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Using the MP-100

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14

Lexicon

The reverb routing matrix is flexible, and can provide a wide array of configurations. The previous
configuration would not be ideal if, for example, you were mixing audio simultaneously from a digital
tape deck and your computer to a digital mixer, and wanted to send your reverb into your digital mixer
on independent channels. In this case, you can easily reroute your destinations to other channels,
such as TOSLINKs 1 & 2 simply by changing the output destinations on the Control Panel.

Aux Send

Aux Send

2

1

Wave or

ASIO Sources

Aux Return

Aux Return

L

R

MP-100

Aux Send/Aux Return

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Summary of Contents for CORE2

Page 1: ...U s e r G u i d e MP 100 Reverb Effects Card for the Core2 Audio System ...

Page 2: ... 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 the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation...

Page 3: ... 7 Loading Effects 8 Editing Effects 9 Tempo Functions 10 Bypass 10 Saving Effects 11 Beyond the Basics 12 Routing a Plug In 12 Automating the MP 100 15 MP 100 Programs and Parameters About the MP 100 Programs 17 Bank Plate 18 Bank Gate 19 Bank Hall 20 Bank Chamber 21 Bank Ambience 22 Bank Room 23 Bank Tremolo 24 Bank Rotary 25 Bank Chorus 26 Bank Flange 27 Bank Pitch 28 Bank Detune 29 Bank Delay ...

Page 4: ...ut burdening your computer s performance If you are installing the MP 100 into an existing Core2 system please refer to the Read Me file accompanying your software the hardware installation instructions and the section of the Core2 User Guide describing the procedure for updating drivers Different procedures are used to access the MP 100 interface in ASIO and MMIO applications These are described ...

Page 5: ...utput bus Make note of the corresponding Cubase output bus number or name as you will need it later 6 On the Lexicon Control Panel go to the Effects tab and set the routing for MP 100 as follows From Aux Send L VST and Aux Send R VST To Aux Return L VST and Aux Return R VST 7 In the Cubase Audio menu select Monitor 8 Onanunusedstereotrack selecttheAuxReturninputcorrespondingtotheinputselectedinSte...

Page 6: ...2 Pull down the pop up menu in the processor s upper right corner and select MP 100 to activate an MP 100 Rack within VST Click on the Power button 3 Use the Send Level knob in the FX window to control the amount of effect for the audio channel 4 Click the Edit button to activate the MP 100 interface See The Interface later in this chapter for details on the MP 100 controls 5 Use the Aux Send knob...

Page 7: ...lder for your MP 100 effects 4 Click Save Loading Effects Load effects from disk into the MP 100 as follows 1 Pull down the File menu 2 To load a single Program select Load Effect 3 To load a complete Program Bank select Load Bank 4 In the file dialog that appears find and click on the file you want to load Effect settings are saved with your Song If you want to use your edited effects in other So...

Page 8: ...vices can also be used as line effects by placing them in series with the signal chain Steinberg WaveLab is capable of doing this through its VST plug in architecture which does not require additional routing MMIO programs that do not support VST plug ins must route audio to the MP 100 where it is mixed into the entire signal Typically the Mix ratio for reverb in this situation should be set at 50...

Page 9: ... when using MP 100 with ASIO applications such as Cubase VST The only differences are in the Mix values As most MMIO applications will use the MP 100 as a line effect the Mix values have been saved at 50 wet If you areusinganMMIOprogramthatsupportsVSTplug ins suchasSteinbergWaveLaborEmagicLogic Audio remember to change the Mix values in the programs you are using to 100 wet ...

Page 10: ...s to the selected parameter can be made by scrolling in the display area by turning the front panel knob or with the INC and DEC controls Program Press the arrowed button to scroll to another Program Click in the display area to display a list of all of the MP 100 Programs Store Press to name and store User programs X Deletes displayed User program BYP Engages Bypass LED on TAP LED will light when...

Page 11: ...d the interface to a larger size by clicking and dragging on the right side of the panel Loading Effects The MP 100 comes with 240 factory programs organized into Banks and a User Bank where you can store edited versions of the factory programs Click on the Bank display to view a list of all of the available Banks Use the scroll bar to view more of the list ...

Page 12: ...ters will always appear in the same order for any selected program Click on any displayed parameter to highlight it and select it for editing Select another parameter by clicking on it or by using the left and right keyboard arrowed keys to select it Change the value of the selected parameter with the displayed knob with the INC and DEC buttons by clicking and dragging the cursor to the desired va...

Page 13: ...ace and the adjustable parameter will appear in the rightmost position on the main edit display A light on the displayed TAP button will flash at the selected tempo rate To change the tempo you can adjust the displayed parameter in BPM or tap in a tempo by clicking twice on the Tap button in time with the music the MP 100 will figure out the time for you Your new tempo will be saved and recalled a...

Page 14: ...can use this name or type in a name of your own choosing When you have finished entering the name click OK The new program will be stored in the first available space in the User Bank NOTE Programs in the User Bank can be overwritten If you try to save a program with a name which has already been assigned to a User program an alert dialog will appear to make sure that you want to replace the older...

Page 15: ...tton is enabled 2 Click the left mouse button on the down arrow of an input selector to open a menu displaying all Sources available for routing to the MP 100 3 Use the scrollbar to view additional Source selections 4 Click on a source to route it as an input source The input selector will display your selection NOTE Input sources can only be be routed one at a time To assign a destination to any ...

Page 16: ...s MP 100 audio is summed with the outputs of Cubase VST which are also routed to the analog outputs This allows monitoring of MP 100 reverb and all audio from VST through the same outputs of the interface Core2 VST_Aux_Send_1L VST_Aux_Send_1R VST_Analog_L VST_Analog_R Analog_Out_L Analog_Out_R D A 1 D A 2 MP 100 Core2 Outputs Wave or ASIO Inputs Aux Send Sum Cascade with Input Core2 Inputs A D 1 A...

Page 17: ...ltaneously from a digital tape deck and your computer to a digital mixer and wanted to send your reverb into your digital mixer on independent channels In this case you can easily reroute your destinations to other channels such as TOSLINKs 1 2 simply by changing the output destinations on the Control Panel Aux Send Aux Send 2 1 Wave or ASIO Sources Aux Return Aux Return L R MP 100 Aux Send Aux Re...

Page 18: ...ctions are stored Don t worry about the length of this Part it will automatically be lengthened if you record past its end Please note that there is only one Audiomix Part Track created the first time you use the Write function in your Arrangement The next time you use the Write function information is added to the existing Part To stop writing automation events click the Write button a second tim...

Page 19: ...Using the MP 100 16 16 Lexicon ...

Page 20: ...ividual program In many cases this parameter controls several effect parameters simultaneously to provide simple control of a complicated editing process In many Chamber and Room programs for example a liveness parameter alters the character of the space by changing decay EQ and early reflections all at the same time ThefollowingsectionprovidesageneraldescriptionofeachMP 100Bankalongwithtablesthat...

Page 21: ...inally generated by a large thin sheet of metal suspended upright under tension on springs Transducers attached to the plate transmitted a signal that made the plate vibrate making sounds broadcast through the plate seem to be occurring in a large open space Plate Programs Effect Parameter Tap Small Plate Liveness Medium Plate Liveness Large Plate Liveness Predelay 1 32 Note Larger Plate Decay Tim...

Page 22: ...riefly when Duration is altered Gated reverbs were originally created by feeding a reverb such as a metal plate through an analog gate device The decay time was set to instant and the hold time varied the duration of the sound Gate Programs Effect Parameter Tap Straight Gate Duration Drum Gate Duration Slope Down Duration 140 ms Gate High Cut Predelay 1 32 Note 240 ms Gate High Cut Predelay 1 32 N...

Page 23: ...l applications the Hall programs are good choices for giving separately recorded tracks the sense of belonging to the same performance Lexicon sHallprogramsrecreatetheacousticsofactualplaces fromgrandreverberantenclosures to small concert halls Hall Programs Effect Parameter Tap Recital Hall Decay Small Church Decay Jazz Hall Decay Dance Hall Decay Synth Hall Decay Medium Hall Decay Large Hall Dec...

Page 24: ... of the decay tail makestheChamberprogramsusefulonawiderangeofmaterial especiallyonspokenvoice giving a noticeable increase in loudness with very low color Historically recording studio chambers were often oddly shaped rooms with a loudspeaker and set of microphones to pick up the ambience in various parts of the room Chamber Programs Effect Parameter Tap Brick Wall Liveness Basement Liveness Live...

Page 25: ...bience Decay Level Marble Foyer Liveness Bank Ambience The Ambience programs simulate reflections from room surfaces with random reflections a gradual decay of overall level and a gradual narrowing of the bandwidth This Bank provides a series of rooms in increasing sizes Ambience gives warmth spaciousness and depth to a performance without coloring the direct sound and is commonly used to add a ro...

Page 26: ...provides a series of rooms in increasing sizes The Room programs emulate actual rooms where there is a more apparent sense of being in a small live place Room Programs Effect Parameter Tap Bedroom Wall Reflections Tiled Room Low Frequency Cut Studio C Liveness Small Room Liveness Studio B Decay Time Rehearsal Room High Low Equalizer Studio A Decay Time Large Room High Low Equalizer ...

Page 27: ...h the tempo of the music Tremolo is a rhythmic change in loudness commonly employed as an expressive technique by vocalists and wind instrument players It is also one of the oldest electronic effects frequently used with electric guitar electric piano and sometimes vocals Different tremolo effects are largely determined by the rate and waveform shape of the loudness change fast or slow smooth or s...

Page 28: ... parts In fact it s a great alternative to chorus and tremolo effects for any sound source All of the programs in this Bank should be used with Mix set to fully Wet for the full effect Rotary speaker cabinets were originally designed to provide a majestic vibrato choir effect for electronictheaterandchurchorgans ThemostwellknownrotaryspeakeristheLeslie Model122 which has two counter rotating eleme...

Page 29: ... programs in this Bank should be used with Mix set to fully Wet to achieve the full richness of the 6 voice chorus Chorus effects multiply the original audio source to create a lush full sound Traditionally used to fatten up tracks and to add body to guitar without coloring the original tone chorus effects are also often used in combination with echoes plates and other reverb effects Chorus Progra...

Page 30: ...grams have two 2 tap delays one per channel The first tap is fixed and the second sweeps past it Mixing the two delay taps together creates the flanging effect All of these programs should be used with Mix set to fully Wet to achieve the full flange effect Flangingeffectswereoriginallycreatedbysimultaneouslyrecordingandplayingbacktwoidentical programs on two tape recorders then using hand pressure...

Page 31: ...lly Wet For harmonization use the desired amount of wet dry Mix Pitch Programs Effect Parameter Tap Semi tone Shift 2 to 1 octaves Glide Shifter 1 octave 100 cents 100 cents Minor 3rd to 4th Harmony Flat 3rd to 4th Up 4th 5th Harmony 4th to 5th Up 5th 6th Harmony 5th to 6th Up 2nd Inversion Triad Minor Major 3rd Power Chords Inversion Altering the pitch of a sound allows a variety of effects from ...

Page 32: ... Mix set to fully Wet to achieve the full effect Detune Programs Effect Parameter Tap Mild Detuning Moderate Detuning Heavy Detuning FullRange Detuning Warm Mild Detuning Warm Moderate Detuning Warm Heavy Detuning Slap Detuner Detuning Detuneeffectsaddadelayed pitchshiftedversionoftheoriginalsource thickeningupthesound They can be particularly effective when used to simulate double tracking They a...

Page 33: ...ffeedbackispresetandDelayEchoTimecontrols Delay time Delays and echoes are effects that 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 It was often used on Elvis s voice and rockabilly guitar tracks Tape slap becomes tape echo when the output of the tape is fed back into the input feedback tur...

Page 34: ... Delay Time Triplet Shuffle Delay Echo Feedback Delay Time Dotted Eighth Note Delay Echo Feedback Delay Time Eighth Note and Triplet Delay Echo Feedback Delay Time Ping Pong Quarter Note Delay Echo Feedback Delay Time Triplet Rhythm 1 Delay Echo Feedback Delay Time Triplet Rhythm 2 Delay Echo Feedback Delay Time Mono Delay Echo Time 0 5 5sec Stereo Delay Echo Time 0 2 7sec Tape Slap Delay Echo Tim...

Page 35: ... are set up in the Parallel configuration two stereo effects placed side by side so that they receive and output stereo audio from both left and right channels Programs 7 10 are set up in the Cascade configuration twostereoeffects oneplacedaftertheother forexample Flange Delay Flange passes its stereo signal to the Delay Programs 11 14 are set up in the Mono Split configuration which is similar to...

Page 36: ...s Several points from the parameter s range are illustrated here using the Pitch Delay program as an example The effect of the Effects Balance parameter lowest to highest setting in the Pitch Delay Cascade Programs Delay Delay Pitch Delay Pitch Delay Pitch Delay Pitch Pitch At the lowest setting you get only pitch shift Increasing the setting provides pitch shift plus delayed pitch shift At mid po...

Page 37: ...reo Delay Delay Echo Fdbk Delay Time 1 4 Note Deep Flange Repeat Delay Echo Time 0 150ms Fdbk Deep Flange Ping Pong Delay Echo Fdbk Delay Time 1 4 Note Deep Flange Bounce Delay Echo Time 0 200ms Fdbk Light Flange Stereo Delay Delay Echo Fdbk Delay Time 1 4 Note Light Flange Ping Pong Delay Echo Fdbk Delay Time 1 4 Note Light Flange Repeat Delay Echo Time 0 150ms Fdbk Light Flange Bounce Delay Echo...

Page 38: ... Rhythm 2 5th to 6th Up Delay Time Octave Up Down Triplet Rhythm 1 1 octave Delay Time 5th Up Down Triplet Rhythm 2 5th Delay Time Major Minor Minor Major 3rd w Fdbk Delay Time Intervals Up Ascending Intervals w Fdbk Delay Time 5th Up Down Stereo Quarter Note 5th Delay Time Octave Up Down Triplet Shuffle 1 octave Delay Time 4th Up 5th Up Triplet Rhythm 1 4th to 5th Up Delay Time 5th Up 6th Up Trip...

Page 39: ...Stereo 1 4 Note Delay Echo Feedback Delay Time Rich Chorus 2 Multi Repeat Delay Echo Time 0 150ms Fdbk Rich Chorus 2 Ping Pong 1 4 Note Delay Echo Feedback Delay Time Rich Chorus 3 Multi Pong Delay Echo Time 0 200ms Fdbk Rich Chorus 1 Stereo 1 4 Note Delay Echo Feedback Delay Time Rich Chorus 1 Ping Pong 1 4 Note Delay Echo Feedback Delay Time Rich Chorus 1 Crossfeed Delay Echo Time 0 150ms Fdbk R...

Page 40: ...ge Space Decay Time Delay Time Stereo 1 4 Note Room Decay Time Delay Time 1 8 Note and Triplet Large Space Decay Time Delay Time Triplet Rhythm 1 Room Decay Time Delay Time Triplet Rhythm 2 Large Space Decay Time Delay Time Stereo 1 4 Note Medium Space Decay Time Delay Time Ping Pong 1 4 Note Large Space Decay Time Delay Time Triplet Rhythm 1 Medium Space Decay Time Delay Time Triplet Rhythm 2 Sma...

Page 41: ...ge Medium Space Decay Deep Flange Large Space Decay Light Flange Large Space Decay Flange Rate Whole Note Deep Flange Large Space Decay Light Flange Room Liveness Flange Rate Whole Note Deep Flange Room Liveness Light Flange Medium Space Decay Flange Rate Whole Note Light Flange Room Liveness Flange Rate Whole Note Deep Flange Medium Space Decay Deep Flange Room Liveness Light Flange Large Space D...

Page 42: ... 32 Note Power Chords Medium Space Decay Time PreDelay 1 32 Note Manual Detune Room Detuning PreDelay 1 32 Note 100 Small Space 100 cents PreDelay 1 32 Note Power Chords Large Space Decay Time PreDelay 1 32 Note 4ths Medium Space Decay Time PreDelay 1 32 Note Octaves Medium Space Decay Time PreDelay 1 32 Note 4th to 5th Room 4th to 5th Up PreDelay 1 32 Note 5th to 6th Room 5th to 6th Up PreDelay 1...

Page 43: ...ay Time Rich Chorus 2 Large Space Decay Time Rich Chorus 1 Room Liveness Rich Chorus 2 Room Liveness Rich Chorus 3 Room Liveness Rich Chorus 1 Small Space Decay Time Rich Chorus 1 Small Space Decay Time Rich Chorus 2 Medium Space Decay Time Rich Chorus 2 Large Space Decay Time Rich Chorus 1 Large Space Decay Time Rich Chorus 1 Room Liveness Rich Chorus 4 Room Liveness Bank Chorus Reverb L R L R Ch...

Page 44: ...igh Cut Echo The Abyss Pitch Bend Jet Flange Tone Rate Whole Note Chorus Verb High Cut Rotary Delay Dly Echo Time 0 150ms Fbk Rate 1 4 Note Fader Verb Input Volume Echo PCM 60 LgSize Decay Time LowRumble Decay Time Ducking Reverb Decay Time Ducking Chorus Delay Resonance Ducking Triplets Delay Echo Feedback Subdividing Delay Beat Value 1 32 Whole Note Delay Time Panning Delays Delay Echo Feedback ...

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