#LEXICON MPX 500 REVIEW HOW TO#
I have already bookmarked a link for instructions on how to replace the one in the 90/91, just in case I get one! I thought I read something about the hardware of that generation in an old GS post by Michael Carnes, but maybe that was on the 960 which he designed.Īnd thanks for the thoughts on possible use, PrimateSynthesis. Yes, I replaced the PSU on my MPX-1 and it was straight forward. Navs wrote:Good to read your thoughts on reliability, Ranxerox. I can feel a PCM70 recommendation coming now that I've said that But no, it's between the 91 and 92, please. My MPX-1 has 'better' rooms, but my mate's Reflex makes exciting rooms. Tobb & Ranxerox, are you saying the 91 has 'better' rooms? I know the word is difficult but I suppose I am talking about an emotional response. The new price is fair, even if it has gone up a bit again. But I will listen to my recordings again.
#LEXICON MPX 500 REVIEW PLUS#
I have tried it and it was very nice but the reverb didn't gel in the same way to me it sounded like dry sound plus reverb, rather than 'sound in some place'. Even the Digitech/Lexicon Polara pedal I now have for gigs sounds 'right' to me: the reverb is part of the sound, as we have discussed before.Ĭlusterchord, thanks for raising the TC4000 again. That said, I'm definitely after a Lexicon. There's also the Native plugins to confuse the issue further, but I'm wary of sticking money in 10 year old plugs too. The price difference between old and new confuses the issue a bit for me - I don't necessarily want another 20 year old box but I can't justify the price of a new 92, not unless it sounds markedly 'better'. whenever i do chamber strings nothing does it better than Lex 300 chamber etc. for example, my PCM70 is hardwired to drums and electric guitars in "small room" mode.
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depending on context they can sound more "realistic" than anything else. With that said, rooms and chambers on old Lexicons are a thing of beauty too. love them on strings and drums/perc, respectively. In addition to that it has a fantastic EMT250 and AMS nonlinear type algorithms. also, wonderful orchestral and piano halls with long, unmodulated but smooth trails. In music production, its my favorite for acoustic drum rooms, also acoustic intruments like nylons etc when i don't want to enhance the source into larger-than-life (for which i use old Lexicons and Eventides). like the VO actors were the original audio. for example, i've managed to replace original rooms for foreign dub releases to unbelievable accuracy. very realsitic and ultimately configurable tweakable. Have to admit, new Lexis never blew me away.įwiw my side gig is audiopost, and with ocassional use of convo solutions like Speakerphone, my favorite for rooms and spaces is TC Reverb4000. I know neither falls into the 'classic' category but I'm not after vintage, swirly halls, more rooms and post effects. Please see our rentals terms and conditions for area serviced and payment methods.Navs wrote:Which of the later hardware Lexicon PCMs do you like better, the 91 or 92, and why?
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Other features include a software-selectable MIDI OUT/THRU port, pushbutton or footswitch selection of dry or muted audio output and a built-in power In addition, tempo controlled delays and modulation rates lock to Tap or MIDI clock, and Tap tempos can be controlled by audio input, the front panel Tap button, dual footswitch, external MIDI controller or MIDI Program Change. A large graphics display and dedicated Edit knobs give you instant access to each preset’s parameters and an easy Learn mode allows MIDI patching of front panel controls. Dual-channel processing gives you two independent effects in a variety of configurations: Dual Stereo (Parallel), Cascade, Mono Split and Dual Mono. Powered by Lexicon’s proprietary Lexichip™, the MPX 500 has 240 presets with classic reverb programs such as Ambience, Plate, Chamber and Inverse, as well as Tremolo, Rotary, Chorus, Flange, Pitch, Detune, 5.5 second Delay and Echo. PLEASE CLICK ON THE PURCHASE SYSTEM BUTTON TO VIEW THE RENTAL OPTIONS