 algorithms, but there’s no user control over them. However, the plate reverbs have independent left and right post‑reverb delay settings as well as pre‑delay, which can make for some interesting spatial treatments.
For quick‑and‑dirty reverb adjustment, the Adjust parameter in the first row generally affects the size or liveness of the virtual room, and often that’s the only tweak that will be needed. However, if you need to get in deeper, the editability of the MPX500 means you can change things like the pre‑delay, decay time, attack shape, HF roll‑off, relative high and low decay times and diffusion very quickly. Most importantly, the reverbs have that true Lexicon character which helps keep a sound in focus while adding space.
The non‑reverb effects also stand up extremely well. The delay offers a choice of tape‑like high cut or straight delays, and the rotary speaker emulates the speed‑change rate of the real thing. The stereo chorus uses up to six delay taps to provide a really smooth, rich chorus, while flanging passes through the zero delay point, just as tape flanging does. Most of these non‑reverb effects sound quite similar to their counterparts on the MPX100, which I felt were very strong when I reviewed that unit, and the only obvious weak spot is the warble you get when using large amounts of pitch shift. Sadly this seems to be a fact of life for any pitch‑shifter costing less than a car, but it’s perfect for detuning and ADT effects.
Conclusions
You can buy more versatile multi‑effects boxes than the MPX500 for around the same price, but I don’t think any of them offers the quality of reverb available here. Similarly, the non‑reverb effects may provide nothing new, but they sound just right. Is the MPX500 an alternative, or even a replacement, for the more expensive MPX1? Their reverb quality is certainly comparable, but the MPX1 is a far more capable multi‑effects unit, with rather more depth to its editability. At the same time, more flexibility makes the MPX1 more time‑consuming to program, and for tweaking effects during a session, the MPX500 is about as close to perfection as you can get.
In fact, the only real criticism I can make of the MPX500, given its very attractive price, is its limited number of user memories. I’d recommend the MPX500 either as a second reverb/general effects box for someone who already has something better, or as a main reverb for the smaller studio owner who appreciates the benefits of a Lexicon reverb. I’m buying one to back up my PCM90!
Tap Timing
As with the MPX100, Lexicon have made it very easy to synchronize delay and modulation parameters in the range 40 to 400bpm. The current tempo rate is displayed in the LCD window, and the Tap Tempo button LED will flash at the appropriate rate. It’s possible to set a global tempo for all the effects patches or to have each user program stored with its own tempo setting. Tapping the button twice will set a delay time equal to the spacing between taps up to a maximum of 5.5 seconds for a mono delay or half this for a stereo delay. You can also set up the unit to extract tempo from audio events by holding down the Tap button.
For those wanting MIDI control over tempo/mod rate, tempo can be derived from MIDI Program Changes, MIDI foot controllers, continuous controllers, MTC or MIDI Clock. The parameter set by Tap varies from preset to preset — sometimes it’s a delay time, sometimes it’s a reverb pre‑delay, sometimes it’s a modulation rate — so you may need to read the manual at least once! Whether or not the unit syncs to MIDI Clock can be set in the System menu.
The Effects
| • Plates | 9 |
| • Gated Reverb | 10 |
| • Hall Reverb | 10 |
| • Chamber Reverb | 10 |
| • Ambience | 10 |
| • Room Reverb | 10 |
| • Tremolo | 5 |
| • Rotary | 5 |
| • Chorus | 5 |
| • Flange | 5 |
| • Pitch | 5 |
| • Detune | 5 |
| • Delay‑Echo | 15 |
| • Special FX | 15 |
| • Flange‑Delay | 10 |
| • Pitch‑Delay | 10 |
| • Chorus‑Delay | 10 |
| • Delay‑Reverb | 10 |
| • Flange‑Reverb | 10 |
| • Pitch‑Reverb | 10 |
| • Chorus‑Reverb | 10 |
| • Mono Split Delay | 15 |
| • Mono Split Reverb | 20 |
| • Dual Mono | 16 |
Pros
- Approaches high‑end reverb quality.
- Affordable.
- Straightforward user interface.
- Good‑quality delay and modulation effects.
Cons
- My only quibble at the price is that having only 30 user memories seems a little sparse.
Summary
A good combination of sound quality, ease of use and price.
information
£449 including VAT.
https://lexiconpro.com
Lexicon MPX 500: List of Available Documents
Note for Owners:
Guidesimo.com webproject is not a service center of Lexicon trademark and does not carries out works for diagnosis and repair of faulty Lexicon MPX 500 equipment. For quality services, please contact an official service center of Lexicon company. On our website you can read and download documentation for your Lexicon MPX 500 device for free and familiarize yourself with the technical specifications of device.
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230THE SOLUTION DELIVERY SERIESS Y S T E M SMASTER voice cHANNEL• Low Noise RPATM Tube Mic Preamplifier• EasyriderTM Compressor• Split Band De-Esser• Logic Assisted GateTM Noise Gate• Big Bottom® Bass Enhancer• Full Parametric Equalizer Band• Aural Exciter® Intelligibility Enhancer• SPRTM Phase Rotator• High Resolution 24/96 A/D Converter• +4 Balanced and -10 Unbalanced …
230 Processor, 32
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JETWAY K8M8MSR1A
K8M8MS/K8M8M USER’S MANUAL M/B For Socket 754 AMD Athlon64 Processor NO. G03-K8M8MS Rev:1.0 Release date: October 2004 Trademark: * Specifications and Information contained in this documentation are furnished for information use only, and are subject to change at any time without notice, and should not be construed as a commitment by manufacturer. …
K8M8MSR1A Processor, 47
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JETWAY P4XDMR1A
P4XDM/P4XDMP USER’S MANUAL M/B For Socket 478 Pentium 4 Processor NO. G03-P4XDMR1A Release date: August 2002 Trademark: * Specifications and Information contained in this documentation are furnished for information use only, and are subject to change at any time without notice, and should not be construed as a commitment by manufacturer. …
P4XDMR1A Processor, 49