MPX 100 Dual Channel Processor
Stereo 44.1kHz S/PDIF Digital Output
User Guide
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Table of Contents
Program Descriptions............................................................ 17
Single Programs .................................................................. 18
Dual Programs..................................................................... 32
Special FX ........................................................................... 41
User Programs .................................................................... 42
Restoring Factory Defaults
Getting Started ......................................................................... 1
Introduction ............................................................................ 1
Front Panel Overview ............................................................ 2
Setting Audio Levels
Rear Panel Connections........................................................ 4
Audio Connections • Headphones • Footswitch
MIDI Operation........................................................................ 43
MPX 100 MIDI Behavior........................................................... 43
Assigning a MIDI Channel for Program Load........................... 44
Using Program Change Messages for Program Load
Learning Continuous Controllers.............................................. 46
Activating Bypass or Tap Functions with Program Change
Messages ............................................................................ 47
Clearing a Learned Assignment ............................................... 48
MIDI Clock................................................................................ 49
MIDI Dumps ............................................................................. 49
MIDI Implementation Chart ...................................................... 50
Basic Operation........................................................................ 7
Selecting Programs ............................................................... 7
Single Programs • Dual Programs • User Programs
Editing ................................................................................... 9
Tap Tempo Functions: Varying the rhythm • Audio
Tap • Setting Tempo via MIDI
Bypass ................................................................................. 11
Storing Programs................................................................. 12
System Mode .......................................................................... 13
System Mode Parameters ................................................... 14
Bypass • Patching • Program Load • Digital Output
MIDI OUT/THRU • MIDI Pgm Change • MIDI Clock
Receive • Tempo • MIDI Dumps
Specifications ......................................................................... 52
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Getting Started
Introduction
Thank youfor your purchaseoftheMPX
100 Dual Channel Processor.
Other features include dual 2-stage
headroom indicators, a headphoneoutput, a
software-selectable MIDI OUT/THRU port,
pushbutton or footswitch selection of dry or
mutedaudiooutput anda20Hz-20kHz ±1dB
Frequency Response.
A front panel Adjust knob allows instant
manipulation of each preset’s critical param-
eters and an Effects Lvl/Bal knob lets you
control effect level or the balance of dual
effect combinations. An easy Learn mode
allows MIDI patching of front panel controls.
In addition, tempo-controlled delays and
modulation rates lock to Tap or MIDI clock,
and Tap tempos can be controlled by audio
input, the front panel Tap button, dual
footswitch, external MIDI controller or MIDI
Program Change.
The MPX 100 is a true stereo dual-
channel processor with 24-bit internal pro-
cessing, 20-bit A/D-D/A and S/PDIF digital
output.PoweredbyanewversionofLexicon’s
proprietaryLexichip™,theMPX100has 240
presetswithclassicreverbprogramssuchas
Ambience, Plate, Chamber and Inverse, as
well as Tremolo, Rotary, Chorus, Flange,
Pitch, Detune, 5.7 second Delay and Echo.
Dual-channel processing gives you two in-
dependent effects in a variety of configura-
tions:DualStereo(Parallel), Cascade,Mono
Split and Dual Mono.
To make sure you get the most
out of the MPX 100, be sure to
read the manual.
1
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Bypass
Front Panel Overview
Mutes or bypasses the signal depending on the
setting of the System Bypass parameter. (Press for
2 seconds to access System Parameters.)
Store
TAP
Initiates store procedure.
(When pressed with Tap, ac-
tivates MIDI Learn.)
Flashes for tempo-
based programs. Press
twice to set a tempo.
Hold to have input level
Adjust
Modifies the param-
Edit LED
eters of the current
Lights to indicate
program.
Effects Lvl/Bal
determine
tempo.
program is altered
but not stored.
PROGRAM
Selects program banks
(Single, Dual, or User).
Sets the level of the Single
effects and the balance of
the Dual effects.
(When pressed with
Store activates MIDI
Learn.)
Input
Output
VARIATION
Sets the level of the incoming
signal. LEDs indicate accept-
able signal level (green), or
clipping (red).
Controls the analog output level.
Selects program variations for the effect bank cur-
rently selected by the PROGRAM knob (8 variations
for each Singleeffectand16 variations for eachDual
effect). When PROGRAM is set to User, selects one
of 16 memory locations for user programs.
Mix
Controls the proportion of processed
(wet) to unprocessed (dry) signals.
2
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Setting Audio Levels
3. While still sendingaudio tothe MPX100,
gradually turn up the INPUT control until
the Clip LEDs show red on only the
loudest peaks.
As with any audio product, it is good
practice to first power on all outboard
gear, then the mixer, then any loud-
speakers.
1. Start with INPUT set to 9:00 o'clock and
OUTPUT all the way down (fully counter-
clockwise).
4. Set the MIX control to Dry.
2. Set the instrument output or effects send
being input to the MPX 100 to a nominal
level and play, or send audio to the MPX
100. The Level LEDs* should light green.
5. Turn OUTPUT to the desired level.
6. IftheMPX100is usingaconsole’ssends
and returns, set the MIX control fully
clockwise(100%wet). Ifyouare usingan
instrument amplifier, start with MIX set
halfway up.
If the Clip LEDs light redat this point, turn
down the output of the instrument or
effects send until the Clip LEDs remain
off during the loudest passages.
* TheLevel LEDs are off whentheincoming signal
is low (more than 30dB below overload). The Clip
LEDs light red when the signal approaches over-
load (-2.5dB). Acceptable signals will cause the
Level LEDs to light green almost continuously,
with the Clip LEDs flashing red on peaks.
3
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Rear Panel Connections
MIDI
Two 5-pin DIN MIDI connectors
are provided for MIDI IN and soft-
ware selectable MIDI OUT/THRU.
OUPUT
Single-ended (unbalanced) stereo outputs provide +8dBu
typical output level. Use the right output connector for mono
output. If no connection is made at the right output, the left
output can be used to drive headphones at modest volume.
POWER
DIGITAL OUTPUT
Use Lexicon 9VAC power pack.
RCA S/PDIF connector.
INPUT
FOOTSWITCH
Single-ended (unbalanced) inputs accept levels
as low as -30dBu. Input impedance is 500 kΩ. Use
the right input for mono sources. Can be used as
direct input for guitar.
1/4" TRS connector, for momentary con-
tact footswitch, allows footswitch control
of front panel Tap and Bypass functions.
4
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Audio Connections
Audio connections to the MPX 100 are
Headphones
A stereo signal which is adequate to drive
Footswitch
A footswitch connected via the rear-panel
footswitch jack allows control of Tap and
Bypass. A momentary footswitch can be
wiredtoatip-ring-sleeveconnector. Astereo
Y-connector allows two identical single
switches to be used.
Power off the MPX 100 before plugging in
the footswitch. (Otherwise, Bypass will be
enabled.)
unbalanced and should be made with high headphones is available at the left output
quality shielded cables with 1/4" tip-sleeve (provided no connections are made through
phone plugs at the MPX 100 end.
the right output). This feature is provided as
a convenience for practice purposes, and is
intended to provide only modest volume.
The MPX 100 produces effects from either
monoor stereosources. With monosources,
the dry signal appears, along with audio ef-
fects, at both outputs. For instruments and
sources with stereo outputs, use both inputs.
We recommend using the outputs in stereo
whenever stereoinputs are used, but if mono
output is required, use the right output jack.
The left and right signals are summed inter-
nally when only the right output is used.
A dual-function footswitch with a set of labels
to identify footswitch functionality (Tap and
Bypass) is available from Lexicon dealers.
5
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TheMPX100canbeusedastwoindepen-
dent Effects Processors with Dual Program
Variations 11-16. Designate two auxiliary
sends on your console and connect one to
the left MPX 100 input, and the other to the
right input. Refer to the Program Descrip-
Connecting to a Balanced Console
Modes of Operation
tions to take advantage of this configuration.
M
Dual Processor Setup with a Console
M
6
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Basic Operation
Selecting Programs
All of the programs on the MPX 100 are
selectedwiththefront panel PROGRAMand
VARIATION knobs.
Use the PROGRAM knob to
select the Single, Dual or
User effect you want.
The PROGRAM knob selects Single or
Dual program banks. The VARIATION knob
selects different program versions.
The Single selections are arranged
around the left side of the PROGRAM knob;
the Dual selections and the User bank are
arranged around the right side of the knob.
For example, when Plate, Gate is se-
lected, VARIATION 1-8 will load eight differ-
ent Plate programs; VARIATION 9-16 will
load eight different Gate programs.
WhenSpecial FX is selected, theVARIA-
TION knob will load 16 different programs
(one at each knob position).
Single Programs
Turn VARATION to
select one of 16
programs.
WhenaSingle program is selected, turn-
ingtheVARIATIONknob topositions1-8 will
load eight versions of the first effect; posi-
tions 9-16 will load eight versions of the
second effect.
7
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Dual Programs
User Programs
When User is selected with the PRO-
GRAM knob, VARIATION selects 16
memory locations available for storing your
own programs.
When one of the Dual Programs is se-
lected, the VARIATION knob will load 16
different programs, each containing two ef-
fects.
(When shipped, User variations 1-16
contain duplicates of a selection of the fac-
tory-installed programs.)
8
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Editing
EditingMPX100programsiseasy.We've
Use Adjust to
edit the current
program.
arranged the critical parameters of each
program under the front panel Adjust knob,
soall youhavetodois turn theknobtoadjust
the program to suit you.
The Edit LED will light to show
that the program has been
altered from its stored state.
You can alsoadjust the level of theSingle
programs, or the Effects Balance of theDual
programs with the Effects Lvl/Bal knob.
Changes made with either knob are rec-
ognized as edits, and will cause the front
panel Edit LED to light toalert you to the fact
that the program has been altered.
Turn Effects Lvl/Bal to
adjust the level of a
Single program...
...or the balance of the
two effects in a Dual
program
9
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Tap Tempo Functions
Varying the Rhythm
Audio Tap
You can also use audio input to set the
Many factory programs are stored with
their own tempo rate. You can tap in a new
tempo (and store your version in a User
location) or set the MPX 100 to always recall
the last tempo used and apply it to every
program. (See System Mode.)
WhenyouselectGlobalTempofromthe
MPX 100 System mode, the last tempo
tapped in will be applied to all programs with
tempo-controlledparameters.(Youwillknow
if a program is tempo-controllable because
the Tap button LED will flash when the pro-
gram is loaded.)
The MPX 100 Tap Tempo feature al-
lows you to set the delay times and modula- tempo of the MPX 100 delay times.
tion rates of tempo-based programs to the
beat of the music.
To set the tempo from the front panel,
simplypresstheTapbuttontwicein timewith
the music. That’s your tempo. No more dial-
1. Press and hold the Tap button for two
seconds. (The optional dual footswitch
lets you press and hold Tap without
taking your hands off your instrument. )
2. While holding down Tap, play 2 short
ing up what “could be” the delay time in
notes in rhythm, then release the Tap
milliseconds—just taptwice—theMPX100
button.
will figure out the time for you. When you
3. The MPX 100 automatically calculates
the tempo from the space between your
two notes.
wanttochangetempo, just taptwiceagainin
the new rhythm.
For live performances this is a must — an
easy way to set delay rates to follow your
rhythm.
TheTap LED will flash whenever
a tempo-based preset is loaded.
10
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The MPX 100 can also receive and
utilize MIDI Clock. So, when used with a
MIDI sequencer or drum machine, the
MPX 100 automatically adjusts its internal
tempo to match. (See MIDI Operation.)
Setting Tempo via MIDI
Bypass
WhenusedinconjunctionwiththeLearn
feature, Tap can be set remotely from any
MIDI device. MIDI controllers, such as
Lexicon's MPX R1 Foot Controller, can be
used to send Continuous Controller mes-
sages or Program Changes to the MPX 100
or you can send Continuous Controller or
Program Change messages from the button
and fader moves of many mixing consoles.
The MPX 100 will Learn these messages
and allow you to set tempo via MIDI.
Pressing the front panel Bypass button
will cause the MPX 100 to pass only dry,
unprocessed audio, or to mute the inputs to
the current effect.
Bypass can be set to mute or
bypass effects.
A System Mode parameter determines
which of these two options is in effect. (See
System Mode.) Bypass functions can also
be activated by footswitch or via MIDI.
11
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Storing Programs
Press Store.
When you want to save a program,
press Store. The Store LED will flash slowly
to indicate that the MPX 100 store function is
armed. (If you want to exit without saving the
current program, press Store again.)
Turn thePROGRAM knob to User, then
use VARIATION to select one of the 16 User
locations.
Turn PROGRAM to User and use
VARIATION to select a User location.
The Store LED will
flash slowly.
Press Store again.
PressStoreagaintosaveyour program
to the selected location (and overwrite the
program previously stored there). TheStore
LED will flash rapidly while the store opera-
tion is completed. The store operation is
complete when the LED stops flashing and
turns off. The Edit LED will also turn off, as
the current program is now your saved ver-
sion.
The Store LED will flash rapidly
while the store operation is
completed.
12
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System Mode
System parameters and MIDI dumps
Turn the VARIATION knob to select a
When you have finished editing param-
are activated in System mode. To enter this parameter. Press Storetotogglethestate of eters andare readytoresumenormal opera-
mode, press and hold Bypass for approxi- the parameter, or to execute a MIDI dump. tion, return the VARIATION knob to its prior
mately 2 seconds. The Bypass and Store
LEDs will blink slowly to indicate you are in each parameter.
System mode.
The adjustable parameters available in
this mode are shown in the chart on the
following page.
setting, or youwillloadanew programbased
on its position when you exit System Mode.
(The Tap LED will light when VARIATION
matches its prior setting.)
To exit System Mode, Press Bypass. If
you have changed any System parameters,
the Store LED will flash rapidly.
The Edit LED will show the current state of
13
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Press and hold Bypass
System Mode Parameters
for 2 seconds...
Variation
Setting
State when Edit LED is:
...The Bypass and Store
Parameter
On
Off
LEDs will blink slowly to
indicate you are in
System mode.
1
2
3
4
5
6
7
8
Bypass
Patching
Mute
Disabled
Mute
Dry
Out*
Disabled
Disabled
Program*
Bypass*
Enabled*
Bypass*
Wet*
Program Load
Digital Output
MIDI OUT/THRU
MIDI Pgm Change
MIDI Clock Receive
Tempo
Thru
Press Store to
toggle the
parameter state
(or to execute a
MIDI dump).
Enabled*
Enabled*
Global
Turn VARIATION to select a parameter.
MIDI Dumps (Press Store to Transmit)
14
15
16
Dump User Programs
Dump Current Program
Dump System and Learned patches
* Factory Default
Turn VARIATION until the Tap LED goes on
to find the last loaded program...then press
Bypass to exit System Mode.
System
MIDI
parameters
Dumps
14
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System Mode Parameters
1
Bypass
Mute/Bypass
4
Digital Output
Dry/Wet
7
MIDI Clock Receive Disable/Enable
This parameter sets the Bypass button (or
thefootswitch, or MIDI controller assignedto
Bypass) to mute the inputs, or to bypass the
processed audio (passing only dry audio to
the outputs).
For certain recording and monitoring appli-
cations, this parameter allows you tochoose
topass only dry audio, or toresumeoutput of
the full, processed signal.
The setting of this parameter determines
whether or not the MPX 100 will recognize
MIDI Clock messages.
8
Tempo
Program/Global
5
MIDI OUT/THRU
Out/Thru
Determineswhether thecurrent tempoofthe
MPX 100 will be applied to all programs
(Global), or whether program-specific tem-
pos are restored on each program load.
2
Patching
Disable/Enable
Sets the rear panel MIDI OUT/THRU jack for
either MIDI OUT or MIDI THRU functionality.
This parameter allows you to temporarily
suspend (Disable) and restore (Enable) any
Learned patches.
6
MIDI Pgm Change Disable/Enable
The setting of this parameter determines
whether or not the MPX 100 will recognize
MIDIProgramChangemessagesforloading
programs.
14-16
MIDI Dumps
3
Program Load
Mute/Bypass
These selections allow you to execute MIDI
Dumps. See MIDI Operation.
This parameter determines whether the
MPX 100 will engage wet mute or simply
bypass processed audio during program
load.
15
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16
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Program Descriptions
The 240 programs in the MPX 100 are
The behavior of the Adjust knob is also
The following section provides a general
description of each MPX 100 program along
with tables that detail all of the program
versions available with the VARIATIONS
knob. These details include the function of
the Adjust knob and the Tap button (for
variations that use tempo-controlled rate or
delay times).
designed to provide a full palette of high customized for different functions. Some-
caliber ambience, reverb, delay, pitch shift times it acts as a linear control (at its mini-
and other effects. As you audition the pro- mum value when turned fully counterclock-
grams, be sure to vary the Adjust knob.
wise—likeavolumecontrol)andsometimes
The Adjust knob has been carefully cus- it acts as a bi-polar control (at its minimum
tomizedforeachindividualprogram.Inmany value when centered — like a cut/boost EQ
cases it controls several effect parameters control).
simultaneously to provide simple control ofa
complicatededitingprocess.Inmany Cham-
ber and Room programs, for example, Ad-
just controls the "liveness" of the space by
changing decay, EQ and early reflections all
at the same time.
Adjust can increase
values linearly...
... or it may increase
values as it is turned
to either side of its
center position.
17
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Plate VARIATIONs
Adjust
Tap
Plate
1
2
3
4
5
6
7
8
Small Plate
Liveness
–
–
The Plate program in the MPX 100 syn-
thesizes the sound of metal plates with high
initialdiffusionandarelativelybright,colored
sound. This program is designedtobeheard
as part of the music, mellowing and thicken-
ing the initial sound. It is a popular choice for
enhancing popular music, particularly per-
cussion.
Medium Plate
Large Plate
Liveness
Liveness
Predelay (1/32 Note)
Predelay (1/32 Note)
–
Larger Plate
Tape Slap Plate
Rich Plate
Decay Time
± Decay/15ips or 7.5ips
Decay Time
Predelay (1/32 Note)
Predelay (1/32 Note)
Echo
Large Bright Plate
Vocal Plate
Decay Time
Low Cut, Decay Time
Plate reverb was originally generated by a large, thin sheet of metal suspended
upright under tension on springs. Transducers attached to the plate transmitted a
signal that made the plate vibrate — making sounds broadcast through the plate
seem to be occurring in a large open space.
18
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Gate VARIATIONs
Adjust
Tap
Gate
9
Straight Gate
Drum Gate
Duration*
–
–
–
In the MPX 100, the Gate program pro-
vides a fairly constant sound with no decay
until the reverb is cut off abruptly. This pro-
gram works well on percussion — particu-
larly on snare and toms, but be sure to
experimentwithothersoundsourcesaswell.
10
11
12
13
14
15
16
Duration*
Duration*
High Cut
High Cut
High Cut
High Cut
High Cut
Slope Down
140 ms Gate
240 ms Gate
340 ms Gate
440 ms Gate
540 ms Gate
Predelay (1/32 Note)
Predelay (1/32 Note)
Predelay (1/32 Note)
Predelay (1/32 Note)
Predelay (1/32 Note)
* Note that audio is muted briefly when Duration is
altered with Adjust.
Gated reverbswereoriginally created by feeding areverb, such as ametal plate,
through an analog gate device. Thedecay time was set to instant, and the hold time
varied the duration of the sound.
19
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Hall
Hall VARIATIONs
Adjust
Tap
The clean reverberation of the Hall pro-
gram is designedtoaddspaciousness, while
leaving the source material unchanged. In
addition to general instrumental and vocal
applications, the Hall program is a good
choice for giving separately recorded tracks
the sense of belonging to the same perfor-
mance.
1
2
3
4
5
6
7
8
Recital Hall
Small Church
Jazz Hall
Decay
–
–
–
–
–
–
–
–
Decay
Decay
Decay
Decay
Decay
Decay
Decay
Dance Hall
Synth Hall
Medium Hall
Large Hall
Large Church
Lexicon's Hall programs recreate the acoustics of actual places, from grand
reverberant enclosures to small concert halls.
20
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Chamber
Chamber VARIATIONs
Adjust
Tap
In the MPX 100, the stereo Chamber
programproducesaneven,relatively dimen-
sionless reverberation, with little change in
color as the sound decays. The initial diffu-
sion is similar to the Hall program, but the
sense of space and size is much less obvi-
ous. This characteristic, along with the low
colorofthedecaytail makesChamberuseful
on a wide range of material. It is especially
useful on spoken voice, giving a noticeable
increase in loudness with very low color.
9
Brick Wall
Basement
Live Concert
Percussion 1
Percussion 2
Live Chamber
Vocal 1
Liveness
–
–
10
11
12
13
14
15
16
Liveness
Liveness
Liveness
Liveness
Liveness
Liveness
Liveness
Eko Delay
–
–
–
Eko Delay
Eko Delay
Vocal 2
Historically, recording studio chambers were often oddly shaped rooms with a
loudspeaker and set of microphonesto pickup theambiencein various parts of the
room.
21
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Ambience VARIATIONs
Adjust
Tap
Ambience
1
2
3
4
5
6
7
8
Voice Over
High Cut
–
–
–
–
–
–
–
–
TheAmbienceprogram simulates reflec-
tionsfrom room surfaces withrandom reflec-
tions, a gradual decay of overall level, and a
gradual narrowing of the bandwidth.
Very Small Ambience
Small Ambience
Medium Ambience
Studio D
High Cut
High Cut
High Cut
High Cut
The variations (1-8) provide a series of
rooms in increasing sizes.
Bright Ambience
Dark Ambience
Marble Foyer
Decay Level
Decay Level
Liveness
Ambience gives warmth, spaciousness and depth to a performance without
coloring the direct sound, and is commonly used to add a room sound to recorded
music or speech.
22
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Room
Room VARIATIONs
Adjust
Tap
9
Bedroom
Wall Reflections
Low Frequency Cut
Liveness
–
–
–
–
–
–
–
–
The Room program is very useful on
drums and percussion and can also be ap-
plied to electric guitar tracks.
10
11
12
13
14
15
16
Tiled Room
Studio C
Small Room
Studio B
Liveness
The variations (9-16) provide a series of
rooms in increasing sizes.
Decay Time
Rehearsal Room
Studio A
High/Low Equalizer
Decay Time
Large Room
High/Low Equalizer
The Room program emulates actual rooms where there is a more apparent
sense of being in a small live place.
23
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Tremolo VARIATIONs
Adjust
Tap
Tremolo
1
2
3
4
5
6
7
8
Rectified Sine Wave
Square Wave
Rate: 0.4-15Hz
–
–
–
The MPX 100 tremolo variations offer a
varietyoftremolo shapes (square, sawtooth,
triangle, sine and rectified sine). The syn-
chronization of the left and right sides canbe
adjusted to produce mono and stereo ef-
fects. As the tremolo rates of several varia-
tions are set with Tap, it’s easy to match the
tempo of the music. Other variations let you
set left and right channel waveforms out-of-
phase, resulting in a panning motion.
Rate: 0.4-15Hz
Sawtooth Wave
Rectified Sine Wave
Square Wave
Rate: 0.4-15Hz
Sweep: 0, 90, 180, 270
Sweep: 0, 90, 180, 270
Sweep: 0, 90, 180, 270
Sweep: 0, 90, 180, 270
Sweep: 0, 90, 180, 270
Rate (1/8 Note)
Rate (1/8 Note)
Rate (1/8 Note)
Rate (1/8 Note)
Rate (1/8 Note)
Sawtooth Wave
Triangle Wave
Sine Wave
Tremolo is a rhythmic change in loudness, commonly employed as an expres-
All of the variations of this program (1-8)
should be used with Mix set to fully Wet. By
adding more dry to the wet/dry mix, Mix
effectively sets the depth of the Tremolo.
sivetechniqueby vocalistsand windinstrument players. Itisalso oneof theoldest
electronic effects — frequently used with electric guitar, electric piano and,
sometimes, vocals. Differenttremolo effectsarelargelydeterminedby the rateand
waveform shape of the loudness change (fast or slow, smooth or sharp). If the
effect is used in a stereo mix, the left and right can be synchronized in a variety of
ways to produce dramatic side-to-side motion.
As tremolo is essentially a rhythmic effect,
careshouldbetakentomaketheratework
with the tempo of the music.
24
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Rotary
Rotary VARIATIONs
Adjust
Tap
9
Rotary
Slow/Fast
–
–
–
–
–
The MPX 100 rotary effect is a detailed
simulation of a Leslie-style cabinet. The in-
put signal is split into high and low frequency
bands. The rotation effect is created by a
synchronized combination of pitch shifting,
tremoloandpanning.Likethephysicalmodel,
the high (horn) and low (drum) frequencies
are “spun” in opposite directions. Horn and
drum speeds are independent, and are de-
signed with acceleration and deceleration
characteristics to simulate the inertia of the
original mechanical elements.
10
11
12
13
14
15
16
Rotary
Slow/Fast, Width
Slow/Fast, Balance
± Resonance
Speed
Rotary
Slow Rotary
Varispeed Rotary
Tap Rotary
Tap Rotary
Tap Rotary
Balance
Rate (Quarter-Note)
Rate (Quarter-Note)
Rate (Quarter-Note)
Width
± Resonance
Rotary speaker cabinets were originally designed to provide a majestic vibrato/
choir effect for electronic theater and church organs. The most well known rotary
speaker is the Leslie™ Model 122, which has two counter-rotating elements — a
high frequency horn and a low frequency rotor with slow and fast speeds. The
sound generated as the spinning elements change speed is truly magical. The
swirling, spacious effect is hard to describe, but is instantly reconizable.
Avirtualrequirementforanyorgansound,
therotary effect alsosounds greatwithguitar
and electric piano rhythm parts. In fact, it’s a
great alternative to chorus and tremolo ef-
fects for any sound source.
All of the variations of this program (9-16)
should be used with Mix set to fully Wet for
the full effect.
25
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Chorus
Chorus VARIATIONs
Adjust
Tap
1
2
3
4
5
6
7
8
Rich Chorus
Rich Chorus
Rich Chorus
Rich Chorus
Diffuse Chorus
Slap Chorus
Slap Chorus
Slap Chorus
± Resonance
± Depth
–
–
–
–
–
–
–
–
The stereo Chorus program uses six in-
dependently randomized delay voices
panned across the stereo field. This pro-
gram, inheritedfrom Lexicon's PCM 80,gen-
erates a rich, airy effect that can simulatethe
sound of multiple sound sources from a
single source.
Rate
High Cut
Diffusion
Diffusion
± Resonance
± Depth
This program is stunning on acoustic or
clean electric guitar.
All of the variations of this program (1-8)
should be used with Mix set to fully Wet to
achieve the full richness of the 6-voice cho-
rus.
Chorus effects multiply the original audio source to create a lush, full sound.
Traditionally used to fatten up tracksand to add body to guitarwithout coloring the
originaltone,chorus effectsarealsooftenused incombination withechoes,plates
and other reverb effects.
26
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Flange VARIATIONs
Adjust
Tap
Flange
9
Light Flange: in phase sweep
Light Flange: out of phase sweep
Light Flange: in phase sweep
Light Flange: out of phase sweep
Deep Flange: in phase sweep
Deep Flange: out of phase sweep
Light Flange
± Resonance
± Resonance
Rate
—
In the MPX 100, the stereo Flanger has
two 2-tapdelays —oneper channel. Thefirst
tap is fixed, and the second sweeps past it.
Mixing the two delay taps together creates
the flanging effect.
10
11
12
13
14
15
16
—
—
—
—
—
—
—
Rate
± Resonance
± Resonance
Sweep: 0, 90, 180, 270
Sweep: 0, 90, 180, 270
All ofthevariations ofthis program (9-16)
should be used with Mix set to fully Wet to
achieve the full flange effect.
Deep Flange
Flanging effects were originally created by simultaneously recording and
playing back two identical programs on two tape recorders, then using hand
pressure against the flange of the tape reels to slow down first one machine, then
the other. The result was a series of changing phase cancellations and reinforce-
ments, with a characteristic swishing, tunnelling and fading sound.
27
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Pitch
Pitch VARIATIONs
Adjust
Tap
1
2
3
4
Semi-tone Shift
Glide Shifter
-2 to +1 octaves
± 1 octave
—
The stereo polyphonic Pitch program in
the MPX 100 allows complete program ma-
terial or monophonic sources to be shifted
down two octaves or up one octave.
—
—
—
+/-100 cents
± 100 cents
Minor 3rd to 4th Harmony
Flat 3rd to 4th Up
5
6
4th/5th Harmony
5th/6th Harmony
4th to 5th Up
5th to 6th Up
—
—
For pitch correction, use this algorithm
with Mix set to fully Wet. For harmonization,
use the desired amount of wet/dry Mix.
7
8
2nd Inversion Triad
Power Chords
Minor/Major 3rd
Inversion
—
—
Altering the pitch of a sound allows a variety of effects from subtle detuning to
the creation of harmonies and chords.
28
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Detune VARIATIONs
Adjust
Tap
Detune
9
Mild
Detuning
Detuning
Detuning
Detuning
Detuning
Detuning
Detuning
Detuning
–
–
–
–
–
–
–
–
The 4-voice stereo Detune program in
the MPX 100 has one pair of voices per
channel. As more detune amount is applied
(withAdjust), thepair grow more out oftune,
providingalush soundwithouttheneedfor a
dry signal to be mixed in.
10
11
12
13
14
15
16
Moderate
Heavy
FullRange
Warm & Mild
Warm & Moderate
Warm & Heavy
Slap Detuner
All ofthevariations ofthis program (9-16)
should be used with Mix set to fully Wet to
achieve the full effect.
Detune effects add a delayed/pitch shifted version of the original source —
thickening up the sound. They can be particularly effective when used to simulate
double-tracking. They are also great alternatives to chorus effects, adding the
richness of a chorus without the audible sweep caused by the chorus rate.
29
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Delay, Echo
The MPX 100 Delay, Echo variations
includemono(5.5seconds), stereo(2.7sec-
onds) and 6-voice multitap effects. Each of
the16 variationscanbeusedfordigitaldelay
or tape echo effects. When Adjust is turned
past its center postion to the right, tape echo
effects are produced. (Each repeat is darker
and softer.) When Adjust is turned to the left
of center, digital delay effects are produced.
(Each repeat is the same timbre, but softer.)
In variations 1-8, Adjust also sets the
In Variations 9-16, the amount of feed-
amount of feedback — a single repeat when back is presetand Adjustdetermines Delay
the knob is centered, more repeats as the time — the delay time is shortest when the
knobis movedpast center in either direction. knob is centered, increasing as the knob is
Delay time is set with Tap. Each variation is moved away from center in either direction.
preset with a different useful rhythm.
Delaysandechoesareeffectsthatrepeatasoundashorttimeafteritfirstoccurs.
The simplest (and oldest) delay effect is tape slap — a single repeat about 100ms
after the original sound. (It was often used on Elvis’s voice and rockabilly guitar
tracks.) Tape slap becomes tape echo when the output of the tape is fed back into
the input (feedback),turning a single repeat into a series of repeats — each a little
softerand alittledarker than thelast. Thisdarkening of each repeat ischaracteristic
of the analog tape recording process. Digital delays don’t have this characteristic
— each repeat has the same exact timbre and the only difference from repeat to
repeat is in loudness.
Digital delay and tape echo are both useful, but they are different. Tape echo is
warmer and allows the original sound to stand out more, while digital delay can
present a “perfect” copy of the orignal sound.
30
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Delay, Echo VARIATIONs
Adjust
Tap
1
2
Mono Quarter-Note
Stereo Quarter-Note
Triplet Shuffle
Dotted Eighth-Note
Eighth-Note and Triplet
Ping Pong Quarter-Note
Triplet Rhythm 1
Triplet Rhythm 2
Mono
Delay/Echo Feedback
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay/Echo Feedback
3
Delay/Echo Feedback
4
Delay/Echo Feedback
5
Delay/Echo Feedback
6
Delay/Echo Feedback
7
Delay/Echo Feedback
8
Delay/Echo Feedback
9
Delay/Echo Time: 0-5.5sec
Delay/Echo Time: 0-2.7sec
Delay/Echo Time: 3 3/4 to 30ips
Delay/Echo Time: 0-100ms
Delay/Echo Time: 0-400ms
Delay/Echo Time: 0-400ms
Delay/Echo Time: 0-150ms + Fbk
Delay/Echo Time: 0-200ms + Fbk
10
11
12
13
14
15
16
Stereo
Tape Slap
When using any type of delay or echo
effects with music, always pay attention to
the way the repeats fall rhythmically to the
beat. The most effective delay and echo
patterns are those that lock in with the
tempo of the tune.
Multi Bounce
Multi Linear
Multi Inverse
Multi Repeat
Multi Pong
31
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Variations 7-10 are set up in the Cas-
cade configuration - two stereo effects, one
placed after the other (for example, Flange-
Delay, Flange passes its stereo signal to the
Delay).
About the Dual Programs
The MPX 100 Dual programs combine
either a Delay or Reverb algorithm with a
Flange, a Pitch or a Chorus. Effects Lvl/Bal
controls the relativebalance ofeach effect in
the combination.
Variations 11-14 are set up in the Mono
SplitconfigurationwhichissimilartoParallel,
however one effect (Flange) receives audio
fromtheleft inputandtheothereffect (Delay)
receives audio from the right input. Both
effects then output stereo audio.
Four routing configurations are used in
the variations of each Dual program: Dual
Stereo (Parallel), Cascade, Mono Split and
Dual Mono.
Variations 1-6 are set up in the Parallel
configuration- two stereoeffects placedside
bysidesothatthey receiveandoutputstereo
audio from both left and right channels.
Variations 15 and 16 are set up in the
Dual Mono configuration where one effect
(Flange) appears on the left channel only
and the other effect (Delay) appears on the
right channel only.
32
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Generally,theEffectsLvl/Balknobcon-
trols the balance of the two effects in each
dual program. In the cascade variations,
rather than simply controlling balance, the
knob varies the amount of the first effect or
dry signal which is fed into the secondeffect.
At center, you get
delayed pitch shift
This setting provides pitch
shift
This setting provides delayed
gnal
At the rightmost setting, you
get only delayed dry signal
At the leftmost setting,
you get only pitch shift
Behavior of Effects Lvl/Bal in the cascade variations. Several
points from theknob'scontinuousrangeareillustratedhere,using
the Pitch-Delay program as an example.
33
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Flange – Delay
Flange-Delay VARIATIONs
Adjust
Tap
Routing
1
2
Deep Flange - Stereo Delay
Deep Flange - Stereo Delay
Deep Flange - Stereo Delay
Light Flange - Ping Pong
Light Flange - Repeat
Delay/Echo Feedback
Delay Time (1/4 Note)
Delay/Echo Feedback
Dotted 1/8 Note
3
Delay/Echo Feedback
1/8 Note Triplet
4
Delay/Echo Feedback
Delay Time (1/4 Note)
5
Delay/Echo Time: 0-150ms, Feedback
Delay/Echo Time: 0-200ms, Feedback
Delay/Echo Feedback
—
6
Light Flange - Bounce
Deep Flange>Stereo Delay
Deep Flange>Repeat
—
7
Delay Time (1/4 Note)
8
Delay/Echo Time: 0-150ms, Feedback
Delay/Echo Feedback
—
9
Deep Flange>Ping Pong
Deep Flange> Bounce
Light Flange+Stereo Delay
Ligth Flange+Ping Pong
Light Flange+Repeat
Delay Time (1/4 Note)
10
11
12
13
14
15
16
Delay/Echo Time: 0-200ms, Feedback
Delay/Echo Feedback
—
Delay Time (1/4 Note)
Delay/Echo Feedback
Delay Time (1/4 Note)
Delay/Echo Time: 0-150ms, Feedback
Delay/Echo Time: 0-200ms, Feedback
Delay/Echo Feedback
—
Light Flange+Bounce
—
Deep Flange/Mono Delay
Deep Flange/Mono Delay
Delay Time (1/4 Note)
Delay/Echo Feedback
Delay Time (Dotted 1/4 Note)
34
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Pitch – Delay
Pitch-Delay VARIATIONs
Adjust
Tap
Routing
1
2
5th Up/Down - Stereo Quarter-Note
Octave Up/Down - Triplet Shuffle
Octave Up/Down - Eighth and Triplet
3rd Up/4th Up - Ping Pong Quarter-Note
4th Up/5th Up - Triplet Rhythm 1
5th Up/6th Up - Triplet Rhythm 2
Octave Up/Down > Triplet Rhythm 1
5th Up/Down > Triplet Rhythm 2
Major/Minor
± 5th
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
± 1 octave
3
± 1 octave
4
Minor 3rd to 4th Up
4th to 5th Up
5th to 6th Up
± 1 octave
5
6
7
8
± 5th
9
Minor/Major 3rd w/Feedback
Ascending Intervals w/Feedback
± 5th
10
11
12
13
14
15
16
Intervals Up
5th Up/Down + Stereo Quarter-Note
Octave Up/Down + Triplet Shuffle
4th Up/5th Up + Triplet Rhythm 1
5th Up/6th Up + Triplet Rhythm 2
Octave Up/Down / Mono Quarter-Note
Octave Up/Down / Triplet Shuffle
± 1 octave
4th to 5th Up
5th to 6th Up
± 1 octave
± 1 octave
35
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Chorus – Delay
Chorus-Delay VARIATIONs
Adjust
Tap
Routing
1
2
Rich Chorus 1 - Stereo 1/4 Note
Rich Chorus 1 - Dotted 1/8 Note
Rich Chorus 1 - 1/8 Note and Triplet
Rich Chorus 1 - Ping Pong 1/4 Note
Rich Chorus 1 - Multi Repeat
Rich Chorus 1 - Multi Pong
Delay/Echo Feedback
Delay Time
Delay Time
Delay Time
Delay Time
—
Delay/Echo Feedback
3
Delay/Echo Feedback
4
Delay/Echo Feedback
5
Delay/Echo Time: 0-150ms, Feedback
Delay/Echo Time: 0-200ms, Feedback
Delay/Echo Feedback
6
—
7
Rich Chorus 1 - Stereo 1/4 Note
Rich Chorus 2 - Multi Repeat
Rich Chorus 2 - Ping Pong 1/4 Note
Rich Chorus 3 - Multi Pong
Delay Time
—
8
Delay/Echo Time: 0-150ms, Feedback
Delay/Echo Feedback
9
Delay Time
10
11
12
13
14
15
16
Delay/Echo Time: 0-200ms, Feedback
Delay/Echo Feedback
Rich Chorus 1 - Stereo 1/4 Note
Rich Chorus 1 - Ping Pong 1/4 Note
Rich Chorus 1 - Crossfeed
Delay Time
Delay Time
—
Delay/Echo Feedback
Delay/Echo Time: 0-150ms, Feedback
Delay/Echo Time: 0-200ms, Feedback
Delay/Echo Feedback
Rich Chorus 1 - Multi Pong
—
Rich Chorus 4 - Mono 1/4 Note
Rich Chorus 4 - Dotted 1/8 Note
Delay Time
Delay Time
Delay/Echo Feedback
36
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Delay – Reverb
Delay-Reverb VARIATIONs
Adjust
Tap
Routing
1
2
Stereo 1/4 Note - Small Space
Triplet Shuffle - Medium Space
1/8 Note and Triplet - Large Space
Ping Pong 1/4 Note - Small Space
Triplet Rhythm 1 - Medium Space
Triplet Rhythm 2 - Large Space
Stereo 1/4 Note > Room
Decay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Delay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
3
4
5
6
7
8
1/8 Note and Triplet > Large Space
Triplet Rhythm 1 > Room
9
10
11
12
13
14
15
16
Triplet Rhythm 2 > Large Space
Stereo 1/4 Note + Medium Space
Ping Pong 1/4 Note + Large Space
Triplet Rhythm 1 + Medium Space
Triplet Rhythm 2 + Small Space
Mono 1/4 Note / Room
Triplet Rhythm 2 / Large Space
37
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Flange – Reverb
Flange-Reverb VARIATIONs
Adjust
Tap
Routing
1
2
Light Flange - Small Space
Light Flange - Medium Space
Light Flange - Large Space
Deep Flange - Small Space
Deep Flange - Medium Space
Deep Flange - Large Space
Light Flange > Large Space
Deep Flange > Large Space
Light Flange > Room
Decay
Flange Rate (Whole Note)
Decay
Flange Rate (Whole Note)
3
Decay
Flange Rate (Whole Note)
4
Decay
—
5
Decay
—
6
Decay
—
7
Decay
Flange Rate (Whole Note)
8
Decay
—
9
Liveness
Liveness
Decay
Flange Rate (Whole Note)
10
11
12
13
14
15
16
Deep Flange > Room
—
Light Flange + Medium Space
Light Flange + Room
Flange Rate (Whole Note)
Flange Rate (Whole Note)
—
Liveness
Decay
Deep Flange + Medium Space
Deep Flange + Room
Liveness
Decay
—
Light Flange / Large Space
Light Flange / Large Space
Flange Rate (Whole Note)
Flange Rate (Whole Note)
Decay
38
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Pitch – Reverb
Pitch-Reverb VARIATIONs
Adjust
Tap
Routing
1
2
Minor 3rd to 4th - Room
4th to 5th - Room
3rd to 4th Up
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
PreDelay (1/32 Note)
4th to 5th Up
5th to 6th Up
± 1 octave
3
5th to 6th - Room
4
±1 Octave - Medium Space
Power Chords - Medium Space
Manual Detune - Room
±100 > Small Space
5
Decay Time
Detuning
6
7
± 100 cents
Decay Time
Decay Time
Decay Time
4th to 5th Up
5th to 6th Up
Decay Time
Decay Time
Decay Time
Decay Time
8
Power Chords - Large Space
4ths > Medium Space
Octaves > Medium Space
4th to 5th + Room
9
10
11
12
13
14
15
16
5th to 6th + Room
4ths + Large Space
Octaves + Medium Space
Octaves / Medium Space
4ths / Large Space
39
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Chorus – Reverb
Chorus-Reverb VARIATIONs
Adjust
Tap
Routing
1
2
Rich Chorus 1 - Small Space
Rich Chorus 1 - Medium Space
Rich Chorus 1 - Large Space
Rich Chorus 2 - Small Space
Rich Chorus 2 - Medium Space
Rich Chorus 2 - Large Space
Rich Chorus 1 > Room
Decay Time
—
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Liveness
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
3
4
5
6
7
8
Rich Chorus 2 > Room
Liveness
9
Rich Chorus 3 > Room
Liveness
10
11
12
13
14
15
16
Rich Chorus 1 > Small Space
Rich Chorus 1 + Small Space
Rich Chorus 2 + Medium Space
Rich Chorus 2 + Large Space
Rich Chorus 1 + Large Space
Rich Chorus 1 / Room
Decay Time
Decay Time
Decay Time
Decay Time
Decay Time
Liveness
Rich Chorus 4 / Room
Liveness
40
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Delay, Echo VARIATIONs
Adjust
Tap
Special FX
1
2
Infinite Reverb
The Abyss
High Cut
Echo
The Special FX variations showcase the
flexibility and creative possibilities of the
MPX 100. Adjust is completely different in
each of the Variations, so be sure to experi-
ment with all of them.
± Pitch Bend
Tone
–
3
Jet Flange
Rate (Whole Note)
–
4
Chorus Verb
High Cut
5
Rotary Delay
Dly/Echo Time: 0-150ms+Fbk Rate (1/4 Note)
6
Fader Verb
Input Volume
Decay Time
Echo
7
PCM 60 - LgSize
LowRumble
–
–
–
–
–
8
Decay Time
9
Ducking Reverb
Ducking Chorus>Delay
Ducking Triplets
Subdividing Delay
Panning Delays
Dream Sequence
Infinite Repeat
Diffusor
Decay Time
10
11
12
13
14
15
16
± Resonance
Delay/Echo Feedback
Beat Value: 1/32-Whole Note Delay Time
Delay/Echo Feedback
± Shift Amount
Feedback: 0-Infinite
Diffusion
Dly Time, Pan Rate
–
Dly Time (Whole Note)
–
41
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User Programs
Reinitialization
When shipped from the factory, the six-
teen MPX 100 User locations contain dupli-
cates of the following programs:
Reinitializing the MPX 100 will reset all of
theSystem Mode parameters totheir factory
defaults, replace any programs stored in the
User bank with the factory-loaded preset
copies, and clear any Learned patches. To
do this:
User
VARIATION
1
2
Plate 2
Gate 9
3
4
5
6
7
8
9
Hall 5
Hall 6
1. Hold the Store button while powering up
the MPX 100. (Store and Tap will flash
rapidly.) Press Tap or Bypass to exit
without reinitializing.
Chamber 13
Ambience 3
Room 14
Tremolo 1
Rotary 9
2. Press Store to reinitialize the MPX 100.
10
11
12
13
14
15
16
Rotary 15
Chorus 3
Flange 12
Pitch 1
Detune 12
Delay, Echo 8
Delay, Echo 12
42
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MIDI Operation
MPX 100 MIDI Behavior
As many as five Learn patches (for the
front panel Mix, Effects Lvl/Bal, Adjust,
Bypass and Tap controls) on as many as
five MIDI Channels are supported.
Program Change messages 0-15 are re-
served for executing program loads on any
learned MIDI Channel — or a separate MIDI
Channel can be selected for program load.
TheMPX100“learns” MIDIChannel, Pro-
gram Change and Continuous Controllers in
its Learn Mode.
Any of t
to Cont
Program Change messages can
also be used to load programs.
43
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Although this channel can be used to
receive other Program Change messages,
numbers 0-15 will always load the 16 varia-
tions of the currently loaded program. Pro-
gramChangemessages0-15willbeignored
on all other MIDI Channels.
2. SendaProgram Changemessagetothe
MPX 100. (The Edit LED will flash to
show incoming MIDI activity.)
Assigning a MIDI Channel
for Program Load
In order to use Program Change mes-
sagesforProgramloadsaswellastocontrol
front panel buttons, the MPX 100 is de-
signed to have one MIDI channel dedicated
to loading programs. This is called the Pro-
gram Load MIDI Channel.
3. TheMPX100learns theMIDI Channel of
the transmitting device and re-assigns
the Program Load function to that chan-
nel.
When shipped from the factory, the MPX
100 has MIDI Channel 1 assigned as the
default Program Load channel. To re-define
the Program Load assignment:
4. Simultaneously press Store and Tap to
exit.
This Program Load channel assignment
is remembered until it is deliberately re-set
with the same procedure.
1. Simultaneously press Store and Tap to
enter Learn Mode. (The Store LED
flashes slowly and the Tap LED lights
steadilytoindicateLearn Modeisactive.)
44
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Using Program Change Messages for
Program Load
For example, Program Change 1 with
PROGRAMpointingtoPlate,Gate,willcause
thefirst Plateprogram tobeloaded. Sending
controller 32 with a value of 0, followed by
ProgramChange1,loadsthefirstprogramof
the User bank. Sending controller 32 with a
valueof1,thenProgramChange2,loadsthe
second program in the Flange-Delay bank.
Sending controller 32 with a value of 8, then
program change 15 will load the last Gate
program in the Plate, Gate bank.
Once a bank is selected, all subsequent
Program Change messages will select pro-
grams within that bank until a new value for
controller 32 is received, or until the PRO-
GRAM or VARIATION knob is moved.
This function can be disabled with the
MIDI Pgm Change parameter in System
Mode.
MPX 100 Program Banks
0
1
2
User
Flange-Delay
Pitch-Delay
The MPX 100 will allow loading of all of its
240 preset and 16 User programs via stan-
dard MIDI Program Change messages. It
alsoconformstotheuseofMIDIcontroller32
to perform Bank Select, starting with the
User bank as the first bank. (For the pur-
poses of this discussion, each setting of the
MPX 100 PROGRAM knob selects a “bank”
of 16 programs.) The MPX 100 “banks” are
ordered numerically from 0-15.
Here’s how it works. If a standard MIDI
Program Change is sent to the MPX 100 on
its Program Load MIDI Channel, Program
Change messages 0-15 will load programs
1-16 from the current Program Bank.
3
4
5
6
7
8
Chorus-Delay
Delay Reverb
Flange-Reverb
Pitch-Reverb
Chorus-Reverb
Plate, Gate
9
Hall, Chamber
Ambience, Room
Tremolo, Rotary
Chorus, Flange
Pitch, Detune
Delay, Echo
Special FX
10
11
12
13
14
15
If a Bank Select message (controller 32)
precedes a Program Change message, any
one of the 256 programs can be loaded.
45
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4. PressStoretocommittotheassignment.
2. Move one of the MPX 100 front panel
controls (Mix, Effects Lvl/Bal, Adjust,
BypassorTap)toassignittothecontrol-
ler.
Learning Continuous
Controllers
The MPX 100 recognizes Pitch Bend,
AfterTouchandMIDIContinuousControllers
1-31 and 33-119. To Learn a Continuous
Controller:
The Store LED will flash rapidly.
5. To assign another front panel control toa
MIDI controller, repeat steps 2 - 5.
1. Simultaneously press Store and Tap to
enterLearnMode.(TheStoreLEDflashes
slowly and the Tap LED lights steadily to
indicate Learn Mode is active.)
3. Move the MIDI controller through its full
range. To use only a fraction of the
controller’srange,limityourmovementto
the desired range.
6. Simultaneously press Store and Tap to
exit. The Store LED will flash rapidly if
youhavecreatedor changedanyassign-
ments.
TheEdit LED will flash toindicateincom-
ing MIDI activity.
NOTE: When a MIDI controller is assigned to
Bypassor Tap, movingitthroughthemid-point
of its Learned range will execute a “press” of
the front panel button.
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5. Simultaneously press Store and Tap to
exit. TheStoreLED willflashrapidly ifyou
have created or changed any assign-
ments.
2. Press the front panel button you want to
Activating Bypass or Tap
functions with Program
Change Messages
control (Bypass or Tap).
The MPX 100 recognizes MIDI Program
Changes 16-127 (17-128 on some MIDI
devices) on any channel. To assign a Pro-
gram Change message to Bypass or Tap:
3. SendaMIDI Program ChangetotheMPX
100. The Edit LED will flash to indicate
incoming MIDI activity.
To aid MIDI controllers (such as some foot
controllers) which do not allow repeated Pro-
gram Change messages to be sent by a single
button, the MPX 100 learns the next highest
Program Change along with every Program
Change message it learns for Bypass and/or
Tap.Forexample,ifyouLearnProgramChange
20 as the source for Bypass, Program Change
21 will also control Bypass functions. To avoid
conflictingBypassandTapassignments, leave
a space betweenthe two buttons’ assignments.
(i.e. if you learn Program Change 20 for By-
pass, remember that 21 will also be learned, so
you will have to jump to Program Change 22
(and 23) for Tap.
4. PressStoretocommit tothe assignment.
1. Simultaneously press Store and Tap to
enterLearnMode.(TheStoreLEDflashes
slowly and the Tap LED lights steadily to
indicate Learn Mode is active.)
The Store LED will flash rapidly.
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Learnable Front Panel controls and
Assignable MIDI Sources
3. Press Store to clear the assignment.
Clearing a Learned
Assignment
1. Simultaneously press Store and Tap to
enterLearnMode.(TheStoreLEDflashes
slowly and the Tap LED lights steadily to
indicate Learn Mode is active.)
The Store LED will flash rapidly.
MIDI
MIDI
Front Panel Controllers Pgm Change
Control
1-31, 33-119
16-127*
Mix
Effects Lvl/Bal
Adjust
Yes
Yes
Yes
Yes
Yes
No
No
No
Yes
Yes
4. To clear another front panel assignment,
repeat steps 2 and 3.
Bypass
Tap
5. Simultaneously press Store and Tap to
exit. The Store LED will flash rapidly if
you have changed any assignments.
*Program Changenumbers0-15will be ignored
except on the MIDI Channel assigned for pro-
gram load.
2. Move the front panel control that you
want to clear (Mix, Effects Lvl/Bal, Ad-
just, Bypass or Tap).
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MIDI Clock
MIDI Dumps
TheMPX100recognizesMIDIClockmes-
sages and applies the tempo (40-400 BPM)
to any program which utilizes theTap-tempo
feature. Connect a MIDI device which out-
puts MIDI Clock (such as the MPX R1 foot
controller or a MIDI sequencer) to the MPX
100 MIDI IN jack, to have the MPX 100
automatically recognize and begin to pro-
cess the MIDI clocks. When you change
tempo on the connected device, the MPX
100 will follow along and adjust its delay
times or rates to match the tempo.
MIDI Dumps allow you to back up the 16
User programs, the currently running pro-
gram, or your System Mode settings and
Learned patch assignments, to a storage
device (typically, a sequencer).
MIDI Dumps are performed in System
Mode. To perform a dump of the User pro-
grams, the current program, or all of the
System Mode parameter settings:
1. Press and hold Bypass for 2 seconds.
The Bypass and Store LEDs will blink
slowly to indicate you are in System
Mode.
2. Turn VARIATION to:
14 to dump the User programs
15 to dump the current program
16 to dump the System settings and
Learned patch assignments
3. Press Store to execute the dump.
4. Press Bypass to exit System Mode.
This can be disabled with the MIDI Clock
Receive parameter in System Mode.
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MIDI Implementation
Lexicon MPX 100
Function
Transmitted
Recognized
Remarks
Basic
Channel
Default
Channel
X
X
1
1-16
Learned
Mode
Default
Mode 2
Messages
Altered
X
X
X
X
Note
X
Number
True Voice
Velocity
Note ON
Note OFF
X
X
X (Off=9n v=0)
X
After
Touch
Keys
Channels
X
X
X
OX
used as controller
Learned
Pitch Bender
X
X
OX
OX
used as controller, Learned
Control
Change
1-119 (0 and 32 used as Bank Select)
Learned
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Program
Change
X
X
0-15=1-16
O
16-127 ignored; Program message
1-15=Program Change 1-16 for
current Program Group
True #
Bank Select
System
Exclusive
Lexicon
Real-Time
non Real-Time
O
X
X
O
X
X
Product ID=14 (decimal)
Device ID=MIDI Channel
0-15 = 1-16
System
:Song Pos
:Song Sel
:Tune
X
X
X
X
X
X
Common
System
Real Time
:Clock
:Commands
X
X
O
X
Aux
Messages
:Local ON/OFF
:All Notes OFF
:Active Sense
:Reset
X
X
X
X
X
X
Mode 1: OMNI ON, POLY
Mode 2: OMNI ON, MONO
O : Yes
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO
X : No OX: Selectable
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Specifications
Audio Inputs (2)
Level -30dBu to +4dBu
Footswitch
Tip/Ring/Sleeve phone jack for
Bypass and Tap (optional)
Internal Audio Data Path
DSP: 24-bit
Impedance 500K unbalanced for
Direct Instrument input
(Unit detects a mono input
on the right input)
Power Requirements
9VAC wall transformer provided
Frequency Response
Wet/Dry: 20Hz-20kHz, ±1dB
Dimensions
19"W x 1.75"H x 4"D (483 x 45 x 102mm)
THD+N
<0.05%, 20Hz-20kHz
1/4" connectors
Audio Outputs (2)
Weight
Unit: 2 lbs, 2 oz (0.959kg)
Dynamic Range
A/A: >95dB typical, 20Hz-20kHz, unweighted
A/D: >100dB typical, 20Hz-20kHz, unweighted
Level +8dBu typical
Impedance 75Ω for Headphone output
(Right only used for mono
output; Left only used for
stereo headphones)
Environment
Operating
Conversion
20 bits A/D, 20 bits D/A
44.1kHz sample rate
Temperature 32° to 104°F (0° to 40°C)
Relative
1/4" connectors
Humidity 95% non-condensing
Crosstalk
Digital Audio Output
>45dB
20-bit Digital S/PDIF output (always active)
Sample Rate: 44.1kHz
Connector:
Coaxial, RCA type
Specifications subject to change without notice.
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