User Guide

IMPORTANT SAFETY INSTRUCTIONS

WARNING FOR YOUR PROTECTION
READ THE FOLLOWING:

READ THESE INSTRUCTIONS.

KEEP THESE INSTRUCTIONS.

HEED ALL WARNINGS.

FOLLOW ALL INSTRUCTIONS.

The symbols shown above are internationally accepted symbols that warn
DO NOT USE THIS APPARATUS NEAR WATER.
of potential hazards with electrical products. The lightning flash with
arrowpoint in an equilateral triangle means that there are dangerous CLEAN ONLY WITH A DRY CLOTH.
voltages present within the unit. The exclamation point in an equilateral
triangle indicates that it is necessary for the user to refer to the owner’s FOR INDOOR USE ONLY.
manual.
DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE
These symbols warn that there are no user serviceable parts inside the WITH THE MANUFACTURER’S INSTRUCTIONS.
unit. Do not open the unit. Do not attempt to service the unit yourself.
Refer all servicing to qualified personnel. Opening the chassis for any DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT
REGISTERS, STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT
reason will void the manufacturer’s warranty. Do not get the unit wet. If PRODUCE HEAT.
liquid is spilled on the unit, shut it off immediately and take it to a dealer
for service. Disconnect the unit during storms to prevent damage. ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER.

The following is indicative of low UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR
altitude use; do not use this product LONG PERIODS OF TIME.
above 2000m.
Do not defeat the safety purpose of the polarized or grounding-type plug. A
polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or third prong
are provided for your safety. If the provided plug does not fit your outlet, consult
U.K. MAINS PLUG WARNING an electrician for replacement of the obsolete outlet.
A molded mains plug that has been cut off from the cord is
Protect the power cord from being walked on or pinched particularly at plugs,
unsafe. Discard the mains plug at a suitable disposal facility. convenience receptacles, and the point where they exit from the apparatus.

NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU Use only with the cart stand, tripod bracket, or table
specified by the manufacture, or sold with the apparatus.
INSERT A DAMAGED OR CUT MAINS PLUG INTO A
When a cart is used, use caution when moving the cart/
13 AMP POWER SOCKET. apparatus combination to avoid injury from tip-over.

Do not use the mains plug without the fuse cover in place. Refer all servicing to qualified service personnel. Servicing is required when the
apparatus has been damaged in any way, such as power-supply cord or plug is
Replacement fuse covers can be obtained from your local retailer. damaged, liquid has been spilled or objects have fallen into the apparatus, the
Replacement fuses are 13 amps and MUST be ASTA approved to apparatus has been exposed to rain or moisture, does not operate normally, or
BS1362. has been dropped.

POWER ON/OFF SWITCH: The Power switch used in this piece of equipment DOES
NOT break the connection from the mains.
If you want to dispose this product, do not mix it with general household waste. There
is a separate collection system for used electronic products in accordance with legislation
that requires proper treatment, recovery and recycling. MAINS DISCONNECT: The plug shall remain readily operable. For rack-mount or
installation where plug is not accessible, an all-pole mains switch with a contact
Private households in the 25 member states of the EU, in Switzerland and Norway may return their separation of at least 3 mm in each pole shall be incorporated into the electrical
used electronic products free of charge to designated collection facilities or to a retailer (if you purchase installation of the rack or building.
a similar new one).

For Countries not mentioned above, please contact your local authorities for a correct method of disposal. If connected to 240V supply, a suitable CSA/UL certified power cord shall be
used for this supply.
By doing so you will ensure that your disposed product undergoes the necessary treatment, recovery and
recycling and thus prevent potential negative effects on the environment and human health. This Equipment is intended for rack mount use only.
 IMPORTANT SAFETY INSTRUCTIONS
ELECTROMAGNETIC COMPATIBILITY DECLARATION OF CONFORMITY
This device complies with part 15 of the FCC Rules and Manufacturer’s Name: Lexicon Professional
the Product Specifications noted on the Declaration of Manufacturer’s Address: 10653 S. River Front Parkway, Suite 300
Conformity. Operation is subject to the following two South Jordan, Utah 84095, USA
conditions:
declares that the product:
• this device may not cause harmful interference, and
Product name: Lexicon MX200
• this device must accept any interference received, Note: Product name may be suffixed by a combination of the letters EU, M,
including interference that may cause undesired operation. or V.

Operation of this unit within significant electromagnetic fields Product option: None
should be avoided.
conforms to the following Product Specifications:
• use only shielded interconnecting cables.
Safety: IEC 60065-01+Amd 1 & 2

EMC: EN 55022:2010
EN 55024:2010
SAFETY INSTRUCTIONS FCC Part 15
NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A POWER CORD.
Supplementary Information:
WARNING: THIS APPLIANCE SHALL BE CONNECTED TO A MAINS SOCKET OUTLET WITH A The product herewith complies with the requirements of the:
PROTECTIVE EARTHING CONNECTION. Low Voltage Directive 2014/35/EU
EMC Directive 2014/30/EU
THE CORES IN THE MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING RoHS Directive 2011/65/EU
CODE: WEEE Directive 2012/19/EU

GREEN AND YELLOW - EARTH BLUE - NEUTRAL BROWN - LIVE With regard to Directive 2005/32/EC and EC Regulation 1275/2008 of
17 December 2008, this product is designed, produced, and classified as
AS COLOURS OF THE CORES IN THE MAINS LEAD OF THIS APPLIANCE MAY NOT COR- Professional Audio Equipment and thus is exempt from this Directive.
RESPOND WITH THE COLOURED MARKINGS IDENTIFYING THE TERMINALS IN YOUR PLUG,
PROCEED AS FOLLOWS: C. Rex Reed
Director, Engineering
• T HE CORE WHICH IS COLOURED GREEN AND YELLOW MUST BE CONNECTED TO THE Signal Processing
TERMINAL IN THE PLUG MARKED WITH THE LETTER E, OR WITH THE EARTH SYMBOL, 10653 S. River Front Parkway, Suite 300
OR COLOURED GREEN, OR GREEN AND YELLOW. South Jordan, Utah 84095, USA
• THE CORE WHICH IS COLOURED BLUE MUST BE CONNECTED TO THE TERMINAL Date: August 15, 2016
MARKED N OR COLOURED BLACK.
• THE CORE WHICH IS COLOURED BROWN MUST BE CONNECTED TO THE TERMINAL European Contact:
MARKED L OR COLOURED RED.
Harman International
THIS EQUIPMENT MAY REQUIRE THE USE OF A DIFFERENT LINE CORD, ATTACHMENT Salisbury House
PLUG, OR BOTH, DEPENDING ON THE AVAILABLE POWER SOURCE AT INSTALLATION. IF London Wall
EC2M 5QQ
THE ATTACHMENT PLUG NEEDS TO BE CHANGED, REFER SERVICING TO QUALIFIED SERVICE
+44 207 562 9450
PERSONNEL WHO SHOULD REFER TO THE TABLE BELOW. THE GREEN/YELLOW WIRE SHALL
BE CONNECTED DIRECTLY TO THE UNITS CHASSIS.
or
WIRE COLOR
CONDUCTOR
Normal Alt Harman Professional Inc.
L LIVE BROWN BLACK 10653 S. River Front Parkway, Suite 300
N NEUTRAL BLUE WHITE
South Jordan, Utah 84095, USA
E EARTH GND GREEN/YEL GREEN Ph: (801) 566-8800
Fax: (801) 568-7583
WARNING: IF THE GROUND IS DEFEATED, CERTAIN FAULT CONDITIONS IN THE UNIT OR
IN THE SYSTEM TO WHICH IT IS CONNECTED CAN RESULT IN FULL LINE VOLTAGE BETWEEN
CHASSIS AND EARTH GROUND. SEVERE INJURY OR DEATH CAN THEN RESULT IF THE CHAS-
SIS AND EARTH GROUND ARE TOUCHED SIMULTANEOUSLY.
WARNING:
• APPARATET MÅ TILKOPLES JORDET STIKKONTAKT.

• APPARATEN SKALL ANSLUTAS TILL JORDAT UTTAG.

• LAITE ON LIITETTÄVÄ SUOJAKOSKETTIMILLA VARUSTETTUUN PISTORASIAAN.

• APPARATET SKAL TILSLUTTES JORDET STIKKONTAKT.
 CONSIGNES DE SÉCURITÉ IMPORTANTES
AVERTISSEMENT POUR VOTRE
SÉCURITÉ
LIRE ATTENTIVEMENT :

LIRE CES CONSIGNES.

CONSERVER CES CONSIGNES.


RESPECTER TOUS LES AVERTISSEMENTS.


SUIVRE TOUTES LES CONSIGNES.


Les symboles illustrés ci-dessus sont des symboles acceptés NE PAS UTILISER CET APPAREIL PRÈS DE L’EAU.
internationalement qui avertissent des dangers potentiels relatifs à NETTOYER UNIQUEMENT AVEC UN CHIFFON SEC.

l’utilisation de produits électriques. Le voyant clignotant avec une flèche
dans un triangle équilatéral signifie la présence de tensions dangereuses POUR USAGE INTÉRIEUR UNIQUEMENT.

dans l'appareil. Le point d’exclamation dans un triangle équilatéral
indique que l’utilisateur doit se référer au manuel d'utilisation.
 NE PAS OBSTRUER LES OUÏES D’AÉRATION. EFFECTUER L’INSTALLATION

 CONFORMÉMENT AUX INSTRUCTIONS DU FABRICANT.

Ces symboles indiquent qu’il n’y a aucune pièce utilisable par l’utilisateur
à l’intérieur de l’appareil. Ne pas ouvrir l’appareil. Ne pas essayer de NE PAS INSTALLER À PROXIMITÉ DE SOURCES DE CHALEUR TELLES QUE DES
RADIATEURS, BOUCHES D’AÉRATION, PLAQUES CHAUFFANTES OU TOUT AUTRE
réparer soi-même l’appareil. Confier toute réparation à du personnel APPAREIL (Y COMPRIS DES AMPLIFICATEURS) DÉGAGEANT DE LA CHALEUR.

qualifié. Ouvrir la structure de l’appareil pour quelque raison que ce soit
annulera la garantie du fabricant. Ne pas mouiller l’appareil. Si du liquide UTILISER UNIQUEMENT LES PIÈCES/ACCESSOIRES MENTIONNÉS PAR LE
est renversé sur l’appareil, fermer immédiatement l’appareil et l’apporter FABRICANT.

chez un réparateur. Débrancher l’appareil pendant les tempêtes afin
d’éviter des dommages.
 DÉBRANCHER L'APPAREIL AU COURS DES ORAGES OU EN CAS DE NON-UTILISATION
PENDANT UNE DURÉE PROLONGÉE.


Ce qui suit est représentatif d’une Ne pas détériorer la sécurité de la fiche polarisée ou de la fiche de terre. Les fiches
utilisation à basse altitude ; ne pas polarisées sont équipées de deux bornes de largeurs différentes. Les fiches de terre
utiliser ce produit au-dessus de 2000 m. comportent deux lames et une troisième broche de mise à la terre. La broche la
plus large ou troisième broche de mise à la terre est prévue pour votre sécurité. Si
la fiche fournie ne correspond pas à votre installation électrique, faire appel à un
électricien pour remplacer la prise hors normes.

AVERTISSEMENT CONCERNANT
LA FICHE SECTEUR Protéger le cordon d'alimentation contre les risques de piétinement ou de
pincement, notamment au niveau des fiches, des prises de courant et du point
Une fiche secteur moulée qui a été coupée du cordon est dangereuse. d'attache avec le matériel.

Jeter la fiche secteur dans un centre de déchets adapté.

Utiliser uniquement le chariot, le support, le trépied ou
la table spécifié(e) par le fabricant ou vendu(e) avec
VOUS NE DEVEZ EN AUCUNE CIRCONSTANCE INSÉRER le matériel. Si vous utilisez un chariot pour déplacer
UNE FICHE ENDOMMAGÉE OU COUPÉE DANS UNE PRISE l'appareil, soyez suffisamment prudent pour éviter une
SECTEUR 13 AMP.
 éventuelle blessure consécutive au basculement du chariot
et de sa charge.

Ne pas utiliser la fiche secteur si le couvercle du coffret à fusibles n'est Les réparations doivent être confiées à un technicien S.A.V. qualifié. Une
pas bien en place. Vous pouvez vous procurer des capots de fusible de réparation est nécessaire en cas de dommage quelconque et en particulier
rechange auprès de votre détaillant local. Les fusibles de remplacement en cas d'endommagement du cordon d’alimentation ou de la fiche électrique,
sont de 13 A et DOIVENT être approuvés ASTA, BS1362. d'infiltration liquide, d'introduction involontaire d'un objet dans l'appareil,
d'exposition de l’appareil à la pluie ou à un milieu humide, de fonctionnement
anormal ou de chute de l'appareil.

Ne pas jeter ce produit avec les ordures ménagères. Il existe un système de collecte
INTERRUPTEUR MARCHE/ARRÊT : l'interrupteur d'alimentation de cet équipement
sélective pour les produits électroniques usagés en conformité avec les lois en vigueur
en matière de traitement, de récupération et de recyclage.
NE coupe PAS la connexion secteur.


Dans les 25 États membres de l’UE, en Norvège et en Suisse, les ménages peuvent envoyer leurs produits DÉBRANCHEMENT DE L'APPAREIL : la prise de courant doit rester facilement
électroniques usagés sans frais vers des centres de collecte sélective ou chez un distributeur (contre accessible. Pour un montage en rack ou une installation avec une prise
l’achat d’un nouveau produit).
 inaccessible, un interrupteur omnipolaire à distance d'ouverture de contact d'au

 moins 3 mm doit être intégré à l’installation électrique du rack ou du local.

Contacter les autorités locales pour connaître les procédures de traitement des déchets adaptées dans les
pays non mentionnés ci-dessus.
 Si le matériel est relié à une alimentation de 240 V, utiliser impérativement un

 cordon d'alimentation adapté certifié CSA/UL pour ce branchement.

Non seulement cette précaution vous permettra d’être sûr que votre produit est correctement traité,
récupéré et recyclé, mais elle vous évitera également de nuire involontairement à l’environnement et
à la santé humaine. Cet équipement est exclusivement destiné à un montage en rack.

 CONSIGNES DE SÉCURITÉ IMPORTANTES
COMPATIBILITÉ ÉLECTROMAGNÉTIQUE 
 DÉCLARATION DE CONFORMITÉ

Cet appareil est conforme au volet 15 des règles du FCC et Nom du fabricant : Lexicon Professional
aux spécifications techniques évoquées dans la Déclaration Adresse du fabricant : 10653 S. River Front Parkway, Suite 300

de conformité. Son fonctionnement est soumis aux deux South Jordan, Utah 84095, ÉTATS-UNIS 



conditions suivantes :

déclare que le produit :

• cet appareil ne doit pas causer d’interférences nuisibles et 

• cet appareil doit accepter les interférences captées, y Nom du produit : Lexicon MX200
Remarque : Nom du produit peut être suffixé par une combinaison des
compris les interférences susceptibles de nuire à son lettres de l’UE , M ou V.
fonctionnement. 

L’utilisation de cet appareil à proximité de champs électromagné- Option du produit : Aucune


tiques puissants n’est pas recommandée. est conforme aux spécifications suivantes :

• utiliser exclusivement des câbles d’interconnexion blindés. 

Sécurité : CEI/IEC 60065:2001 + Amd 1 et 2


CONSIGNES DE SÉCURITÉ CEM : EN 55022:2010

EN 55024:2010

NOTICE ADRESSÉE AUX CONSOMMATEURS ÉQUIPÉS D’UN MATÉRIEL AVEC CORDON Partie 15 des FCC

D’ALIMENTATION FOURNI.

Informations complémentaires :

AVERTISSEMENT :  CET APPAREIL  DOIT ÊTRE BRANCHÉ SUR UNE PRISE SECTEUR DOTÉE 

D'UNE PROTECTION PAR MISE À LA TERRE.
 Ce produit est conforme aux exigences suivantes :


 Directive sur la basse tension 2014/35/UE

LES COULEURS DES NOYAUX DANS LES FILS SECTEURS DOIVENT RESPECTER LES CODES Directive 2014/30/UE
SUIVANTS :
 Directive RoHS 2011/65/UE


 Directive DEEE 2012/19/UE
VERT ET JAUNE - TERRE BLEU - NEUTRE MARRON - PHASE


 Ce produit appartenant à la catégorie Matériel audio professionnel, il n’est
LES COULEURS DES NOYAUX DANS LES FILS SECTEURS DE CET APPAREIL PEUVENT NE PAS pas concerné par la directive 2005/32/CE ou par le règlement européen
CORRESPONDRE AUX INSCRIPTIONS COLORÉES IDENTIFIANT LES TERMINAUX DANS VOTRE 1275/2008 du 17 décembre 2008.

FICHE ; IL FAUT DONC PROCÉDER DE LA FAÇON SUIVANTE :
 


 C. Rex Reed

Directeur, Ingénierie

• LE NOYAU VERT ET JAUNE DOIT ÊTRE BRANCHÉ AU TERMINAL DE LA FICHE OÙ APPARAÎT
Traitement des signaux

LA LETTRE E OU LE SYMBOLE DE MISE À LA TERRE, OU AU TERMINAL VERT OU VERT
10653 S. River Front Parkway, Suite 300

ET JAUNE.

South Jordan, Utah 84095, ÉTATS-UNIS 

• LE NOYAU BLEU DOIT ÊTRE BRANCHÉ AU TERMINAL MARQUÉ D’UN N OU DE COULEUR
Date : 15 août 2016
NOIRE.



• LE NOYAU MARRON DOIT ÊTRE BRANCHÉ AU TERMINAL MARQUÉ D’UN L OU DE COULEUR Contactez européenne :

ROUGE.


 Harman International
CE MATÉRIEL PEUT NÉCESSITER L’UTILISATION D’UN CORDON D’ALIMENTATION DIFFÉRENT Salisbury House
ET/OU D’UNE FICHE DE BRANCHEMENT DIFFÉRENTE SELON LA SOURCE D’ALIMENTATION London Wall
DISPONIBLE À L’INSTALLATION. SI LA FICHE DE BRANCHEMENT DOIT ÊTRE CHANGÉE, FAIRE EC2M 5QQ
APPEL À UN TECHNICIEN QUALIFIÉ QUI DEVRA SE RÉFÉRER AU TABLEAU CI-DESSOUS. LE FIL +44 207 562 9450
VERT/JAUNE DOIT ÊTRE BRANCHÉ DIRECTEMENT AU CHÂSSIS DE L'APPAREIL.

ou
COULEUR DU FIL
CONNECTEURS
Normal Alt 

L PHASE MARRON NOIR Harman Professional Inc
N NEUTRE BLEU BLANC
10653 S. River Front Parkway, Suite 300

E TERRE VERT/JAU VERT South Jordan, Utah 84095, ÉTATS-UNIS 


 Tél. : (801) 566-8800


ATTENTION : UN DÉFAUT DE MISE À LA TERRE PEUT PROVOQUER CERTAINS DYSFONC- Fax : (801) 568-7583
TIONNEMENTS DE L'APPAREIL OU DU SYSTÈME AUQUEL IL EST RELIÉ, POUVANT SE TRADUIRE
PAR UNE TENSION COMPOSÉE ENTRE LA MASSE ET LA PRISE DE TERRE. CELA PEUT PROVO-
QUER DES BLESSURES SÉRIEUSES OU FATALES SI LA MASSE ET LA PRISE DE TERRE SONT
TOUCHÉES EN MÊME TEMPS.

ATTENTION : 

• APPARATET MÅ TILKOPLES JORDET STIKKONTAKT.

• APPARATEN SKALL ANSLUTAS TILL JORDAT UTTAG.

• LAITE ON LIITETTÄVÄ SUOJAKOSKETTIMILLA VARUSTETTUUN PISTORASIAAN.

• APPARATET SKAL TILSLUTTES JORDET STIKKONTAKT.
Warranty

Warranty
This 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 date
to validate this warranty. Proof-of-purchase is 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 defects
in 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 defective
materials that show evidence of defect, provided the product is returned to Lexicon professional WITH RETURN
AUTHORIZATION from the factory, where all parts and labor will be covered up to a period of 1 year. A Return
Authorization number must be obtained from Lexicon Professional by telephone. The company shall not be liable
for any consequential damage as a 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 upon
this product without incurring any obligation to install the same additions or improvements on products previously
manufactured.
5. The foregoing is in lieu of all other warranties, expressed or implied, and Lexicon Professional neither assumes
nor 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 any
delay in the performance of this warranty due to causes beyond its control.
 Table of Contents

Table of Contents
Quick Start......................................................1 The MX-Edit Editor/Librarian - Mac..............32
Minimum System Requirements......................... 32
About the MX200............................................3
Installing the MX-Edit Editor/Librarian................. 32
Overview.............................................................. 3
Quick Start........................................................... 32
Diagram - Front Panel....................................4 The MX-Edit Program Window............................ 32
Diagram - Rear Panel.....................................6 Editing a Program................................................ 33
Quick Access Menu............................................. 34
Setup................................................................7
Connecting the MX200........................................ 7 Using the MX200 as a Hardware Plug-In.....35
Minimum System Requirements......................... 35
Using the MX200............................................10 Installing the MX-Edit VST Hardware Plug-In..... 35
Loading Programs............................................... 10 Connecting the MX200........................................ 35
Editing Programs................................................. 10 Software Configuration........................................ 36
Selecting Effects.................................................. 10 Using the MX200 Plug-In Window...................... 36
Tap Tempo.......................................................... 11 Controls............................................................... 36
The Audition Feature........................................... 11 MIDI Port Error Message.................................... 37
Routing Options................................................... 12
Storing Programs................................................ 12
Using MIDI with the MX200............................37
CC Mapping........................................................ 37
Effects Descriptions.......................................13 MIDI Implementation Chart................................. 37
Reverbs............................................................... 13
Delays.................................................................. 17
Specifications.................................................38
dbx® Dynamics................................................... 19 Appendix.........................................................39
Modulated Effects................................................ 20
Program List...................................................40
MX200 Utilities................................................23
MIDI Channel...................................................... 23
Program AutoLoad.............................................. 23
Analog / Digital Input Select................................ 23
Digital Out Dry Track........................................... 24
Stereo and Mono Output Modes......................... 24
Factory Program Banks: Serial and Parallel....... 24
Bypass Mode Select............................................ 25
Factory Reset...................................................... 25

The MX-Edit Editor/Librarian - Windows......26

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

Quick Start Set Audio Levels

Ideally, you should read this entire manual 1. Set the gain on the mixer’s input
before using the MX200. But, if you just channel appropriate to the source (vocal
can’t wait to get started, this section mic, guitar, keyboard, etc.).
explains how to set up a simple parallel 2. Set the Aux Master level (if provided on
connection (using the MX200 with a mixer) your console) to the 12 o’clock position.
and select a program. 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
Powering the Unit MX200 to their full clockwise position.
1. Plug the included power supply into an (Wet).
A/C outlet. 5. Provide source signal (by speaking or
2. Connect the Power Supply to the Power singing into the mic, playing guitar,
Jack connection on the MX200’s back keyboard, etc.) on the selected mixer
panel. 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
Made in China

3. When the MX200 first powers up, the Input LEDs light only occasionally. If the
Audition button quickly flashes for a red Input LEDs stay lit, too much signal
moment. This indicates that the software is being sent to the MX200; reduce the
is loading. Aux Master or Aux Send on the mixer.
7. Turn up the Aux Return to the 12 o’clock
position, or stereo line input faders to
Standard Parallel Connection the 0dB position, if you used that
connection.
8. To increase or decrease the amount of
Made in China

effect on the signal, adjust the Aux Send

Aux Aux Aux level on the channel that you want
Return 1 Return 2 Send 1 affected.

Select and Load a Program

Turn the Program Select knob to choose
a program. The display flashes the number
of the program to be loaded. Press the
knob to load the program.
Program Select knob

1. Connect the mixer’s Post Fader Aux

Send output to the MX200’s Left (Mono)
Note that the MX200 comes with 99
input.
Factory programs and 99 User programs.
2. Connect the MX200 Left and Right
A small dot appears at the bottom right of
outputs to a stereo Aux Return input on
the Program Display window, indicating
the mixer (or a stereo line input, or two
that the displayed program is a User pro-
adjacent line inputs if you like).
gram. For more information about editing
programs, see page 10.

1
 Quick Start
Audition the Effect
Audition Button

The Audition button allows you to preview

the loaded program by playing short digital
samples through the effect processors.
There are five audio samples included in
the MX200, including various drum sounds,
vocal, and guitar. In the factory setting,
tapping the Audition button cycles through
the five sounds, but you may want to
repeat a particular sound as you choose or
edit an effect. See page 11 for more infor-
mation.

2
About the MX200

About the MX200

Overview Studio Operation
The MX200 is a dual-processor, single The MX200 features a USB interface
rack space multi-effects device designed that lets it function as a “hardware plug-
with both live sound reinforcement and in” – recognized and functioning within a
home recording in mind. Featuring the VSTTM or Audio Units compatible record-
deep, rich reverb algorithms that built ing application as a plug-in effect, but still
the Lexicon® legend, the MX200 offers operating as a dedicated hardware proces-
increased versatility with dynamics and sor. This unique hardware plug-in feature
specialty effects—all instantly accessible lets you add legendary Lexicon effects to
via the extremely intuitive front panel. your computer-based recordings with full
automation and recall features via an intui-
Either way you use the MX200 – live or in tive cross-platform plug-in window without
the studio – you can choose two effects overburdening your CPU.
at once in one of four routing schemes:
Dual Stereo (Parallel), Cascade (Serial), Live Operation
Mono Split or Dual Mono. The MX200 has Those using the MX200 in live applica-
99 carefully crafted Factory programs, and tions will appreciate its intuitive front panel
99 User programs that allow you to cre- layout. The Active Reverb/Effects Matrix
ate your own custom effect settings. Front displays which two of the 32 available
panel controls include Input Level, Mix 1 reverbs and effects are active, and all edit-
and Mix 2 controls, effects Routing but- ing functions require only a single button
ton, independent Tempo and Bypass push or turn of a knob. Dual independent
buttons, three Parameter knobs for each processor control areas feature dedicated
Processor, Program Select knob, an Effects Select, Tempo, and Bypass but-
Audition button, and a Store button. tons plus three Parameter knobs that
provide instant access and control over the
most critical parameters for the selected
effect. Parameter change LEDs illuminate
to indicate any changes to the 99 Factory
or User programs. The Audition button
plays one of five digitally recorded audio
samples through the selected effects to
audition their settings without the need for
an external audio source.

3
 Diagram - Front Panel

Diagram - Front Panel

12 3 4 56 7 8 9 10

11 12 13 14 16 18 20 22
15 17 19 21 23
1. Dual Input Bargraph Meters 7. Tempo Button - P2
LEDs indicate input level for each channel. Same as for Processor 1 (see #5).

2. Digital In LED 8. Bypass Button - P2

Indicates when the S/PDIF digital input is Bypasses Processor 2. Red LED lights to
selected and active. indicate effect is bypassed.

3. Routing Button 9. Store Button

Press this button to cycle through the four Stores program modifications to one of
signal routing options. For more informa- the 99 User program locations. Press the
tion about routing, see page 12. Store and Audition buttons simultane-
ously to access Utility functions. (See page
4. Active Reverb / Effects Matrix 23 for more information.)
Indicates which effects are active at all
times. Green LED indicates active effect 10. Audition Button
in Processor 1, red LED indicates active Plays audio samples through the proces-
effect in Processor 2. sors to audition their settings. Press the
Audition and Store buttons simultane-
5. Tempo Button - P1 ously to access the Utility functions. (See
Tapping this button twice sets the Delay page 23 for more information.)
Time of Processor 1. LED flashes to indi-
cate current tempo, or lights solid when 11. Input Knob
synched to MIDI. Controls the input level of both Left and
Right analog inputs.
6. Bypass Button - P1
Bypasses Processor 1. In the factory 12. Mix 1 Knob
default, this puts the processor into Bypass Controls the P1 Wet/Dry effects mix.
mode and allows dry, unprocessed signal
to pass through to the outputs. To change 13. Mix 2 Knob
to Bypass Mute, which allows no signal Controls the P2 Wet/Dry effects mix.
(wet or dry) to pass, see Bypass Mode
Select in the Utilities section on page 25. *Refer to the Effects Descriptions section for
more information about parameters.

4
Diagram - Front Panel
14. Effect Select - P1
This button selects the reverb, delay, or
effect to be loaded in Processor 1.

15. Pre Delay Knob - P1

Controls Pre Delay of the reverbs or the
first parameter of the selected delay or
effect in Processor 1.*

16. Decay Knob - P1

Controls Decay of the reverbs or the sec-
ond parameter of the selected delay or
effect in Processor 1.*

17. Variation - P1
Controls Liveliness or Diffusion (depending
on 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 - P2

Same as for Processor 1 (see #15).

20. Decay Knob - P2

Same as for Processor 1 (see #16).

21. Variation - P2
Same as for Processor 1 (see #17).

22. Program Display

2-character LED display indicates which of
the 99 Factory or User programs is loaded.
A small dot appears at the bottom right
of the Program Display window, indicat-
ing that the displayed program is a User
program. Also shows Utility settings and
parameter values during editing.

23. Program Select Knob

Navigates through Factory and User pro-
grams, as well as Utility functions.

*Refer to the Effects Descriptions section for

more information about parameters.

5
 Diagram - Rear Panel

Diagram - Rear Panel

1 2 3 4 5 6 7

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1. Power Jack Important: It is recommended that you

Connect only the included Harman Pro do not connect any digital device to the
PS0913DC power supply here. MX200’s S/PDIF input that transmits at any
other sample rate (such as 96kHz). Doing
2. Footswitch Input so can cause unpredictable performance.
An optional 2-button footswitch can be Make sure the device you are connect-
plugged into this TRS jack for independent ing to the MX200’s S/PDIF In is set as
Bypass control of P1 and P2. Use the the Clock Master (if that option is avail-
Lexicon® LEX-DFS or a 2-button footswitch able) and transmitting at a sample rate of
wired as follows: 44.1kHz or 48kHz only. As with any other
connection, if you need to unplug the S/
Tip = Bypass 2 PDIF cable, it is recommended that you
Ring = Bypass 1 switch to the analog inputs (see Digital
Sleeve = Ground Input Select in the Utility section) or
bypass both processors before disconnect-
ing the cable.
3. MIDI In, Out/Thru
Provides MIDI operation capabilities. Two
5-pin MIDI DIN connectors are available for 6. Balanced Analog Line Outputs
MIDI IN and MIDI OUT/THRU. (See page Left and Right RF-filtered 1/4” balanced/
37 for MIDI Implementation chart.) unbalanced TRS line outputs are servo-
balanced, so no signal loss is incurred
when using unbalanced connections. To
4. USB Port use the Left output as a mono sum of both
Provides communication with a computer
Left and Right signals, refer to the Stereo/
for use with MX-EditTM software and MX200
Mono Output Mode Utility section on
plug-in window using a standard USB
page 24.
cable. When the MX200 is connected to a
computer via USB, US briefly appears in
the Program Display window. 7. Balanced Analog Line Inputs
Left and Right active analog 1/4” TRS
5. S/PDIF Digital In/Out balanced/unbalanced line inputs. If only a
Digital input accepts 44.1kHz / 48kHz single plug is connected to the Left input,
signals. When the S/PDIF digital input is the signal is split and sent to both the Left
selected and active, the Digital In LED on and Right input paths.
the front panel lights.

6
Setup

Setup
Connecting the MX200 Parallel Connection

Parallel vs. Serial Mixer - Mono In/Stereo Out Setup

The MX200 can be used as both a Parallel Made in China

and Serial (in-line) effects processor.

Typically, reverbs and delays are used in
parallel, compressors and de-essers in Aux
Return 1
Aux
Return 2
Aux
Send 1
serial, and modulated effects can be used
in either configuration, depending on the
desired application.

A Parallel Processor is connected by send-

ing a copy of a signal (such as from an
Aux Send of a mixer channel) to an effects
device (such as the MX200), and the
effected (or wet) signal is returned to the
mixer or amp. It is then blended together
with the original unaffected (dry) signal. This setup is the most commonly used
This blend is called the Wet/Dry mix. This configuration in both live and studio appli-
connection is most often used for reverbs, cations.
delays, and some modulated effects (such
as chorus). 1. Select routing 2 or 4 using the Routing
button.
A Serial Processor is connected by send- 2. Connect the mixer’s Post Fader Aux
ing the entire signal through the effects Send output to the MX200’s Left (Mono)
device and then to an amplifier or mixer, input.
and is not blended with the unaffected 3. Connect the MX200’s Left and Right
(dry) signal. This is the type of connection outputs to a stereo Aux Return input on
most often used for a compressor, de-ess- the mixer (or a stereo line input, or two
er, equalizer, and many modulated effects adjacent line inputs if you like).
(such as tremolo, vibrato, and rotary). 4. Set the gain on the mixer’s input
channel appropriate to the source (vocal
The following illustrations show how to mic, guitar, keyboard, etc.).
connect the MX200 in both Serial and 5. Set the Aux Master level (if provided on
Parallel configurations, using some com- your console) to the 12 o’clock position.
mon, real-world examples. 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

7
 Setup
  Bargraph LEDs stay lit, too much to 12 o’clock.
signal is being sent to the MX200; 8. Turn up Aux Sends 1 and 2 on the
reduce the Aux Master or Aux send on mixer for the selected channels so the
the mixer. red Input Bargraph LEDs only light
9. Turn up the Aux Return to the 12 occasionally with signal (adjusting the
o’clock position (or line input faders to Input knob on the MX200 may be
the 0db positions, if you used that necessary).
connection). 9. Control the amount of effect using the
10. To increase or decrease the amount of Aux Send levels on the selected mixer
effect on the signal, adjust the Aux channels.
Send level on the channel that you
want affected. Serial Connections
Mixer - Dual Mono Setup Guitar - Effects Loop Setup

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Aux Aux Aux Aux

Return 1 Return 2 Send 1 Send 2 Power Amp Preamp
In Out

This setup applies to a mixer with two (or 1. Select routing 2 using the Routing
more) Aux Sends and Returns. It utilizes button (you can always experiment
the two effect sections in the MX200 as using other routings).
two separate effects with separate mono 2. Connect guitar to the amp’s Input.
outputs, or a common stereo output. 3. Connect the amp Effects Loop Send or
Preamp Out to the MX200’s Left input.
1. Select routing 1 or 4 using the Routing 4. Connect the MX200’s Left output to the
button. amp’s Effects Loop Return or Power
2. Connect Aux 1 send to the MX200 Left Amp In.
input. 5. Set Mix 1 and Mix 2 knobs to the 12
3. Connect Aux 2 send to the MX200 o’clock position.
Right input. 6. Adjust the Input level so the red Input
4. Connect the MX200 Left and Right Bargraph LEDs only light occasionally
outputs to the mixer’s Aux returns 1 and with signal.
2 for mono, or Stereo Aux L/R returns 7. To adjust the effect level, use the Mix 1
for stereo. and Mix 2 knobs.
5. Set Mix 1 and Mix 2 knobs fully
clockwise (Wet).
6. Set the MX200’s Input knob to the 12
o’clock position.
7. Set the Aux Return levels on the mixer

8
Setup
Instrument – In Line Setup Studio – Digital Setup

S/PDIF Out

S/PDIF In

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Stereo
Line Input Made in China

This setup is ideal if you are using the

MX200 as a hardware plug-in in a digital
recording system. This setup requires that
you are using an I/O device with S/PDIF
In/Out, or a digital mixer with S/PDIF I/O
option.
This setup utilizes the MX200 as a multi-
1. Select routing 2 using the Routing
effects processor connected in line from an
button. (You can always experiment with
instrument to a mixer. It is an ideal setup
other routings.)
to use when your mixer does not have an
2. Connect the S/PDIF output on your
Aux Send/Return option built in.
soundcard, audio interface or mixer to
the S/PDIF In on the MX200.
1. Select routing 2 using the Routing
3. Connect the MX200 S/PDIF Out to
button (you can always experiment
the S/PDIF input on your soundcard,
using other routings).
audio interface or mixer.
2. Connect a line level signal directly from
4. Make sure the device you are
your instrument to the MX200 Inputs.
connecting to the MX200’s S/PDIF In is
(use Left input for mono signals).
set as the Clock Master (if that option is
3. Connect the MX200’s Left and Right
available) and transmitting at a sample
outputs to two separate mixer channels
rate of 44.1kHz or 48kHz only. (Refer to
or a stereo line input.
the documentation for your device
4. Set the MX200’s Input knob to the 12
and/or software for proper setup.)
o’clock position.
5. Once the MX200 is locked correctly with
5. Set Mix 1 and Mix 2 knobs to 12 o’clock
your device, the Digital In LED lights.
position.
If the Digital In LED does not light,
6. Adjust the Input level so the red Input
check your cables and make sure that
Bargraph LEDs only light occasionally
your I/O device is set as Master Clock.
with signal.
7. Adjust the Mix 1 and Mix 2 knobs for
the desired effect mix level.

9
 Using the MX200

Using the MX200

The MX200 is equipped with 99 Factory has been modified. To retain these chang-
programs that combine the 32 reverbs and es, you must store them to a User program
effects to cover a wide range of applica- location (see Storing Programs).
tions. Additionally, there are 99 User pro-
gram locations in which to store your own Knob and button LEDs are green for
reverb and effects combinations. These Processor 1, and red for Processor 2, to
are identical to the Factory programs until correspond with their respective LED color
you change them. in the Active Reverb/Effects Matrix.
Either Factory or User programs may be
Loading Programs edited, but they may only be stored to a
User program location.
To load a program:
The Parameter knobs have different
1. Choose a program by rotating the functions for each reverb and effect. For
Program Select knob. The selected detailed descriptions of what each knob
program number flashes in the Program does, refer to the Effects Descriptions
Display until loaded. A small LED dot section.
appears in the lower right portion of the
Program Display if a User program is To edit a program:
selected.
2. Press the Program Select knob to 1. Load a program using the Program
load the program. Select knob.
2. Make any of the following adjustments
If you would like the programs to be loaded or changes:
automatically as they are changed with the
Program Select knob, you can enable the • Select effects with either or both
AutoLoad function (see page 23 for more Effect Select buttons.
information). • Modify the program with the Pre
Delay, Decay, or Variation knobs.
• Bypass a processor using P1 or P2
Editing Programs Bypass button.
After selecting a Factory or User program, • Change tempo using the P1 or P2
you may find that it needs some modifi- Tempo button.
cation for a particular application or use. • Adjust the Wet/Dry mix for either or both
This may include changing one of the processors with the Mix 1 and Mix 2
three Parameter knobs on each proces- knobs.
sor, changing the Mix 1 or Mix 2 settings, • Change effect routings with the Routing
altering the Routing, changing the delay button.
Tempo or engaging one of the Bypass
buttons. When any of the Parameter or
Mix knobs are used, a numerical value for Selecting Effects
that parameter will briefly appear in the The MX200 features 16 classic Lexicon®
Program Display while the knob is being reverb algorithms, six types of delay, eight
turned. A small LED next to the knob will modulated/pitch effects, and two dbx®
illuminate, denoting a change from the dynamics algorithms.
saved value, and the Store button will
light, indicating that the loaded program To select an effect, press the P1 or P2
Effect Select buttons up or down.

10
Using the MX200
The Audition Feature
The Audition feature provides 5 digitally
recorded audio samples that are played
Effect Select back through MX200’s processors at the
touch of a button. This lets you preview
An LED lights next to the selected reverb the selected program and dial in reverb
or effect label in the Active Reverb/ or effects settings without the need for an
Effects Matrix (green LED for P1, red for external audio source.
P2).
In the default setting, each tap of the
Audition button plays the next sample. To
play a single sample repeatedly, change
the Audition options.
Active Reverb/Effects Matrix

To change Audition options:

The Effect Select control is cyclical, mean-
ing if Effect Select is pressed up when 1. Press and hold the Audition button. The
Small Hall is active, Detune will be the LED flashes, and the Program
next selected effect. Similarly, if Detune is Display alternately displays AU
active, and Effect Select is pressed down, and AL.
the effect will change to Small Hall. 2. Turn the Program Select knob to
select the individual sample you want to
Tap Tempo hear when you press the Audition
Tap tempo can be used to match the delay button.
times to synchronize with the music. The
Tempo button LED flashes when a delay The samples are:
is loaded. To set tempo from the front
panel, press the Tempo button twice in AL - Audition All Samples. Each time
time with the music. The LED will flash at a the Audition button is pressed, the
rate that corresponds to the new tempo. next sample is played.
A1 - Drum Stick Click
MX200 can also use MIDI Sync to set the A2 - Snare Drum
tempo of delays. When MX200 detects A3 - Kick Drum
MIDI Sync present at the MIDI In, the A4 - Female Vocal “Doo”
Tempo LEDs light constantly to indicate A5 - Acoustic Guitar Arpeggio
that tempo is set via MIDI Sync.
3. Press the Store button to save the new
Changes made to tempo with the Tempo Audition setup
button are considered program edits, and
cause the Store button LED to light. The Audition button now plays the select-
ed sample each time it is pressed. The
Audition sample is a global setting, and is
not saved with presets.

11
 Using the MX200
Routing Options Storing Programs
The MX200’s powerful Dual Processor Once you have edited a program to your
design and four signal routing options allow liking, you can store these edits into a User
you to use it as two independent effects program memory location. To store a pro-
processors, or combine the reverbs and gram, follow these steps:
effects for a nearly limitless palette of com-
plex sounds. 1. Press the Store button once. ST
appears 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

1. Dual Mono changes, press any other button on the
This routing option sends the Left and front panel.
Right input signals through Processor 1
and Processor 2 respectively. Each signal
is then routed to its respective output, com-
pletely independent from the other.

2. Cascade
Left and Right input signals are sent
first through Processor 1, then through
Processor 2, then routed as a stereo signal
to their respective outputs.

3. Dual Stereo (Parallel)

Left and Right input signals are sent
through both processors independently.
The output signals of both processors are
then mixed together, and routed to both
the outputs as a single stereo signal.

4. Mono Split
Left input signal is sent through Processor
1, while the Right input signal is sent
through Processor 2. The output signals of
both processors are then mixed together,
and routed to both the outputs as a single
stereo signal.

12
Effects Descriptions - Reverbs

Effects Descriptions
The MX200 effects come in four varieties:
Stereo, Mono In/Stereo Out, Mono (Wet
Reverbs
Reverberation (or “reverb” for short) is
only), and Stereo (Wet only). When using
the complex effect created by the way
Wet only effects, turn the processors Mix
we perceive sound in an enclosed space.
knob fully clockwise.
When sound waves encounter an object or
boundary, they don’t just stop. Some of the
sound is absorbed by the object, but most
of the sound is reflected or is diffused. In
an enclosed space, reverb is dependent on
many features of that space, including the
size, shape and the type of materials that
line the walls. Even with closed eyes, a lis-
tener can easily tell the difference between
a closet, a locker room and a large audito-
rium. Reverb is a natural component of the
acoustic experience, and most people feel
that something is missing without it.

Hall Reverbs Stereo

Small Hall
Large Hall
Vocal Hall
Drum Hall
A Hall is designed to emulate the acous-
tics of a concert hall – a space large
enough to contain an orchestra and an
audience. Because of the size and charac-
teristics, Halls are the most natural-sound-
ing reverbs, designed to remain “behind”
the direct sound – adding ambience and
space, but leaving the source unchanged.
This effect has a relatively low initial echo
density which builds up gradually over
time. Vocal Hall and Drum Hall reverbs
are specifically tailored for those uses.
Vocal Hall has as lower overall diffusion
which works well with program material
that has softer initial transients like a voice.
Drum Hall has a higher diffusion setting
which is necessary to smooth out faster
transient signals found in drums and per-
cussion instruments. 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 performance.

13
 Effects Descriptions - Reverbs

Plate Reverbs Stereo Gated Reverb Mono In/Stereo Out

Small Plate Gated reverb is created by feeding a
Large Plate reverb, such as a metal plate, through a
Vocal Plate gate device. Decay Time is set to instant,
Drum Plate while Hold Time varies duration and sound.
A Plate reverb is a large, thin sheet of The Gated reverb provides a fairly con-
metal suspended upright under tension stant sound with no decay until the reverb
on springs. Transducers attached to the is cut off abruptly. This program works well
plate transmit a signal that makes the on percussion — particularly on snare and
plate vibrate, causing sounds to appear to toms; be sure to experiment with other
be occurring in a large, open space. The sound sources as well.
Plates in the MX200 model the sound of
metal plates with high initial diffusion and Reverse Reverb Mono In/Stereo Out
a relatively bright, colored sound. Plate
Reverse reverb works in the opposite fash-
reverbs are designed to be heard as part
ion from normal reverb. Whereas a normal
of the music, mellowing and thickening the
reverb has the loudest series of reflections
initial sound. Plate reverbs are often used
heard first that then become quieter over
to enhance popular music, particularly per-
time, the Reverse reverb has the soft-
cussion.
est reflections (essentially the tail of the
reverb) heard first, and then grows louder
Room Reverb Stereo over time until they abruptly cut off.
Room produces an excellent simulation of
a very small room which is useful for dialog Ambience Reverb Stereo
and voiceover applications. Room is also
Ambience is used to simulate the effect
practical when used judiciously for fatten-
of a small or medium sized room without
ing up high energy signals like electric gui-
noticeable decay. It is often used for voice,
tar amp recordings.
guitar or percussion.

Chamber Reverb Stereo

Studio Reverb Stereo
Historically, recording studio chambers
Much like Room reverb, Studio produces
were oddly shaped rooms with a loud-
an excellent simulation of smaller, well-
speaker and set of microphones to collect
controlled acoustic spaces, characteristic
ambience in various parts of the room.
of the main performance areas in recording
Chamber programs produce even, rela-
studios. Studio is also useful with dialog
tively dimensionless reverberation with little
and voiceover applications as well as indi-
color change as sound decays. The initial
vidual instrument and electric guitar tracks.
diffusion is similar to the Hall programs.
However, the sense of size and space is
much less obvious. This characteristic,
coupled with the low color of the decay tail,
makes these programs useful on a wide
range of material - especially the spoken
voice, to which Chamber programs add a
noticeable increase in loudness with low
color.

14
Effects Descriptions - Reverbs
subtle effect is desired.
Arena Reverb Stereo
Arena reverb emulates a huge physical Liveliness
space such as an indoor sports venue Adjusts the amount of high frequency
or stadium. The characteristics of Arena content in the reverberation tails. Higher
reverb are long secondary reflection times settings increase high frequency response,
and a reduced amount of high frequency creating brighter reverbs; lower settings
content. Arena is a mostly mid- and low- create darker reverbs with more bass fre-
frequency dominant reverb, and is an ideal quency emphasis.
selection for “special effect” type applica-
tions that require extremely long reverb Diffusion
times. It is not a good choice for a very Controls the initial echo density. High set-
busy mix, since it can reduce intelligibility. tings of Diffusion result in high initial echo
density, and low settings cause low initial
Spring Reverb Mono In/Stereo Out density. In a real-world situation, irregular
walls cause high diffusion, while large flat
A Spring reverb is created by a pair of walls cause low diffusion. For drums and
piezoelectric crystals—one acting as a percussion, try using higher Diffusion set-
speaker and the other acting as a micro- tings.
phone—connected by a simple set of
springs. The characteristic ‘boing’ of a Shape
spring is an important component of many This control helps give a sense of both
classic rock and rockabilly guitar sounds. room shape and room size. Low values for
Shape keep the majority of sound energy
Reverb Controls in the early part of the reverb tail. High val-
Pre Delay ues move the energy to later in the reverb,
Creates an additional time delay between and are helpful in creating the sense of a
the source signal and the onset of rever- strong rear wall or “backslap.
beration. This control is not intended to
precisely mimic the time delays in natural Boing
spaces, as the build-up of reverberation is This is a unique parameter to the Spring
gradual, and the initial time gap is usually reverb, designed to increase or decrease
relatively short. For the most natural effect, the amount of spring rattle that is a physi-
the Pre Delay values should be set in the cal characteristic of spring tank reverbs.
range of 10-25 milliseconds. However,
if a mix is very busy or overly cluttered,
increasing the Pre Delay time may help
clarify it, and set each instrument apart
from each other.

Decay
Controls the amount of time the reverb can
be heard. Higher settings increase rever-
beration times which are usually associat-
ed with larger acoustical environments, but
can decrease intelligibility. Lower settings
shorten reverb times and should be used
when a smaller apparent space or a more

15
 Effects Descriptions - Reverbs
Reverb Control Values

Note: Values of 0 – 100 are displayed as 0 – 00 (100 is displayed as 00 in the Program

Display). 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.

16
Effects Descriptions - Delays

Delays
Delays repeat a sound a short time after it Modulated Delay Stereo
first occurs. Delay becomes echo when the
The Modulated Delay is enhanced by
output is fed back into the input (feedback).
an LFO (low frequency oscillator) that
This turns a single repeat into a series of
produces a chorusing effect on the delay
repeats, each a little softer than the last.
repeats. This is a great delay for guitar
and instrument passages that need that
Studio Delay Stereo “special something.” The Modulated Delay
The Studio Delay features up to 2.5 sec- features up to 2.5 seconds of stereo modu-
onds of stereo delay and offers a built-in lated delay.
ducker that attenuates the delay output
whenever signal is present at the input. Reverse Delay Mono In/Stereo Out
This can be used to keep the original
This delay effect emulates the old studio
signal from being muddied up by delay
trick of flipping a tape over, playing it back-
repeats.
wards through a tape delay, and recording
the effect. The delays “build up” from softer
Digital Delay Mono In/Stereo Out to louder – creating the sensation that the
The Digital Delay is the cleanest, most delays come before the signal. Very cool
accurate of the delay programs, with up to when used judiciously. Up to 5 seconds of
5 seconds of mono delay and the built-in mono delay time are available.
ducking feature.
Delay Controls
Tape Delay Mono In/Stereo Out Time Range
In the days before digital, delays were Controls the length of the delay relative
created using a special tape recorder in to Tap Tempo. At the 12 o’clock position,
which the magnetic recording tape was delay repeats are synchronous with the
looped, with closely-spaced recording and Tempo light (represented by a Quarter
playback heads. The delay effect was Note); lower values create faster repeats,
created by the tape moving in the space higher values increase the time between
between the record and playback heads repeats. Range 0-72. See Appendix on
– while delay time was adjusted by chang- page 39 for exact note values.
ing the speed of the tape loop. Although
very musical-sounding, wow and flutter Feedback
combined with a significant loss of high Controls the number of delay repeats by
frequencies, and to some extent also low feeding the delay output signal back into
frequencies, are all elements commonly the delay input. This creates a series of
associated with tape recordings. The Tape delay repeats, each slightly attenuated
Delay offers up to 5 seconds of mono until they become inaudible. Higher set-
delay. tings create more repeats; lower settings
reduce the number of repeats. When this
knob is turned fully clockwise, it engages
Pong Delay Mono In /Stereo Out
Repeat Hold – delay repeats play back in
This delay effect pans the delay repeats an infinite loop, but no further input signal
from left to right, while the input signal is introduced into the delay effect. Repeat
remains at its original (center) position. Hold is available only on Studio, Digital
Pong Delay offers up to 5 seconds of and Pong Delay.
mono delay time.

17
 Effects Descriptions - Delays
Ducker Threshold repeats are evenly alternated between left
MX200’s Studio and Digital delays offer a and right channels. As this knob is turned
“ducking” feature, which causes the delay counter-clockwise, the first tap occurs ear-
repeats to attenuate (or get softer) by -6dB lier and the second tap occurs later than
when live (or input) signal is present. This they did at the 12 o’clock position. When
allows the delay to remain as an effect, the knob is turned clockwise, the first tap
and not clash with the original signal. The occurs later and the second tap occurs
higher this value is set, the louder an input earlier.
signal must be for the ducking to take
place. Depth
This controls the intensity of modulation,
Smear or “depth” in the Modulated Delay. Lower
This parameter controls the amount of settings produce a more subtle effect,
“smear,” or signal degradation and fre- while higher values give a more “seasick”
quency loss. Particularly evident in the feeling.
Tape Delay, the higher the setting, the
more each delay repeat loses intelligibility Tempo Button
compared to the original signal. Tapping this button twice sets the delay
times. The Tempo button LED flashes the
Tap Ratio tempo tapped in, and delay taps will be
Tap Ratio sets the length between the synchronized to the flashing LED. Use the
first and second tap repeats of the Pong Time Range knob to increase or decrease
Delay. With this control set at 12 o’clock, delay times after tapping in a tempo.
Delay Control Values

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

18
Effects Descriptions - dbx® Dynamics

dbx® Dynamics mined by the Ratio. For example, if the

threshold is set to -12dB, and the ratio set
De-Esser Mono (Wet only) to 4:1, then when signal exceeds -12dB,
the signal level above that amount only
A De-Esser is a type of compressor used increases by 1dB to every 4dB of signal
to control specific frequencies. Excessive level above -12dB. In this case, an incom-
sibilance, or the “s” sounds, can be tamed ing signal of -4dB (which is 8dB above the
by applying this effect. threshold) would result in an output signal
of -10dB, or 2dB higher than the threshold
level, since the 4:1 compression ratio only
allowed 2dB more output, based on the
8dB increase above the -12dB threshold.

De-Esser Controls
Knob 1: Compression Ratio
Determines the amount of compression,
from 1:1 (no effect) to Infinity:1 (complete
limiting).

Knob 2: Frequency Range

Selects the frequency range of compres-
sion in 40 discrete steps from 1600Hz to Because the resulting output is less than
10kHz (the most common frequencies in the original signal, a third control, Makeup
which excessive sibilance occurs). Gain compensates for this loss of level,
but with less dynamic range, or the differ-
Knob 3: Bandwidth (Q) ence between the softest and loudest parts
Controls the bandwidth or “Quality” (Q) of of the signal.
frequency range. The higher the selected
value, the tighter the bandwidth, and
less apparent the de-essing effect is.
Incremental in six steps from 1/4 Octave
(0) to 1/24th Octave (5). See Appendix on
page 39 for bandwidth values.
Compressor Controls
Knob 1: Threshold
Compressor Mono (Wet only) Determines the threshold above which
A compressor is used to control the compression begins, incrementally
dynamic range of a signal. Typically used between -70dB and 0dB (FS).
to tighten bass or drum tracks, or to control
a vocal passage, a compressor is a very Knob 2: Compression Ratio
useful but often misunderstood tool. To Selects the compression ratio, from 1:1 (no
better use the Compressor in the MX200, effect) to Infinity:1 (or complete limiting).
a bit of understanding about compression
is helpful. Knob 3: Makeup Gain
Increases the output level to compensate
When a signal level crosses the Threshold for signal attenuation during compression.
level, the compressor then reduces the Incremental between 0dB (no gain) to
amount of output level by an amount deter- +12dB.

19
 Effects Descriptions - Modulated Effects

Modulated Effects tic swishing, tunneling, and fading sounds.

Chorus Stereo
Chorus creates a lush, full sound by
combining two or more signals together
where one is unaffected and the other
Flanger Controls
signals vary in pitch very slightly over time.
Chorus is commonly used to fatten up Knob 1: Speed
tracks and to add body to guitars without Controls the modulation rate of the
coloring the original tone. Chorus can also Flanger effect.
be used with discretion to thicken a vocal
track. Knob 2: Depth
Controls the intensity of the Flanger effect.
Lower settings provide a slight “whooshing”
sound while higher settings provide a much
more dramatic “jet airplane” sound.

Chorus Controls Knob 3: Regeneration

This knob controls the amount of modu-
Knob 1: Speed lated signal being fed back into the input,
Controls the modulation rate of the Chorus creating feedback. Higher amounts add a
effect. Lower settings are subtle, while metallic resonance to the signal.
higher values are much more pronounced.
Phaser Stereo
Knob 2: Depth The Phaser automatically moves fre-
Controls the amount of pitch shifting for quency notches up and down the spectrum
each voice. Lower settings provide subtle of the signal by means of a low frequency
thickening and warmth to a track, while oscillator (LFO), creating an oscillating
higher settings give a more pronounced, “comb-filter” type effect. This effect is very
multi-voice effect. userful on keyboards (especially pad pre-
sets) and guitars.
Knob 3: Voices
Controls the number of additional Chorus
voices. Up to 8 voices can be added, con-
tinuously variable in 100 individual steps.

Phaser Controls
Flanger Stereo Knob 1: Speed
This effect was originally created by simul- Controls the modulation rate of the Phaser
taneously recording and playing back two effect.
identical programs on two tape record-
ers, then using hand pressure against the
Knob 2: Depth
flange of the tape reels to slow down first
Controls the intensity of the Phaser effect.
one machine, then the other. The result
was a series of changing phase cancella-
tions and reinforcements, with characteris- Knob 3: Regeneration

20
Effects Descriptions - Modulated Effects
This knob controls the amount of modu- The Rotary effect is modeled after a
lated signal being fed back into the input, Leslie-style cabinet. The input signal is split
creating feedback. Higher amounts add into high and low-frequency bands. The
more resonance to the effect signal. rotation effect is created by a synchronized
combination of pitch shifting, tremolo, and
panning. Like the physical cabinet, the
Tremolo/Pan Stereo (Wet only) high (horn) and low (rotor) frequencies
Tremolo and Panner create rhythmic are “spun” in opposite directions. Horn
changes in signal amplitude. Tremolo and rotor speeds are independent, and
affects both channel’s amplitude simul- designed with acceleration and decelera-
taneously, while the Panner affects the tion characteristics to simulate the inertia of
amplitude of each channel in an alternating the original mechanical elements.
manner.
A virtual requirement for organ music,
Rotary also sounds remarkable with guitar
and electric piano rhythm parts. In fact,
these programs are great alternatives to
the Chorus and Tremolo effects for any
sound source.
Tremolo/Pan Controls
Knob 1: Speed
Controls the modulation rate of the
Tremolo/Panner.

Knob 2: Depth
Controls the intensity of the volume ampli- Rotary Controls
tude change. Knob 1: Speed
Controls the modulation rate of both rotary
Knob 3: Phase speakers. The lower frequencies rotate at
Controls whether the amplitude change a slower speed than the high frequencies.
occurs in both channels simultaneously
(Tremolo) or alternates between channels Knob 2: Doppler
(Panner). Increases or decreases the Doppler pitch
effect that is created by the physics of a
Rotary Mono (Wet only) rotating speaker.

Rotary speaker cabinets were designed Knob 3: Stereo Spread

to provide a majestic vibrato/choir effect Increases or decreases the stereo imaging
for electronic theater and church organs. of the Rotary effect.
The most well known rotary speaker is the
Leslie™ Model 122, which has two coun-
ter-rotating elements: a high-frequency Vibrato Stereo (Wet only)
horn and a low-frequency rotor with slow Vibrato is obtained by smoothly varying
and fast speeds. The sound generated as the pitch of the signal just sharp and flat of
the spinning elements change speed is the original at a determined rate.
truly magical. The swirling, spacious effect
is difficult to describe – but clearly recog-
nizable.

21
 Effects Descriptions - Modulated Effects
Knob 3: Cutoff Frequency
This controls the cutoff frequency of the
low pass filter. Lower settings roll off high
frequency response.

Vibrato Controls
Detune Stereo
Knob 1: Speed
Controls the modulation rate of Vibrato. Detune adds a slightly pitch-shifted ver-
sion of the original source, thickening the
sound. This creates a particularly effective
Knob 2: Depth
simulation of “double-tracking.” This effect
Controls the maximum amount of pitch
is also a great alternative to the Chorus
shift. Lower settings result in a mere “war-
effect, adding the richness of a chorus
ble,” while higher settings produce a more
without the audible sweep caused by the
exaggerated “wow” sound.
chorus rate.
Knob 3: Phase
This control sets left and right channel
waveforms out of phase, resulting in a left-
to-right panning motion.

Detune Controls
Pitch Shift Stereo
Knob 1: Left Shift Amount
This effect shifts the frequency spectrum Determines the detune amount of the Left
of the input signal. Altering the pitch of input, from -24 cents to +24 cents.
a sound produces a wide range effects -
from subtle detunes to full interval shifts up Knob 2: Right Shift Amount
or down a two octave range. The MX200’s Determines the detune amount of the
Pitch Shift effect is a chromatic shifter, Right input, from -24 cents to +24 cents.
meaning all notes of the scale are shifted
by the same interval. Pitch Shift is very
Knob 3: Stereo Spread
useful with guitar tracks, monophonic synth
Higher values increase the perceived dis-
lines, or where special vocal effects are
tance of the detuned voices in the stereo
needed.
field.

Pitch Shift Controls

Knob 1: Shift Amount
Determines the amount of pitch shifting.
Range is 0-24 semitones (2 octaves).

Knob 2: Down/Up Shift

Determines whether the pitch shifting is up
or down from the original signal.

22
MX200 Utilities

MX200 Utilities Program AutoLoad

The MX200 has several global functions From the factory, the MX200 is configured
that can be customized to meet your to have presets loaded manually once they
needs. These functions are MIDI Channel are selected. This is useful in live applica-
Select, Program AutoLoad enable, Dry tions when a performance requires differ-
Track to digital output, Analog/Digital ent programs to be loaded that are not in
Input Select, and Factory Reset. To adjacent memory locations. Select the pro-
access these Utility functions, press and gram using the Program Select knob and
hold both the Store and Audition but- then press the knob to load it for use. The
tons simultaneously until the Audition previous program remains active until the
button LED begins to flash. The Program new program is loaded. If you would like
Display reads Ut to indicate that you are the programs to be loaded automatically as
in Utility mode rather than Program mode. they are changed with the Program Select
Navigation between Utility functions is knob, you can enable the AutoLoad func-
controlled by pressing the Audition button; tion.
changes are made by turning the Program
Select knob. To enable AutoLoad:

1. Press both the Store and Audition

MIDI Channel buttons simultaneously.
The MX200 is capable of receiving 2. Press the Audition button repeatedly
incoming MIDI Program Change and CC until Lo appears in the Program
(Continuous Controller) messages via a Display. The Program Display flashes
MIDI or USB connection. The MX200 can between Lo and OF, indicating the
be set to receive on any single MIDI chan- AutoLoad feature is disabled.
nel, all MIDI channels, or can have MIDI 3. Turn the Program Select knob until the
receive disabled. display reads On to enable AutoLoad.
4. Press the Store button to save this
To select the MIDI channel: change.
1. Press both the Store and Audition
buttons simultaneously. Analog / Digital Input
2. The first menu displayed when entering
the Utility mode is the MIDI Channel
Select
The MX200 has both analog and S/PDIF
menu. The Program Display
digital inputs and outputs available. The S/
alternates between Ch and 1 (1 is
PDIF digital output is always operational
the factory default MIDI channel).
and any incoming analog signal is pro-
3. Use the Program Select knob to
cessed and sent to both the analog and
choose the MIDI channel that you want
digital outputs. When a digital signal is
the MX200 to receive incoming MIDI
received at the S/PDIF digital input from
Program Change and CC messages on.
another device, the MX200 automatically
The range is 1-16, AL (omni), and OF
disables the analog inputs and enables
(ignores incoming MIDI messages).
the digital input to receive signal from the
4. Press the Store button to save this
external device. There are times however,
change.
you may want to leave the digital device
connected but receive signal from the ana-
log inputs.

23
 MX200 Utilities
To enable or disable the digital input:
Stereo and Mono Output
1. Press both the Store and Audition Modes
buttons simultaneously. The MX200 outputs can be either Stereo
2. Press the Audition button repeatedly or Mono depending on your application
until In appears in the Program needs. When Stereo Output Mode is
Display. The Program Display flashes selected (MX200’s default Output Mode),
betweenIn and dI if the digital input is the signals maintain stereo separation as
selected. If you want to disable the configured by the Routing button. When
digital input and use the analog inputs, Mono Output Mode is selected, both Left
turn the Program Select knob until the and Right output signals are summed to
Program Display reads An to select the mono and then sent out the Left output.
analog input.
3. Press the Store button to save this To select Mono or Stereo Output Modes:
change.
1. Press both the Store and Audition
buttons simultaneously until Ut appears
Digital Out Dry Track in the Program Display.
The MX200 can send unprocessed digital
2. Press the Audition button repeatedly
audio (Dry Track) out the S/PDIF Digital
until OP appears in the Program
Out while monitoring processed audio
Display. This is the Output Mode setup
through the analog outputs. This is useful
menu. The Program Display
when you want to record a dry perfor-
alternately flashes OP and then St
mance digitally, but also hear effects pro-
to indicate Stereo Output Mode is
cessing while you a recording.
selected.
3. To change the Output Mode to Mono,
Note: The Dry Track feature is only avail-
turn the Program Select knob until no
able for signals brought into the MX200 via
appears in the Program Display
the analog inputs. Dry Track has no effect
indicating Mono Output Mode is now
on signals being received at the S/PDIF
selected.
In. Digital in/out signals are processed nor-
4. Press the Store button to save these
mally regardless of whether the Dry Track
changes.
parameter is enabled or disabled.
Note: When Mono Output Mode is select-
To enable Dry Track: 
ed, effects like Panner and Pong Delay
will no longer have left to right animation
1. Press both the Store and Audition
as they do when Stereo Output Mode is
buttons simultaneously.
selected.
2. Press the Audition button repeatedly
until dt appears in the Program
Display. The Program Display flashes Factory Program Banks:
between dt and Of
3. Turn the Program Select knob until the
Serial and Parallel
The MX200 has two sets of Factory pro-
Program Display reads On to enable
gram banks: the Parallel bank and Serial
the Dry Track feature.
bank. The Parallel processing bank is
4. Press the Store button to save this
used when the MX200 is configured in an
change.
Auxiliary Send/Return setup with a mixer.
The Serial bank is designed for use when
the MX200 will have a signal source (such

24
MX200 Utilities
as an instrument) connected directly to signal is muted by the Processor placed in
its inputs and the MX200’s outputs are Bypass.
connected to a mixer or amplifier input
channels. The difference between these To change this setting:
two banks is the way the Mix 1 and Mix 2
controls are set in the Factory programs, 1. Press both the Store and Audition
providing the proper wet/dry mix for either buttons simultaneously.
application. 2. Press the Audition button repeatedly
until bP appears in the Program
Note: The default Factory bank is the Display. The Program Display flashes
Serial bank. If you plan to use the MX200 between bP and dr (indicating dry
as a Parallel device in a mixer Aux Send/ signal).
Return setup, select the Parallel bank of 3. Turn the Program Select knob until the
Factory programs. display reads no (or no signal).
4. Press the Store button to save this
To select the Parallel bank of Factory pro- change.
grams:

1. Press both the Store and Audition

Factory Reset
Use this utility if you want to erase all User
buttons simultaneously until Ut appears
program data and restore the MX200 to its
in the Program Display.
factory state.
2. Press the Audition button repeatedly
until Fb appears in the Program
To perform a Factory Reset:
Display. This is the Factory Bank
program select menu. The Program
1. Press both the Store and Audition
Display alternately flashes Fb
buttons simultaneously.
and then SE to indicate the Serial bank
2. Press the Audition button repeatedly
of Factory programs is selected.
until Fr appears in the Program
3. To select the Parallel bank of Factory
Display
programs, turn the Program Select
3. To restore the MX200 to its factory
knob until PA appears in the Program
state, press the Store button. The Store
Display.
button begins to flash.
4. Press the Store button to save these
changes.
Warning: Pressing and holding the Store
button again at this time resets all Utility
Bypass Mode Select menus to their factory defaults and perma-
From the factory, MX200 is configured so nently erases all User programs! This will
that engaging the Bypass button on P1 not affect the Factory programs or any pro-
or P2 causes that processor to go into grams saved to your computer using the
Bypass mode, allowing dry, unprocessed MX-Edit Librarian software.
signal to pass through unaffected. There
are cases when you may want to have this 4. Press and hold the Store button to
button mute the output altogether, allowing complete the reset procedure. The
neither wet nor dry signal to pass. Note display flashes rs to indicate the
that this configuration should only be used Factory Reset was successful.
for Routing options 1, 3 and 4; placing
either Processor in Bypass (mute) when
Routing 2 (Cascade) is selected will cause
the MX200 to have no output, as the entire

25
 The MX-Edit Editor/Librarian - Windows

The MX-EditTM Editor/Librarian - Windows

The included MX-Edit Editor/Librarian soft-
ware lets you create, edit, compare, save
Quick Start
When you first open MX-Edit, you will see
and load reverb and effects programs for
the MX-Edit Library on the left side of the
use with your MX200 on your Windows®
MX-Edit window, with the MX200 icon at
computer. While the MX200 has 99 User
the top of the Library.
program locations, you can create and
save as many programs you like on your
computer, and load them into your MX200
via a USB or MIDI connection at any time.

Minimum System Requirements

Before installing the MX-Edit Editor/
Librarian software, make sure that your
computer meets the following minimum
requirements:

• Pentium-III, 500MHz or better.

• Windows XP, Service Pack 2 or higher.

Double-click the MX200 icon to expand

Installing the MX-Edit the Library, then double-click the Factory
Editor/Librarian Software or User icons to see the Factory or User
program lists. The Factory list will always
To install the included MX-Edit Editor/
be the same, as Factory programs can-
Librarian software in Windows XP, insert
not be changed; the User program list will
the provided disc into your computer’s
represent the programs currently residing
CD-ROM drive. You will be guided through
in the User program locations 1-99 in your
the installation process – just follow the
MX200 hardware.
on-screen instructions and prompts. Note
that you will be prompted to connect the
MX200 via the USB port during the instal-
lation process. In order for your computer
to recognize the MX200 connection, it is
necessary to have the MX200 powered on
and connected via a standard USB cable.

Important: If you plug your MX200 into a

USB port other than the one used during
the installation of MX-Edit software and
drivers, you may need to run the USB driv-
er installer again. For your convenience,
Double-click a program name to open it
a shortcut to the USB driver installer
in the editor. An instance of the MX-Edit
is added to the Start menu during the
Program Editor appears, with the selected
MX-Edit software installation. If you need
program’s name in the Title Bar and
to reinstall the drivers, click Start->Program
Program Name field. The program settings
Files->Lexicon->MX-Edit->Reinstall
are also reflected in the Parameter knobs
Drivers, and follow the installation prompts.
and buttons in the Program Editor window.

26
The MX-Edit Editor/Librarian - Windows
The selected program is now loaded in
your MX200 as well, and can be previewed
Opening or Creating a
using the Audition button on the MX200’s Program
front panel. Any changes made in the
MX-Edit Program Editor window will also
occur simultaneously on the MX200 hard-
ware.

The MX-EditTM Library

The MX-Edit Library contains the 99
Factory and 99 User programs that are
currently loaded in your MX200. When
you first open MX-Edit, it communicates
via USB (or MIDI) with the MX200 hard-
ware, and populates the Library with all the
information about each of the Factory and
User programs stored in MX200’s physical To open a program, choose one of the fol-
memory. lowing:

To view programs in the Library window, • To open a Factory or User

double-click on the MX200 icon in the program from the MX-Edit Library,
upper left corner, then double-click the double click on that program number in
Factory or User icon to expand the Library the Library window.
and see the Factory or User program lists.
The Factory list is always the same, as • To open a program that has been saved
Factory programs cannot be overwritten; to your computer (but doesn’t appear in
the User program list represents the 99 the MX-Edit Library), click File and
User programs currently saved in your select Open Program. By default,
MX200 hardware. the Open dialog looks in the My
Documents folder (or the last folder that
a 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

File and select New Program. The default
program is a template that you can use
as a good generic starting point when you
want to create your own program from
scratch. It is stored in a file named Default
in the MX-Edit installation folder (normally
C:\Program Files\Lexicon\MX-Edit). Initially,

27
 The MX-Edit Editor/Librarian - Windows
this program is a basic clean sound. MX200 hardware. The program (and any
However, you can create your own default edits you make) can be previewed at any
program by overwriting the Default file in time by using the Audition button on the
the MX-Edit directory with the program of MX200 front panel.
your choice.
You can have multiple Program Editors
open at once, but only the currently
The MX-Edit TM
Program selected window is active. In other words,
Editor MX200 processes the settings of the active
The MX-Edit Program Editor lets you Program Editor, and you only hear the
quickly and easily view, compare and edit settings of the active (selected) Program
any program stored in the MX200, or pro- Editor window.
grams saved to your computer.
Editing a Program
Signal Routing Options
To change MX200’s Routing, left click on
the Routing button in the Input/Routing
control area. A list of the MX200’s four
Routing options appears, with a check
MX-Edit gives you all the same control and mark next to the currently selected routing.
functionality as the MX200 front panel, with Highlight an item in the list and left click to
the exception of Input control, Audition, select and load it. A routing diagram will
and Utility functions. You’ll also see that appear next to the Routing button, and the
the Routing button has been replaced routing name will be shown in the button.
by a pull-down menu, as have the two
Effect Select buttons. The Active Reverb/ Reverb/Effect Selection Buttons
Effects Matrix and Program Display have
been replaced by the Title Bar and values
above the Parameter adjust knobs.

With these minor differences, the Program

Editor works just like the MX200’s front
panel – and all changes that you make
in the active Program Editor window
are reflected in real-time on the MX200. To change a reverb or effect in Processor
MX-Edit and the MX200 are fully interac- 1 or Processor 2, left click on the Reverb/
tive, so any changes made on the MX200’s Effect Select button in P1 or P2 control
front panel are reflected in real-time in the area. A list of the MX200’s 32 reverbs and
active MX-Edit Program Editor window as effects appears, with a check mark next
well. to the currently selected reverb or effect.
Highlight an item in the list and left click to
When you open a program, an instance of select and load it. Notice that the reverb or
the MX-Edit Program Editor appears, with effect name now appears in the Reverb/
the selected program’s name in Program Effect Select button, and the Parameter
Name field. The settings of the loaded knobs in MX-Edit change position depend-
program are reflected in the Parameter ing on the default values for the selected
knobs and buttons, and are loaded into the reverb or effect.

28
The MX-Edit Editor/Librarian - Windows
Adjusting Knobs Tempo
To make editing in MX-Edit easy and intui- If one of the MX200’s six delays is select-
tive, there are three ways to adjust knobs ed, the Tempo button in that processor
in MX-Edit: becomes active, and begins to flash at
the rate displayed above the Time Range
Mouse – Circular knob. The tempo value is shown in mil-
Place the cursor at the outer (shadowed) liseconds (ms), and a quarter-note appears
edge of a knob, then click and hold the next to the displayed tempo. When the
left mouse button. The white indicator line Time Range parameter is adjusted, exact
on the knob jumps to the mouse cursor’s divisions of time in milliseconds relative to
position, and follows the cursor as it moves the flashing Tempo rate will cause a note
around the circumference of the knob. To value to be displayed next to the time, e.g.
make fine adjustments, continue to hold 16th note, dotted-8th note, etc. The Tempo
the left mouse button down and move the button will continue to flash at the origi-
cursor away from the knob; the white line nally selected tempo, but the delay taps
still follows the cursor, no matter how far will occur at the rate displayed in the Time
away it is from the knob. Range value.

Mouse – Up / Down To change the tempo value, simply place

Move the mouse cursor to the center of a the mouse cursor over the Tempo button,
knob; the knob is highlighted, and the cur- and left-click twice to tap the tempo, just
sor changes to a double-headed arrow, as you would on the MX200 front panel.
pointing up and down. Click and hold the The Tempo buttons on MX200 and in the
left mouse button, causing the cursor to Program Editor window now flash at the
disappear. Move the mouse up to turn the new tempo.
knob higher, or move the mouse down to
turn the knob lower. For very fast edits, If something other than one of the six
press and hold the Ctrl key on your com- delays is loaded in the processor, the
puter keyboard while moving the mouse; Tempo button is grayed out and inactive.
this multiplies the adjusted value by a fac-
tor of 10. Bypass
To engage the Bypass button (and turn
Arrow Keys off the selected effect), place the mouse
Highlight, then left-click on a knob to select cursor over the Bypass button, and left-
it. Use the up (or right) arrow key to turn click to bypass that processor. Note that
the knob higher and increase the value; the Bypass buttons on both the MX200
use the down (or left) arrow key to turn the front panel and the Program Editor illumi-
knob lower, decreasing the value. This is nate to indicate the selected processor is
a very effective method for making small bypassed.
adjustments to fine-tune your settings. For
faster modifications, press and hold the Program Name
Ctrl key on your computer keyboard while To create or change a program’s name,
pressing an arrow key to multiply each simply left click once anywhere in the
adjustment by a factor of 10. Program Name field. The program name
will be highlighted; type the new name into
the Title Bar. The program name in the
Header area will not change until the pro-
gram has been saved.

29
 The MX-Edit Editor/Librarian - Windows

Saving a Program Storing a Program

If you make any changes to a program, To store a program into one of the 99 User
an asterisk (*) will appear next to the pro- program locations in the MX-Edit Library
gram name in the Title Bar of the Program (and the corresponding location in the
Editor. The LED associated with the cor- MX200’s physical memory), open the pro-
responding knob or button and the Store gram you wish to store. With the Program
button on the MX200’s front panel also Editor window active, click Device, then
illuminates, indicating a change from the Store Program. The Store to Device
loaded program. dialog appears, allowing you to choose the
User program location and program name
To save a program to disk, click File and to store with it. Be aware that storing a
select Save or Save As, and enter a file program in this manner will over-write the
name. By default, programs are saved program previously stored in that location,
to your computer in the My Documents both in the MX-Edit Library and the MX200
folder; to choose a different location, itself. Click Save to store to the selected
simply navigate to a different folder or User program location. To cancel the
create a new folder in which to save your operation, click Cancel, or close the Store
MX200 program files. (For example, C:\ to Device dialog box.
Documents and Settings\username\My
Documents\MX200 Presets). Click the To rename a User program in the Library,
Save button to complete the process. right-click on its name in the Library win-
dow and select Rename. Type in the new
You can also save a program simply by name and press Enter to save the change.
closing the active Program Editor window.
If any changes have been made to the Since the Factory programs can never
loaded program, a dialog box appears, be over-written, you cannot store to nor
asking if you want to save your changes. rename a Factory program location. You
Click Yes to save the changes, No to may edit a Factory program, but it must be
close without saving, or Cancel to return stored to a User program location.
to the active Program Editor window. If you
choose this method to save your changes,
the current program will be over-written;
Archiving
Archiving is a powerful tool for preserving
to save the program as a new file with a
the current state of your MX200. When you
different name (and keep the loaded pro-
archive the MX200, all of its presets and
gram’s settings intact), click File then Save
global settings are sent to the computer
As.
and saved to a file. When an archive is
restored, the MX200 is configured exactly
MX200 programs are given the file exten-
how it was when you archived it. This
sion .m2p, and they can be copied, moved,
allows you to not only create safety back-
attached to emails – anything you can do
ups, but create unique configurations for
with a standard document or file. These
various purposes. For example, you might
files should, however, only be opened by
want to create a setup specifically for that
MX-Edit Editor/Librarian software to pre-
gig you’re playing on the weekend, but still
vent corruption.
keep all your favorite studio presets intact.
Use MX-Edit’s Backup feature to archive
the MX200’s settings, then modify and
store anything and everything you want,
without worrying about reprogramming all

30
The MX-Edit Editor/Librarian - Windows
your previous programs and settings.

To archive the MX200, click Device and

select Backup. A warning will appear,
advising you that a full Backup may take
a few minutes, and asking whether you
wish to proceed. To cancel without creat-
ing a Backup archive, click Cancel or
close the dialog box. To proceed, click
OK. A progress bar appears at the bot-
tom of the MX-Edit screen, indicating that
a Bulk Dump is in process. When all the
MX200 data is received, a Save dialog
box appears. The default file name is
the current day and date (e.g. Backup
Wednesday, April 27, 2005 ) with the file
extension .m2a (MX200 Archive file). Click
Save to store the Backup Archive file.

To restore a saved archive, click Device

and select Restore. When prompted,
select an MX200 archive file, and click
Open. MX-Edit then sends the MX200
archive to your MX200, replacing all the
data in the hardware with the archived
data.

Note: It is a good idea to create a new

Backup archive file anytime you plan to
restore the MX200 from a previous archive
session.

31
 The MX-Edit Editor/Librarian - Mac

The MX-EditTM Editor/Librarian - Mac

The included MX-Edit Editor/Librarian soft-
ware lets you create, edit, save and load
reverbs and effects programs for use with
your MX200 on your Macintosh® OSX
computer. While the MX200 has 99 User
program locations, you can create and
save as many programs you like on your
computer, and load them into your MX200
via a USB connection at any time.
Select a program in the list to load it.
Minimum System Requirements
Before installing the MX-Edit Editor/ Make your adjustments (if any) to the
Librarian software, make sure that your knobs and buttons in the control panel just
computer meets the following minimum as you would on the MX200 itself.
requirements:
If you want to save your edits to a file,
OSX 10.3 or higher select File > Save menu or File > Save
As. The Save dialog box appears; type a
name in the Name: field and click OK.
Installing the MX-Edit
Editor/Librarian The MX-Edit Program
To install the MX-Edit, VST™ and Audio
Units software for Macintosh® computers, Window
insert the provided disc into the CD-ROM
drive and double-click on the disc icon
when it appears. Double-click on the
MX200.dmg.hqx file to extract and run the
installer. Follow the on-screen prompts to
install the software. The Program Editor window lets you con-
veniently view and edit a program. The
The installer sets up the standalone Program Editor window contains a header
MX-Edit Editor/Librarian application in section that includes the Program Name.
the Applications folder, the MX-Edit Audio
Unit in the Components folder, and the To open a program from the MX200 click
MX-Edit VST in the VST folder. in the Program Menu field and select a
program from the list.
Quick Start To open a saved program from a file,
When you first start MX-Edit, the MX-Edit
select File > Open Program. When the
Program Editor window opens.
Open dialog box appears, browse to find
the program, and double-click the program
name to load it.

To save a program to disk, select File

> Save Program or Save Program As,
To load a program, click the Program enter a file name, then click the Save but-
Menu field. A list of programs appears. ton.

32
The MX-Edit Editor/Librarian - Mac
To store a program into one of the Move the mouse up (or right) to turn the
MX200’s 99 User program locations, select knob higher; move the mouse down (or
Device > Store Program, choose the left) to turn the knob lower. For fine adjust-
location and program name, then click the ments, hold the Option key while moving
Save button. the mouse.

You can create new programs based either Tempo

on the User or Factory programs, but you If one of the MX200’s six delays is select-
may only store to User program locations. ed, the Tempo button in that processor
As in the MX200 hardware, Factory pro- becomes active, and begins to flash at
grams cannot be over-written. the rate displayed above the Time Range
knob. The tempo value is shown in mil-
To rename a User program, select Device liseconds (ms), and a quarter-note appears
> Rename. Enter a new name, select the next to the displayed tempo. When the
User program location, and press Enter. Time Range parameter is adjusted, exact
divisions of time in milliseconds relative to
Editing a Program the flashing Tempo rate will cause a note
value to be displayed next to the time, e.g.
16th note, dotted-8th note, etc. The Tempo
Signal Routing Options button will continue to flash at the origi-
To change MX200’s Routing, click on
nally selected tempo, but the delay taps
the Routing button in the Input/Routing
will occur at the rate displayed in the Time
control area. A list of the MX200’s four
Range value.
Routing options appears; highlight an item
in the list and click to select it. A routing
To change the tempo value, simply place
diagram appears next to the Routing but-
the mouse cursor over the Tempo button,
ton, and the routing name is shown in the
and left-click twice to tap the tempo, just
button.
as you would on the MX200 front panel.
The Tempo buttons on MX200 and in the
Reverb/Effect Selection Buttons Program Editor window now flash at the
new tempo.

If something other than one of the six

delays is loaded in the processor, the
Tempo button is grayed out and inactive.

Bypass
Click on a Reverb/Effect Select button To engage the Bypass button (and turn
to open a list of the MX200’s reverbs and off the selected effect), place the mouse
effects. Select an item in the list to load it. cursor over the Bypass button, and click
Notice that the reverb or effect name now to bypass that processor. Note that the
appears in the Reverb/Effect Select but- Bypass buttons on both the MX200 front
ton, and the Parameter knobs in MX-Edit panel and the Program Editor illuminate
change position depending on the default to indicate that the selected processor is
values for the selected reverb or effect. bypassed.

Adjusting knobs
Move the cursor to the center of a knob.
Click and hold the mouse button.

33
 The MX-Edit Editor/Librarian - Mac
Archiving Quick Access Menu
Archiving is a powerful tool for preserving For instant access to the most often used
the current state of your MX200. When you commands, click the small down arrow in
archive the MX200, all of its presets and the upper left corner of the program win-
global settings are sent to the computer dow to open the Quick Access Menu.
and saved to a file. When an archive is
restored, the MX200 is configured exactly
how it was when you archived it. This
allows you to not only create safety back-
ups, but create unique configurations for
various purposes. For example, you might
want to create a setup specifically for that
gig you’re playing on the weekend, but still
keep all your favorite studio presets intact.
Store Program in MX200
Use the MX-Edit Backup feature to archive
Lets you choose a name and location in
the MX200’s settings, then modify and
the library for the selected program.
store anything and everything you want,
without worrying about reprogramming all
Rename Program in MX200
your previous programs and settings.
Lets you select a User program and
rename it.
To archive the MX200, select File >
Backup. In the dialog box, select a name
Open Program
and location for the archive file. The default
Lets you browse for and open existing pro-
name and location is untitled.syx on your
grams.
Desktop.
Save Program
To restore an archive, select File >
Saves the selected program window under
Restore. Select an archive file to be
its current name. (If the program is untitled,
restored, then wait for the data to be
you will be prompted to name it.)
received by the device. MX-Edit sends the
archive information to your MX200, replac-
Backup
ing all the data in the hardware with the
Creates an archive of the programs saved
archived data.
in the MX200.
Note: It is a good idea to create a new
Restore
Backup archive file anytime you plan to
Lets you browse for and open an MX200
restore the MX200 from a previous archive
Archive File, which loads archived pro-
session.
grams onto the MX200.

34
Using the MX200 as a Hardware Plug-In

Using the MX200 as a Hardware Plug-In

The MX200 comes with VST™ and Audio For Mac users
Units software which allows you to use the To install on a Mac, insert the disc into
MX200 as a Hardware Plug-In. Now you your CD-ROM drive and double-click on
have access to classic Lexicon® reverbs the disc icon when it appears. Double-
and effects within your software record- click on the MX200.dmg.hqx file to extract
ing projects, with full automation and total and run the installer. Follow the on-screen
recall, without burdening your CPU! Using prompts to install the software.
the MX200 with the VST and Audio Units
software works much like any other plug-
in you’d use with a DAW, except that the Connecting the MX200
audio is routed through the MX200 for the
signal processing. USB Connection
Make sure the MX200 is powered up and
Minimum System Requirements connected to your computer with a stan-
dard USB cable. (For Windows XP users,
Audio make sure the MX200 is plugged into the
I/O hardware with a minimum of two same USB port as when the software was
inputs and four audio outputs. loaded.)

Windows Audio Connections

P-III, 500MHz or better, WinXP Service To use the MX200 as a hardware plug-in,
Pack 2 or higher plus a VST-compatible your computer needs audio hardware with
Software Recording Package multiple audio inputs and outputs available,
at least enough to send and return two
Mac channels from the MX200 plus two addi-
OSX 10.3 or higher plus a VSTTM or Audio tional outputs to monitor with.
Units compatible Software Recording
Package For lower latencies and the best audio per-
formance, it is recommended that you con-
nect the MX200 to your computer’s audio
Installing the MX-Edit VST I/O device using the S/PDIF Inputs and
Hardware Plug-In outputs. If your I/O device does not have
a S/PDIF connection, or if it already con-
Note: If you have already installed the
MX-EditTM software for Mac or WinXP, nected to another device, you may use the
you have already installed the VST and/ analog connections from your computer’s
or Audio Units software. Simply skip this I/O device to the 1/4” analog inputs and
section. outputs on the MX200.

Important: The MX200 accepts digital

For Windows XP users audio at 44.1kHz and 48kHz sample rates.
To install the software in Windows, insert Do not connect any digital device to the
the disc into your CD-ROM drive and fol- MX200’s S/PDIF Input that transmits at any
low the on-screen prompts. (If the Autorun other sample rate (such as 96kHz). Doing
feature is disabled, browse to the CD and so can cause unpredictable performance.
double-click on the setup.exe file.) Make sure your recording project is set to
either 44.1kHz or 48kHz sample rate to
avoid problems.

35
 Using the MX200 as a Hardware Plug-In

Software Configuration If you have followed these steps correctly,

when you open an instance of the MX200
Because the audio is being processed
plug-in, its audio path will lead it to the bus
within the MX200 hardware, and not inside
pair you created, which will send the audio
your computer, your DAW (Digital Audio
to the MX200. The processed audio is then
Workstation, or Recording Software) needs
sent from the MX200 through your audio
to be set up to send and receive audio to
hardware’s inputs to the two audio tracks
and from the MX200.
you created in Step 4, and monitored
through the Main Mix Bus, just as you
Many DAW’s have built-in routing configu-
would any audio or plug-in effect.
rations for this; consult your software’s
documentation for information about setting
up external routing options. Using the MX200 Plug-In
Steinberg® Cubase SX® users: see infor- Window
mation on “External FX” connections. In your DAW, open the Lexicon MX200
plug-in. You’ll see an instance of the
Logic® Audio users: see information about Program Editor window. You can use the
“I/O Insert Plug-Ins.” MX200 plug-in software just as you would
any other plug-in: Session Recall, auto-
Cakewalk® Sonar™ users: see information mation – everything behaves just as any
about “Adding Send / Return Effects to a other VSTTM or Audio Unit plug-in. The
Bus” primary difference is that the audio pro-
cessing occurs in the MX200 rather than
If your software does not provide specific on your computer. And, since the MX200
information about these types of configu- is a physical device, you can only open
rations, you can set up the connections one instance of the plug-in window. If you
yourself. Each recording platform will vary attempt to open more than one plug-in
slightly, but the basic principles are the window, the message shown below will
same. appear.

To set up a send and return path:

1. Create a Stereo Bus (or two audio

busses) that are different from your Main
Mix (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).
Controls
The MX200’s Plug-In window functions
3. In your VST or Audio Units Send Effects
much like the MX-Edit Program Editor win-
Routing options, send the MX200’s
dow described on page 28.
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.

36
Using MIDI with the MX200

Using MIDI with the MX200

CC Mapping Important!
MIDI Port Error Message

If you see this message, the MX200 is

either disconnected or its USB MIDI ports
are in use by an application. Some hosts,
such as Cubase, may automatically open
the MX200’s MIDI ports by default. In this
case, you will need to deselect or disable
the port named “Lexicon MX200 Control” in
the application’s MIDI Devices setup.

MIDI Implementation Chart

37
Specifications

Specifications
Audio 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 DC (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.

38
Appendix

Appendix
Delay De-Esser
Time Range Values Frequency Values

Bandwidth Values

Note: A value of 36 is the 12 o’clock knob

position, or equal to the Tempo LED rate.
Intermediate values (e.g. 1-3) do not repre-
sent exact note values.

39
 Program List

Program List

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).

40
Program List

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).

41
 Lexicon®
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South Jordan, UT 84095

PH: (801) 566-8800

FAX: (801) 566-7005
WEB: www.lexiconpro.com

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Lexicon MX200 Owners Manual 5073493-B
© 2016 HARMAN International Industries, Incorporated.
All rights reserved.