IMPORTANT SAFETY INSTRUCTIONS
Save these instructions for later use. Follow all instructions and adhere to warnings marked on the unit and in the operating instructions. Always use with the correct line voltage. Refer to the manufacturers operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug. Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed in the product specification. Slots and openings on the case are provided for ventilation - to ensure reliable operation and prevent the unit from overheating. Do not block, cover, or insert objects into the openings. Never spill a liquid of any kind on the unit. Never attach audio power amplifier outputs directly to any of the units connectors. To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water. Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating the need for service. Take precautions not to defeat the grounding or polarization of the units power cord.
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.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
This triangle, which appears on your component, alerts you to important operating and maintenance instructions in this accompanying literature.
Do not overload wall outlets, extension cords, or integral convenience receptacles, as this can result in a risk of fire or electrical shock. 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. The unit should be cleaned only as recommended by the manufacturer. Use an outlet that contains surge suppression ground fault protection. For added protection during a lightning storm, or when the unit is left unattended and unused for a long period of time, unplug the power cord from the wall outlet. This will provide protection against damage caused by lightning or power line surges. CAUTION: RISK OF ELECTRIC SHOCK! DO NOT OPEN! Do not attempt to service the unit yourself as opening or removing covers may expose you to dangerous voltage, and will void the Limited Warranty. Only a qualified technician or an authorized lexicon distributor should perform servicing. To prevent electric shock, do not remove the grounding plug on the power cord, or use any plug or extension cord that does not have a grounding plug provided. Make certain that the AC outlet is properly grounded. Do not use an adapter plug for this product. For continued fire hazard protection, fuses should be replaced ONLY with the exact value and type as indicated on the rear panel or in the user guide.

COMMUNICATIONS NOTICE

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with manufacturers instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful 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. 004-000-00345-4.

Retirando a embalagem e Inspecionando
Depois de desembalar a unidade, guarde a embalagem caso precise enviar a unidade para manuteno. Inspecione cuidadosamente o mdulo e a embalagem procurando sinais de dano. Avise loja qualquer tipo de dano ou mal funcionamento do equipamento.
A Lexicon tem o prazer de apresentar o Guia do Usurio em CD-ROM. Atravs da tecnologia CD-ROM temos a possibilidade de fornecer nossa documentao em vrios idiomas. A verso impressa do Guia do Usurio est apenas em Ingls. O CD-ROM contm o Guia do Usurio em vrios idiomas (Espanhol, Francs, Italiano, Alemo e Portugus) em formato PDF. Tambm inclui o aplicativo Adobe Acrobat Reader para as plataformas Macintosh e PC, possibilitanto a impresso de qualquer parte da documentao. Alm disso, incluimos faixas no CD com udio sem processamento para a demosntrao dos produtos. (A faixa 1 do CD no contm informao de udio.) Por favor separe uns instantes para ler as informaes sobre segurana. Elas so muito importantes. Para informaes adicionais sobre a Lexicon, Inc., nossos produtos e suporte, acesse nosso web site em www.lexicon.com.

Getting Started

About the MPX 550. 1-2

ABOUT THE MPX 550

Thank you for purchasing the MPX 550 Dual Channel Processor, featuring Lexicons proprietary Lexichip. The MPX 550 is a true stereo, dual-channel processor with 24-bit internal processing, analog-to-digital conversion, and digital-to-analog conversion. It offers 255 presets with classic Lexicon reverb, including Tremolo, Rotary, Chorus, Flange, Pitch, Detune, 5.5 second Delay, Echo, and Compression. Dual-channel processing creates two independent effects in Dual Stereo (Parallel), Cascade, Mono Split, and Dual Mono combinations. A large, graphic front panel display provides at-a-glance viewing of program and system status. Programs are organized into 28 banks, with 27 for presets and 1 for user programs. The PROGRAM knob scrolls through all stored programs, or between banks for faster selection. Each program includes up to 20 adjustable parameters, which are organized into Edit Pages" that consist of four parameters each. The Edit Pages button cycles through available Edit Pages for the selected program. 1-2
Lexicon The editing process is further simplified with dedicated EDIT knobs that correspond to displayed parameters, as well as a special "Adjust" parameter for each program that facilitates quick changes to the most critical aspect of the sound. In many cases, this custom parameter controls several program parameters at once. For instance, it controls the liveness of space in many Chamber and Room programs by changing Decay, Early Reflections, and EQ simultaneously. Tap Tempo simplifies the once-complicated process of matching the delay times and modulation rates of tempo-based programs to the music. Tempo-controlled delays and modulation rates lock to tempo. In addition, Tap Tempo can be controlled using the front panel Tap/Cancel button, audio input, a dual footswitch, or an external MIDI controller that utilizes MIDI Continuous Controller or Program Change messages. The MPX 550 features Learn Mode, a powerful editing tool that allows MIDI patching of all parameters, as well as the Bypass and Tap/Cancel buttons. Standard Continuous Controller and Program Change messages provide complete control of these functions.

EDITING PROGRAMS

Each program features up to 20 parameters, which are organized into Edit Pages with as many as four parameters each. Press the front panel Edit Pages button to cycle through available Edit Pages for the loaded program. Parameters available on the selected Edit Page appear across the bottom of the front panel display, as shown on page 1-6. The number below each parameter corresponds with the number above the Edit knob used to change its setting. When a parameter setting is changed, it will appear in inverse video on the front panel display and the Edit Pages LED will light to show that the program has been modified. The LED will no longer be lit when another program is loaded or if the modified version is stored. If another program is selected before the modified program is stored, the edited version will still appear as the loaded program. However, the Load LED will light to indicate that a new program is cued for loading.

STORING PROGRAMS

The User Bank contains no programs when the MPX 550 is shipped. However, it includes 64 memory locations available for storing user-modified programs. To store a program: 1. Press the Store button. The Store and Tap/Cancel LEDs will light to indicate that the store function is armed. The first empty User Bank location will be selected. To cancel the store function without saving the program, press the Tap/Cancel button. This can be done at any time before the store procedure is completed. 2. Use the PROGRAM knob to select a different User Bank location. The message area on the front panel display (see page 1-6) indicates whether the selected User Bank location is available or empty.
Lexicon 3. The program appears on the front panel with its original name and a numeric suffix. If desired, use EDIT knobs 1 and 3 to change the name of the program. 4. Press the Store button to save the program to the selected location. The message "Stored" will appear briefly on the display. The Edit LED will no longer be lit when the saved version becomes the selected program.
When storing a user program, allow the unit to complete the entire store process before powering the unit off. If the unit is power cycled during the process, all previously stored programs may be lost.
For most music material, the release time should be about four times longer than the attack time. Both must be long enough to accommodate the bass content of the music. If the compressor is set to react faster than the waveform of the music itself, the resulting changes in output level will re-shape the waveform enough to produce undesirable audio effects. For example, 80Hz has a period of 12ms. If this is a dominant component in the music, set both the attack and release parameters to at least 12ms, even higher for better results. The compressor acts on both the left and right channels at the same time, using the sum of the two channels as its trigger. Compression presets are available in the Cmprssr Bank (see page 4-31). For other compression-only effects, send compressor output into a Dly/Eko program with the Delay parameter set to 0. The compressor does not add propagation delay to the audio path. (Note the converters introduce about 2ms of propagation delay.)

Controls the mix level that is applied when a new program is loaded. Mix levels are stored with each program. When Mix Mode is set to Program, the unit applies the stored mix level of the selected program to that program as it is loaded. When set to Global, the unit ignores stored mix levels and applies the current mix level to each program as it is loaded. Bypass Mode (Dry, Full Mute, Input Mute)
Controls the tempo setting that is applied when a new program is loaded. A tempo setting is stored with each program. When Tempo Mode is set to Program, the unit applies the stored tempo setting of each program as it is loaded. When set to Global, the unit applies the current tempo setting to each program as it is loaded. Compressor Mode (Program, Global)
Sets the function of Bypass. When set to Dry, the unit sends only dry, unprocessed audio to the outputs. When set to Full Mute, the unit mutes the outputs. When set to Input Mute, the unit mutes the inputs only. Running effects will continue their natural decay.
Controls the compression settings that are applied when a new program is loaded. Compression settings are stored with each program. When Compressor Mode is set to Program, the unit applies the stored setting of each program as it is loaded. When set to Global, the unit applies the current compression setting to each program as it is loaded.
MIDI Patches (Enabled, Disabled) MIDI Clock In Enables and disables Learned Patches. When set to Enabled, the unit responds to Learned Patches. When set to Disabled, the unit ignores Learned Patches, preventing accidental changes. MIDI Channel (Off, 1 to 16, Omni)
Lexicon (Enabled, Disabled)
Enables and disables MIDI Clock messages. When set to Enabled, Tap Tempo is changed by incoming MIDI messages. When set to Disabled, the unit ignores MIDI Clock messages, preventing accidental changes. MIDI Out/Thru (Out, Thru)
Selects the MIDI Channel for MPX 550 messages. When set to Off, the unit ignores messages sent on all MIDI channels. When set within a range of 1 to 16, the unit responds to messages sent on the selected MIDI channel. When set to Omni, the unit responds to messages sent on all MIDI channels. MIDI Program Change (Enabled, Disabled, R1-MPX 1) Enables and disables MIDI Program Change messages. When set to Enabled, the unit responds to MIDI Program Change messages. When set to Disabled, the unit ignores MIDI Program Change messages, preventing accidental changes. When set to R1-MPX 1, the unit responds to program change messages from a Lexicon MPX R1 Foot Controller set to MPX 1 Mode.

Altering the pitch of a sound produces a wide range of effects - from subtle detuning, to harmonies, to chords. The stereo polyphonic Pitch programs can be used to shift program material or monophonic sources within a range of one octave up to two octaves down. For pitch correction, set the Mix parameter to Wet. For harmonization, set the Mix parameter to the desired setting.

DLY/EKO

Delays and echoes repeat a sound a short time after it first occurs. The simplest (and oldest) delay effect is tape slap - a single repeat about 100ms after the original sound. Tape slap was often used on Elvis Presleys voice and rockabilly guitar tracks. Tape slap becomes tape echo when the output of the tape is fed back into the input (feedback). This turns a single repeat into a series of repeats, each a little softer and a little darker than the last. This darkening is characteristic of the analog tape recording process. Digital echoes do not have this characteristic; each repeat has the same exact timbre. For digital echoes, loudness is the only difference from repeat to repeat. Tape and digital echoes are both useful, but different. Tape echo is warmer, allowing the original sound to distinguish itself. Digital echo presents a "perfect" copy of the original sound.
Lexicon The DLY/EKO programs include mono (5.5 seconds), stereo (2.7 seconds), and 6-voice multi-tap effects. Each program can be used for tape or digital delay or echo effects. When the "Adjust" parameter (Edit Page 1, EDIT knob 1) is set to a value between 0 and 63, digital delay effects are produced. Each repeat is the same timbre, but softer. When the "Adjust" parameter is set to a value between 64 and 127, tape effects are produced. Each repeat is darker and softer. In programs 90 to 97, the "Adjust" MIN parameter sets the amount of Echoes feedback with an increasing number Delays of repeats as the setting is increased. MAX MAX Delay time is set with Tap. Each program is preset with a different useful rhythm. In programs 98 to 104, the amount of feedback is preset and the "Adjust" parameter determines the delay time. With all delay and echo effects, note the way the repeats fall rhythmically to the beat. The most effective delay and echo patterns are those that lock with the tempo of the music.
MPX 550 In all delay programs and dual programs, the unit uses the MstrDly parameter to scale delay times that are not controlled by Tempo. In some programs, the "Adjust" parameter controls MstrDly. MstrDly can be set within a range of 0 to 100%. It is usually set to 100% in most presets. When MstrDly is set manually (or by the "Adjust" parameter) to less than 100%, individual delay times will scale accordingly. For example, if MstrDly is set to 25%, all delay times will be reduced to 1/4 of their normal value. Knobs that control those delay times will become correspondingly less sensitive - requiring, in this example, four times as many clicks to obtain the normal result. Dly/Eko Programs Dly Mono Tap DlyStereoTap Dly ShuflTap Dly Dot8 Tap Dly 8+3plTap Dly Pong Tap Dly XFbkTap1 Dly XFbkTap2 Dly Mono Dly Stereo

These banks contain programs that are arranged in Mono Split configuration, which is similar to the Dual Stereo (Parallel) configuration. One effect (e.g. Flange) receives signals from the left input and the other effect (e.g. Delay) receives signals from the right input. However, both effects send signals to the left and right outputs. Dual Mono This bank contains programs that are arranged in the Dual Mono configuration. One effect (e.g. Flange) receives input from the left channel only and sends output to the left channel only. The other effect (e.g. Delay) receives input from the right channel only and sends output to the right channel only.

Dual Stereo (Parallel)

Flange

Cascade

Mono Split

Dual Mono

The illustration below uses the Pch-Dly program to show the effect of the Efx Bal parameter at certain settings when a Cascade variation is selected.

EFX BAL

The Efx Bal parameter controls the relative balance of each effect in the dual programs. In Cascade variations, the parameter also varies the amount of the first effect or dry signal fed into the second effect.
50:50%: Provides delayed pitch shift.
75:25%: Provides pitch shift, plus delayed pitch shift.
25:75%: Provides delayed pitch shift, plus delayed dry signal.
100:0%: Provides pitch shift.
0:100%: Provides delayed dry signal.

FLNG-DLY

Flng-Dly Programs 120 Flng Tap 121 Flng.8Tap 122 Flng 3plTap 123 Flng PongTap 124 Flng Xfeed 125 Flng Bounce 126 Flng > Tap 127 Flng > Fbk 128 Flng > Pong 129 Flng > Bnce "Adjust" (FeedBk) (FeedBk) (FeedBk) (FeedBk) (Time) (Time) (FeedBk) (Time) (FeedBk) (Time) Tap Delay Time (1/4 Note) Dotted (1/8 Note) Triplet (1/8 Note) Delay Time (1/4 Note) Delay Time (1/4 Note) Delay Time (1/4 Note) Routing
Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Cascade Cascade Cascade Cascade

PCH-DLY

Pch-Dly Programs 130 5th Tap 131 8ve 3pl Tap 132 8ve 8+3plTap 133 3rd4thPong 134 4th5th Xfeed 135 5th6th Xfeed 136 8ve > Xfeed 137 5th > Xfeed 138 MajMin > Fbk 139 StepUp > Tap "Adjust" (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) Tap Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Routing Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Cascade Cascade Cascade Cascade

Note: The Mono Split routing configuration is illustrated on page 4-18.

MSPLIT RVB

MSplit Rvb Programs 205 Tap + MidSiz 206 Pong + Large 207 Bnce + MidSz 208 Xfeed + Small 209 Xfeed+MidSiz 210 LiteFl+MidSz 211 LiteFl+Large 212 DeepFl+Small 213 DeepFl+MidSz 214 DeepFl +Room 215 4th5th +Room 216 5th6th +Room 217 4ths + Large 218 8ve + MidSz 219 PchFin+MidSz 220 Chor1 +Small 4-28 "Adjust" (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (Livenes) (Pitch) (Pitch) (MidRT) (MidRT) (Pitch) (MidRT) Tap Delay Time Delay Time Delay Time Delay Time Delay Time Routing Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split
MSplit Rvb Programs 221 Chor1+ Large 222 Chor2+MidSiz 223 Chor2+ Large 224 Chor3+MidSiz
"Adjust" (MidRT) (MidRT) (MidRT) (MidRT)
Routing Mono Split Mono Split Mono Split Mono Split

DUAL MONO

Dual Mono Programs 225 Tap | Small 226 Tap | MidSiz 227 Tap | Large 228 Tap | Room 229 DeepFl | Tap 230 DeepFl | Dot8ves | Tap 232 8ves | 3pl 233 Chor2 | Tap 234 Chor2 | DotLiteFl | Large 236 DeepFl | Large 237 8ves | MidSz 238 4ths | Large 239 Chor1 | Room "Adjust" (MidRT) (MidRT) (MidRT) (Livenes) (FeedBk) (FeedBk) (Pitch) (Pitch) (FeedBk) (FeedBk) (MidRT) (MidRT) (MidRT) (MidRT) (Livenes) Tap Delay Time Delay Time Delay Time Delay Time Speed (1/4 Note) Speed (Dotted 1/4 Note) Delay Time Delay Time Delay Time Delay Time Speed Routing Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono Dual Mono
Note: The Dual Mono routing configuration is illustrated on page 4-18.
Comprssr Programs 240 Two to One 241 Three to One 242 3:1 Small 243 5:1 Medium 244 3:1 Large 245 GuitarComp 246 Limiter 247 Male Vocal 248 Female Vocal "Adjust" (Gain) (Gain) (Gain) (Gain) (Gain) (Gain) (Gain) (Gain) (Gain) Tap PreDelay PreDelay PreDelay PreDelay PreDelay

CMPRSSR

In all Cmprssr programs, the "Adjust" parameter controls gain within a range of 0 to 9.5dB. It can be used to match volume levels between the dry, bypassed, and compressed output obtained with typical music material. If the System Mode parameter Mix Mode is set to Program, the Mix parameter will automatically be set to Wet, allowing the compressed delay signal to be the only output signal present. If the System Mode parameter Mix Mode is set to Global, the Mix parameter must be set manually. The five compressor-reverb presets offer a reverb component in parallel with a zero-delay dry component. The compressor acts on both. The Mix parameter should be set to Wet, and the effective mix should be adjusted with the Efx Bal parameter.

COMPRESSION

Compression is used to lower the overall level of sound sources that rise above an adjustable compression threshold. Compression can be used to match the levels of louder sources to those of quieter sources. Ratio (1:1 to 10:1) Determines how fast the compressor responds to sound sources that rise above the compression threshold. Slower settings allow the signal to rise above the threshold for short periods of time with minimal compression. Release (4.0 to.30sec)
Determines the level of gain reduction applied when the sound source rises above the compression threshold. It can be set in ratios of 1:1, 1.60:1, 2.00:1, 2.66:1, 3.20:1, 4.00:1, 5.33:1, 8.00:1 and 10:1. For each dB rise in input to the compressor, the ratio indicates the fraction of the dB rise in output. For example, when Ratio is set to 4.00:1, the output will rise 0.25dB for each dB rise in input to the compressor. Higher settings will result in more compression.
Determines how fast compression is reduced when sound sources fall below the compression threshold. Slower settings reduce compression gradually. Faster settings reduce compression more quickly, causing the level of the sound source to be tracked more closely.

. continued on page 4-34

TAPE SATURATION
Tape saturation emulates the sound of sources recorded on analog tapes and sources recorded digitally. Because of the natural peak saturation that occurs with analog tapes, sound sources recorded on them seem louder than the same sound sources recorded digitally. To use this effect, increase the Gain parameter setting. The amount of gain used is guided by both the output level meter and, more importantly, the ear. Gain levels that are too high can dramatically reduce the dynamic range of sound sources, possibly causing objectionable distortion - just like real tape. Gain (Min, 1 to 30, Max) Saturation Controls the amount of saturation.
Lexicon (Off, Modern, Vintage)

LEVEL METERS

Determines average output level. Lower settings prevent signal saturation. Higher settings reduce peaks within the sound source relative to the average level of the sound source, enabling the peak saturation block to reduce peak levels. The setting can be increased to its maximum level without causing digital overload. However, excessive peak saturation may distort the signal.
1. Output Level Meter Indicates output levels. The value indicates the maximum output level of the left or right channel, whichever is greater. The tick marks are placed in 3dB increments. The right most tick mark indicates 0dB or maximum output level.
MPX 550 2. Peak Expansion Meter Indicates the level of peaks above the peak expansion threshold. Low-level peaks are shown as one or two graduated bars. Slightly higher peaks of longer duration are shown as three graduated bars. High-level peaks are shown as three solid bars. 4. Input Meter

When the Meters parameter is set to In, indicates the maximum left or right channel input levels, whichever is greater. The associated tick marks are placed in 3dB increments. The right-most tick mark indicates 0dB or maximum input level.
Use the Meters parameter to select between gain reduction and input level metering. 3. Gain Reduction Meter When the Meters parameter is set to GR, indicates the output level reduction due to compression. The value shown indicates the maximum left or right channel gain reduction, whichever is greater. The meter moves from right to left. The tick marks are placed in 3dB increments. The right-most tick mark represents 0dB or no gain reduction. Each tick mark proceeding from right to left indicates an additional 3dB of gain reduction.
TYPICAL MASTERING DYNAMICS CONTROL ADJUSTMENT
The following is a common scenario for musical sources that have not previously been compressed: For analog input sources, adjust the front panel Input Trim knob so the input meters peak in the -6dB range. The input meters should never exceed the 0dB level. Beginning at 0dB, reduce the setting of the ExpThrsh parameter until peaks in the source material cause the peak expansion level meter to show 1 to 3 graduated bars. High-level peaks in the sound source

. continued on page 4-36

Typical Mastering Dynamics Control Adjustment (continued) will cause the peak expansion meter to show three solid bars for short periods of time. Increase the ExpLvl parameter until the peaks in the source material sound slightly exaggerated. Then, reduce the setting until the peaks sound natural. Set the Ratio parameter to 4.00:1, the Attack parameter to 7.2msec, and the Release parameter to 1.4sec. Beginning at 0dB, reduce the setting of the Thresh parameter until the gain reduction meter moves between 0 and 3 to 6dB of gain reduction. If the output level sounds unnatural, increase the settings of the Attack and Release parameters. If output levels are too low after peaks occur, increase the setting of the Release parameter. If output levels are still too low after peaks occur, increase the setting of the ExpLvl parameter. Beginning at 0, adjust the Gain parameter setting until the output level meter shows peaks above 3dB.
LIVE-FOH (FRONT OF HOUSE)
Live-FOH programs are designed for live performances, with controls that are more convenient for live-sound engineers to operate. These programs use Dual Mono routings to accommodate the sound reinforcement systems (PAs) used in most small-to-mid-sized venues. Often, these systems provide limited channels and mono aux sends for effects. For Live-FOH presets: Edit Page 1 contains the four most essential parameters for the first effect, and Edit Page 2 contains the four most essential parameters for the second effect. Non-essential parameters have been removed from the Edit Pages.

Continuous Controllers. 6-4 MIDI Clock. 6-6 MIDI Dumps. 6-6 Sysex Messages. 6-7 MIDI Implementation Chart. 6-8

LEARN MODE

Learn Mode enables the MPX 550 to "learn" MIDI Program Change and Continuous Controller messages. To activate and deactivate Learn Mode, press the Store and Tap/Cancel buttons simultaneously. The Store and Tap/Cancel LEDs will light to indicate that Learn Mode is active. The front panel display will then show the current patching for EDIT knobs 1 to 4 (Edit Page 1). To access knobs 5 to 20, press the Edit Pages to cycle to the desired Edit Page. The unit supports learned patches for Bypass and Tap, as well as all available parameters controlled with the front panel Edit knobs.
The parameters controlled with the EDIT knobs can be patched to Continuous Controller messages.

MIDI CHANNEL ASSIGNMENT

A single, selectable MIDI channel is used for all MPX 550 messages. This channel can be assigned in System Mode with the MIDI Channel parameter.
A MIDI channel should be assigned before MIDI features are used.
Program Change messages can be used to load programs.
Press the Store and Tap/Cancel buttons simultaneously to activate and deactivate Learn Mode.
Bypass and Tap/Cancel can be patched to Program Change and Continuous Controller messages.

MIDI Program Banks

Plate Gate/Inv Hall Chamber Ambience Room Tremolo Rotary Chorus Flange 18 Detune Pitch Dly/Eko Special FX Flng-Dly Pch-Dly Chor-Dly Dly-Rvb Flng-Rvb 27 Pch-Rvb Chor-Rvb MSplit Dly MSplit Rvb Dual Mono Cmprssr Dynamics Live-FOH User
PROGRAM CHANGE MESSAGES LOADING PROGRAMS
Standard MIDI Program Change messages can be used to load all 255 presets and 64 user programs. The unit conforms to the use of MIDI Continuous Controller 32 to execute Bank Select messages. MPX 550 program banks are ordered numerically from 0 to 27, beginning with the Plate Bank. (See the table at the right for additional bank numbers.) Any program can be loaded by selecting its bank with Controller 32, then sending the appropriate Program Change message. For example, if the Plate Bank is selected: Sending Program Change 1 will load the first Plate program (Small Plate). Sending Controller 32 with a value of 27 followed by Program Change 1 will load the first program in the User Bank.
Sending Controller 32 with a value of 1 followed by Program Change 2 will load the second program (Slope Down) in the Gate/Inv Bank.
Once a bank is selected, all subsequent Program Change messages will select programs within that bank until a new value for Controller 32 is received, or until another program or bank is selected with the front panel PROGRAM knob. MIDI Program Change messages can be disabled in System Mode with the MIDI Program Change parameter. 6-3

6. Simultaneously press the Store and Tap buttons to deactivate Learn Mode.
When a MIDI controller is assigned to the Bypass control, moving the controller above the mid-point of its learned range engages Bypass. Moving the controller below the mid-point range disengages Bypass. When a MIDI controller has been assigned to the Tap control, moving the controller above the mid-point of its learned range will "tap" the control as if the Tap button had been pressed.

MIDI CLOCK

The unit recognizes MIDI Clock messages and applies the tempo (40 to 400bpm) to programs that use Tap Tempo. Connect a MIDI device that outputs MIDI Clock, such as the MPX R1 foot controller or a MIDI sequencer, to the MPX 550 MIDI IN connector to have the MPX 550 automatically recognize and begin to process MIDI Clock messages. When the tempo of the connected device changes, the unit will automatically adjust its delay times and modulation rates to match the new tempo. This feature can be disabled with the System Mode parameter MIDI Clock In.
MIDI Dumps can be used to save the user programs, the selected program, or the System Mode settings and Learned Patch assignments to a storage device (typically a MIDI sequencer). MIDI Dumps are performed in System Mode (see page 3-8). To perform a dump of the user programs, the selected program, or the System Mode settings and Learned Patches: 1. Press the front panel System button. The System LED will light to indicate that System Mode is active. 2. Use the EDIT knob 1 to select: Dump User Bank Executes a dump of user programs. Use Edit knob 3 to select the desired range of user programs: (1-16), (17-32), (33-48), or (49 to 64). When a user program dump is returned to the unit from a MIDI storage device, the unit saves it in the appropriate User Bank locations.
When System Mode is active, the unit will not respond to MIDI Clock messages. Once System Mode is deactivated, the unit will resume responding to MIDI Clock messages.
MPX 550 Dump Current Program Executes a dump of the selected program. Dump System Data Executes a dump of System Mode settings and Learned Patch assignments. 3. Press Store to execute the dump.

SYSEX MESSAGES

MIDI Sysex messages can be used to access all algorithm parameters. More information about using this advanced feature with the MPX 550 and other Lexicon products is available at www.lexicon.com. The website offers instructions, sample messages, and a complete table of parameter Sysex addresses.
4. Press System to deactivate System Mode. Executing MIDI Sysex messages is a complicated process. Please observe the cautionary notes included on the website.

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 one (1) year 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 during 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 written 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 when 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? Lexicons 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.

Lexicon, Inc 3 Oak Park Bedford, MA 01730-1441 USA Tel 781-280-0300 Fax.781-280-0490 www.lexicon.com Customer Support Tel 781-280-0300 Fax.781-280-0495 (Sales) Fax.781-280-0499 (Service)
Lexicon, Inc 3 Oak Park Bedford, MA 01730-1441 USA Tel 781-280-0300 Fax 781-280-0490 www.lexicon.com Customer Support Tel 781-280-0300 Fax 781-280-0495 (Sales) Fax 781-280-0499 (Service)

Dry Tracks

This card lists the dry tracks included on the CD-ROM enclosed with this user guide.
Percussion 2 Bass Drum. 3 Snare Drum 1. 4 Snare Drum 2. 5 Stick. 6 Shaker. 7 Claps. 8 Conga. 9 Table & Udo. 10 Percussion 1. 11 Percussion 2. 12 Open Drum Kit. 13 Funk Drum Kit. 14 Fusion Drums & Bass 15 Funk Drums & Bass. 16 Fusion Drums & Bass 17 Broadband Click. 18 Narrowband Click.
.(0:30).(0:46).(0:38).(0:38).(0:39).(0:41).(0:48).(0:54).(1:00).(1:23).(1:16).(1:08).(0:33).(0:33).(1:18).(0:38).(0:38)
Guitar 19 Acoustic Chords 1. 20 Acoustic Chords 2. 21 Acoustic Chords 3. 22 Acoustic Leads. 23 Acoustic Stops. 24 Electric Solo. 25 Electric Clean & Fast 26 Electric Dirty. 27 Electric Crunch.
.(0:59).(2:13).(1:12).(0:41).(0:36).(0:44).(0:32).(1:24).(0:38)
Bass 28 Slap (120 bpm).(1:29) 29 Fingered (120 bpm).(0:49)

WARNING

Do not play Track 1 on an audio CD player. It contains the computer portion of the disc and will emit fullscale digital noise.
Voice 30 Female Vocal Female Vocal Female Vocal Male Vocal 1. 34 Male Vocal 2. 35 Vocal Group 1. 36 Vocal Group 2.
.(0:43).(0:56).(0:20).(1:20).(0:21).(0:26).(0:28)
Dual Mono (Left/Right) 46 Kick/Snare. 47 Kick/Bass. 48 African Bell/Slit Drum 49 Acoustic Guitar/Vocal 50 Electric Guitar/Vocal. 51 Church Guitars. 52 Ms. Pride/Xavier. Post 53 Ambulance. 54 Motorcycle. 55 Street Noise. 56 Propeller Place 57 Jet Airplane. 58 Pipe Band. 59 TV Music. 60 Monologue.
.(0:30).(0:37).(0:43).(0:23).(1:31).(0:36).(1:04)
Keyboard 37 Hammond 1.(0:12) 38 Hammond 2.(0:07) 39 Rhodes.(0:59) Horns 40 Horn Section Horn Section Sax Solo. 43 Tenor Sax Solo.
.(1:23).(1:36).(0:30).(2:21)
.(0:19).(1:08).(1:00).(0:58).(1:02).(1:20).(0:18).(1:06)
TOTAL TIME.(54:31) Miscellaneous 44 Flute Solo.(0:24) 45 Accordian Solo.(0:35)

75:25%: Offre effetto di pitch , pi effetto di pitch ritardato.
25:75%: Offre effetto di pitch ritardato, pi segnale dry ritardato.
100:0%: Offre effetto di pitch.
0:100%: Offre segnale dry ritardato

FLNG-DLY

Programmi di Flng-Dly 120 Flng Tap 121 Flng.8Tap 122 Flng 3plTap 123 Flng PongTap 124 Flng Xfeed 125 Flng Bounce 126 Flng > Tap 127 Flng > Fbk 128 Flng > Pong 129 Flng > Bnce "Adjust" (FeedBk) (FeedBk) (FeedBk) (FeedBk) (Time) (Time) (FeedBk) (Time) (FeedBk) (Time) Tap Delay Time (1/4 Note) Dotted (1/8 Note) Triplet (1/8 Note) Delay Time (1/4 Note) Delay Time (1/4 Note) Delay Time (1/4 Note) Routing
Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Cascade Cascade Cascade Cascade

PCH-DLY

Programmi di Pch-Dly 130 5th Tap 131 8ve 3pl Tap 132 8ve 8+3plTap 133 3rd4thPong 134 4th5th Xfeed 135 5th6th Xfeed 136 8ve > Xfeed 137 5th > Xfeed 138 MajMin > Fbk 139 StepUp > Tap "Adjust" (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) Tap Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Routing Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Cascade Cascade Cascade Cascade

CHOR-DLY

Programmi di Chor-Dly 140 Chor Tap 141 Chor.8Tap 142 Chor 8+3pl 143 Chor Pong 144 Chor Repeat 145 Chor Bounce 146 Chor > Tap 147 Chor >Repeat 148 Chor > Pong 149 Chor > Bnce "Adjust" (FeedBk) (FeedBk) (FeedBk) (FeedBk) (Time) (Time) (FeedBk) (Time) (FeedBk) (Time) Tap Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Routing

Chorus

DLY-RVB
Programmi di Dly-Rvb 150 Tap Small 151 3plTap MidSz 152 8+3pl Large 153 Pong Small 154 Xfeed MidSz 155 Xfeed Large 156 Tap > Room 157 8+3pl >Large 158 Xfeed > Room 159 Xfeed >Large "Adjust" (MidRT) (MidRT) (MidRT) (Decay) (Decay) (Decay) (Livenes) (MidRT) (Livenes) (MidRT) Tap Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Routing Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Cascade Cascade Cascade Cascade

Reverb

FLNG-RVB
Programmi di Flng-Rvb 160 LiteFl Small 161 LiteFl MidSz 162 LiteFl Large 163 DeepFl Small 164 DeepFl MidSz 165 DeepFl Large 166 LiteFl>Small 167 LiteFl >Room 168 DeepFl>Large 169 DeepFl >Room "Adjust" (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (Livenes) (MidRT) (Livenes) Tap Speed (Whole Note) Speed (Whole Note) Speed (Whole Note) Speed (Whole Note) Routing

PCH-RVB

Programmi di Pch-Rvb 170 3rd4th Room 171 4th5th Room 172 5th6th Room 173 8ve MidSiz 174 Power MidSiz 175 Detune Room 176 Fine > Small 177 Power >Large 178 4th > MidSiz 179 8ve > MidSz "Adjust" (Pitch) (Pitch) (Pitch) (Pitch) (MidRT) (Dtuning) (Pitch) (MidRT) (MidRT) (MidRT) Tap Routing Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Dual Stereo (Parallel) Cascade Cascade Cascade Cascade

CHOR-RVB

Programmi di Chor-Rvb 180 Chor1 Small 181 Chor1 MidSiz 182 Chor1 Large 183 Chor2 Small 184 Chor2 MidSiz 185 Chor2 Large 186 Chor1 > Room 187 Chor2 > Room 188 Chor3 > Room 189 Chor1 >Small "Adjust" (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (Livenes) (Livenes) (Livenes) (MidRT) Tap Routing

MSPLIT DLY

Programmi di MSplit Dly 190 Flng + Tap 191 Flng + Pong 192 Flng + Xfeed 193 Flng + Bnce 194 DeepFl + Dly 195 5th + Tap 196 8ve + 3plTap 197 4th5th+Xfeed 198 5th6th+Xfeed 199 PchFine +Tap 200 Chor + Tap 201 Chor + Pong 202 Chor + Xfeed 203 Chor + Bnce 204 Chor+Inverse "Adjust" (FeedBk) (FeedBk) (Time) (Time) (Time) (Pitch) (Pitch) (Pitch) (Pitch) (Pitch) (FeedBk) (FeedBk) (Time) (Time) (Time) Tap 1/4 Note 1/4 Note Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Routing Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split
Note: The Mono Split routing configuration is illustrated on page 4-18.

MSPLIT RVB

Programmi di MSplit Rvb 205 Tap + MidSiz 206 Pong + Large 207 Bnce + MidSz 208 Xfeed + Small 209 Xfeed+MidSiz 210 LiteFl+MidSz 211 LiteFl+Large 212 DeepFl+Small 213 DeepFl+MidSz 214 DeepFl +Room 215 4th5th +Room 216 5th6th +Room 217 4ths + Large 218 8ve + MidSz 219 PchFin+MidSz 220 Chor1 +Small 4-28 "Adjust" (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (MidRT) (Livenes) (Pitch) (Pitch) (MidRT) (MidRT) (Pitch) (MidRT) Tap Delay Time Delay Time Delay Time Delay Time Delay Time Routing Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split Mono Split

L'esecuzione di messaggi MIDI di sistema un processo complicato. Si prega di seguire le note di attenzione presenti sul sito.
I MIDI Dump non possono essere eseguiti a meno che il parametro di System Mode MIDI Out/Thru non sia stato impostato su OUT.
MIDI IMPLEMENTATION CHART
Function Basic Channel Mode Default Channel Default Messages Altered True Voice Note ON Note OFF Keys Channels Transmitted X X X X X X X X X X Recognized 1 1-16 Mode 2 X X X X (Off=9n, v=0) X X OX OX OX Used as controller Selected in System Mode Used as controller Learned Remarks Selected in System Mode
Note Number Velocity After Touch Pitch Blender Control Change
1 to 119 (0 to 32 used as Bank Select) Learned
Transmitted True # X Recognized 0 to 15 = 1 to 16 Remarks 16 to 127 ignored; Program Change messages 1 to 15 = Program Change messages 1 to 16 for selected program bank as applicable * Lexicon ID = 6; Product ID = 22 (decimal); Device ID = MIDI Channel 0 to15 = 1 to 16

Function Program Change

Bank Select System Exclusive System Common System Real Time Aux Messages Lexicon Real Time non-Real Time :Song Pos :Song Sel :Tune :Clock :Commands :Local ON/OFF :All Notes OFF :Active Sense :Reset

X O X X X X X X X X X X

X O X X X X X O X X X X
Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY
O: X: OX: * I messaggi di Program Change che non corrispondono ad un valido programma nel banco selezionato, saranno ignorati.
Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO

Yes No Selectable

Appendice
Specifiche tecniche. A-2 Dichiarazione di conformit. A-3

SPECIFICHE TECNICHE

Audio Inputs Connectors Level Impedance A/D Dynamic Range Crosstalk XLR, T/R/S balanced +8 to +20dBu full-scale 50K balanced 25K unbalanced 24-bits 20Hz to 20kHz1dB 105dB, typical -96dB@1kHz Digital Audio Inputs and Outputs Connectors Coaxial RCA S/PDIF (IEC-958, CP-340) System Sample Rates 44.1kHz, 48kHz (Internal Clock and S/PDIF Input) Front Panel Display 150x32 LCD, backlit Footswitch Tip/Ring/Sleeve phone jack for Bypass and Tap (optional) MIDI Interface Connectors IN, OUT/THRU Power Requirements 90 to 250V, 50 to 60Hz; 12.5W, 3-pin IEC connector
Dimensions (W x H x D) Width 19 inches (483mm) Height 1.75 inches (45mm) Depth 4 inches (102mm) Weight 3 pounds (1.4kg) Environment Operating Temperature Relative Humidity
Analog Audio Outputs Connectors XLR, T/R/S balanced Level +26dBu balanced +20dBu unbalanced Impedance <600 D/A 24-bits 20Hz to 20kHz1dB Dynamic Range 101dB, typical Crosstalk -96dB@1kHz

.(0:59).(2:13).(1:12).(0:41).(0:36).(0:44).(0:32).(1:24).(0:38)
Bass 28 Slap (120 bpm).(1:29) 29 Fingered (120 bpm).(0:49)

WARNING

Do not play Track 1 on an audio CD player. It contains the computer portion of the disc and will emit fullscale digital noise.
Voice 30 Female Vocal Female Vocal Female Vocal Male Vocal 1. 34 Male Vocal 2. 35 Vocal Group 1. 36 Vocal Group 2.
.(0:43).(0:56).(0:20).(1:20).(0:21).(0:26).(0:28)
Dual Mono (Left/Right) 46 Kick/Snare. 47 Kick/Bass. 48 African Bell/Slit Drum 49 Acoustic Guitar/Vocal 50 Electric Guitar/Vocal. 51 Church Guitars. 52 Ms. Pride/Xavier. Post 53 Ambulance. 54 Motorcycle. 55 Street Noise. 56 Propeller Place 57 Jet Airplane. 58 Pipe Band. 59 TV Music. 60 Monologue.
.(0:30).(0:37).(0:43).(0:23).(1:31).(0:36).(1:04)
Keyboard 37 Hammond 1.(0:12) 38 Hammond 2.(0:07) 39 Rhodes.(0:59) Horns 40 Horn Section Horn Section Sax Solo. 43 Tenor Sax Solo.
.(1:23).(1:36).(0:30).(2:21)
.(0:19).(1:08).(1:00).(0:58).(1:02).(1:20).(0:18).(1:06)
TOTAL TIME.(54:31) Miscellaneous 44 Flute Solo.(0:24) 45 Accordian Solo.(0:35)