Lexicon MC-12 EQ - REV 1, MC-12 Balanced User Manual

MC-12

Controller EQ

User Guide

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Lexicon Part No. 070-15993 | Rev 1 | 04/05

Manufactured under license from Dolby Laboratories. Dolby, Pro Logic, Surround EX, and the double-D symbol are trademarks of Dolby Laboratories.

Manufactured under license from THX Ltd. U.S. patent numbers 5,043,970; 5,189,703; and/or 5,222,059. European patent number 0323830. Other U.S. and
foreign patents pending. Ultra2 and THX are trademarks or registered trademarks of THX Ltd. Surround EX is a trademark of Dolby Laboratories. Used under
authorization.

DTS, DTS-ES, Neo:6, and DTS 96/24 are trademarks of Digital Theater Systems, Inc.

Lexicon, Logic 7 and the L7 logo are registered trademarks of Harman International Industries, Inc. U.S. Patent Nos. D454,553; D454,860; 5,796,844; 5,870,480
and other worldwide patents issued and pending.

© 2005 Harman International Industries, Inc. All rights reserved.

This document should not be construed as a commitment on the part of Harman Specialty Group. The information it contains is subject to change without notice.
Harman Specialty Group assumes no responsibility for errors that may appear within this document.

Introduction

Lexicon

iiii

Represents a menu path. The menu items in gray boxes must be selected with the
right arrow button to access the menu or menu item in the black box. For instance,
the SETUP, INPUTS, and DVD1 menu items must be selected to open the DVD1
INPUT SETUP menu.

The DVD1 input is used here as an example, and will continue to be used as an
example throughout this document.Whenever it appears as a step in a menu path,
any other input may be substituted. Likewise, whenever the DVD1 INPUT SETUP
menu appears, any other INPUT SETUP menu may be substituted.

DVD1 INPUT SETUPDVD1INPUTSSETUP

DOCUMENTATION CONVENTIONS

This document contains general operation instructions for the MC-12 and MC-12 Balanced Digital Controllers. It is important to read this user guide before attempting to use
this product.

The following symbols are used in this document:

Calls attention to a procedure, practice, condition or the like
that, if not correctly performed or adhered to, could result in
damage to or destruction of part or all of the product.

Note: Calls attention to information that is essential to highlight.

CAUTION

This document uses the term MC-12 to refer to both the MC-12 and MC-12 Balanced Digital Controllers unless otherwise specified.

Introduction

MC-12 EQ

iii

Section 1: Understanding Room Equalization

Loudspeaker Sound in a Room . . . . . . . . . . . . . . . . . . . . . . . 1-2

Room Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5

Surround Sound Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-6

Section 2: Configuring the MC-12 for EQ

About Automatic Calibration . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Connecting the Microphones . . . . . . . . . . . . . . . . . . . . . . . . 2-5

Positioning the Microphones for the Microphone Check . . . . . 2-6

Performing the Microphone Check . . . . . . . . . . . . . . . . . . . . 2-8

Repositioning the Microphones for Automatic Calibration . . . 2-10

Performing Automatic Calibration . . . . . . . . . . . . . . . . . . . . 2-16

Adjusting Room Correction . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Room EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Room EQ Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Remote Control Commands . . . . . . . . . . . . . . . . . . . . 2-22

EQ Menu Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-23

Check Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . 2-23

EQ Distances or Levels . . . . . . . . . . . . . . . . . . . . . . . . 2-24

Room EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-25

Audio Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-25

Distances or Output Levels . . . . . . . . . . . . . . . . . . . . . 2-26

1

Understanding Room Equalization

Loudspeaker Sound in a Room. . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Room Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5

Surround Sound Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-6

Understanding Room Equalization

1-2

Lexicon MC-12 Controller

UNDERSTANDING ROOM EQUALIZATION

Sections one and two of this document explain the conditions that
create the need for room equalization, how the MC-12 can com­pensate for room variances, and how to properly set up the micro­phones to run equalization tests. The theoretical material in this
section was authored by Dr. James Muller, Lexicon senior software
engineer.

LOUDSPEAKER SOUND IN A ROOM

The way that sound from a speaker behaves outdoors (in open air)
or in an anechoic chamber is different from the way it behaves in
a room. The sound from a speaker in open air or in an anechoic
chamber radiates outward in straight lines. (Actually, the theory of
wave propagation is quite complex, but the “straight line” concept
is valid for uniform air properties and is therefore accurate enough
to be useful.) In a typical listening room, a small amount of the
sound reaches the listener directly, as shown in Figure 1-1.

Figure 1-1. The listener directly hears a fraction of the total sound.

Most of the sound in a room is reflected off walls, the floor and the
ceiling, as shown in Figure 1-2.

In addition, a typical listening room also contains furniture, win­dows, door openings and people. Every object and surface con­tributes a reflection.

The strength of each reflection depends on how the wavelength of
the sound compares to the size of the reflecting object, and on the
transmission properties of the reflector. A good general principle to
remember is that if the wavelength is longer than the size of the
object, the wave will pass around the object as if it wasn’t there. If
the wavelength is shorter, strong reflections will occur. For exam­ple, the wavelength of 100Hz is 11 feet, so it will pass around any
person standing in a room. The wavelength of 1000Hz is only 1.1

Figure 1-2. The listener hears mostly reflected sound.

Understanding Room Equalization

1-3

EQ User Guide

feet, so it will be scattered by any person (or object bigger than 1
foot) in the room. The strength of reflections also depends on the
transmission properties of the reflector. For example, depending on
its size and stiffness, a wall may have its own resonant frequency.
This can happen when a sound wave of sufficient amplitude hits
the wall and causes it to resonate.

Parallel walls can reflect sound back and forth many times, as
shown in Figure 1-3. When multiple copies of the same waveform
are “added together,” they do not necessarily produce louder
sound. Multiple reflections could cause an increase of more than
10dB. Yet, the level could be reduced by 10dB or more. The relative
timing between the two sounds (phase difference) determines
what actually happens. The end result of all these reflections is that
you hear an extremely complicated sum that cannot be easily char­acterized. Fortunately our ears (actually, our brains) are able to sort
through the resultant sound and interpret it all as the “room
sound.” As we get accustomed to the room sound reflections, they
become a critical part of our enjoyment of most music. Without the
room reflections, most people would find the perceived audio quite
uninteresting, even unpleasant. Logic 7 recreates these reflections.

If you can imagine sound waves as moving objects, it is easier to
think about how they interact with common objects such as
humans and furniture. The wavelength of audible sound can be as
long as 57 ft (20Hz) or as short as 2/3 of an inch (20kHz). A 1kHz
sound wave will be about a foot long when it leaves the speaker,
and it will bounce off of almost everything solid (people, walls, fur­niture) in its path. A 100Hz sound wave will be 11 feet long after
leaving the speaker and, because of its length, won’t bounce off of
nearly as many surfaces as the 1kHz sound wave. This concept is
shown in Figure 1-4.

Figure 1-3. Parallel walls reflect sound multiple times.

Understanding Room Equalization

1-4

Lexicon MC-12 Controller

The low frequencies tend to behave in predictable ways because
the bass wavelengths are larger than the typical objects in a room.
The mid and high frequencies generally behave differently from
room to room because the foot-by-foot or inch-by-inch details dif­fer dramatically from room to room. No two rooms have the same
exact placement of chairs, tables, lamp shades, bookshelves or
people.

Good speaker designers know that there are differences from one
room to another and try to develop speaker systems that take
advantage of the room. However, they do not know the specifics

Direct waves

Reflected waves

Reflected waves

100Hz

1KHz

of your particular room; how big it is, the arrangement of the fur­niture, speaker placement and so on.

Designers can correct for some speaker characteristics. For exam­ple, a typical cone driver does not radiate all frequencies evenly in
all directions. With a floorstanding speaker, designers know how far
above the floor each driver in the speaker will be. With this knowl­edge, they can specify details such as how far from a wall or corner
their speaker should be placed. However, they must still design to
some typical room. Your room might be quite different from what
is thought to be typical.

Getting good sound in your room requires that you try to avoid
setting it up in a manner that will create problems the speaker
designer could not anticipate. Following are some tips for arrang­ing your listening room for optimal enjoyment (see Figure 1-5):

• If the room is still under construction, you should try to avoid
building large enclaves or rectangular cavities such as foyers,
bay windows, stairway entrances, and so on. Such spaces res­onate specific frequencies and affect the sound quality within
the room.

•Try not to place speakers in cabinets or build them into walls
unless the manufacturer has specified them for such applica­tions.

• Speakers designed to be freestanding should be used that way;
likewise, those designed to be set against a wall or in a corner
should be used that way. Every close boundary wall provides a
boost in the bass, so a speaker placed inappropriately with
respect to the wall will produce either insufficient or excessive
bass.

• Seats should be positioned away from walls and corners.
Seating positions too close to one or more walls will be subject
to bass increases.

Figure 1-4. Bass frequencies, which have longer wavelengths,
behave more predictably than higher frequencies.

Understanding Room Equalization

1-5

EQ User Guide

ROOM MODES

Room modes are resonances that occur when low frequencies rein­force each other as they reflect back and forth between the hard
boundaries of the room. The size of the room determines at which
particular frequencies it resonates. Room modes can cause the sub­woofer to sound very loud for one note, and fairly quiet for
another. A typical room will exhibit many room modes. For rooms
with parallel walls, the significant low-frequency modes can be pre­dicted to occur at any frequency for which an even number of
quarter wavelengths will fill the space between two opposite walls.
For example, a room that is 18 feet long will exhibit a resonance

Corner position bad
unless speaker
specifically designed

to be placed here

Open staircase
can resonate

Not good unless

speaker was intended
to be placed on a
bookshelf

Figure 1-5. Tips for arranging your listening room.

along its length at wavelengths of 36 ft (31Hz), 18 ft (63Hz), 12 ft
(94Hz), and so on. Each dimension of length, width and ceiling
height will resonate independently at its own frequencies.

The resulting sound in the room is the addition (possibly in a com­plex mathematical way) of all the room's modes. Other factors,
such as wall stiffness or the position of furniture in the room, can
also affect the modes. At higher frequencies, these effects become
less predictable and can change as people move around the room.
However, the low-frequency modes are predictably consistent. Any
problems produced by the low-frequency modes will always be
present, but those problems can be mitigated.

Amplitude

Figure 1-6. Resonance modes along the length of a room.

Understanding Room Equalization

1-6

Lexicon MC-12 Controller

Room modes affect the frequency response you hear in several
ways. The most pronounced effect of room modes is to make cer­tain frequencies too loud. You can correct this to some degree with
an equalizer. Strong resonances have an additional feature: those
frequencies linger on. When a speaker creates sound at the fre­quency of a strong resonance mode, that sound lingers in the room
after the speaker has stopped vibrating. For a very strong reso­nance, the sound could linger as long as half a second. In the worst
cases, that sound will also have a distinct pitch.

Listeners do not always notice this “extra” sound because the fre­quencies of stable modes are usually too low to be discernible as a
detail unless the listener specifically listens for them. Rather, the
usual problem is that the lingering sound can obscure other parts
of the music. For example, the lingering sound from a kick drum
could mask the details of a following vocal passage. Subjectively,
you might feel as if you were listening to the music through a layer
of gauze. You might try to fix things by turning up the overall vol­ume, turning down the overall volume, or by tweaking your audio
controls (bass, treble, tilt EQ, or loudness). However, none of these
fixes can provide satisfactory results. For example, turning down
the bass sufficiently to solve the problem with the kick drum will
probably leave all the low frequencies seemingly too low in ampli­tude. By comparison, were you to listen to the same recording
through headphones (headphones eliminate room modes, since
they are tightly coupled to the ear), you wouldn’t have the prob­lem. You might then describe the sound of the same recording
played back in your room as having “flabby bass,” and assume the
cause is your system or your speakers. In fact, if you are really hear­ing room modes the flabby bass is not caused by your speakers; it
is caused by your room.

The too-slow decay of a resonance mode can be corrected only by
applying the proper filter. The severity of a resonance mode is
defined by its “Q” value (which historically meant Quality Factor).
The higher the Q of a resonance, the bigger its amplitude and the
slower its decay.

The presence of a resonance with high Q is not a desirable condi­tion in listening rooms. Proper treatment of a resonance requires a
filter with not only the correct frequency and depth, but also the
correct Q. Graphic equalizers offer neither a variety of Q values nor
a fine enough frequency selection. A good parametric equalizer can
be made to work, but you would first need to have the expertise
and equipment to measure the room's resonances. This could be a
difficult and time-consuming task.

The EQ procedure identifies room resonances and measures both
their Q and frequency in a highly precise manner. Using this infor­mation, it then applies the proper parametric filters to neutralize
these resonances. You can run the EQ procedure by following the
simple set of instructions in section 2 of this user guide.

Surround Sound Issues

Surround sound is a key component of modern multimedia pre­sentations. An action-movie DVD may have great video, but the
moving image of an explosion offers little thrill to the viewer with­out an accompanying BOOM! A tire-screeching vehicle entering
the field of view from the left is more effective if the accompanying
audio comes from the left also. The surround sound system is what
makes it all work. Properly setting up a surround sound system is
essential. In most installations, the seating positions pose a bigger
problem than the system setup.

The two key adjustments for each speaker are timing and level. The
subtle differences in timing of the sound coming out of each of sev­eral speakers is what gives you (the listener) a sense of direction.
These subtle timing differences can be as short as a few millisec­onds. If you are too close to one speaker in the system, many of the
audio effects will seem to come from only that direction because
the sound from that speaker arrives at your ears too early. Since
sound travels a bit faster than 1100 feet per second, each foot of
travel takes just under a millisecond. So if one speaker is 5 feet too

Understanding Room Equalization

1-7

EQ User Guide

close to you, its sound will arrive at your ears approximately 5 mil­liseconds too early.

The surround processor distance settings allow the surround sound
system to delay the sound from each speaker just enough to realign
them all to each other. Levels must also be balanced because a
speaker positioned too close to you will be too loud compared to
the other speakers.

Perfect settings for level and distance apply to only one position in
the room. For example, if one seat is 8 feet from every speaker in
the room, no other location in the room will also be exactly 8 ft
from them all. A seat to the left of that first one might be 3 feet
closer to the left side speaker, and the same amount further away
from the right side speaker. No single set of distances will fit both
seat positions. Fortunately, our perception will tolerate some devi­ation from “perfect” level and distance settings. In Figure 1-7, the
distance value for the side speakers is set to a location about mid­way between the two seats, giving an error of only 1.5 feet for both
side speakers for both seats.

Figure 1-7. Distance setting point for side speakers.

Distance value for side speakers

should be set to

this point

When a room has multiple viewing positions, the distance and level
settings will be more accurate if all of those seats are clustered
together as closely as possible (Figure 1-8).

Figure 1-8. Seats should be clustered together as much as possible.

If a favorite listening chair must be located in a remote corner of
the room (Figure 1-9), the listeners will have to choose whether to
accomodate the remote seat or to ignore it. No set of values will

Understanding Room Equalization

1-8

Lexicon MC-12 Controller

work perfectly for everyone if one or more seats are too far away
from the “average” position. Any compromise to accommodate
remote seats will degrade the audio for everyone.

Figure 1-9. If system is optimized for the remote corner seat, the
audio will be degraded for all.

R

em

ote S

eat

2

Configuring the MC-12 for EQ

About Automatic Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Connecting the Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-5

Positioning the Microphones for the Microphone Check . . . . . . . . 2-6

Performing the Microphone Check . . . . . . . . . . . . . . . . . . . . . . . 2-8

Repositioning the Microphones for Automatic Calibration . . . . . . 2-10

Performing Automatic Calibration . . . . . . . . . . . . . . . . . . . . . . . 2-16

Adjusting Room Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Room EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Room EQ Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Remote Control Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-22

EQ Menu Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-23

Check Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-23

EQ Distances or Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-24

Room EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-25

Audio Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-25

Distances or Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-26

Configuring the MC-12 for EQ

2-3

EQ User Guide

ABOUT AUTOMATIC CALIBRATION

When running the EQ software, the MC-12 offers automatic
calibration of the listening room’s bass response, loudspeaker
distances, and loudspeaker output levels. A successful microphone

check is required before automatic calibration procedures can be
performed.

The Automatic Calibration Procedures table on the next page
describes all automatic calibration procedures.

BEFORE performing automatic calibration:

 Use the CUSTOM or THX SETUP menu to set crossover points

for the loudspeakers connected to the Main Zone audio output
connectors. Setting crossover points, after automatic calibra­tion is performed, can invalidate calibrated output levels.

 Set all associated component (e.g., subwoofers, loudspeakers,

and power amplifiers) volume controls to a reasonable level.
During automatic calibration, the MC-12 outputs calibration
noise signals at fixed volume levels. However, when automatic
calibration ends, the MC-12 automatically reverts to the last
volume level that was selected before automatic calibration
was performed.

 Eliminate extraneous noises in the listening room, including

conversations, air conditioners, and sounds that filter in
through open doors and windows.

 Remove objects, including people, blocking the line-of-sight

path between the microphones and the loudspeakers.

DURING automatic calibration:

 Calibrate the listening room’s bass response BEFORE calibrating

loudspeaker output levels. Room correction applied to the
loudspeakers as a result of the EQ DISTANCES LEVELS or
ROOM EQ procedure can affect loudspeaker output levels,
particularly those of the subwoofer and low frequency effect
(LFE) subwoofer.

 The MC-12 outputs calibration noise signals between 55 and

95dB, starting at 55dB and increasing in 5dB increments until
the microphones detect the required level. If calibration noise
signals become too loud, press the  arrow button to cancel
automatic calibration.

 Refer to the on-screen display rather than the front panel

display. The on-screen display provides additional information

and instructions.

DescriptionProcedure

Configuring the MC-12 for EQ

2-4

Lexicon MC-12 Controller

CHECK MICROPHONES

EQ DISTANCES LEVELS

ROOM EQ

DISTANCES

OUTPUT LEVELS

Examines the microphones connected to the rear panel microphone input connectors.

 Confirms that the microphones are properly connected and functioning.

 Calculates an average microphone level, allowing the MC-12 to compensate for individual microphone sensitivities.

 Ensures that microphone levels are consistent, eliminating errors that result from individual microphone level differences.

Calibrates the listening room’s bass response.

 Measures the listening room’s bass resonance characteristics.

 Applies appropriate room correction to the loudspeakers to minimize bass resonances.

 Sets the AUDIO CONTROLS menu ROOM EQ parameter to ON and ROOM EQ LEVEL parameter to MEDIUM. These parameters can

now be used to activate and deactivate room correction and to control the amount of room correction applied to the loudspeakers.
Refer to Adjusting Room Correction (page 2-21).

Calibrates loudspeaker distances.

 Calibrates loudspeaker distances within ±0.5 foot (0.15m) of the physical distance between the listening position(s) and the loudspeaker.

 Provides a comparison between original and calibrated loudspeaker distances, allowing for selection of the desired distances.

Calibrates loudspeaker output levels.

 Calibrates individual loudspeaker output levels within ±0.5dB of each other.

 Calibrates overall loudspeaker output levels within ±3.0dB of THX reference levels (75.0dB).

 Provides a comparison between original and calibrated loudspeaker output levels, allowing for selection of the desired output levels.

Calibrates the listening room’s bass response, loudspeaker distances, and loudspeaker output levels.

 Requires minimal interaction.

 Measures the listening room’s bass resonance characteristics.

 Applies appropriate room correction to the loudspeakers to minimize bass resonances.

 Sets the AUDIO CONTROLS menu ROOM EQ parameter to ON and ROOM EQ LEVEL parameter to MEDIUM. These parameters can

now be used to activate and deactivate room correction and to control the amount of room correction applied to the loudspeakers.
Refer to Adjusting Room Correction (page 2-21).

 Calibrates loudspeaker distances within ±0.5 foot (0.15m) of the physical distance between the listening position(s) and the loudspeaker.

 Calibrates individual loudspeaker output levels within ±0.5dB of each other.

 Calibrates overall loudspeaker output levels within ±3.0dB of THX reference levels (75.0dB).

 Automatically applies calibrated loudspeaker distances and output levels.

Configuring the MC-12 for EQ

2-5

EQ User Guide

CONNECTING THE MICROPHONES

Automatic calibration requires the microphones included in the
Lexicon Microphone Kit, which is available at authorized Lexicon
dealers. Performing automatic calibration with other microphones

will produce unknown results.

• The microphones included in the Lexicon Microphone Kit require
careful handling. Dropping or otherwise physically abusing the
microphones may cause errors during use or irreparable damage to the
microphones. Read and observe the documentation included with the
Lexicon Microphone Kit to ensure optimal microphone performance.

• The microphone wires also require careful handling. Do not sharply
bend the wires or place objects on them.

•Never make or break microphone input connections unless the MC-12
is powered off using the rear panel power switch or placed in standby
mode using the front panel or remote control standby button.

To connect the microphones:

1. Make sure the MC-12 is powered off using the rear panel
power switch or placed in standby mode using the front panel
or remote control standby button.

CAUTION

2. Connect the microphones included in the Lexicon Microphone
Kit to the microphone input connectors on the MC-12 rear

panel (shown in Figure 2-1). Make sure microphone cable
plugs are fully inserted for solid connections.

Note:

During the microphone check, the MC-12 refers to
the microphones as 1, 2, 3, and 4 based on the
microphone input connector to which the microphone
is connected. Label the microphones for troubleshooting
purposes.

3. Power on the MC-12 or take the MC-12 out of standby mode.

TRIGGER OUTPUTS

MAIN AUDIO O

3

1234

MICROPHONE INPUTS

LFE

Figure 2-1. Microphone input connectors on MC-12 rear panel.

POSITIONING THE MICROPHONES FOR THE MICROPHONE CHECK

Proper microphone placement is essential to achieve the desired automatic calibration results. Refer to the microphone placement examples
that begin below to properly position the microphones for the microphone check.

Configuring the MC-12 for EQ

2-6

Lexicon MC-12 Controller

The microphones SHOULD be positioned:

 As close together as possible

 Relatively centered between and equidistant

from the front left and right loudspeakers

 In a clear line-of-sight path with the loudspeak-

ers

 In a location unobstructed by furniture and

other fixtures

 In a location where echoes will not obscure

calibration noise signals

 At least 2 feet (0.61m) from all loudspeakers

and walls

 Within 30 feet (9.14m) of all loudspeakers.

The listening room to the left shows proper microphone
placement for the microphone check. The microphones
are clustered in an unobstructed location that is
relatively centered between and equidistant from the
front left and right loudspeakers.

Front

Left

Center

Subwoofer

Front
Right

Side

Right

Rear

Right

Rear
Left

Side
Left

Microphone

PROPER

Figure 2-2. Proper microphone placement for the microphone check.

Configuring the MC-12 for EQ

2-7

EQ User Guide

IMPROPER

The microphones SHOULD NOT be
positioned:

 In separate locations

 In locations scattered throughout the listening

room

 In an obstructed line-of-sight path with the

loudspeakers

 In a location obstructed by furniture and other

fixtures

 Within 2 feet (0.61m) of loudspeakers and walls

 More than 30 feet (9.14m) from any one

loudspeaker.

The listening room to the left shows improper microphone
placement for the microphone check. The microphones
are scattered throughout the listening room in locations
that are neither centered between nor equidistant from
the front left and right loudspeakers. In addition, the
microphones are positioned in obstructed locations on
the floor and on seat cushions.

Front

Left

Center

Subwoofer

Front

Side

Right

Rear

Right

Rear
Left

Side
Left

Microphone

Figure 2-3. Improper microphone placement for the microphone check.

Configuring the MC-12 for EQ

2-8

Lexicon MC-12 Controller

PERFORMING THE MICROPHONE CHECK

1. Open the SPEAKER SETUP menu as shown above.

2. Press the  and  arrow buttons to highlight the CHECK
MICROPHONES procedure. Then, press the  arrow button
to begin this procedure.

3. The CHECK MICROPHONES screen (shown above) opens on
the on-screen display, emphasizing the importance of proper
microphone placement to achieve the desired automatic
calibration results.

Refer to Positioning the Microphones for the Microphone Check
(page 2-6) to ensure that the microphones are properly posi­tioned for the microphone check. Then, press the  arrow
button to continue.

The CHECKING FOR SILENCE message (shown above) appears
on the on-screen display while the MC-12 determines the
relative noise level of the listening room and the internal noise
level of the microphones. After eliminating microphones that
are not detected or not functioning, the MC-12 calculates an
average microphone level.

MAIN MENU
MODE ADJUST

AUDIO CONTROLS
SETUP

CHECK MICROPHONES
CHECKING FOR SILENCE

PLEASE WAIT

CHECK MICROPHONES
CHECKING MICROPHONES

PLEASE WAIT

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

SETUP
INPUTS

SPEAKERS
REAR PANEL CONFIG
DISPLAYS
VOLUME CONTROLS
TRIGGERS
LOCK OPTIONS
LIVE! CALIBRATION

CHECK MICROPHONES

GROUP MICROPHONES

INTO A BUNDLE IN THE

MIDDLE OF THE ROOM

PRESS V TO

BEGIN MIC CHECK

SETUP

CHECK MICROPHONES

SPEAKERS

The CHECKING MICROPHONES message (shown above)
appears on the on-screen display while the MC-12 confirms
the microphone level calculated during the silence check. To
do this, the MC-12 sends alternating calibration noise signals
to the front left and right loudspeakers, eliminating microphones
that detect the signal at an unusually low or high level. Then,
the MC-12 determines the appropriate output level for the
calibration noise signal used during automatic calibration.

Note:

The MC-12 outputs calibration noise signals between
55 and 95dB, starting at 55dB and increasing in 5dB
increments until the microphones detect the required
level. If calibration noise signals become too loud,
press the  arrow button to cancel automatic
calibration.

Configuring the MC-12 for EQ

2-9

EQ User Guide

The CHECK MICROPHONES results
screen (shown to the right) opens on
the on-screen display when the MC-12
finishes checking the microphones. This
screen provides the results for each
microphone. (The MC-12 refers to the
microphones as 1, 2, 3, and 4 based on
the microphone input connector to
which the microphone is connected.)

• OK indicates that the microphone passed the microphone
check.

• ERROR indicates that the microphone did not pass the
microphone check.

4. Press the  and  arrow buttons to highlight the desired
microphone.

5. Press the  arrow button to view more detailed results for the
selected microphone. The CHECK MICROPHONES Results table
on the next page describes all possible results.

Once a successful microphone check has been
performed:

• The MC-12 retains the determined microphone level until
the SPEAKER SETUP menu is closed. Once this menu is

closed, another microphone check is required before automatic
calibration can be performed.

CHECK MICROPHONES
MIC 1 ERROR

MIC 2 OK
MIC 3 OK
MIC 4 OK

PRESS V TO VIEW

DETAILS

PRESS X TO CONTINUE

MIC 1 ERROR

• Do not disconnect the microphones from the microphone
input connectors. If the microphones are disconnected,

perform the microphone check again before performing
automatic calibration.

Configuring the MC-12 for EQ

2-10

Lexicon MC-12 Controller

REPOSITIONING THE MICROPHONES FOR AUTOMATIC CALIBRATION

Proper microphone placement is essential to achieve the desired automatic calibration results. Microphone placement determines whether the
MC-12 calibrates optimal results for a single listening position; several listening positions in a single row; or several listening positions in the
listening room.

For best results, automatic calibration should be performed with four microphones that have passed the microphone check. However, the
MC-12 performs automatic calibration as long as at least one microphone has passed the microphone check. In this case, place the success­fully checked microphone in the primary listening position.

Troubleshooting

Description

Result

The microphone detected calibration noise
signals without error.

The MC-12 did not detect the
microphone during the silence check.

The microphone level determined during the
silence check was not confirmed during the
microphone check.

The microphone level is more than 20dB below
the highest microphone level.

The microphone level could not be determined
because of excessive noise in the listening
room.

N/A

• Examine the microphone input connection to ensure that the microphone is properly connected
to the MC-12. Make sure the microphone cable plug is fully inserted for a solid connection.

• The microphone may be damaged. Contact an authorized Lexicon dealer for assistance.

• Examine the microphone input connection to ensure that the microphone is properly connected
to the MC-12. Make sure the microphone cable plug is fully inserted for a solid connection.

• The microphone may be positioned too far from the front loudspeakers. Refer to Positioning the
Microphones for the Microphone Check (page 2-6) to ensure that the microphones are properly
positioned for the microphone check.

• The microphone may be damaged. Contact an authorized Lexicon dealer for assistance.

• Examine the microphone input connection to ensure that the microphone is properly connected
to the MC-12. Make sure the microphone cable plug is fully inserted for a solid connection.

• The microphone may be positioned too far from the front loudspeakers. Refer to Positioning the
Microphones for the Microphone Check (page 2-6) to ensure that the microphones are properly
positioned for the microphone check.

• The microphone may be damaged. Contact an authorized Lexicon dealer for assistance.

• Eliminate extraneous noises in the listening room, including conversations, air conditioners, and
sounds that filter in through open doors and windows.

• The microphone may be damaged. Contact an authorized Lexicon dealer for assistance.

(MICROPHONE)

OK

(MICROPHONE)

NOT DETECTED

(MICROPHONE)

SIGNAL TOO LOW

(MICROPHONE)

OUT OF RANGE

(MICROPHONE)

TOO MUCH ROOM NOISE

Configuring the MC-12 for EQ

2-11

EQ User Guide

The microphones SHOULD be positioned:

 As close together as possible in a single listening

position (the primary listening position)

 At the approximate spot where the listener’s

head will be during listening

 In a clear line-of-sight path with all loudspeakers

 In a location unobstructed by furniture and

other fixtures

 In a location where echoes will not obscure

calibration noise signals

 At least 2 feet (0.61m) from all loudspeakers

and walls

 Within 30 feet (9.14m) of all loudspeakers.

The listening room to the left shows proper microphone
placement for automatic calibration to achieve the best
results for a single listening position. The microphones
are clustered in the primary listening position at the
approximate spot where the listener’s head will be
during listening. As a result, the MC-12 calibrates
optimal results for the selected listening position.

Front

Left

Center

Subwoofer

Front
Right

Side

Right

Rear

Right

Rear
Left

Side
Left

Microphone

PROPER

Refer to the microphone placement examples that begin below to properly position the microphones for all automatic calibration procedures.

Figure 2-4. Proper microphone placement to achieve the best results for a single lis­tening postion.

Configuring the MC-12 for EQ

2-12

Lexicon MC-12 Controller

The microphones SHOULD be positioned:

 Across a single row of listening positions

 At the approximate spots where the listeners’

heads will be during listening

 In a clear line-of-sight path with all loudspeakers

 In a location unobstructed by furniture and

other fixtures

 In a location where echoes will not obscure

calibration noise signals

 At least 2 feet (0.61m) from all loudspeakers

and walls

 Within 30 feet (9.14m) of all loudspeakers.

The listening room to the left shows proper microphone
placement for automatic calibration to achieve the best
results for several listening positions in a single row.
The microphones are positioned across a single row at
the approximate spots where the listeners’ heads will be
during listening. As a result, the MC-12 calibrates
optimal results for the selected row at the expense of a
single listening position.

Front

Left

Center

Subwoofer

Front
Right

Side

Right

Rear

Right

Rear
Left

Side
Left

Microphone

PROPER

Figure 2-5. Proper microphone placement to achieve the best results for several lis­tening positions in a single row.

Configuring the MC-12 for EQ

2-13

EQ User Guide

The microphones SHOULD be positioned:

 In single listening positions within the listening

room

 At the approximate spots where the listeners’

heads will be during listening

 In a clear line-of-sight path with all loudspeakers

 In a location unobstructed by furniture and

other fixtures

 In a location where echoes will not obscure

calibration noise signals

 At least 2 feet (0.61m) from all loudspeakers

and walls

 Within 30 feet (9.14m) of all loudspeakers.

The listening room to the left shows proper microphone
placement for automatic calibration to achieve the best
results for several listening positions in the listening
room. Each microphone is positioned in a single listening
position at the approximate spot where the listener’s
head will be during listening. As a result, the MC-12
calibrates optimal results for the selected listening area
at the expense of a single listening position.

Front

Left

Center

Subwoofer

Front
Right

Side

Right

Rear

Right

Rear
Left

Side
Left

Microphone

PROPER

Figure 2-6. Proper microphone placement to achieve the best results for several lis­tening positions within the listening room.

Configuring the MC-12 for EQ

2-14

Lexicon MC-12 Controller

IMPROPER

The microphones SHOULD NOT be
positioned:

 Along the perimeter of the listening positions

or listening area

 In spots where listeners’ heads will not be during

listening

 In an obstructed line-of-sight path with the

loudspeakers

 In a location obstructed by furniture and other

fixtures

 Within 2 feet (0.61m) of loudspeakers and walls

 More than 30 feet (9.14m) from any one

loudspeaker.

The listening room to the left shows improper microphone
placement for the automatic calibration. The microphones
are positioned along the perimeter of the listening area,
making it difficult for the MC-12 to calibrate optimal
results for actual listening positions. In addition, the
microphones are positioned in obstructed locations on
the floor.

Front

Left

Center

Subwoofer

Front
Right

Side

Right

Rear

Right

Rear
Left

Side
Left

Microphone

Figure 2-7. Improper microphone placement for automatic calibration.

Configuring the MC-12 for EQ

2-15

EQ User Guide

IMPROPER

The microphones SHOULD NOT be
positioned:

 Along the perimeter of the listening positions

or listening area

 In spots where listeners’ heads will not be during

listening

 In an obstructed line-of-sight path with the

loudspeakers

 In a location obstructed by furniture and other

fixtures

 Within 2 feet (0.61m) of loudspeakers and walls

 More than 30 feet (9.14m) from any one

loudspeaker.

The listening room to the left shows improper microphone
placement for the automatic calibration. The microphones
are positioned in obstructed locations on seat cushions
rather than in spots where listeners’ heads will be
during listening.

Front

Left

Center

Subwoofer

Front
Right

Side

Right

Rear
Right

Rear
Left

Side
Left

Microphone

Figure 2-8. Improper microphone placement for automatic calibration.

Configuring the MC-12 for EQ

2-16

Lexicon MC-12 Controller

PERFORMING AUTOMATIC CALIBRATION

AUTO SPEAKER SETUP

TEST WILL BEGIN IN

10

PRESS V TO SKIP

COUNTDOWN

MAIN MENU
MODE ADJUST

AUDIO CONTROLS
SETUP

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

SETUP
INPUTS

SPEAKERS
REAR PANEL CONFIG
DISPLAYS
VOLUME CONTROLS
TRIGGERS
LOCK OPTIONS
LIVE! CALIBRATION

SETUP

AUTOMATIC

SPEAKERS

10

AUTO SPEAKER SETUP
EQ DISTANCES LEVELS

ROOM EQ
DISTANCES
OUTPUT LEVELS

PLACE MICROPHONES

AROUND PREFERRED

LISTENING POSITIONS

AUTO SPEAKER SETUP

!CAUTION!

HIGH AUDIO LEVELS

YOU WILL HAVE 10 SEC
TO LEAVE THE ROOM OR

SIT QUIETLY

PRESS V TO BEGIN

COUNTDOWN

EQ DISTANCES LEVELS
ROOM EQ
DISTANCES
OUTPUT LEVELS

Step EQ DISTANCES LEVELSDISTANCES or OUTPUT LEVELS ROOM EQ

1

2

3

4

Follow the instructions in the appropriate table column below to perform the desired automatic calibration procedure.

Open the AUTO SPEAKER SETUP menu as shown above.

• The AUTO SPEAKER SETUP menu is not available unless a successful microphone check has been performed. If one of the error
messages shown to the right appears on the on-screen display, refer to Performing the Microphone Check (page 2-8).

Press the  and  arrow buttons to highlight the desired automatic calibration procedure. Then, press the  arrow button to select this procedure.

The !CAUTION! HIGH AUDIO LEVELS screen (shown above) opens on the on-screen display, reminding that the MC-12 outputs loud calibration noise signals
during automatic calibration. Press the  arrow button to continue.

Note: If calibration noise signals become too loud, press the  arrow button to cancel automatic calibration.

The TEST WILL BEGIN IN screen (shown above) opens on the on-screen display, activating a 10-second countdown until automatic calibration begins. To skip
the countdown and begin automatic calibration, press the  arrow button.

• Otherwise, the MC-12 automatically begins automatic calibration when the countdown ends. During the countdown, it is possible to leave the listening
room without affecting automatic calibration. Return to the listening room about 20 minutes later to avoid interrupting the procedure.

MIC CHECK REQUIRED

FOR AUTO CALIBRATION

NO MICROPHONES

DETECTED

Configuring the MC-12 for EQ

2-17

EQ User Guide

SETTING ROOM EQ
FRONT LEFT ---

CENTER --­FRONT RIGHT --­SIDE RIGHT --­REAR RIGHT --­REAR LEFT --­SIDE LEFT --­SUB (MONO) --­SUB RIGHT N/A
LFE N/A

SETTING ROOM EQ
FRONT LEFT SET

CENTER SET
FRONT RIGHT SET
SIDE RIGHT SET
REAR RIGHT SET
REAR LEFT SET
SIDE LEFT SET
SUB (MONO) SET
SUB RIGHT N/A
LFE N/A

SETTING LEVELS
FRONT LEFT 0.0dB

CENTER 0.0dB
FRONT RIGHT 0.0dB
SIDE RIGHT 0.0dB
REAR RIGHT 0.0dB
REAR LEFT 0.0dB
SIDE LEFT 0.0dB
SUB (MONO) 0.0dB
SUB RIGHT N/A
LFE N/A

AUTO LEVELS
FRONT LEFT -2.0dB

CENTER 0.0dB
FRONT RIGHT -2.0dB
SIDE RIGHT -4.5dB
REAR RIGHT -3.0dB
REAR LEFT -3.0dB
SIDE LEFT -4.5dB
SUB (MONO) N/A
SUB RIGHT N/A
LFE N/A

CENTER ERROR

SETTING DISTANCES
FRONT LEFT 0.0ft

CENTER 0.0ft
FRONT RIGHT 0.0ft
SIDE RIGHT 0.0ft
REAR RIGHT 0.0ft
REAR LEFT 0.0ft
SIDE LEFT 0.0ft
SUB (MONO) 0.0ft
SUB RIGHT N/A
LFE N/A

AUTO DISTANCES
FRONT LEFT 12.0ft

CENTER 10.5ft
FRONT RIGHT 12.0ft
SIDE RIGHT 4.5ft
REAR RIGHT 0.0ft
REAR LEFT 6.0ft
SIDE LEFT 4.5ft
SUB (MONO) N/A
SUB RIGHT N/A
LFE N/A

REAR RIGHT ERROR

Step EQ DISTANCES LEVELSDISTANCES or OUTPUT LEVELS ROOM EQ

5

6

The SETTING ROOM EQ screen (shown above) opens on the on-screen display while the MC-12 meas-
ures the listening room’s bass response. To do this, the MC-12 sends calibration noise signals to the
loudspeakers connected to the Main Zone audio output connectors in the order shown on the screen.
The cursor automatically scrolls downward, highlighting each parameter while the MC-12 applies
appropriate room corrections to the corresponding loudspeaker. When finished, the MC-12 enters SET
to the right of the parameter label.

The SETTING DISTANCES or SETTING LEVELS screen (shown above) opens on the on-screen display
while the MC-12 calibrates loudspeaker distances or output levels. To do this, the MC-12 sends
calibration noise signals to the loudspeakers connected to the Main Zone audio output connectors in
the order shown on the screen. The cursor automatically scrolls downward, highlighting each parameter
while the MC-12 calculates a distance or output level for the corresponding loudspeaker. When finished,
the MC-12 enters the calculated value or ERROR to the right of the parameter label.

Note the following:

• During the EQ DISTANCES LEVELS procedure, the SETTING DISTANCES screen opens on the
on-screen display while the MC-12 calibrates loudspeaker distances. Then, the SETTING LEVELS
screen opens on the on-screen display while the MC-12 calibrates loudspeaker output levels.

• In most listening rooms, low-frequency signal propagation makes automatic loudspeaker distance
calibration unreliable for subwoofers and LFE subwoofers. Because of this, the MC-12 does not send
calibration noise signals to subwoofers. Instead, the MC-12 calibrates these loudspeaker distances to
the average distance of the front left and right loudspeakers. If desired, the SPEAKER DISTANCES
menu can be used to manually adjust subwoofer distances.

This step does not occur during the DISTANCES
or OUTPUT LEVELS procedures.

This step does not occur during the ROOM EQ
procedure.

AUTO DISTANCES
FRONT LEFT 12.0ft

CENTER 10.5ft
FRONT RIGHT 12.0ft
SIDE RIGHT 4.5ft
REAR RIGHT 0.0ft
REAR LEFT 6.0ft
SIDE LEFT 4.5ft
SUB (MONO) N/A
SUB RIGHT N/A
LFE N/A

REAR RIGHT ERROR

Configuring the MC-12 for EQ

2-18

Lexicon MC-12 Controller

Step EQ DISTANCES LEVELSDISTANCES or OUTPUT LEVELS ROOM EQ

7

The AUTO DISTANCES or AUTO LEVELS screen
(shown above) opens only if there is an error
during loudspeaker distances or output levels
calibration. Otherwise, the MC-12 skips to Step

9.

This screen provides the results for each
loudspeaker:

•A value indicates that no errors occurred during
calibration.

• An ERROR indicates that, although a value
was calculated, at least one error occurred
during calibration.

Press the  and  arrow buttons to highlight
the desired loudspeaker. Then, press the 
arrow button to view more detailed results for
the selected loudspeaker. The DISTANCES and
OUTPUT LEVELS Results table on the next page
describes all possible results.

The AUTO SPEAKER SETUP results screen (shown above) opens on
the on-screen display when the MC-12 finishes calibrating loudspeaker
output levels.

This screen indicates that the ROOM EQ procedure is finished. The
AUDIO CONTROLS menu ROOM EQ procedure is automatically set
to ON, and the AUDIO CONTROLS menu ROOM EQ LEVEL
parameter is automatically set to MEDIUM. These parameters can
now be used to activate and deactivate room correction and to
control the amount of room correction applied to the loudspeakers.
Refer to Adjusting Room Correction (page 2-21).

This screen also provides the results for the DISTANCES and LEVELS
procedures:

• OK indicates that no errors occurred during calibration.

• ERROR indicates that, although a value was calculated, at least one
error occurred during calibration.

Press the  and  arrow buttons to highlight the desired procedure.
Then, press the  arrow button to open the AUTO DISTANCES or
AUTO LEVELS screen. Follow the instructions in the column to the
left to view more detailed results for individual loudspeakers.

The ROOM EQ DONE
screen (shown above) opens
on the on-screen display
when the MC-12 finishes
applying room correction to
the loudspeakers.

This screen indicates that
the ROOM EQ procedure is
finished. The AUDIO
CONTROLS menu ROOM EQ
parameter is automatically
set to ON, and the AUDIO

CONTROLS menu ROOM
EQ LEVEL parameter is

automatically set to MEDIUM.
These parameters can now
be used to activate and
deactivate room correction
and to control the amount
of room correction applied
to the loudspeakers. Refer to

Adjusting Room Correction

(page 2-21).

ROOM EQ DONE

PRESS V TO CONTINUE

ROOM EQ APPLIED

TO ADJUST

GO TO

AUDIO CONTROLS

AUTO LEVELS
FRONT LEFT -2.0dB

CENTER 0.0dB
FRONT RIGHT -2.0dB
SIDE RIGHT -4.5dB
REAR RIGHT -3.0dB
REAR LEFT -3.0dB
SIDE LEFT -4.5dB
SUB (MONO) N/A
SUB RIGHT N/A
LFE N/A

CENTER ERROR

AUTO SPEAKER SETUP
DISTANCES ERROR

LEVELS OK
ROOM EQ DONE

AUTO VALUES APPLIED

PRESS V TO VIEW

DETAILS

Result Description Troubleshooting

Configuring the MC-12 for EQ

2-19

EQ User Guide

The MC-12 calibrated the distance or output
level of the selected loudspeaker without error.

The selected loudspeaker is not present in the
loudspeaker setup according to the CUSTOM
or THX SETUP menu.

The calibrated distance is accurate, but the
microphones detected out-of-phase calibration
noise signals.

The microphones detected calibration noise
signals at unusually low levels.

The microphones did not detect calibration
noise signals, so the MC-12 could not calibrate
the distance of the selected loudspeaker.

At least one of the microphones did not detect
calibration noise signals at reasonable levels. As
a result, the distance calibrated for the selected
loudspeaker may not be accurate.

The microphones detected calibration noise
signals at unusually high levels.

The microphones detected calibration noise
signals at unusually low levels.

N/A

• Use the CUSTOM or THX SETUP menu to add the selected loudspeaker to the loudspeaker
setup. (The MC-12 does not calibrate for loudspeakers that are not present in the loudspeaker
setup.)

• Examine connections between the loudspeaker and the associated amplifier to ensure that
loudspeaker wires are not crossed. If the wiring is correct, the error message can be ignored.
(Some loudspeaker models will report a phase error even if no phase error exists.)

• Dipolar loudspeakers may produce this error. However, the MC-12 does not report the error
unless at least half of the microphones detect out-of-phase calibration noise signals.

• The microphones may be positioned too far from the selected loudspeaker or in a location
where echoes obscure calibration noise signals. Refer to Repositioning the Microphones for
Automatic Calibration (page 2-10) to ensure that the microphones are properly positioned for
automatic calibration.

• Examine microphone input connections to ensure that the microphones are properly connected
to the MC-12. Make sure microphone cable plugs are fully inserted for solid connections.

• Refer to Repositioning the Microphones for Automatic Calibration (page 2-10) to ensure that the
microphones are properly positioned for automatic calibration.

• Examine microphone input connections to ensure that the microphones are properly connected
to the MC-12. Make sure microphone cable plugs are fully inserted for solid connections.

• Refer to Repositioning the Microphones for Automatic Calibration (page 2-10) to ensure that the
microphones are properly positioned for automatic calibration.

•Decrease associated amplifier volume levels, including built-in subwoofer amplifiers.

• The microphones may be positioned too close to the selected loudspeaker. Refer to
Repositioning the Microphones for Automatic Calibration (page 2-10) to ensure that the micro­phones are properly positioned for automatic calibration.

• Increase associated amplifier volume levels, including built-in subwoofer amplifiers.

• The microphones may be positioned too far from the selected loudspeaker or in a location where
echoes obscure calibration noise signals. Refer to Repositioning the Microphones for Automatic
Calibration (page 2-10) to ensure that the microphones are properly positioned for automatic
calibration.

DISTANCES and OUTPUT LEVELS Results

(SPEAKER)

OK

(SPEAKER)

IS NOT ENABLED

(SPEAKER)

OUT OF PHASE

(SPEAKER)

SIGNAL TOO LOW

(SPEAKER)

UNABLE TO CALCULATE

(SPEAKER)

MAY NOT BE ACCURATE

(SPEAKER)

SPKR OUTPUT TOO HIGH

(SPEAKER)

SPKR OUTPUT TOO LOW

Configuring the MC-12 for EQ

2-20

Lexicon MC-12 Controller

Step EQ DISTANCES LEVELSDISTANCES or OUTPUT LEVELS ROOM EQ

8

9

10

When finished viewing the error found in Step 7,
press the  arrow button to open the SET DIS-
TANCES or SET LEVELS screen (shown above).

Press the  and  arrow buttons to toggle between
calibrated and original loudspeaker distances or output
levels. The graphics, at the bottom of the on-screen
display, update to reflect the selected values.

When the desired loudspeaker distances or output
levels are selected, press the  arrow button to
apply these values. A confirmation message appears
on the on-screen display indicating that the selected
values have been applied to the loudspeakers.

The SPEAKER DISTANCES menu (MAIN MENU 
SETUP  SPEAKERS  MANUAL) can be used to
manually adjust loudspeaker distances. The SPEAKER
LEVEL ADJUST menu can be used to manually adjust
loudspeaker output levels. Refer to the MC-12 User
Guide for additional information.

When finished viewing results, press the  arrow
button to return to the SPEAKER SETUP menu.

The SPEAKER DISTANCES menu (MAIN MENU 
SETUP  SPEAKERS  MANUAL) can be used to
manually adjust loudspeaker distances. The SPEAKER
LEVEL ADJUST menu can be used to manually adjust
loudspeaker output levels. Refer to the MC-12 User
Guide for additional information.

When finished viewing results, press the  arrow
button to return to the AUTO SPEAKER SETUP
results screen (shown at the top of page 2-18).

If desired, repeat step 7 (EQ DISTANCES LEVELS column
page 2-18) to view more detailed results for the other
procedure.

This step does not occur during the
ROOM EQ procedure.

This step does not occur during the
ROOM EQ procedure.

This step does not occur during the
ROOM EQ procedure.

AUTO DISTANCES
FRONT LEFT ERROR

CENTER 0.0ft
FRONT RIGHT 0.0ft
SIDE RIGHT 0.0ft
REAR RIGHT 0.0ft
REAR LEFT 0.0ft
SIDE LEFT 0.0ft
SUB (MONO) 0.0ft
SUB RIGHT N/A
LFE N/A

FRONT LEFT ERROR

AUTO LEVELS
FRONT LEFT ERROR

CENTER 0.0dB
FRONT RIGHT 0.0dB
SIDE RIGHT 0.0dB
REAR RIGHT 0.0dB
REAR LEFT 0.0dB
SIDE LEFT 0.0dB
SUB (MONO) 0.0dB
SUB RIGHT N/A
LFE N/A

FRONT LEFT ERROR

SET DISTANCES
AUTO DISTANCES

ORIGINAL DISTANCES

0.0ft 0.0ft

0.0ft 0.0ft 0.0ft

0.0ft 0.0ft

0.0ft

L

M

SUB

R

C

SLSRRL

RR

SET LEVELS
AUTO LEVELS

ORIGINAL LEVELS

0.0dB 0.0dB

0.0dB 0.0dB 0.0dB

0.0dB 0.0dB

0.0dB

L

M

SUB

R

C

SLSRRL

RR

Configuring the MC-12 for EQ

2-21

EQ User Guide

Note:

Once automatic calibration has been performed, use
the BASS PEAK LIMITERS menu to set amplitude
limits for low-frequency signals sent to the Main Zone
audio output connectors labeled Subwoofer L/R
and LFE and redirected to other output connectors.

ADJUSTING ROOM CORRECTION

Performing the EQ DISTANCES LEVELS or ROOM EQ procedure
enables the AUDIO CONTROLS menu ROOM EQ and ROOM EQ
LEVEL parameters, which can be used to activate and deactivate
room correction and to control the amount of room correction
applied to the loudspeakers.

Note:

Performing the EQ DISTANCES LEVELS or ROOM EQ
procedure automatically sets the ROOM EQ parameter
to ON and the ROOM EQ LEVEL parameter to MEDIUM
(the recommended setting).

ROOM EQ ON, OFF

Activates and deactivates the room correction that was applied to
the loudspeakers during the EQ DISTANCES LEVELS or ROOM EQ
procedure. When set to ON, the MC-12 applies room correction to
the loudspeakers based on the ROOM EQ LEVEL parameter setting.
When set to OFF, the MC-12 does not apply room correction to
the loudspeakers. This parameter has no affect until the EQ
DISTANCES LEVELS or ROOM EQ procedure is performed.

ROOM EQ LEVEL MAX, HIGH, MEDIUM, LOW

Controls the amount of room correction applied to the loudspeakers
when the ROOM EQ parameter is set to ON. This parameter has
no effect when the ROOM EQ parameter is set to OFF.

The ROOM EQ LEVEL parameter can be adjusted in four
increments, with MAX applying the greatest amount of room
correction to the loudspeakers and LOW applying the least amount
of room correction to the loudspeakers. Setting this parameter is a
matter of personal taste, as the effect of each setting varies among
input sources and listening rooms.

Configuring the MC-12 for EQ

2-22

Lexicon MC-12 Controller

REMOTE CONTROL COMMANDS

The table below lists remote control commands that can be used
to adjust the ROOM EQ and ROOM EQ LEVEL parameters when
the Zone 2 Command Bank is activated. These commands are
additions to the remote control command matrix in the MC-12
User Guide.

Button Zone 2 Command

Sets the ROOM EQ LEVEL parameter to LOW.

Sets the ROOM EQ LEVEL parameter to MEDIUM.

Sets the ROOM EQ LEVEL parameter to HIGH.

Sets the ROOM EQ LEVEL parameter to MAX.

Sets the ROOM EQ parameter to ON.

Sets the ROOM EQ parameter to OFF.

MUSIC

Configuring the MC-12 for EQ

2-23

EQ User Guide

EQ MENU TREES

When the MC-12 is running EQ, the menu trees shown in this section replace the AUTO SPEAKER SETUP and AUDIO CONTROLS menu trees
shown in the MC-12 User Guide.

CHECK MICROPHONES

MAIN MENU
MODE ADJUST

AUDIO CONTROLS
SETUP

CHECK MICROPHONES
CHECKING FOR SILENCE

PLEASE WAIT

CHECK MICROPHONES
CHECKING MICROPHONES

PLEASE WAIT

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

CHECK MICROPHONES
MIC 1 ERROR

MIC 2 OK
MIC 3 OK
MIC 4 OK

PRESS V TO VIEW

DETAILS

PRESS X TO CONTINUE

AUTO SPEAKER SETUP
EQ DISTANCES LEVELS

ROOM EQ
DISTANCES
OUTPUT LEVELS

PLACE MICROPHONES

AROUND PREFERRED

LISTENING POSITIONS

(MICROPHONE)

OK

(MICROPHONE)

NOT DETECTED

(MICROPHONE)

SIGNAL TOO LOW

(MICROPHONE)

OUT OF RANGE

(MICROPHONE)

TOO MUCH ROOM NOISE

SETUP
INPUTS

SPEAKERS
REAR PANEL CONFIG
DISPLAYS
VOLUME CONTROLS
TRIGGERS
LOCK OPTIONS
LIVE! CALIBRATION

CHECK MICROPHONES

GROUP MICROPHONES

INTO A BUNDLE IN THE

MIDDLE OF THE ROOM

PRESS V TO

BEGIN MIC CHECK

SETUP

MIC 1 ERROREQ DISTANCES LEVELS

CHECK MICROPHONES

SPEAKERS

or

When the CHECK MICROPHONES results screen
opens, press the  and  arrow buttons to select
the desired microphone parameter. Then, press the
 arrow button to view more detailed microphone
check results for the selected microphone.

When all microphones pass the microphone check,
pressing the  arrow button opens the AUTO
SPEAKER SETUP menu. When at least one of the
microphones does not pass the microphone check,
pressing the  arrow button opens the SPEAKER
SETUP menu.

Configuring the MC-12 for EQ

2-24

Lexicon MC-12 Controller

AUTO SPEAKER SETUP

TEST WILL BEGIN IN

10

PRESS V TO SKIP

COUNTDOWN

EQ DISTANCES LEVELS

MAIN MENU
MODE ADJUST

AUDIO CONTROLS
SETUP

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

SETUP
INPUTS

SPEAKERS
REAR PANEL CONFIG
DISPLAYS
VOLUME CONTROLS
TRIGGERS
LOCK OPTIONS
LIVE! CALIBRATION

SETUP

AUTOMATIC

SPEAKERS

10

AUTO SPEAKER SETUP
EQ DISTANCES LEVELS

ROOM EQ
DISTANCES
OUTPUT LEVELS

PLACE MICROPHONES

AROUND PREFERRED

LISTENING POSITIONS

AUTO SPEAKER SETUP

!CAUTION!

HIGH AUDIO LEVELS

YOU WILL HAVE 10 SEC
TO LEAVE THE ROOM OR

SIT QUIETLY

PRESS V TO BEGIN

COUNTDOWN

EQ DISTANCES LEVELS

SETTING ROOM EQ
FRONT LEFT ---

CENTER --­FRONT RIGHT --­SIDE RIGHT --­REAR RIGHT --­REAR LEFT --­SIDE LEFT --­SUB (MONO) --­SUB RIGHT N/A
LFE N/A

SETTING DISTANCES
FRONT LEFT 0.0ft

CENTER 0.0ft
FRONT RIGHT 0.0ft
SIDE RIGHT 0.0ft
REAR RIGHT 0.0ft
REAR LEFT 0.0ft
SIDE LEFT 0.0ft
SUB (MONO) 0.0ft
SUB RIGHT N/A
LFE N/A

SETTING LEVELS
FRONT LEFT 0.0dB

CENTER 0.0dB
FRONT RIGHT 0.0dB
SIDE RIGHT 0.0dB
REAR RIGHT 0.0dB
REAR LEFT 0.0dB
SIDE LEFT 0.0dB
SUB (MONO) 0.0dB
SUB RIGHT N/A
LFE N/A

AUTO SPEAKER SETUP
DISTANCES OK

LEVELS OK
ROOM EQ DONE

AUTO VALUES APPLIED

PRESS V TO VIEW

DETAILS

AUTO SPEAKER SETUP
DISTANCES ERROR

LEVELS ERROR
ROOM EQ DONE

AUTO VALUES APPLIED

PRESS V TO VIEW

DETAILS

AUTO DISTANCES
FRONT LEFT ERROR

CENTER 0.0ft
FRONT RIGHT 0.0ft
SIDE RIGHT 0.0ft
REAR RIGHT 0.0ft
REAR LEFT 0.0ft
SIDE LEFT 0.0ft
SUB (MONO) 0.0ft
SUB RIGHT N/A
LFE N/A

AUTO LEVELS
FRONT LEFT ERROR

CENTER 0.0dB
FRONT RIGHT 0.0dB
SIDE RIGHT 0.0dB
REAR RIGHT 0.0dB
REAR LEFT 0.0dB
SIDE LEFT 0.0dB
SUB (MONO) 0.0dB
SUB RIGHT N/A
LFE N/A

FRONT LEFT ERROR

FRONT LEFT ERROR

(SPEAKER)

SPKR OUTPUT TOO HIGH

(SPEAKER)

SPKR OUTPUT TOO LOW

(SPEAKER)

OUT OF PHASE

(SPEAKER)

SIGNAL TOO LOW

(SPEAKER)

UNABLE TO CALCULATE

(SPEAKER)

MAY NOT BE ACCURATE

If an ERROR message appears:

1. Highlight the desired automatic calibration procedure
(DISTANCES or LEVELS).

2. Press the  arrow button to view more detailed results
for that procedure.

• Selecting DISTANCES opens the AUTO DISTANCES

menu shown to the left.

• Selecting LEVELS opens the AUTO LEVELS menu

shown to the right.

or

LEVELS

OK

DISTANCES

OK

Configuring the MC-12 for EQ

2-25

EQ User Guide

ROOM EQ

AUTO SPEAKER SETUP

TEST WILL BEGIN IN

10

PRESS V TO SKIP

COUNTDOWN

MAIN MENU
MODE ADJUST

AUDIO CONTROLS
SETUP

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

SETUP
INPUTS

SPEAKERS
REAR PANEL CONFIG
DISPLAYS
VOLUME CONTROLS
TRIGGERS
LOCK OPTIONS
LIVE! CALIBRATION

SETUP

AUTOMATIC

SPEAKERS

10

AUTO SPEAKER SETUP
EQ DISTANCES LEVELS

ROOM EQ
DISTANCES
OUTPUT LEVELS

PLACE MICROPHONES

AROUND PREFERRED

LISTENING POSITIONS

AUTO SPEAKER SETUP

!CAUTION!

HIGH AUDIO LEVELS

YOU WILL HAVE 10 SEC

TO LEAVE THE ROOM OR

SIT QUIETLY

PRESS V TO BEGIN

COUNTDOWN

ROOM EQ

SETTING ROOM EQ
FRONT LEFT ---

CENTER --­FRONT RIGHT --­SIDE RIGHT --­REAR RIGHT --­REAR LEFT --­SIDE LEFT --­SUB (MONO) --­SUB RIGHT N/A
LFE N/A

ROOM EQ DONE

PRESS V TO CONTINUE

ROOM EQ APPLIED

TO ADJUST

GO TO

AUDIO CONTROLS

SETTING ROOM EQ
FRONT LEFT SET

CENTER SET
FRONT RIGHT SET
SIDE RIGHT SET
REAR RIGHT SET
REAR LEFT SET
SIDE LEFT SET
SUB (MONO) SET
SUB RIGHT N/A
LFE N/A

AUDIO CONTROLS

ON

OFF

MAX

HIGH

MEDIUM

LOW

L< <|> >R

B< <|> >F -6.0 to +6.0-3.0 to +3.0

AUDIO CONTROLS
BASS +0.0dB

TREBLE +0.0dB
TILT EQ +0.0dB
LOUDNESS OFF
BALANCE <|>
FADER <|>
ZONE2 BALANCE <|>
RECORD BALANCE <|>
ROOM EQ ON
ROOM EQ LEVEL MEDIUM

Once the EQ DISTANCES LEVELS or ROOM EQ procedure has been performed:

• The ROOM EQ parameter is automatically set to ON.

• The ROOM EQ LEVEL parameter is automatically set to MEDIUM.

These settings can be adjusted on the AUDIO CONTROLS menu shown below.

Configuring the MC-12 for EQ

2-26

Lexicon MC-12 Controller

DISTANCES or OUTPUT LEVELS

AUTO SPEAKER SETUP

TEST WILL BEGIN IN

10

PRESS V TO SKIP

COUNTDOWN

MAIN MENU
MODE ADJUST

AUDIO CONTROLS
SETUP

SPEAKER SETUP
SET CROSSOVERS

CHECK MICROPHONES
AUTOMATIC
MANUAL

SET CROSSOVERS

BEFORE CALIBRATING

SETUP
INPUTS

SPEAKERS
REAR PANEL CONFIG
DISPLAYS
VOLUME CONTROLS
TRIGGERS
LOCK OPTIONS
LIVE! CALIBRATION

SETUP

AUTOMATIC

SPEAKERS

10

AUTO SPEAKER SETUP

!CAUTION!

HIGH AUDIO LEVELS

YOU WILL HAVE 10 SEC
TO LEAVE THE ROOM OR

SIT QUIETLY

PRESS V TO BEGIN

COUNTDOWN

AUTO SPEAKER SETUP
EQ DISTANCES LEVELS

ROOM EQ
DISTANCES
OUTPUT LEVELS

PLACE MICROPHONES

AROUND PREFERRED

LISTENING POSITIONS

DISTANCES
OUTPUT LEVELS

SETTING DISTANCES
FRONT LEFT 0.0ft

CENTER 0.0ft
FRONT RIGHT 0.0ft
SIDE RIGHT 0.0ft
REAR RIGHT 0.0ft
REAR LEFT 0.0ft
SIDE LEFT 0.0ft
SUB (MONO) 0.0ft
SUB RIGHT N/A
LFE N/A

AUTO DISTANCES
FRONT LEFT ERROR

CENTER 0.0ft
FRONT RIGHT 0.0ft
SIDE RIGHT 0.0ft
REAR RIGHT 0.0ft
REAR LEFT 0.0ft
SIDE LEFT 0.0ft
SUB (MONO) 0.0ft
SUB RIGHT N/A
LFE N/A

FRONT LEFT ERROR

SETTING LEVELS
FRONT LEFT 0.0dB

CENTER 0.0dB
FRONT RIGHT 0.0dB
SIDE RIGHT 0.0dB
REAR RIGHT 0.0dB
REAR LEFT 0.0dB
SIDE LEFT 0.0dB
SUB (MONO) 0.0dB
SUB RIGHT N/A
LFE N/A

AUTO LEVELS
FRONT LEFT ERROR

CENTER 0.0dB
FRONT RIGHT 0.0dB
SIDE RIGHT 0.0dB
REAR RIGHT 0.0dB
REAR LEFT 0.0dB
SIDE LEFT 0.0dB
SUB (MONO) 0.0dB
SUB RIGHT N/A
LFE N/A

FRONT LEFT ERROR

(SPEAKER)

OUT OF PHASE

(SPEAKER)

SIGNAL TOO LOW

(SPEAKER)

UNABLE TO CALCULATE

(SPEAKER)

MAY NOT BE ACCURATE

(SPEAKER)

SPKR OUTPUT TOO HIGH

(SPEAKER)

SPKR OUTPUT TOO LOW

SET DISTANCES
AUTO DISTANCES

ORIGINAL DISTANCES

0.0ft 0.0ft

0.0ft 0.0ft 0.0ft

0.0ft 0.0ft

0.0ft

L

M

SUB

R

C

SLSRRL

RR

SET LEVELS
AUTO LEVELS

ORIGINAL LEVELS

0.0dB 0.0dB

0.0dB 0.0dB 0.0dB

0.0dB 0.0dB

0.0dB

L

M

SUB

R

C

SLSRRL

RR

OK

ERROR

ERROR

OK

3 Oak Park, Bedford, MA, 01730-1413 USA | Telephone: [phone] | Fax: [phone] | www.lexicon.com

Customer Service: Telephone: [phone] | Sales Fax: [phone] | Service Fax: [phone]

Product Shipments: 16 Progress Road, Billerica, MA 01821-5730 USA

Part No. 070-15993 | Rev 1 | 04/05

PRODUCT REGISTRATION

Please register this product within 15 days of purchase. To
do so, complete and return this card or register online at
www.lexicon.com. This card serves no warranty purposes.
Retain the sales receipt for proof of coverage.

Mr. Mrs. Ms. Miss

Single Married Divorced Widowed

First Name Last Name

Company Title

Mailing Address

City State Zip

Telephone Number Fax Number

Email Address

Product Model Purchase Date

Version Serial Number

Where did you purchase this product?

Age Education Household Income

Under 18 High School Under $20,000
18-24 College $20,000 to $34,999
25-34 Graduate School $35,000 to $49,000
35-49 Certificate: $50,000 to $74,999
50-64 $75,000 to $99,000
65+ $100,000+

How did you learn about this product? Choose one:

Friend Store salesperson Advertisement
Colleague Store display Magazine Article
Teacher Received as a gift Own other Lexicon

products

Which of the following were most important in the selection of this product?

Sound Quality Value for price Durability
Features Brandname Other:

What are your three favorite magazines?

1. 2. 3.

What are your three favorite websites?

1. 2. 3.

What features would you like to see added to this product in the future?

MC-12 EQ | 04/05

Lexicon, Inc.
3 Oak Park
Bedford, MA 01730-1413
USA

Tel [phone]
Fax [phone]

www.lexicon.com

Customer Service

Telephone [phone]
Sales Fax [phone]
Service Fax [phone]
email [e-mail]

LIMITED WARRANTY

Lexicon, Inc. offers the following warranty on this product:

What is the Duration of this Warranty?

This warranty will remain in effect for three (3) years from
the original date of purchase.

Who is Covered?

This warranty may be enforced by the original purchaser
and subsequent owners during the warranty period,
provided the original dated sales receipt or other proof of
warranty coverage is presented at time of service.

What is Covered?

This warranty covers all defects in material and
workmanship on this product, except as specified below.
The following are not covered:

1. Damage resulting from

A. Accident, misuse, abuse, or neglect.

B. Failure to follow instructions contained in the user

guide.

C. Repair or attempted repair unauthorized by

Lexicon, Inc.

D. Failure to perform recommended periodic

maintenance.

E. Causes other than product defects, including lack

of skill, competence, or experience on the part of
the owner.

2. Damage occurring dur ing any shipment of this product.
Claims for shipping damages must be made with the
carrier.

3. Damage to a unit that has been altered, or on which
the serial number has been defaced, modified, or
removed.

What Expenses will Lexicon, Inc. Assume?

Lexicon, Inc. will pay all labor and material expenses for
covered items. Payment of shipping charges is discussed in
the next section of the warranty.

How is Service Obtained?

When this product needs service, write, telephone, or fax
Lexicon, Inc. to request information about where the unit
should be taken or sent. When making a wr itten request,
please include your name, complete address, and daytime
telephone number; the product model and serial numbers;
and a description of the problem. Do not return the unit to
Lexicon, Inc. without prior authorization.

When Shipping a Product for Service . . .

1. Pay any initial shipping charges, which are the
responsibility of the owner. If necessary repairs are
covered by this warranty, Lexicon, Inc. will pay return
shipping charges to any destination in the United
States using the carrier of our choice.

2. Pack the unit securely. Package insurance is strongly
recommended.

3. Include a copy of the original dated sales receipt. (A
copy of the original dated sales receipt must be
presented whenever warranty service is required.)

4. Do not include accessories such as power cords or
user guides unless instructed to do so.

What are the Limitations of Implied Warranties?

Any implied warranties, including warranties of
merchantability and fitness for a particular purpose, are
limited in duration to the length of this warranty.

What Certain Damages are Excluded?

Lexicon’s liability for a defective product is limited to repair
or replacement of that product, at our option. Lexicon, Inc.
shall not be liable for damages based on inconvenience;
loss of use of the product; loss of time; interrupted operation;
commercial loss; or any other damages, whether incidental,
consequential, or otherwise.

How do State Laws Relate to this Warranty?

Some states do not allow limitations on the duration of
implied warranties and/or the exclusion or limitation of
incidental or consequential damages. As such, the above
limitations may not apply.

This warranty is not enforceable outside of North America.
This warranty provides specific legal rights. Additional rights
may be provided by some states.

PRODUCT REGISTRATION

LEXICON, INC

3 OAK PARK

BEDFORD MA 01730-9863

POSTAGE WILL BE PAID BY ADDRESSEE

FIRST-CLASS MAIL

PERMIT NO. 67 BEDFORD MA

NO POSTAGE

NECESSARY

IF MAILED

IN THE

UNITED STATES

BUSINESS REPLY MAIL

Lexicon, Inc.
3 Oak Park
Bedford, MA 01730-1413 USA
Tel [phone]
Fax [phone]
www.lexicon.com

Customer Service

Telephone [phone]
Sales Fax [phone]
Service Fax [phone]
email [e-mail]

Lexicon Part No.070-15993 | Rev 1 | 04/05