Anyone who has set up a home studio, or who wanted to gradually put together a live sound rig on "little" money, will at some point have used one "cheap" effects processor or another. For a long time, these units got the job done in situations where the technical demands were almost nil, with absurd reverbs or outlandish delays.
But for barely a couple dozen euros you could put tails on the snares and bore everyone to tears with uncontrollable echoes on the singer. Fortunately, technology moves forward, and thanks in part to the sound development of digital technology, the constant and almost algorithmic evolution of DSPs, but also the strong drive of certain manufacturers, every so often a product comes along that deserves our absolute attention. Believe me, when I received the MX200 the first thing I thought was: "well, it's a Lexicon, maybe it's not as bad as so many other cheap effects units that have passed through my hands."
With a very skeptical eye I read some of the twelve slogan phrases printed on our guest's cardboard box: sixteen legendary reverbs exclusive to Lexicon, dbx compressor and de-esser, intuitive front panel, dual effects unit... dual? All I needed was for this unit, at just over 200 euros, to actually be two effects units. What kind of quality could I expect?
A THOROUGHBRED LEXICON
For a couple of years now I've been enjoying another "basic" Lexicon effects processor. We've always used it as an alternative to some of the most popular effects processors in live sound, like the well-known Yamaha SPX900. Sometimes we've passed on it because the algorithms that unit used didn't live up to our expectations. Would our guest be below or above the old Lexicon? I'll tell you right now: above, without a doubt, way above.
The idea behind the MX200 is tremendously good. It's two independent processors with an ingenious routing system that allows up to four different configurations. For example, using the two independent mono inputs so that each channel is used by one of the two processors (a Hall and a de-esser, for example, completely independent), or two different sends so that both share the two effects, or mono inputs to stereo outputs, or stereo all the way through. On the one hand, it makes it easy for the sound engineer to use two independent effects; on the other, to create majestic combinations for a single signal. Later, in the tests, we'll look at a couple of applications.
Of course, at this price not everything is golden. Turn our guest around and you'll see that the analog inputs and outputs are only available on jacks (no XLRs, no impedance matching, etc.), although, thanks to the use of DSPs for the effects, an S/PDIF input/output on RCA is included. It also comes with MIDI functions, although the USB connection will be more useful, especially in studio settings. The unit comes with a software program that automates all of the unit's functions and features for remote use, an attractive feature both for those with a studio and for those who want maximum automation live (with the help of a personal computer, of course).
EASY TO USE, BUT WITH A MANUAL
The front panel is an example of how to make engineers' jobs easier. It's divided into five defined areas: input, effects selection, controls for each of the two processors, and memory storage. You can recall 99 factory programs and store another 99 user-defined ones. More than enough.
There's no independent volume control for each of the two possible input signals, just a single input knob, which means we'll have to control the input level from the console. Four LEDs show the input level of each channel at -24, -12, -6 and 0 dB. If we choose the digital input, a fifth dedicated LED lights up. With a button we tell it which routing scheme we've chosen, something that will send us to the user manual, at least to find out what each of the four possible diagrams means. Next comes a panel with all the available effects (24 exactly), each flanked by an LED: green for processor 1, red for processor 2. The effects are divided into Reverb (twelve) and Delay/Effects (another twelve).
Each processor includes an effects selector (an up or down arrow), three adjustment knobs and two buttons: a TAP for delays and a bypass. Finally, there's the memory section, with a two-digit LCD display, an endless knob for choosing the memory locations and two buttons: Store, to save our configurations to memory, and the fun but not very effective Audition. Each time it's pressed, this button plays one of four stored sounds, which first pass through the two effects according to the chosen routing mode. The sounds are a kick drum, a snare, a snare rim and a voice. I say they're not very useful because they only serve as a reference; it's much more accurate to "hear" the effect with the sound we're actually using. But as a temporary tool it can be relatively effective.
Before going on, I should mention that this is a 1U-high, 19"-wide unit with an external power supply.
EFFECTIVE IN USE
Because of its magnificent performance, I admit I've used our guest on more than one occasion. It deserved it. The first test consisted of inserting the effect on a snare channel (I used the ever-reliable SM57 to capture the sound). Note that instead of using an aux send, I simply plugged a stereo insert cable into the channel and the two opposite ends, in mono, into the Lexicon.
On Processor 1 I chose the Compressor, and on Processor 2 a Drum Plate. Depending on the type of effect chosen, each processor's knobs take on one setting or another. In the case of the compressor, the first knob corresponds to the Threshold (from -70 to 0 dB), the second to the compression ratio (1:1 to 1:Infinity) and the third to the gain (from 0 to 12 dB). In the case of the Drum Plate, the controls adjust PreDelay, Decay and Liveliness. Every time we change a knob's value, the colored LEDs light up according to the selected processor, and the memory LCD momentarily displays the value we're changing.
Obviously, an engineer used to working with effects won't always need to turn to the user manual to understand what they're changing each time they choose a different effect, since the settings are the traditional ones everyone knows well.
Of course, even though it uses a dbx compression scheme (which, personally, I consider exemplary when it comes to compression), the dynamics control isn't quite as precise as you'd like (for example, you can't change the attack time or the knee), but the truth is that the result is very good. In this first example, the snare came alive in a way that's unusual for an effects processor like this Lexicon. Magnificent. I was able to control the dynamics/compression quite well, as well as add the desired Plate effect, with a very elegant result.
On another occasion I decided to use independent sends for two independent effects. Using two aux outputs on the console, I fed the Lexicon's two inputs, using processor 1 for the L input and processor 2 for the R. The Lexicon's stereo output returned to a stereo input on the console. Some might think this configuration isn't completely independent, and perhaps they should think again. Up to the last stage, the two signals are completely independent, and so is the application of the effects. Only at the end are the two signals summed and sent out "together" through their respective outputs, with me controlling the final level according to the mix using the corresponding knob on my console. If I had chosen routing mode 1, I would have had independent input, processing and output, but not a stereo effect; rather, two monos. With routing mode 4 I not only keep the effects just as precise but also gain a lot in stereo image, getting a wider soundstage. In fact, if I used the two outputs in mono, I'd end up summing them again for the final mix. The drawback is the need to be more careful with how you send the two signals via the aux sends, since they have a big say in the final output level. In any case, excellent performance from the two reverbs used.
Finally, the third test was a mix of the previous two. On the one hand, I used a single mono input via an aux send for a stereo output, while using both processors in unison. The difference is that I tried some of the 99 factory preset programs. As with any similar unit, two pages of the manual show what values and effects each memory location uses, and it's a good idea to print those pages and always take them to gigs. For example, memory 17, Rich drum hall, configures processor 1 as a compressor and processor 2 as a Drum Hall. Obviously, we can change the values at will, and even store the result in one of the 99 free memory locations. In all there are 99 factory memories, of which about thirty can be quite useful; the rest are for playing around when the band invites it.
REMOTE USE
Using the MIDI protocol we can remotely control all of this Lexicon's features. To do so we can choose either the traditional MIDI ports or the USB connection. A software program lets us control absolutely every value, thanks to a fairly well-designed interface. That way, with a little skill, we can create countless custom memory locations and even control it in real time according to a timeline, something useful in a recording studio.
CONCLUSION
I have no doubt that Lexicon's MX200 deserves a try from every engineer and technician, because they'll be surprised by its excellent quality at its suggested retail price. It hides tremendous potential that will make it easier to create rich, full mixes. What's more, this unit's simplicity hides carefully designed electronics, no doubt thanks to how far the brand, Lexicon, has come with much more complete and precise processors (some of them simply brilliant). Judge the MX200 for yourselves; all I'll say is that rather than disappoint you, it will surprise you.
