Lexicon MX300 User manual

MX300
User
Guide

Section Title
Manufacturer’s Name: Lexicon
Manufacturer’s Address: 8760 S. Sandy Parkway
Sandy, Utah 84070, USA
declares that the product:
Product name: MX300
Note: Product name may be suffixed by the letters-EU.
Product option: None
conforms to the following Product Specifications:
Safety: IEC 60065 (7th ed. 2001)
EMC: EN 55013 (2001+A1)
EN 55020 (1998)
Supplementary Information:
The product herewith complies with the requirements of the Low Voltage
Directive 73/23/EEC and the EMC Directive 89/336/EEC as amended by
Directive 93/68/EEC.
Vice-President of Engineering-MI
8760 S. Sandy Parkway
Sandy, Utah 84070, USA
Date: December 15, 2006
European Contact: Your local Lexicon Sales and Service Office or
Harman Music Group
8760 South Sandy Parkway
Sandy, Utah
84070 USA
Ph: [phone]
Fax: [phone]
DECLARATION OF CONFORMITY
IMPORTANT SAFETY INSTRUCTIONSIMPORTANT SAFETY INSTRUCTIONS
WARNING FOR YOUR PROTECTION
PLEASE READ THE FOLLOWING:
KEEP THESE INSTRUCTIONS
HEED ALL WARNINGS
FOLLOW ALL INSTRUCTIONS
THE APPARATUS SHALL NOT BE EXPOSED TO DRIPPING OR
SPLASHING LIQUID AND NO OBJECT FILLED WITHI LIQUID, SUCH
AS VASES, SHALL BE PLACED ON THE APPARATUS.
CLEAN ONLY WITH A DRY CLOTH.
DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN
ACCORDANCE WITH THE MANUFACTURER’S INSTRUCTIONS.
DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS,
HEAT REGISTERS, STOVES, OR OTHER APPARATUS (INCLUDING
AMPLIFIERS) THAT PRODUCE HEAT.
ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE
MANUFACTURER.
UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN
UNUSED FOR LONG PERIODS OF TIME.
Do not defeat the safety purpose of the polarized or grounding-
type plug. A polarized plug has two blades with one wider than
the other. A grounding type plug has two blades and a third
grounding prong. The wide blade or third prong are provided
for your safety. If the provided plug does not fit your outlet,
consult an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched par-
ticularly at plugs, convenience receptacles, and the point where
they exit from the apparatus.
Use only with the cart stand, tripod bracket, or table specified
by the manufacture, or sold with the apparatus. When a cart is
used, use caution when moving the cart/apparatus combination to
avoid injury from tip-over.
Refer all servicing to to qualified service personnel. Servicing is
required when the apparatus has been damaged in any way, such
as power-supply cord or plug is damaged, liquid has been spilled
or objects have fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally, or has
been dropped.
POWER ON/OFF SWITCH: The Power switch used in this piece of
equipment DOES NOT break the connection from the mains.
MAINS DISCONNECT: The plug shall remain readily operable.
For rack-mount or installation where plug is not accessible, an
all-pole mains switch with a contact separation of at least 3 mm
in each pole shall be incorporated into the electrical installation
of the rack or building.
FOR UNITS EQUIPPED WITH EXTERNALLY ACCESSIBLE FUSE RECEP-
TACLE: Replace fuse with same type and rating only.
MULTIPLE-INPUT VOLTAGE: This equipment may require the use
of a different line cord, attachment plug, or both, depending on
the available power source at installation. Connect this equipment
only to the power source indicated on the equipment rear panel.
To reduce the risk of fire or electric shock, refer servicing to
qualified service personnel or equivalent.

Warranty
This warranty is valid only for the original purchaser and only in the United States.
1. The warranty registration card that accompanies this product must be mailed
within 30 days after purchase date to validate this warranty. Proof-of-purchase is
considered to be the burden of the consumer.
2. Lexicon Professional warrants this product, when bought and used solely within the
U.S., to be free from defects in materials and workmanship under normal use and
service.
3. Lexicon Professional’s liability under this warranty is limited to repairing or, at
our discretion, replacing defective materials that show evidence of defect, provided
the product is returned to Lexicon professional WITH RETURN AUTHORIZATION
from the factory, where all parts and labor will be covered up to a period of 1 year. A
Return Authorization number must be obtained from Lexicon Professional by tele-
phone. The company shall not be liable for any consequential damage as a result of
the product’s use in any circuit or assembly.
4. Lexicon Professional reserves the right to make changes in design or make addi-
tions to or improvements upon this product without incurring any obligation to
install the same additions or improvements on products previously manufactured.
5. The foregoing is in lieu of all other warranties, expressed or implied, and Lexicon
Professional neither assumes nor authorizes any person to assume on its behalf any
obligation or liability in connection with the sale of this product. In no event shall
Lexicon Professional or its dealers be liable for special or consequential damages or
from any delay in the performance of this warranty due to causes beyond its con-
trol.
TABLE OF CONTENTS
Warranty Table of Contents
INTRODUCTION ........................................................................1
INCLUDED ITEMS .......................................................................1
QUICK START ............................................................................2
Standard Parallel Connection............................................................................... 2
Powering the Unit.................................................................................................. 2
Set Audio Levels ..................................................................................................... 2
Select and Load a Program................................................................................... 3
THE FRONT PANEL.....................................................................4
Gain LEDs .............................................................................................................. 4
Input Knob............................................................................................................. 4
Main Display.......................................................................................................... 4
Page / Select Knob................................................................................................. 4
Exit ........................................................................................................................ 4
Tempo .................................................................................................................... 4
Effect Bypass .......................................................................................................... 4
Edit Knobs A, B, C.................................................................................................. 4
Store ....................................................................................................................... 5
System.................................................................................................................... 5
Bypass..................................................................................................................... 5
User and Factory LEDs .......................................................................................... 5
Program Number Display ..................................................................................... 5
Program / Load ..................................................................................................... 5
Power Switch.......................................................................................................... 5
THE REAR PANEL .......................................................................6
Power Jack.............................................................................................................. 6
USB Port................................................................................................................. 6
Footswitch Input.................................................................................................... 6
MIDI In, MIDI Thru.............................................................................................. 6
S/PDIF Digital In / Out......................................................................................... 6
Balanced Analog Line Output Pair....................................................................... 6
Balanced Analog Line Input Pair ......................................................................... 7
CONNECTING THE MX300 ........................................................8
Mixer - Stereo Setup.............................................................................................. 8
Mixer - Mono In/Stereo Setup .............................................................................. 8
Mixer - Dual Mono In/Stereo Out Setup .............................................................. 9
Mixer - Dual Mono In/Out Setup ......................................................................... 9
Guitar - Effects Loop Setup ................................................................................... 10
Instrument - In Line Setup................................................................................... 10
Studio - Digital Setup............................................................................................ 11
MX300

THE MX300 AND DIGITAL I/O ...................................................12
USING THE MX300....................................................................13
Selecting and Loading Programs.......................................................................... 13
Storing/Copying Programs.................................................................................... 13
Editing a Program................................................................................................. 13
Changing an Effect................................................................................................ 14
Changing Knob Assignments................................................................................ 15
Effect Mix/Routing................................................................................................ 16
Editing Effect/Mix Routing................................................................................... 17
Tempo Button........................................................................................................ 17
Bypass Buttons....................................................................................................... 17
EFFECTS DESCRIPTIONS .............................................................18
Parallel vs. Serial................................................................................................... 18
Reverbs................................................................................................................... 18
Delays..................................................................................................................... 22
dbx®Dynamics...................................................................................................... 25
Modulated Effects .................................................................................................. 27
MX300 SYSTEM MENUS ............................................................30
THE MX-EDITTM EDITOR/LIBRARIAN - WINDOWS® AND MACTM ..34
Installing the MX-Edit Editor/Librarian Software - Windows ............................. 34
Installing the MX-Edit Editor/Librarian Software - Mac..................................... 34
Quick Start............................................................................................................. 35
The MX-Edit Library.............................................................................................. 36
Editing a Program................................................................................................. 36
The MX-Edit Program Editor................................................................................ 37
Saving a Program.................................................................................................. 39
Storing a Program................................................................................................. 39
Archiving................................................................................................................ 40
USING THE MX300 AS A HARDWARE PLUG-IN ..........................41
Installing the MX-Edit Hardware Plug-Ins .......................................................... 41
Connecting the MX300.......................................................................................... 41
Software Configuration ......................................................................................... 42
Using the MX300 Plug-In Window....................................................................... 43
Controls.................................................................................................................. 43
MIDI IMPLEMENTATION CHART ..................................................44
MIDI CC MAPS ..........................................................................45
PROGRAM LIST..........................................................................48
SPECIFICATIONS ........................................................................ 51
Table of Contents
1
INTRODUCTION
Congratulations and thank you for purchasing the MX300 Stereo Reverb Effects
Processor! You now have the rich, luscious sound that’s defined studio reverb for three
decades; something only a Lexicon hardware processor can deliver. Not only does the
MX300 deliver sonically, it also offers the flexibility of programming high-quality
effects right inside your VST®or AU compatible computer DAW program. Its rugged
road-tested construction will ensure it works night after night for your sound reinforce-
ment needs. With the multiple routing options and extensive effects library, you will
find the MX300 is right at home both live and in your studio.
The utmost care was taken while your MX300 was being manufactured. Everything
should be included and in perfect working order. If anything is missing, contact the
factory at once. Please help us become acquainted with you and your needs by com-
pleting your warranty card or registering online at www.lexiconpro.com. It is your
safeguard should a problem arise with your MX300.
INCLUDED ITEMS
MX300 Stereo Reverb Effects Processor
This owner's manual
MX Edit/USB driver CD
Power Cord
Lexicon Warranty Card
Four bumpons
•
•
•
•
•
•
MX300 Introduction

QUICK START
Ideally, you should read this entire manual before using the MX300. But, if you just
can’t wait to get started, this section explains how to set up a simple parallel connec-
tion (using the MX300 with a mixer) and select a program.
STANDARD PARALLEL CONNECTION
1. Connect the mixer’s Post Fader Aux Send outputs to the MX300’s Left and Right
inputs.
2. Connect the MX300 Left and Right outputs to a stereo Aux Return input on the
mixer (or a stereo line input, or two adjacent line inputs if you like).
Aux
Send 1
Aux
Return 1
Aux
Send 2
Aux
Return 2
POWERING THE UNIT
1. Plug the included power cord into an A/C outlet.
2. Connect the power cord to the Power Jack connection on the MX300’s back
panel and turn on the MX300's power.
Power
SET AUDIO LEVELS
1. Set the gain on the mixer’s input channel appropriate to the source (vocal mic,
guitar, keyboard, etc.).
2. Set the Aux Master level (if provided on your console) to the 12 o’clock position.
3. Set the Input level on the MX300 to the 12 o’clock position.
4. Provide a signal source signal on the selected mixer channel.
5. Turn up the Aux Send levels on the channel corresponding to the Post-fader send
(Aux 1 and Aux 2 in this example) that the MX300 is connected to until the red
Input Gain LEDs light only occasionally. If the red Input Gain LEDs stay lit,
too much signal is being sent to the MX300; reduce the Aux Master or Aux Send on
the mixer.
2
Quick Start
3
MX300
6. Turn up the Aux Return 1 and 2 to the 12 o’clock position, or stereo line input
faders to the 0dB position, if you used that connection.
7. To increase or decrease the amount of effect on the signal, adjust the Aux Send
level on the channel that you want affected.
SELECT AND LOAD A PROGRAM
Turn the Program/Load knob to choose a program. The Program Number
Display flashes the number of the program to be loaded. Press the knob to load the
program.
Program/Load knob
Program Number Display
Note that the MX300 comes with 99 Factory programs and 99 User programs. Factory
and User LED's to the left of the Program Number Display window indicate
whether the displayed program is a Factory or User program. For more information
about editing programs, see page 13.
Quick Start

1. Gain LEDs
Indicate input signal strength of each of the MX300’s inputs. Range is from –24dB,
–12dB, –6dB, and 0dB.
2. Input Knob
Controls input gain of the stereo inputs.
3. Main Display
The Main Display features two LEDs and an LCD. The LEDs indicate when the S/PDIF
I/O has sync lock, and when there is USB connectivity. The LCD shows program and
parameter editing information and System Menu settings.
4. Page / Select Knob
Used to navigate the MX300 effects, parameters, and System menus.
5. Exit
Pressing this button will back you out one level of editing.
6. Tempo
Sets the delay time of delay effects.
7. Effect Bypass
Pressing this button bypasses or mutes the selected effect in the Main Display. One of
four bypass/mute functions can be assigned to this button: Dry, Mute, Input Dry, and
Input Mute. See page 17 for more information.
8. Edit Knobs A, B, C
These knobs modify the associated parameters in the Main Display when editing pro-
grams or change the settings in the System Menu.
9. Store
Used to store or copy programs to the same or different user memory locations.
10. System
Accesses the System global setup menus.
11. Bypass
Pressing this button bypasses or mutes the currently selected program.
12. User and Factory LEDs
Indicate whether the selected program is User or Factory.
13. Program Number Display
Displays the number of the selected program.
14. Program / Load
Selects factory and user programs. Pressing this knob loads the program manually if
program Auto Load is disabled. When in the Program Screen, press this knob to switch
between factory and user program banks. This eliminates the need to scroll through
100 presets if you’re in the middle of the user presets and you want to go to a preset in
the middle of the factory presets.
15. Power Switch
Turns the MX300 on and off.
The Front Panel
4 5
The Front Panel
1
2
3 4 5 6 7
8
9 10
11 12 13
14 15
88
THE FRONT PANEL
MX300

1 2 3 4 65 7
1. Power Jack
Attach the power cord here.
2. USB Port
Provides communication with a computer for use with MX-EditTM Editor/Librarian
software and MX300 plug-in window using a standard USB cable. When the MX300 is
connected to a computer via USB, the blue USB LED next to the main display will light.
3. Footswitch Input
The optional Lexicon® LEX-DFS 2-button footswitch can be plugged into this TRS
jack for remote control of the MX300 (see page 33 for more information).
4. MIDI In, MIDI Thru
Provides MIDI operation capabilities. Two 5-pin MIDI DIN connectors are available for
MIDI IN and MIDI THRU. (See page 44 for the MIDI Implementation chart.)
5. S/PDIF Digital In/Out
Digital input accepts 44.1kHz / 48kHz signals. When the S/PDIF digital input is select-
ed and active, the S/PDIF LED on the front panel lights.
Important: It is recommended that you do not connect any digital device to the
MX300’s S/PDIF inputs that transmits at sample rates other than 44.1 kHz or 48 kHz
(such as 96kHz). Doing so can cause unpredictable performance. Make sure the device
you are connecting to the MX300’s S/PDIF In is set as the Clock Master (if that option
is available) and transmitting at a sample rate of 44.1kHz or 48kHz only. As with any
other connection, if you need to unplug the S/PDIF cable, it is recommended that you
switch to the analog inputs (see Input Source in the System menus) or press the
Program Bypass button before disconnecting the cable.
6. Balanced Analog Line Output Pair
Dual RF-filtered 1/4" balanced/unbalanced TRS and balanced XLR line outputs are
servo-balanced, so no signal loss is incurred when using unbalanced connections (1/4"
inputs only). If only a single plug is connected to the Left output, both Left and
Right signals can be summed to mono by selecting Anlg Mono L in the System
Menu.
7. Balanced Analog Line Input Pair
Left and Right active analog 1/4” TRS or XLR balanced line inputs. If only a single
plug is connected to the Left input, the signal can be split and sent to both the Left
and Right input paths by selecting Analog Mono L in the Input Source section
of the System Menu.
NOTE: XLR and 1/4” inputs cannot be used simultaneously. Plugging in a 1/4” TRS
plug will disable the corresponding Left or Right XLR input.
The Rear Panel
6 7
The Rear Panel
THE REAR PANEL
MX300

CONNECTING THE MX300
The MX300 is an extremely versatile effects processor capable of a wide variety of ap-
plications. The MX300’s multiple routings offer several connectivity options, making it
extremely flexible both in the studio and for live sound. The following setups explain
how the MX300 should be connected and which routings apply for your specific effects
processing needs.
Mixer – Stereo Setup
Aux
Send 1
Aux
Return 1
Aux
Send 2
Aux
Return 2
Stereo Mode configures the MX300 as a single stereo input/output processor. Left and
Right signal separation is maintained through the effects chain. The Input Source
must be set to Anlg Stereo in the System menu (described on page 30). This setup
is ideal for use with programs using Cascade, Parallel, and Stereo routings (see page
16 for more information about routings).
Mixer - Mono In/Stereo Out Setup
Aux
Send 1
Aux
Return 1
Aux
Return 2
This setup is the most commonly used configuration in both live and studio applica-
tions. A single input source is fed into the MX300, processed, and output as a stereo
signal. The Input Source must be set to Anlg Mono L in the System menu
(described on page 30). This setup is ideal for programs using Cascade, Parallel, and
Stereo routings (see page 16 for more information about routings).
Mixer - Dual Mono In/Stereo Out Setup
Aux
Send 1
Aux
Return 1
Aux
Send 2
Aux
Return 2
This setup lets the MX300 act as two effects processors. Separate input sources are fed
into the MX300 and processed independently with different effects, then output as a
mixed stereo signal. The Input Source must be set to Anlg Stereo in the System
menu (described on page 30). This setup is ideal for programs using the Mono Split
routing (see page 16 for more information about routings).
Mixer - Dual Mono In/Out Setup
Aux
Send 1
Aux
Return 1
Aux
Send 2
Aux
Return 2
This setup lets the MX300 act as two effects processors. Separate input sources are
fed into the MX300 and processed independently with different effects, then output
as separate mono signals. The Input Source must be set to Anlg Stereo in the
System menu (described on page 30). This setup is ideal for programs using the Mono
Split routing (see page 16 for more information about routings).
About the MX300
8
Connecting the MX300
9
MX300

11
Guitar - Effects Loop Setup
Effects
Send
Effects
Return
This setup is optimized for use within a guitar amplifier effects loop system. A single
input source is fed into the MX300 and output as a mono signal. The Input Source
must be set to Anlg Mono L in the System menu (described on page 30). This setup
is ideal for programs using Cascade, Parallel, and Stereo routings (see page 16 for more
information about routings).
Instrument - In Line Setup
Stereo
Line Input
This setup allows a line level instrument such as an electronic keyboard to be connected
directly to the MX300. Connect the outputs of the line level instrument to the MX300
inputs and connect the MX300 outputs to the input channels of a mixer, or the inputs
of a powered speaker system. The Input Source must be set to Anlg Stereo in
Connecting the MX300
10
Connecting the MX300
the System menu (described on page 30). This setup is ideal for use with programs
using Cascade, Parallel, and Stereo routings (see page 16 for more information about
routings).
Studio – Digital Setup
S/PDIF Out
S/PDIF In
T

S
P t
This setup is ideal if you are using the MX300 as a hardware plug-in in a digital record-
ing system. This setup requires that you are using an I/O device with S/PDIF In/Out, or
a digital mixer with S/PDIF I/O option. The Input Source must be set to Digital, and
the Clock Source should be set to Digital in the System menu (described on pages
30-31).
MX300

The MX300 and Digital I/O
12
THE MX300 AND DIGITAL I/O
The MX300 is equipped with digital input and output connections (S/PDIF). The
S/PDIF input and output are the digital equivalent of the analog inputs/outputs. The
digital output on the MX300 is always active and will always mirror its analog output
counterpart. This allows you to plug in an analog input source and have it be output
as a digital stream.
The MX300 has three options for input sources which are configurable in the System
Menu: Analog Mono L (Left), Analog Stereo and Digital. (Press the System
button to access the System Menu; turn the Page/Select knob to scroll up and down
the menu.)
System Menu
B
C
INPUT SOURCE
CLOCK SOURCE
ANLG STEREO
INT 48KHZ
A
DIGITAL OUT PROCESSED
While in the System Menu, use Knobs A, B, and Cto change values. As with all
equipment that receives digital audio streams, when setting the Input Source to
Digital, the MX300 can no longer use its own internal clock source for the audio
stream, and it is necessary to change the clock source from the MX300’s internal clock
to Digital as it needs to use the external clock source via the S/PDIF input.
System Menu
B
C
INPUT SOURCE
CLOCK SOURCE
DIG LOCKED
DIG LOCKED
A
DIGITAL OUT PROCESSED
If the Clock Source isn’t changed to Digital when the digital input source is select-
ed, there will be synchronization problems between the incoming digital audio stream
and the MX300’s processing, and the System Input Source menu will display DIG NO
LOCK. When the MX300 is properly synchronized with the incoming digital audio,
the System’s Input Source and Clock Source menus display DIG LOCKED.
The MX300 runs at 44.1 kHz or 48 kHz sample rate (using internal or external clock
sources). Do not connect external digital outputs to the MX300 that run at higher
sample rates (88.2 - 192 kHz) as the MX300 cannot accept them.
Using the MX300
USING THE MX300
SELECTING AND LOADING PROGRAMS
1. Choose a program by rotating the Program knob. The selected program number
flashes in the Program Display until loaded. The name of the program also
appears in the MX300’s Main Display. The Factory or User light next to
the Program Display lights to indicate whether a Factory or User program is
selected.
2. Press the Program knob to load the program. If you would like the programs
to be loaded automatically as they are selected with the Program knob, you can
enable the Auto Load in the MX300’s System menu.
STORING/COPYING PROGRAMS
Press the Store button once. You will now be on the program naming
screen.
Turn the Page/Select knob to move the cursor to the character you want
to change. Turn Edit Knob A to change the character. Turn Edit Knob
B to change the letter case. Press the Page/Select knob to clear a charac-
ter from the name.
Name Program to Store
(PAGE)-POSITION (SELECT)-CLEAR
(KNOB A)-CHARACTER (KNOB B)-CAP
Program Name
Location to Store Over
VOC HALL
(PAGE)-CHOOSE LOCATION
Program Name
12
1 STUD DLY 2
When naming is complete, press the Store button again. Turn the Page/
Select or Program/Load knob to select the new user program memory
location to store to.
Press the Store button again to complete the store procedure.
EDITING A PROGRAM
Once a program has been loaded, you may find you want to make adjustments to it
for your particular application or use. Editing of programs is done using the Page/
Select and three Edit knobs (A, B, and C) to the right of the Main Display. Each
effect can be edited independently by selecting it with the Page/Select knob. As the
effect is selected, its name is highlighted in the Main Display and three parameters
become visible for the effect at the bottom of the Main Display. The Edit knobs can
then modify these three top level parameters.
1.
2.
3.
4.
13
MX300

120.0 BPM
TEMPO
500ms
DLY TIME
30
FEEDBACK
1 TAPE DELAY DRM PLATE
Program Name
1 2
12
(Fig. A)
In Figure A the Edit Knobs A, B, and Cwill modify the Tape Delay effect’s Delay
Time, Delay Ratio, and Feedback parameters respectively. Programs using routing 5 -
Stereo have several other parameters that can be modified from the Edit Effect menus.
Editing From the Program Display
Select the program you want to edit and load it using the Program knob.
Select the effect you would like to edit using the Page/Select knob until
the effect name is highlighted in the Main Display.
Turn the A, B, or CEdit knobs to modify a parameter setting.
120.0 BPM
TEMPO
500ms
DLY TIME
30
FEEDBACK
1 TAPE DELAY DRM PLATE
Program Name
1 2
12
When finished, store your changes to the program if you would like them to be
recalled.
Editing From the Program Edit Menus
While on the program you would like to edit, press the Page/Select knob.
This will enter the Program Edit menus.
There can be two effects to edit in each program, Effect 1 and Effect 2. Turn
the Page/Select knob until the effect menu of the effect you want to edit
is highlighted (Effect 1 menu is highlighted in our example).
Press the Page/Select knob to enter the Edit Effect menu.
Turn the Page/Select knob until the parameter(s) you want to edit appear
in the Main Display. Each parameter has either an A, B, or C labeled to
the left of its name indicating which Edit knob will modify its value.
Turn the A, B, or C Edit knob associated with the parameter you would
like to edit to change its setting.
Edit Tape Delay
1
B
C
TEMPO
DLY TIME
FEEDBACK
48.00 BPM
2.500s
30
A
12
EDIT EFFECT
KNOBS ASSIGN
TAPE DELAY
CHANGE EFFECT 1
1DRM PLATE 2
1
1
When finished, store the changes to the program if you would like them to be recalled.
CHANGING AN EFFECT
Each program offers a library of effects that can be used in the available effect mod-
ules. This allows you to customize a preset with the effects you need for your particular
application.
1.
2.
3.
1.
2.
3.
4.
5.
Using the MX300
14
Using the MX300
15
While on the Program you would like to edit, press the Page/Select knob.
This will enter the Program Edit menus.
Turn the Page/Select knob until the Change Effect menu is highlighted.
Change Effect 2 is selected in our example.
Press the Page/Select knob to enter the Change Effect 2 menu.
Once in the Change Effect menu, turn the Page/Select knob to move
through the library of effects until you find the one you want to use.
Press the Page/Select knob to load the newly selected effect into the effect
location. You will be able to hear the new effect in place in the effect rout-
ing at this time. If you choose not to select a new effect, press the Exit but-
ton to abort changing effects.
TAPE DLY
1DRM PLATE 2
2
Program Name
Change Effect
12
EDIT EFFECT
EDIT MIX/ROUTING
CHANGE EFFECT
2
DRUM PLATE
12
ARENA
GATED REVERB
(SELECT) - LOAD
(EXIT) - ABORT
2
When finished, store the changes to the program if you would like them to be recalled.
CHANGING KNOB ASSIGNMENTS
The three parameters that appear for editing from the Program Screen when a pro-
gram using routing 5 - Stereo (single effect) is loaded are user selectable. From the
factory, these parameters were selected for these programs by their importance to the
effect. If you would like to access other parameters for this effect from the Program
Screen, you can select these in the Knob Assignments menu. These assignments are
individual to each program so you can customize specific parameters for each effect
depending on the program.
1. While on the Program Screen, press the Page/Select knob. This will enter the
Program Edit menus.
2. Turn the Page/Select knob until the Knobs Assign menu is highlighted.
3. Press the Page/Select knob to enter the Knobs Assign menu.
4. Turn either the A, B, or Cknobs to select which parameter you want available for
editing from the Program Screen.
1
KNOBS ASSIGN
EDIT EFFECT
CHANGE EFFECT
1
1
DRUM PLATE
1
1
Assign DRUM PLATE
A
B
C
KNOB B - MID RT
KNOB C - SIZE
KNOB A - PREDELAY
1
When finished, store the changes to the program if you would like them to be recalled.
1.
2.
3.
4.
5.
MX300

Using the MX300
16
EFFECT MIX/ROUTING
Each of the MX300 programs offers programmable effect routing and a wet/dry mix
parameter for each effect. These different routings and mix controls give you many
options for your effect signal path and precise control over balance between the two
effects.
Effect 1
1 - Dual Mono
Effect 2
L L
R R
Effect 1 Effect 2
L
R
L
R
2 - Cascade (Series)
Effect 1
3 - Dual Stereo (Parallel)
Effect 2
L L
R R
Effect 1
4 - Mono Split
Effect 2
L
R
L
R
Effect 1
L
R
L
R
5 - Stereo
1 - Dual Mono
This routing option sends the Left and Right input signals through Effect 1 and Effect
2 respectively. Each signal is then routed to its respective output, completely indepen-
dent from the other.
2 - Cascade
Left and Right input signals are sent first through Effect 1, then through Effect 2, then
routed as a stereo signal to their respective outputs.
3 - Parallel (Dual Stereo)
Left and Right input signals are sent through both effects independently. The output
signals of both Effects are then mixed together, and routed to both the outputs as a
single stereo signal.
4 - Mono Split
Left input signal is sent through Effect 1, while the Right input signal is sent through
Effect 2. The output signals of both Effects are then mixed together, and routed to both
the outputs as a single stereo signal.
5 - Stereo
Routing 5 provides a single high-quality stereo effect that utilizes all the MX300’s DSP
horsepower. With extra editable parameters and an increased complexity of the reverb
algorithms, use this routing when all you need is a powerful stereo effect for your
application.
Using the MX300
17
EDITING EFFECT MIX/ROUTING
1. While on the Program Screen, press the Page/Select knob. This will enter the
Program Edit menus.
2. Turn the Page/Select knob until the Edit Mix/Routing menu is highlighted.
3. Press the Page/Select knob to enter the Edit Mix/Routing menu.
4. Turn Knob A to select different effect routings for the program. Use Knob B
and Knob C (when available) to adjust the wet/dry mix for each effect.
Note: For programs using routing 5 - Stereo, there is only one effect available so Effect
2 Mix will not be available.
12
EDIT MIX/ROUTING
CHANGE EFFECT 2
TAPE DELAY
1DRM PLATE 2
Edit Mix/Routing
A
B
C
EFFECT MIX -
EFFECT MIX -
ROUTING - PARALLEL
2
1
12
W
D
W
D
When finished, store the changes to the program if you would like them to be recalled.
TEMPO BUTTON
The Tempo button is used for quickly setting the tempo parameter in delay effects.
In some cases there may be two delays set up in a program using two effects. The
Tempo button will flash at the rate of the delay which is highlighted in the Main
Display. To set the tempo of the second delay, turn the Page/Select knob until the
second delay is highlighted in the Main Display. The Tempo button can now set
the delay time for this delay. Although the Store button doesn't light when changing
tempo settings with the Tempo button, changes to tempo must be saved to the pro-
gram if the changes are to be recalled later.
BYPASS BUTTONS
The MX300 is equipped with two bypass buttons: Effect Bypass (located near the
Page/Select knob and Program Bypass (located near the Program/Load
knob). Effect Bypass only bypasses the selected effect in the Main Display. This
lets you bypass effects individually in programs. Effect Bypass can also be saved
with the program. Program Bypass is a global bypass control for MX300. All
effects in all configurations are bypassed when Program Bypass is engaged.
There are four different options Bypass can be set to function as:
1. Dry - Bypasses dry signal around an effect or program.
2. Mute - Mutes all input and output audio.
3. Input Dry - Outputs signal with no processing or effects.
4. Input Mute - Mutes the input only.
The Bypass options can be selected in the System Menu and will affect both Effect
Bypass and Program Bypass.
MX300

EFFECTS DESCRIPTIONS
PARALLEL VS. SERIAL
The MX300 can be used as both a Parallel and Serial (in-line) effects processor.
Typically, reverbs and delays are used in parallel, compressors and de-essers in serial,
and modulated effects can be used in either configuration, depending on the desired
application.
A Parallel Processor is connected by sending a copy of a signal (such as from an Aux
Send of a mixer channel) to an effects device (such as the MX300), and the effected
(or wet) signal is returned to the mixer or amp. It is then blended together with the
original unaffected (dry) signal. This blend is called the Wet/Dry mix. This connection
is most often used for reverbs, delays, and some modulated effects (such as chorus).
A Serial Processor is connected by sending the entire signal through the effects device
and then to an amplifier or mixer, and is not blended with the unaffected (dry) signal.
This is the type of connection most often used for a compressor, de-esser, equalizer, and
many modulated effects (such as tremolo, vibrato, and rotary).
REVERBS
Reverberation (or “reverb” for short) is the complex effect created by the way we per-
ceive sound in an enclosed space. When sound waves encounter an object or boundary,
they don’t just stop. Some of the sound is absorbed by the object, but most of the sound
is reflected or is diffused. In an enclosed space, reverb is dependent on many features of
that space, including the size, shape and the type of materials that line the walls. Even
with closed eyes, a listener can easily tell the difference between a closet, a locker room
and a large auditorium. Reverb is a natural component of the acoustic experience, and
most people feel that something is missing without it.
Hall Reverbs - Stereo
SMALL HALL, LARGE HALL, VOCAL HALL, DRUM HALL
A Hall reverb is designed to emulate the acoustics of a concert hall – a space large
enough to contain an orchestra and an audience. Because of the size and character-
istics, Halls are the most natural-sounding reverbs, designed to remain “behind” the
direct sound – adding ambience and space, but leaving the source unchanged. This
effect has a relatively low initial echo density which builds up gradually over time.
Vocal Hall and Drum Hall reverbs are specifically tailored for those uses. Vocal
Hall has as lower overall diffusion which works well with program material that has
softer initial transients like a voice. Drum Hall has a higher diffusion setting which is
necessary to smooth out faster transient signals found in drums and percussion instru-
ments. In addition to general instrumental and vocal applications, the Hall program is
a good choice for giving separately recorded tracks the sense of belonging to the same
performance.
Plate Reverbs - Stereo
SMALL PLATE, LARGE PLATE, VOCAL PLATE, DRUM PLATE
A Plate reverb is a large, thin sheet of metal suspended upright under tension on
springs. Transducers attached to the plate transmit a signal that makes the plate
vibrate, causing sounds to appear to be occurring in a large, open space. The Plates in
the MX300 model the sound of metal plates with high initial diffusion and a relatively
bright, colored sound. Plate reverbs are designed to be heard as part of the music,
mellowing and thickening the initial sound. Plate reverbs are often used to enhance
popular music, particularly percussion.
Room Reverb - Stereo
Room produces an excellent simulation of a very small room which is useful for
dialog and voiceover applications. Room is also practical when used judiciously for
fattening up high energy signals like electric guitar amp recordings.
Chamber Reverb - Stereo
Historically, recording studio chambers were oddly shaped rooms with a loudspeaker
and set of microphones to collect ambience in various parts of the room. Chamber
programs produce even, relatively dimensionless reverberation with little color change
as sound decays. The initial diffusion is similar to the Hall programs. However, the
sense of size and space is much less obvious. This characteristic, coupled with the
low color of the decay tail, makes these programs useful on a wide range of material
- especially the spoken voice, to which Chamber programs add a noticeable increase
in loudness with low color.
Gated Reverb - Mono In/Stereo Out
Gated reverb is created by feeding a reverb, such as a metal plate, through a gate
device. Decay Time is set to instant, while Hold Time varies duration and sound. The
Gated reverb provides a fairly constant sound with no decay until the reverb is cut off
abruptly. This program works well on percussion — particularly on snare and toms;
be sure to experiment with other sound sources as well.
Effects Descriptions
18
Effects Descriptions
19
MX300

Reverse Reverb - Mono In/Stereo Out
Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal
reverb has the loudest series of reflections heard first that then become quieter over
time, the Reverse reverb has the softest reflections (essentially the tail of the reverb)
heard first, and then grows louder over time until they abruptly cut off.
Ambience Reverb - Stereo
Ambience is used to simulate the effect of a small or medium sized room without
noticeable decay. It is often used for voice, guitar or percussion.
Studio Reverb - Stereo
Much like Room reverb, Studio produces an excellent simulation of smaller, well-
controlled acoustic spaces, characteristic of the main performance areas in recording
studios. Studio is also useful with dialog and voiceover applications as well as indi-
vidual instrument and electric guitar tracks.
Arena Reverb - Stereo
Arena reverb emulates a huge physical space such as an indoor sports venue or
stadium. The characteristics of Arena reverb are long secondary reflection times and
a reduced amount of high frequency content. Arena is a mostly mid- and low-fre-
quency dominant reverb, and is an ideal selection for “special effect” type applications
that require extremely long reverb times. It is not a good choice for a very busy mix,
since it can reduce intelligibility.
Spring Reverb - Mono In/Stereo Out
A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker
and the other acting as a microphone—connected by a simple set of springs. The
characteristic ‘boing’ of a spring is an important component of many classic rock and
rockabilly guitar sounds.
Reverb Controls
Pre Delay
Creates an additional time delay between the source signal and the onset of reverbera-
tion. This control is not intended to precisely mimic the time delays in natural spaces,
as the build-up of reverberation is gradual, and the initial time gap is usually relatively
short. For the most natural effect, the Pre Delay values should be set in the range of
10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the
Pre Delay time may help clarify it, and set each instrument apart from each other.
Mid RT and Decay
Controls the amount of time the reverb can be heard. Higher settings increase reverber-
ation times which are usually associated with larger acoustical environments, but can
decrease intelligibility. Lower settings shorten reverb times and should be used when a
smaller apparent space or a more subtle effect is desired.
Effects Descriptions
20
Effects Descriptions
21
Diffusion
Controls the initial echo density. High settings of Diffusion result in high initial
echo density, and low settings cause low initial density. In a real-world situation,
irregular walls cause high diffusion, while large flat walls cause low diffusion.
For drums and percussion, try using higher Diffusion settings.
Shape & Spread
In the Hall reverbs, Shape and Spread work together to control the overall
ambience of the reverberation. Shape determines the contour of the
reverberation envelope. With Shape all the way down, reverberation builds
explosively, and decays quickly. As Shape is advanced, reverberation builds up
more slowly and sustains for the time set by Spread. With Shape in the middle,
the build-up and sustain of the reverberation envelope emulates a large concert
hall (assuming that Spread is at least halfway up, and that Size is 30 meters
or larger). Low Spread settings result in a rapid onset of reverberation at the
beginning of the envelope, with little or no sustain. Higher settings spread out
both the buildup and sustain.
Size
Size sets the build-up rate of diffusion after the initial period (which is con-
trolled by Diffusion). The Size control changes reverb sound from very large to
very small. Generally, set this control to the approximate size of the acoustic
space being created, before adjusting anything else. The size in meters is
roughly equal to the longest dimension of the space. Audio is temporarily muted
when Size is changed.
RT High Cut
Rt HC sets the frequency above which a 6dB/octave low-pass filter attenuates the
reverberated signal. It does not attenuate the reflections. High frequencies are
often rolled off with this parameter, resulting in more natural-sounding rever-
beration. Setting a low frequency for this parameter can actually shorten the
reverb time, as it damps the audio as it recirculates.
Liveliness
Adjusts the amount of high frequency content in the reverberation tails. Higher
settings increase high frequency response, creating brighter reverbs; lower set-
tings create darker reverbs with more bass frequency emphasis.
Bass Boost
Bass Boost boosts or cuts frequencies below Crossover. The amount of boost or
cut required is highly dependent on the material being processed.
Bass Boost Frequency
Sets the frequency at which the transition from Mid Rt to Low Rt takes place.
This control should be set at least two octaves higher than the low frequency you
want to boost. For example, to boost a signal at 100Hz, set Bass Boost Frequency
to 400Hz. (This setting works well for classical music.) Crossover works best
around 400Hz for boosting low frequencies, and around 1.5 kHz for cutting low
frequencies.
MX300

Modulated Delay - Stereo
The Modulated Delay is enhanced by an LFO (low frequency oscillator) that
produces a chorusing effect on the delay repeats. This is a great delay for guitar and
instrument passages that need that “special something.” The Modulated Delay
features up to 2.5 seconds of stereo modulated delay.
Reverse Delay - Mono In/Stereo Out
This delay effect emulates the old studio trick of flipping a tape over, playing it back-
wards through a tape delay, and recording the effect. The delays “build up” from softer
to louder – creating the sensation that the delays come before the signal. Up to 2.5
seconds of mono delay time are available.
2-Tap Delay - Stereo
The 2-Tap Delay is probably best described as an adjustable pong delay where each
tap can be individually set in relation to the delay time. The 2 taps are a calculated
percentage of the actual delay time from 1-100% (for example, if the delay time is
500ms and Tap 1 is set to 50% and Tap 2 is set to 100%, Tap 1 time would be 250ms
and Tap 2 time would be 500ms). Narrow spacing of the tap percentages can widen
the stereo image of the delay while wider tap spacing can create rhythmic delay lines.
Delay Controls
Tempo
The actual delay time as tapped in by the Tempo button or received via a MIDI clock
source. This time can be expressed as actual time (milliseconds, seconds) or in BPM
(beats per minute) values. Tempo works in conjunction with Delay Time to set the
actual delay time that is heard.
Delay Time
Controls the length of the delay time relative to Tempo. At the middle of its range,
delay repeats are synchronous with the Tempo button (represented by a Quarter Note
in the display); lower values create faster repeats, while higher values increase the time
between repeats.
Feedback
Controls the number of delay repeats by feeding the delay output signal back into the
delay input. This creates a series of delay repeats, each slightly attenuated until they
become inaudible. Higher settings create more repeats; lower settings reduce the num-
ber of repeats. When this knob is turned fully clockwise, it engages Repeat Hold – delay
repeats play back in an infinite loop, but no further input signal is introduced into the
delay effect.
High Pass Filter
Frequencies below this level are attenuated.
Low Pass Filter
Frequencies above this level are attenuated.
ER Time
Adjusts the amount of time before reverb early reflections occur.
ER Level
Adjusts the level of early reflections within the reverb.
Feedback Delay
Changing this parameter changes the resonant frequencies of Plate reverb.
Feedback Level
Adjusts the Plate reverb's presence and prominence.
Boing
This is a unique parameter to the Spring reverb, designed to increase or decrease the
amount of spring rattle that is a physical characteristic of spring tank reverbs.
DELAYS
Delays repeat a sound a short time after it first occurs. Delay becomes echo when the
output is fed back into the input (feedback). This turns a single repeat into a series of
repeats, each a little softer than the last.
Studio Delay - Stereo
The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in
ducker that attenuates the delay output whenever signal is present at the input. This
can be used to keep the original signal from being muddied up by delay repeats.
Mono Delay - Mono In/Stereo Out
The Mono Delay is the cleanest, most accurate of the delay programs, with up to 5
seconds of mono delay and the built-in ducking feature.
Tape Delay - Mono In/Stereo Out
In the days before digital, delays were created using a special tape recorder in which
the magnetic recording tape was looped, with closely-spaced recording and playback
heads. The delay effect was created by the tape moving in the space between the record
and playback heads – while delay time was adjusted by changing the speed of the tape
loop. Although very musical-sounding, wow and flutter combined with a significant
loss of high frequencies, and to some extent also low frequencies, are all elements
commonly associated with tape recordings. The Tape Delay offers up to 5 seconds of
mono delay.
Pong Delay - Mono In/Stereo Out
This delay effect pans the delay repeats from left to right, while the input signal
remains at its original (center) position. Pong Delay offers up to 5 seconds of mono
delay time.
Effects Descriptions
22
Effects Descriptions
23
MX300

Ducker Level
Ducker Level is the level you want the delay to be heard at when signal is present. This
provides attenuation (up to 18dB) of the delay signal while a performer is singing or
playing to help provide intelligibility. As the performance pauses, the delay signal level
returns to its normal setting.
Ducker Threshold
MX300’s Studio and Mono delays offer a “ducking” feature, which causes the delay
repeats to attenuate (or get softer) by –6dB when live (or input) signal is present. This
allows the delay to remain as an effect, and not clash with the original signal. The
higher this value is set, the louder an input signal must be for the ducking to take
place.
Smear
This parameter controls the amount of “smear,” or signal degradation and frequency
loss. Particularly evident in the Tape Delay, the higher the setting, the more each
delay repeat loses intelligibility compared to the original signal.
Tap 1 & 2
The Tap parameters provide independent control to the two delay taps in the 2-Tap
Delay. Each tap can be set to a percentage of the delay tempo, creating interesting
rhythmic delay lines not available in the other delays.
Level 1 & 2
Adjusts the output level of Tap 1 and Tap 2.
Pan 1 & 2
Adjusts the pan position in the stereo field of Tap 1 and Tap 2.
Mod Depth
This controls the intensity of modulation, or “depth” in the Modulated Delay.
Lower settings produce a more subtle chorus effect, while higher values give a more
lush chorusing of the delay repeats.
Delay Ratio
Determines the ratio between the pong taps in the Pong Delay. 1:1 sets the taps
at the same time apart (ratio) from one another (normal ping pong). As the ratio
changes, the second tap (pong) is heard earlier or later than the first tap, creating
rhythmic left/right delay lines.
Tap Swap
Switches which tap is heard first (left or right) in the Pong Delay.
dbx®DYNAMICS
The MX300 offers two dynamics processing modules, De Esser and Compressor, that
utilize dbx’s legendary digital dynamics processing technology.
De-Esser - Stereo
A De-Esser is a type of compressor used to tame excessive sibilance, or the “s”
sounds in a vocal performance. Note that the De-esser does not pass dry audio.
Compressor - Stereo
A compressor is used to control the dynamic range of a signal. Typically used to tighten
bass or drum tracks, or to control a vocal passage, a compressor is a very useful but
often misunderstood tool. To better use the Compressor in the MX300, a bit of
understanding about compression is helpful. Note that the Compressor does not pass
dry audio.
When a signal level crosses the Threshold level, the compressor then reduces the
amount of output level by an amount determined by the Ratio. For example, if the
threshold is set to –12dB, and the ratio set to 4:1, then when signal exceeds –12dB, the
signal level above that amount only increases by 1dB to every 4dB of signal level above
–12dB. In this case, an incoming signal of –4dB (which is 8dB above the threshold)
would result in an output signal of –10dB, or 2dB higher than the threshold level,
since the 4:1 compression ratio only allowed 2dB more output, based on the 8dB
increase above the –12dB threshold.
Because the resulting output is less than the original signal, a third control, Makeup
Gain compensates for this loss of level, but with less dynamic range, or the difference
between the softest and loudest parts of the signal.
Note: The De-Esser and Compressor effects are Mono In Dual Stereo configuration
programs.
Effects Descriptions
24
Effects Descriptions
25
MX300

Effects Descriptions
Dynamics Controls
Ratio
Determines the amount of compression, from 1:1 (no effect) to Infinity:1 (complete
limiting).
Frequency
Selects the frequency range of compression from 1600Hz to 10kHz (the most common
frequencies in which excessive sibilance occurs).
Bandwidth
Controls the bandwidth or “Quality” (Q) of frequency range. The higher the selected
value, the tighter the bandwidth, and less apparent the de-essing effect is.
Threshold
Determines the threshold above which compression begins, incrementally between
–70dB and 0dB.
Gain
Increases the output level to compensate for signal attenuation during compression.
Incremental between 0dB (no gain) to +12dB.
Attack
Attack adjusts the attack time constant, determining how quickly the compressor
responds to increasing input level. This should normally be set quite low to allow the
compressor to react to sharp transients.
Release
Release allows adjustment of the release time constant, determining how quickly the
compressor responds to decreasing input level. This should normally be set long. Short
release times may cause an effect similar to “pumping” in an analog compressor.
Knee
In Hard Knee mode, the threshold of compression is defined as that point above which
the output level no longer changes on a 1:1 basis with changes in the input level. See
Figure 1.
In Soft Knee mode, the threshold of compression is defined as the middle of the threshold
region, that is, “half-way” into compression, as shown in Figure 2.
Effects Descriptions
2726
MODULATED EFFECTS
Chorus - Stereo
Chorus creates a lush, full sound by combining two or more signals together where
one is unaffected and the other signals vary in pitch very slightly over time. Chorus
is commonly used to fatten up tracks and to add body to guitars without coloring the
original tone. Chorus can also be used with discretion to thicken a vocal track.
Flanger - Stereo
This effect was originally created by simultaneously recording and playing back two
identical programs on two tape recorders, then using hand pressure against the flange
of the tape reels to slow down first one machine, then the other. The result was a series
of changing phase cancellations and reinforcements, with characteristic swishing, tun-
neling, and fading sounds.
Phaser - Stereo
The Phaser automatically moves frequency notches up and down the spectrum of the
signal by means of a low frequency oscillator (LFO), creating an oscillating “comb-
filter” type effect. This effect is very useful on keyboards (especially pad presets) and
guitars.
Tremolo/Pan - Stereo (Wet Only)
Tremolo and Panner create rhythmic changes in signal amplitude. Tremolo
affects both channel’s amplitude simultaneously, while the Panner affects the ampli-
tude of each channel in an alternating manner.
Rotary - Mono In/Stereo Out (Wet Only)
Rotary speaker cabinets were designed to provide a majestic vibrato/choir effect for
electronic theater and church organs. The most well known rotary speaker is the
Leslie™ Model 122, which has two counter-rotating elements: a high-frequency horn
and a low-frequency rotor with slow and fast speeds. The sound generated as the spin-
ning elements change speed is truly magical. The swirling, spacious effect is difficult to
describe – but clearly recognizable.
MX300

PreDelay
Determines the amount of offset between the two signals that create the flange effect.
Lower values create a tighter effect, higher values result in a more extreme "whoosh-
ing" sound.
Waveform
Selects the wave pattern used by the modulated effect.
Phase
Controls whether amplitude or depth change occurs in both left and right outputs simul-
taneously or alternates between left and right outputs.
Phase Stages
Selects between a 4, 8, or 12 state phase shifter.
Stereo Spread
Increases or decreases the stereo imaging of the Rotary effect.
Drive
Provides overdrive gain to the preamp section of the rotary speaker effect.
Minimum Speed
Sets the minimum speed at which the effect will oscillate.
Maximum Speed
Sets the maximum speed at which the effect will oscillate.
Doppler
Increases or decreases the Doppler pitch effect that is created by the physics of a rotating
speaker.
Shift 1 & 2
Determines the amount of pitch shift or detune shift from the original signal source.
Works best with individual notes.
Delay 1 & 2
Sets the delay time before the pitch shift or detune effect is heard in the Pitch Shift and
Detune effects.
Feedback 1 & 2
Adjusts how much of the shifted signal is sent back through the delay line in Pitch
Shift and Detune for creating cascading arpeggio type effects.
Pan 1 & 2
Sets the pan position in the stereo field for each tap in the 2-Tap Delay.
The Rotary effect is modeled after a Leslie-style cabinet. The input signal is split into
high and low-frequency bands. The rotation effect is created by a synchronized com-
bination of pitch shifting, tremolo, and panning. Like the physical cabinet, the high
(horn) and low (rotor) frequencies are “spun” in opposite directions. Horn and rotor
speeds are independent, and designed with acceleration and deceleration characteristics
to simulate the inertia of the original mechanical elements.
A virtual requirement for organ music, Rotary also sounds remarkable with guitar
and electric piano rhythm parts. In fact, these programs are great alternatives to the
Chorus and Tremolo effects for any sound source.
Vibrato - Stereo (Wet Only)
Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of
the original at a determined rate.
Pitch Shift - Stereo
This effect shifts the frequency spectrum of the input signal. Altering the pitch of a
sound produces a wide range effects - from subtle detunes to full interval shifts up
or down a two octave range. The MX300’s Pitch Shift effect is a chromatic shifter,
meaning all notes of the scale are shifted by the same interval. Pitch Shift is very
useful with guitar tracks, monophonic synth lines, or where special vocal effects are
needed.
Detune - Stereo
Detune adds a slightly pitch-shifted version of the original source, thickening the
sound. This creates a particularly effective simulation of “double-tracking.” This effect
is also a great alternative to the Chorus effect, adding the richness of a chorus with-
out the audible sweep caused by the chorus rate.
Modulated Effect Controls
Speed
Sets the speed at which the modulated effect cycles.
Depth
Scales the intensity of the effect. This control affects the output of the LFO only. It has
no effect on the outputs of the individual waveforms.
Voices
Controls the number of additional Chorus voices.
Regen
Controls the amount of modulated signal being fed back into the input, creating feed-
back. Higher amounts add more resonance to the signal.
Diffusion
Creates a time-smoothing effect similar to diffusion in reverb. Diffusion can be a
subtle effect to add a little warmth to the chorus.
Effects Descriptions
28 29
Effects Descriptions
MX300

sources. The MX300 offers three different input sources to select from:
Anlg Mono L (Left), Anlg Stereo, and Digital. Input Source refers to
whether you will be using the analog Input pair or the S/PDIF digital input.
When only a single analog input is to be used, connect to the analog Input
Left input only and select Anlg Mono L as the Input Source. All inputs
(analog and digital) can remain connected simultaneously in the event
you find yourself switching between using both. Use Knob A to select the
appropriate Input Source you will be using
Clock Source
This option allows manual selection of either the internal or external
clock source for the MX300. When set to 44.1kHz, the MX300 utilizes an
internal clock with a 44.1kHz sample rate. When set to 48kHz, the MX300
utilizes an internal clock with a 48kHz sample rate. When set to Digital,
the unit utilizes the S/PDIF input clock source, even if an analog audio
source is used. Refer to The MX300 and Digital I/O section on page 12
for more information on using digital audio sources. Use Knob B to select
the appropriate Clock Source you will be using.
Digital Out
The MX300 can send unprocessed digital audio out its S/PDIF Digital
Output while monitoring processed audio through the analog outputs.
This is useful when you want to record a dry performance digitally, but also
hear effects processing while you are recording. Note: This feature is only
available for signals brought into the MX300 via the analog inputs. It has
no effect on signals being received at the S/PDIF In. Digital in/out signals
are processed normally regardless of whether the Digital Out settings are
set to Dry. To send unprocessed audio out the MX300 digital outputs, use
Knob C to set the Digital Out option to Dry.
System Menu
B
C
AANALOG OUT
ANALOG OUT LEVEL
ANLG STEREO
+4dBU
TEMPO DISPLAY BPM
Analog Output
The MX300 analog outputs can be configured to run in stereo or in mono.
When only a single output cable is to be used, connect to the Output Left
output only and set the Analog Output Mode to Anlg Mono L. Output
Mode only affects the analog outputs. Use Knob A to select between Anlg
Mono L and Anlg Stereo.
MX300 SYSTEM MENUS
SYSTEM MENUS
The MX300 System menus are where global settings are configured. These include
Program Auto Load, Output Level, and Factory Restore. Changes made to these settings
affect all programs. Press the System button to access these menus. Turn the Page/
Select knob to scroll up and down through the available menus. Press the Exit button
to exit the System Menus.
System Menu
B
C
BYPASS SELECT
CONTRAST
PROGRAM LOAD
DRY
8
MANUAL
A
Bypass Select
There are four different bypass options for effects and programs (turn
Knob A to select):
Dry – the inputs and outputs of the effects are muted but dry signal
is passed around them.
Mute – The inputs, outputs and dry signal paths are all muted leav-
ing no signal at the outputs.
Input Dry – The inputs to the effects are muted but reverb decay
and delay tails will still finish. Dry signal will also be passed around
the effects.
Input Mute – The inputs and dry paths around the effects are
muted but reverb decay and delay tails will still finish.
Contrast
This utility adjusts the contrast of the Main Display to make it more vis-
ible at different viewing angles. Use Knob B to adjust the display’s view-
ing angle to your liking.
Program Load
MX300 programs can be loaded manually or automatically as each pro-
gram is selected. The default setting is Manual. Use Knob C to select
which method of program loading you need.
System Menu
B
C
INPUT SOURCE
CLOCK SOURCE
ANLG STEREO
INT 48KHZ
A
DIGITAL OUT PROCESSED
Input Source
The MX300 has both analog and digital inputs. Depending on which
inputs you will be using, you need to select between analog or digital audio
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MX300 System Menus MX300 System Menus
MX300

incoming MIDI messages. (The Tempo button on the front panel will be
disabled while these messages are being received.) When set to Off, the unit
ignores MIDI Clock messages. Use the Knob A to change MIDI Clock
Sync options.
Footswitch R/T
The MX300 features a footswitch input jack on the rear panel. This lets you
connect the optional 2-button footswitch for remote control of some of the
MX300’s functions. These global footswitch functions are as follows:
Program Up
Program Down
Program Bypass
Processor 1 Bypass
Processor 2 Bypass
Tap Tempo 1
Tap Tempo 2
Tap Tempo 1/2
Adjust Knobs B and Cto change the footswitch functions.
System Menu
AFACTORY RESTORE NO
Factory Restore
The Factory Restore function erases all user programs and system settings
and returns them to their factory state. To restore the MX300 to the factory
state, follow these steps:
1. From the Factory Restore screen, turn Knob A until the HOLD
<STORE> screen appears. Press the Exit button to abort the
Factory Restore procedure.
System Menu
AFACTORY RESTORE HOLD (STORE)
2. Press and hold the Store button until the white progress bar has
completely disappeared. This will complete the restore procedure and
the MX300 will be returned to its factory state.
Factory Restore
HOLD DOWN (STORE) BUTTON
TO RESET THE MX400
Analog Out Level
The MX300 outputs can be optimized to run with equipment requiring
different output levels. High end audio systems run at +4dBu levels while
many inexpensive system levels run at –10dBV levels. Consult the technical
guides that came with the equipment you will be connecting the MX300
to so as determine which output level should be selected. Use Knob B to
change between –10dBV or +4dBu.
Tempo Display
MX300 programs can display delay time in two types of units, ms (millisec-
onds) and BPM (beats per minute). Use Knob C to select which units you
want all programs to display delay times in.
System Menu
A
B
C
MIDI CHANNEL
MIDI PRGM RECEIVE
1
ON
MIDI CC RECEIVE ON
MIDI Channel
The MX300 is equipped with a MIDI receive channel for receiving incoming
MIDI program changes and CC messages. The MIDI Channel can be set
from 1-16, All channels, or Off. Use Knob A to change MIDI Channel
A settings.
MIDI Program Receive
The MIDI Program receive option lets you enable or disable the MX300
from receiving MIDI program change messages. Disabling MIDI Program
Receive filters all program change messages so that the MX300 will not
respond to them. MIDI CC messages are still received even when this
option is disabled. Use the Knob B to change MIDI Program Receive
options.
MIDI CC Receive
The MIDI CC Receive option lets you enable or disable the MX300 from
receiving MIDI CC messages. Disabling MIDI CC Receive filters all MIDI
CC messages so that the MX300 will not respond to them. MIDI program
change messages are still received even when this option is disabled. Use
the Knob C to change MIDI Receive options.
System Menu
B
C
AMIDI CLOCK SYNC
FOOTSWITCH (R)
SYNC
BYPASS
FOOTSWITCH (T) TEMPO
MIDI Clock Sync
The MX300’s MIDI input is able to receive and synchronize delay times
via MIDI clock messages. When set to Sync, Tap Tempo is changed by
MX300 System Menus
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MX300 System Menus
MX300