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#lexicon • #vortex

LEXICON VORTEX

Δεν υπαρχει το διπλο Pedal, αλλα μπορουν να χρησιμοποιηθουν 2 Απλα Pedals.....

Lexicon Vortex
Audio Morphing Effects Processor
• Signal Processors
Lexicon's new Vortex effects processor takes the concept of video morphing and applies it to audio effects.
Vortex: it's an attempt by Lexicon to give standard delay and modulation effects a new twist, by adding a high degree of performance control. Vortex is designed primarily for live performance, with performance control applied by means of footswitches, foot pedals, and the envelope of the sound being treated. There's no MIDI.
Morph For Your Money
The Vortex is based around two banks of 16 presets, though a further two banks of user modified effects may be set up and stored. Each effects comprises modulation and delay elements, and all share a common set of 16 parameters, selected by means of a rotary switch. Where morphing is required, it occurs between the selected effect in Bank A and its similarly numbered counterpart in Bank B. This means that when working with the presets, you are limited to morphing between the effects pairs provided, although in the user banks you can either store copies of the presets in different positions (to permit new morph combinations), or edit the presets by varying any of the 16 available parameters. The rate at which a Bank A sound morphs to a Bank B sound (and vice versa) can be set by the user up to a maximum of 10 seconds, and values can be set for the A‑B morph independent of those assigned to the B‑A morph.
Morphing can be initiated by means of a front panel button or from a footswitch, though there's more to performance control than morphing. Several of the effects include a degree of envelope sensitivity, allowing playing intensity to control such things as modulation rate or echo intensity. Additionally, if you're capable of playing with each foot on a different pedal, a standard volume pedal may be used to vary one of the effects parameters in real time. Any of the echo or delay‑based effects can be set up by means of a tap‑tempo button on the front panel, making it very easy to synchronise the tempo of the delays to the music being played.
Most of the preset effects are pretty standard when heard in isolation, and fall into the categories of stereo echo, chorus, flange and similar effects. Some of the algorithms also include an element of detuning, but on the whole, most of the effects sound very familiar. Having said that, the effect algorithms are quite complex and it is possible to program a whole range of quite sophisticated effects, though the convoluted routing within the algorithms usually means that you don't always know what to expect when you change a parameter.
Having footpedal control over a selected effects parameter is useful, as is the envelope following function, but the morphing aspect of the Vortex has the most creative potential.
As a performance effect, the Vortex is a really good idea, though I feel it has been hamstrung by the need to make it fit into the same box as the rest of the Lexicon low‑cost range, with the same controls and the same selling price. It's particularly unfortunate that no MIDI facility was included to either trigger or control the morphs using MIDI controller information.
Good points are that the morphing can be supplemented by real‑time pedal control.
Those Morphing Effects In Full
• REFLEXION: A detuned stereo echo effect, where the amount of detuning is controlled by the signal envelope. In the Bank B version, the envelope detuning effect is more moderate, and the echo rhythms are different.
• ATMOSPHERE: A combination of stereo echo and vibrato, where the envelope controls the vibrato speed. The Bank B version uses a different algorithm, which combines tuned resonators with echoes and modulation. Envelope increases the modulation rate as the input signal increases in level.
• ORBITS: This pair of patches provides fast and slow rotary speaker/chorus sounds, where the morph rate sets the wind‑up and wind‑down time of the rotary effect. The pedal isn't used in the preset, but an edited patch could have the pedal assigned to rotor speed.
• CENTRIFUGE: A combined echo and rotary speaker patch, where the signal envelope affects modulation rate and resonance. The Bank B version uses the same algorithms, but with different parameters — the louder the input signal, the slower the modulation rate.
• AEROSOL: Modulation followed by echo with feedback from two different taps, which means that the echoes get more complex as they decay. The Bank B version uses a slightly different signal path, where Envelope controls the feedback level so that loud signals have only a single repeat.
• MOSAIC: A complex mix of echo followed by pan and modulation, then more pan. Envelope decreases the panning rate, while in the Bank B counterpart, a series combination of two multi‑vibrato and echo modules is used. Here the envelope of the input decreases modulation depth.
• MAZE: Here a mono input is panned into two echo modules routed left and right, and also via a stereo modulator block. Envelope decreases the panning speed. In the Bank B version, the effects are used in parallel with envelope detuning. This gives note attacks a hint of flanging.
• DUO: Feedback echo in one channel with two vibrato blocks in the other. Envelope increases the effects level. The Bank B version creates a stereo vibrato treatment from one input and a stereo delay from the other, with envelope increasing the vibrato rates.
• DEJA VU: Echo, pan and stereo glide combine with panning; Envelope decreases the delay level. The same arrangement is used in Bank B, except that here Envelope decreases the input feedback mix, making the echoes repeat for longer on quieter sounds.
• CHOIR: This effect introduces the Haas effect block (which may just be pre‑delay) followed by multi‑chorus and two helpings of echo. Envelope decreases the chorus depth. In the Bank B department, the same blocks are used, but in a different order, with Envelope still decreasing the chorus depth.
• SHIMMER: A cross‑resonance modulator feeds a stereo tremolo, which in turn feeds two echo blocks panned left and right; Envelope increases the tremolo rate. The Bank B version uses a resonator instead of the cross‑modulator, and Envelope is used to increase the modulation speed and decrease the resonator tuning.
• SWEEP: Stereo glide combined with stereo echo produces a dynamic detuning effect with echo. Envelope decreases the glide depth. In Bank B, the stereo glide block is replaced by a multi‑vibrato block, and Envelope decreases the vibrato depth.
• SHADOW: Despite the complex mix of stereo echoes, top‑cut filters and X‑Res modulation, what we have here is a Shadows tape echo simulation, where envelope decreases both the echo feedback and the echo output level. Bank B is similar sounding, although it uses a totally different algorithm fed via a low‑pass filter, where Envelope raises the cutoff frequency.
v CYCLOID: A stereo echo treatment where the tone of the signals feeding the echo blocks is continually varied. Envelope raises the filter cutoff frequency. The Bank B version places the filter block after the delays, and Envelope is used to increase the speed of the filter modulation.
• BLEEN: What can I say? A resonator, followed by amplitude modulation, followed by echo and pan. This has a nasty ring modulator tone about it, where Envelope increases the modulation rate and shifts the resonator tuning downwards. Version B sounds just about as evil, with Envelope controlling detune. The best thing about this patch is the name.
• FRACTAL: More echo, pan and glide, which creates a novel stereo effect. Envelope decreases the feedback, so loud signals increase the amount of input signal in the mix, while softer signals create more feedback. The same algorithm is used for both A and B versions, but with different parameters.
Effects Parameters
• Echo 2
• Echo 1
• Envelope
• Morph A/B
• Echo FX Level
• Mod FX Level
• Output
• Mix
• Resonance 2
• Depth 2
• Rate 1
• Resonance 1
• Depth 1
• Rate 1
• Feedback 2
• Feedback 1
Pros
• Simple to use.
• Friendly Tape Tempo delay facility.
• Unique morphing concept.
• Real‑time control via pedal and sound envelope.
Cons
• No MIDI real‑time morphing control.
Summary
An novel and individual live effects unit that feels a little out of place in the studio. Best suited to the gigging player who also records, and who doesn't want to be bothered with MIDI control.