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MX200User Guide

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

1. The warranty registration card that accompanies this product must be mailed within 30 days after purchase dateto validate this warranty. Proof-of-purchaseis considered to be the burden of the consumer.

2. Lexicon Professional warrants this product, when bought and used solely within the U.S., to be free from defectsin materials and workmanship under normal use and service.

3. Lexicon Professional’s liability under this warranty is limited to repairing or, at our discretion, replacing defectivematerials that show evidence of defect, provided the product is returned to Lexicon professional WITH RETURNAUTHORIZATION from the factory, where all parts and labor will be covered up to a period of 1 year. A ReturnAuthorization number must be obtained from Lexicon Professional by telephone. The company shall not be liablefor any consequential damage asa result of the product's use in any circuit or assembly.

4. Lexicon Professional reserves the right to make changes in design or make additions to or improvements uponthis product without incurring any obligation to install the same additions or improvements on products previouslymanufactured.

5. The foregoing is in lieu of all other warranties, expressed or implied, and Lexicon Professional neither assumesnor authorizes any person to assume on its behalf any obligation or liability in connection with the sale of this prod-uct. In no event shall Lexicon Professional or its dealers be liable for special or consequential damages or from anydelay in the performance of this warranty due to causes beyond its control.

Quick Start ...............................................................................................................1About the MX200 .....................................................................................................3

Overview ...........................................................................................................3Diagram - Front Panel..............................................................................................4Diagram - Rear Panel ..............................................................................................6Setup........................................................................................................................7

Connecting the MX200 .....................................................................................7Using the MX200 .....................................................................................................10

Loading Programs .............................................................................................10Editing Programs ...............................................................................................10Selecting Effects................................................................................................10Tap Tempo .........................................................................................................11The Audition Feature .........................................................................................11Routing Options.................................................................................................12Storing Programs...............................................................................................12

Effects Descriptions .................................................................................................13Reverbs.............................................................................................................13Delays ...............................................................................................................17dbx® Dynamics.................................................................................................19Modulated Effects .............................................................................................20

MX200 Utilities .........................................................................................................23MIDI Channel ....................................................................................................23Program AutoLoad ............................................................................................23Analog / Digital Input Select .............................................................................23Digital Out Dry Track.........................................................................................24Stereo and Mono Output Modes ......................................................................24Factory Program Banks: Serial and Parallel.....................................................24Bypass Mode Select .........................................................................................25Factory Reset....................................................................................................25

The MX-Edit Editor/Librarian - Windows..................................................................26Minimum System Requirements .......................................................................26Installing the MX-Edit Editor/Librarian Software ...............................................26Quick Start ........................................................................................................26The MX-Edit Library ..........................................................................................27Opening or Creating a Program .......................................................................27The MX-Edit Program Editor.............................................................................28Editing a Program .............................................................................................28Saving a Program .............................................................................................30Storing a Program.............................................................................................30Archiving ...........................................................................................................30

The MX-Edit Editor/Librarian - Mac .........................................................................32Minimum System Requirements .......................................................................32Installing the MX-Edit Editor/Librarian ..............................................................32Quick Start ........................................................................................................32The MX-Edit Program Window .........................................................................32Editing a Program .............................................................................................33Quick Access Menu ..........................................................................................34

Using the MX200 as a Hardware Plug-In ................................................................35Minimum System Requirements .......................................................................35

Installing the MX-Edit VST Hardware Plug-In...................................................35Connecting the MX200 .....................................................................................35Software Configuration .....................................................................................36Using the MX200 Plug-In Window....................................................................36Controls.............................................................................................................36MIDI Port Error Message ..................................................................................37

CC Mapping .............................................................................................................37MIDI Implementation Chart ......................................................................................37Specifications ...........................................................................................................38Appendix ..................................................................................................................39Program List.............................................................................................................40

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QQuuiicckk SSttaarrttIdeally, you should read this entire manualbefore using the MX200. But, if you justcan’t wait to get started, this sectionexplains how to set up a simple parallelconnection (using the MX200 with a mixer)and select a program.

Powering the Unit1. Plug the included power supply into an

A/C outlet. 2. Connect the Power Supply to the Power

Jack connection on the MX200’s back panel.

3. When the MX200 first powers up, the Audition button quickly flashes for a moment. This indicates that the softwareis loading.

Standard Parallel Connection

1. Connect the mixer’s Post Fader Aux Send output to the MX200’s Left (Mono)input.

2. Connect the MX200 Left and Rightoutputs to a stereo Aux Return input on the mixer (or a stereo line input, or two adjacent line inputs if you like).

Set Audio Levels1. Set the gain on the mixer’s input

channel appropriate to the source (vocalmic, guitar, keyboard, etc.).

2. Set the Aux Master level (if provided on your console) to the 12 o’clock position.

3. Set the Input level on the MX200 to the 12 o’clock position.

4. Set the Mix 1 and Mix 2 knobs on the MX200 to their full clockwise position. (Wet).

5. Provide source signal (by speaking or singing into the mic, playing guitar, keyboard, etc.) on the selected mixer channel.

6. Turn up the Aux Send level on the channel corresponding to the Post-fader send (Aux 1 in this example) that the MX200 is connected to until the Red Input LEDs light only occasionally. If the red Input LEDs stay lit, too much signal is being sent to the MX200; reduce the Aux Master or Aux Send on the mixer.

7. Turn up the Aux Return to the 12 o’clockposition, or stereo line input faders to the 0dB position, if you used that connection.

8. To increase or decrease the amount of effect on the signal, adjust the Aux Sendlevel on the channel that you want affected.

Select and Load a ProgramTurn the Program Select knob to choosea program. The display flashes the numberof the program to be loaded. Press theknob to load the program.

Note that the MX200 comes with 99Factory programs and 99 User programs.A small dot appears at the bottom right ofthe Program Display window, indicatingthat the displayed program is a User pro-gram. For more information about editingprograms, see page 10.

Program Select knob

Aux Send 1

Aux Return 1

AuxReturn 2

Power

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Audition the Effect

The Audition button allows you to previewthe loaded program by playing short digitalsamples through the effect processors.There are five audio samples included inthe MX200, including various drum sounds,vocal, and guitar. In the factory setting, tap-ping the Audition button cycles throughthe five sounds, but you may want torepeat a particular sound as you choose oredit an effect. See page 11 for more infor-mation.

Audition Button

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OverviewThe MX200 is a dual-processor, singlerack space multi-effects device designedwith both live sound reinforcement andhome recording in mind. Featuring thedeep, rich reverb algorithms that built theLexicon® legend, the MX200 offersincreased versatility with dynamics andspecialty effects—all instantly accessiblevia the extremely intuitive front panel.

Either way you use the MX200 – live or inthe studio – you can choose two effects atonce in one of four routing schemes: DualStereo (Parallel), Cascade (Serial), MonoSplit or Dual Mono. The MX200 has 99carefully crafted Factory programs, and 99User programs that allow you to createyour own custom effect settings. Frontpanel controls include Input Level, Mix 1and Mix 2 controls, effects Routing button,independent Tempo and Bypass buttons,three Parameter knobs for eachProcessor, Program Select knob, anAudition button, and a Store button.

Studio OperationThe MX200 features a USB interface thatlets it function as a “hardware plug-in” –recognized and functioning within a VSTTM

or Audio Units compatible recording appli-cation as a plug-in effect, but still operatingas a dedicated hardware processor. Thisunique hardware plug-in feature lets youadd legendary Lexicon effects to your com-puter-based recordings with full automationand recall features via an intuitive cross-platform plug-in window without overbur-dening your CPU.

Live Operation Those using the MX200 in live applicationswill appreciate its intuitive front panel lay-out. The Active Reverb/Effects Matrixdisplays which two of the 32 availablereverbs and effects are active, and all edit-ing functions require only a single buttonpush or turn of a knob. Dual independentprocessor control areas feature dedicatedEffects Select, Tempo, and Bypass but-tons plus three Parameter knobs that pro-vide instant access and control over themost critical parameters for the selectedeffect. Parameter change LEDs illuminateto indicate any changes to the 99 Factoryor User programs. The Audition buttonplays one of five digitally recorded audiosamples through the selected effects toaudition their settings without the need foran external audio source.

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1. Dual Input Bargraph MetersLEDs indicate input level for each channel.

2. Digital In LEDIndicates when the S/PDIF digital input isselected and active.

3. Routing ButtonPress this button to cycle through the foursignal routing options. For more informa-tion about routing, see page 12.

4. Active Reverb / Effects MatrixIndicates which effects are active at alltimes. Green LED indicates active effect inProcessor 1, red LED indicates activeeffect in Processor 2.

5. Tempo Button - P1Tapping this button twice sets the DelayTime of Processor 1. LED flashes to indi-cate current tempo, or lights solid whensynched to MIDI.

6. Bypass Button - P1Bypasses Processor 1. In the factorydefault, this puts the processor into Bypassmode and allows dry, unprocessed signalto pass through to the outputs. To changeto Bypass Mute, which allows no signal(wet or dry) to pass, see Bypass ModeSelect in the Utilities section on page 25.

7. Tempo Button - P2 Same as for Processor 1 (see #5).

8. Bypass Button - P2Bypasses Processor 2. Red LED lights toindicate effect is bypassed.

9. Store ButtonStores program modifications to one of the99 User program locations. Press theStore and Audition buttons simultaneous-ly to access Utility functions. (See page 23for more information.)

10. Audition ButtonPlays audio samples through the proces-sors to audition their settings. Press theAudition and Store buttons simultaneous-ly to access the Utility functions. (See page23 for more information.)

11. Input KnobControls the input level of both Left andRight analog inputs.

12. Mix 1 KnobControls the P1 Wet/Dry effects mix.

13. Mix 2 KnobControls the P2 Wet/Dry effects mix.

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11 12 13 14151617181920212223

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* Refer to the Effects Descriptions section for more information about parameters.

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14. Effect Select - P1 This button selects the reverb, delay, oreffect to be loaded in Processor 1.

15. Pre Delay Knob - P1Controls Pre Delay of the reverbs or thefirst parameter of the selected delay oreffect in Processor 1.*

16. Decay Knob - P1Controls Decay of the reverbs or the sec-ond parameter of the selected delay oreffect in Processor 1.*

17. Variation - P1Controls Liveliness or Diffusion (dependingon the reverb selected) or the third param-eter of the selected effect in Processor 1.*

18. Effect Select - P2 Same as for Processor 1 (see #14).

19. Pre Delay Knob - P2Same as for Processor 1 (see #15).

20. Decay Knob - P2Same as for Processor 1 (see #16).

21. Variation - P2Same as for Processor 1 (see #17).

22. Program Display2-character LED display indicates which ofthe 99 Factory or User programs is loaded.A small dot appears at the bottom right ofthe Program Display window, indicatingthat the displayed program is a User pro-gram. Also shows Utility settings andparameter values during editing.

23. Program Select KnobNavigates through Factory and User pro-grams, as well as Utility functions.

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* Refer to the Effects Descriptions section for more information about parameters.

1. Power JackConnect only the included Harman ProPS0913B power supply here.

2. Footswitch InputAn optional 2-button footswitch can beplugged into this TRS jack for independentBypass control of P1 and P2. Use theLexicon® LEX-DFS or a 2-button footswitchwired as follows:

Tip = Bypass 2Ring = Bypass 1Sleeve = Ground

3. MIDI In, Out/ThruProvides MIDI operation capabilities. Two5-pin MIDI DIN connectors are availablefor MIDI IN and MIDI OUT/THRU. (Seepage 37 for MIDI Implementation chart.)

4. USB Port Provides communication with a computerfor use with MX-EditTM software and MX200plug-in window using a standard USBcable. When the MX200 is connected to acomputer via USB, US briefly appears inthe Program Display window.

5. S/PDIF Digital In/Out Digital input accepts 44.1kHz / 48kHz sig-nals. When the S/PDIF digital input isselected and active, the Digital In LED onthe front panel lights.

Important: It is recommended that you donot connect any digital device to theMX200’s S/PDIF input that transmits at anyother sample rate (such as 96kHz). Doingso can cause unpredictable performance.Make sure the device you are connectingto the MX200’s S/PDIF In is set as theClock Master (if that option is available)and transmitting at a sample rate of44.1kHz or 48kHz only. As with any otherconnection, if you need to unplug theS/PDIF cable, it is recommended that youswitch to the analog inputs (see DigitalInput Select in the Utility section) orbypass both processors before disconnect-ing the cable.

6. Balanced Analog Line OutputsLeft and Right RF-filtered 1/4”balanced/unbalanced TRS line outputs areservo-balanced, so no signal loss isincurred when using unbalanced connec-tions. To use the Left output as a monosum of both Left and Right signals, referto the Stereo/Mono Output Mode Utilitysection on page 24.

7. Balanced Analog Line InputsLeft and Right active analog 1/4” TRS bal-anced/unbalanced line inputs. If only a sin-gle plug is connected to the Left input, thesignal is split and sent to both the Left andRight input paths.

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Connecting the MX200

Parallel vs. Serial

The MX200 can be used as both a Paralleland Serial (in-line) effects processor.Typically, reverbs and delays are used inparallel, compressors and de-essers inserial, and modulated effects can be usedin either configuration, depending on thedesired application.

A Parallel Processor is connected by send-ing a copy of a signal (such as from anAux Send of a mixer channel) to an effectsdevice (such as the MX200), and theeffected (or wet) signal is returned to themixer or amp. It is then blended togetherwith the original unaffected (dry) signal.This blend is called the Wet/Dry mix. Thisconnection is most often used for reverbs,delays, and some modulated effects (suchas chorus).

A Serial Processor is connected by send-ing the entire signal through the effectsdevice and then to an amplifier or mixer,and is not blended with the unaffected(dry) signal. This is the type of connectionmost often used for a compressor, de-esser, equalizer, and many modulatedeffects (such as tremolo, vibrato, androtary).

The following illustrations show how toconnect the MX200 in both Serial andParallel configurations, using some com-mon, real-world examples.

Parallel Connection

Mixer - Mono In/Stereo Out Setup

This setup is the most commonly usedconfiguration in both live and studio appli-cations.

1. Select routing 2 or 4 using the Routing button.

2. Connect the mixer’s Post Fader Aux Send output to the MX200’s Left (Mono)input.

3. Connect the MX200’s Left and Rightoutputs to a stereo Aux Return input on the mixer (or a stereo line input, or two adjacent line inputs if you like).

4. Set the gain on the mixer’s input channel appropriate to the source (vocalmic, guitar, keyboard, etc.).

5. Set the Aux Master level (if provided on your console) to the 12 o’clock position.

6. Set the Input on the MX200 to the 12 o’clock position.

7. Set the Mix 1 and Mix 2 knobs on the MX200 to their full clockwise (Wet) position.

8. Turn up the Aux Send level on the channel corresponding to the Post-fader Aux Send (Aux 1 in this example) that the MX200 is connected to until the red Input Bargraph LEDs light only occasionally. If the red Input

Aux Send 1

Aux Return 1

AuxReturn 2

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Bargraph LEDs stay lit, too much signal is being sent to the MX200; reduce the Aux Master or Aux send on the mixer.

9. Turn up the Aux Return to the 12 o’clock position (or line input faders to the 0db positions, if you used that connection).

10. To increase or decrease the amount of effect on the signal, adjust the Aux Send level on the channel that you want affected.

Mixer - Dual Mono Setup

This setup applies to a mixer with two (ormore) Aux Sends and Returns. It utilizesthe two effect sections in the MX200 astwo separate effects with separate monooutputs, or a common stereo output.

1. Select routing 1 or 4 using the Routingbutton.

2. Connect Aux 1 send to the MX200 Leftinput.

3. Connect Aux 2 send to the MX200 Right input.

4. Connect the MX200 Left and Rightoutputs to the mixer’s Aux returns 1 and 2 for mono, or Stereo Aux L/R returns for stereo.

5. Set Mix 1 and Mix 2 knobs fullyclockwise (Wet).

6. Set the MX200’s Input knob to the 12 o’clock position.

7. Set the Aux Return levels on the mixer

to 12 o’clock.8. Turn up Aux Sends 1 and 2 on the

mixer for the selected channels so the red Input Bargraph LEDs only light occasionally with signal (adjusting the Input knob on the MX200 may be necessary).

9. Control the amount of effect using the Aux Send levels on the selected mixer channels.

Serial Connections

Guitar - Effects Loop Setup

1. Select routing 2 using the Routingbutton (you can always experiment using other routings).

2. Connect guitar to the amp’s Input.3. Connect the amp Effects Loop Send or

Preamp Out to the MX200’s Left input.4. Connect the MX200’s Left output to the

amp’s Effects Loop Return or Power Amp In.

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

6. Adjust the Input level so the red Input Bargraph LEDs only light occasionally with signal.

7. To adjust the effect level, use the Mix 1and Mix 2 knobs.

PreampOut

Power AmpIn

Aux Send 1

Aux Return 1

AuxSend 2

AuxReturn 2

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Instrument - In Line Setup

This setup utilizes the MX200 as a multi-effects processor connected in line from aninstrument to a mixer. It is an ideal setup touse when your mixer does not have anAux Send/Return option built in.

1. Select routing 2 using the Routingbutton (you can always experiment using other routings).

2. Connect a line level signal directly from your instrument to the MX200 Inputs. (use Left input for mono signals).

3. Connect the MX200’s Left and Rightoutputs to two separate mixer channels or a stereo line input.

4. Set the MX200’s Input knob to the 12 o’clock position.

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

6. Adjust the Input level so the red Input Bargraph LEDs only light occasionally with signal.

7. Adjust the Mix 1 and Mix 2 knobs for the desired effect mix level.

Studio – Digital Setup

This setup is ideal if you are using theMX200 as a hardware plug-in in a digitalrecording system. This setup requires thatyou are using an I/O device with S/PDIFIn/Out, or a digital mixer with S/PDIF I/Ooption.

1. Select routing 2 using the Routingbutton. (You can always experiment withother routings.)

2. Connect the S/PDIF output on your soundcard, audio interface or mixer to the S/PDIF In on the MX200.

3. Connect the MX200 S/PDIF Out to the S/PDIF input on your soundcard, audio interface or mixer.

4. Make sure the device you are connecting to the MX200’s S/PDIF In is set as the Clock Master (if that option is available) and transmitting at a sample rate of 44.1kHz or 48kHz only. (Refer to the documentation for your device and/or software for proper setup.)

5. Once the MX200 is locked correctly withyour device, the Digital In LED lights.If the Digital In LED does not light, check your cables and make sure that your I/O device is set as Master Clock.

S/PDIF Out

S/PDIF In

StereoLine Input

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The MX200 is equipped with 99 Factoryprograms that combine the 32 reverbs andeffects to cover a wide range of applica-tions. Additionally, there are 99 User pro-gram locations in which to store your ownreverb and effects combinations. Theseare identical to the Factory programs untilyou change them.

Loading Programs

To load a program:

1. Choose a program by rotating the Program Select knob. The selected program number flashes in the ProgramDisplay until loaded. A small LED dot appears in the lower right portion of the Program Display if a User program is selected.

2. Press the Program Select knob to load the program.

If you would like the programs to be loadedautomatically as they are changed with theProgram Select knob, you can enable theAutoLoad function (see page 23 for moreinformation).

Editing ProgramsAfter selecting a Factory or User program,you may find that it needs some modifica-tion for a particular application or use. Thismay include changing one of the threeParameter knobs on each processor,changing the Mix 1 or Mix 2 settings, alter-ing the Routing, changing the delayTempo or engaging one of the Bypassbuttons. When any of the Parameter orMix knobs are used, a numerical value forthat parameter will briefly appear in theProgram Display while the knob is beingturned. A small LED next to the knob willilluminate, denoting a change from thesaved value, and the Store button willlight, indicating that the loaded programhas been modified. To retain these

changes, you must store them to a Userprogram location (see Storing Programs).

Knob and button LEDs are green forProcessor 1, and red for Processor 2, tocorrespond with their respective LED colorin the Active Reverb/Effects Matrix.Either Factory or User programs may beedited, but they may only be stored to aUser program location.

The Parameter knobs have different func-tions for each reverb and effect. Fordetailed descriptions of what each knobdoes, refer to the Effects Descriptionssection.

To edit a program:

1. Load a program using the Program Select knob.

2. Make any of the following adjustments or changes:

• Select effects with either or both Effect Select buttons.

• Modify the program with the Pre Delay, Decay, or Variation knobs.

• Bypass a processor using P1 or P2 Bypass button.

• Change tempo using the P1 or P2 Tempo button.

• Adjust the Wet/Dry mix for either or bothprocessors with the Mix 1 and Mix 2knobs.

• Change effect routings with the Routingbutton.

Selecting EffectsThe MX200 features 16 classic Lexicon®

reverb algorithms, six types of delay, eightmodulated/pitch effects, and two dbx®

dynamics algorithms.

To select an effect, press the P1 or P2Effect Select buttons up or down.

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An LED lights next to the selected reverbor effect label in the ActiveReverb/Effects Matrix (green LED for P1,red for P2).

The Effect Select control is cyclical,meaning if Effect Select is pressed upwhen Small Hall is active, Detune will bethe next selected effect. Similarly, if Detuneis active, and Effect Select is presseddown, the effect will change to Small Hall.

Tap TempoTap tempo can be used to match the delaytimes to synchronize with the music. TheTempo button LED flashes when a delay isloaded. To set tempo from the front panel,press the Tempo button twice in time withthe music. The LED will flash at a rate thatcorresponds to the new tempo.

MX200 can also use MIDI Sync to set thetempo of delays. When MX200 detectsMIDI Sync present at the MIDI In, theTempo LEDs light constantly to indicatethat tempo is set via MIDI Sync.

Changes made to tempo with the Tempobutton are considered program edits, andcause the Store button LED to light.

The Audition FeatureThe Audition feature provides 5 digitallyrecorded audio samples that are playedback through MX200’s processors at thetouch of a button. This lets you preview theselected program and dial in reverb oreffects settings without the need for anexternal audio source.

In the default setting, each tap of theAudition button plays the next sample. Toplay a single sample repeatedly, changethe Audition options.

To change Audition options:

1. Press and hold the Audition button. TheLED flashes, and the Program Display alternately displays AUand AL.

2. Turn the Program Select knob to select the individual sample you want to hear when you press the Auditionbutton.

The samples are:

AALL - Audition All Samples. Each time the Audition button is pressed, the next sample is played.

AA11 - Drum Stick ClickAA22 - Snare DrumAA33 - Kick DrumAA44 - Female Vocal “Doo”AA55 - Acoustic Guitar Arpeggio

3. Press the Store button to save the new Audition setup

The Audition button now plays the select-ed sample each time it is pressed. TheAudition sample is a global setting, and isnot saved with presets.

Active Reverb/Effects Matrix

Effect Select

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Routing OptionsThe MX200’s powerful Dual Processordesign and four signal routing optionsallow you to use it as two independenteffects processors, or combine the reverbsand effects for a nearly limitless palette ofcomplex sounds.

1. Dual MonoThis routing option sends the Left andRight input signals through Processor 1and Processor 2 respectively. Each signalis then routed to its respective output, com-pletely independent from the other.

2. CascadeLeft and Right input signals are sent firstthrough Processor 1, then throughProcessor 2, then routed as a stereo signalto their respective outputs.

3. Dual Stereo (Parallel)Left and Right input signals are sentthrough both processors independently.The output signals of both processors arethen mixed together, and routed to both theoutputs as a single stereo signal.

4. Mono SplitLeft input signal is sent through Processor1, while the Right input signal is sentthrough Processor 2. The output signals ofboth processors are then mixed together,and routed to both the outputs as a singlestereo signal.

Storing ProgramsOnce you have edited a program to yourliking, you can store these edits into a Userprogram memory location. To store a pro-gram, follow these steps:

1. Press the Store button once. STappears briefly in the Program Display,followed by the flashing User program number (indicated by the small dot over User Program being lit).

2. Use the Program Select knob to select a User program location to store your edits.

3. Press the Store button again to complete the procedure.

To return to the program without storing changes, press any other button on the front panel.

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The MX200 effects come in four varieties:Stereo, Mono In/Stereo Out, Mono (Wetonly), and Stereo (Wet only). When usingWet only effects, turn the processors Mixknob fully clockwise.

ReverbsReverberation (or “reverb” for short) is thecomplex effect created by the way we per-ceive sound in an enclosed space. Whensound waves encounter an object orboundary, they don’t just stop. Some of thesound is absorbed by the object, but mostof the sound is reflected or is diffused. Inan enclosed space, reverb is dependent onmany features of that space, including thesize, shape and the type of materials thatline the walls. Even with closed eyes, a lis-tener can easily tell the difference betweena closet, a locker room and a large audito-rium. Reverb is a natural component of theacoustic experience, and most people feelthat something is missing without it.

A Hall is designed to emulate the acousticsof a concert hall – a space large enough tocontain an orchestra and an audience.Because of the size and characteristics,Halls are the most natural-soundingreverbs, designed to remain “behind” thedirect sound – adding ambience andspace, but leaving the source unchanged.This effect has a relatively low initial echodensity which builds up gradually overtime. Vocal Hall and Drum Hall reverbsare specifically tailored for those uses.Vocal Hall has as lower overall diffusionwhich works well with program materialthat has softer initial transients like a voice.Drum Hall has a higher diffusion settingwhich is necessary to smooth out fastertransient signals found in drums and per-cussion instruments. In addition to generalinstrumental and vocal applications, theHall program is a good choice for givingseparately recorded tracks the sense ofbelonging to the same performance.

Hall Reverbs StereoSmall HallLarge HallVocal Hall Drum Hall

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A Plate reverb is a large, thin sheet ofmetal suspended upright under tension onsprings. Transducers attached to the platetransmit a signal that makes the platevibrate, causing sounds to appear to beoccurring in a large, open space. ThePlates in the MX200 model the sound ofmetal plates with high initial diffusion and arelatively bright, colored sound. Platereverbs are designed to be heard as partof the music, mellowing and thickening theinitial sound. Plate reverbs are often usedto enhance popular music, particularly per-cussion.

Room produces an excellent simulation ofa very small room which is useful for dialogand voiceover applications. Room is alsopractical when used judiciously for fatten-ing up high energy signals like electric gui-tar amp recordings.

Historically, recording studio chamberswere oddly shaped rooms with a loud-speaker and set of microphones to collectambience in various parts of the room.Chamber programs produce even, rela-tively dimensionless reverberation with littlecolor change as sound decays. The initialdiffusion is similar to the Hall programs.However, the sense of size and space ismuch less obvious. This characteristic,coupled with the low color of the decay tail,makes these programs useful on a widerange of material - especially the spokenvoice, to which Chamber programs add anoticeable increase in loudness with lowcolor.

Gated reverb is created by feeding areverb, such as a metal plate, through agate device. Decay Time is set to instant,while Hold Time varies duration and sound.The Gated reverb provides a fairly con-stant sound with no decay until the reverbis cut off abruptly. This program works wellon percussion — particularly on snare andtoms; be sure to experiment with othersound sources as well.

Reverse reverb works in the oppositefashion from normal reverb. Whereas anormal reverb has the loudest series ofreflections heard first that then becomequieter over time, the Reverse reverb hasthe softest reflections (essentially the tail ofthe reverb) heard first, and then growslouder over time until they abruptly cut off.

Ambience is used to simulate the effect ofa small or medium sized room withoutnoticeable decay. It is often used for voice,guitar or percussion.

Much like Room reverb, Studio producesan excellent simulation of smaller, well-controlled acoustic spaces, characteristicof the main performance areas in recordingstudios. Studio is also useful with dialogand voiceover applications as well as indi-vidual instrument and electric guitar tracks.

Studio Reverb Stereo

Ambience Reverb Stereo

Reverse Reverb Mono In/Stereo Out

Gated Reverb Mono In/Stereo Out

Chamber Reverb Stereo

Room Reverb Stereo

Plate Reverbs StereoSmall PlateLarge PlateVocal PlateDrum Plate

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Arena reverb emulates a huge physicalspace such as an indoor sports venue orstadium. The characteristics of Arenareverb are long secondary reflection timesand a reduced amount of high frequencycontent. Arena is a mostly mid- and low-frequency dominant reverb, and is an idealselection for “special effect” type applica-tions that require extremely long reverbtimes. It is not a good choice for a verybusy mix, since it can reduce intelligibility.

A Spring reverb is created by a pair ofpiezoelectric crystals—one acting as aspeaker and the other acting as a micro-phone—connected by a simple set ofsprings. The characteristic ‘boing’ of aspring is an important component of manyclassic rock and rockabilly guitar sounds.

Reverb ControlsPre DelayCreates an additional time delay betweenthe source signal and the onset of rever-beration. This control is not intended toprecisely mimic the time delays in naturalspaces, as the build-up of reverberation isgradual, and the initial time gap is usuallyrelatively short. For the most natural effect,the Pre Delay values should be set in therange of 10-25 milliseconds. However, if amix is very busy or overly cluttered,increasing the Pre Delay time may helpclarify it, and set each instrument apartfrom each other.

DecayControls the amount of time the reverb canbe heard. Higher settings increase rever-

beration times which are usually associat-ed with larger acoustical environments, butcan decrease intelligibility. Lower settingsshorten reverb times and should be usedwhen a smaller apparent space or a moresubtle effect is desired.

LivelinessAdjusts the amount of high frequency con-tent in the reverberation tails. Higher set-tings increase high frequency response,creating brighter reverbs; lower settingscreate darker reverbs with more bass fre-quency emphasis.

DiffusionControls the initial echo density. High set-tings of Diffusion result in high initial echodensity, and low settings cause low initialdensity. In a real-world situation, irregularwalls cause high diffusion, while large flatwalls cause low diffusion. For drums andpercussion, try using higher Diffusion set-tings.

ShapeThis control helps give a sense of bothroom shape and room size. Low values forShape keep the majority of sound energyin the early part of the reverb tail. High val-ues move the energy to later in the reverb,and are helpful in creating the sense of astrong rear wall or “backslap.

BoingThis is a unique parameter to the Springreverb, designed to increase or decreasethe amount of spring rattle that is a physi-cal characteristic of spring tank reverbs.

Spring Reverb Mono In/Stereo Out

Arena Reverb Stereo

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Note: Values of 0 – 100 are displayed as 0 – 00 (100 is displayed as 00 in the ProgramDisplay). Values of greater than 100 are shown with a decimal between the digits, i.e.115 displayed as 1.5, 150 displayed as 5.0, and 200 is displayed as 0.0.

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DelaysDelays repeat a sound a short time after itfirst occurs. Delay becomes echo when theoutput is fed back into the input (feedback).This turns a single repeat into a series ofrepeats, each a little softer than the last.

The Studio Delay features up to 2.5 sec-onds of stereo delay and offers a built-inducker that attenuates the delay outputwhenever signal is present at the input.This can be used to keep the original sig-nal from being muddied up by delayrepeats.

The Digital Delay is the cleanest, mostaccurate of the delay programs, with up to5 seconds of mono delay and the built-inducking feature.

In the days before digital, delays were cre-ated using a special tape recorder in whichthe magnetic recording tape was looped,with closely-spaced recording and play-back heads. The delay effect was createdby the tape moving in the space betweenthe record and playback heads – whiledelay time was adjusted by changing thespeed of the tape loop. Although verymusical-sounding, wow and flutter com-bined with a significant loss of high fre-quencies, and to some extent also low fre-quencies, are all elements commonly asso-ciated with tape recordings. The TapeDelay offers up to 5 seconds of monodelay.

This delay effect pans the delay repeatsfrom left to right, while the input signalremains at its original (center) position.Pong Delay offers up to 5 seconds of

mono delay time.

The Modulated Delay is enhanced by anLFO (low frequency oscillator) that pro-duces a chorusing effect on the delayrepeats. This is a great delay for guitar andinstrument passages that need that “spe-cial something.” The Modulated Delayfeatures up to 2.5 seconds of stereo modu-lated delay.

This delay effect emulates the old studiotrick of flipping a tape over, playing it back-wards through a tape delay, and recordingthe effect. The delays “build up” from softerto louder – creating the sensation that thedelays come before the signal. Very coolwhen used judiciously. Up to 5 seconds ofmono delay time are available.

Delay Controls Time RangeControls the length of the delay relative toTap Tempo. At the 12 o’clock position,delay repeats are synchronous with theTempo light (represented by a QuarterNote); lower values create faster repeats,higher values increase the time betweenrepeats. Range 0-72. See Appendix onpage 39 for exact note values.

FeedbackControls the number of delay repeats byfeeding the delay output signal back intothe delay input. This creates a series ofdelay repeats, each slightly attenuated untilthey become inaudible. Higher settingscreate more repeats; lower settings reducethe number of repeats. When this knob isturned fully clockwise, it engages RepeatHold – delay repeats play back in an infi-nite loop, but no further input signal isintroduced into the delay effect. RepeatHold is available only on Studio, Digitaland Pong Delay.

Reverse Delay Mono In/Stereo Out

Modulated Delay Stereo

Pong Delay Mono In /Stereo Out

Tape Delay Mono In/Stereo Out

Digital Delay Mono In/Stereo Out

Studio Delay Stereo

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Ducker ThresholdMX200’s Studio and Digital delays offer a“ducking” feature, which causes the delayrepeats to attenuate (or get softer) by -6dBwhen live (or input) signal is present. Thisallows the delay to remain as an effect,and not clash with the original signal. Thehigher this value is set, the louder an inputsignal must be for the ducking to takeplace.

SmearThis parameter controls the amount of“smear,” or signal degradation and fre-quency loss. Particularly evident in theTape Delay, the higher the setting, themore each delay repeat loses intelligibilitycompared to the original signal.

Tap RatioTap Ratio sets the length between the firstand second tap repeats of the PongDelay. With this control set at 12 o’clock,

repeats are evenly alternated between leftand right channels. As this knob is turnedcounter-clockwise, the first tap occurs earli-er and the second tap occurs later thanthey did at the 12 o’clock position. Whenthe knob is turned clockwise, the first tapoccurs later and the second tap occursearlier.

DepthThis controls the intensity of modulation, or“depth” in the Modulated Delay. Lowersettings produce a more subtle effect,while higher values give a more “seasick”feeling.

Tempo ButtonTapping this button twice sets the delaytimes. The Tempo button LED flashes thetempo tapped in, and delay taps will besynchronized to the flashing LED. Use theTime Range knob to increase or decreasedelay times after tapping in a tempo.

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Note: When Feedback is turned past 99, the value displays as rh to indicate RepeatHold. (Studio, Digital, and Pong delays only.)

dbx® Dynamics

A De-Esser is a type of compressor usedto control specific frequencies. Excessivesibilance, or the “s” sounds, can be tamedby applying this effect.

De-Esser ControlsKnob 1: Compression RatioDetermines the amount of compression,from 1:1 (no effect) to Infinity:1 (completelimiting).

Knob 2: Frequency RangeSelects the frequency range of compres-sion in 40 discrete steps from 1600Hz to10kHz (the most common frequencies inwhich excessive sibilance occurs).

Knob 3: Bandwidth (Q)Controls the bandwidth or “Quality” (Q) offrequency range. The higher the selectedvalue, the tighter the bandwidth, and lessapparent the de-essing effect is.Incremental in six steps from 1/4 Octave(0) to 1/24th Octave (5). See Appendix onpage 39 for bandwidth values.

A compressor is used to control thedynamic range of a signal. Typically usedto tighten bass or drum tracks, or to controla vocal passage, a compressor is a veryuseful but often misunderstood tool. To bet-ter use the Compressor in the MX200, abit of understanding about compression ishelpful.

When a signal level crosses theThreshold level, the compressor thenreduces the amount of output level by an

amount determined by the Ratio. Forexample, if the threshold is set to -12dB,and the ratio set to 4:1, then when signalexceeds -12dB, the signal level above thatamount only increases by 1dB to every4dB of signal level above -12dB. In thiscase, an incoming signal of -4dB (which is8dB above the threshold) would result inan output signal of -10dB, or 2dB higherthan the threshold level, since the 4:1 com-pression ratio only allowed 2dB more out-put, based on the 8dB increase above the-12dB threshold.

Because the resulting output is less thanthe original signal, a third control, MakeupGain compensates for this loss of level,but with less dynamic range, or the differ-ence between the softest and loudest partsof the signal.

Compressor ControlsKnob 1: ThresholdDetermines the threshold above whichcompression begins, incrementallybetween -70dB and 0dB (FS).

Knob 2: Compression RatioSelects the compression ratio, from 1:1 (noeffect) to Infinity:1 (or complete limiting).

Knob 3: Makeup GainIncreases the output level to compensatefor signal attenuation during compression.Incremental between 0dB (no gain) to+12dB.

Compressor Mono (Wet only)

De-Esser Mono (Wet only)

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Modulated Effects

Chorus creates a lush, full sound by com-bining two or more signals together whereone is unaffected and the other signalsvary in pitch very slightly over time.Chorus is commonly used to fatten uptracks and to add body to guitars withoutcoloring the original tone. Chorus can alsobe used with discretion to thicken a vocaltrack.

Chorus Controls SpeedControls the modulation rate of the Choruseffect. Lower settings are subtle, whilehigher values are much more pronounced.

DepthControls the amount of pitch shifting foreach voice. Lower settings provide subtlethickening and warmth to a track, whilehigher settings give a more pronounced,multi-voice effect.

VoicesControls the number of additional Chorusvoices. Up to 8 voices can be added, con-tinuously variable in 100 individual steps.

This effect was originally created by simul-taneously recording and playing back twoidentical programs on two tape recorders,then using hand pressure against theflange of the tape reels to slow down firstone machine, then the other. The resultwas a series of changing phase cancella-tions and reinforcements, with characteris-tic swishing, tunneling, and fading sounds.

Flanger Controls Knob 1: SpeedControls the modulation rate of theFlanger effect.

Knob 2: DepthControls the intensity of the Flanger effect.Lower settings provide a slight “whooshing”sound while higher settings provide amuch more dramatic “jet airplane” sound.

Knob 3: RegenerationThis knob controls the amount of modulat-ed signal being fed back into the input, cre-ating feedback. Higher amounts add ametallic resonance to the signal.

The Phaser automatically moves frequen-cy notches up and down the spectrum ofthe signal by means of a low frequencyoscillator (LFO), creating an oscillating“comb-filter” type effect. This effect is veryuserful on keyboards (especially pad pre-sets) and guitars.

Phaser ControlsKnob 1: SpeedControls the modulation rate of the Phasereffect.

Knob 2: DepthControls the intensity of the Phaser effect.

Knob 3: RegenerationThis knob controls the amount of modulat-

Phaser Stereo

Flanger Stereo

Chorus Stereo

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ed signal being fed back into the input, cre-ating feedback. Higher amounts add moreresonance to the effect signal.

Tremolo and Panner create rhythmicchanges in signal amplitude. Tremoloaffects both channel’s amplitude simultane-ously, while the Panner affects the ampli-tude of each channel in an alternatingmanner.

Tremolo/Pan ControlsKnob 1: SpeedControls the modulation rate of theTremolo/Panner.

Knob 2: DepthControls the intensity of the volume ampli-tude change.

Knob 3: PhaseControls whether the amplitude changeoccurs in both channels simultaneously(Tremolo) or alternates between channels(Panner).

Rotary speaker cabinets were designed toprovide a majestic vibrato/choir effect forelectronic theater and church organs. Themost well known rotary speaker is theLeslie™ Model 122, which has two count-er-rotating elements: a high-frequency hornand a low-frequency rotor with slow andfast speeds. The sound generated as thespinning elements change speed is trulymagical. The swirling, spacious effect isdifficult to describe – but clearly recogniza-ble.

The Rotary effect is modeled after aLeslie-style cabinet. The input signal is splitinto high and low-frequency bands. Therotation effect is created by a synchronizedcombination of pitch shifting, tremolo, andpanning. Like the physical cabinet, the high(horn) and low (rotor) frequencies are“spun” in opposite directions. Horn androtor speeds are independent, anddesigned with acceleration and decelera-tion characteristics to simulate the inertiaof the original mechanical elements.

A virtual requirement for organ music,Rotary also sounds remarkable with guitarand electric piano rhythm parts. In fact,these programs are great alternatives tothe Chorus and Tremolo effects for anysound source.

Rotary ControlsKnob 1: SpeedControls the modulation rate of both rotaryspeakers. The lower frequencies rotate ata slower speed than the high frequencies.

Knob 2: DopplerIncreases or decreases the Doppler pitcheffect that is created by the physics of arotating speaker.

Knob 3: Stereo SpreadIncreases or decreases the stereo imagingof the Rotary effect.

Vibrato is obtained by smoothly varyingthe pitch of the signal just sharp and flat ofthe original at a determined rate.

Vibrato Stereo (Wet only)

Rotary Mono (Wet only)

Tremolo/Pan Stereo (Wet only)

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Vibrato ControlsKnob 1: SpeedControls the modulation rate of Vibrato.

Knob 2: DepthControls the maximum amount of pitchshift. Lower settings result in a mere “war-ble,” while higher settings produce a moreexaggerated “wow” sound.

Knob 3: PhaseThis control sets left and right channelwaveforms out of phase, resulting in a left-to-right panning motion.

This effect shifts the frequency spectrum ofthe input signal. Altering the pitch of asound produces a wide range effects -from subtle detunes to full interval shifts upor down a two octave range. The MX200’sPitch Shift effect is a chromatic shifter,meaning all notes of the scale are shiftedby the same interval. Pitch Shift is veryuseful with guitar tracks, monophonic synthlines, or where special vocal effects areneeded.

Pitch Shift ControlsKnob 1: Shift AmountDetermines the amount of pitch shifting.Range is 0-24 semitones (2 octaves).

Knob 2: Down/Up Shift Determines whether the pitch shifting is upor down from the original signal.

Knob 3: Cutoff FrequencyThis controls the cutoff frequency of thelow pass filter. Lower settings roll off highfrequency response.

Detune adds a slightly pitch-shifted versionof the original source, thickening thesound. This creates a particularly effectivesimulation of “double-tracking.” This effectis also a great alternative to the Choruseffect, adding the richness of a choruswithout the audible sweep caused by thechorus rate.

Detune ControlsKnob 1: Left Shift AmountDetermines the detune amount of the Leftinput, from -24 cents to +24 cents.

Knob 2: Right Shift Amount Determines the detune amount of theRight input, from -24 cents to +24 cents.

Knob 3: Stereo SpreadHigher values increase the perceived dis-tance of the detuned voices in the stereofield.

Detune Stereo

Pitch Shift Stereo

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MMXX220000 UUttiilliittiieessThe MX200 has several global functionsthat can be customized to meet yourneeds. These functions are MIDI ChannelSelect, Program AutoLoad enable, DryTrack to digital output, Analog/DigitalInput Select, and Factory Reset. Toaccess these Utility functions, press andhold both the Store and Audition buttonssimultaneously until the Audition buttonLED begins to flash. The Program Displayreads Ut to indicate that you are in Utilitymode rather than Program mode.Navigation between Utility functions is con-trolled by pressing the Audition button;changes are made by turning the ProgramSelect knob.

MIDI ChannelThe MX200 is capable of receiving incom-ing MIDI Program Change and CC(Continuous Controller) messages via aMIDI or USB connection. The MX200 canbe set to receive on any single MIDI chan-nel, all MIDI channels, or can have MIDIreceive disabled.

To select the MIDI channel:

1. Press both the Store and Auditionbuttons simultaneously.

2. The first menu displayed when entering the Utility mode is the MIDI Channel menu. The Program Displayalternates between Ch and 1 (1 isthe factory default MIDI channel).

3. Use the Program Select knob to choose the MIDI channel that you want the MX200 to receive incoming MIDI Program Change and CC messages on.The range is 1-16, AL (omni), and OF(ignores incoming MIDI messages).

4. Press the Store button to save this change.

Program AutoLoadFrom the factory, the MX200 is configured

to have presets loaded manually once theyare selected. This is useful in live applica-tions when a performance requires differ-ent programs to be loaded that are not inadjacent memory locations. Select the pro-gram using the Program Select knob andthen press the knob to load it for use. Theprevious program remains active until thenew program is loaded. If you would likethe programs to be loaded automatically asthey are changed with the Program Selectknob, you can enable the AutoLoad func-tion.

To enable AutoLoad:


2. Press the Audition button repeatedly until Lo appears in the Program Display. The Program Display flashes between Lo and OF, indicating the AutoLoad feature is disabled.

3. Turn the Program Select knob until the display reads On to enable AutoLoad.


Analog / Digital InputSelectThe MX200 has both analog and S/PDIFdigital inputs and outputs available. TheS/PDIF digital output is always operationaland any incoming analog signal isprocessed and sent to both the analog anddigital outputs. When a digital signal isreceived at the S/PDIF digital input fromanother device, the MX200 automaticallydisables the analog inputs and enables thedigital input to receive signal from theexternal device. There are times however,you may want to leave the digital deviceconnected but receive signal from the ana-log inputs.

To enable or disable the digital input:

1. Press both the Store and Audition

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MMXX220000 UUttiilliittiieess

buttons simultaneously.2. Press the Audition button repeatedly

until In appears in the Program Display. The Program Display flashes betweenIn and dI if the digital input is selected. If you want to disable the digital input and use the analog inputs, turn the Program Select knob until the Program Display reads An to select theanalog input.


Digital Out Dry TrackThe MX200 can send unprocessed digitalaudio (Dry Track) out the S/PDIF DigitalOut while monitoring processed audiothrough the analog outputs. This is usefulwhen you want to record a dry perform-ance digitally, but also hear effects pro-cessing while you a recording.

Note: The Dry Track feature is only avail-able for signals brought into the MX200 viathe analog inputs. Dry Track has no effecton signals being received at the S/PDIF In.Digital in/out signals are processed normal-ly regardless of whether the Dry Trackparameter is enabled or disabled.

To enable Dry Track:


2. Press the Audition button repeatedly until dt appears in the Program Display. The Program Display flashes between dt and Of

3. Turn the Program Select knob until the Program Display reads On to enable the Dry Track feature.


Stereo and Mono OutputModesThe MX200 outputs can be either Stereoor Mono depending on your applicationneeds. When Stereo Output Mode isselected (MX200’s default Output Mode),the signals maintain stereo separation asconfigured by the Routing button. WhenMono Output Mode is selected, both Leftand Right output signals are summed tomono and then sent out the Left output.

To select Mono or Stereo Output Modes:

1. Press both the Store and Auditionbuttons simultaneously until Ut appears in the Program Display.

2. Press the Audition button repeatedly until OP appears in the Program Display. This is the Output Mode setup menu.The Program Displayalternately flashes OP and then Stto indicate Stereo Output Mode is selected.

3. To change the Output Mode to Mono, turn the Program Select knob until noappears in the Program Displayindicating Mono Output Mode is now selected.

4. Press the Store button to save these changes.

Note: When Mono Output Mode is select-ed, effects like Panner and Pong Delay willno longer have left to right animation asthey do when Stereo Output Mode isselected.

Factory Program Banks: Serial and ParallelThe MX200 has two sets of Factory pro-gram banks: the Parallel bank and Serialbank. The Parallel processing bank is usedwhen the MX200 is configured in anAuxiliary Send/Return setup with a mixer.The Serial bank is designed for use when

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the MX200 will have a signal source (suchas an instrument) connected directly to itsinputs and the MX200’s outputs are con-nected to a mixer or amplifier input chan-nels. The difference between these twobanks is the way the Mix 1 and Mix 2 con-trols are set in the Factory programs, pro-viding the proper wet/dry mix for eitherapplication.

Note: The default Factory bank is theSerial bank. If you plan to use the MX200as a Parallel device in a mixer AuxSend/Return setup, select the Parallelbank of Factory programs.

To select the Parallel bank of Factory pro-grams:

1. Press both the Store and Audition buttons simultaneously until Ut appears in the Program Display.

2. Press the Audition button repeatedly until Fb appears in the Program Display. This is the Factory Bank program select menu. The Program Display alternately flashes Fband then SE to indicate the Serial bank of Factory programs is selected.

3. To select the Parallel bank of Factory programs, turn the Program Selectknob until PA appears in the Program Display.

4. Press the Store button to save these changes.

Bypass Mode SelectFrom the factory, MX200 is configured sothat engaging the Bypass button on P1 orP2 causes that processor to go intoBypass mode, allowing dry, unprocessedsignal to pass through unaffected. Thereare cases when you may want to have thisbutton mute the output altogether, allowingneither wet nor dry signal to pass. Notethat this configuration should only be usedfor Routing options 1, 3 and 4; placingeither Processor in Bypass (mute) when

Routing 2 (Cascade) is selected will causethe MX200 to have no output, as the entiresignal is muted by the Processor placed inBypass.

To change this setting:


2. Press the Audition button repeatedly until bP appears in the Program Display. The Program Display flashes between bP and dr (indicating dry signal).

3. Turn the Program Select knob until the display reads no (or no signal).


Factory ResetUse this utility if you want to erase all Userprogram data and restore the MX200 to itsfactory state.

To perform a Factory Reset:


2. Press the Audition button repeatedly until Fr appears in the Program Display

3. To restore the MX200 to its factory state,press the Store button. The Storebutton begins to flash.

Warning: Pressing and holding the Storebutton again at this time resets all Utilitymenus to their factory defaults and perma-nently erases all User programs! This willnot affect the Factory programs or any pro-grams saved to your computer using theMX-Edit Librarian software.

4. Press and hold the Store button tocomplete the reset procedure. The display flashes rs to indicate the Factory Reset was successful.

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The included MX-Edit Editor/Librarian soft-ware lets you create, edit, compare, saveand load reverb and effects programs foruse with your MX200 on your Windows®

computer. While the MX200 has 99 Userprogram locations, you can create andsave as many programs you like on yourcomputer, and load them into your MX200via a USB or MIDI connection at any time.

Minimum System RequirementsBefore installing the MX-EditEditor/Librarian software, make sure thatyour computer meets the following mini-mum requirements:

• Pentium-III, 500MHz or better.• Windows XP, Service Pack 2 or higher.

Installing the MX-EditEditor/Librarian SoftwareTo install the included MX-EditEditor/Librarian software in Windows XP,insert the provided disc into your comput-er’s CD-ROM drive. You will be guidedthrough the installation process – just fol-low the on-screen instructions andprompts. Note that you will be prompted toconnect the MX200 via the USB port dur-ing the installation process. In order foryour computer to recognize the MX200connection, it is necessary to have theMX200 powered on and connected via astandard USB cable.

Important: If you plug your MX200 into aUSB port other than the one used duringthe installation of MX-Edit software anddrivers, you may need to run the USB driv-er installer again. For your convenience, ashortcut to the USB driver installer isadded to the Start menu during the MX-Edit software installation. If you need toreinstall the drivers, click Start->Program

Files->Lexicon->MX-Edit->ReinstallDrivers, and follow the installation prompts.

Quick StartWhen you first open MX-Edit, you will seethe MX-Edit Library on the left side of theMX-Edit window, with the MX200 icon atthe top of the Library.

Double-click the MX200 icon to expand theLibrary, then double-click the Factory orUser icons to see the Factory or User pro-gram lists. The Factory list will always bethe same, as Factory programs cannot bechanged; the User program list will repre-sent the programs currently residing in theUser program locations 1-99 in yourMX200 hardware.

Double-click a program name to open it inthe editor. An instance of the MX-Edit

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Program Editor appears, with the selectedprogram’s name in the Title Bar andProgram Name field. The program settingsare also reflected in the Parameter knobsand buttons in the Program Editor window.

The selected program is now loaded inyour MX200 as well, and can be previewedusing the Audition button on the MX200’sfront panel. Any changes made in the MX-Edit Program Editor window will also occursimultaneously on the MX200 hardware.

The MX-EditTM LibraryThe MX-Edit Library contains the 99Factory and 99 User programs that arecurrently loaded in your MX200. When youfirst open MX-Edit, it communicates viaUSB (or MIDI) with the MX200 hardware,and populates the Library with all the infor-mation about each of the Factory and Userprograms stored in MX200’s physicalmemory.

To view programs in the Library window,double-click on the MX200 icon in theupper left corner, then double-click theFactory or User icon to expand the Libraryand see the Factory or User program lists.The Factory list is always the same, asFactory programs cannot be overwritten;the User program list represents the 99User programs currently saved in yourMX200 hardware.

Opening or Creating a Program

To open a program, choose one of the fol-lowing:

• To open a Factory or Userprogram from the MX-Edit Library, double click on that program number in the Library window.

• To open a program that has been saved to your computer (but doesn’t appear in the MX-Edit Library), click File and select Open Program. By default, the Open dialog looks in the My Documents folder (or the last folder thata program was opened from). Double-click the program to load it.

• To open a program with the currently active settings from the MX200, select Open Current Program in the Device menu. This will retrieve all current settings from the MX200’s front panel, and display those settings in the Program Editor window.

To create a new, default program, click Fileand select New Program. The default pro-gram is a template that you can use as agood generic starting point when you wantto create your own program from scratch. Itis stored in a file named Default in the MX-Edit installation folder (normallyC:\Program Files\Lexicon\MX-Edit). Initially,

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this program is a basic clean sound.However, you can create your own defaultprogram by overwriting the Default file inthe MX-Edit directory with the program ofyour choice.

The MX-EditTM ProgramEditorThe MX-Edit Program Editor lets youquickly and easily view, compare and editany program stored in the MX200, or pro-grams saved to your computer.

MX-Edit gives you all the same control andfunctionality as the MX200 front panel, withthe exception of Input control, Audition,and Utility functions. You’ll also see thatthe Routing button has been replaced bya pull-down menu, as have the two EffectSelect buttons. The ActiveReverb/Effects Matrix and ProgramDisplay have been replaced by the TitleBar and values above the Parameteradjust knobs.

With these minor differences, the ProgramEditor works just like the MX200’s frontpanel – and all changes that you make inthe active Program Editor window arereflected in real-time on the MX200. MX-Edit and the MX200 are fully interactive, soany changes made on the MX200’s frontpanel are reflected in real-time in the activeMX-Edit Program Editor window as well.

When you open a program, an instance ofthe MX-Edit Program Editor appears, withthe selected program’s name in ProgramName field. The settings of the loaded pro-gram are reflected in the Parameter knobs

and buttons, and are loaded into theMX200 hardware. The program (and anyedits you make) can be previewed at anytime by using the Audition button on theMX200 front panel.

You can have multiple Program Editorsopen at once, but only the currently select-ed window is active. In other words,MX200 processes the settings of the activeProgram Editor, and you only hear the set-tings of the active (selected) ProgramEditor window.

Editing a Program

Signal Routing OptionsTo change MX200’s Routing, left click onthe Routing button in the Input/Routingcontrol area. A list of the MX200’s fourRouting options appears, with a checkmark next to the currently selected routing.Highlight an item in the list and left click toselect and load it. A routing diagram willappear next to the Routing button, and therouting name will be shown in the button.

Reverb/Effect Selection Buttons

To change a reverb or effect in Processor 1or Processor 2, left click on theReverb/Effect Select button in P1 or P2control area. A list of the MX200’s 32reverbs and effects appears, with a checkmark next to the currently selected reverbor effect. Highlight an item in the list andleft click to select and load it. Notice thatthe reverb or effect name now appears inthe Reverb/Effect Select button, and theParameter knobs in MX-Edit change posi-

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tion depending on the default values forthe selected reverb or effect.

Adjusting KnobsTo make editing in MX-Edit easy and intu-itive, there are three ways to adjust knobsin MX-Edit:

Mouse - CircularPlace the cursor at the outer (shadowed)edge of a knob, then click and hold the leftmouse button. The white indicator line onthe knob jumps to the mouse cursor’s posi-tion, and follows the cursor as it movesaround the circumference of the knob. Tomake fine adjustments, continue to holdthe left mouse button down and move thecursor away from the knob; the white linestill follows the cursor, no matter how faraway it is from the knob.

Mouse – Up / DownMove the mouse cursor to the center of aknob; the knob is highlighted, and the cur-sor changes to a double-headed arrow,pointing up and down. Click and hold theleft mouse button, causing the cursor todisappear. Move the mouse up to turn theknob higher, or move the mouse down toturn the knob lower. For very fast edits,press and hold the Ctrl key on your com-puter keyboard while moving the mouse;this multiplies the adjusted value by a fac-tor of 10.

Arrow KeysHighlight, then left-click on a knob to selectit. Use the up (or right) arrow key to turnthe knob higher and increase the value;use the down (or left) arrow key to turn theknob lower, decreasing the value. This is avery effective method for making smalladjustments to fine-tune your settings. Forfaster modifications, press and hold theCtrl key on your computer keyboard whilepressing an arrow key to multiply eachadjustment by a factor of 10.

TempoIf one of the MX200’s six delays is select-ed, the Tempo button in that processorbecomes active, and begins to flash at therate displayed above the Time Rangeknob. The tempo value is shown in mil-liseconds (ms), and a quarter-note appearsnext to the displayed tempo. When theTime Range parameter is adjusted, exactdivisions of time in milliseconds relative tothe flashing Tempo rate will cause a notevalue to be displayed next to the time, e.g.16th note, dotted-8th note, etc. The Tempobutton will continue to flash at the originallyselected tempo, but the delay taps willoccur at the rate displayed in the TimeRange value.

To change the tempo value, simply placethe mouse cursor over the Tempo button,and left-click twice to tap the tempo, just asyou would on the MX200 front panel. TheTempo buttons on MX200 and in theProgram Editor window now flash at thenew tempo.

If something other than one of the sixdelays is loaded in the processor, theTempo button is grayed out and inactive.

BypassTo engage the Bypass button (and turn offthe selected effect), place the mouse cur-sor over the Bypass button, and left-clickto bypass that processor. Note that theBypass buttons on both the MX200 frontpanel and the Program Editor illuminate toindicate the selected processor isbypassed.

Program NameTo create or change a program’s name,simply left click once anywhere in theProgram Name field. The program namewill be highlighted; type the new name intothe Title Bar. The program name in theHeader area will not change until the pro-gram has been saved.

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Saving a ProgramIf you make any changes to a program, anasterisk (*) will appear next to the programname in the Title Bar of the ProgramEditor. The LED associated with the corre-sponding knob or button and the Store but-ton on the MX200’s front panel also illumi-nates, indicating a change from the loadedprogram.

To save a program to disk, click File andselect Save or Save As, and enter a filename. By default, programs are saved toyour computer in the My Documents fold-er; to choose a different location, simplynavigate to a different folder or create anew folder in which to save your MX200program files. (For example,C:\Documents andSettings\username\MyDocuments\MX200 Presets). Click theSave button to complete the process.

You can also save a program simply byclosing the active Program Editor window.If any changes have been made to theloaded program, a dialog box appears,asking if you want to save your changes.Click Yes to save the changes, No to closewithout saving, or Cancel to return to theactive Program Editor window. If youchoose this method to save your changes,the current program will be over-written; tosave the program as a new file with a dif-ferent name (and keep the loaded pro-gram’s settings intact), click File then SaveAs.

MX200 programs are given the file exten-sion .m2p, and they can be copied, moved,attached to emails – anything you can dowith a standard document or file. Thesefiles should, however, only be opened byMX-Edit Editor/Librarian software to pre-vent corruption.

Storing a ProgramTo store a program into one of the 99 Userprogram locations in the MX-Edit Library(and the corresponding location in theMX200’s physical memory), open the pro-gram you wish to store. With the ProgramEditor window active, click Device, thenStore Program. The Store to Device dia-log appears, allowing you to choose theUser program location and program nameto store with it. Be aware that storing a pro-gram in this manner will over-write the pro-gram previously stored in that location,both in the MX-Edit Library and the MX200itself. Click Save to store to the selectedUser program location. To cancel the oper-ation, click Cancel, or close the Store toDevice dialog box.

To rename a User program in the Library,right-click on its name in the Library win-dow and select Rename. Type in the newname and press Enter to save the change.

Since the Factory programs can never beover-written, you cannot store to norrename a Factory program location. Youmay edit a Factory program, but it must bestored to a User program location.

ArchivingArchiving is a powerful tool for preservingthe current state of your MX200. When youarchive the MX200, all of its presets andglobal settings are sent to the computerand saved to a file. When an archive isrestored, the MX200 is configured exactlyhow it was when you archived it. Thisallows you to not only create safety back-ups, but create unique configurations forvarious purposes. For example, you mightwant to create a setup specifically for thatgig you’re playing on the weekend, but stillkeep all your favorite studio presets intact.Use MX-Edit’s Backup feature to archivethe MX200’s settings, then modify andstore anything and everything you want,without worrying about reprogramming all

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your previous programs and settings.

To archive the MX200, click Device andselect Backup. A warning will appear,advising you that a full Backup may take afew minutes, and asking whether you wishto proceed. To cancel without creating aBackup archive, click Cancel or close thedialog box. To proceed, click OK. Aprogress bar appears at the bottom of theMX-Edit screen, indicating that a BulkDump is in process. When all the MX200data is received, a Save dialog boxappears. The default file name is the cur-rent day and date (e.g. BackupWednesday, April 27, 2005 ) with the fileextension .m2a (MX200 Archive file). ClickSave to store the Backup Archive file.

To restore a saved archive, click Deviceand select Restore. When prompted,select an MX200 archive file, and clickOpen. MX-Edit then sends the MX200archive to your MX200, replacing all thedata in the hardware with the archiveddata.

Note: It is a good idea to create a newBackup archive file anytime you plan torestore the MX200 from a previous archivesession.

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The included MX-Edit Editor/Librarian soft-ware lets you create, edit, save and loadreverbs and effects programs for use withyour MX200 on your Macintosh® OSXcomputer. While the MX200 has 99 Userprogram locations, you can create andsave as many programs you like on yourcomputer, and load them into your MX200via a USB connection at any time.

Minimum System RequirementsBefore installing the MX-EditEditor/Librarian software, make sure thatyour computer meets the following mini-mum requirements:

OSX 10.3 or higher

Installing the MX-EditEditor/LibrarianTo install the MX-Edit, VST™ and AudioUnits software for Macintosh® computers,insert the provided disc into the CD-ROMdrive and double-click on the disc iconwhen it appears. Double-click on theMX200.dmg.hqx file to extract and run theinstaller. Follow the on-screen prompts toinstall the software.

The installer sets up the standalone MX-Edit Editor/Librarian application in theApplications folder, the MX-Edit AudioUnit in the Components folder, and theMX-Edit VST in the VST folder.

Quick StartWhen you first start MX-Edit, the MX-EditProgram Editor window opens.

To load a program, click the Program Menu

field. A list of programs appears.

Select a program in the list to load it.

Make your adjustments (if any) to theknobs and buttons in the control panel justas you would on the MX200 itself.

If you want to save your edits to a file,select File > Save menu or File > SaveAs. The Save dialog box appears; type aname in the Name: field and click OK.

The MX-Edit ProgramWindow

The Program Editor window lets you con-veniently view and edit a program. TheProgram Editor window contains a headersection that includes the Program Name.

To open a program from the MX200 click inthe Program Menu field and select a pro-gram from the list.

To open a saved program from a file,select File > Open Program. When theOpen dialog box appears, browse to findthe program, and double-click the programname to load it.

To save a program to disk, select File >Save Program or Save Program As,enter a file name, then click the Save but-ton.

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To store a program into one of theMX200’s 99 User program locations, selectDevice > Store Program, choose thelocation and program name, then click theSave button.

You can create new programs based eitheron the User or Factory programs, but youmay only store to User program locations.As in the MX200 hardware, Factory pro-grams cannot be over-written.

To rename a User program, select Device> Rename. Enter a new name, select theUser program location, and press Enter.

Editing a Program

Signal Routing OptionsTo change MX200’s Routing, click on theRouting button in the Input/Routing con-trol area. A list of the MX200’s fourRouting options appears; highlight an itemin the list and click to select it. A routingdiagram appears next to the Routing but-ton, and the routing name is shown in thebutton.

Reverb/Effect Selection Buttons

Click on a Reverb/Effect Select button toopen a list of the MX200’s reverbs andeffects. Select an item in the list to load it.Notice that the reverb or effect name nowappears in the Reverb/Effect Select but-ton, and the Parameter knobs in MX-Editchange position depending on the defaultvalues for the selected reverb or effect.

Adjusting knobsMove the cursor to the center of a knob.

Click and hold the mouse button.Move the mouse up (or right) to turn theknob higher; move the mouse down (orleft) to turn the knob lower. For fine adjust-ments, hold the Option key while movingthe mouse.

TempoIf one of the MX200’s six delays is select-ed, the Tempo button in that processorbecomes active, and begins to flash at therate displayed above the Time Rangeknob. The tempo value is shown in mil-liseconds (ms), and a quarter-note appearsnext to the displayed tempo. When theTime Range parameter is adjusted, exactdivisions of time in milliseconds relative tothe flashing Tempo rate will cause a notevalue to be displayed next to the time, e.g.16th note, dotted-8th note, etc. The Tempobutton will continue to flash at the originallyselected tempo, but the delay taps willoccur at the rate displayed in the TimeRange value.

To change the tempo value, simply placethe mouse cursor over the Tempo button,and left-click twice to tap the tempo, just asyou would on the MX200 front panel. TheTempo buttons on MX200 and in theProgram Editor window now flash at thenew tempo.

If something other than one of the sixdelays is loaded in the processor, theTempo button is grayed out and inactive.

BypassTo engage the Bypass button (and turn offthe selected effect), place the mouse cur-sor over the Bypass button, and click tobypass that processor. Note that theBypass buttons on both the MX200 frontpanel and the Program Editor illuminate toindicate that the selected processor isbypassed.

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ArchivingArchiving is a powerful tool for preservingthe current state of your MX200. When youarchive the MX200, all of its presets andglobal settings are sent to the computerand saved to a file. When an archive isrestored, the MX200 is configured exactlyhow it was when you archived it. Thisallows you to not only create safety back-ups, but create unique configurations forvarious purposes. For example, you mightwant to create a setup specifically for thatgig you’re playing on the weekend, but stillkeep all your favorite studio presets intact.Use the MX-Edit Backup feature toarchive the MX200’s settings, then modifyand store anything and everything youwant, without worrying about reprogram-ming all your previous programs and set-tings.

To archive the MX200, select File >Backup. In the dialog box, select a nameand location for the archive file. The defaultname and location is untitled.syx on yourDesktop.

To restore an archive, select File >Restore. Select an archive file to berestored, then wait for the data to bereceived by the device. MX-Edit sends thearchive information to your MX200, replac-ing all the data in the hardware with thearchived data.

Note: It is a good idea to create a newBackup archive file anytime you plan torestore the MX200 from a previous archivesession.

Quick Access MenuFor instant access to the most often usedcommands, click the small down arrow inthe upper left corner of the program win-dow to open the Quick Access Menu.

Store Program in MX200Lets you choose a name and location inthe library for the selected program.

Rename Program in MX200Lets you select a User program andrename it.

Open ProgramLets you browse for and open existing pro-grams.

Save ProgramSaves the selected program window underits current name. (If the program is untitled,you will be prompted to name it.)

BackupCreates an archive of the programs savedin the MX200.

RestoreLets you browse for and open an MX200Archive File, which loads archived pro-grams onto the MX200.

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The MX200 comes with VST™ and AudioUnits software which allows you to use theMX200 as a Hardware Plug-In. Now youhave access to classic Lexicon® reverbsand effects within your software recordingprojects, with full automation and totalrecall, without burdening your CPU! Usingthe MX200 with the VST and Audio Unitssoftware works much like any other plug-inyou’d use with a DAW, except that theaudio is routed through the MX200 for thesignal processing.

Minimum System Requirements

AudioI/O hardware with a minimum of twoinputs and four audio outputs.

WindowsP-III, 500MHz or better, WinXP ServicePack 2 or higher plus a VST-compatibleSoftware Recording Package

MacOSX 10.3 or higher plus a VSTTM or AudioUnits compatible Software RecordingPackage

Installing the MX-Edit VSTHardware Plug-InNote: If you have already installed theMX-EditTM software for Mac or WinXP, youhave already installed the VST and/orAudio Units software. Simply skip this sec-tion.

For Windows XP usersTo install the software in Windows, insertthe disc into your CD-ROM drive and fol-low the on-screen prompts. (If the Autorunfeature is disabled, browse to the CD anddouble-click on the setup.exe file.)

For Mac usersTo install on a Mac, insert the disc intoyour CD-ROM drive and double-click onthe disc icon when it appears. Double-clickon the MX200.dmg.hqx file to extract andrun the installer. Follow the on-screenprompts to install the software.

Connecting the MX200

USB ConnectionMake sure the MX200 is powered up andconnected to your computer with a stan-dard USB cable. (For Windows XP users,make sure the MX200 is plugged into thesame USB port as when the software wasloaded.)

Audio ConnectionsTo use the MX200 as a hardware plug-in,your computer needs audio hardware withmultiple audio inputs and outputs available,at least enough to send and return twochannels from the MX200 plus two addi-tional outputs to monitor with.

For lower latencies and the best audio per-formance, it is recommended that you con-nect the MX200 to your computer’s audioI/O device using the S/PDIF Inputs andoutputs. If your I/O device does not have aS/PDIF connection, or if it already connect-ed to another device, you may use theanalog connections from your computer’sI/O device to the 1/4” analog inputs andoutputs on the MX200.

Important: The MX200 accepts digitalaudio at 44.1kHz and 48kHz sample rates.Do not connect any digital device to theMX200’s S/PDIF Input that transmits at anyother sample rate (such as 96kHz). Doingso can cause unpredictable performance.Make sure your recording project is set to

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either 44.1kHz or 48kHz sample rate toavoid problems.

Software ConfigurationBecause the audio is being processedwithin the MX200 hardware, and not insideyour computer, your DAW (Digital AudioWorkstation, or Recording Software) needsto be set up to send and receive audio toand from the MX200.

Many DAW’s have built-in routing configu-rations for this; consult your software’sdocumentation for information about set-ting up external routing options.

Steinberg® Cubase SX® users: see infor-mation on “External FX” connections.

Logic® Audio users: see information about“I/O Insert Plug-Ins.”

Cakewalk® Sonar™ users: see informationabout “Adding Send / Return Effects to aBus”

If your software does not provide specificinformation about these types of configura-tions, you can set up the connections your-self. Each recording platform will varyslightly, but the basic principles are thesame.

To set up a send and return path:

1. Create a Stereo Bus (or two audio busses) that are different from your MainMix (Master) Bus.

2. Route these busses to the outputs on your audio I/O hardware that you have connected to the MX200 (Either the S/PDIF output, or two analog outputs).

3. In your VST or Audio Units Send EffectsRouting options, send the MX200’s effect sends to the Stereo Busses (or Bus Pair) you created in Step 1.

4. Create two audio tracks whose inputs correspond to those you connected to

the MX200 (Either the S/PDIF input, or two analog inputs).

5. Route these tracks to the Main Mix (Master) Bus.

If you have followed these steps correctly,when you open an instance of the MX200plug-in, its audio path will lead it to the buspair you created, which will send the audioto the MX200. The processed audio is thensent from the MX200 through your audiohardware’s inputs to the two audio tracksyou created in Step 4, and monitoredthrough the Main Mix Bus, just as youwould any audio or plug-in effect.

Using the MX200 Plug-InWindowIn your DAW, open the Lexicon MX200plug-in. You’ll see an instance of theProgram Editor window. You can use theMX200 plug-in software just as you wouldany other plug-in: Session Recall, automa-tion – everything behaves just as any otherVSTTM or Audio Unit plug-in. The primarydifference is that the audio processingoccurs in the MX200 rather than on yourcomputer. And, since the MX200 is aphysical device, you can only open oneinstance of the plug-in window. If youattempt to open more than one plug-in win-dow, the message shown below willappear.

ControlsThe MX200’s Plug-In window functionsmuch like the MX-Edit Program Editor win-dow described on page 28.

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CCCC MMaappppiinnggIImmppoorrttaanntt!!MIDI Port Error Message

If you see this message, the MX200 iseither disconnected or its USB MIDI portsare in use by an application. Some hosts,such as Cubase, may automatically openthe MX200’s MIDI ports by default. In thiscase, you will need to deselect or disablethe port named “Lexicon MX200 Control” inthe application’s MIDI Devices setup.

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

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

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

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

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

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

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

Dynamic Range: >108dB

A/D Converters: 24-bit, 48kHz

Power: 9V AC (power supply included)

Audio Processor: 24-bit

Software: WinXP/Mac OSX VST GUI Interface

Size: 1 RU

Dimensions: 19" W x 1.75" H x 4.75" D

Weight: 3.75 lbs.

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Delay Time Range Values

Note: A value of 36 is the 12 o'clock knobposition, or equal to the Tempo LED rate. Intermediate values (e.g. 1-3) do not repre-sent exact note values.

De-Esser Frequency Values

Bandwidth Values

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Effects in the list that are italicized and shaded are in Bypass in the factory programs.Effects that are bolded are designed to be Full Wet only (e.g. Compressor).

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Effects in the list that are italicized and shaded are in Bypass in the factory programs.Effects that are bolded are designed to be Full Wet only (e.g. Compressor).

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