Lexicon LXP-1, Lexicon LXP-5
Audio processing
gear
Howdy gang, We aquired a few new toys you might like
to know about, but then again you might not. These
are audio gizmos that will shock and amaze you.
Disinterested parties can open the newspaper and read
about the biggest collapse in sports history.
Interested parties read on:
Lexicon LXP-1
The LXP-1 is one of Lexicon's most
cost-effective digital effects processors with a
distinct personality and magnificent sound. The
LXP-1 fills a half single rack space with a
spectacular array of sonic capabilities and
tremendous MIDI effects control.
Simply Sophisticated The front panel of the LXP-1 does not reveal its sophisticated nature. From this simple array of controls you have access to 16 different effects programs, each with two variable parameters for a total of 256 variations per effect. Ten of the programs are blends of reverberation and delay, and six provide effects combinations, including reverse and gated reverb, flanging, chromatic resonance, multi-tap delay, and a mixture of delay and chorusing. The LXP-1 provides more than 4,000 different effects, all available from three simple controls, without the need for MIDI. By adding any MIDI control device such as a keyboard or sequencer, the LXP-1 gives you two more ways to control its effects. First, you can store and access your custom sounds in 128 non-volatile memories by associating them with a MIDI Program Change command. What's more, you can exploit Lexicon's Dynamic MIDI, which lets you modulate processing parameters in real time by patching them to MIDI controls such as Note Number, Modulation Wheel, and Pitch Bender.
Lexicon LXP-5
The LXP-5 is sister-unit to the LXP-1, and
complements it nicely. The LXP-5 is much more
sophisticated, and provides two algorithms, one of
which features a reverb, pitch-shift and three
independent delays (two with programmable feedback).
The unit's architecture allows it to emulate chorusing, flanging and the like which are generally preset in other effects units. In addition, the delay routing (including one delay before the pitch-shift and one which straddles it) allows some beautifully rich and wild effects.
JOEMEEK VC3 PRO CHANNEL VERSION 2
The Pro Channel is a single-channel processor with three stages: a mic/line preamp, a compressor, and an enhancer. The unit may be used instead of a mixer channel for sending a signal directly to tape, or it can be fed into a regular mixer channel. According to the designer, the Pro Channel's circuitry features a wider than normal frequency response to maintain phase linearity, and it also provides a lot of headroom. With the benefit of switchable phantom power, the transformerless input stage can accept either balanced mic ins, via the rear-panel XLR, or unbalanced line inputs, via a conventional instrument jack. An insert point is also fitted, enabling further processing to be placed in-line, directly after the input preamp. An additional jack provides a means of mixing an external line input with the unit's main input, prior to compression and enhancement.
The compressor section is based on the Joe Meek design used in the previous boxes bearing his name: this circuit uses an LED and photocell as a gain control element, with certain feedback techniques used to speed up the normally slow response of the photocell. This rather outdated way of controlling gain is one of the secrets of the vintage compressor sound -- some compressors you buy because you can't hear them working; this one you buy because you can hear it working."
So there you have it. Almost everything you wanted to know about audio processing.
Any unanswered questions are likely to remain that way but feel free to ask anyway.
Lexicon LXP-1
Simply Sophisticated The front panel of the LXP-1 does not reveal its sophisticated nature. From this simple array of controls you have access to 16 different effects programs, each with two variable parameters for a total of 256 variations per effect. Ten of the programs are blends of reverberation and delay, and six provide effects combinations, including reverse and gated reverb, flanging, chromatic resonance, multi-tap delay, and a mixture of delay and chorusing. The LXP-1 provides more than 4,000 different effects, all available from three simple controls, without the need for MIDI. By adding any MIDI control device such as a keyboard or sequencer, the LXP-1 gives you two more ways to control its effects. First, you can store and access your custom sounds in 128 non-volatile memories by associating them with a MIDI Program Change command. What's more, you can exploit Lexicon's Dynamic MIDI, which lets you modulate processing parameters in real time by patching them to MIDI controls such as Note Number, Modulation Wheel, and Pitch Bender.
Lexicon LXP-5
The unit's architecture allows it to emulate chorusing, flanging and the like which are generally preset in other effects units. In addition, the delay routing (including one delay before the pitch-shift and one which straddles it) allows some beautifully rich and wild effects.
JOEMEEK VC3 PRO CHANNEL VERSION 2
The Pro Channel is a single-channel processor with three stages: a mic/line preamp, a compressor, and an enhancer. The unit may be used instead of a mixer channel for sending a signal directly to tape, or it can be fed into a regular mixer channel. According to the designer, the Pro Channel's circuitry features a wider than normal frequency response to maintain phase linearity, and it also provides a lot of headroom. With the benefit of switchable phantom power, the transformerless input stage can accept either balanced mic ins, via the rear-panel XLR, or unbalanced line inputs, via a conventional instrument jack. An insert point is also fitted, enabling further processing to be placed in-line, directly after the input preamp. An additional jack provides a means of mixing an external line input with the unit's main input, prior to compression and enhancement.
The compressor section is based on the Joe Meek design used in the previous boxes bearing his name: this circuit uses an LED and photocell as a gain control element, with certain feedback techniques used to speed up the normally slow response of the photocell. This rather outdated way of controlling gain is one of the secrets of the vintage compressor sound -- some compressors you buy because you can't hear them working; this one you buy because you can hear it working."
So there you have it. Almost everything you wanted to know about audio processing.
Any unanswered questions are likely to remain that way but feel free to ask anyway.
|