Latest User Reviews

This is a nearly-forgotten relic of the late ’80s. I was amazingly lucky to buy a couple from a local distributor in the late ’80s when they were being discontinued. Got mine for only $300 (US), both floor models in perfect condition. This is among the best bargains I ever purchased in my many decades of music production. For vocal processing, it put much-more expensive vocoders to shame, and the noise floor is almost below perception, despite its 16 bit resolution. The build is amazing, but be careful with the plastic remote which is essentially vital to using the unit. If it gets smashed or lost, you’re out of luck.

Not really sure whether this is the right place for the DN-50 as it is a completely analogue spring reverb with two six-spring reverb tanks (which makes it “stereo”…). Oh, it sounds decent (less “boink!” than, say, a Furman oder Vesta-Fire unit of the same breed), effective tone control, and an overall rather pleasant, albeit not overly spectacular sound (and nowhere near as dense as an AKG BX-15 or 20, for that matter).

Nice to add some extra flavour to your mixes, or where some kind of “vintage-days-of-yore”-type of colouration is required. It does this job very well, I must admit. Its build quality is decent, with plenty of sheet-metal all around, which makes it a light-weight yet sturdy 19″ rackmount — not sure about shielding, though, since mine picks up an awful lot of transformer hum even when set up a good distance from all other sources of electro-magnetic radiation. Whether this is a design flaw or due to ageing components (or cabling used), I cannot tell.

Since a service manual seems to be made of unobtainium, its service situation seems slightly doubtful to me, although every capable tech can make something of the arrangement of various types of op-amps, resistors, and capacitors inside. There even is an option to add output transducers as an extra but since the production of the DN-50 ceased a long time ago, it seems unlikely these transducers are still available somewhere (or replacements are known).

If you can buy one cheap, you won’t be disappointed – but something tells me these things do not exactly come cheap due to their rarity and their “vintage” tag.

Underrated and forgotten late 80’s budget reverb, but still great for small rooms and adding ambience. Settings for plates and large halls sound best with a bit of HF damping and the (not too bright) delays fit nicely in a mix. The gated reverbs are adjustable for gates I used one in the 1980s in a small studio. The range of effects and quality were, on the whole, excellent. Long reverb times would expose the processor’s limitations, displaying a terrible fluttering which, at it the longest settings, made it little more than delay with high feedback.

The MIDI functionality made it superb for live vocal use with a sequencer: I programmed it to select a suitable effect for each song, then reduce the effect to zero at the end so that the mic was dry to talk to the audience. It was also simple to use MIDI CC live to automate FX level during a song, so that, for example, it would bring in a delay under specific vocal lines, which sounded spectacular back then. It was a lot of fun to use.ize and gate shape, which is endless fun for programming unusual effects and for fattening drums up! Grainy and lovely character, controllable via MIDI CC, with a bunch of algorithms you won´t find elsewhere. A very useful unit for me – and cheaper than a plug in!

Underrated and forgotten late 80´s budget reverb, but still great for small rooms and adding ambience. Settings for plates and large halls sound best with a bit of HF damping and the (not too bright) delays fit nicely in a mix. The gated reverbs are adjustable for gate size and gate shape, which is endless fun for programming unusual effects and for fattening drums up! Grainy and lovely character, controllable via MIDI CC, with a bunch of algorithms you won´t find elsewhere. A very useful unit for me – and cheaper than a plug in!

I stumbled on this affect processor and took a chance recently, I am blown away at the vibe this thing has. It is an early 2000s design but sounds fantastic and is extremely powerful. It just has a unique mojo to it, very pro in every way, highly recommend it if you want to sound Unique!

This unit imo is better than any new device out there today except the AXE FX units, period. The WIDE effect is in super stereo almost similar to SURROUND SOUND. The only reason I don’t use it today is the fact that I am trying to downsize (as far as weight is concerned, getting older not younger) Other than that for the young’uns this device is the bomb!! The gold plated inputs/outputs (I0) are a little weak as in the A2 and A3. (Use another unit such as a preamp to plug into, don’t plug directly into this unit all the time, such as in and out and in and out. It’ll soon come loose and then you’ll have to resolder it back on.

Top Gear at the time released. Still today I use it for Vocals to give it other color in the Digital mix. Can still recommend it. Though over 4’000. new I would still buy it 25 years later for max 450.

The PCM range has always been aimed at the lower budget market , but by no means are they to be Considered inferior in any way. I’ve have my 90 for around 10 years now and I rate it highly as a multi-effects unit but more for the “Lex” sounding reverb. No, it’s not in the league of the ‘biggies’ like the 480L or 224, but it’s still a lovely bit of kit. The “symphonic’ preset is amazing. For the money they go for now, the PCM 90 or 91 is definitely worth the money. One issue to mention is weak psu’s… mine blew and I bought a replacement off eBay.

Very useful and great sound. Among its price competitors, such as Quadraverb and SPX 900, The Lexicon MPX1 has much superior construction and sound. The Tiled Room, PCM 60 Room and Classic DTune presets sound wonderful in high-level mixes, working very well for different styles, from the most modern to the one with a more vintage feel. If you find one on E-bay, don’t miss the opportunity.

The MPX-1 offers the classic Lexicon 90s sound at an affordable price. The MPX-1 has two engines: a standard DSP and a LexChip dedicated to reverb only. The range of effects is wide: reverb, delay, chorus, overdrive, phase, equalization, microshift, and more. This makes the MPX-1 a good “all rounder” for any studio. Probably not your first choice for a main or vocal reverb, the MPX-1 can certainly serve in that capacity if need be.

When these debuted they were aimed at smaller studios or professional home studios and the sound quality shows. Although the MPX-1 may not have its own distinct character, it does sound like a Lexicon. Sonically, the MPX-1 is miles above similar “semi-affordable” multi-effects units of the late 90s. A clear winner!

Was not too sure what to expect when I got this one, but what I got was a very usable digital reverb and digital delay box, with a lot of really useful presets suitable for guitar in particular. The ‘Tap’ button on the front panel for setting the delay time is an excellent idea that makes using hardware delays almost as convenient as a plugin in terms of setting the delay time.

There is also a very usable speaker cabinet simulator that I have found to work really well on guitar that has been recorded using, in my case an Avid Eleven rack. Suddenly my guitar tracks sound far more like the real deal, i.e.: a speaker cone pushing air! I should address the reverbs some more as I do not want to make out this box is only for guitar. The reverbs are very very nice, sit well in a mix and sound pretty smooth to my ears. So all in all, this is a very worthwhile investment.