User manual LEXICON MX200

[. . . ] MX200 User Guide Warranty This warranty is valid only for the original purchaser and only in the United States. 2. Lexicon Professional warrants this product, when bought and used solely within the U. S. , to be free from defects in materials and workmanship under normal use and service. Lexicon Professional's liability under this warranty is limited to repairing or, at our discretion, replacing defective materials that show evidence of defect, provided the product is returned to Lexicon professional WITH RETURN AUTHORIZATION from the factory, where all parts and labor will be covered up to a period of 1 year. A Return Authorization number must be obtained from Lexicon Professional by telephone. [. . . ] Excessive sibilance, or the "s" sounds, can be tamed by applying this effect. Mono (Wet only) De-Esser Controls Knob 1: Compression Ratio amount determined by the Ratio. For example, if the threshold is set to -12dB, and the ratio set to 4:1, then when signal exceeds -12dB, the signal level above that amount only increases by 1dB to every 4dB of signal level above -12dB. In this case, an incoming signal of -4dB (which is 8dB above the threshold) would result in an output signal of -10dB, or 2dB higher than the threshold level, since the 4:1 compression ratio only allowed 2dB more output, based on the 8dB increase above the -12dB threshold. Determines the amount of compression, from 1:1 (no effect) to Infinity:1 (complete limiting). Knob 2: Frequency Range Selects the frequency range of compression in 40 discrete steps from 1600Hz to 10kHz (the most common frequencies in which excessive sibilance occurs). Knob 3: Bandwidth (Q) Controls the bandwidth or "Quality" (Q) of frequency range. The higher the selected value, the tighter the bandwidth, and less apparent the de-essing effect is. See Appendix on page 39 for bandwidth values. Because the resulting output is less than the original signal, a third control, Makeup Gain compensates for this loss of level, but with less dynamic range, or the difference between the softest and loudest parts of the signal. Compressor A compressor is used to control the dynamic range of a signal. Typically used to tighten bass or drum tracks, or to control a vocal passage, a compressor is a very useful but often misunderstood tool. To better use the Compressor in the MX200, a bit of understanding about compression is helpful. When a signal level crosses the Threshold level, the compressor then reduces the amount of output level by an Mono (Wet only) Compressor Controls Knob 1: Threshold Determines the threshold above which compression begins, incrementally between -70dB and 0dB (FS). Knob 2: Compression Ratio Knob 3: Makeup Gain Selects the compression ratio, from 1:1 (no effect) to Infinity:1 (or complete limiting). Increases the output level to compensate for signal attenuation during compression. 19 Modulated Effects Chorus Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time. Chorus is commonly used to fatten up tracks and to add body to guitars without coloring the original tone. Chorus can also be used with discretion to thicken a vocal track. Stereo Flanger Controls Knob 1: Speed Knob 2: Depth Controls the modulation rate of the Flanger effect. Lower settings provide a slight "whooshing" sound while higher settings provide a much more dramatic "jet airplane" sound. Chorus Controls Speed Controls the modulation rate of the Chorus effect. Lower settings are subtle, while higher values are much more pronounced. Lower settings provide subtle thickening and warmth to a track, while higher settings give a more pronounced, multi-voice effect. Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input, creating feedback. The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low frequency oscillator (LFO), creating an oscillating "comb-filter" type effect. This effect is very userful on keyboards (especially pad presets) and guitars. Phaser Stereo Voices Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously variable in 100 individual steps. Flanger This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one machine, then the other. The result was a series of changing phase cancellations and reinforcements, with characteristic swishing, tunneling, and fading sounds. 20 Stereo Phaser Controls Knob 1: Speed Knob 2: Depth Controls the modulation rate of the Phaser effect. Controls the intensity of the Phaser effect. Knob 3: Regeneration This knob controls the amount of modulat- ed signal being fed back into the input, creating feedback. Higher amounts add more resonance to the effect signal. Effects Descriptions - Modulated Effects The Rotary effect is modeled after a Leslie-style cabinet. [. . . ] For lower latencies and the best audio performance, it is recommended that you connect the MX200 to your computer's audio I/O device using the S/PDIF Inputs and outputs. If your I/O device does not have a S/PDIF connection, or if it already connected to another device, you may use the analog connections from your computer's I/O device to the 1/4" analog inputs and outputs on the MX200. Installing the MX-Edit VST Hardware Plug-In Note: If you have already installed the MX-EditTM software for Mac or WinXP, you have already installed the VST and/or Audio Units software. Simply skip this section. For Windows XP users To install the software in Windows, insert the disc into your CD-ROM drive and follow the on-screen prompts. (If the Autorun feature is disabled, browse to the CD and double-click on the setup. exe file. ) Important: The MX200 accepts digital audio at 44. 1kHz and 48kHz sample rates. [. . . ]