Lexicon 224 Digital Reverberator

Lexicon 224
The Lexicon 224 digital reverb announced in 1978 is the kind of stuff legends are made of. It is without a doubt the most admired and desirable reverb of the Lexicon line-up. It may be over 45 years old now, but the Lexicon 224 is still in use today at many studios regardless of its limited bandwidth, and is loved by so many engineers, that they will only replace it when it dies. If it dies...

Lexicon 224 Digital Reverberator Details

Introduced at the 1978 AES Convention, the Lexicon 224 marked a decisive moment in the development of digital reverberation. Although the EMT 250 had already established the concept of a digital reverb system, it was the Lexicon 224, followed by the Lexicon 224X and Lexicon 224XL, that became the dominant high-end studio reverb of its era.

The Lexicon 224 quickly earned a reputation for its expansive ambience and exceptionally long decay times. Its ability to generate vast, atmospheric spaces made it particularly attractive to producers and engineers seeking a more cinematic dimension in their mixes. Among the early adopters exploring extended decay settings was Vangelis, who incorporated the Lexicon 224 into the soundtrack for Blade Runner, using its reverb textures to help define the film’s futuristic sound world.

The origins of the Lexicon 224 lie with Dr David Griesinger, a nuclear physicist, musician and classical recording engineer who had been experimenting with digital reverberation techniques. Inspired by the arrival of the EMT 250, he combined his reverb concepts with microcomputer control and presented a prototype to Lexicon. The company acquired the design and brought Griesinger into the development process, leading to the finished Lexicon 224 system.

Lexicon 244 LARCA defining feature of the Lexicon 224 was its two-part architecture. Processing was housed in a four rack-space mainframe, while control was handled via a dedicated console-top remote. This approach separated audio electronics from user interaction, allowing direct access to programs and parameters. The system provided two inputs, four outputs, and interchangeable program cartridges designed to emulate acoustic chambers, plates and rooms.

Priced at US$7,500 with two programs or US$7,900 with four programs, the Lexicon 224 was positioned as comparatively accessible within the professional market. In contrast, the EMT 250 carried roughly double the price, helping the Lexicon 224 gain traction in major studios.

Subsequent revisions refined the platform. The Lexicon 224X increased the sampling rate to 34.5kHz from the original 20kHz specification. The Lexicon 224XL introduced the LARC, the Lexicon Alphanumeric Remote Control, which provided a 24-character LED display, dedicated function keys and more immediate parameter access.

Internally, the Lexicon 224 was built around a fixed-point processing architecture with a 16-bit word size. Its late 1970s design incorporated an Intel 8080 microprocessor, 12-bit converters including the DAC80 integrated circuit, input transformers and extensive 74S and 74LS series logic components. Although the converters operated at 12-bit resolution, Lexicon implemented an input scaling system that shifted gain to provide an additional 24dB of headroom. This technique extended the usable dynamic range to the equivalent of 16 bits, while true precision remained 12-bit.

Throughout the 1980s, the Lexicon 224 became a staple in leading studios. Talking Heads’ Remain in Light, released in 1980, was recorded at Compass Point Studios in the Bahamas, where Brian Eno had installed a Lexicon 224. The processor contributed to the record’s spacious and layered production style. U2’s The Unforgettable Fire, produced by Brian Eno and Daniel Lanois and released in 1984, also made prominent use of the Lexicon 224, particularly on Pride (In the Name of Love) and the album’s title track. Pink Floyd’s The Final Cut, issued in 1983 and recorded at Britannia Row Studios, featured the Lexicon 224 under the guidance of engineer Andy Jackson. Further notable albums associated with the unit include Peter Gabriel’s So, Kate Bush’s Hounds of Love and Rush’s Power Windows, all released during the mid-1980s.

Today, original Lexicon 224, Lexicon 224X and Lexicon 224XL systems remain in demand among collectors and studios. Market values vary according to condition and configuration, with examples commonly trading between US$5,000 and US$10,000, and later variants often commanding higher figures due to their enhanced specifications. However, the Lexicon 224 platform is complex and ageing. Maintenance requires specialist expertise, and servicing costs can be significant, factors that prospective owners must consider alongside its historical importance.

Specifications

Released in: 1978
Made in: U.S.A.
  • Quantisation: 12-bit
  • Sampling Rate: 20 kHz
  • Program Capacity: Up to 8 program types installable, 2 standard
  • Reverberation Time: Adjustable in 2 bands from 0.6 to 70 seconds
  • Frequency Contouring: Crossover and treble decay adjustable from 100 Hz to 10 kHz
  • Depth Control: Adjustable to control apparent pickup location in simulated chamber
  • Pre-Delay: 0 to 250 ms (mono programs); 0 to 125 ms (stereo programs), adjustable in 1 ms increments
  • Register Storage: 4 complete program mixes in main registers plus 32 additional in 4 banks of 8
  • Display: 3-digit numeric with dual 5-position headroom, overload warning, and engineering units indicator
  • Mainframe Controls: Power and system reset
  • Dynamic Range (Reverberant Mode): 84 dB typical, 81 dB minimum (20 Hz to 20 kHz, all reverb times 0–10 s)
  • Dynamic Range (Non-Reverberant Mode): 90 dB typical, 86 dB minimum (20 Hz to 20 kHz)
  • THD + N: 0.05% typical, 0.07% maximum at reference level (all reverb times 0–35 s)
  • Frequency Response: 20 to 8,000 Hz +1/−2 dB
  • Inputs: 2 balanced, transformer isolated; 20 kΩ impedance; adjustable +8 to +18 dBm
  • Outputs: 4 balanced, transformer isolated; 90 Ω impedance; adjustable +8 to +18 dBm
  • Power Requirements: 100, 115, 200, or 230 V AC (switch selectable), 50/60 Hz
  • Power Consumption: 150 W
  • Protection: Mains fused, secondary windings fused with voltage crowbar and/or current-limited thermal protection
  • Connectors: XLR-3 audio, IEC 3-wire power, DB-25 remote, and RS-232
  • Dimensions: (Mainframe) 178mm x 483mm x 381mm
  • Dimensions: (LARC) 137.2mm x 223.5mm x 76.2mm
  • Weight: (Mainframe) 15.5 kg
  • Weight: (LARC) 1.2 kg
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Lexicon 224
User Reviews

Lexicon 224 Digital Reverberator User Reviews

Review

By Anonymous

Sound Quality 100%
Build Quality 100%
Usefullness 100%
Mojo/Funk 95%
Reliability 100%

224 since the 70’S

By Anonymous

Sound Quality 100%
Build Quality 95%
Usefullness 90%
Mojo/Funk 100%
Reliability 80%

Great sounding machine that has served me well since I first bought it in the 70’s. Recently rebuilt the power supply and did some component updates. The Lexicon 224 has it’s own sound and works well with my Lexicon 480L and my Lexicon 300L. Just too bad Lexicon sold out to Harmon!

Review

By Bernd

Sound Quality 100%
Build Quality 90%
Usefullness 100%
Mojo/Funk 100%
Reliability 70%

Used it? Leave your rating and review.

V3.2 is supplied with six programs:

# Effect
1 SMALL CONCERT HALL – B
2 VOCAL PLATE
3 LARGE CONCERT HALL – B
4 ACOUSTIC CHAMBER
5 PERCUSSION PLATE – A
6 SMALL CONCERT HALL – A
7 MODE ENHANCEMENT (all programs)
8 DECAY OPTIMIZATION (all programs)

Lexicon 224 Digital Reverberator Audio Samples

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Lexicon 224 Digital Reverberator Used on these Recordings

Life’s Been Good

Joe Walsh

Remain in Light

Talking Heads

Rockit

Herbie Hancock

Born In The U.S.A.

Bruce Springsteen

Take On Me

A-Ha

Road To Nowhere

Talking Heads

Sledgehammer

Peter Gabriel

Never Gonna Give You Up

Rick Astley

Nothing Like The Sun

Sting

Faith

George Michael

The Way You Make Me Feel

Michael Jackson

Even Flow

Pearl Jam

Lexicon 224 Digital Reverberator Appears in These Famous Racks

Köthener Straße 38, Berlin, Germany
Old Croft, in Shalford, Surrey, England

Lexicon 224 Digital Reverberator Plugins

Further Reading on the Lexicon 224 Digital Reverberator

The details provided above are drawn from historical documents like advertising brochures or user manuals. They’re shared without bias or review. This info is given solely for your consideration, helping you gauge its usefulness to you.

Alternatives to the Lexicon 224 Digital Reverberator

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