Lexicon LXP-15II Owner's Manual

Download

LXP-15 II

Multi-Effects

Processor

Owner's Manual

Unpacking and Inspection

After unpacking the LXP-15 II, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the LXP-15 II and packing materials for signs of damage. Report any shipment damage to the carrier at once; report equipment malfunction to your dealer.

Notice

This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been type tested and found to comply with the limits for a Class A computing device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designated to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment OFF and ON, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient the receiving antenna Relocate the computer with respect to the receiver Move the computer away from the receiver Plug the computer into a different outlet so that the computer and receiver are on different branch circuits.

If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful:

"How to identify and Resolve Radio/TV Interference Problems."

This booklet is available from the U.S. Government Printing Office, Washington, DC 20402, Stock No. 004-00000345-4.

Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la class A prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

This triangle, which appears on your component, alerts you to the presence of uninsulated, dangerous voltage inside the enclosure... voltage that may be sufficient to constitute a risk of shock.

WARNING:

TO REDUCE THE RISK OF FIRE OR

ELECTRIC SHOCK, DO NOT EXPOSE

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

DO NOT DEFEAT OR REMOVE

GROUND PIN ON THE POWER PLUG.

This triangle, which appears on your component, alerts you to important operating and maintenance instructions in this accompanying literature.

WARNING:

THE UNIT TO RAIN OR MOISTURE.

3 Oak Park

Bedford, MA 01730USA

Telephone 781-280-0300

Lexicon Part #070-10273

Fax 781-280-0490

Safety Suggestions

Read Instructions Read all safety and operating instruc-

tions before operating the unit. Retain Instructions Keep the safety and operating instruc-

tions for future reference. Heed Warnings Adhere to all warnings on the unit and in the

operating instructions.

Follow Instructions Follow operating and use instructions. Heat Keep the unit away from heat sources such as radia-

tors, heat registers, stoves, etc., including amplifiers which produce heat.

Ventilation Make sure that the location or position of the unit does not interfere with its proper ventilation. For example, the unit should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a cabinet which impedes the flow of air through the ventilation openings.

Wall or Ceiling Mounting Do not mount the unit to a wall or ceiling except as recommended by the manufacturer.

Power Sources Connect the unit only to a power supply of the type described in the operating instructions, or as marked on the unit.

Grounding or Polarization* Take precautions not to defeat the grounding or polarization of the unit’s power cord.

*Not applicable in Canada.

by the manufacturer. Servicing Do not attempt any service beyond that described

in the operating instructions. Refer all other service needs to qualified service personnel.

Damage requiring service The unit should be serviced by qualified service personnel when:

the power supply cord or the plug has been damaged, objects have fallen, or liquid has been spilled into the

unit, the unit has been exposed to rain, the unit does not appear to operate normally or exhibits

a marked change in performance, the unit has been dropped, or the enclosure damaged.

Outdoor Antenna Grounding If an outside antenna is connected to the receiver, be sure the antenna system is grounded so as to provide some protection against voltage surges and built-up static charges. Section 810 of the National Electrical Code, ANSI/NFPA No. 70-1984, provides information with respect to proper grounding of the mast and supporting structure, grounding of the lead-in wire to an antenna-discharge unit, size of grounding conductors, location of antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode. See figure below.

Power Lines An outside antenna should be located away from power lines.

Power Cord Protection Route power supply cords so that they are not likely to be walked on or pinched by items placed on or against them, paying particular attention to cords at plugs, convenience receptacles, and the point at which they exit from the unit.

Nonuse Periods Unplug the power cord of the unit from the outlet when the unit is to be left unused for a long period of time.

Water and Moisture Do not use the unit near water — for example, near a sink, in a wet basement, near a swimming pool, near an open window, etc.

Object and liquid entry Do not allow objects to fall or liquids to be spilled into the enclosure through openings.

Cleaning The unit should be cleaned only as recommended

Ground Clamp

Electric Service Equipment

NEC — National Electrical Code

Antenna Lead-in Wire

Antenna Discharge Unit (NEC Section 810-20)

Grounding Conductors (NEC Section 810-21)

Ground Clamps

Power Service Grounding Electrode System (NEC Art 250, Part H)

LXP-15 II

Multi-Effects

Processor

Owner's Manual

Introduction

1. Installing the LXP-15 II

Unpacking • Mounting • Power ........................................................................ 1-1

Front Panel Controls ........................................................................................1-2

Rear Panel Connectors....................................................................................1-3

MIDI Connections ............................................................................................ 1-4

Audio Connections........................................................................................... 1-4

2. Front Panel Operation

Definition of terms ............................................................................................2-1

Setting Audio Levels ........................................................................................2-2

The LXP-15 II Display ......................................................................................2-3

The Page Knob................................................................................................2-4

Presets and User Setups ................................................................................. 2-5

Selecting LXP-15 II presets • Loading a preset • Modifying a preset Naming your new setup • Storing a new sound • Recalling a register

System Parameters ......................................................................................... 2-8

3. The Algorithms

Signal Flow ...................................................................................................... 3-1

Delay/Reverb ................................................................................................... 3-3

Pitch/Delay....................................................................................................... 3-6

Gate ................................................................................................................. 3-9

Plate............................................................................................................... 3-11

Chorus Delay ................................................................................................. 3-13

4. Creating Sounds and Effects

Sounds and Effects.......................................................................................... 4-1

Patching ...........................................................................................................4-6

Global and General Purpose Patches ........................................................... 4-13

Setting up Global Patches ............................................................................. 4-14

Setting up General Purpose Patches ............................................................4-16

Patching Examples ........................................................................................ 4-21

5. The Presets

About the presets............................................................................................. 5-1

Studio Presets..................................................................................................5-2

Stage Presets .................................................................................................. 5-6

6. MIDI Operation

Selecting a MIDI Channel ................................................................................ 6-1

Accessing Registers and Dynamic MIDI® ...................................................... 6-1

Controller quirks • MIDI Tempo control • Slaving to two or more

LXP-15 IIs • Creating SysEx Patches using MIDI SysEx

The MIDI Page................................................................................................. 6-4

MIDI Program Change ..................................................................................... 6-4

7. MIDI Implementation Data

Data/Event Requests ....................................................................................... 7-1

Transmit/Receive Data .................................................................................... 7-2

Data Dump Contents ....................................................................................... 7-4

Parameter Definitions ...................................................................................... 7-5

Microcode Parameters..................................................................................... 7-8

Implementation Chart.....................................................................................7-13

8. Troubleshooting

Low Voltage • Overheating • Common MIDI Problems....................................8-1

Restoring Factory Presets and Registers ........................................................ 8-2

9. Specifications Tempo to Delay Time Conversion User Program Log Sheet

Contents

Introduction

Congratulations on your purchase of the LXP-15 II Multi-Effects Processor! You are about to experience superb sound quality and a full range of reverb, pitch shifting, and delay effects, coupled with fast, intuitive editing of preset sounds and an industry-leading MIDI implementation.

The LXP-15 II offers a rich and distinctive palette of special effects, including 128 preset effects programs to get you started. Each program has up to five display pages of variable parameters that you can adjust for subtle or dramatic changes in the program’s sound, and you can store as many as 128 customized programs in user memory. All of the LXP-15 II functions are accessible from the front panel, or via MIDI, providing truly world-class flexibility and control. From pitch shifting to stereo delays and flanging, the LXP-15 II delivers superior performance. Whether you are a producer, engineer, or musician—whether you work on stage or in the studio— the LXP-15 II will quickly become an indispensible part of your sound.

We’re confident you’ll find that the LXP-15 II’s unique combination of state-of- the-art sound and extraordinary versatility is exactly what you’re looking for. A Quick Reference card provides the basics of operation in a compact format to get you up and running as quickly as possible — but to make sure you don’t miss out on anything, we’d like you to read this manual. It provides a thorough explanation of both front panel and MIDI operation, program descriptions, and complete MIDI Implementation data — all the information you need to access the full power of the LXP-15 II.

Installing the LXP-15 II

1. Power Cable

2. Feet (for use if not rack-mounted)

3. Owner's Manual

4. Quick Reference Guide

5. Warranty card (USA only)

Connect the cable end of the LXP-15 II line cord to the LXP-15 II power connector. Then plug the line cord into an appropriate AC wall socket.

The LXP-15 II measures 19"W x 1.75"H x 13.9"D (483 x 45 x 353 mm). Make sure that the LXP-15 II is securely screwed into the rack, and that support is provided for the rear of the chassis during transport to avoid possible damage from severe mechanical shock.

Unpacking

Power

Mounting

The maximum ambient operating temperature is 95°F (35°C). Provide adequate ventilation if the LXP-15 II is mounted in a closed rack with heat-producing equipment such as synthesizer modules, effects units, or power amplifiers. Avoid mounting the LXP-15 II directly above power amplifiers.

1-1

LXP-15 II Owner's Manual

3 4

LXP-15 II

Front Panel

Controls

Input

Sets the audio input level.

Output

Controls the signal level sent to the LXP-15 II outputs.

View

Used to display alternate screen information.

Lexicon

POWER

Power on/off.

INPUT OUTPUT

exicon

Headroom

Green LEDs indicate signal present; red LED indicates the signal is -3dB from peak overload, or at processor overload.

HEADROOM

OVL

12 18 24

Soft buttons

Each of these five buttons is used for assigning the parameter displayed directly above it to ADJUST knob control.

ADJUST PAGE

VIEW

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

Adjust

Used to edit paramaters displayed and selected with the Soft buttons.

POWER

Level

Mod

Al Patch 1 Patch 2 Patch Patch

Sys

LXP-15

Page knob

Used for selection of 16 display pages

1-2

MIDI IN

Receives MIDI information from other MIDI equipment such as master keyboard controllers, MIDI foot controllers, sequencers and synthesizers.

MIDI THRU

Passes any MIDI data received without change.

MIDI OUT

Transmits MIDI data to other equipment.

Installing the LXP-15 II

LXP-15 II Rear Panel Connectors

Outputs (L and R)

Single-ended (unbalanced) stereo outputs provide +4dBu nominal output level. Either can be used for mono output.

AC Power

AC PWR

Dynamic MIDI

IN OUTTHRU

FOOT

1 234

CONTROLLERS

Foot Controllers

Five connectors for toggle (Push on/push off) momentary contact foot switches, or continuous footpedals (50 kΩ).

L OUTPUTS R L INPUTS R

AUDIO

Inputs (L and R)

Single-ended (unbalanced) inputs accept levels as low as -26dBu. Input impedance is 50 kΩ in stereo, 25 kΩ in mono. Either can be used for mono input.

1-3

LXP-15 II Owner's Manual

Lexicon

MIDI Connections

Audio Connections

MIDI connections are dependent on your applications, and on the equipment available in your system. For examples of MIDI system connections, see Chapter 6:

MIDI Operation.

This section outlines several connection possibilities for the LXP-15 II. Because each sound system is unique, we recommend experimentation to arrive at the best configuration for your system. Always check connections for proper impedance, polarity, and levels.

Audio connections to the LXP-15 II are unbalanced, and should be made with high quality shielded cables with 1/4" tip-sleeve phone jacks at the LXP-15 II end. The connectors must be wired as shown below:

Sleeve - Shield/Ground

Tip - High

Mono or stereo?

If only 1/4" tip-ring-sleeve phone jacks are available, they must be wired as shown:

Sleeve - Shield/Ground

Tip - High

Ring - Connect to Sleeve

The LXP-15 II produces wonderful stereo effects from either mono or stereo signal sources. For mono sources, use either of the two input connectors; the dry signal appears (along with the stereo effects) in mono at both output connectors. For instruments and sources with stereo outputs, use both inputs. We recommend using both LXP-15 II outputs whenever possible but, if mono output is required, you can use just one of the two output connectors. When only one output is used, the left and right signals are summed internally.

Some of the examples on the following pages use stereo instruments and amplification systems, others use mono. Feel free to adapt the examples to your specific requirements.

1-4

3 4

Channel Input or Effects Return (R)

Channel Input or Effects Return (L)

Effects Send

Installing the LXP-15 II

Connection to a mixing console's effects sends

Input

exicon

INPUT OUTPUT

HEADROOM

OVL

(L or R) R Output

12 18 24

L Output

VIEW

If you will be using an LXP-15 II as your primary effects unit, and your system includes a console with one or more auxiliary (effects) sends, connect the LXP15 II as shown above. In most applications, it is preferable to connect the LXP15 II outputs to two of the console's input channel strips, panned full left and right, rather than the effects returns. This allows the greatest flexibility in routing and equalization.

In this configuration the console controls are used to set the amount of effect heard—the LXP-15 II program's MIX control should be set to 100% wet.

ADJUST PAGE

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

Patch 1 Patch 2 Patch Patch

POWER

Level

Mod

Sys

LXP-15

1-5

LXP-15 II Owner's Manual

3 4

Connection between

instrument and

console

Lexicon

Channel Input (pan right)

Channel Input (pan left)

exicon

INPUT OUTPUT

HEADROOM

OVL

12 18 24

Synth

L Output

LXP-15

L Output

VIEW

Synth R Output

LXP-15 R Output

ADJUST PAGE

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

Level

Patch 1 Patch 2 Patch Patch

POWER

Mod

Sys

LXP-15

In some applications (such as when an LXP-15 II is used for a single instrument) it may be desirable to patch the LXP-15 II between the instrument and console. This makes it possible to keep the LXP-15 II up on stage with other MIDI gear, rather than in the console effects rack, making MIDI control much easier.

Set the LXP-15 II MIX control to approximately 50%.

1-6

3 4

Guitar Output

Installing the LXP-15 II

Connection between instrument and amplifier

INPUT OUTPUT

exicon

HEADROOM

OVL

12 18 24

LXP-15 II Input

(L or R)

Amp L Input

LXP-15 II L Output

LXP-15 II R Output

Amp

R Input

For a very spacious guitar sound, connect the LXP-15 II between a guitar and two amp and speaker stacks. Set the LXP-15 II MIX control to approximately 50%. The only problem with this setup is that if you use overdrive distortion created by the amplifier, changing settings on the LXP-15 II also affects the quantity and quality of your distortion. If you use a separate distortion box, you can get around this problem by connecting it before the LXP-15 II. If you prefer amplifier-generated distortion, try the setup shown on the next page.

ADJUST PAGE

VIEW

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

Patch 1 Patch 2 Patch Patch

POWER

Level

Mod

Sys

LXP-15

1-7

LXP-15 II Owner's Manual

3 4

Connection between

instrument preamp

and power amplifier(s)

Lexicon

WARNING! Never connect speaker outputs from a guitar amp to the LXP-15 II. Doing so can cause serious damage which is not covered by the LXP-15 II warranty. On some guitar amplifiers it is very easy to accidentally use a speaker output instead of a direct or effects output. BE CAREFUL!

Guitar Output

Amp or

Preamp

Input

Direct or Preamp output

LXP-15 II Input (L or R)

INPUT OUTPUT

exicon

HEADROOM

OVL

12 18 24

L and R Speaker Outputs from Power Amp

Amp

L Input

VIEW

LXP-15 II L Output

ADJUST PAGE

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

LXP-15 II R Output

Amp R Input

Level

Patch 1 Patch 2 Patch Patch

POWER

Mod

Sys

LXP-15

If you use overdrive distortion, it's usually better to create the overdrive

before

sending the signal to the LXP-15 II to ensure that the effects don't change the quantity and quality of your distortion. In this setup, you need a guitar preamplifier or a guitar amp with a direct output. Feed this signal to either of the LXP-15 II inputs, and then on to a stereo power amp or a pair of guitar amps. (A few guitar amplifiers become unhappy if they are operated without speakers connected. Consult the amp manufacturer for details.)

You can use the effects send and return connectors on a mono guitar amp to obtain similar results. Adjust the LXP-15 II output level so that the amp produces the same output with the LXP-15 II as it does without it.

1-8

Console

3 4

Inputs

Console Inputs

Installing the LXP-15 II

Connection between drum machine and console

LXP-15 II Outputs

(L and R)

INPUT OUTPUT

exicon

HEADROOM

OVL

12 18 24

LXP-15 II L Input

exicon

INPUT OUTPUT

HEADROOM

LXP-15 II Outputs

OVL

12 18 24

(L and R)

ADJUST PAGE

VIEW

LXP-15 II Inputs

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

POWER

Level

Mod

Patch 1

LXP-15

Patch 2 Patch Patch

Sys

(L and R)

Drum machine's stereo outputs

Drum machine's individual output for snare drum

Using two LXP-15 II units between your drum machine and console can make your drum machine sound much more exciting, since it allows you to process the all-important snare drum separately from the rest of the mix. Make sure you remove the snare from the drum machine's main stereo mix.

VIEW

ADJUST PAGE

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

POWER

Level

Mod

Patch 1

LXP-15

Patch 2 Patch Patch

Sys

1-9

LXP-15 II Owner's Manual

Lexicon

1-10

Terms used in this manual

Algorithm The LXP-15 II contains several

of instructions that tells the LXP-15 II's microprocessor how to process the input signal. One algorithm produces pitch/delay, another produces gated reverb, etc.

Parameter Each algorithm has a set of characterize it. The settings of the parameters can be changed to create radically different sounds from a single algorithm.

algorithms

parameters

. An algorithm is a set

(controls) that uniquely

Front Panel Operation

Program Parameter

examples are: delay time, pitch shift, etc.

System Parameter

System parameters are not stored in registers or presets, nor do their values change when a new setup is recalled. Examples are: display contrast and brightness, MIDI Channel number, etc.

Patch A patch is a routing assignment that allows an LXP-15 II parameter to be driven by a source control such as a footpedal, or a synthesizer mod wheel.

Setup A a certain sound (and as many as four general purpose patches). Each register or preset is a setup, as is the current state of the machine.

Pages

and/or values are displayed simultaneously. Register/Preset The LXP-15 II contains 256 setups. 128 of these are

presets

are The factory presets cannot be overwritten, but they can be modified and stored into registers (or copied into registers, then modified). When shipped, the LXP-15 II already has a duplicate of the presets loaded into its registers.

setup

is a collection of specific parameter values responsible for

Pages

registers

are groups of parameters (or other quantities) whose names

which are useful setups permanently initialized at the factory; 128

which are available for storing your own setups and effects.

values are stored/recalled in setups. Some

values are not associated with a particular setup.

2-1

LXP-15 II Owner's Manual

Lexicon

Setting Audio Levels

The wide range of adjustment available with the LXP-15 II INPUT and OUTPUT controls allow it to be used with virtually any kind of equipment found in the studio or on the road.

To set audio levels:

1. Turn the LXP-15 II INPUT and OUTPUT controls all the way down (fully counterclockwise).

2. Set the instrument output, preamp output, or effects send that feeds the LXP-15 II input(s) to a nominal level. With an instrument, this should be your loudest normal playing level; with a preamp output or console, adjust the output(s) or effects send(s) to produce the highest level possible with the least amount of noise. If the output you are using doesn't have a level control, don't worry about it!

3. While sending audio to the LXP-15 II, gradually turn up the INPUT control until the red OVL LED just flashes on the loudest peaks. If it flashes continuously, turn the INPUT control down slightly. This ensures the best possible signal-to-noise ratio and dynamic range.

In general, it is best to set the gains in your system so that the nominal input to the LXP-15 II is at least 12dB from the maximum converter (peak) level.

OVL LED flashes on peaks; INPUT level should be set to the level where

Green LEDs should be lit.

the OVL LED flashes briefly on the loudest peaks only.

HEADROOM

OVL







Note: If the OVL LED flashes with no input present it indicates processor overload is occurring.

4. Turn the LXP-15 II OUTPUT control up.

2-2

Front Panel Operation

On most of the LXP-15 II display pages, three lines of alphanumeric information are available:

1. System status

2. Parameter names

3. Parameter settings

The front panel VIEW button allows you to choose between display of the first and second, or the second and third lines.

Pressing VIEW

This line shows system status Params appear on this line

VIEW

Params appear on this line Param values are shown here

allows you to alternate these displays.

Each display line is divided into five 7-character fields. This allows as many as five items to be displayed simultaneously.

The LXP-15 II Display

VIEW

1234567 1234567 1234567 1234567 1234567 1234567 1234567 1234567 1234567 1234567

In general, pressing the button below any display field will select the item in that field for modification by the ADJUST knob.

Pitch Intervl HiCut LoCut On Fifth 0 320Hz 1.35kHz

In this example pressing this button has selected "HiCut". The value of this parameter is bracketed by arrows to highlight its selection.

PchFine

Pitch Intervl HiCut LoCut On Fifth 0 1.15Hz 1.35kHz

ADJUST

Turning the ADJUST knob alters the value of the selected item.

PchFine

2-3

LXP-15 II Owner's Manual

3 4

Lexicon

The Page Knob

The PAGE knob has 16 labeled settings. These selections are grouped into three basic functional areas. The upper section provides for selection of the available parameters which define the sound of each algorithm (Reverb, Pitch EQ, Delay, Level, Modulation, and Algorithm).

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

PAGE

Level

Mod

Al Patch 1 Patch 2 Patch Patch

Sys

The settings grouped on the lower left allow various routine functions to be performed on setups (recalling, storing, naming, specifying MIDI Channel, etc.) These pages do not have an alternate display.

System parameters, and patch assignments are selected at the settings grouped on the lower right.

2-4

Front Panel Operation

3 4

Presets and User Setups

Any one of 128 preset setups can be selected by the PAGE and ADJUST knobs on the front panel. To select a preset, first turn PAGE to SETUP

Selecting LXP-15 II presets

The following display will appear:

Preset # Name alg: XX Preset Registr Pre scan Reg scan Load

If you press the button directly below "Preset" the ADJUST knob will scroll through (and sequentially load) each one of the 128 presets. Pressing "Pre scan" allows you to use the ADJUST knob to simply scroll through the list of

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

PAGE

Level

Mod

Al Patch 1 Patch 2 Patch Patch

Sys

preset names without loading them. If you use this method, you must press the button beneath "Load" to actually select a preset. (Viewing, selecting and loading registers follow exactly the same procedure.)

For quick reference, the names of the 128 presets are shown in the table below. The presets are grouped generally into two categories: Studio and Stage (1-64 Studio; 65-128 Stage).

1 Large Hall

2 Brite Hall 3 Dark Hall 4 CompressHall 5 Vocal Hall 6 Chamber 7 Large Club 8 LargeDrkRoom

9 Medium Room 10 Medium &Short 11 Atrium 12 Tiled Room 13 Small Room 14 Vocal Room 15 Full Closet 16 Guitar Room 17 Stage Reflex 18 No Room 19 Tall Room 20 Smako! 21 Warehouse 22 MediumDlyRoom 23 DarkDlyRoom 24 Verb Panner 25 Splattered 26 Slap Vocal 27 Vocal Plate 28 Big Plate 29 Small Plate 30 Long Plate 31 Drum Plate 32 Rusty Plate

33 Snare & Toms 34 Small Gate 35 Medium Gate 36 Large Gate 37 Bright Gate 38 Mega Gate 39 Env:Gate 40 VibraRoom 41 VibraRoom II 42 2 Tap Detune 43 Small&Flange 44 Long Echoes 45 L&R Delays 46 Space Echoz 47 Delay Cloud 48 AmbiDetune 49 Amb.+4th Down 50 Amb+5th Up 51 Amb. + Oct. Up 52 6VoiceChorus 53 Vocal Chorus 54 ChorusSlaps 55 Cave &Chorus 56 GuitarDetune 57 Flange Room 58 Slowrollin’ 59 Image Shift 60 Step Flange 61 LFO Guitar 62 1/16thMAT Slap 63 Chorus MAT 64 Thru a Ringer

65 Guit:EKORoom 66 Solo Plate 67 Guitar Plate 68 StageJizz 69 Foot1 Dlay 70 Pedal Slap 71 Pedal Verb 72 Step On It! 73 Foot Spooge 74 Foot1 Wave 75 Inf:Foot 1 76 Foot1 Whammy 77 Speed+Pan 1 78 Funky Keys 79 Sheen 80 CrossDelays 81 Pole Flange 82 SlowFoot 83 Bass Korus 84 Leni Chorus 85 WayOut There 86 Solo Spooge 87 2ndLeadAbove 88 Evil 3rds 89 BatCave+5th 90 Big 4th Down 91 Glub...Glub 92 Self D 1 93 LongKorusEKO 94 Slap Chorus 95 Small&Flange 96 Chorus Hall

Use PAGE to select "SETUP". Press "Preset", then use ADJUST to

select and load a specific preset.

Press "Pre scan", then use ADJUST to scan the presets. Press "Load" to select any displayed preset.

97 Tape Stretch 98 Bass Doubler

99 GearMotor 100 Dyna-Rev 101 Metal Gate 102 TransLument 103 MoanVerb 104 GatedDive 105 Solo Bass1.5 106 Wasteland 1 107 Elvis Gate 108 Dense Dance 109 Boot Da Bass 110 Oddness Mix1 111 Big Dipper 112 RisingCloud 113 DlyLoopMIDI 114 SpacLoopMIDI 115 LongAmbiMAT 116 VaryCaveFoot 117 FadeInBox 118 FadeInDetune 119 Env: Panner 120 FadeUpChorus 121 InfiniteHall 122 Env:Dtune 123 Rvrb>XDly 124 RoomChrEnv 125 EnvDetune3 126 AmbiChrEnv> 127 Cascad8Env> 128 Bypass

2-5

LXP-15 II Owner's Manual

Lexicon

Loading a preset

Modifying a preset

If you have chosen a preset with "Pre scan" selected, press the button directly below "Load" to load it. If you made your selection with "Preset" selected, you're all set, since this mode automatically loads the preset you've selected. (For footswitch control of preset changes, see Chapter 4:

Effects

)

Creating Sounds and

Once you've selected a preset, turn the PAGE knob to select one of the six parameter pages (Delay, Pitch/EQ, Reverb, Level, Mod or Alg). One page of parameters will appear on the display.

Preset 2 Bright Hall alg: Dly/Rvb

Decay Treble Bass Mpy Size Diffus

The PAGE knob will step through the other available parameter pages. You can change the value of any parameter by selecting it (push the button directly beneath it) and then turning the ADJUST knob to a new value.

When you turn the ADJUST knob, the bottom line of the display will change to show the full name of the selected parameter and the selected value. These values will change as you continue to turn ADJUST.

Preset 2 Bright Hall alg: Dly/Rvb

Decay Time 3.6s

Full name of selected parameter.

Parameter value - this will change as you turn ADJUST.

The screen will return to its normal 5-parameter display if you select another parameter, or if 2 seconds pass without further parameter adjustment.

When the display returns to its normal state the setup name will be marked with an asterisk to indicate that the setup has been modified. This asterisk will remain until the setup is stored, or until another setup is loaded (clearing this setup and any changes made to it).

The setup name is now marked to show that it has been modified.

Preset 2 *Bright Hall alg: Dly/Rvb

Decay Treble Bass Mpy Size Diffus

Remember that pressing VIEW will display the parameters along with their settings.

Decay Treble Bass Mpy Size Diffus

3.6s 8.98kHz 0.71x 64Meter 75%

2-6

Front Panel Operation

If you want to keep this modified preset as a new setup, it is a good idea to assign it a new name before storing it. To change the name of a setup, turn PAGE to "Name". The following display will appear.

Preset # Name Edit: Bright Hall

<Char Char> - - -

Note that the first letter of the current setup name is underlined by a cursor, indicating that it is selected. Turning the ADJUST knob allows you to replace this character with the first letter of the name you want. The ADJUST knob dials sequentially through a list of alphanumeric characters in the following order: (space), 0-9, A-Z, a-z, and an assortment of standard symbols. Pressing the buttons under "<Char" and "Char>" will step the cursor to the left and right, allowing you to choose the characters you want to change.

After creating a new sound, and assigning it a name, you may want to save it for future use in one of the LXP-15 II's 128 registers. — New entries will overwrite any program stored at that location, so be careful not to store into a location that contains a setup you want to save. (We have provided a chart for you to record your own program entries at the end of this manual.)

Naming your new setup

Storing a new sound

To store a setup, turn PAGE to "Store". The following display will appear.

Store into Registr XX Briter Hall ?

Reg # - - - Store

If the register shown on the top line of the display contains a setup you want to keep, select "Reg #" and turn ADJUST to a register you don't mind overwriting. When the display shows the register you want, simply press the button beneath "Store". Successful storage is indicated by the following display:

Stored Registr XX Briter Hall

Reg # - - - Store

Note: The LXP-15 II will not perform a store instruction if memory write-protect

is enabled (see next page), or if you accidentally try to store into a Preset location.

To recall a register, simply turn PAGE to "Setup", select "Registr" and dial the ADUST knob to the register you want. The setup is automatically recalled and ADJUST may be used to modify the sound. (For footswitch control of setup changes, see Chapter 4:

Creating Sounds and Effects.

)

Recalling a register

2-7

LXP-15 II Owner's Manual

Lexicon

System Parameters

MIDIchn

Contrst

Bright

To access LXP-15 II System Parameters,simply turn the PAGE knob to "Sys". The following display will appear:

MIDIchn Contrst Bright MemProt Update

(1-16,OMNI) (1-16) (0-15) (On/Off) (On/Off)

Pressing the button directly beneath any of these displayed items will select that item for alteration with the ADJUST knob.

This control sets the MIDI channel. When selected, the ADJUST knob allows you to choose MIDI Channels 1-16 (for both transmitting and receiving MIDI data), or to choose OMNI (messages received on all channels and transmitted on Channel 1).

Adjusting the contrast of the display allows you to optimize it for different viewing angles.

The LXP-15 II has 15 brightness levels to allow adjustment for different lighting conditions.

Memory Write-Protect

Update

Memory Write-Protect is a feature that lets you prohibit the overwriting of the setups stored in the registers. If the write-protect function is enabled, any attempt to store to a register will cause the following display to appear:

Registr XX Name not stored !

Reg # - - - Store

Selecting "Mem Prot" in System Parameter mode allows you to choose ON or OFF with the ADJUST knob.

This feature allows you to choose continual display update of patched parameter values (ON), or display of only the base values of patched parameters (OFF). See Chapter 4:

Creating Sounds and Effects

for details on patched parameters.

Note: Selection of Display Update ON will slow down the operation of the LXP15 considerably. It is primarily useful when

setting up

patches, after which it is

recommended that it be turned OFF.

2-8

The LXP-15 II contains five effects algorithms: Delay/Reverb, Pitch/Delay, Gate,

Plate, and Chorus Delay. When a preset or register is loaded, its algorithm is shown in the top line of the display. (See Chapter 5:

The Presets

for a list of the

algorithms used in each preset.) The algorithm parameters are grouped by function onto five pages: Delay, Pitch

EQ, Reverb, Levels and Mod. This format allows you to find the delay parameters, for example, at the same page and display location in each algorithm. Parameters which are not available in an algorithm are assigned a blank space to maintain this format.

NOTE: You can change the current algorithm by turning the PAGE knob to "Alg" and using ADJUST to select a different algorithm. Be aware that different algorithms have different parameters. Changing algorithms with ADJUST may cause some parameters to be set to undesirable values. For this reason, when you want to work with a different algorithm, select and load a preset or register with the desired algorithm. This ensures that all parameters are set to normal values.

The Algorithms

The general signal flow through the LXP-15 II, as well as the features and parameters of each of the five effects algorithms are described on the folllowing pages.

The general signal flow through the LXP-15 II is illustrated below.

Input

Front Panel

Input Knob

Effects

Algorithm

Input

Level

Dry Pan

Wet Pan

Dry Pan

Signal Flow

Mix

Output Level

Mix

Output

Front Panel

Output Kno

3-1

LXP-15 II Owner's Manual

Lexicon

The routing and mixing of input and output signals for all algorithms are controlled by the five parameters found on the “Level” page. As these parameters are common to all LXP-15 II algorithms, they are described first. The algorithm-specific parameters will be described with each algorithm.

LEVEL

InLevl Mix Wet Pan Dry Pan OutLevl

0-100% 0-100% 100%L-51%L, 100%R-51%R, 0-100%

Center, Center,

51%R-100%R 51%R-100%R

Input Level: Adjusts the amount of input signal sent into the effects algorithm. This signal is the sum of the left and right inputs, after the front-panel input control.

Mix: Adjusts the mixture of the dry (left and right inputs) and wet (the left and right algorithm outputs) signals sent to the left and right outputs. When set to 0%, only dry signal is present at the outputs. When set to 100%, only wet signal is present at the outputs.

Dry Pan: A pan control for the dry signal. When a mono input source is used, Dry Pan will “move” the sound between the left and right speakers. When a stereo, or two-channel input source is used, Dry Pan will make one channel louder as the other gets softer.

Wet Pan: A pan control for the wet signal. All effects in the LXP-15 II are monoin/stereo-out. Wet Pan will make one effects channel louder as the other gets softer.

Output Level: Adjusts the amount of dry/wet mix sent to the front panel output control.

3-2

The Algorithms

To get some idea of the types of sounds and effects that can be created with the Delay/Reverb algorithm, be sure to listen to and experiment with presets built on this algorithm. (See Chapter 5:

The Presets.

)

The Delay/Reverb algorithm consists of an equalizer in series with a unique glide delay line and reverb simulator. The glide delay can be smoothly modulated through its entire range with no glitches. While it is being modulated, the glide delay produces pitch shift effects. Increasing delay times will shift the pitch of signals being processed flat; decreasing delay times will shift the pitch sharp. The amount of pitch shift will decrease as the glide delay stabilizes at the new delay time. (There is no pitch shift when the delay has stabilized.) The reverberator is a full-featured room simulator with its own predelay. Its many parameters alllow you to design almost any space you can imagine. One unique feature of this reverberator is infinite reverb: a wash of reverberated sound that sustains forever. (See

Input

Decay

Glide Feedback

)

Reverb

Mix

Input

Level

Glide Delay

(Modulation)

Delay 2

(Predelay)

Diffusor

Reverb

Delay/Reverb

Dry Pan

Wet Pan

Mix

Output Level

Outpu

Dry Pan

Mix

Output

DELAY

Glidely Gldfbk Delay 2 - -

0-638ms 0-100% 0-179ms

(64µs steps) (20µs steps)

PITCH EQ

- - - HiCut LoCut

320Hz-11.6kHz, Full,

Full 19Hz-1.35kHz

REVERB

Decay Treble BassMpy Size Diffus

.6-6.1s, 320Hz-11.6kHz, .35x-2.50x 8M-71M 0-100%

Infinite Full

LEVEL

InLevl Mix Wet Pan Dry Pan OutLevl

0-100% 0-100% 100%L-51%L, 100%R-51%R, 0-100%

Center, Center,

51%R-100%R 51%R-100%R

MODULATION

LFO Rat Rvb Mix - - -

.03Hz-4.84Hz 0-100%

Parameter pages in the Delay/Reverb algorithm

3-3

LXP-15 II Owner's Manual

Lexicon

Delay/Reverb parameters

Glide Delay:The master predelay for this algorithm, providing up to 683ms of

delay. Glide Delay produces pitch shift effects while it is being modulated. Controlling Glide Delay with the LFO can produce vibrato, chorus and flanging effects.

When creating patches, Glide Delay is controlled from two patch page parameters. Gldlyhi provides coarse control over the entire delay range for the parameter (0-683ms). Gldly provides fine control over a smaller range (0-

16.1ms). Glide Feedback: A positive feedback loop around Glide Delay. When set to

maximum (100%), it continues to add input signal into the feedback loop. Use feedback for repeating echo effects and to deepen chorus/flanging effects created by modulating Glide Delay.

Delay 2: Reverb predelay following the glide delay. It can provide as much as179ms of additional delay.For setups that use a mix of both the glide delay and reverberator outputs, use Delay 2 to acoustically separate the two effects. Like Glide Delay, Delay 2 is controlled from two patch page parameters. Dly2hi provides coarse control over the entire delay range for the parameter (0-179ms). Dly2 provides fine control over a smaller range (5.04ms ).

HiCut: Adjusts high frequency roll-off for the algorithm. Roll-off is adjustable in 16 steps from flat to 320Hz.

LoCut: Adjusts low frequency roll-off for the algorithm. Roll-off is adjustable in 32 steps from flat to 19Hz.

Decay: Adjusts the reverb time for mid-frequency signals. Becase low frequency reverb time (Bass Multipy) is a multplier of decay time, this parameter acts as a master control for reverb time.

In this algorithm, Decay can be set to produce infinite reverb effects. When set to “Infinit,” sounds in the reverb continue to reverberate, but do not decay. (For a truly infinte reverb effect, all of the reverb page settings must be set appropriately. See

Patching Examples

for an example of this effect.) While decay is set to “Inifnit,” input is locked out of the reverberator. This allows you to play over the reverb wash, and prevents cumulative overloading. Experiment with controlling Decay with MIDI Velocity or the input envelope follower for performance control of this effect.

Treble : Sets the frequency above which sounds decay at a progressively faster rate. When set relatively low, it gives a darker tone to the reverberation, simulating the effect of air absorption in a real hall. Maximum setting gives a flat response through the filter section.

Bass Multiply: Sets the reverb time for low-frequency signals, as a multiplier of the Decay parameter. For example, if Bass Multiply is set to 2X and Decay is set for 2 seconds, the low-frequency reverb time will be 4 seconds. For a naturalsounding hall ambience, values of 1.5X or less are recommended.

3-4

Size: Sets the rate of buildup of diffusion after the initial period (which is set by Diffusion). It also acts as a master control for Decay. Because of this link, Size changes a reverb sound from very large to very small. Generally, you should set Size before adjusting anything else. The size in meters is roughly equivalent to the longest dimension of the space you are trying to create. Note that changing Size temporarily mutes the outputs.

Diffusion: Controls the degree to which initial echo density increases over time. High settings of Diffusion result in high initial buildup of echo density; low settings cause low initial buildup. Echo density is affected by Size — smaller spaces will sound denser. To enhance percussion, use high settings of Diffusion. For clearer and more natural vocals, mixes and piano music, use low or moderate Diffusion settings.

LFO Rate: Adjusts the rate of the internal Low Frequency Oscillator. Note that in order to hear the effect of changing the LFO Rate, the LFO must first be patched to control some parameter in the algorithm.

Reverb Mix: Adjusts the mix of reverb with glide delay effects. You can listen to the glide delay output without any reverb effects by setting Reverb Mix to 0.

The Algorithms

3-5

LXP-15 II Owner's Manual

Lexicon

Input

Input Level

Pitch/Delay

Predelay Feedback

Predelay

To get some idea of the types of sounds and effects that can be created with the Pitch/Delay algorithm, be sure to listen to and experiment with presets built on this algorithm. (See Chapter 5:

The Presets

The Pitch/Delay algorithm allows as many as six simultaneous effects in series: long delay with infinite looping, pitch shift, EQ, stereo delay, reverb, and a panner. Delay L can be fed back through the pitch shifter for cascade effects. Pitch/Delay is very useful for creating complex layered effects for instruments and vocals. For example, you can have filtered echoes, pitch shift chorusing, enhanced stereo spread, and reverb, all at once.

A special feature of this algorithm is loop sampling. The Predelay can be used as a loop sampler controlled by Predelay Feedback. Any Pitch/Delay setup can use the loop sampling feature. Choose a length for Predelay, and set Predelay Feedback to 100% to start recirculation and lock out further input. To precisely cue the end of the loop, set the Mix control to 0% and listen to the input. Once the loop is captured, experiment with changing Predelay to shorten it, or Interval to change its pitch.

Feedback

Pitch

Shifter

Delay L

Delay R

Reverb

Effect

Dry Pan

Reverb

Mix

Wet Pan

Mix

Output Level

Output

Dry Pan

Mix

3-6

DELAY

Predely PdlyFbk Delay L Feedbak Delay R

0-1.04s 0-100% 0-325ms 0-100% 0-325ms

(64µs steps) (20µs steps) (20µs steps)

PITCH EQ

Pitch Intervl PchFine HiCut LoCut

On, Off -2oct to +1oct -64 to +63 320Hz-11.6kHz, Full,

(in semitones) (128 steps) Full 19Hz-1.35kHz

REVERB

Decay Treble BassMpy Size Diffus

.6-6.1s, 320Hz-11.6kHz, .35x-2.50x 8M-33M 0-100%

Infinite Full

LEVEL

InLevl Mix Wet Pan Dry Pan OutLevl

0-100% 0-100% 100%L-51%L, 100%R-51%R, 0-100%

Center, Center,

51%R-100%R 51%R-100%R

MODULATION

LFO Rat Rvb Mix - - -

.03Hz-4.84Hz 0-100%

The Algorithms

Parameter pages in the Pitch/Delay algorithm

Predelay: The master predelay for the algorithm, providing as much as 1.04 seconds of delay. It serves as the base delay for the pitch shifter and stereo delay. It can also be used to capture and loop up to 1.04 seconds of audio to create loop sampler effects.

When creating patches, Predelay is controlled from two patch page parameters. Pdlyhi provides coarse control over the entire delay range for the parameter (0-

1.04s). Pdly provides fine control over a smaller range (0-16.1ms). Predelay Feedback: A postive feedback loop around predelay. When set to

maximum (100%), it locks out further input and begins an infinte loop with a length equal to the current setting of Predelay.

Delay L: Reverb predelay and source for left channel unreverberated signal and feedback. Like Predelay, Delay L is controlled from two patch page parameters. DlyLhi provides coarse control over the entire delay range for the parameter (0325ms). DlyL provides fine control over a smaller range (0-5.04ms).

Feedback: A positive feedback loop around the pitch shifter, EQ and Delay L. When the pitch shifter is enabled, feedback will produce

cascade

effects. Short Delay L times will produce chords; long Delay L times will produce arpeggios. The higher the feedback setting, the more notes in the chord or arpeggio. If HiCut or LoCut are set to produce roll-off, feedback will increase the roll-off with each recirculation. When set to maximum (100%), feedback continues to add input signal into the feedback loop.

Pitch/Delay parameters

Delay R: Delay for right channel unreverberated signal. Like Predelay, Delay R

is controlled from two patch page parameters. DlyRhi provides coarse control over the entire delay range for the parameter (0-325ms). DlyR provides fine control over a smaller range (0-5.04ms ).

3-7

LXP-15 II Owner's Manual

Lexicon

Pitch On/Off: Enables the pitch shifter. Selecting “Off” bypasses the pitch shifter and the small delay associated with it.

Interval: Adjusts the pitch shift in semitone increments from two octaves below to one octave above the original pitch. Control this parameter with Last Note, High Note or Low Note for MIDI harmonizer or loop sampler effects.

Pitch Fine: Provides a fine adjustment of pitch for detuning effects. The MIDI source range of 0-127 is interpreted as being centered on 64. Control this parameter with such sources as the LFO and input envelope follower to produce vibrato, doubling and detune effects.

HiCut and LoCut: Adjusts high-frequency and low-frequency roll-off. Setting both HiCut and LoCut to “Full” gives a flat response through the EQ block. The EQ block of this algorithm is within a feedback loop. When roll-off (either HiCut or LoCut) is used with feedback, the amount of roll-off will increase as the recirculation is increased. Also, if the predelay loop is used for loop sample effects, the EQ section can dynamically alter the tone of the loop.

Decay: Adjusts the reverb time for mid-frequency signals. Becase low frequency reverb time (Bass Multipy) is a multplier of decay time, this parameter acts as a master control for reverb time.

LFO Rate: Adjusts the rate of the internal LFO. Note that in order to hear the effect of changing the LFO Rate, the LFO must first be patched to control some parameter in the algorithm.

3-8

Reverb Mix: Adjusts the mix of reverb with pitch shift/EQ/stereo delay effects.

The Algorithms

To get some idea of the types of sounds and effects that can be created with the Gate algorithm, be sure to listen to and experiment with presets built on this algorithm. (See Chapter 5: The Presets.)

The Gate algorithm is a reverb effect with a fairly constant sound and no decay until the reverb is cut off abruptly. This algorithm is a popular choice for percussion – particularly for snare and toms, but be sure to experiment with other sound sources as well.

The Mix, Predelay, and Treble parameters are very important in this algorithm, allowing you to create anything from an enhancement or subtle thickening, to a solid wall of reverb.

Input

Level

Input

Treble

Predelay Feedback

Diffusor

Predelay

Gated

Reverb

Gate

Dry Pan

Wet Pan

Dry Pan

Mix

Output Level

Mix

Output

Output L

DELAY

Predely PdlyFbk - - -

0-262ms -99% to +99%

(32µs steps)

PITCH EQ

--- --

REVERB

Slope Treble - Size Diffus

0-127 320Hz-11.6kHz, 8M-39M 0-100%

(128 steps) Full

LEVEL

InLevl Mix Wet Pan Dry Pan OutLevl

0-100% 0-100% 100%L-51%L, 100%R-51%R, 0-100%

Center, Center,

51%R-100%R 51%R-100%R

MODULATION

LFO Rat - - - -

.03Hz-4.84Hz

Parameter pages in the Gate algorithm

3-9

LXP-15 II Owner's Manual

Lexicon

Gate parameters

Predelay: A predelay providing up to 262ms of delay. It is located after Treble

and Diffusion and before the gated reverb . Relatively short predelay times (60ms or less) will add depth to gate effects that use a mix of wet and dry signal. Longer predelay times will produce a noticeable slap, or echo, between the wet and dry signals.

When creating patches, Predelay is controlled from two patch page parameters. Pdlyhi provides coarse control over the entire delay range for the parameter (0262ms). Pdly provides fine control over a smaller range (3.96ms).

Predelay Feedback: A feedback loop around Treble, Diffusion, and Predelay. When set to maximum (±99%), it continues to add input signal to the feedback loop. Feedback can be positive or negative. Note that since Treble and Diffusion are within the feedback loop, their effects on the overall sound will be enhanced as feedback is increased.

Slope: Determines how the amplitude builds over time (Size). Low Slope settings result in a higher amplitude at the beginning of the gated reverb; high Slope settings result in a higher amplitude at the end of the gate.

Treble: Adjusts high-frequency roll-off. Setting Treble to “Full” gives a flat response. As noted above, Treble is within the Predelay feedback loop. If Treble is set to some value other than Full, then the roll-off slope at the selected frequency will increase with each pass through the feedback loop. For example, if Predelay and Predelay Feedback are set to produce echoes (200ms and 75%) and Treble is set to 1.92kHz, the echoes will become progressively darker.

Size: Sets the rate of buildup of diffusion after the initial period (which is set by Diffusion). It also acts as a master control for Slope. Because of this link, Size changes a gated reverb sound from very large to very small. Generally, you should set Size before adjusting anything else. The size in meters is roughly equivalent to the longest dimension of the space you are trying to create. Note that changing Size temporarily mutes the outputs.

Diffusion: Controls the degree to which initial echo density increases over time. High settings of Diffusion result in high initial buildup of echo density; low settings cause low initial buildup. Echo density is affected by Size — smaller spaces will sound denser. To enhance percussion, use high settings of Diffusion. Like Treble, Diffusion is also inside the Predelay feedback loop. When feedback and diffusion are used together, the amount of diffusion will increase with each repetition of the loop.

LFO Rate: Adjusts the rate of the internal LFO. Note that in order to hear the effect of changing the LFO Rate, the LFO must first be patched to control some parameter in the algorithm.

3-10

The Algorithms

To get some idea of the types of sounds and effects that can be created with the Plate algorithm, be sure to listen to and experiment with presets built on this algorithm. (See Chapter 5: The Presets.)

The Plate algorithm is a reverb simulator that produces reverb effects with the characteristic sound of metal-plate reverberators. It has high initial diffusion and a relatively bright, colored sound. Its effect is designed to be heard as part of the music, enhancing and thickening the source material. The Plate algorithm is often the best choice for percussion, and also works well with other types of source material such as acoustic guitars and piano.

Input

Level

Treble

Diffusor Predelay

Predelay Feedback

Plate

Reverb

Plate

Dry Pan

Wet Pan

Dry Pan

Mix

Output Level

Output L

Output

DELAY

Predely PdlyFbk - - -

0-262ms -99% to +99%

(32µs steps)

PITCH EQ

--- --

REVERB

Decay Treble BassMpy Size Diffus

.6-6.1s 320Hz-11.6kHz, .35x-2.50x 8M-87M 0-100%

Full

LEVEL

InLevl Mix Wet Pan Dry Pan OutLevl

0-100% 0-100% 100%L-51%L, 100%R-51%R, 0-100%

Center, Center,

51%R-100%R 51%R-100%R

MODULATION

LFO Rat - - - -

.03Hz-4.84Hz

Parameter pages in the Plate algorithm

3-11

LXP-15 II Owner's Manual

Lexicon

Plate parameters

Predelay: Predelay for the plate. When creating patches, Predelay is controlled

from two patch page parameters. Pdlyhi provides coarse control over the entire delay range for the parameter (0-262ms). Pdly provides fine control over a smaller range (3.96ms).

Predelay Feedback: A feedback loop around the predelay. It can be set for positive or negative feedback. When set to maximum (±99%), input signal continues to be added to the loop.

Decay: Adjusts the reverb time for mid-frequency signals. Becase low frequency reverb time (Bass Multipy) is a multplier of decay time, this parameter acts as a master control for reverb time.

Diffusion: Controls the degree to which initial echo density increases over time. High settings of Diffusion result in high initial buildup of echo density; low settings cause low initial buildup. Echo density is affected by Size — smaller spaces will sound denser. To enhance percussion, natural vocals, mixes and piano music, use high settings of Diffusion.

LFO Rate: Adjusts the rate of the internal LFO. Note that in order to hear the effect of changing the LFO Rate, the LFO must first be patched to control some parameter in the algorithm.

3-12

The Algorithms

To get some idea of the types of sounds and effects that can be created with the Chorus Delay algorithm, be sure to listen to and experiment with presets built on this algorithm. (See Chapter 5: The Presets.)

The Chorus Delay algorithm is a six voice chorus configured as three stereo pairs. Delay 1 sets the base delay for all three pairs, Delay 2 and Delay 3 set an additional delay offset for Chorus 2 and Chorus 3. Random chorusing of ±4ms of all three pairs is controlled by Chorus Rate. The feedback loop around Chorus 1 and Chorus 3 provides positive and negative feedback for dramatic chorus and flanging effects.

Input

Input Level

Input

Feedback 3

Delay 1

Delay 3

Delay 2

Chorus 3

Chorus 1

Chorus 2

Diffusion,

Treble

Chorus Delay

Dry Pan

Wet Pan

Mix

Output Level

Output L

Dry Pan

Mix

Output

DELAY

Delay1 - Delay2 Feedbk3 Delay3

0-794ms 0-1.04s -99% to +99% 0-1.04s

(8.19ms steps) (8.19ms steps) (8.19ms steps)

PITCH EQ

- - - Treble -

320Hz-11.6kHz,

Full

REVERB

- - - - Diffus

0-100%

LEVEL

InLevl Mix Wet Pan Dry Pan OutLevl

0-100% 0-100% 100%L-51%L, 100%R-51%R, 0-100%

Center, Center,

51%R-100%R 51%R-100%R

MODULATION

LFO Rat ChorRat - - -

.03Hz-4.84Hz 1-16

(16 steps)

Parameter pages in the Chorus Delay algorithm

3-13

LXP-15 II Owner's Manual

Lexicon

Chorus Delay parameters

Delay 1: Delay setting for the first pair of chorus outputs providing up to 794ms

of delay. Also the base delay setting for the Delay 2 and Delay 3. When creating effects with multiple delay settings, use Delay 1 to set the

shortest

delay.

Delay 2: The delay setting for the second pair of chorus outputs providing up to

1.04 seconds of additional delay. Note that the total delay setting for this pair of outputs is the value of Delay 1 added to Delay 2. (The maximum total delay is

1.798 seconds.) Delay 3: The delay setting for the third pair of chorus outputs providing up to 1.04

seconds of additional delay. Note that the total delay setting for this pair of outputs is the value of Delay 1 added to Delay 3. (The maximum total delay is

1.798 seconds.) Feedback 3: Feedback loop around Delay 1 and Delay 3. When set to maximum

(±99%), it continues to add input signal to the loop. Note that feedback in this algorithm can be either positive or negative. Both produce a more pronounced chorusing effect, but each produces a different tonal quality for a given set of delay values.

Treble: Adjusts the high frequency roll-off of the summed stereo outputs of the three chorus voices.

Diffusion: Adjusts the diffusion of the summed stereo outputs of the three chorus voices. Higher diffusion settings will soften the attack of percussive sounds.

Chorus Rate: Adjusts the overall depth and rate of all three chorus voices. LFO Rate: Adjusts the rate of the internal LFO. Note that in order to hear the

effect of changing the LFO Rate, the LFO must first be patched to control some parameter in the algorithm.

3-14

The presets in the LXP-15 II provide you with a wide range of sounds and effects which you can use right out of the box. You can create new sounds simply by calling up one of these presets and experimenting with the parameters until you get a sound that you like. Not only can you adjust parameters with the front-panel ADJUST knob, but you can change them automatically with a number of control Sources. This ability to assign a control Source to an effect parameter is called “patching.” It is one of the most powerful features of the LXP-15 II. Patching allows you to create sounds and effects that change dynamically in response to real-time performance.

To exploit the full potential of the LXP-15 II’s patching abilities, it is helpful to understand which parameters control different aspects of an effect—and what, in fact, each effect is. Following is a brief overview of some common effects. If you are already familiar with these, you may want to skip ahead to the next section where we discuss patching on the LXP-15 II.

Creating Sounds and Effects

Sounds have distinctive characteristics which make them recognizable to us. It is no surprise then that an analysis of the sound waves generated, for example, by a piano can be readily distinguished from those generated by a wind instrument. The art of synthesizing sounds such as these is now commonplace. The simulation of effects is more concerned with our perception of sounds and, generally, requires synthesis of the environment in which sounds occur — effects can create the impression of a piano playing in a padded cell, for example, or in a concert hall.

All sounds are affected by their environment. From the moment a sound is generated and begins to travel (at the rate of one foot in about .9 milliseconds), it begins to change — merely passing through the air absorbs some of its energy. In the real world, sounds are distorted in a variety of ways between the time they occur and the time it takes them to reach our ears. They bounce off of near and far surfaces, each of which absorbs some of their energy and reflects them in various directions. Sounds seem to change in pitch when generated by moving objects as they approach and recede from us. Our perception of sounds changes as we approach their source, and as we hear them in different settings. Even the difference in the amount of time it takes a sound to reach our two ears contributes to the audio clues we use to identify sounds and to accurately locate their sources.

All of these characteristics can be used to simulate environments, to create the effect of sounds reaching us from a great distance, of performances in vast halls or tiny rooms. Extensive research into the acoustic properties of rooms, etc. has gone into the design of the LXP-15 II. The basic parameters of different environments have already been defined and are at your disposal when creating your own effects.

Sounds and Effects

4-1

LXP-15 II Owner's Manual

Lexicon

Reflections

Echo

Slap Echoes

When a sound is reflected from walls and other surfaces, it loses some of its high frequency content. If the surface is soft, or padded, such as a curtain or rug, more high frequency content will be lost than if the surface is hard like tile or paneling. Harder surfaces give rise to more reverberation; they are more “live”.

True echo occurs when a sound bounces off an acoustically hard surface; its return is heard as a distinct repetition of the original sound. When synthesizing an echo, the level and the high frequency content of the delayed sound, relative to the original sound in the output mix, gives audible clues as to the hardness of the reflecting surface(s). The intial delay time determines the impression of the relative distance between the sound source, the imaginary reflecting surface, and the listening position. Long delay times provide a very distinct repetition of the source. Recirculation of the delayed sound (feedback) provides multiple repetitions, and suggests two or more reflective surfaces that are bouncing the sound back and forth.

An echo of around one-tenth of a second (100 milliseconds) delay time can be heard as a distinct repetition of the original, but is so close that it is heard more as a rhythmic enhancement rather than as a separate sound. A repeat of this type is commonly called a “slap echo”. Often, the delay time is carefully adjusted so that a simple relationship exists between the tempo of the music and the delay time. On drums, the slap is often positioned on the opposite side of the stereo field from the original sound. Careful use of slap echoes can increase the rhythmic density and spatial interest of a musical arrangement. The "Tempo" patch source of the LXP-15 II can be used to automatically synchronize slap rhythms to a wide range of MIDI tempos.

Ambient echo

Plates

Ambient echo effects simulate sound reflections from room surfaces — with random reflections, a gradual decay of overall level, and a gradual narrowing of the bandwidth. If the reflected sound continues to bounce back and forth between surfaces, it provides a long decaying “tail”. To produce this effect, use 30-100ms of delay, in conjunction with feedback. Experiment with Hi and Lo cut filters to simulate different absorption characteristics of the reflecting surfaces (and of the air between them). To further enhance diffusion, try very small amounts of LFO modulation of delay time at a slow rate.

Delay settings can be varied to create larger or smaller spaces. The longer the delay times, the larger the space. Variation in the amount of feedback corresponds to the hardness of the imaginary reflecting surfaces, and use of rolloff can simulate the effects of air absorption on the high end of the sonic spectrum.

Plate effects were originally generated by large, thin sheets of metal suspended upright under tension on springs. Transducers attached to the metal plate would transmit a signal which would, in turn, vibrate the plate. Because the plate provided a denser medium than air, sounds broadcast through it would seem to be occurring in a large open space. Synthesized plate effects mimic the sound of metal plates, with high initial diffusion and a relatively bright, colored sound. They are designed to be heard as part of the music, mellowing and thickening the initial sound itself. The plate sound is what most people used to associate with the term “reverb”, and it is useful for all popular music, particularly percussion. The LXP-15 II has a Plate algorithm dedicated to these effects.

4-2

Creating Sounds and Effects

Vibrato is the effect produced by small, regular variations in a sound’s pitch; guitar vibrato, for example, is created by alternately stretching and relaxing the strings. The LXP-15 II can create automatic regular vibrato for a single instrument, or mix of sounds, by means of sine wave modulation (LFO) of Glide Delay or Pitch fine. Personal control of the rate of vibrato can be created by patching an external foot pedal to the LFO.

Short delays (5ms) should be used with no feedback, and 100% delayed sound fed to the output. Moderate depth is more natural sounding, especially with realistic rate settings. (Both depend on the instrument and the music.)

True doubling is done by having a performer overdub a performance on a different track of a multitrack recorder. When the “takes” are synchronized, the normal variations in each performance provide enhancement — the effect is to “thicken” vocal tracks. Synthetic doubling combines the original sound with a delayed version (30ms) in order to make a single performer sound like two or more. The illusion of double tracking can be greatly improved by introducing a small amount of pitch vibrato (modulation of Glide Delay or Pitch fine), particularly if some envelope follower modulation (InLvl) is combined with sine wave modulation (LFO). This makes the pitch variations seem more random, more like what actually happens when a performer dubs in a second part.

Chorusing is closely related to the doubling effect, but is more suggestive of a rotary speaker. The delay times used are usually somewhat shorter (20ms), the LFO modulation may be a little more exaggerated and, very often, feedback is introduced to increase the intensity of the effect. There are many possible variations of the chorusing effect; some shade into flanging, or doubling, or even echo. The LXP-15 II provides a Chorus Delay algorithm which allows all of these variations.

Vibrato

Doubling

Chorusing

Originally, flanging effects were created by simultaneously playing two identical programs on two tape recorders. By using hand pressure against the flange of the tape reels, one machine was slowed down slightly, then the other. The result was a series of changing phase cancellations and reinforcements, providing a “comb filter” and a characteristic swishing tunneling and fading sound.

Flanging with a delay is much simpler; two tape recorders need not be kept in relative sync. In fact, no tape machine is necessary — flanging can be done as a live effect. A short delay (5-10ms), modulated by an LFO, is mixed with the original signal, causing cancellation (nulling) at a frequency whose period (the time for one cycle) corresponds to twice the delay time. Cancellation also occurs on odd harmonics of that frequency. The depth of cancellation depends on the level balance of direct and delayed sounds; maximum cancellation occurs at a 50-50 mix.

The flanging effect can be further altered by recirculating the delay with the feedback control. Larger amounts of feedback cause exaggerated “deep” flanges. Use of the envelope follower produces an interesting “talking flange”; where a sweep is produced for each attack of the input. Envelope and sine wave modulation can be mixed for a complex sweep which is really quite pleasing.

Flanging

4-3

LXP-15 II Owner's Manual

Resonant Effects Singing in the shower is one way to obtain a moderate, natural resonant effect.

Lexicon

Startling resonances are possible with the LXP-15 II by using short delay times with a lot of feedback. This causes a build-up of fundamental notes and harmonies whose period (the time for one cycle) is equal to the set delay time. These emphasized pitches are said to “resonate”. The effect can be characterized as adding a ringing, metallic quality to the sound.

The pitch and tone of the resonance is affected by delay time, phase, amount of feedback, and output mix. Care must be taken to keep feedback below the point where the unit will spontaneously oscillate (runaway feedback). Use of the Hi and Lo cut filters allows greater amount of feedback to be used.

Long Delay Effects

Gating

Pitch Shifting

When the delay time is equal to, or greater than, the time for a single beat of the music, it becomes possible to play counterpoints and harmonies against previously-performed phrases. Careful synchronization of the performance and the delay time allows “polyphonic” sound from a single melodic line. A chart showing conversion of tempo (in beats/minute) to Delay Time (in milliseconds) is given at the end of this manual. The "Tempo" patch control source can be used to automatically synchronize rhythms to a wide range of MIDI tempos.

With no feedback, only one previous phrase will be audible; if feedback is added, each delay period will repeat more than once before it dies away. With large amounts of feedback, the performances will pile up, one phrase over another, until input to the delay line ceases. Using this overlay technique, it is possible to create compositions and rhythmic beds in real-time that can be continuously evolved by adding new notes as older ones are fading out.

Gating is an effect which does not have its origins in real-world situations (except perhaps the silent slamming of a heavily insulated door shutting off all sound beyond it.) Gating allows you to cut off reverberation at any point before its natural decay time — which is in itself a dramatic effect. The LXP-15 II has a Gate algorithm dedicated to these effects.

Altering the pitch of the duplicate of a sound allows a variety of effects ranging from subtle vibrato to extreme swings in pitch. Pitch shifting can be used to create chorusing, doubling effects, or musical harmonies. The LXP-15 II has a Pitch/Delay algorithm dedicated to these effects. Use LFO modulation or Pitch fine for vibrato; use MIDI Note Number control of Pitch Interval for harmonizing.

4-4

Creating Sounds and Effects

A sound source can be located along two dimensions in the stereo field: lateral (left–right) and frontal (near–far). Lateral perception of a sound is affected by relative differences between left ear and right ear perception of loudness and the arrival time of sound from a single source. For lateral localization effects, you can control the left-right loudness of both the dry and wet signal with Dry Pan and Wet Pan. You can also create lateral localization effects by setting up a relative delay between the left and right signals. The sound will be perceived as comming from the undelayed side. Increasing the delay will increase the lateral shift. (Since the maximum distance between the ears and any path a sound might take to the ears is less than one foot, the maximum delay used for lateral localization is less than one millisecond.)

Frontal perception of sound is affected by such factors as relative loudness, high-frequency content and the relative mix of direct and reflected sound. As the sound source moves away, it grows softer, its high-frequency content decreases and more reflected sound is heard. If the source is moving relatively quickly, a pitch shift is heard as well. The pitch increases as the source approaches and decreases as it moves away. You can create frontal localization effects by controlling input/output levels, high-frequency roll-off, dry/wet mix, and pitch.

A useful localization effect for sound reproduction is to use delays to eliminate echoes and increase the intelligibility of sound systems.

Time delay can't eliminate refelections from walls or boundaries, but it can be used to eliminate the confusion that results when sound arrives at the listener from different loudspeakers at different times.

Localization

Ideally, the sound should arrive at the listener first from the main speakers and then about 20 milliseconds later from the auxiliary speaker (like the delay towers near the middle of the audience at a large rock concert). The LXP-15 II can provide two delay paths for two zones of auxiliary speakers by using the stereo delay in the Pitch/Delay algorithm.

The correct amount of delay can be approximated by using the formula:

(d x .885) + 20

where d = the difference in the path length to the listener from the main and the auxiliary speaker.

The result is the approximate number of milliseconds of delay required for the auxiliary speaker.

4-5

LXP-15 II Owner's Manual

Lexicon

Patching

Sources

Patching, as described previously, is the ability to assign a control (

any LXP-15 II parameter (

Destination

). This allows you to alter the value of the

Source

) to

parameter by manipulating the control Source. For example, you can use a foot pedal as a Source and ouput level as a Destination. This patch will allow you to dynamically alter the volume of the sound with the motion of your foot. You can specify what position of the pedal corresponds to the initial setting of the parameter (pedal down, pedal up, or anywhere in between.) Furthermore you can specify how much of a change will be produced by a full sweep of the pedal, and which direction of motion (up or down) corresponds to an increase or decrease of the parameter value.

All Sources are the same in the sense that each generates an output value in the range of 0-127. The output value is used to increase or decrease the initial setting of a Destination parameter. Sources differ in the manner in which they generate an output. Some generate values continuously (they’re always “on”); some generate output based on the position of a particular slider, pedal or wheel on an external MIDI instrument. Some Sources generate output based on aspects of physical performance such as how loud, how fast, or how hard you play. The LXP-15 II allows you to choose from a selection of 78 different Sources for each Destination. A table of the Sources available on the LXP-15 II is shown on the following page, followed by a brief description of the different types of control Sources.

4-6

Creating Sounds and Effects

Source Description Type

InLevl internal controller input envelope follower Foot 5 rear-panel analog controller slider or switch Foot 4 rear-panel analog controller slider or switch Foot 3 rear-panel analog controller slider or switch Foot 2 rear-panel analog controller slider or switch Foot 1 rear-panel analog controller slider or switch Hi Note highest MIDI note played note number Low Note lowest MIDI note played note number LFO Out internal controller LFO sinewave Tempo MIDI clock tempo PchBend MIDI pitch bender bidirectional slider Aftrtch MIDI channel pressure pressure Velocty MIDI note on velocity velocity LastNot last MIDI note played note number PhasDep MIDI phaser depth control slider DetDept MIDI detune control slider ChorDep MIDI chorus depth control slider TremDep MIDI tremolo depth control slider ExtDept MIDI ext effect depth control slider 70-90 MIDI controllers 70-90 slider Hold 2 MIDI hold2 ON/OFF switch 68 MIDI controller 68 slider Soft MIDI soft pedal switch Sosten MIDI sostenuto switch Portmnto MIDI portamnto ON/OFF switch Sustain MIDI sustain pedal switch 12-31 MIDI controllers 12-31 slider Expresn MIDI expression controller slider Pan MIDI pan controller bidirectional slider 9 MIDI controller 9 slider Balance MIDI balance controller bidirectional slider Volume MIDI volume controller slider Data MIDI data controller slider PortTim MIDI portamento time slider Foot MIDI foot controller slider 3 MIDI controller 3 slider Breath MIDI breath controller pressure Mod Whl MIDI modulation wheel slider 0 MIDI controller 0 slider

Control Sources

4-7

LXP-15 II Owner's Manual

Lexicon

LFO

Input Envelope Follower

The LFO Source is an internally generated low-frequency sinewave. The LFO rate is variable from 0.03Hz to 4.84Hz. The LFO will produce smooth, continuous changes of a parameter value. Use it to create such effects as vibrato, chorus, and flange.

LFO

127

OUTPUT

TIME

The Input Envelope Follower (InLevel) is an internal Source that generates output based on the loudness (amplitude) of the input signal. The louder the input signal, the greater the output of the envelope follower. Use the Input Envelope Follower to create effects that change with the natural dynamics of the audio signal.

TIME

127

INPUT AUDIO SIGNAL

AMPLITUDE

OUTPUT

4-8

Creating Sounds and Effects

Each of the five rear-panel foot controller phone jacks can be connected to any compatible analog footswitch or pedal. These correspond to Sources Foot 1 through Foot 5. Foot pedals and switches allow you to control parameters during performance while keeping your hands free. You can also make your own analog rotary or slider controls using the following wiring diagram as a guide. Analog rotary and slider controls are good choices for controlling parameters used to fine tune the overall effect.

Footswitch Wiring

(switch or continuous)

Tip

1/4" Standard Phone Plugs

Sleeve

Ring

Sleeve

TIP RING SLEEVE

TIP SLEEVE

PEDAL

~50K

MOMENTARY CONTACT OR PUSH-ON/PUSH-OFF

Analog Controllers

Typical Pot(entiometer)

Sleeve Tip

Ring

Almost all of the controllers found on a MIDI keyboard or other MIDI instrument can be used as Sources patched to control LXP-15 parameters in real-time. This feature is called Dynamic MIDI®. Most of the MIDI Sources correspond to MIDI

continuous controllers

(Mod Wheel, Volume, Sustain Pedal, etc.). The rest correspond to other specific MIDI messages (Velocity, After Touch, Note Number, Pitch Bend and MIDI Clock). Although there are more than 70 MIDI Sources recognized by the LXP-15 II, they can be grouped into six types of controls: sliders, switches, pressure, note number, velocity and tempo.

Not all messages are transmitted by every MIDI instrument. The

Implementation Chart

supplied with the MIDI instrument will detail which

MIDI

particular messages it can transmit.

MIDI Sources

4-9

LXP-15 II Owner's Manual

Lexicon

MIDI Sliders

Slider Sources correspond to some type of slider, pedal or wheel on the MIDI instrument. The output is determined by the physical position of the slider or wheel. Most sliders and wheels are implemented as unidirectional controllers. “Off” or “no change” corresponds to the minimum position. Pitch Bend, Pan and Balance are implemented as bidirectional controllers. “Off” or “no change” corresponds to the middle position of the control.

MIDI SLIDERS

127

SLIDER WHEEL

PEDAL

MIDI Switches

The Switch Sources correspond to foot switches or front panel switches on the MIDI instrument. Switches generate 0 when the corresponding control is “off” and 127 when it is “on”.

SWITCHES

OFF = 0 ON = 127

UP = 0 DOWN = 127

4-10

Creating Sounds and Effects

After Touch and Breath Sources correspond to pressure-type controllers on the MIDI instrument. After Touch produces output based on how hard the keys of a MIDI controller are pressed down after the initial velocity. Breath produces output based on how hard you blow into a wind controller. Minimum pressure generates 0 and maximum pressure generates 127. Note that these controllers differ from other MIDI controllers in that they are “return-to-zero” controllers. Their output will always cycle smoothly from 0 to some higher value (corresponding to the maximum amount of pressure applied to the controller) and then return to 0 again. Use After Touch and Breath to control parameters that will produce audible changes in the sound of an effect as it is processing audio.

PRESSURE

MIDI Pressure

127

The Note Number Sources produce output based on the note played on the MIDI instrument. For reference, Note Numbers are shown here as they correspond to a MIDI keyboard, but they can also be generated from non-keyboard devices such as sequencers, guitar, wind and percussion controllers. Use Note Number controllers to control parameters that you want to vary within the pitch range of the control Source. (For example, a keyboard-controlled auto pan.) There are three different types of Note Number control Sources on the LXP-15 II: LastNote, LowNote, and HiNote. LastNote generates output based on the last note played. LowNote is similar to LastNote except that when more than one note is played at once, it generates output based on the lowest note played. HiNote is the same as LowNote, except it generates output based on the highest note played when more than one note is played at once.

NOTE NUMBER

0 12 24 36 48 60 72 84 96 108 120 127

MIDI Note numbers

Standard Keyboard

4-11

LXP-15 II Owner's Manual

3 4

Lexicon

MIDI Velocity

MIDI Tempo

The Velocity Source generates output based on the Note On velocity transmitted by the MIDI instrument. Depending on the type of controller, this corresponds to how quickly a key is depressed, how hard a string is picked, how hard a percussion pad is struck, etc.

VELOCITY

Slowest = 1

Fastest = 127

Tempo is different from other control Sources in that its value is determined by the rate of incoming MIDI Clock messages rather than by the physical position of a pedal, slider or other controller. Slower clock rates produce higher Tempo values; faster clock rates produce lower Tempo values. This allows you to create rhythmic echoes and other effects that can be synchronized to the tempo of MIDI drum machines and sequencers. In order to use Tempo patches, the MIDI Clock output of a drum machine or sequencer must be patched into the LXP-15’s MIDI IN port. In

Using Scale with Tempo

, we’ll describe how to use Tempo to produce

specific rhythm values.

MIDI Out

(MIDI clock)

MIDI In

Sequencer, Drum machine or Computer

exicon

INPUT OUTPUT

HEADROOM

ADJUST PAGE

Reverb Pitch/EQ

OVL

12 18 24

VIEW

Dly Setup Store Name Global MIDI

POWER

Level

Mod

Patch 1

LXP-15

Patch 2 Patch Patch

Sys

LXP-15 II

4-12

Creating Sounds and Effects

There are two types of patches possible on the LXP-15 II: Global patches and General Purpose patches. Global patches, accessed by turning PAGE to “Global,” are simple Source-to-Destination links that are active for all setups. As

Global and General Purpose Patches

many as 28 global patches can be active at once. General Purpose patches provide a more flexible Source-to-Destination link. General Purpose patches allow you to customize the range and sensitivity of control with threshold and scale functions. There can be as many as four General Purpose patches per setup. The four General Purpose patches for each setup are accessed by turning PAGE to “Patch 1,” Patch 2,” “Patch 3,” and “Patch 4.”

Delay/Reverb Pitch/Delay Gate Plate Chorus Delay

Algthm (global patches only) Glidely Predely Predely Predely Delay 1 Gldyhi Pdlyhi PredlyHi PredlyHi 2 Gldfbk PdlyFdbk PdlyFbk PdlyFbk Feedback 3 Delay 2 Delay L 4 4 Delay 2 Delay2hi DlyLhi 5 5 5 6 Feedbak 6 6 6 7 Delay R 7 7 Delay 3 8 DlyRhi 8 8 8 9 Pitch 9 9 9 10 Intervl 10 10 10 11 PchFine 11 11 ChorRat Decay Decay Slope Decay 12 Treble Treble Treble Treble 13 BassMpy BassMpy 14 BassMpy 14 Size Size Size Size 15 Diffus Diffus Diffus Diffus Diffus HiCut HiCut 17 17 Treble LoCut LoCut 18 18 18 Rvb Mix Rvb Mix 19 19 19

WetPan

Dry PanMix

OutLevel

InLevl

LFO Rat

Setup + (global patches only)

SetUp - (global patches only)

Destination Parameters

4-13

LXP-15 II Owner's Manual

Lexicon

Setting up Global

Patches

Mode

NOTE: The Udpate function on the “Sys” page is an aid to creating patches. When Update is set to “On,” the displayed Destination and Offset values will change as the Source controller is moved. This allows you to see the effect of a Source on its Destination. The Update function affects the response time of the LXP-15 II. Once you’ve got the patch set up the way you want, set Update to “Off” for the fastest response during performance.

Global patches can be enabled/disabled from the front-panel of the LXP-15 II. To do this, simply turn the PAGE knob to “Global.” The display will show:

PgmChg MapVal Dest Source Mode

XX X X X

Pressing the button directly beneath “Mode” allows ADJUST to select: Off, Delayed or Immed.

Off disables all global patches. When Delayed is selected and a new setup is recalled, the Destination values

will remain at their initial settings until the assigned controllers are moved.

Dest and Source

When Immed is selected and a new setup is recalled, the Destination values will immediately change to the current value of the assigned controllers.

NOTE: Set the Source for all Destinations you

don’t

want to control globally to “Off.” If the Destination is set to a Source not physically connected to the LXP-15 II, its value will jump to minimum when in the Immediate mode.

The Delayed mode is the best choice for most applications because the inital settings are retained until a control Source is moved.

Pressing the button immediately beneath Dest allows ADJUST to select any of the Destinations shown in the

Destination Parameters

table on the previous page. Destinations that are active in the algorithim of the current setup are displayed with a text label (Pitch, Delay L, etc.). Inactive Destinations are indicated by a number. As you scroll through the available Destinations, the Source currently assigned to each Destination will also be displayed. To change the Source assignment for any displayed Destination, press the button directly beneath “Source.” ADJUST will now allow you to select any Source. Selecting “Off” as a Source disables the Source assignment (i.e. there will be no global patch assignment for the displayed Destination).

The relationship of Source position to Destination value is as follows for all Global patches: As the Source is moved from its minimum position to its maximum position, the Destination changes from its minimum value to its maximum value.

4-14

Creating Sounds and Effects

The Global patching system is provided so you can customize the overall response of the LXP-15 II to your specific needs. Here are some general things to keep in mind about Global patching:

• The Delayed mode is the best choice for most performance applications since it retains recalled settings until you move a patched control.

• The Immed mode is the best choice for editing sessions when you want to create new setups “from scratch.”

• Don’t assign Algthm or Size to performance Sources like Velocity, Note Number, etc. These two parameters temporarily mute the outputs of the LXP-15 II when they are changed.

• Although you can have as many as 28 global patches active at the same time, be aware that large numbers of active patches may cause the response time of the LXP-15 II to slow down. (During performance, always set the Update mode on the Sys page to “Off” for optimum response time.)

• Global patches provide control over the entire range of the assigned Destination. The minimum and maximum values of the Destination correspond to the mimimum and maximum positions of the Source. If you want to tailor the response of the Destination to the Source, use a General Purpose patch instead of a Global patch.

• Several delay times can be controlled with either fine or coarse parameters. The coarse parameters: Gldyhi, Pdlyhi, DlyLhi, etc., allow you to control the entire delay range with the Source. The fine parameters: Glidely, Predely, Delay L, etc., provide very fine control over a small portion of the total range. Use the coarse parameters for dramatic changes, and the fine parameters for subtle enhancements.

• Assigning the LFO Source to multiple Destinations may cause the response time of the LXP-15 to slow down.

• Controlling the LFO Rat Destination will not produce any audible effect unless LFO Rat is first patched to control some other Destination.

Tips for Using Global Patches

With a momentary-contact footswitch, you can specify a global patch that will allow you to step sequentially through your setups.To do this, set up a global patch (in

Delayed

mode) with "Setup +" as a destination and "Foot 1" (or whichever footswitch connector you are using) as the source. With global patches enabled, every click of the footswitch will increment the setup number, allowing you to cycle through all presets and registers. The current setup will always be the starting point of the cycle. You can also choose "Setup -" as a destination to reverse direction.

Performance Tip:

Arrange your setups in the registers to match your set list. By selecting the first register at the beginning of your first set, you can simply click through all the setup changes you need.

Footswitch Control of Setup Change

4-15

LXP-15 II Owner's Manual

Lexicon

Footswitch Control of

Mute and Bypass

Level Page Parameters

You can use a toggle footswitch (switch open = maximum value, switch closed = minimum value) or a momentary-contact switch to control either mute or bypass of LXP-15 II effects.

To do either, first go to the global patch page and select the

Delayed

mode, then

select "Foot 1" (or whichever footswitch connector you are using) as the source. Selecting "InLevl" as the destination, allows you to turn off the input level with the

footswitch, allowing the effect to ring on. Selecting "OutLevl" as the destination allows you to kill the output of the LXP-

15 II with the footswitch. Selecting "Mix" as the destination (with the mix control set to 100% Dry and

100% scaling), allows you to use the footswitch to bypass the effect.

The five “Level” page parameters (InLevl, Mix, Wet Pan, Dry Pan and OutLevl) are good choices for global control. They are common to all five algorithms, and the types of changes they produce are the same for every setup. For example, you could assign them to Foot 1–5 (connected to five analog rotary controls) and have levels, mix, and panning adjustments for all setups at your disposal.

Setting up General

Purpose Patches

Four General Purpose patches are available for each setup in the LXP-15 II. A controller

threshold

is used along with a

scale factor

to calculate an

offset value.

The offset value us added to (or subtracted from) the initial value of the Destination parameter. The last calculated offset is stored with the patch so that, on recall, the parameter will have this value until the controller is moved. Four General Purpose patches may be stored with any setup by using front panel controls.

General Purpose patches are created from the four “Patch” pages of the LXP-15 II. To create a General Purpose patch, first recall any setup and modify any parameters necessary to obtain the desired sound. Turn PAGE to any of the four “Patch” pages. Once a patch page has been selected, the patch page will be displayed.

Src 1 Thresh Dest Scale Offset

XX X X X

4-16

The patch is set up as follows (Patch 1 is used in this example. The same procedure is used for the other three patch pages.):

• Press the button directly beneath “Dest 1” and use ADJUST to select the

desired Destination parameter.

• Press the button direclty beneath “Src 1” and use ADJUST to select the

desired control Source.

• If desired, press the button directly beneath “Thresh” and use ADJUST to

set the threshold value. (See

• Press the button beneath “Scale 1” and use ADJUST to set the scale range

and polarity. (See

If the Update function is “On,” you will see the value of “Offset 1” change when you move the Destination controller.

Setting Scale Values

Setting Threshold Values

Creating Sounds and Effects

After a patch is created, it can be saved in a register. Up to four General Purpose patches can be created and saved with any setup. (See page 2-7

sound

Threshold allows you to match any position of the Source controller to the initial value of the Destination parameter. Threshold values are 0-127. This corresponds to the value range of typical MIDI controllers. Setting the threshold to 0 sets the the Destination parameter. This will allow you to parameter’s value. Setting the threshold to 127 sets the controller to the initial value of the Destination parameter. This allows you to

decrease

sets the allows you to amounts.)

minumum

position of the controller to the initial value of the

increase

(but not decrease) the

maximum

(but not increase) the parameter’s value. Setting the threshold to 64

middle

position of the controller to the initial parameter value. (This

both increase and decrease

Parameter

value

100%

Controller

value

127

the parameter’s value by equal

THRESHOLD

Parameter

value

Controller

Storing a new

position of the

value

127

Parameter

value

50%





Effect



50%

100%

Saving Patches

Setting Threshold Values

Controller

value

127

Threshold = 64

Example parameter "MIX" set to 50%

50%

Threshold = 0





Effect



Threshold = 127

4-17

LXP-15 II Owner's Manual

Lexicon

When using any of the Note Sources (LastNote, HiNote, LoNote), the threshold value is the

Note Number

that will correspond to the initial Destination parameter value. (On a standard 5-octave MIDI keyboard, 36 corresponds to the lowest C, 60 is middle C, and 96 is the highest key.) Threshold should be set to a value within the overall Note Number range of the MIDI controller.

Tips for Setting

Threshold Values

Setting Scale Values

Always set the initial parameter values first,

before

assigning patches. For most

applications:

• If the initial value is set to maximum, set the threshold to 127 or the highest

Note Number.

• If the initial value is set to minimum, set the threshold to 0 or the lowest Note

Number.

• If the initial value is set to 50% or center, set threshold to 64 or the middle

Note Number.

When using a bidirectional MIDI slider as a Source (Pitch Bend, Balance, Pan), set threshold to 64.

When After Touch or Breath are used as Sources, set threshold to 0 or 127.

Scale values can be positive or negative. Positive values will increase the value of the Destination parameter as the Source controller is moved from minimum to maximum (from 0 to 127). Negative scale values invert this relationship — the value of the Destination parameter will

decrease

as the control is moved from

minimum to maximum.

SCALE

4-18

100%

Threshold "0"

Scale = 100%

Full range of slider controls full range of parameter values.

max

mid

min

Positive scale values INCREASE parameter values.

Negative scale values DECREASE parameter values.

max





Effect



100%

Threshold "0"

Scale = 200%

Bottom half of slider range controls full range of parameter values.

mid

min

50%

Threshold "0"

Scale = 50%

Full range of slider controls half of the range of parameter values.

max

mid

min

The scale value determines the effective range of the Source controller. For example, a scale value of 50% means that moving the controller through its full range of motion moves the Destination parameter through 50% of its total range. The upper and lower limits of the scale range are determined by the threshold and intial parameter values. For example, if Dry Pan is set to center and Scale is set to 100%R and the controller is moved through its full range, here’s how different threshold values will affect the scale range limits:

• If threshold is set to 0, Dry Pan will vary between center and 100% right.

• If threshold is set to 127, Dry Pan will move between 100% left and center.

• If threshold is set to 64, Dry Pan will move from 100% left to 100% right.

Scale can be set to values greater than the range of the Destination parameter. (For most parameters, scale can be set to at least twice the full range.) This allows you to control the full range of a parameter with less than the full range of a controller.

Creating Sounds and Effects

One of the most useful tempo patches is to use Tempo to control any of the coarse delay parameters (PdlyHi, GlyHi, DlyLHi, etc.) to produce a delay with a specific rhythmic value. The scale value is set to determine the specific rhythmic duration as follows:

Rhythm Scale Value

1/4 2.00s 1/8 1.00s

1/8 triplet 666ms

1/16 500ms

1/16 triplet 333ms

1/32 250ms

The length of a rhythmic duration is limited by the maximum delay time available for a given delay parameter and the tempo transmitted from the sequencer or drum machine. In order to preserve an acceptable rhythmic relationship, when the calculated delay value exceeds the maximum delay value for the parameter, it will be repeatedly cut in half until it is within the parameter range. Gldlyhi (Delay/ Reverb) and Pdlyhi (Pitch/Delay) offer the widest ranges of rhythmic durations.

Using Scale with Tempo

4-19

LXP-15 II Owner's Manual

Lexicon

Tips for Using

General Purpose Patches

The General Purpose patching system allows you to customize the response of each LXP-15 II setup to your requirements. Here are some tips and techniques for getting the most from General Purpose patches.

• Fine tune the parameters on the Delay, Pitch/EQ, Reverb, Level, and Mod pages

before

creating any General Purpose patches for the setup.

• Don’t assign Size to performance Sources like velocity, note number, etc. Changing Size temporarily mutes the outputs of the LXP-15 II.

• During performance, always set the Update mode on the Sys page to “Off” for optimum response time.

• Assigning the LFO Source to multiple Destinations may cause the response time of the LXP-15 II to slow down.

• Controlling the LFO Rat Destination will not produce any audible effect unless LFO Rat is first patched to control some other Destination.

4-20

Here are some patching examples to try out:

Creating Sounds and Effects

Patching Examples

• Use the Chorus Delay algorithm.

• LFO control of ChorRat controls the depth and rate of the chorus effect.

• Threshold set to 64 “centers” the control range of the LFO.

• Scaling of 75% limits change of ChorRat between 1 and 12.

• You can use Mod Wheel, Velocity,Input Level or any other controller as a

Source instead of LFO. (Leave all other settings the same.)

Parameter Settings

LFO Rat ChorRat - - -

0.51Hz 7 - - -

Patch Settings

Src 1 Thresh1 Dest 1 Scale 1 Offset 1

LFO 64 ChorRat 75% -

• Use with any algorithm. Dry Pan settings will pan the unchanged input signal. Wet Pan setting will pan the processed output signal.

• Dry Pan “moves” a mono input signal between the left and right outputs. With stereo input signals, Dry Pan inverts the left and right signal levels.

• Threshold set to 66 “centers” panning in the middle of a standard 5-octave keyboard (F# above middle C).

• 199% scale value allows full range control of the parameter from a 61-note keyboard

• Positive (R) scaling makes panning go from left to right as notes are played from low to high. Negative (L) scaling pans from right to left when notes are played low to high.

LFO Controlled Chorus

Keyboard Cross-Pan

Parameter Settings

InLevl Mix Wet Pan Dry Pan OutLevl

100% 0% Center Center 100%

Patch Settings

Src 1 Thresh1 Dest 1 Scale 1 Offset 1

LastNot 66 Dry Pan 199%R -

Src 2 Thresh2 Dest 2 Scale 2 Offset 2

LastNot 66 Wet Pan 199%L -

4-21

LXP-15 II Owner's Manual

Lexicon

MIDI Harmonizer

• Use the Pitch/Delay algorithm

• The MIDI keyboard should not be the audio source. In this example it would

serve as a controller only. Audio from another source (microphone, tape track, etc.). Harmony is determined by playing the MIDI keyboard.

• Harmony is relative to middle C (note 60).

• Mod Whl control of feedback determines the depth of cascade effects.

• MIDI Volume pedal control of Delay L changes the cascade effect from

chords to arpeggios.

Parameter Settings

Pitch Intervl PchFine HiCut LoCut

On Unison 0 don’t care don’t care

Predely PdlyFdbk Delay L Feedback Delay R

0µs0% 0µs 75% don’t care

Patch Settings

Src 1 Thresh1 Dest 1 Scale 1 Offset 1

LastNote 60 Intervl 100% -

Src 2 Thresh2 Dest 2 Scale 2 Offset 2

Mod Whl 127 Feedbk 100% -

Src 3 Thresh3 Dest 3 Scale 3 Offset 3

Volume 0 Dlylhi 325ms -

Tempo Controlled Reverb

NOTE: You may have to play with the Scale adjustment a bit. Start with

Scale set to “0” and turn ADJUST one click at a time until the value changes to “1”.

• Use the Delay/Reverb algorithm.

• Tempo control of Decay tailors decay time to tempo. The faster the tempo,

the shorter the decay time. The settings here will modify decay time through a wide range of tempos (50BPM-240BPM).

Parameter Settings

Decay Treble BassMpy Size Diffus

6.1s 6.94kHz .77x 64 meters 77%

Patch Settings

Src 1 Thresh1 Dest 1 Scale 1 Offset 1

Tempo 127 Decay 88% -

4-22

Creating Sounds and Effects

• Use the Gate algorithm

• Initial setting of Predely to 0 is necessary for proper use of tempo control.

• Tempo control of Pdlyhi provides a slap/predelay rhythm that stays constant

through a wide range of MIDI tempos.

• Scale value of 249ms sets the slap rhythm to 32nd-note.

• Tempo control of Slope tailors gate to tempo.

Parameter Settings

Predely PdlyFbk - - -

00 - --

Slope Treble - Size Diffus

127 don’t care don’t care don’t care don’t care

Patch Settings

Src 1 Thresh1 Dest 1 Scale 1 Offset 1

Tempo 0 Pdlyhii 249ms -

Src 2 Thresh2 Dest 2 Scale 2 Offset 2

Tempo 127 Slope 72% -

Tempo Controlled Gate

• Use the Delay/Reverb algorithm.

• InLevl control of Decay turns on infinite reverb. Scale sets the level of the

signal that will trigger the effect. The setting here will cause relatively loud signals to trigger infinite reverb. To use the effect, play softly to load sounds into the reverb — then play loudly to layer dry sounds over the reverb wash.

• Experiment with different Sources like Velocity, Pedals or Sliders.

Parameter Settings

InLevl Mix Wet Pan Dry Pan OutLevl

100% 50% Center Center 100%

Decay Treble BassMpy Size Diffus

6.1s Full 1.00x 71 meters 50%

Patch Settings

Src 1 Thresh1 Dest 1 Scale 1 Offset 1

InLevl 0 Decay 6% -

Infinite Reverb

4-23

The Presets

The LXP-15 II is factory-loaded with 128 preset effects. These can be used as is or modified to create new sounds. (128 User registers are provided for you to store your own sounds.) The presets themselves are permanently installed in your unit; they can be modified, then stored to a User register, but they cannot be overwritten. When shipped, the LXP-15 II has a duplicate set of the preset effects stored in Registers 1-128.

To make this assortment of effects more useful, we have grouped them into two categories: Studio (1-64), and Stage (65-127).

Presets in the Studio category are set up with the wet/dry mix control set to 100% wet, for use with a console’s effects sends. Presets in the Stage category are premixed with various amounts of dry signal present. This assumes you are plugging an instrument directly into the LXP-15 II, or that you are sending a muted PRE-Fader signal from your console. Of course, you may find presets which are equally useful in either category. We suggest that you listen to all of the presets, no matter what you application may be.

This chapter will provides a brief description of each preset so that you can quickly find a preset which matches your needs, or one close enough to use as a starting point for a new sound.

A simple chart of the Preset names is given in Chapter 2, and on the Quick Reference card. The chart on the following pages provides additional comments on each of the presets provided with your unit. The parameters of each preset, and their values, can be seen on the LXP-15 II display whenever a preset is loaded.

About the presets

Notes on the Preset Charts:

Foot A foot pedal is used as a controller. In the presets, a continuous

control pedal was used which may have different resistance characteristics than yours. If this causes unpleasant effects (such as runaway feedback), you will want to modify these presets to suit your controller.

MAT (MIDI Auto Tempo) indicates MIDI Clock is used as a control

source — when no MIDI Clock is present, delays default to 0ms.

5-1

LXP-15 II Owner's Manual

Studio Presets

Preset

# Name Alg Patch Description

1 Large Hall Dly/Rvb none Standard starting point for all great sounds. Use on voice or

instruments. Room size controls density and sustain. Reverb time contours the release of the reverb.

2 Brite Hall Dly/Rvb none Brighter version of Large Hall. This preset gives tracks a

brighter overall sound.

3 Dark Hall Dly/Rvb none This preset combines elements of cave and church acous-

tics. Great for choral works or sound effects.

4 CompressHall Dly/Rvb InLevel When signal is present, reverb depth is lessened, when

signal stops, reverb time and mix are increased. Nice on vocals.

5 Vocal Hall Dly/Rvb none Bigger space than Vocal Room with a richer initial envelope.

Think of this as a large recital hall at your favorite university.

6 Chamber Dly/Rvb none Typical sound from a plastered harp-shaped reverb chamber

with a speaker at each end and a microphone in the middle. One of our favorites!

Lexicon

7 Large Club Dly/Rvb none Reflective and bright. An empty space which is modestly big.

Great for the whole mix or put it on individual tracks.

8 LargeDrkRoom Dly/Rvb none Darker version of above club space with more diffusion.

General pop voice or bright sources which need a soft “space” added to it.

9 Medium Room Dly/Rvb none Room full of people (some absorption). Tighter sound be-

cause of the smaller size. Pop electronic drums or acoustic. Great for dance stuff.

10 Medium &Short Dly/Rvb none Thinner, less diffused, and more reflective space. Adds

acoustic brightness to sound sources.

11 Atrium Dly/Rvb none Denser, more diffuse and more reflective. This space starts

to separate from the source audio. Dialog tracks, and acoustic guitars.

12 Tiled Room Dly/Rvb none Bright and tight for all percussive sounds. Adjust reverb time

to work with the tempo of the music.

13 Small Room Dly/Rvb none Close space with a healthy resonance. Good starting point for

Dialog ADR work. Use Hi Cut to create high frequency sound absorption.

14 Vocal Room Dly/Rvb none Good starting point for any vocal track. Use longer reverb

times for slow tempos, and shorter reverb times for quick tempos.

15 Full Closet Dly/Rvb none Production preset for the obvious. 16 Guitar Room Dly/Rvb LFO For any guitar, acoustic or electric. Increase BassMpy to add

more “chunk” to the room.

5-2

The Presets

Preset

# Name Alg Patch Description

17 Stage Reflex Pch/Dly none This is a real punchy effect. Lots of delay relections and a

bright 90 foot stage. Vary RvbMix for more less ambience on voices or punctuated percussion tracks.

18 No Room Dly/Rvb none Simulates microphones in the upper corners of a small room.

Compress this reverb and throw on some drums.

19 Tall Room Pch/Dly none Contains reflection elements which steer towards the center

of the stereo output. Good for any type of sound input. Mix

heavy for a strong but unobtrusive reverb effect. 20 Smako! Pch/Dly InLevel Adds dynamic reverb to any punctuated sound source. 21 Warehouse Dly/Rvb none Off the back wall with a rebound — open and expansive. Use

Delay2 to closely tweak the fill to tempo. 22 MediumDlyRoom Dly/Rvb none Smaller version of the warehouse theme. 23 DarkDlyRoom Dly/Rvb none Round-sounding room. Great for sharp, transient keyboards. 24 Verb Panner Dly/Rvb LFO, InLvl This preset modulates the position of the stereo reverb

output. The input level dictates the speed of the pan. Input

level also drives the glide delay, adding a slight chorusing

effect. Long fade sources like sustained key pads. 25 Splattered Pch/Dly none Small space great for extra definition in a mix. Similar to

reflective living room. 26 Slap Vocal Dly/Rvb none Similar size to Vocal Hall but with a back wall slap 131ms after

the initial sound source. Adjust glide delay to match tempo. 27 Vocal Plate Plate none Bright and very diffuse. Will brighten up any vocal track. Lower

reverb times for fast paced tempos. 28 Big Plate Plate none This preset is great for adding extra energy to “one-shot”

sounds such as accent hand claps or vocal hits. 29 Small Plate Plate none Adds a nice “sparkle” to to any track. 30 Long Plate Plate none Extremely long reverb time. Apply for a three-second music

sting ring out. 31 Drum Plate Plate none Dense and bright. Throw it on individual drums or the entire

drum submix. 32 Rusty Plate Plate none Not so diffuse and a bit “chattery.” Needs oil, but gives good

color to any sound source. 33 Snare & Toms Gate none Similar to Small Gate with extra predelay and less diffusion.

For snare and toms. 34 Small Gate Gate none Very short and abrupt reverb effect. Adjust predelay to sepa-

rate the effect from the source. Electronic and sampled drums

have traditionally been used as sources but don’t exclude

other percussive sources.

5-3

LXP-15 II Owner's Manual

Preset

# Name Alg Patch Description

35 Medium Gate Gate none A longer version of Small Gate. 36 Large Gate Gate none Big open and shut effect. A bit extreme, very dance-worthy!!

37 Bright Gate Gate none Brighter and less diffuse. Add to percussion tracks for more

brilliance. Vary Duration to fit the beat.

38 Mega Gate Gate none Multiple repeats applied to predelay add a different twist to an

otherwise standard delay effect on guitar.

39 Env:Gate Gate InLevel Varies the time constant of the slope, making it more inverse

sounding with additional input. Good for any track which might have different sources with wide dynamic ranges.

40 VibraRoom Dly/Rvb LFO Quick-modulating early reflection creates a great effect for

clean, compressed, funky electric guitar and other sustained sound sources.

Lexicon

41 VibraRoom II Dly/Rvb LFO A deeper, faster version of VibraRoom 1. 42 2 Tap Detune Pch/Dly none Two slaps slightly out of tune with the source, creating a

simple 2-voice chorus. Good effect for punchy electrobass tracks.

43 Small&Flange Pch/Dly LFO Varying amounts of sweeping flange. A small room adds life

to the party.

44 Long Echoes ChorDly none Additional reflections followed by longer repeating echoes.

Use Delay3 to adjust to tempo.

45 L&R Delays Pch/Dly none Great effect alternative for a vocal track. Use Feedback to limit

or extend the number of repeats. For best left and right results, always set Delay L to twice the value of Delay R.

46 Space Echoz Pch/Dly InLvl This is a long echo effect with a slightly rising pitch after each

repeat. For a really deep effect, turn up Decay. Ballad solo.

47 Delay Cloud Pch/Dly LFO, InLvl Varies with input level . More reflective-sounding with strong

input, more reverberant with less input.

48 AmbiDetune Pch/Dly none Similar to 2 Tap Detune, but with more room ambience around

the sound. The detuning adds a rolling richness to the source. Adjust RvbMix on the MOD page to add or subtract room ambience. Power chords on electric guitar.

49 Amb.+4th Down Pch/Dly none Adds a 4th pitch down in a bigger more diffuse room. Beast in

a room. Cartoon effect for voice.

50 Amb+5th Up Pch/Dly none Adds a 5th pitch up while adding a reverb “bloom” to the effect.

Small creature in a room.

51 Amb. + Oct. Up Pch/Dly none Chipmunk sized room. We had to include it.

5-4

The Presets

Preset

# Name Alg Patch Description

52 6VoiceChorus ChorDly none Bright medium rate chorus. Just enough diffusion to take the

edge off a source. Baseline effect for any source.

53 Vocal Chorus ChorDly none Longer, more diffuse reflections and a deeper chorus. Stack

on “stacked” vocals.

54 ChorusSlaps ChorDly none Deeper still... Really wanks on the sound! Almost like a

chorused VFW Hall.

55 Cave &Chorus Chor/Dly InLevel Very deep recirculating echo effect with heavy chorusing. For

slower paced tunes only.

56 GuitarDetune Pch/Dly LFO Swept pitch shift. The LFO glides the relative amount of fine

pitch shift. An alternative to standard chorusing.

57 Flange Room Dly/Rvb LFO, InLvl The input level determines the LFO rate driving the gliding

delay causing the flange. Any source which has a dirty characteristic will accentuate this effect.

58 Slowrollin’ Dly/Rvb LFO Gentle chorus added to a moderatly large hall reverb. Back-

ground vocals work great.

59 Image Shift Pch/Dly LFO Causes the stereo image to wander from left to right, back and

forth. A slight amount of predelay separates the source from the effect. Subtle but haunting. Use on background or even

lead vocals. 60 Step Flange Pch/Dly LFO A staircase flange. Use on a ripping guitar solo for added edge. 61 LFO Guitar ChorDly LFO,InLvl LFO changes the amount of chorusing, and the input level

changes the LFO rate.Bass tracks seem to like this one. 62 1/16thMAT Slap Pch/Dly MIDI Tempo MIDI Clock tied to predelay. Each quarter-note beat yields a

sixteenth-note delay. For most applications this means a

straight ahead slap echo in sync with your sequencer. No

tempo clock no delay... 63 Chorus MAT ChorDly MIDI Tempo Feed in MIDI Clock and the echoes sync automatically to

quarter notes. 64 Thru a Ringer ChorDly none Spacey sound effect. Voice or percussion works great!

5-5

LXP-15 II Owner's Manual

Stage Presets

Preset

# Name Alg Patch Description

65 Guit:EKORoom Dly/Rvb Foot 1 Punctuated sound for short stacatto guitar sources, acoustic

or electric. 66 Solo Plate Plate Foot 1 Use controller to set the mix for your solo. 67 Guitar Plate Plate none Standard plate effect for any guitar 68 StageJizz Dly/Rvb LFO A very wet effect covering a little bit of everything. The LFO is

patched to the glide delay. 69 Foot1 Dlay Pch/Dly Foot 1 Connect a voltage control pedal to foot controller 1 to allow

direct control of the entire range of the predelay parameter. 70 Pedal Slap Pch/Dly Foot 1 Similar to Foot1 Dlay, but with a smaller range. 71 Pedal Verb Dly/Rvb Foot 1 Foot 1 controls reverb decay time as well as the input to the

DSP. Works like a sustain pedal! 72 Step On It! Pch/Dly Foot 1 Big concert sound for a ripping guitar track.

Lexicon

73 Foot Spooge Pch/Dly Foot 1 A little more aggressive version of the above. 74 Foot1 Wave Pch/Dly Foot 1 Controller changes the shape of the decay/delay effect.

Keyboard or vocal effect. 75 Inf:Foot 1 Dly/Rvb Foot 1, InLevel Reverb becomes infinite as the controller is advanced. The

reverb mix is lowered and more of the gliding chorus delay can

be played while the infinite loop continues. 76 Foot1 Whammy Pch/Dly Foot 1 Step on controller and pitch sinks into a pool of primordial

reverb. 77 Speed+Pan 1 Dly/Rvb LFO, Foot 1 Foot1 controls the LFO speed, which drives the wet pan.

Grunge guitars or anything with a lot of sustain. 78 Funky Keys Dly/Rvb LFO Brings additional life to anything which has well-defined

transients with sustain. 79 Sheen Chor/Dly Foot 1 Foot controller opens the chorus effect as well as brightening

the sound. Great for percussive horn sounds. 80 CrossDelays Chor/Dly LFO, InLevel, Foot1 This guitar effect moves the dry and wet signals in opposite

directions. As the dry signal goes left, the wet signal goes

right. LFO speed is controlled by the input level. Foot

controller varies Delay 3. 81 Pole Flange Pch/Dly none A downward “jet-like” flange for dirtier source sounds. 82 SlowFoot Dly/Rvb LFO, Foot 1 Really wet with a very wide sound field. Great for clean guitar

or keyboards. Controller varies the preset to a closer but more

reverberant sound which modulates faster. 83 Bass Korus Dly/Rvb Foot 1, LFO Try it, you’ll like what happens when you use the foot control-

ler

5-6

The Presets

Preset

# Name Alg Patch Description

84 Leni Chorus Pch/Dly LFO, Foot 1 Variable chorus effect tied to LFO rate. Controller varies the

reverb mix with the chorus delay effect.

85 WayOut There Pch/Dly InLevel Long recirculating effect great for vocals. Use sparingly.

Increased input level lessens the reverb. When signal disappears, more reverb returns.

86 Solo Spooge Pch/Dly Foot 1 As you advance the foot controller the effect becomes longer

and brighter with more recirculations. Helps any rock and roll solo cut through the mix.

87 2ndLeadAbove Pch/Dly LFO A harmonic patch which generates a harmony of a major 2nd.

Designed for scathing lead guitar work

88 Evil 3rds Pch/Dly LFO, Foot 1 Sets an evil tone to any track. Advancing the controller sends

the sound deeper into the reverb “pool”.

89 BatCave+5th Pch/Dly LFO, Foot 1 Similar to Evil 3rds, with the controller varying the reverb mix

as well as the reverb time. The LFO varies the fine pitch of the 5th up.

90 Big 4th Down Pch/Dly none Carries the sound source 4 steps down and passes it to a

large reverb space.

91 Glub...Glub. Pch/Dly none Octave divider in a room. Interesting addition for percussion

on stage.

92 Self D 1 Pch/Dly Foot 1 Lowers the input source one octave. Foot controller varies the

mix. A great octave divider for the guitar lower octaves.

93 LongKorusEKO Chor/Dly Foot 1 Long recirculating effect for vocals or single instruments. Foot

controller varies the amount of feedback around Delay 3.

94 Slap Chorus Chor/Dly none A single slap echo with minimal feedback to produce a smooth

rolling chorus. Great for background vocals, guitars or other

instruments on stage. 95 Small&Flange Pch/Dly LFO A different version with more reverberation. 96 Chorus Hall Dly/Rvb LFO, Foot 1 Great standard effect for any instrument. The space is gentle

with the chorus more present than the reverb. Foot controller

adjusts the reverb mix. 97 Tape Stretch Dly/Rvb InLevel, LFO Gliding delay effect which is really twisted and stretched.

Input level drives the overall speed of the effect. 98 Bass Doubler Chor/Dly InLevel Input varies the amount of feedback. Constantly varying

effect. 99 GearMotor Dly/Rvb LFO, InLevel A variant of tape stretch, sounding much like a dynamic deep

chorus effect.

5-7

LXP-15 II Owner's Manual

Lexicon

Preset

# Name Alg Patch Description

100 Dyna-Rev Pch/Dly InLevel Reverb decay time increases with input level. Useful for

sharp transient sources and rhythm guitar.

101 Metal Gate Gate none Tight inverted gate effect useful for many different stage

sources.

102 TransLument Pch/Dly LFO, Foot 1 A long duration effect where advancing the foot controller

deepens the mix but also reduces the high-frequncy content. 103 MoanVerb Dly/Rvb LFO Alien-sounding reverb for any sound source. 104 GatedDive Pch/Dly none A different downward flange effect with lots of recirculation.

Distorted guitars or other grungy sources. 105 Solo Bass1.5 Dly/Rvb Foot 1, InLevel Footcontroller adjusts the mix of the reverb relative to the

gliding delay which modualtes against the input level. 106 Wasteland 1 Dly/Rvb Foot 1 Footcontroller adjusts reverb mix. Full minimum setting

yields a generous slap delay while full maximum pours on the

reverb. 107 Elvis Gate Gate Foot 1 Footcontroller adjusts the mix which intensifies the effect.

Great for slap bass. 108 Dense Dance Pch/Dly Foot 1 For bass players wanting a different edge to a really deep

reverb/pitch effect. 109 Boot Da Bass Chor/Dly Foot 1 Foot controller adds deeper recirculation and increased

chorus rates. 110 Oddness Mix1 Pch/Dly InLevel, Foot 1 Input changesthe pitch interval. Foot controller drives the mix

control. A thoroughly odd effect!! 111 Big Dipper Pch/Dly Foot 1, InLevel Big Dipper is driven real hard by the input level. The foot

control input determines the mix. 112 RisingCloud Pch/Dly InLevel For that lofty solo which rises into the sky after the last note. 113 DlyLoopMIDI Pch/Dly ModWheel, This keyboard /MIDI controlled effect links the mod wheel

Sustain Pedal with the input level while the sustain pedal controls the

amount of feedback. 114 SpacLoopMIDI Pch/Dly ModWh, Sustain Similar to DlyLoopMIDI with the addition of a patch linking the

Pedal, Pitch Wh pitch wheel to the fine pich parameter.

115 LongAmbiMAT Pch/Dly MIDI Tempo Without MIDI tempo information this preset has a bright slap/

ambient characteristic. With MIDI tempo, predelay is an

eighth-note . 116 VaryCaveFoot Pch/Dly LFO, Foot 1 Foot controller launches you deeper into the cave...

5-8

The Presets

Preset

# Name Alg Patch Description

117 FadeInBox Gate InLevel A gated effect which increases with increased input level. For

percussion or other stacatto sources.

118 FadeInDetune Pch/Dly InLvl, Foot 1 Fades the input into the processor as a function of the input to

the converter. The mix control may need to be adjusted to suit your application.

119 Env: Panner Dly/Rvb LFO, Foot 1 Mixed 100% and moves from left to right based on the speed

of the LFO. Foot controller varies the LFO rate.

120 FadeUpChorus Chor/Dly InLevel Chorus changes depth along with the gain. Great for any long

sustained signal source. Originally done with a stomp-box compressor and a Telecaster.

121 InfiniteHall Dly/Rvb InLevel, LFO Input level controls reverb time. When signal is present a

medium reverb time occurs. When signal disappears the reverb jumps to Infinite. Play soft enough and the infinite reverb sustains indefinitely while providing a smooth gliding chorus delay.

122 Env:Dtune Pch/Dly InLevel Downward detune with stronger input levels. Provides a

dynamic chorus effect which passes into a lengthy reverberation.

123 Rvrb>XDly Pch/Dly InLevel Varies with signal level. More input less reverb. For keyboard

or guitar.

124 RoomChrEnv Pch/Dly InLevel Beautiful with acoustic instruments. Increased input levels

increase the input to the processor and adjust the feedback content and reverb mix.

125 EnvDetune3 Pch/Dly InLevel Another version of detuning based on input level. This one is

a bit more aggressive and probably should be used with a heavy rock and roll attitude.

126 AmbiChrEnv> Pch/Dly InLevel As input level increases, reverb decay and delay feedback are

reduced. Once signal stops the reverb tail washes out.. Works well with guitar through a stage volume pedal.

127 Cascad8Env> Pch/Dly InLevel This effect fades in, then decreses the overall depth of the

sound. An octave-up pitch shift creates a very interesting wash against the source. Long sustain sources work best.

128 Bypass Dly/Rvb none Dry audio.

5-9

LXP-15 II Owner's Manual

Lexicon

5-10

All LXP-15 II parameters, presets and registers can be accessed by MIDI. All

3 4

MIDI applications require the LXP-15 II to be connected with one or more MIDI devices with standard MIDI cables via the rear-panel MIDI jacks. We’ll describe several typical MIDI configurations below.

MIDI Operation

Before you can use the LXP-15 II with other MIDI devices, they must all be set to the same MIDI channel. To set the LXP-15 II MIDI channel:

1. Set the controller you will be using (keyboard, sequencer, other LXP-15 II, etc.) to transmit on any MIDI channel (1-16).

2. On the LXP-15 II, turn PAGE to “Sys.” The display will show:

MIDI chn Contrast Bright Mem Prot Update

1 8 3 Off Off

Select “MIDI chn” by pressing the button directly beneath it. Then use ADJUST to select the same MIDI channel as your controller.

NOTE: When “MIDI chn” is set to “OMNI,” the LXP-15 II transmits on channel 1 and receives on channels 1-16.

MIDI Out

MIDI In

INPUT OUTPUT

HEADROOM

OVL

exicon

12 18 24

Selecting a MIDI channel

Accessing Registers and Dynamic MIDI

ADJUST PAGE

Reverb Pitch/EQ Dly Setup Store Name

VIEW

Global MIDI

POWER

Level

Mod

Al Patch 1 Patch 2 Patch Patch

Sys

LXP-15

Some extremely useful effects can be created by controlling the LXP-15 II’s variable parameters remotely in real time. Almost all of the controllers found on a MIDI keyboard or MIDI foot controller (pitch benders, mod wheels, sliders, switches, breath controllers, foot pedals and footswitches) can be used to adjust the LXP-15 II's parameters. We refer to this real time remote control capability as Dynamic MIDI.

Sending a MIDI Program Change message (1-128) from the controller will load the corresponding LXP-15 II register. If any MIDI sources are active as global or general purpose patches, moving the appropriate control on the controller will cause the patched destination parameter to change. (See

Patching

.) If you want to use Dynamic MIDI, but don’t want the LXP-15 II to load new registers when you change programs on your controller, set your controller so that it doesn’t transmit Program Change messages, or set LXP-15 II MIDI Program Change to Off. (See page 6-4.)

6-1

LXP-15 II Owner's Manual

3 4

Lexicon

Controller quirks

MIDI Tempo control

Sequencer, Drum machine or computer

Some synthesizers and controllers cannot send the full range of MIDI program change messages (1-128). With them, you can't access all the registers in the LXP-15 II. Others may appear to be able to send only 32, but actually have a bank mode that

does

let you send all 128 program change messages. Also, be aware that some MIDI devices use a program numbering system that uses 0-127 instead of 1-128. If in doubt, see the manual for your controller.

When using Tempo as a control Source (see

Patching

), you must send MIDI

Clock messages from the MIDI controller to the LXP-15 II as shown below.

MIDI Out (MIDI clock)

MIDI In

exicon

INPUT OUTPUT

HEADROOM

ADJUST PAGE

Reverb Pitch/EQ

OVL

12 18 24

VIEW

Dly Setup Store Name Global MIDI

Patch 1 Patch 2 Patch Patch

Level

Mod

Sys

POWER

LXP-15

LXP-15 II

exicon

INPUT OUTPUT

MIDI In

HEADROOM

OVL

12 18 24

LXP-15 II

The figure below shows the MIDI connections for controlling the LXP-15 II simultaneously with MIDI Clocks from a sequencer, and messages from another MIDI controller. Note that the controller is set to “local control off” and the sequencer is set to “echo input.”

MIDI Thru

ADJUST PAGE

VIEW

MIDI In

MIDI Instrument

"Local Off"

POWER

Reverb

Level

Pitch/EQ

Mod

Dly

Setup

Patch 1 Store Name Global MIDI

LXP-15

Patch 2

Patch

Sys

MIDI Out

MIDI In

MIDI Out (MIDI clock)

Sequencer or computer

"Echo Input"

6-2

MIDI Operation

3 4

Two LXP-15 IIs can be slaved together by connecting a cable from the MIDI OUT jack of the master to the MIDI IN jack of the slave. Additional LXP-15 IIs can be slaved to the master by connecting a cable from the MIDI THRU port of one slave unit to the MIDI IN port of the next unit. All of the LXP-15 IIs must be set to the same MIDI channel.

MIDI Out

POWER

Level

Mod Al

Patch 1

LXP-15

Patch 2 Patch Patch

Sys

exicon

INPUT OUTPUT

HEADROOM

ADJUST PAGE

Reverb

OVL

12 18 24

VIEW

Pitch/EQ Dly Setup Store Name Global MIDI

Master

INPUT OUTPUT

exicon

HEADROOM

OVL

12 18 24

Slave

When connected in this way, the slave LXP-15 II(s) will be remotely controlled by the front panel of the master as follows:

• In general, whenever the master’s ADJUST knob is used to change a parameter value, a corresponding parameter change will occur on the slave(s).

• Loading presets or registers from the setup page in either the “Preset” or “Register” modes will cause the slave(s) to load their preset or register

same number

. (Note: a slave’s register contents will not necessarily be the

of the

same as the master’s.)

• Loading presets or registers in either the “PreScan” or “RegScan” modes will cause the slave(s) to select the preset and register

of the same number

. The “Load” button of the slave must be pressed to actually load the preset or register.

• Changes made on the “Store” page are not transmitted to the slave(s).

Slaving two or more LXP-15 IIs

MIDI In

VIEW

ADJUST PAGE

Reverb Pitch/EQ Dly Setup Store Name Global MIDI

POWER

Level

Mod

Patch 1

LXP-15

Patch 2 Patch Patch

Sys

Patches can also be created using LXP-15 II MIDI System Exclusive data. This is perhaps the most complicated but also the most flexible way of creating

Creating Patches using MIDI SysEx

patches to control the LXP-15 II. Chapter 7 provides the information necessary for programming LXP-15 II MIDI

SysEx data.

6-3

LXP-15 II Owner's Manual

Lexicon

The MIDI Page

Parameter dump

MIDI Program Change

The LXP-15 II allows dumping of a single parameter, the contents of a single register, or all register contents from the front panel MIDI page. To access this page, simply turn the PAGE knob to "MIDI". The display will show:

SysEx Transmit Parameter Algthm Param Registr - - Send

Selecting "Param" allows the ADJUST knob to be used to scroll through the available parameters of whatever setup is currently loaded. Wherever parameters are not available in a particular algorithm, their position is indicated by a number rather than by parameter name. Selecting "Send" will cause the displayed parameter to be transmitted.

Selecting "Registr" allows the ADJUST knob to be used to scroll through the LXP-15 II's 128 registers. The next selection is "All". Selecting "Send" will cause the contents of the displayed register (or the contents of all registers) to be transmitted. The last selection on the list is "MIDI Map Table".

Turn the PAGE knob to "Global".

Pgm Chg Map Val Dest Source Mode

x- x x x

Selecting "Pgm Chg" allows the ADJUST knob to be used to scroll through the following choices:

Off MIDI Program Changes messages will be ignored

Pre MIDI Program Change messages will load presets.

Reg MIDI Program Change messages will load registers.

Mapxxx MIDI Program Change messages will be mapped accord-

ing to Map Val numbers.

Selecting "Map Val" allows the ADJUST knob to be used to scroll through the following choices:

Prexxx Load preset xxx.

Regxxx Load Register xxx.

Off Ignore this MIDI Program Change message.

Note: LXP-15 II preset and register numbers, are offset by 1 relative to MIDI Program Change numbers. (MIDI Program Change 0 = preset 1.)

When Pgm Chg is set to "Mapxxx" and Map Val is set to "Off", a long display of the Preset/Register name and algorithm are briefly displayed on the top line.

6-4

The information contained in this chapter is intended to assist experienced programmers in developing software for use with the LXP-15 II.

LXP-15 II System Exclusive (SysEx) implementation can be divided into two basic categories: Data and Event Requests, and Data Transmit and Receive.

MIDI Implementation Data

Data Requests prompt the LXP-15 II to transmit specified data. Event Requests prompt the LXP-15 II to store the data currently in the edit buffer to a specific memory location (register), or to retrieve stored data and place it in the edit buffer.

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0011 nnnn(bin) n = MIDI Channel 0-15 4 0eee eeee e =event code:

60h = active setup data 61h = one register 62h = small param data 64h = all user data 65h = big param data 66h = MIDI map data

5 0ppp pppp p = register number 0 - 127 for e = 61

= param number for e = 62, e = 65 above; else present but ignored

6 F7 (hex) End of SysEx message

Data and Event Requests

Data Requests

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0110 nnnn(bin) n = MIDI Channel 0-15 4 0eee eeee e = event code:

70h = store register

71h = recall register 5 0ppp pppp p = register number 0 - 127 6 F7 (hex) End of SysEx message

Event Requests

7-1

LXP-15 II Owner's Manual

Lexicon

Transmit/Receive Data

Active Setup Data

Data is identical in format whether transmitted as a response to a Data Request or received as a Data Dump.

When the front panel ADJUST knob is assigned to a parameter and turned, the LXP-15 II will transmit a parameter change message reflecting the new position of the knob (See

Parameter Adjust

for the format.). The transmitted parameter number will reflect the specific parameter to which the knob is assigned. Recalling a program from the front panel will cause the appropriate program parameter change message to be sent. Single Program data is always stored in Register 1 when received. To specify a different register for storage, use the Event Request message.

Two LXP-15 IIs can be slaved together by connecting a cable from the MIDI OUT jack of the

master

to the MIDI IN jack of the

slave

. Additional LXP-15 IIs can be slaved to the same master by connecting a cable from the MIDI THRU port of one slave unit to the MIDI IN port of the next unit.

All LXP-15 IIs must be set to the same MIDI Channel.

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0000 nnnn(bin) n = MIDI Channel 0-15 4 7B (hex) data byte count (123) 5 0vvv vvvv(bin) 7-bit data

. .

. 127 0vvv vvvv 128 0sss ssss checksum of data bytes 129 F7 (hex) End of SysEx message

Stored (Single Program)

7-2

Data

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0001 nnnn(bin) n = MIDI Channel 0-15 4 0ppp pppp p = register number 0 - 127 5 43 (hex) data byte count (67) 6 0vvv vvvv 7-bit data

72 0vvv vvvv 73 0sss ssss checksum of data bytes 74 F7 (hex) End of SysEx message

MIDI Implementation Data

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0010 nnnn(bin) n = MIDI Channel 0-15 4 0ppp pppp p = parameter number 0 - 127 5 0vvv vvvv 7-bit data 6 F7 (hex) End of SysEx message

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0101 nnnn(bin) n = MIDI Channel 0-15 4 0ppp pppp p = parameter number 0 - 127 5 0vvv vvvv 7-bit data (lsb) 6 0vvv vvvv 7-bit data (msb) 7 F7 (hex) End of SysEx message

Small Parameter Adjust

Big Parameter Adjust

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0100 nnnn(bin) n = MIDI Channel 0-15 4 43 (hi) (hex) data byte count 5 00 (lo) (8576 = 0x2180 = 0x4280 in 7-bit) 6 0vvv vvvv(bin) 7-bit data

. 8581 0vvv vvvv 8582 0sss ssss checksum of data bytes 8583 F7 (hex) End of SysEx message

Byte Value Description

0 F0 (hex) System Exclusive 1 06 Lexicon ID 2 06 LXP-15/LXP-15 II ID 3 0111 nnnn(bin) n = MIDI Channel 0-15 4 0 (lo) (hex) data byte count 5 2 (hi) (256 7-bit values) 6 0vvv vvvv(bin) 7-bit data

261 0vvv vvvv 262 0sss ssss checksum of data bytes 263 F7 (hex) End of SysEx message

All User Data

MIDI Map Data

7-3

LXP-15 II Owner's Manual

Data Dump Contents

Lexicon

Single Program and

All User Data Dump

Active Setup Dump

The Single Program and All User Data dump share the same format. The Single Program dump sends all of the stored parameters for the selected setup; the All User Data dump sends all 128 copies of the stored programs.

Data Byte # Data Param # Data Description

0-26 0-26 Microcode Parameters

27 27 General Purpose Patch 1 Source 28 28 General Purpose Patch 1 Threshold

29 29 General Purpose Patch 1 Destination 30,31 +30(31) General Purpose Patch 1 Scale 32,33 +32(33) General Purpose Patch 1 Offset

34-40 34-40 General Purpose Patch 2 41-47 41-47 General Purpose Patch 3 48-54 48-54 General Purpose Patch 4

55-66 55-66 Name (12 characters)

The Active Setup data dump sends all the parameters for the current setup as well as the global parameters. The format is:

Data Byte # Data Param # Data Description

(Program parameters)

0-26 0-26 Microcode Parameters

27 27 General Purpose Patch 1 Source

28 28 General Purpose Patch 1 Threshold

29 29 General Purpose Patch 1 Destination 30,31 +30(31) General Purpose Patch 1 Scale 32,33 +32(33) General Purpose Patch 1 Offset 34-40 34-40 General Purpose Patch 2 41-47 41-47 General Purpose Patch 3 48-54 48-54 General Purpose Patch 4 55-66 55-66 Name (12 characters)

(System parameters)

67 67 Setup Increment

68 68 Setup Decrement

69 69 Display Contrast

70 70 Display Brightness 71-74 71-74 Reserved

75 75 Register Number

76 76 Preset Number 77,78 +77(78) Setup Number

79 79 MIDI Channel

80 80 Global Patch mode

81 81 Display Update

82 82 Memory Protect (nonzero=protected) 83-95 83-95 Reserved

96-124 96-124 Global Patch Sources

+ indicates a big parameter. There may be others in Microcode Parameters, depending on the program. The number in parentheses is the coarse portion.

7-4

MIDI Implementation Data

Most LXP-15 II parameters fit into 7 data bits to make it easier to transfer data via MIDI. We've labeled these "Small Parameters". A few parameters, notably delays, require more than this range. These "Big Parameters" are constructed of two consecutively numbered small parameters. The lower-numbered parameter can be accessed as the Fine portion of the big parameter, and always has a range of 128. The higher-numbered parameter can be used to access the Coarse portion of the big parameter. The full range of the Fine portion (128 steps) always equals one step of the Coarse portion. When reference is made to a big parameter, the number given is that of the Fine portion.

When setting or requesting a big parameter value via SysEx, the value can be sent either by a big parameter message, or by two small parameter messages.

All parameters are accessible by Parameter Change messages. There are two major parameter classifications: Program parameters and System parameters.

Generally, program parameter values will change when each new setup is loaded. Typically, this means that the values of these parameters are stored as part of a program. Similarly, when a new setup is retrieved, all of its stored program parameters are retrieved with it.

All program parameters are accessible via the front panel ADJUST knob and MIDI SysEx. A SysEx change of one of these parameters will overwrite any existing value set by a previous knob change and vice-versa (a knob change will overwrite any existing value set by a previous SysEx change).

Parameter Definitions

Program Parameters

System parameters are not associated with any particular program. These parameters are responsible for the overall operation of the LXP-15 II. They include MIDI Channel, Display Contrast and Brightness, Global Patch mode and sources.

System Parameters

7-5

LXP-15 II Owner's Manual

Lexicon

Parameter Map

Param # Data

(Program parameters)

0 - 26 Microcode Parameters

27 General Purpose Patch 1 Source 28 General Purpose Patch 1 Threshold

29 General Purpose Patch 1 Destination +30(31) General Purpose Patch 1 Scale +32(33) General Purpose Patch 1 Offset

34-40 General Purpose Patch 2 41-47 General Purpose Patch 3 48-54 General Purpose Patch 4 55-66 Name (12 characters)

(System parameters)

67 Setup Increment

68 Setup Decrement

69 Display Contrast

70 Display Brightness

71-74 Reserved

75 Register number

76 Preset number +77(78) Setup number

79 MIDI Channel

80 Global Patch mode

81 Display Update

82 Memory Protect (nonzero=protected)

83-95 Reserved

General Purpose

Patch Parameter Map

MIDI Patch Sources

(General Purpose

and Global)

Param #

Patch 1 Patch 2 Patch 3 Patch 4 Data

27 34 41 48 Patch Source

(0 - 127, see below)

28 35 42 49 Patch Threshold

(0 - 127)

29 36 43 50 Patch Destination

(microcode param # 1-22)

+30(31) +37(38) +44(45) +51(52) Patch Scale Factor

(-64 to +64, 2’s complem.)

+32(33) +39(40) +46(47) +53(54) Patch Offset

Control # Function

0 - 31 Continuous controller 0 - 31

32 - 63 7-bit controllers 32-63

64 Last note played 65 Last note’s velocity 66 Channel aftertouch value 67 Pitch bend value 68 MIDI tempo period 69 LFO value 70 Lowest note held 71 Highest note held

72-76 Foot controllers 1-5

77 Input signal level

7-6

Global patch parameter numbers 96-122 correspond to microcode parameter numbers 0-26. Global patch parameter numbers 123 and 124 correspond to parameter numbers 67 (Setup Increment) and 68 (Setup Decrement). If you want to globally patch Foot Controller 1 to Input level (microcode parameter number 24) you would use the global patch parameter number of 120 (96+24). Its data value would be 72, corresponding to Foot Control 1 controller number.

The MIDI patch Offset values are generated internally by the equation:

Offset = [Source-Threshold] x Scale factor

where Source equals the value of the specified controller.

This calculated Offset value is added to the stored (base) value of the specified destination parameter. The sum of the offset and base values is the number used by the audio processor and the parameter transmit routines. The programmer should be aware that the offset values are internally updated whenever the Source controller is changed — therefore if the programmer changes the offset value externally it may be over-written shortly thereafter. The offset parameters are most useful when read to determine the MIDI patch contribution to the parameter values transmitted by the LXP-15 II.

MIDI Implementation Data

Note: When the LXP-15 II

receives

a parameter change, the received value

is used as the new base parameter value. However, when the LXP-15 II

transmits

a parameter value, this value equals the sum of the base parameter

value and any applicable MIDI patch offsets.

7-7

LXP-15 II Owner's Manual

Lexicon

LXP-15 II Microcode

Parameters

All microcode parameters in the LXP-15 II have a fixed MIDI control range. MSB always equals zero. All microcode parameters are accessible via MIDI SysEx. These parameters

can also be controlled through the front panel ADJUST knob and Dynamic MIDI®.

The following charts show parameters and their maximum values for each of the LXP-15 II's five algorithms.

DELAY/REVERB

Param # Global Patch Parameter Name Max. Value

1(2) 97(98) Glide Delay (Gldlyhi) 9983

3 99 Glide Feedback 127

4(5) 100(101) Delay 2 (Dly2hi) 8959

6 102 Unused -

7(8) 103(104) Unused -

9 105 Unused 10 106 Unused 11 107 Unused 12 108 Decay Time 15 13 109 Treble Decay 15 14 110 Bass Multiply 31 15 111 Size 63 16 112 Diffusion 100 17 113 High Cut Filter 15 18 114 Low Cut Filter 31 19 115 Rvb Mix 127 20 116 Wet Pan 126 21 117 Dry Pan 126 22 118 Mix 127 23 119 Output Level 127 24 120 Input Level 127 25 121 LFO Rate 127

7-8

PITCH DELAY

Param # Global Patch Parameter Name Max. Value

1(2) 97(98) Predelay (Pdlyhi) 16,383

3 99 Predelay Feedback 127

4(5) 100(101) Delay L (DlyLhi) 16,255

6 102 Feedback 126

7(8) 103(104) Delay R (DlyRhi) 16,255

9 105 Pitch On/Off 1,0 10 106 Pitch Interval 36 11 107 Pitch Fine 127 12 108 Decay Time 14 13 109 Treble Decay 15 14 110 Bass Multiply 31 15 111 Size 25 16 112 Diffusion 100 17 113 High Cut Filter 15 18 114 Low Cut Filter 31 19 115 Reverb Balance 127 20 116 Wet Pan 126 21 117 Dry Pan 126 22 118 Mix 127 23 119 Output Level 127 24 120 Input Level 126 25 121 LFO Rate 127

MIDI Implementation Data

GATE

Param # Global Patch Parameter Name Max. Value

1(2) 97(98) Predelay (Pdlyhi) 8191

3 99 Predelay Feedback 127

4 100 Unused -

5 101 Unused -

6 102 Unused -

7 103 Unused -

8 104 Unused -

9 105 Unused 10 106 Unused 11 107 Unused 12 108 Slope 127 13 109 Treble Decay 15 14 110 Unused 15 111 Size 31 16 112 Diffusion 127 17 113 Unused 18 114 Unused 19 115 Unused 20 116 Wet Pan 126 21 117 Dry Pan 126 22 118 Mix 127 23 119 Output Level 127 24 120 Input Level 127 25 121 LFO Rate 127

7-9

LXP-15 II Owner's Manual

Lexicon

PLATE

Param # Global Patch Parameter Name Max. Value

1(2) 97(98) Predelay (Pdlyhi) 8191

3 99 Predelay Feedback 127 4 100 Unused 5 101 Unused 6 102 Unused 7 103 Unused 8 104 Unused -

9 105 Unused 10 106 Unused 11 107 Unused 12 108 Decay Time 0 - 15 13 109 Treble Decay 0 - 15 14 110 Bass Multiply 0 - 31 15 111 Size 0 - 79 16 112 Diffusion 127 17 113 Unused 18 114 Unused 19 115 Unused 20 116 Wet Pan 126 21 117 Dry Pan 126 22 118 Mix 127 23 119 Output Level 127 24 120 Input Level 127 25 121 LFO Rate 127

CHORUS DELAY

Param # Global Patch Parameter Name Max. Value

1 97 Delay 1 97

2 98 Unused -

3 99 Feedback 3 127

4 100 Delay 2 127

5 101 Unused -

6 102 Unused -

7 103 Delay 3 127

8 104 Unused -

9 105 Unused 10 106 Unused 11 107 Chorus Rate 15 12 108 Unused 13 109 Unused 14 110 Unused 15 111 Unused 16 112 Diffusion 127 17 113 Treble 15 18 114 Unused 19 115 Unused 20 116 Wet Pan 126 21 117 Dry Pan 126 22 118 Mix 127 23 119 Output Level 127 24 120 Input Level 126 25 121 LFO Rate 127

7-10

MIDI Implementation Data

1(2) Glide Delay (Gldlyhi) Provides (coarse) and fine adjustment of mono delay

time. This control is called Predelay (Pdlyhi) in the Pitch/Delay , Gate and Plate algorithms, and Delay 1 in Chorus Delay.

3 Glide Feedback Adjusts positive feedback around the mono delay. In

Delay/Reverb, 100% feedback does not cut the input, but continues to add it in. There is also a slight high frequency rolloff through the gliding delay mechanism of Delay/Reverb. In Pitch/Delay (where it is called Predelay Feedback), 100% feedback automatically cuts the input, and can be used as a manual, or MIDI controlled, delay line sampler. In Chorus/Delay (where it is called Feedback 3) it recirculates the output of Delay 1 and Delay 3 before it enters the third chorusing circuit.

4(5) Delay 2 (Dly2hi) Provides (coarse) and fine adjustment of two-channel

delay time.In Delay/Reverb, provides a predelay adjustment for the reverb. In Pitch/Delay (where it is called Delay L (DlyLhi) ) this control provides a reverb predelay and adjusts the left channel. In Chorus/Delay, Delay 2 adds an additional offset to the value of Delay 1 for the second pair of chorused taps.

6 Feedback 3 Adjusts feedback around the pitch shifter and left channel

delay. This control is called Feedback in Pitch/Delay.

7(8) Delay R (DlyRhi) Provides (coarse) and fine adjustment for right channel

delay.

Notes on the Parameters

9 Pitch On/Off Used to enable the pitch shifter.Selecting 0 (Defeat) bypasses

the pitch shifter and the small delay associated with it.

10 Pitch Interval Adjusts the pitch shift from two octaves down (Pitch ON=1;

Pitch Interval=0) to one octave up.

11 Pitch Fine Provides a fine adjustment of pitch for detuning. The MIDI value

0-127 is interpreted as being centered on 64. Adjusts Chorus Rate in the Chorus Delay algorithm.

12 Decay Time Adjusts mid reverb time. Infinite reverb is available in Delay/

Reverb algorithm only. Adjusts Slope in the Gate algorithm.

13 Treble Decay Provides an adjustment of the low pass filter within the reverb.

Maximum setting gives a flat response through the filter section.

14 Bass Multiply Provides control over bass reverb time. 15 Size Adjusts the room size. The range is for one side of a room; cube these

values to get the approximate room volume.

16 Diffusion Softens attack of percussive sounds in the reverberator. 17 High Cut Filter Provides adjustment of high frequency roll-off. Maximum

setting gives flat response through the filter section.

18 Low Cut Filter Provides adjustment of low frequency roll-off. Minimum

setting gives flat response through the filter section.

19 Reverb Balance Adjusts the mix of reverb with delay effects. 20 Wet Pan Provides a pan control for the wet output.

7-11

LXP-15 II Owner's Manual

Lexicon

21 Dry Pan Provides a pan control for the dry output. 22 MIX Adjusts the wet/dry mix. 23 Output Level Adjusts the output level of the signal processor. 24 Input Level Adjusts the input level to the signal processor. 25 LFO Rate Adjusts the frequency of the low frequency oscillator.

7-12

Lexicon LXP-15 II Multi-Effects Processor

Function Transmitted Recognized Remarks

Basic Default 1 1 Channel Channel 1-16 1-16 Memorized

Mode Defaullt

Messages Mode 1, 3 Altered

Note X 0 - 127 Used as Number True Voice controller*

Velocity Note ON X O *

Note OFF X X

After Keys X X * Touch Channels X O

Pitch Bender X O 7-bit

resolution*

MIDI Implementation Data

MIDI Implementation Chart

Control X 0 - 95 7-bit Change resolution*

Program X 0 - 127 Note 1 Change True # 1 - 128

System Exclusive O O Note 2 System :Song Pos X X

:Song Sel X X

Common :Tune X X System :Clock X O Used as

Real Time :Commands X X controller* Aux :Local ON/OFF X X

Messages :All Notes OFF X X

:Active Sense X X :Reset X O

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO

Notes

1. loads registers 1-128; presets 1-128 accessed via SysEx

2. data dumps, parameters * can be assigned to control any LXP-15 II effect parameter

O : Yes X : No

7-13

LXP-15 II Owner's Manual

Lexicon

7-14

This chapter is intended primarily to help you to recognize some common error states which can be corrected from the LXP-15 II front panel controls, or by simple means such as cable replacement. Any error states which are not covered here should be referred to Lexicon Customer Service.

Troubleshooting

In a low voltage, or "brown-out" condition, the LXP-15 II will freeze in its current state. None of the controls will have any effect. When power returns to a normal level the unit will reset itself as though it had just been powered on. After the initial power up display message, the unit will return itself to the state it was in when the power dropped. If the unit does not reset itself, turn the power OFF, then ON to resume normal operation.

Temperature extremes may cause the LXP-15 II to exhibit unpredictable behavior. If the unit has been subjected to temperatures below 32°F (0°C) or above 95°F (35°C), it should be turned off and allowed to return to normal temperature before use. The unit may be damaged by exposure to temperatures below -22°F (-30°C) or above 167°F (75°C), or by exposure to humidity in excess of 95%. If a unit exposed to such conditions fails to operate after it returns to a normal operating temperature, contact Lexicon Customer Service.

No output from the LXP-15 II.

Check to see if Global Patches are set to

control source patched to a destination, the controller will go to its minimum value!

If you don't have anything patched to the input and output parameters, this may result in no output. When you access a preset, all of the parameter values will immediately jump to whatever value you have selected, destroying the preset's sound. See page 4-14.

Immediate

mode.

If you don't have a

Low Voltage

Overheating

Common MIDI Problems

The LXP-15 II doesn't respond to MIDI.

• Check to make sure a MIDI cable is connected to MIDI OUT of the external

device and to MIDI IN on the LXP-15 II.

• Test the MIDI cable.

• Verify that you have the LXP-15 II and the external device communicating on

the same MIDI Channel. See page 6-1.

A MIDI indicator in the upper lefthand corner of the display will flash to indicate the LXP-15 II is receiving MIDI data on the selected channel.

The LXP-15 II doesn't go to the Program Change number transmitted — it's off by 1.

Your MIDI device is transmitting Program Changes 0-127. The LXP-15 II translates 0 to 1, 1 to 2, etc. Subtract 1 from the LXP-15 II program number you want, and transmit that Program Change number. See page 6-2.

8-1

LXP-15 II Owner's Manual

Lexicon

Restoring Factory

Presets and Registers

Diagnostic Tests

Do not run any test other than

"Clear All RAM" unless instructed

by Lexicon Customer Service

Pre burn in Test

Switch Test

Direct Audio Test

Processed Audio Test

ADC Test (factory only)

Go To System

Post Burn in Test

ADC Monitor

Bank Test

Base ROM Test

Bank A ROM Test

Bank B ROM Test

All ROM Test Master RAM Test Shared RAM Test Master WCS Test

Master All RAM Test

Clear All RAM

Interrupt Test

MIDI Test

Non-Volatile Memory Test

Non-Volatile Test Init

Audio DRAM Test

Go to System (skip Diagnostics)

Slave Reset

Slave Communications Test

Slave RAM Test

Slave WCS Test

All Slave Tests

Display Contrast

Display Brightness

Display Test

Repeating Test

This procedure allows you to restore the LXP-15 II memory to its original condition (as shipped by Lexicon).

!CAUTION!

This procedure will erase the entire contents of the User registers and replace it with a copy of the original factory-loaded presets. If you have setups stored in the User registers that you don't want to lose, make a record of them

To perform this procedure, the LXP-15 II must be put in Diagnostic mode. To do this:

1. Power OFF the LXP-15 II.

2. Power ON the LXP-15 II while holding down the front panel

This puts the LXP-15 II in Diagnostics mode. The display will show:

The ADJUST knob allows you to scroll through the list of 33 diagnostic tests shown in the column at the left. About half-way through this list is a test called

Clear ALL RAM.

unless instructed by Lexicon Customer Service. The display will show:

Press VIEW. The following display will appear:

Simultaneously pressing the two buttons directly beneath the displayed arrows (the button farthest to the left and the button farthest to the right) will initiate the reinitialization procedure. While the procedure is running (approximately 5 seconds) the display will show:

before

performing this procedure.

VIEW button.

LXP-15 II Diagnostics

Turn ADJUST to select test.

Turn ADJUST to select this test. Do not run any other test

Clear ALL RAM, (inits registers) Press VIEW to start.

| Are you sure? |

V (Press these to confirm) V

Clear ALL RAM, (inits registers) Running . . .

8-2

When the reinitialization procedure is successfully completed, the green LED at the bottom of the Headroom section on the LXP-15 II front panel will flash once, and the screen should show:

Clear ALL RAM, (inits registers) passed

Press VIEW to start.

An error condition is signaled by the illumination of the red overload LED for approximately half a second, and the message "Failed" on the display.

Once this procedure is completed, simply power OFF the LXP-15 II and power ON again to resume normal system operation.

Troubleshooting

8-3

LXP-15 II Owner's Manual

Lexicon

8-4

Specifications

Audio Inputs (2)

Level: -26 dBu minimum

(0 dBu = 0.775 Vrms)

Impedance:Stereo: 50 kΩ,

unbalanced Mono: 25 kΩ unbalanced

Connectors: 1/4" tip/sleeve

phone jacks (L or R may be used for mono input)

Audio Outputs (2)

Level: +4 dBu nominal,

+8 dBu max into 600Ω

+14 dBu max into >10kΩ Impedance: 600Ω unbalanced Connectors: 1/4" tip/sleeve

phone jacks (L or R may be

used for mono output.)

Mute Protection

removes unwanted transients during power up/down or any power interruption

Static Protection

Frequency Response

Wet: 20 Hz to 15 kHz +1.0/-1.5 dB Dry: 20 Hz to 20 kHz +0.1 dB

Dynamic Range

85 dB typical, 20 Hz to 20 kHz bandwidth

Total Harmonic Distortion and Noise

Wet: <0.03% at 1 kHz Dry: <0.02% at 1 kHz

Encoding

16-bit linear PCM

Sampling Frequency

31.25 kHz

Memory

128 presets with 128 user registers available

Dynamic MIDI

5-pin DIN connectors provided for MIDI IN, MIDI OUT, and MIDI THRU

Controller Inputs

Five 1/4" tip/ring/sleeve phone jack inputs provided for connection to any on/off toggle switch, analog voltage controller, or 50kΩ control pedal

Signal Level Indicators

Four signal level LED indicators, including processed signal overload

Front Panel Display

Two lines of 40 alphanumeric characters each, backlit liquid crystal display

Front Panel Controls

Input Level Adjust Output Level Adjust Page knob: used for selecting

16 display pages

View button: used for viewing

additional display pages

Adjust knob: used for editing

parameters

Soft buttons (5): used for assigning

Adjust knob parameters

Power Switch

RFI Shielding

Complies with FCC Class A requirements for computer equipment

Power Requirements

100/120/220/240 VAC 50-60 Hz 20W

Dimensions

19.0"W x 1.75"H x 13.9"D (483 x 45 x 353mm)

Conforms to 19" rack mount

standard, 1U high

Weight

12.0 lbs (5.5 kg)

Shipping Weight 14.0 lbs

(6.4 kg)

Shipping materials meet or exceed Project 1A of the National Safe Transit Association (NSTA) packaged-product specifications: vibration test, drop test, static compression test.

Environment

Operating Temperature: 32° to 95°F (0° to 35° C) Storage Temperature: -22° to 167°F (-30° to 75°C) Humidity: 95% maximum without condensation

Specifications subject to change without notice.

9-1

Tempo to Delay Time Conversion

(Tempo in beats per minute; Delay values to the nearest millisecond)

Tempo 1/4 1/8 1/8T 1/16

60 1000 500 333 250 61 984 492 328 246 62 968 484 323 242 63 952 476 317 238 64 938 469 313 234 65 923 462 308 231 66 909 455 303 227 67 896 448 299 224 68 882 441 294 221 69 870 435 290 217 70 857 429 286 214 71 845 423 282 211 72 833 417 278 208 73 822 411 274 205 74 811 405 270 203 75 800 400 267 200 76 789 395 263 197 77 779 390 260 195 78 769 385 256 192 79 759 380 253 190 80 750 375 250 188 81 741 370 247 185 82 732 366 244 183 83 723 361 241 181 84 714 357 238 179 85 706 353 235 176 86 698 349 233 174 87 690 345 230 172 88 682 341 227 170 89 674 337 225 169 90 667 333 222 167 91 659 330 220 165 92 652 326 217 163 93 645 323 215 161 94 638 319 213 160 95 632 316 211 158 96 625 313 208 156 97 619 309 206 155 98 612 306 204 153

99 606 303 202 152 100 600 300 200 150 101 594 297 198 149 102 588 294 196 147 103 583 291 194 146 104 577 288 192 144 105 571 286 190 143 106 566 283 189 142 107 561 280 187 140 108 556 278 185 139 109 550 275 183 138 110 545 273 182 136 111 541 270 180 135 112 536 268 179 134 113 531 265 177 133 114 526 263 175 132 115 522 261 174 130 116 517 259 172 129 117 513 256 171 128 118 508 254 169 127 119 504 252 168 126

60,000 ms (1 minute) ÷ Tempo (bpm) = Delay Time in ms for quarter-note beats

1/4 = quarter-note echo 1/8 = eighth-note echo 1/8T = eighth-note triplet echo 1/16 = sixteenth-note echo

Tempo 1/4 1/8 1/8T 1/16

120 500 250 167 125 121 496 248 165 124 122 492 246 164 123 123 488 244 163 122 124 484 242 161 121 125 480 240 160 120 126 476 238 159 119 127 472 236 157 118 128 469 234 156 117 129 465 233 155 116 130 462 231 154 115 131 458 229 153 115 132 455 227 152 114 133 451 226 150 113 134 448 224 149 112 135 444 222 148 111 136 441 221 147 110 137 438 219 146 109 138 435 217 145 109 139 432 216 144 108 140 429 214 143 107 141 426 213 142 106 142 423 211 141 106 143 420 210 140 105 144 417 208 139 104 145 414 207 138 103 146 411 205 137 103 147 408 204 136 102 148 405 203 135 101 149 403 201 134 101 150 400 200 133 100 151 397 199 132 99 152 395 197 132 99 153 392 196 131 98 154 390 195 130 97 155 387 194 129 97 156 385 192 128 96 157 382 191 127 96 158 380 190 127 95 159 377 189 126 94 160 375 188 125 94 161 373 186 124 93 162 370 185 123 92 163 368 184 123 92 164 366 183 122 91 165 364 182 121 91 166 361 181 120 90 167 359 180 120 90 168 357 179 119 89 169 355 178 118 88 170 353 176 118 88 171 351 175 117 88 172 349 174 116 87 173 347 173 116 87 174 345 172 115 86 175 343 171 114 86 176 341 170 114 85 177 339 169 113 85 178 337 169 112 84 179 335 168 112 84

LXP-15 II User Log

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32

Setup Name 1 2 3 4 5 6 7 8 9

# 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64

Setup Name

# 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96

Setup Name #

100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128

Setup Name 97 98 99

This page may be copied as needed for documenting the sounds stored in LXP-15 II User memory.

LXP-15 II Owner's Manual

Lexicon

4-24

Lexicon Inc. 3 Oak Park Bedford, MA 01730 USA Telephone 781-290-0300 Fax 781-290-0490

Lexicon Part #070-10273

Lexicon LXP-15II Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual