LXR_manual

OWNERS MANUAL

TABLE OF CONTENTS

1 INTRO

2 OVERVIEW

2.1. Front

2.2. Back

2.3. Menu Navigation

3 QUICK START

4 MEMORY MANAGEMENT

4.1. SD Card

4.2. Projects

4.3. Kits

4.4. Patterns

4.5. Songs

5 VOICES

5.1. Drum voices (voice 1-3)

5.2. Snare voice (voice 4)

5.3. Cymbal/Clap (voice 5)

5.4. Hi-hat voice (6)

5.5. Voice parameter menu sections

Oscillator Page (OSC)

Amplitude Envelope Page (AEG)

Modulation Page (MOD)

Frequency Modulation Page (FM)

Transient Generator Page (Click)

Filter Page (FIL)

LFO Page (LFO)

Mixer Page (Mix)

6 SEQUENCER

6.1. Tracks

Select tracks

Mute tracks

Unmute all tracks

Track length

6.2. Bars

6.3. Steps

6.4. Step parameters

Available Step Parameters

6.5. Automation

Choosing the active automation track

How to assign parameter automation

Clear automation data

6.6. Pattern

Basic pattern editing

6.7. Copy sequencer data

6.8. Clear sequencer data

Clear Pattern

Clear Track

7 OPERATION MODES

7.1. Voice edit mode

Pattern editing

Sound editing

Clear kit / Init sound

7.2. Step (Edit) mode

Step Parameter editing

7.3. Performance Mode

Basic performance menu

Manual Roll

Morph

Shuffle

7.4. Loading and saving

Display description

Menu navigation

Kits

Morph Kits

Songs

Patterns

Project

7.5. Pattern Generator Mode

Menu location

Pattern generator menu

Generating patterns

7.6. Global settings menu

Menu location

Menu options

Screensaver

Loading and saving of global settings

7.7. Pattern Menu

Changing the pattern

7.8. Song Mode

Editing songs

Using the sequencer buttons to add patterns

Inserting an removing lines

Special Patterns

Playing a song

7.9. FX Mode

Menu location

Drive

Ringmodulator

Compressor

Delay

7.10. Reload Button

8 SYNTH MODULES

8.1. Oscillator

8.2. Filter

Frequency

Resonance

Drive

Filter types

8.3. Envelopes

Attack/Decay times

Slope

Repeat

8.4. Transient generator

Snappy mode

Offset mode

Sample mode

Parameters

8.5. Sample Rate Reduction

8.6. Distortion

8.7. LFO

Setting up modulations

8.8. Velocity modulation

8.9. Output Routing

9 MIDI

9.1. MIDI channel

Global MIDI channels

Voice MIDI channel

9.2. Midi routing (midi soft thru)

9.3. MIDI filtering

9.4. MIDI Sync

9.5. Record incoming MIDI

Recording melodies

9.6. Transmitting sequencer data to the MIDI out

9.7. MIDI CC list

9.8. MIDI NRPN list

10 FIRMWARE UPDATE

10.1. Update procedure

10.2. Bootloader error messages

11 INTRODUCTION TO DRUM SYNTHESIS

11.1. Kicks

11.2. Snare

11.3. Clap

11.4. Hi-hat

11.5. Cymbal ride

11.6. Bells

Realistic bells

808 style cowbell

11.7. More info about drum sound design

12 TECHNICAL INFORMATION

12.1. Electrical Specification

12.2. Hardware

12.3. Physical Specification

1 INTRO

2 OVERVIEW

2.1. Front

2.2. Back

2.3. Menu Navigation

3 QUICK START

4 MEMORY MANAGEMENT

4.1. SD Card

4.2. Projects

4.3. Kits

4.4. Patterns

4.5. Songs

5 VOICES

5.1. Drum voices (voice 1-3)

5.2. Snare voice (voice 4)

5.3. Cymbal/Clap (voice 5)

5.4. Hi-hat voice (6)

5.5. Voice parameter menu sections

Oscillator Page (OSC)

Amplitude Envelope Page (AEG)

Modulation Page (MOD)

Frequency Modulation Page (FM)

Transient Generator Page (Click)

Filter Page (FIL)

LFO Page (LFO)

Mixer Page (Mix)

6 SEQUENCER

6.1. Tracks

Select tracks

Mute tracks

Unmute all tracks

Track length

6.2. Bars

6.3. Steps

6.4. Step parameters

Available Step Parameters

6.5. Automation

Choosing the active automation track

How to assign parameter automation

Clear automation data

6.6. Pattern

Basic pattern editing

6.7. Copy sequencer data

6.8. Clear sequencer data

Clear Pattern

Clear Track

7 OPERATION MODES

7.1. Voice edit mode

Pattern editing

Sound editing

Clear kit / Init sound

7.2. Step (Edit) mode

Step Parameter editing

7.3. Performance Mode

Basic performance menu

Manual Roll

Morph

Shuffle

7.4. Loading and saving

Display description

Menu navigation

Kits

Morph Kits

Songs

Patterns

Project

7.5. Pattern Generator Mode

Menu location

Pattern generator menu

Generating patterns

7.6. Global settings menu

Menu location

Menu options

Screensaver

Loading and saving of global settings

7.7. Pattern Menu

Changing the pattern

7.8. Song Mode

Editing songs

Using the sequencer buttons to add patterns

Inserting an removing lines

Special Patterns

Playing a song

7.9. FX Mode

Menu location

Drive

Ringmodulator

Compressor

Delay

7.10. Reload Button

8 SYNTH MODULES

8.1. Oscillator

8.2. Filter

Frequency

Resonance

Drive

Filter types

8.3. Envelopes

Attack/Decay times

Slope

Repeat

8.4. Transient generator

Snappy mode

Offset mode

Sample mode

Parameters

8.5. Sample Rate Reduction

8.6. Distortion

8.7. LFO

Setting up modulations

8.8. Velocity modulation

8.9. Output Routing

9 MIDI

9.1. MIDI channel

Global MIDI channels

Voice MIDI channel

9.2. Midi routing (midi soft thru)

9.3. MIDI filtering

9.4. MIDI Sync

9.5. Record incoming MIDI

Recording melodies

9.6. Transmitting sequencer data to the MIDI out

9.7. MIDI CC list

9.8. MIDI NRPN list

10 FIRMWARE UPDATE

10.1. Update procedure

10.2. Bootloader error messages

11 INTRODUCTION TO DRUM SYNTHESIS

11.1. Kicks

11.2. Snare

11.3. Clap

11.4. Hi-hat

11.5. Cymbal ride

11.6. Bells

Realistic bells

808 style cowbell

11.7. More info about drum sound design

12 TECHNICAL INFORMATION

12.1. Electrical Specification

12.2. Hardware

12.3. Physical Specification

1 INTRO

2 OVERVIEW

2.1. Front

2.2. Back

2.3. Menu Navigation

3 QUICK START

4 MEMORY MANAGEMENT

4.1. SD Card

4.2. Projects

4.3. Kits

4.4. Patterns

4.5. Songs

5 VOICES

5.1. Drum voices (voice 1-3)

5.2. Snare voice (voice 4)

5.3. Cymbal/Clap (voice 5)

5.4. Hi-hat voice (6)

5.5. Voice parameter menu sections

Oscillator Page (OSC)

Amplitude Envelope Page (AEG)

Modulation Page (MOD)

Frequency Modulation Page (FM)

Transient Generator Page (Click)

Filter Page (FIL)

LFO Page (LFO)

Mixer Page (Mix)

6 SEQUENCER

6.1. Tracks

Select tracks

Mute tracks

Unmute all tracks

Track length

6.2. Bars

6.3. Steps

6.4. Step parameters

Available Step Parameters

6.5. Automation

Choosing the active automation track

How to assign parameter automation

Clear automation data

6.6. Pattern

Basic pattern editing

6.7. Copy sequencer data

6.8. Clear sequencer data

Clear Pattern

Clear Track

7 OPERATION MODES

7.1. Voice edit mode

Pattern editing

Sound editing

Clear kit / Init sound

7.2. Step (Edit) mode

Step Parameter editing

7.3. Performance Mode

Basic performance menu

Manual Roll

Morph

Shuffle

7.4. Loading and saving

Display description

Menu navigation

Kits

Morph Kits

Songs

Patterns

Project

7.5. Pattern Generator Mode

Menu location

Pattern generator menu

Generating patterns

7.6. Global settings menu

Menu location

Menu options

Screensaver

Loading and saving of global settings

7.7. Pattern Menu

Changing the pattern

7.8. Song Mode

Editing songs

Using the sequencer buttons to add patterns

Inserting an removing lines

Special Patterns

Playing a song

7.9. FX Mode

Menu location

Drive

Ringmodulator

Compressor

Delay

7.10. Reload Button

8 SYNTH MODULES

8.1. Oscillator

8.2. Filter

Frequency

Resonance

Drive

Filter types

8.3. Envelopes

Attack/Decay times

Slope

Repeat

8.4. Transient generator

Snappy mode

Offset mode

Sample mode

Parameters

8.5. Sample Rate Reduction

8.6. Distortion

8.7. LFO

Setting up modulations

8.8. Velocity modulation

8.9. Output Routing

9 MIDI

9.1. MIDI channel

Global MIDI channels

Voice MIDI channel

9.2. Midi routing (midi soft thru)

9.3. MIDI filtering

9.4. MIDI Sync

9.5. Record incoming MIDI

Recording melodies

9.6. Transmitting sequencer data to the MIDI out

9.7. MIDI CC list

9.8. MIDI NRPN list

10 FIRMWARE UPDATE

10.1. Update procedure

10.2. Bootloader error messages

11 INTRODUCTION TO DRUM SYNTHESIS

11.1. Kicks

11.2. Snare

11.3. Clap

11.4. Hi-hat

11.5. Cymbal ride

11.6. Bells

Realistic bells

808 style cowbell

11.7. More info about drum sound design

12 TECHNICAL INFORMATION

12.1. Electrical Specification

12.2. Hardware

12.3. Physical Specification

INTRO

THANK YOU FOR PURCHASING THE ERICA SYNTHS X

SONIC POTIONS LXR-02 SYNTHESIZER!

The LXR is a fully-fledged digital drum machine with

an integrated sequencer. Its sound engine provides

6 different instruments, each with over 30

parameters to tweak. It can produce a wide variety

of sounds, ranging from classic analogue

emulations to crunchy digital mayhem.

DISPLAY

The display is used to show parameter values

from the selected menu page.

KNOBS

The 4 encoders are used to edit the values

shown in the display above.

In this first chapter we will focus on the physical

appearance of the LXR, describing the front panel

controls as well as the connection jacks on the

back. Further, the basic menu navigation is

explained.

OVERVIEW

RECORD/PLAY BUTTONS

The PLAY button starts and stops the playback.

The current pattern is reset to the first step when

the sequencer is re-started.

The RECORD button activates the recording

function. If the LED is lit, all incoming MIDI notes

will be recorded to the active pattern. Knob

movements will also be recorded to the selected

automation track.

SHIFT BUTTON

Activates an alternate function set for some

buttons, indicated by the white background labels.

COPY/CLEAR BUTTON

Copy and clear sequencer and kit data.

16 SEQUENCER BUTTONS

Function depending on active mode

> Voice mode: set and clear active steps in the

sequencer.

> Performance Mode: Buttons 1 to 7 are used to

trigger manual rolls. Buttons 8-16 are unused at

the moment.

> Step Edit Mode: select a step to edit the step

parameters.

> Used together with the shift button, to access

special menus.

ENCODER

Navigate through the menu.

VOLUME FADERS

There are 6 faders that control the volume of the

individual voices as well as a main volume fader.

BAR BUTTONS

To edit a 64 step Pattern with only 16 sequencer

buttons, the pattern is split into 4 bars with 16

steps each. The bar buttons are used to select

which of the 4 bars to show on the buttons.

7 VOICE BUTTONS

The voice buttons select the active track to edit.

Together with the shift key they will mute/unmute

the voices.

4 MODE BUTTONS

Switch between the 4 main operating modes.

VOICE - Voice edit mode (a second push toggles

step edit mode)

PERF - Performance mode [Pattern generator

mode]

LOAD – Load data

SAVE – Save data

8 SELECT BUTTONS

Select the synthesis section to edit (Oscillators,

Mixer, Envelopes etc.)

2.1. FRONT

LXR OWNERS MANUAL 7

1st bar

1-16

2nd bar

17-32

3rd bar

33-48

4th bar

49-64

LXR OWNERS MANUAL8

PHONES CONNECTOR

3.5 mm audio output for stereo headphones.

AUDIO OUTS

4 x 1/4” mono audio, line-level (+4dBu) outputs. Can

be used as stereo output pairs as well.

MIDI OUT

MIDI output

MIDI IN

MIDI input with soft thru option.

USB

Electrically isolated hi-speed USB 2.0 port. Class

compliant USB MIDI interface to connect the LXR

to a computer.

SD CARD

Memory card slot to save project data.

ANALOGUE CLOCK IO

Clock IO for synchronization with analogue gear

using 5V signal levels.

The upper row of the display will show the short name of

the parameter. The bottom row shows the value of the

parameter. You can change the value using one of the 4

knobs below the display.

POWER

Switch for turning the unit on and off.

DC IN

Center positive 5.5 × 2.5 mm barrel jack, 12 V DC, 1 A.

> The encoder selects a menu parameter. Capital

letters highlight the selected parameter. In our

example picture above, the 'RES' parameter is selected.

> If there are more than 4 entries in the current

menu, the next page will be shown if you scroll over

the screen boundary. A '>' or '<' sign in the right

upper corner indicates if there is a 2nd page

available and which page is active. The 2 pages of a

menu can be toggled by pressing the menu button

again.

If you push the encoder the detail page is shown

On the detail page you can see the full name of the

parameter and change its value using the encoder.

This is good for fine adjustments, where the knob

control is too coarse. By pushing the encoder again,

you return to the normal menu mode.

2.2. BACK

2.3. MENU NAVIGATION

frq

RES

120

typ

drv >

Filter

Resonance

120

3 4

LXR OWNERS MANUAL 9

QUICK START

The LXR-02 comes with

a universal wall wart

PSU for worldwide use.

Install the appropriate

adapter on the PSU

and connect the LXR to

a power outlet. Use

cables with 6.3mm

jacks to connect the

main output to the

mixer and start making

beats!

The fastest way to get some beats out of your new box!

> Make sure the SD card is inserted in the LXR

> Power up the synth.

> Press the PLAY button. The chaselight starts running.

> Adjust the volume faders so they are not at zero volume.

> Use the 16 SEQUENCER buttons to activate some steps. Now you should hear the

first voice playing.

> Use the 7 VOICE buttons to change the active track/voice

> Again, use the 16 SEQUENCER buttons to activate some steps. The next voice should

now play as well.

> Press the LOAD + KIT (Step 8) buttons together. You are now in the kit load mode.

> Use the encoder to select another preset. Confirm the selection by pushing the

encoder. This will load a new kit and the sound will change accordingly.

The following image outlines the LXR's data structure.

MEMORY MANAGEMENT

The LXR operates with all data (Kits, Patterns, Songs etc)

loaded into the internal RAM. The data is loaded from the

SD card during power up. All edits are made to the volatile

copy of the files in RAM. If you power down the LXR

without manually saving the project, all changes will be

lost! Data will only be written back to the SD card for

permanent storage once a PROJECT is saved!

64 KITS 64 SONGS64 PATTERNS

7 VOICE TRACKS6 INSTRUMENTS 64 PATTERN SLOTS

PROJECT

64 STEPS

SD CARD

LXR OWNERS MANUAL10

4.1. SD CARD

The memory card is used as non volatile storage. Without a memory

card you are not able to save your work!

4.2. PROJECTS

The LXR can handle 64 projects stored on the SD card. A project

consists of 64 Kits, Patterns and Songs as well as the project setting

files. Projects are created as folders on the memory card.

4.3. KITS

A kit contains the instrument data for the 6 Voices. All synthesis

parameters are stored here. Kits are stored as .SND binary files inside

the Project folder. The factory preset kits are developed by Leoš Hort

aka hrtl.

4.4. PATTERNS

A Project contains 64 Patterns, each with 7 Tracks containing 64 Steps

in 4 Bars. Patterns contain the note and automation data for each

instrument. They are saved as .PAT files inside the project folder.

4.5. SONGS

A Project contains 64 Songs. Each song is a list with up to 64 Patterns

that will be played one after another.

The LXR offers 6 voices. They are optimized for different kinds of drum sounds. The type of

a voice can not be changed. There are 3 drum voices, a subtractive clap/snare voice, an FM

percussion voice and a hi-hat voice. In this chapter a diagram of the synthesis structure is

shown for each voice type, then the parameters are explained. Let's take a closer look at

the voice types.

VOICES

5.1. DRUM VOICES (VOICE 1-3)

The drum voices are useful but not limited to kick drums, toms, cowbells and other drum

sounds.

AMP VOL EG

OSCILLATOR

MIX MODE

FM MODE

PITCH EG FILTER AMP

TRANSIENT

GENERATOR

DISTORTION

SAMPLE

REDUCER

OSCILLATOR

LXR OWNERS MANUAL 11

5.5. VOICE PARAMETER MENU SECTIONS

The synthesis parameters of each voice can be altered in voice edit mode. The

synthesis engine is grouped into 8 different sections that can be selected with the

select buttons. In this section each of those 8 menu pages and their parameters

are described.

OSCILLATOR PAGE (OSC)

Provides access to the main oscillator parameters. Frequency and waveform of

the main oscillator can be set here.

OSCILLATOR OSCILLATOR

OSCILLATOR

VOL EG

FILTER

AMP

DISTORTION

SAMPLERATE

REDUCER

TRANSIENT

GENERATOR

OSCILLATOR OSCILLATOR

OSCILLATOR

VOL EG

FILTER

AMP

DISTORTION

SAMPLERATE

REDUCER

TRANSIENT

GENERATOR

PITCH EG

VOL EG

OSCILLATOR AMP DISTORTION

SAMPLERATE

REDUCER

TRANSIENT

GENERATOR

FILTERNOISE

5.2. SNARE VOICE (VOICE 4)

This voice is good for snare-drum and clap sounds. A noise source and a

pitched oscillator can be mixed. Only the noise source is routed trough the filter.

There is no FM capability on this voice.

5.4 HI-HAT VOICE (6)

The hi-hat voice is nearly identical to the Cymbal voice, but it offers 2 different

decay times for the amplitude envelope. The voice is shared between sequencer

tracks 6 and 7, each using one of the 2 available decay times. This allows for playing

open and closed hi-hats. The closed hat (track 6) will choke the open hat (track 7).

5.3. CYMBAL/CLAP (VOICE 5)

This voice uses a 3 operator FM to generate the sound. The main oscillator is

modulated by 2 modulation oscillators. It's great for metallic and noisy sounds!

LXR OWNERS MANUAL12

AMPLITUDE ENVELOPE PAGE (AEG)

Each voice has an amplitude envelope. The common parameters are attack and

decay time as well as the slope of the curve.

Drum 1-3, Clap, Hi-Hat

Displayed name Name Description

Coarse tuning of the main oscillator

in semitones.

coa Coarse tune

Fine tuning of the main oscillator

+/- 50 cent.

fin Fine tune

The waveform of the main oscillator.

wav Waveform

If the PWM waveform is selected,

its duty cycle can be adjusted here.

pwm Pulsewidth

Drum 1-3

Displayed name Name Description

Rise time of the envelope.

att Amplitude envelope attack

Fall time of the envelope.

dec Amplitude envelope decay

Variable slope from exp to linear

to logarithmic.

slp Amplitude envelope slope

Hi-Hat

Displayed name Name Description

Rise time of the envelope.

att

Amplitude envelope attack

Envelope fall time for the hi-hats.

D1 / D2 Closed / Open hi-hat

decay time

Variable slope from exp to lin to log.

slp

Amplitude envelope slope

Snare/Cymbal

Displayed name Name Description

Rise time of the envelope.

att Amplitude envelope attack

Fall time of the envelope.

dec Amplitude envelope decay

Number of retriggers.

rpt Repeat count

Variable slope from exp to linear

to logarithmic.

slp Amplitude envelope slope

Snare

Displayed name Name Description

Coarse tuning of the main oscillator

in semitones.

coa Coarse tune

Fine tuning of the main oscillator

+/- 50 cent.

fin Fine tune

Coarse tuning of the noise

oscillator.

noi Noise frequency

Mix ratio between oscillator and

noise source.

mix Oscillator mix

The waveform of the main

oscillator.

wav Waveform

If the PWM waveform is selected,

its duty cycle can be adjusted here.

pwm Pulsewidth

LXR OWNERS MANUAL 13

MODULATION PAGE (MOD)

The modulation page contains the velocity modulation parameters. Here you can turn

the velocity volume modulation on and off and route the note velocity to any synthesis

parameter you like. If the selected voice offers a second envelope, it's parameters can

be found on the modulation page as well.

FREQUENCY MODULATION PAGE (FM)

The FM page hosts the frequency, waveform and modulation amount settings for

the FM oscillators.

Drum 1-3, Snare

Displayed name Name Description

Fall time of the envelope.

dec Modulation envelope decay

Variable slope from exp to

linear to logarithmic.

slp Modulation envelope slope

Amount of the velocity

modulation.

amt Velocity mod. amount

Can be either On or Off.

If activated the note velocity

controls the voice volume.

vol Velocity to volume modulation

The note velocity can be routed

to any voice parameter. Here you

can select the target from a list.

dsr Velocity mod. destination

> Controls how strongly the

envelope modulates its target.

> The envelope is hardwired to

the pitch. This parameter controls

the pitch modulation intensity.

> In FM mode the EG is

additionally hardwired to the FM

amount.

mod Modulation envelope amount

Clap, Hi-Hat

Displayed name Name Description

The note velocity can be routed

to any voice parameter. Here you

can select the target from a list.

dst Velocity mod. destination

Amount of the velocity modulation.

amt Velocity mod. amount

Can be either On or Off. If

activated the note velocity

controls the voice volume.

vol Velocity to volume

modulation

Displayed name Name Description

FM mode: modulation amount

Mix mode: Mix ratio of the 2 OSCs.

amt Modulation amount

[mix ratio]

Coarse tuning of the FM oscillator

in semitones.

frq Frequency of the FM OSC

The waveform of the FM oscillator.

wav Waveform of the FM OSC

FM mode: the main OSC is

modulated by the FM OSC

Mix mode: The main OSC and FM

OSC are mixed.

mod Oscillator mode

LXR OWNERS MANUAL14

SNARE

Voice 4 offers no FM capabilities at the moment, so the Page is empty.

TRANSIENT GENERATOR PAGE (CLICK)

The transient generator parameters are the waveform, volume and frequency of

an additional short attack transient that can be mixed to the voice output.

Clap, Hi-Hat

Displayed name Name Description

Frequency of the first modulation oscillator.

wav

vol

frq

Transient wave shape

Transient volume

Transient frequency

frq

res

typ

drv

Manual LFO rate control. Only

available when sync is turned off!

Activates the LFO clock sync. Different

sync rates can be selected (½, ¼ etc.).

Controls how strongly the LFO signal

affects the target.

Select the LFO waveform.

> Sine (sin)

> Triangle (tri)

> Saw up (sup)

> Saw down (sdn)

> Square (sqr)

> Random (rnd)

> Exponential saw up (xup)

> Exponential saw down (xdn)

Filter frequency

Filter resonance

Filter type

Filter drive

Changes the cutoff frequency of the filter.

Adjusts the filter resonance.

Selects the filter characteristic.

Increases the input gain of the filter.

Selects the transient sample to play.

Volume of the transient sample.

Frequency of the transient sample.

Frequency 1

Frequency of the second modulation oscillator.

f2 Frequency 2

Gain of the first modulation oscillator.

g1 Gain 1

Gain of the second modulation oscillator.

g2 Gain 2

Waveform of the first modulation oscillator.

wav Waveform 1

Waveform of the second modulation oscillator.

wav Waveform 2

Displayed name Name Description

FILTER PAGE (FIL)

All parameters of the filter are on this page. The available parameters are

frequency, resonance, type and drive.

Displayed name Name Description

LFO PAGE (LFO)

Each voice has an LFO that can be edited on this page.

Displayed name Name Description

frq

snc

mod

wav

LFO frequency

LFO sync

Modulation amount

LFO waveform

LXR OWNERS MANUAL 15

Allows the LFO to be retriggered from

different sequencer tracks. Select the

voice that should retrigger the LFO (v1-v6)

and it will reset its phase whenever a

note is played on the selected track.

When the LFO is retriggered, it is reset to

the selected phase offset.

Select the target voice. This parameter

will change the displayed target list of the

destination select parameter.

Select the parameter to modulate. It shows

a list with the short names from all the

parameters of the selected target voice.

MIXER PAGE (MIX)

The mixer page provides access to volume, panning, routing, voice FX and

sequencer track length.

Displayed name Name Description

Adjusts the volume of the voice.

vol Voice volume

Voice panning. Only active if output

is set to a stereo channel.

pan Voice panning

Sample rate decimation.

sr Sample rate

Soft clipping amount.

drv Drive

Selects the hardware audio out for

this voice. The voice can either be

routed to one of the 2 stereo channels

or use the 4 outputs as individual

mono channels or the FX bus.

out Output

The length of the sequencer track

in 16th steps.

len Track length

MIDI channel the voice responds to.

ch MIDI channel

MIDI note the instrument responds to.

If set to “any”, the voice can be played

tonally with all notes on the channel.

nte Note

The synth has a sequencer to play and program different drum patterns. The basic

functionality is quite similar to the well known TR-x0x machines, but there is more to it.

SEQUENCER

6.1. TRACKS

The drum voices are useful but not limited to kick drums, toms, cowbells and other

drum sounds.

SELECT TRACKS

The active track can be changed with the 7 VOICE buttons below the volume faders.

A lit LED on the button shows the selected track.

MUTE TRACKS

If the SHIFT button is held, the sequencer tracks can be muted with the VOICE

buttons. The LEDs of the unmuted voices will light up.

While in performance mode, the function of the VOICE buttons is

inverted. They mute/unmute the tracks without holding SHIFT. This

allows for single-handed operation.

rtg

off

voi

dst

LFO retrigger

Phase offset

Destination voice

Destination select

parameter

LXR OWNERS MANUAL16

Displayed name Name Description

Note on velocity of the step (0-127). Can be used

as a mod source on the voice modulation page.

vel Step Velocity

MIDI Note number to play [C0:G10]. The note value

also depends on the set tuning of the OSC.

nte Step Note

The chance of the step being played as percent

value. If set to '0%' the step will never be played,

set to '50' and there is a 50% chance it will be

played, '100%' always plays the step.

prb Step Probability

UNMUTE ALL TRACKS

To unmute all muted tracks simultaneously, go to performance mode and hold

down the SHIFT button. Now the VOICE buttons will unmute all tracks up to the

selected track.

An example:

SHIFT + VOICE Button 4 = track 1, 2, 3 and 4 will be unmuted.

SHIFT + VOICE Button 7 = all tracks are unmuted.

TRACK LENGTH

There are multiple ways to set the track length

Mixer Page length parameter

The length of a track can be set on the mixer page of the corresponding voice

with the “len” parameter. Tracks can be anywhere from 1 to 64 steps.

Last Step Button

Another way to set the track length is to use the Last Step button.

> Press SHIFT + LAST STEP (seq 14).

> Use the SEQUENCER buttons to select the new last step.

> Use the BAR buttons to select steps above step 16.

> You can also set last step with the encoder.

> You can choose the track for which to edit the last step with the voice buttons.

> SHIFT + double LAST STEP key press enters the page where you can set last

step for all tracks at the same time.

> To exit the LAST STEP page press the VOICE button!

Bar Buttons

You can also use the BAR buttons to change the track length.

SHIFT + BAR UP extends the track length by 16 steps.

SHIFT + BAR DOWN shrinks the track length by 16 steps.

If you want, you can extend the track and copy the step data from steps 1-16 to

the steps 17-32, use COPY + BAR to fill the next bar with the current bar data.

6.2. BARS

A pattern contains up to 4 bars, each with 16 steps. The SEQUENCER buttons only

show 16 steps at a time. To view the next or previous bar, the BAR UP and BAR DOWN

buttons are used. You can also enable bar following in the configure menu with FLW

setting!

6.3. STEPS

There are up to 64 steps per track. Steps can be set/removed using the 16 sequencer

buttons.

6.4. STEP PARAMETERS

Each step has a set of parameters. To edit the step parameters in voice edit mode,

hold down the shift button. The display will now show the step parameter page and

the LED of the selected step will start flashing.

AVAILABLE STEP PARAMETERS

The display shows the following parameters:

Edit automation using the step edit menu

The automation data can also be edited manually.

> Go to the step parameter menu. (step edit mode, blinking voice mode LED).

> Use the encoder to scroll to page 2.

> There you will see:

The manual edit is the only way to assign parameter automations from one track to

another. It is advised to edit the target parameter in edit mode (push encoder), since

only then the full names as well as the destination voice is shown.

CLEAR AUTOMATION DATA

A whole automation track can be cleared.

> Hold down SHIFT and press the COPY/CLEAR button.

> While still holding the SHIFT button, use the encoder to select 'Clear [autom.1/2]?' on

the display.

> Press COPY/CLEAR again to confirm, release the SHIFT button to abort the action.

6.6. PATTERN

A set of all 7 tracks is called a pattern. You can chain different patterns to be played

after one another. See the song mode section for more information.

LXR OWNERS MANUAL 17

Displayed name Name Description

Select the target voice parameter from a list.

Set the parameter to this value on this step.

Select the target voice parameter from a list.

Set the parameter to this value on this step .

p1d

p1v

p2d

p2v

Parameter 1 Destination

Parameter 1 Value

Parameter 2 Destination

Parameter 2 Value

6.5. AUTOMATION

Parameter values can be recorded to the sequencer steps. Each step can store

2 parameter changes. They affect only a single step and are not processed if

the step is inactive. The modulation targets can be different on every step.

CHOOSING THE ACTIVE AUTOMATION TRACK

Before you start recording parameter changes select the active automation

track. There are 2 automation tracks per voice. You have to select the active

track before you record new data. If data is already present on the active track,

it will be overwritten!

> Hold SHIFT and press the REC button. The record options are shown in the

menu.

> The parameter ("trk") selects the active automation track to which the data

will be recorded.

HOW TO ASSIGN PARAMETER AUTOMATION

There are several ways to assign automation parameters to a step:

Realtime recording

> Activate the recording mode by pressing the REC button. The record LED will

light up.

> While the pattern is playing, tweak some sound parameters using the knobs.

The parameter changes will be recorded to the played steps.

Lock parameter values to a single step using the 4 knobs

You can also assign a parameter change directly to a single step.

> In voice edit mode, hold down the SEQUENCER button.

> The LED of the step starts blinking.

> Use one of the 4 knobs to assign a parameter value to the step.

> Release the SEQUENCER button.

> The changed parameter is now locked to this step.

BASIC PATTERN EDITING

Basic pattern editing is done in VOICE edit mode. Select the track you want to edit

with the VOICE buttons. The step data will be displayed on the 16 sequencer button

LEDs. You can then use the SEQUENCER buttons to set and remove steps.

6.7. COPY SEQUENCER DATA

You can copy the content of one track to another:

> Push and hold the COPY button.

> It’s LED will start flashing.

> Now, while still holding the COPY button, press the VOICE button of the track you

want to copy.

> The voice button will flash, too.

> Now push the target VOICE button of the track you want to copy to.

> All buttons stop flashing and the track is copied to the destination.

> To abort the process, just release the copy button.

6.8. CLEAR SEQUENCER DATA

The sequencer data can be cleared to start over from an empty track or pattern.

CLEAR PATTERN

The whole pattern with all tracks will be cleared.

> Press SHIFT + CLEAR

> Use the encoder to select “clear [pattern]?” on the display.

> Push CLEAR again to confirm or release the SHIFT button to abort.

CLEAR TRACK

To clear a single track in the pattern:

> Use the VOICE buttons to select the track you want to clear.

> Press SHIFT + CLEAR

> Use the encoder to select “clear [track]?” on the display.

> Push CLEAR again to confirm or release the SHIFT button to abort.

There are different modes for different tasks. Voice editing, performance or

generating patterns.

The main modes are accessible with the 4 MODE buttons. Further modes and

menus are available as alternate SHIFT functions on the SEQUENCER buttons.

7.1. VOICE EDIT MODE

The voice edit mode is used to modify the sound parameters and to do basic

pattern editing.

LXR OWNERS MANUAL18

OPERATION MODES

The parameters of the selected synthesis page are shown on the display.

Knobs are used to edit the visible parameters.

The SEQUENCER buttons are used to set and remove steps of the current

track.

The BAR buttons can be used to edit more than 16 steps. Up to 4 bars,

each with 16 steps, can be used per pattern.

The VOICE buttons select the voice and sequencer track to edit. Together

with the SHIFT button they are used to mute single voices.

The SELECT buttons are used to select the active synthesis page

(oscillator, envelope, mixer...).

LXR OWNERS MANUAL 19

PATTERN EDITING

The 16 SEQUENCER buttons are used to set and remove steps in the selected pattern. Each button

is a 16th note from a 4/4 bar. If a step is set, the LED in the button is lit.

SOUND EDITING

> The 7 VOICE buttons (10) select the active voice, which is indicated by a lit LED.

> The parameters of the voice are divided into several pages which can be selected using the 8

SELECT buttons (12).

> Each voice type has its own set of parameters, but the overall page structure is the same for all

voices.

> Parameters in the display can be edited using the 4 encoders below.

Parameter editing

As an example lets

take a look at the

filter page:

To change the frequency of the filter of voice 3

> Press ' VOICE Button 3' to select the voice.

> Press ' SELECT button 6' to show the filter page.

> Use the first knob to adjust the 'frq' parameter.

CLEAR KIT / INIT SOUND

If you want to start over with a fresh sound, you can use the

‘clear kit’ option.

> Press and hold SHIFT + COPY = CLEAR and use the encoder to

select “Clear [kit]?”

> Confirm the selection by pushing the CLEAR button again.

The kit will now revert back to the init sound.

7.2. STEP (EDIT) MODE

This Mode is used to edit the step parameters volume, note

value and probability as well as automation data. You can enter

the step edit mode by hitting the VOICE button again, when you

are in voice mode. It is indicated by a blinking voice LED.

The VOICE button will toggle between voice and step mode.

Did you know?

If you have a MIDI keyboard connected, you can enter

NOTE values for a step via MIDI in Step Edit Mode.

Frq

res

120

typ

drv

LXR OWNERS MANUAL20

Displayed name Name Description

Adjust the tempo of the sequencer.

Setting it to 0 or ‘Ext’ will enable slave

mode to sync the LXR to external MIDI

or clock sources.

bpm Tempo

Adjust the trigger rate for manual roll

function of sequencer buttons 1 to 7.

rol Manual roll rate

Ratio between the original sound and

the morph target.

mrp Morph amount

A global sample rate reduction effect.

sr Global samplerate

Sets the amount of global shuffle.

shu Shuffle amount

STEP PARAMETER EDITING

Step parameters consist of note value, velocity, probability and the parameter

automation. You can find more information in the step parameter section of the manual.

> Select the step you want to edit using the SEQUENCER buttons.

> The selected step button starts to blink.

> The display will show the step parameters.

> Use the knobs and encoder to change parameters.

> A flashing LED indicates the selected step on the sequencer buttons.

> You can select another step using the 16 SEQUENCER buttons.

7.3. PERFORMANCE MODE

This mode is designed to jam live. You can trigger manual rolls for each voice and access

the morph and global sample rate FX. Voice editing is not possible in this mode.

BASIC PERFORMANCE MENU

In performance mode the display shows a set of 5 parameters.

MANUAL ROLL

The first 7 sequencer buttons trigger a manual roll for each corresponding

voice. The roll rate can be adjusted in the menu using the 'rol' parameter. Rolls

are recorded to the pattern when the recording mode is active.

MORPH

The morph feature allows you to morph from one preset sound to another. You

can load any preset from the SD card as a morph target. The Morph amount

value controls the ratio between the original and the target sound. As the

morph parameter is increased, the current sound is gradually transformed into

the selected morph target sound.

For an explanation how to load a morph target, see the LOAD AND SAVE MODE

section of this chapter.

SHUFFLE

The shuffle function will shift the position of every other 16th note

The original pattern timing looks like this:

7.4 .LOADING AND SAVING

When the LXR is turned on, a project is automatically loaded from the SD card to

the machine's memory.

With increased shuffle every other 16th note is delayed, thus shifted in the

direction of the next 16th note:

x x

x x x

x x xx

x x x x x x x x x

LXR OWNERS MANUAL 21

After this initial load, all changes made are temporary. If another kit is selected, all

changes to the current kit are lost. If a pattern is changed, all changes to the

current pattern are lost.

To make these changes permanent for the current session, you have to manually

save the kit, pattern or song to commit them to the LXR's memory. To make them

persistent over reboots, you have to save the project back to the SD card.

Quick naming scheme

To speed up the name entry on the save page you can also use the knobs below the

display. If the cursor is in the name area the knobs have the following functions:

> The first knob selects the cursor position.

> The second knob switches between upper and lower case letters.

> The third knob scrolls through the available default ASCII characters.

KITS

Kits are sound presets and contain all synthesis parameters of the 6 voices. A

project contains 64 kits.

> Press LOAD + KIT

> Select a new kit with the encoder.

> To load the selected kit push the encoder.

> The kit sound will play immediately.

> Unsaved changes to the previous kit are lost.

Saving

> Press SAVE + KIT

> Select the preset number you want to save your kit to.

> Push the encoder.

> You will be asked: ”Edit Name? [y/N]”.

> If you don’t want to change the name, push the encoder and your kit is saved.

> If you want to change the name, use the encoder to navigate to [Y/n] and push it.

> Navigate to the letters of the name.

> You can change the letters if you push the encoder and turn it or refer to the

QUICK NAMING SCHEME

> If you are happy with the name, navigate the cursor to the 'ok' button and push

the encoder down to save the kit.

> The first row of the display gives information about the active mode (load or save)

as well as the selected datatype (Kit, Pattern, Project ...) that will be processed.

> The second row chooses the active preset number and displays the name of the

selected preset.

> You confirm the selection by pushing the encoder button.

MENU NAVIGATION

> Use the encoder to navigate trough the menu.

> Push the encoder to confirm your selection.

DISPLAY DESCRIPTION

The load and save menu is basically

the same for all datatypes:

Every change, even when saved to the LXR's RAM, will be

lost once power is turned off, if the project was not

written back to the SD card! So always remember to hit

the save project button at the end of your session.

The LOAD and SAVE buttons, together with the KIT, MORPH,

SONG, PROJECT and PATTERN buttons from the sequencer

are used to enter the load/save menu.

Load: Sound

[1] Name

LXR OWNERS MANUAL22

MORPH KITS

A morph kit is a normal kit that is loaded as morph target. Any kit can be loaded as

a morph target.

> Press LOAD + MORPH

> Select the preset number of the kit you want to load.

> Push the encoder.

> The morph sound is loaded.

> Please note that you won't hear any change if the morph parameter value is set to

zero.

> Use the morph parameter on the performance page to morph the current kit into

the loaded morph kit.

Saving

You can also save the resulting sounds from morph operations. Just press the SAVE

+ MORPH buttons and save the sound as a new kit. Instead of the original sound, the

currently playing mixture of the 2 presets will be saved.

Did you know?

If morphing arbitrary presets is too drastic for you, try modifying your

favourite pattern just a little bit and save it to a new location. Now you

can control all tweaked parameters at once!

SONGS

The process to load and save songs is the same as described for the kits. Just use

the button combo Press LOAD + SONG or SAVE + SONG instead.

PATTERNS

Patterns are a special case as they have no name. Loading and saving is done in a

similar fashion like changing patterns in pattern mode.

> Press LOAD + PATTERN

> The screen will show “Select Pattern, Current: x”

> Now you can use the SEQUENCER and BAR buttons to select the pattern to load.

> If the sequencer is playing, the new pattern will start after the current pattern

has finished playing.

Saving

> Press SAVE + PATTERN

> The screen will show “Save Pattern, Current: x”

> Now you can use the SEQUENCER and BAR buttons to select where to save the

pattern.

> As soon as you press the SEQUENCER button, the display will show “success!”

and the pattern is saved

PROJECT

The process to load and save project is the same as described for the kits. Just

use the button combo Press LOAD + PROJECT or SAVE + PROJECT instead.

Where Projects are special is in regard to the place where they are saved. All

previous datatypes are loaded from and saved to the non persistent RAM region

where the project data is located. Projects however are saved to the memory

card and are the only way to save kits, songs and patterns so they will be

restored after a power cycle. Projects are containers that are a collection of Kits,

Patterns, Songs and settings.

7.5. PATTERN GENERATOR MODE

The pattern generator provides an easy way to generate interesting poly rhythms

on the fly. You just have to set the desired pattern length and the number of

active steps to generate a new pattern using the euclidean algorithm.

LXR OWNERS MANUAL 23

Displayed name Name Description

The length of the track in 1/16 notes.

Each track can have a different length.

len Track Length

The number of active steps in the

pattern.

stp Number of Steps

Step wise shift the pattern to the left

or right.

rot Rotation

Morph parameter also found on the

performance page.

mrp Morph

Displayed name Name Description

The tempo of the internal clock.

If set to zero the external MIDI clock

sync is active.

bpm Tempo in BPM

The global MIDI channel is used for MIDI

control that effects all tracks.

> Listen for program change messages

> Listen for CC messages.

> MIDI note messages received on the

global channel, are routed to the

current selected voice.

ch Global MIDI

Channel

P - Program Change, C - Control Change, R-

Realtime start/stop/clock, N - Note on/off.

If a letter is shown, the midi message in

that category will be transmitted.

If set to off, nothing is sent, and if set to all

everything is sent.

mtx Transmitted

MIDI Filtering

MENU LOCATION

To start the pattern generator press the SHIFT + PERF buttons.

A flashing PERF button LED indicates that the pattern generator mode is active.

The display will show the pattern generator menu.

PATTERN GENERATOR MENU

The pattern generator page offers the following parameters

7.6. GLOBAL SETTINGS MENU

The settings menu contains the global configuration of the synth. Global settings

are saved with the project.

MENU LOCATION

> Press the SHIFT + CONFIG (Seq. 12) buttons.

> The CONFIG button starts to flash to indicate that the global settings menu is

active.

MENU OPTIONS

GENERATING PATTERNS

Generating a new pattern is fairly simple.

> The generator will always modify a single track from the pattern.

> The active track can be chosen with the 7 VOICE buttons.

> As soon as you either change the 'length' or the 'number of steps' parameter, a

new pattern will be generated on the track.

ATTENTION!!!

Existing pattern data will be overwritten. However, if you don’t save the

pattern and reload it from the pattern menu, the original pattern will

be restored.

LXR OWNERS MANUAL24

P - Program Change, C - Control Change, R-

Realtime start/stop/clock, N - Note on/off.

If a letter is shown, the MIDI message in

that category will be received.

If set to off, nothing is received, and if set

to all everything is received.

mrx Received MIDI

Filtering

Off - no routing.

U2M - USB MIDI is routed to the midi out port.

M2M - MIDI received on MIDI in port is routed

to the MIDI out port.

A2M - both USB and MIDI are routed to the

MIDI out port.

M2U - the MIDI input port is routed to the USB

output port.

mrt MIDI Routing

Turn the screensaver on or off.

ssv Screensaver

If active, the view follows the playback

position on multi bar patterns.

flw Pattern follow

When you save a pattern, the currently used

kit is saved with the pattern. When Pattern

change mode is set to ‘Auto’ the saved kit is

loaded automatically when a pattern is

changed. This setting is saved per project!

kcm Kit change mode

Resolution of the analogue clock input.

cki Clock In PPQ

Resolution of the analogue clock output.

cko Clock out PPQ

SCREENSAVER

The display provided with the kit is an OLED display. To expand the lifetime of the

OLED display and to avoid burn in, the firmware provides a screensaver for the

display. After no control is touched for some minutes, the display will show the

screensaver. As soon as any control is touched, the display will show the menu

again. The screensaver can be deactivated in the settings menu.

LOADING AND SAVING OF GLOBAL SETTINGS

The global settings are saved together with the project. Whenever you load or

save a project, the global settings are loaded/saved as well.

7.7. PATTERN MENU

The pattern menu is used to change the playing pattern. It is accessed by

pushing SHIFT + PATTERN (Seq. 16)

The display will show

CHANGING THE PATTERN

You can use the 16 SEQUENCER buttons together with the BAR buttons to change

the pattern.

When a SEQUENCER button is pressed, it starts flashing and at the end of the

currently playing pattern, the selected pattern begins to play. The button LED

changes to lit and the “current:” display will indicate the new pattern number.

If the sequencer is stopped, the pattern will change immediately.

The BAR buttons are used to select the pattern group for the 16 sequencer

buttons (1-16, 17-32, 33-48 and 49-64)

Select Patterns

Current: 1

to indicate the active “select

pattern” mode and the

currently playing pattern.

LXR OWNERS MANUAL 25

7.8. SONG MODE

The song mode allows you to arrange up to 64 patterns to play after each other

to arrange them into a song.

EDITING SONGS

To enter song mode, press SHIFT + SONG (Seq. 10)

The song mode page will show the following menu on screen

> The first column shows the slot number. These are just the numbers from 0

to 63.

> The square brackets highlight the current cursor selection for the encoder.

> If in the first column, the encoder will scroll the whole list up or down.

> In the second column, the encoder will select the pattern to play.

> Push the encoder to change between the 2 columns.

> An arrow on the right side just indicates that the list continues in this

direction offscreen.

USING THE SEQUENCER BUTTONS TO ADD PATTERNS

A convenient way to add patterns to the song table is to use the SEQUENCER

buttons.

Instead of using the encoder, you can just push the corresponding SEQUENCER

button to select a pattern for the active row. Quite similar to the pattern

change menu in pattern mode.

The BAR buttons are used as usual to view the 4 different pattern groups.

INSERTING AN REMOVING LINES

To insert a line into the song table, just push the COPY button. It will insert a copy of

the highlighted pattern in the slot below and shift the following patterns down by one.

To delete a line from the song table, use the clear function by pressing

SHIFT + COPY = CLEAR

This will delete the currently selected row.

SPECIAL PATTERNS

Besides the normal pattern numbers from p00 to p63, you can set the second

column to ‘END’ and LOOP.

END

The end marker tells the sequencer that the song ends here. When reaching a slot

with the end marker, the sequencer will stop playback.

LOOP

The loop marker tells the sequencer to start the song again from the beginning. So

if you have the following list in the song menu:

> p00

> p01

> LOOP

the sequencer will play p00, p01, p00, p01… indefinitely.

PLAYING A SONG

To play the loaded song, hit SHIFT + PLAY.

The LXR will now play the pattern chain defined on the song mode page, even if

you change menus or change to view the performance or voice modes.

Please be aware, that temporary changes you make to the pattern

are lost whenever the song mode changes the pattern. So editing

in song mode is not advisable, since automatic pattern changes will

occur frequently in this mode!

[000]

|001

p00

p01



Displayed name Name Description

Drive

typ FX Type

Selects the Audio output the FX signal is mixed to.

out Output routing

Mixing ratio between the original and the FX signal.

d/w Dry / Wet ratio

Input gain of the distortion unit.

drv Drive strength

Tone Control Filter.

ton Tone

Tube

Bias

Fold

Offset

Clip

Feedback

col Colour

Output volume of the distortion.

vol Volume

7.9. FX MODE

The LXR provides a digital FX processor. Only 1 effect can be used at a time.

Currently there are 4 FX available: Drive, Ringmodulator, Compressor and Delay. You

can use the FX processor by setting the output routing on the mixer page to “FX”.

So the voice will be routed to the FX bus before going to the output. You can select

which of the voices will be processed by the FX processor. Selected FX and its

settings are saved within the KIT so think of the FX as more of a sound design

insert block rather than master send FX.

MENU LOCATION

The FX menu is accessed by pushing SHIFT + FX.

DRIVE

The drive FX is a collection of different distortion algorithms. It offers 3 different

types of saturation. In contrast to the drive parameter of the single voice filter and

mixer pages, this FX processes all signals in a single distortion unit. This leads to

interesting intermodulation between the input signals.

Drive Types

The 4th parameter “type” selects the drive algorithm to use.

> Tub – Adds tube Saturation.

> Fld – A wavefolder distortion.

> Clp – A rodent inspired hardclip pedal emulation.

The feedback parameter of the Clip processor will generate a

tone when no input is present. This is normal behaviour, as the

effect is quite similar to the feedback sound a microphone

produces in front of a speaker. While a drum pattern is playing,

it gives nice intermodulation, but without input, a clean tone is

produced. Just pull down the master volume if you stop the

sequencer when you are using full feedback.

RINGMODULATOR

The ringmodulator multiplies the input signal with a second oscillator signal. Ever

wanted to hear a Dalek beatboxing? Then the ringmod is your friend!

Parameters

Displayed name Name Description

Ring.

typ FX Type

Selects the Audio output the FX signal

is mixed to.

out Output routing

Mixing ratio between the original and

the FX signal.

d/w Dry / Wet ratio

Modulation Waveform.

wav Waveform

Frequency of the modulation waveform.

frq Frequency

Parameters

LXR OWNERS MANUAL26

COMPRESSOR

A compressor is a dynamic processor that is able to reduce the volume of loud

sounds and boost the volume of quiet sounds, thus reducing the dynamic range of

the signal.

Displayed name Name Description

Compressor.

typ FX Type

Selects the Audio output the FX signal

is mixed to.

out Output routing

Mixing ratio between the original and

the FX signal.

d/w Dry / Wet ratio

1:1 up to 8:1 in dB. Strength of the

compression. For example a ratio of 2:1

will attenuate the volume of a signal

2dB above the treshold down to 1dB

above the treshold.

rat Compression ratio

Time it takes for the compressor to kick

in. 0.3 to 100ms range.

atk Attack

Time it takes to return to normal gain,

after the input falls below the treshold.

25 to 200ms range.

dec Decay

The treshold sets the level at which the

compression effect sets in. -96 to 0dB.

tre Treshold

Compression lowers the volume. Use

the output gain to make up for the

difference.

gai Makeup Gain

Parameters

DELAY

Straight forward delay FX. Not much to say here. It’s a classic!

Try using the range control for very short delay times and LFO modulation to get

some flanger action going!

7.10. RELOAD BUTTON

Reload is a handy little function, that allows you to revert the current kit and

pattern back to its original state. If you tweaked the kit during a live performance

and want to revert all changes immediately, push SHIFT + RELOAD.

Displayed name Name Description

Delay.

typ FX Type

Selects the Audio output the FX signal is

mixed to.

out Output routing

Mixing ratio between the original and the

FX signal.

d/w Dry / Wet ratio

Currently only 1 delay available.

typ Delay type

Adjust the delay time in the range

specified by the range parameter.

tim Delay time

Sets the range for the delay time dial.

The low range is 1ms to 20ms

The high range is 20ms to 0.7sec.

rng Time range

Frequency of the lowpass filter in the

feedback path.

ton Tone

Controls the number of repeats.

fbk Feedback

Parameters

LXR OWNERS MANUAL 27

In this chapter we will take a closer look at the synth modules used in the

different voices.

8.1. OSCILLATOR

The oscillators provide 6 different waveforms:

> Sine

> Triangle

> Saw

> Rectangle

> Noise

> PWM

The waveforms are classic analogue waveforms realized using bandlimited

wavetable oscillators.

8.2. FILTER

The filter is a 2 pole (12dB) state variable filter (SVF). It's used to shape the

harmonic content of the sound. For example a hihat sound consists of high

frequencies and no low frequencies, so you want to use a highpass filter. A clap

has lots of mid sounds, here a bandpass filter is useful.

There are 3 parameters that control the filter response. Frequency, resonance

and drive.

FREQUENCY

The frequency determines the operating point of the filter in the spectrum. For

example a low pass filter will cut off all frequencies above its set cutoff frequency

(all frequencies below it pass the filter unaltered – hence the name).

RESONANCE

The resonance controls the feedback path of the filter. With higher resonance

settings the frequencies around the operating point (i.e. the set frequency) will be

amplified more and more.

It becomes clear if we look at the filter amplitude response plots in the next

section.

DRIVE

Controls how 'hot' the filter is driven. More drive yields more distortion. In the

normal operating range, when drive is set to 0, the filter is quite clean and nearly

linear. With higher input levels/drive settings, a soft clipper as well as the slew rate

limit of the integrators comes into effect. Low settings will only affect the

resonance peaks, higher settings will distort the whole signal. Since the soft clipper

is scaling down excessive peaks in the signal, the audible resonance is reduced with

higher drive settings.

FILTER TYPES

There are several different filter types available, each with it's own characteristics.

Let's have a closer look at each one of them. The filters are plotted with 3 different

resonance settings. No resonance, medium and high. The cutoff frequency is the

same in every plot and marked by the vertical dashed line. The x axis shows the

frequency from 0Hz to 22kHz, the y axis shows the gain for the specific frequency –

both on a logarithmic scale.

OPERATION MODES

LXR OWNERS MANUAL28

Highpass

The highpass filter removes low frequencies from the signal. All frequencies

below the cutoff frequency are reduced gradually.

Lowpass

The lowpass filter removes high frequencies from the signal. All frequencies

above the cutoff frequency are reduced gradually.

Bandpass

The bandpass filter removes frequencies above and below the set cutoff frequency.

Unit gain bandpass

The unit gain bandpass is a scaled version of the normal bandpass filter. The gain

is always adjusted to have its maximum around 0dB gain. Unlike the normal

bandpass, where the resonance controls the amplitude of the peak gain, it controls

the width of the passband.

LXR OWNERS MANUAL 29

18 dB

12 dB

6 dB

0 dB

-6 dB

-12 dB

-18 dB

18 dB

12 dB

6 dB

0 dB

-6 dB

-12 dB

-18 dB

18 dB

12 dB

6 dB

0 dB

-6 dB

-12 dB

-18 dB

18 dB

12 dB

6 dB

0 dB

-6 dB

-12 dB

-18 dB

Notch

The notch filter removes frequencies around the set filter frequency. Again, the

resonance controls the width of the stopband.

LP2 Type

This type is a special case. It replaces the SVF model with a simpler implementation

of the SVF topology with much more digital resonance. Use it for those screaming

acid sounds!

8.3. ENVELOPES

Envelopes are used to generate a varying control signal that can control other

synthesis parameters. Whenever a voice is triggered, the envelope is restarted. The

signal rises with the speed selected by the attack setting until it reaches the

maximum amplitude. Then it will fall back down to zero, with the speed set by the

decay parameter.

ATTACK/DECAY TIMES

These 2 parameters control the duration of the attack and decay stage of the

envelope. A higher value equals longer time. If the attack time is set to zero, the

envelope will directly start in the decay stage.

Peak

The peak filter amplifies frequencies around the filter frequency, but lets the

other frequencies pass nearly unaltered. The resonance controls the amount of

amplification.

LXR OWNERS MANUAL30

18 dB

12 dB

6 dB

0 dB

-6 dB

-12 dB

-18 dB

18 dB

12 dB

6 dB

0 dB

-6 dB

-12 dB

-18 dB

A linear envelope curve

Time

Amplitude

Attack Decay

Time

Amplitude

Attack Decay

Time

Amplitude

Attack Decay

SLOPE

The slope parameter controls the shape of the generated curve. A setting of 63 will

give you a linear envelope as seen above. Lower settings will result in an

exponential curve, higher values result in a logarithmic curve.

REPEAT

A special feature of the envelope to simulate claps and other sounds with a

fuzzy/rattling attack.

If the repeat count is set to a value greater than zero, the envelope is in repeat

mode.

The slow onset of the attack stage is replaced by the repeat stage in which the

envelope is retriggered rapidly. The attack parameter controls the duration of the

complete repeat phase.

8.4. TRANSIENT GENERATOR

The transient generator is used to shape the beginning of a sound. Since the

perception of sounds is heavily influenced by their first few milliseconds, this

feature is useful to spice up or vary the sound character of an instrument.

There are different modes the transient generator uses to shape the attack.

Curve with a low slope setting. Exponential decay stage.

Curve with a high slope setting. Logarithmic decay stage.

LXR OWNERS MANUAL 31

Repeat Phase

Repeat Count = 3, Decay controled by attack settings

Decay Phase

SNAPPY MODE

The snappy mode is the first entry in the selection list, shown in the menu as 'Snp'

To make the attack of the sound more 'snappy' an additional pitch envelope is used.

> The volume parameter controls the modulation depth.

> The frequency parameter controls the decay time.

The envelope is quite fast and modulates the pitch of the oscillators resulting in a

nice, controllable snap or click sound.

OFFSET MODE

The second entry is the offset mode with the menu name 'Off'.

In this mode, the start phase of the oscillators can be adjusted with the volume

parameter. The frequency parameter has no effect. If the volume is set to zero, the

oscillators will be reset to a zero crossing of the waveform on each trigger. If the

volume parameter is set to its maximum value, the waveform will start in the

position with the highest amplitude, generating a loud pop. This results in the

volume parameter controlling the intensity of the initial pop.

SAMPLE MODE

A short transient sample is mixed to the sound. They are short (~50ms) 8-bit ROM

samples that are played as a one shot whenever the sound is triggered. Different

samples can be selected.

PARAMETERS

The parameters of the transient generator include the PCM waveform to use, the

playback frequency and the volume. The ROM samples can't be changed by the

user on the fly. They are hardcoded into the firmware.

A list of the included samples:

Displayed name Name Description

Snp Snappy Mode

Off Offset Mode

Displayed name Name Description

Clk Click

Ck2 Click 2

Tik Tick Some kind of tick sound

Kik Acoustic kick An acoustic kick drum

Rim Rim shot A rim shot sound

Drp Drip A dripping sound made by a human being

Hat Tick Some kind of tick sound

Tik Hat Sampled off of Zildjian A-Custom Hi-Hats

Clp Clap 808 clap

Ki2 Kick 2 A kick sample

Sna Snare A snare sample

Tom Tom A tom sample (sort of)

Sp2 Snap A finger snap

Transient Samples

LXR OWNERS MANUAL32

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off

voi

Dst <

coa

8.5. SAMPLE RATE REDUCTION

The sample rate reducer can gradually reduce the sample rate from 44kHz to zero.

Reducing the sample rate will give more of a lo-fi sound. The more it is reduced, the

more odd harmonics will be added to the sound as overtones are folded down at

the Nyquist frequency until the sound is totally destroyed.

8.6. DISTORTION

The distortion unit on the mixer page is a variable waveshaper. It can be set from

no distortion to soft saturation, all they way up to hard clipping.

8.7. LFO

Each voice has a low frequency oscillator. They are basically the same as the audio

oscillators, but run at a lower maximum rate.

Unlike the audio oscillators you can not hear the LFOs directly. They are used to

alter other parameter values over time. For example if you want the filter of a voice

to slowly open and close again, you can use a sine lfo to modulate the filter cutoff.

SETTING UP MODULATIONS

The modulation target is selected on the second page of the LFO menu.

The target selection consists of the two parameters 'Voice' and 'Destination'. When

the voice parameter is changed, the list of available destinations will show all

available parameters of the selected voice.

The frequency of the LFO can be synced to the sequencer clock. So if you set the

sync value to 1/4 note, the LFO waveform will cycle exactly 4 times in one bar. While

sync is active the frequency parameter will be ignored.

Did you know?

You can use the LFO as an additional envelope using the retrigger

feature. If set to the same voice as the modulation destination, the LFO

will restart on every played note. You just have to set the LFO frequency

so that one cycle of the LFO is slightly longer than the amplitude

envelope, so it won't start a new cycle while the note is still playing.

Great for filter decay envelopes on juicy synth bass sounds!

LXR OWNERS MANUAL 33

max

mid

low

1.5

0.5

-0.5

-0.5 0 0.5 1

-1

8.8. VELOCITY MODULATION

The note on velocity can be used as a modulation source and is an important tool

to bring some life to your static patches. The velocity can modulate 2 destinations

> The velocity can modulate the voice volume.

> Additionally it can modulate any parameter of the voice.

Especially when using external MIDI gear like keyboards or drum pads the velocity

modulation is quite fun. If you don't use external input devices and are only using

the internal sequencer, the velocity for each step can be set in the STEP

PARAMETER MENU.

Did you know?

By default the velocity is modulating the voice volume. This hard wired

connection can be turned off in the modulation menu with the 'Vol'

on/off parameter.

By deactivating the volume modulation you can use the velocity

modulation as a 3rd automation track.

8.9. OUTPUT ROUTING

Each voice can be freely routed to the 4 different output jacks. They act either as

4 individual mono outs (the pan parameter has no effect) or as 2 pairs of stereo

outputs. There is an additional FX bus available as a routing target as well. Have a

look at the FX section of the manual for more info.

Did you know?

The synth detects if a cable is inserted into the jack. If you have a

patch where a voice is routed to an unconnected output, it will be

played on the nearest connected output instead.

The synthesizer has 2 MIDI interfaces. A standard serial interface using DIN connectors,

as well as a MIDI USB interface to be used with a computer. Both interfaces provide an

I/O pair.

9.1. MIDI CHANNEL

You can set a global MIDI channel and a per-voice MIDI channel for different use cases.

9.2. MIDI ROUTING (MIDI SOFT THRU)

You can route MIDI messages from input to output. This is set in the global menu under

"mrt". There are 6 possible values:

> off - no routing.

> U2M - USB MIDI is routed to the MIDI OUT port.

> M2M - MIDI received from the MIDI IN port is routed to the MIDI OUT port.

> A2M - both USB and MIDI are routed to the MIDI OUT port.

> M2U - the MIDI input port is routed to the USB output port.

> M2A - MIDI received from the MIDI IN port is routed to both the MIDI output and the

USB output.

9.3. MIDI FILTERING

You can filter messages from being transmitted or received. Transmit(Tx) is independent

of receive(Rx). There are four categories of messages that can be individually configured:

> Program Change (P)

> Control Change (C)

> Realtime start/stop/clock (R)

> Note on/off (N).

MIDI

LXR OWNERS MANUAL34

Waveform Osc 1

NRPN data entry

Waveform Osc 1

Coarse tune Osc 1

Fine tune Osc 1

Coarse tune Osc 1

Fine tune Osc 1

Coarse tune Osc 1

Fine tune Osc 1

Coarse tune Osc 1

Fine tune Osc 1

Coarse tune Osc 1

Fine tune Osc 1

Coarse tune Osc 1

Fine tune Osc 1

Waveform mod. OSC

Waveform mod. Osc 1

Waveform mod. Osc 2

Waveform mod. Osc 1

Waveform mod. Osc 2

CC Function Voice

These are set in the global menu under mtx and mrx

(transmit and receive respectively). Combinations of

letters are shown. If a letter is shown, the midi message

in that category will be transmitted or received. If set to

off, nothing is sent/received, and if set to all everything

is sent/received. This has nothing to do with MIDI

routing which works the same way regardless of filter.

9.4. MIDI SYNC

The LXR can be synced to external gear using MIDI clock

signals. To do so, set the BPM parameter in the settings

menu to '0'. The LXR will now sync it's tempo to

incoming MIDI clocks.

While synced to external gear the start/stop button has

no function. The synth will listen for MIDI start/stop

signals instead.

While not in MIDI slave mode, the LXR will send out its

internal clock via MIDI clock messages to both the USB

and MIDI outputs. This way, the

LXR can act as a MIDI master and sync other devices to

its clock. MIDI start/stop messages will be sent when

you start or stop the sequencer.

9.5. RECORD INCOMING MIDI

You can play all voices with external MIDI gear

(drumpads, keyboard...)

If the record mode is active, the played MIDI notes are

directly recorded into the corresponding patterns. The

MIDI notes to which the voices react can be selected

on their “Mixer” page in the menu. These MIDI settings

are saved globally for the project and not in each kit.

RECORDING MELODIES

If you set the MIDI note to “ANY” on the voice mixer

page, you enable tonal play. The voice can now be

played “melodically” from external MIDI keyboards.

Note values will be recorded to the active track, if the

record function is active.

Did you know?

You can clear recorded notes on the fly in

recording mode, if you press SHIFT +

CLEAR. The notes will be deleted at the

playback position while the keys are held.

9.6. TRANSMITTING SEQUENCER DATA TO

THE MIDI OUT

MIDI notes will be sent out according to the track's

MIDI channel and note settings when not turned off in

the MIDI filter options.

9.7. MIDI CC LIST

Parameters can be remote controlled with MIDI CC

messages.

LXR OWNERS MANUAL 35

Noise frequency

Mix osc/noise

Coarse tune mod. Osc 1

Coarse tune mod. Osc 2

Gain mod. Osc 1

Gain mod. Osc 2

Coarse tune mod. Osc 1

Coarse tune mod. Osc 2

Gain mod. Osc 1

Gain mod. Osc 2

Filter frequency

Filter resonance

Volume envelope attack

Volume envelope decay

Volume envelope attack

Volume envelope decay

Volume envelope attack

Volume envelope decay

CC Function Voice

Volume envelope attack

Volume envelope decay

Volume envelope attack

Volume envelope decay

Volume envelope attack

Closed Hihat decay time

Open Hihat decay time

Volume envelope slope

Volume EG slope

Volume EG repeat count

Mod. Envelope decay

Envelope mod. amount

Mod. Envelope slope

FM amount

CC Function Voice

100

101

102

103

104

105

106

107

108

109

110

111

FM frequency

FM amount

FM frequency

FM amount

FM frequency

Voice volume

Voice pan

NRPN fine

NRPN coarse

Voice pan

Distortion

Decimation

CC Function Voice

LXR OWNERS MANUAL36

Filter drive

Mix/Mod select

Velocity volume mod. on/off

Velocity mod. amount

Velocity mod. destination

NRPN Nr. Function Voice

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

Decimation

LFO freq

LFO amount

all

CC Function Voice

9.8. MIDI NRPN LIST

Since there are more than 127 parameters in the

LXR, some parameters have to be controlled using

NRPN messages.

Velocity mod. destination

LFO waveform

LFO target voice

LFO target

LFO retrigger

NRPN Nr. Function Voice

LXR OWNERS MANUAL 37

LFO retrigger

LFO sync

LFO offset

Filter type

Transient generator volume

Transient generator waveform

NRPN Nr. Function Voice

Transient generator waveform

Transient generator frequency

Audio output routing

PWM

NRPN Nr. Function Voice

100

101

102

103

104

105

FX Type

FX Routing

FX Amount

FX Distortion Type

FX Parameter 1

FX Parameter 2

FX Parameter 3

FX Parameter 4

FX Ratio

FX Ringmod Waveform

FX Delay Type

NRPN Nr. Function Voice

106

107

108

109

110

111

112

113

114

115

116

117

LXR OWNERS MANUAL38

The software for the LXR can be updated using the memory card.

10.1. UPDATE PROCEDURE

> Copy the latest LXR_V2_xxx.img to the root of the SD card.

> Push and hold the encoder button while turning on the device.

> “LXR Bootloader” will pop up in the display.

> The LXR will check if the firmware image is valid and has the proper checksum.

> If the check is passed, the update will be installed.

> Do not turn off the power during installation!

> Once done, the LXR will prompt you to reboot and the new firmware will be

running.

10.2. BOOTLOADER ERROR MESSAGES

> LXR*.img Not Valid!

File doesn’t seem to be a valid firmware file. File header not matching

> LXR*.img Wrong size!

Filesize differs from the size specified in the header. Probably an incomplete

download.

> Wrong Checksum

File corrupted. File content does not match the checksum. Probably a download

error.

FIRMWARE UPDATE

This chapter will introduce you to the very basics of drum synthesis. Of course, this

is just a small pointer in the direction of a few classic drum sounds. There are

many more sounds to discover beyond the well-known drum sounds of the

analogue classics. Nonetheless we will mostly focus on generating these, because

they provide a good starting point for further exploration.

11.1. KICKS

The basis of nearly every kick sound is the simple combination of an oscillator and

a decaying envelope modulating its pitch. The first 3 voices are perfect for this!

OSCILLATOR

A good starting point is a sine oscillator with a pitch around 30 to 35.

AMPLITUDE ENVELOPE

To decide how to set up the envelope, let's think about the kick sound. A kick has a

sudden impact, so we want no attack (set to zero) since the sound starts with its

maximum amplitude.

The decay controls the length of the kick sound. For the average kick a decay in

the range 20-30 and a slope around 25 (exponential) gives a nice, not too short, not

too long kick. For those booming 808 kicks you may want to set the decay higher.

PITCH ENVELOPE

To get some 'oooomph' and punch into your sound you need to set up the pitch

envelope.

Try a decay and slope setting similar to the amplitude envelope as a start. All three

parameters, decay, slope and modulation amount, have a great impact on the

sound of the kick.

INTRODUCTION TO DRUM SYNTHESIS

LXR OWNERS MANUAL 39

CLICK

The attack sound is an important part of a kick. There is no general rule here. Try

different transient generator settings for various clicks and pops or even slightly

increasing the amplitude attack to give some softer bass drums.

TIPS AND TRICKS

> You can further shape the attack of the sound using the FM oscillator.

> You want even more clicks in the attack? Why not enhance the click with a peak

filter?

11.2. SNARE

The snare is a 2 component sound. There is a tonal part for the drum body and a

noise part for the rattles.

Voice 4 of the LXR is designed with these 2 parts in mind. You have an oscillator for

the tonal part and a noise generator with filter for the noise part. Since in most

cases you want a high-pass filtered noise with an unfiltered drum body, only the

noise generator is routed through the filter.

For most snare sounds you want the noise part to be louder than the tonal part,

try setting the mix parameter on the oscillator page to a value of around 100.

TONAL PART

The tonal part is quite similar to the kick but not as pronounced. The typical snare

does not need a loud click, nor that much modulation depth for the pitch envelope.

Additionally, since a snare is smaller than a bass drum, the frequency of the

oscillator has to be higher than on the kick.

NOISE PART

For most cases highpass filtered noise with a moderate resonance setting is

sufficient to get good results.

AMPLITUDE ENVELOPE

We want a sharp percussion sound, so the attack will stay at zero.

For the decay it depends on what kind of snare you are after.

> Longer decay times with a very exponential slope setting as low as 5 to 10 will

give you a short hit sound with a nicely decaying noise tail. The tail acts a little bit

like a room reverb on the perception of the snare sound and gives more natural

results.

> Shorter decay times with a linear or exponential slope will give a very dry, direct

snare.

TIPS AND TRICKS

> Not every snare needs tone and noise. Try using only the tonal part with a high

pitch modulation envelope to get the classy Kraftwerk zap.

11.3. CLAP

A clap sound is made from noise. What's special about a clap, is the fuzzy attack of

the sound. Imagine a few people clapping a rhythm. They will never all clap at

exactly the same time. Each of them will have small variations in their timing, some

will clap a little bit earlier, some a bit later.

AMPLITUDE ENVELOPE

To simulate this behaviour we will use the repeat feature of the amplitude

envelope. To get the classic clap sound, a setting of 3-4 repeats is good. Since the

timing differences for the clap are very small, a short repeat time has to be

chosen. An attack value below 10 is good.

Now you will have a short burst in the beginning of the sound.

For the decay we need an exponential slope. A value below 10 is recommended.

OSCILLATOR

A single white noise oscillator set to its maximum frequency.

LXR OWNERS MANUAL40

FILTER

BP filter 60-80 with high resonance settings gives good results.

11.4. HIHAT

OSCILLATOR

For hi-hats, a complex, metallic noise spectrum is needed. Just use the 3 oscillators

with high frequencies and modulation amounts to get a spectrum you like.

Sometimes, a simple white noise oscillator can give nice hats too.

AMPLITUDE ENVELOPE

For hi-hats you have to set 2 decay times. One for the closed and one for the open

hi-hat. Both are quite short, but the open hi-hat decay should be longer than the

closed one. Use a very exponential slope below 10 for hat sounds.

FILTER

Use a highpass filter to remove all low frequencies. A high frequency around 120 is

used.

11.5. CYMBAL RIDE

Cymbals are similar to hats. The difference comes from the envelope and filter

settings.

OSCILLATOR

The oscillator settings can be similar to those of the hi-hat sound.

AMPLITUDE ENVELOPE

The only real difference to the hi-hat envelope is the decay time. We also use a

strong exponential slope, but a much longer decay is needed. It is also

recommended to lower the volume of the voice otherwise the cymbal sound may

be too loud.

FILTER

A bandpass filter with high resonance settings and a frequency above 110 gives

good results.

LFO

The cymbal sounds really benefit from an LFO modulation to the filter frequency.

Use a low modulation frequency and a sine wave with a gentle modulation depth

so the different strikes don't sound exactly the same and the frequency spectrum

of the sound changes a little bit over time.

11.6. BELLS

REALISTIC BELLS

Realistic bells are best achieved using FM oscillators. As long as you have a

complex noisy, metallic spectrum, you just need to add an exponential decay

amplitude envelope and a bandpass filter to get different kinds of bells. The

sample rate reducer is also very usefull to make the sound more metallic.

808 STYLE COWBELL

The 808 cowbell consists of 2 detuned rectangle oscillators sent through a

bandpass filter.

Recommended voice: drum voice 1-3.

FM PAGE

> Set mode to mix. The main and FM oscillators are now mixed together.

> Set amount to 63. This sets the mix ratio between the 2 oscillators to 50% each.

> Select a rectangle waveform.

> Set frequency to something around 78.

LXR OWNERS MANUAL 41

LXR OWNERS MANUAL42

OSC PAGE

> Select rectangle wave.

> Set frequency to 71

AMPLITUDE ENVELOPE

> Attack 0

> Very exponential slope around 2 to 5

> Depending on the slope setting a short decay in the range of 25 to 50

FILTER

> Use a bandpass filter

> Medium resonance around 70

> Cutoff frequency around 92

11.7 MORE INFO ABOUT DRUM SOUND DESIGN

There are a lot of good sources about drum synthesis on the web. Two

exceptionally good readings are:

> The Sound on Sound synth secrets series has a lot of good articles for different

drum sounds.

> The owners manual of the Waldorf Attack synthesizer contains a lot of HowTos

on drum synthesis.

Use your search engine of choice to find both documents.

12.1. ELECTRICAL SPECIFICATION

Main outs

Level: +4 dBu peak

Output impedance: 100 Ω unbalanced

Headphone out

Level: +??? dBu peak

Output impedance: 50 Ω unbalanced

Power

Unit power consumption: 3 W

12.2. HARDWARE

2 x 20 OLED screen

MIDI In/Out with soft thru option

4 × 1/4” audio out jacks

1 x 3.5mm stereo headphone jack

Electrically isolated hi-speed USB 2.0 port

44.1 kHz, 16-Bit D/A converter

Power connector: Center positive 5.5 × 2.5 mm barrel jack, 12 V DC, 1 A

12.3. PHYSICAL SPECIFICATION

Dimensions: 23 cm x 14,5 cm x 7cm (including knobs),

Weight: 810g

Do not expose instrument to temperatures over +50 C or below -20°C

TECHNICAL INFORMATION

SAFETY INSTRUCTIONS

Please follow the instructions for the use of the Erica Synths X Sonic Potions LXR-02

below, because only this will guarantee the proper operation of the module and

ensure the warranty from Erica Synths.

Use the LXR-02 exclusively with the power supply unit (PSU) supplied with

the system. Powering it with other PSU units may cause permanent damage

to the device.

Water is lethal for most electric devices unless they have been rendered

waterproof. The LXR-02 is NOT intended for use in a humid or wet

environment. No liquids or other conducting substances should be allowed

into the module. Should this happen, the module should be disconnected

from mains power immediately, dried, examined and cleaned by a qualified

technician.

Do not expose the instrument to temperatures above +50° C or below -20° C.

If you have transported the instrument in extremely low temperatures, leave

it at room temperature for an hour before plugging it in.

Transport the instrument carefully. Never let it drop or fall over. The

Warranty does not apply to instruments with visual damage.

LXR-02 must be shipped in the original packaging only. Any instrument

shipped to us for return, exchange and/or warranty repair must be in its

original packaging. All other deliveries will be rejected and returned to you.

Ensure that you keep the original packaging and technical documentation.

DISPOSAL

This device complies with EU guidelines and is

manufactured and confront RoHS without the use of

lead, mercury, cadmium or chrome. Nevertheless, this

device is special waste and disposal in household waste

is not recommended.

User manual by Julian Schmidt@Sonic Potions.

Design by Ineta Briede@Black8.

Special thanks to Leoš Hort aka hrtl for developing the

factory preset kits.

Copying, distribution or any commercial use in any way

is prohibited and needs the written permission of Erica

Synths.

The specifications are subject to change without notice.

If you have any questions, feel free to contact us

via SUPPORT section on www.ericasynths.lv

Erica Synths

Andrejostas St. 43

Riga

Latvia

LV-1045

You will find the Erica Synths terms of warranty at

www.ericasynths.lv

Items for return, exchange and/or warranty repair should be sent us

according to the guidelines on SUPPORT section on www.ericasynths.lv