Lexicon MPX NATIVE REVERB PLUG-IN User manual

OWNER’S MANUAL
MPX NATIVE REVERB PLUG-IN

The Lexicon
®legacy continues...

Congratulations and thank you
for purchasing the MPX Native Reverb Plug-In. For over 40 years Lexicon®has been
considered the gold standard for digital reverb. With the introduction of the MPX
Native Reverb Plug-In, all aspiring engineers and producers have a new way to bring
the legendary Lexicon heritage and sound to their mix. With an intuitive user interface,
100 masterfully tuned presets, and the quality that elevates any home recording or
project studio to a whole new level, adding professional reverb effects to your projects
has never been faster, easier, or sounded better.
The MPX Native Reverb Plug-In delivers that legendary "Lexicon sound" through a single
polymorphic plug-in with seven different reverb types:
• Small Plate
• Large Plate
• Small Hall
• Large Hall
• Small Chamber
• Large Chamber
• Room
With VST, RTAS, and AU host compatibility and support for Mac and Windows platforms,
the MPX Native Reverb Plug-In is ready to go to work wherever you need it.

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MPX Native Reverb 9
Contents
System Requirements 2
Installation 3
The User Interface 4
Quick Start 6
The Parameters 14
Supported I/O Configurations 17

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System Requirements
Universal Recommendations
• 1 GB RAM
• CD or DVD-ROM drive
• Display resolution of 1280x800 or
greater
• Internet access required for iLok
activation
• Any ProTools®version 8 or newer
• Any platform supporting Audio
Units
• Any platform supporting VST 2.4
or later
Mac®
• OS X 10.5 or newer
• Intel®Processor
Windows®
• Windows®XP, Vista, or 7
• 1.6 GHz CPU or faster

!
Important!
iLok License Information
This product requires the use of a 2nd Generation iLok USB
smart key. You must download the license to your iLok2 USB
smart key before you launch your DAW. Otherwise, your DAW
may fail to recognize the plug-in and you may have to uninstall
and reinstall your DAW software.

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MPX Native Reverb 9
Installation
Installing the MPX Plug-In
1. Install the MPX Plug-In on your computer.
2. Connect your iLok2 to an available USB port.
3. If you haven't already, go to iLok.com and download/install the required
drivers for use with the iLok2.
4. Create an iLok account or sign in if you already have an existing account.
5. Click on "Redeem License Code".
6. Locate your license code on the back of the included DVD sleeve and enter
your license code.
7. Click "Get License".
8. Select "Download License".
9. You’re ready to launch your DAW and enjoy the plug-in!

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The User Interface
1.
7.
1.
2.
3.
4.
5. 6.
8.
9.
Reload Button – Click the Reload button to reload the current preset.
Note: Clicking the Reload button will permanently remove any unsaved edits you
have made to the plug-in's parameters.
2. Compare Button – The Compare button is used to quickly compare your edits
against the original preset. When compare is on, any edits which you have made
will be removed and the original preset will be heard. Turning Compare off returns
you to your edits for comparison against the original preset.
Note: When compare is on, all parameters are frozen and cannot be changed.
3. Store Button – Clicking the Store button opens the user preset save window.
Enter a name and click store to save your preset. Once saved, there will be a preset
category called "User Presets". All saved presets go into this category. Clicking

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MPX Native Reverb 9
on the store button also allows you to manage existing presets. The store window
displays existing presets. Click on an existing preset to either replace or delete it.
4. Category Selector – The presets have been broken down into categories to
make them easier to locate. The Category knob is used to select from one of
the predefined categories of presets. You can also click the category name,
which brings up a combo box list allowing you to select a category from the list.
After selecting a category, the "PRESET" field will update, displaying all presets
available within the selected category.
5. Preset Selector – Once a category has been selected, turn the Preset knob to
select a preset or click on the preset name to load a new preset from the combo
box list.
6. Real Time Visualization – Real Time Visualization can be turned on and off by
clicking anywhere in the Real Time Visualization window. When off, the plug-in
name is displayed – this conserves CPU power. When on, the Spectral Intensity
Analyzer is displayed, providing real-time visual feedback of the effect signal's
amplitude (Y axis) over the frequency spectrum (X Axis).
7. Input/Output Meters – This window displays the signal level entering the plug-
in (input) and exiting the plug-in (output).
8. Parameter Knobs – Click and drag these knobs to change the value of the
corresponding parameter. You can also double click in the parameter value field
above each knob and type in the desired value – all values are immediately
snapped to the closest available value.
9. Parameter Knob View Button – Click this button to display the additional
parameter knobs. Click again to get back to the first set of parameter knobs.

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Quick Start
Step 1 – Launch your DAW
Launch your DAW and load the session which contains your audio tracks.

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MPX Native Reverb 9
Step 2 – Insert the MPX Plug-In
Processing a single track: If you want to
apply the MPX Reverb to a single source
track, insert the MPX Native Reverb
Plug-In on the desired source track then
proceed to step 3. If you would like to
process multiple tracks with the MPX
Plug-In, see the "Processing multiple
tracks" section on the next page.
Insert MPX Plug-In

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Processing multiple tracks: If using the MPX Native Reverb Plug-In to process
multiple tracks, you need to have an available aux channel (sometimes referred to
as a group channel, group track, or aux track). You must then assign a bus as the
input to this new aux channel then route the aux sends – for all tracks in which you
would like to apply the reverb effect – to this new aux channel. The below diagram
shows an
example
of such a
configuration
within Logic®.
Please refer
to your DAWs
documentation
if you are
unsure how
to add an aux
channel, assign
busses, and
configure aux
sends within
your DAW.
Source Track Reverb Aux Channel DAW Stereo Output
Insert MPX Plug-In
Bus
Assignment
Aux Send
Dry Signal
Wet Signal
Legend
Callout
Audio Signal

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MPX Native Reverb 9
Once the aux channel has been added
to your session and properly configured,
insert the MPX Plug-In on this aux
channel and rename this channel
"Reverb".
Reverb Aux Channel
Insert MPX Plug-In
Rename channel
“Reverb”

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Step 3 – Set levels
Processing a single track: If you
inserted the MPX Plug-In directly on
a single source track, as described in
step 2 , open the MPX Plug-In. Press
the play button in the DAWs transport
to audition the audio. Adjust the Mix
control until you have reached the
desired amount of reverb effect.
Processing multiple tracks: If you
inserted the MPX Plug-In on an aux
channel, as described in step 2, open
the MPX Plug-In. Press the play button
in the DAWs transport to audition the
audio. Set the Mix control to 100%.
Ensure that the reverb bus level fader is
set to 0 to begin with.
Reverb Bus
Level set to 0
Mix set
to 100%

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MPX Native Reverb 9
Go to the track which you want to
apply the reverb to and assign one
of its aux sends to the reverb bus
where you have inserted the MPX
Plug-In. While looking at the MPX's
input meter, adjust the aux send level
on this first instrument track until the
MPX input meter peaks just below -6.
Go back to the reverb bus level fader
and adjust it until the desired amount
of reverb effect is heard. Now, adjust
the aux send level for each additional
track you would like to apply the
reverb to until the desired amount of
reverb is applied to all tracks.
Source Track
Input Level
Meter
Aux Send
Reverb Bus
Level Fader

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Step 4 – Select the desired preset
Now that signal is properly routed and initial levels set, play the session and listen to
the reverb effect. If it doesn't sound like the right type of effect for the task at hand,
select a different preset. If no presets in the currently selected category meet your
requirements or you know what you are after, select a different category and audition
the presets within that category.
Repeat until you have found the
preset which works best for the
material you are working on.
Step 5 – Adjust the rotary parameters (optional)
If you are happy with the way the effect sounds, move on to the next step. If you think
the effect still requires some additional tweaking, audition the audio while adjusting
the parameter knobs until you have reached the desired effect.
Note: Only readjust the Mix knob if you require more or less of the reverb effect
and you inserted the MPX Plug-In on the source track (for single track processing),
as described in step 2. If you configured the MPX Plug-In to process multiple tracks,
as described in step 2, you can fine tune the reverb level in the mix by adjusting the
fader on the reverb aux channel, if required.

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MPX Native Reverb 9
Step 6 – Store your new preset (optional)
If you would like to store your
preset as a portable preset,
click the Store button.
Name the new preset then
click the Store button.
Note: The portable presets in the MPX Native Reverb Plug-In are cross-DAW and
cross-platform compatible, meaning that you can store presets in one particular DAW
on a Mac, then open them using a different DAW on a Mac or Windows PC and vice-
versa.

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The Parameters
Reflection Level – This knob controls the level of the early reflections in the
output mix.
Reverb Level – This knob controls the level of the reverb tail in the output mix.
Color – Color is the companion parameter to Rolloff. Rolloff filters the final output
of the reverb, and is used for final matching of the reverb into the mix. Color controls
the way the reverb evolves over time. The darker values mean that high frequencies
don't reverberate as long as lower frequencies. The lighter values lower the relative
reverb time of the lower frequencies. This parameter can be used to tame the way
an instrument is reverberated. For example a 24" kick drum will have a lot more low-
frequency sound than a 20". This might cause the reverb to be boomy. Selecting a
lighter value for Color will help to get that under control.
Rolloff – One of the most important aspects of a good mix is to correctly set up
the proportion of frequencies. Getting reverb right is a major component of this
process. The rolloff filter allows the higher frequencies of the reverb to be reduced.
Most natural reverberation will be best modeled with a rolloff in the 2-4K range. Some
mixers searching for a vintage sound might even use lower values. For smaller rooms
or special effects, raise the rolloff value.
Diffusion – Input diffusion is the first part of processing for any signal entering
a reverb or delay. It can be described as a smearing or softening of the signal and is
typically used to lessen the impact of strong transients. Sharp percussive sounds will
benefit from higher diffusion values. Vocal sounds will usually work best with lower
values.

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MPX Native Reverb 9
Reverb Time – This is the approximate duration of the reverb "tail". The actual
time is also determined by musical material as well as values of other parameters. Your
choices for reverb time will be driven by the type of music you're mixing, as well as
the amount of reverb (wet/dry) you use. You might be surprised to know that you can
use a longer reverb time than you think you can, as long as there's only a bit of reverb
in the mix.
Predelay – Predelay is used to add a small amount of delay to a signal before it
enters the reverberator. This is used to create a little separation between the wet and
dry signals, in turn creating greater clarity in the mix. For small rooms a short predelay
of 5-10ms is a good place to start. For very busy mixes with moderate reverb, 10-
25ms is about right. For large spaces, pre delay might go up to 50ms. These are just
guidelines – use what your ears like.
Reverb Type – This is where you choose the basic wiring of the reverb. Plates are
among the most popular artificial reverbs, known for the diffuse "shhhh" sound they
add to percussion. Chambers are dense and colorless and have been used for every
kind of music where the reverb shouldn't intrude on the sound. Halls are medium to
large venues, used for all sorts of acoustic music. Rooms have been used for drums,
voiceovers, guitars – anything where a very short reverb is useful. Every type of reverb
has been successfully used on every kind of music. Again, the ears are king.
Reflection – Most natural spaces have some number of discrete echoes – they're
usually not very strong, but they are important. The reflect parameter allows you
to select from several preset combinations of these echoes. Generally speaking,
the lower Reflect values indicate shorter times. Reflection levels vary as you select
different values. The best way to choose is simply to use your ears.

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Reverb Attack – This knob controls the attack of the reverb tail, or how quickly
or slowly the reverb comes on. It also controls how large or small the reverb tail is.
Mix – This knob controls the overall mix between the wet and dry signals. When this
knob is set to 0% (full left), only the dry signal is heard. When the knob is set to 100%
(full right), only the wet signal is fed to the MPX's outputs.
The important thing to remember about the mix parameter is that dry signal should
only reach the final mix by one path. Let's say that you are using an aux send on a
channel strip to send signal to an effects bus. Your original signal is on one channel
strip and an aux channel receives signal from the aux bus. Both channels go to the
final mix bus. You load an MPX-L Plug-In onto the aux channel. In that case, your mix
should be set to 100%. Reverb level is controlled by changing the gain on the aux
track or by changing the send level. Why is that? If the mix parameter on the aux
channel is set to something less than 100%, then dry signal can arrive at the final mix
by two paths (the original channel strip and the aux channel strip). You'll find it hard
to control the balance of reverb in your mix and on some DAWs you may even get
cancellation of the dry signal. This will make your mix sound thin and weak.
On the other hand, if you load the plug-in as an insert on the channel strip (instead of
using a send), then it makes perfect sense to use the mix parameter.