Lexicon Signature 284

About as full featured as a recording amp as you can get.
Not intended to be loud, no points off for that. Maybe a point off
for no spring reverb, but it does have a stereo effects loop for demoing Lexicon stereo digital effects, so this was actually intentional.
Hard to fault that.

Sweet.

My 284 wasn't working new. I opened in up and it had many internal connections unconnected, connected the internal molex connectors and viola, worked great. I read many instances of quality control issues here, so I imagine there was a dispute of some kind between Lexicon and MacIntyre over the amp. Maybe this led to it's being discontinued, or maybe this was because it was being discontinued. I dunno. Odd for a high end amp. But other than how it was intially, it's solid.

N/A

It's wonderful.
Look, I am a working audio guy, house, kids, all that doing audio. And I just wanted to respond to the notion that the 284's XLR outs sound bad, but the 1/4" outs sound better. One poster making this complaint was patching the XLR outs into a Tascam 4 track. This is a mismatch of levels in one way or another, a mismatched impedence if patched into a microphone in, or a level mismatch if it's patched into a line in. Almost all Tascam 4 tracks are -10 level devices, and the 284's XLR outs are +4. Too hot of course! And impedence mismatches, even on an high end console like an SSL, are generally BIGTIME tone killers, and the pad you have to engage kills tone as well. This is why the 1/4" outs sounded better, they have a lower signal level and are a better level and impdence match.

And I am sure Lexicon told that one poster, DO NOT PATCH INTO MICROPHONE INPUTS! Just because the mic input is an XLR, and the 284's outputs are XLR's, does NOT mean that's a good way to interface the devices! Like I said, it kills tone (the audio operator's fault, not the amp's), and if phantom power is turned on on the mic pre, you will send 48 volts into the outputs of your 284 and blow the output stage of the amp up! You want to patch into a line input. On a -10 device like a Tascam 4 track, use the 1/4" out, on a pro console if it doesn't have XLR line inputs use an XLR to 1/4"TRS adaptor.

Many modern devices have protective caps on the output stages to protect them from this kind of disaster, but they also kill tone. One guy who used to write for Mix used to boast about removing all the protective caps on his gear for the improvement in sound. I would say that falls into the "don't try this at home category." But the 284 is great sounding and you CAN blow it up. Better not to, I think.

Cheers.

Well covered below, but it is a single channel class A amp with dual stereo output capability. It has XLR (with speaker sim built in)and 1/4" outs to go to a mixing board or slave amp. The outs are really hot, so you need to use the trim control on your mixer or amp to get a faithful reproduction of the sound. Best to use a line in rather than a mic input. Speaker outs are switchable between 4 or 8 ohm. Internal resistors allow use as a preamp without attatching speakers. Effects loops for ea. channel which sound amazing. Front panel features gain (pull for more modern gain), bass, mid, treb and presence as well as independant volume controls for ea. amp. The preamp is great sounding and versatile, the volume controls allow the ability to dial in power amp distortion without ear splitting volume. I love the presence knob.

3 12ax7 and 2 el84 (hence the name, 284...)

I've used it with an A-B box as a preamp into one of the channels of my bass mate, the other channel clean. It works pretty well as a preamp, but the outputs are really hot and affected by the volume knob, so power tube distortion is out of the question in this application)

The first and most obvious comparison is to Matchless. Due to the el84 tubes and gain structure, you can get any kind of "classic" voxy class A sound you can think of. Crank the gain (and volume) and you start entering marshall territory, but it always retains a nice chimyness and clarity to the sound. There's a ton of bass on tap, but you can always dial out any muddiness with the rest of the great sounding eq. Pull the gain knob and you're in Soldano land. Very "modern" sounding. It's not meant to emulate anything else (but it can), it's got its own sound happening.

That being said, there are single channel amp guys and channel switching amp guys. If you are the type that likes to footswitch b/w sounds, you might get frustrated for live use. If you are the type who likes a couple of tasty overdrive pedals in fron of an amp that's got a few shades of drive in the sound, and like to use your volume knob to get a clean sound with edge, you'll love this thing. Very very responsive and addictive. Plug in and you'll accidently play for hours. Put it this way, with two od pedals in front and one basic sound set on the amp, using a LP with 3 pickup settings, you get 12 basic sounds without any knob fiddling or changes in guitar controls. Add guitar volume and tone changes and you're set! It loves strats too.

That being said, for live use you'll want a power amp, or to mic it or to try going straight to the mixing board and using your speakers as stage monitors. You can do any combination of the above, so live use is really not limited here. I'm getting a power amp, just because i like to play loud.

I wish it had more volume when playing clean, that's about it...

Made in Canada (Calgary) by tube guru John McIntyre. 10 years old and going strong. Tubes seem to last a long time. I took out the 10 year old sovteks and replaced them with JJ's and it sounded loads better. I put the sovteks in a Traynor Bass Mate (YBA-2B from 1978)and they sound like new tubes in there! Fixed bias (or so I'm led to believe) so no hassle swapping tubes.

The manual is online, but there's no support, not even schematics. If anyone has a schematic available, email me please. John McIntyre seems to have no net presence, and Lace-Actodyne (who were contracted to build this for Lexicon)has morphed into a whole different company. Note this is based on McIntyre's "Bluesmaker" amps which became Lace "furniture" amps. Tres expensive and rare.

I was thinking about parting with it to get an 18watt Marshall, I've decided against it having put it thru its paces again for the last two days.
I have a couple of old Traynors and have had amps as diverse as Laney AOR lead 100, Legend Rock 'n' Roll 50, Traynor YCV 40 and a bunch more. This is the only one I still have that can get me into modern gain territory. It is great for country chicken picken and hard rock, as well as modern blues. Metal would be a cinch too. Stereo effects allow all kinds of great time delay effects (instant Floyd). But it is a little anemic (volume wise)in the clean department (we'll see how it does thru a power amp soon)

Covered below.

It is really a stereo, two channel amp, but the second channel (distortion) is accessed by pulling the volume control. Both modes sound great, but it is not practical to use as a two channel amp for live purposes. When you can take time and tweak it, it sounds wonderful!

Having a true stereo power section is fabulous, the power output is more than enough for live work, i.e. playing alongside drums. This is pretty remarkable considering it is only rated at 3 watts per side!

The effects loop works perfectly and it is an incredible match for the MPX-G2 and SB210 cabinet I have with it.

I have used it with a range of guitars and found all combinations very nice. I tend to think it is closer to a Marshall heritage than a Fender, but it cleans up very nicely and overall sounds fantastic. I actually love the sound, but find for live that I need more versatility instantly available. If I could have this amp in a programmable version it would be perfect!

Perfect so far

Excellent by phone and by email

have been playing forver, this is one of the best amps out there. Every sound is great and it covers the whole territory of great classic amps. I am giving it a "10" because it sounds so good and because of the built in stereo power amp. The only thing that would improve it is the ability to switch between settings instantaneously, but i can't take away points because it isn't designed to do that!

?ESerial No.A0598-1018 5/25/1998?`5/30/1998
?EThe amp is versatile enough for me. My style is Blues Rock.
?E1 channel
?ERecording out -->?@XLR balance cable --> Sony power amp --> 1
EV speaker
?EI use this amp in my test room. The power is enough. A straight sound.
?EMono use. 3 x 12AX7, 2 x EL84, 1629?@tubes feature.

?EHeritage H-140 10th anniversary with 2 hum-bucker pickups.
?EI am enjoying their deep tone. I want to hear the amp story from designer John Mclntyre :).
?ETo arrange electric surroundings firmly, and to function full, the setting is done.

?EI think this meeting to be a very welcome.
?EI am satisfied in the current state.

?EThe shop has special knowledge at my country(Japan).
?EI have asked directions. They answered very kindly.

?EAbout 35 years.
?EIt is necessary to have converted the voltage because no Japanese specification.
?EThe amplifier that can be enjoyed.

Thank you.

It is the most featured low power class a tube amp ot there. Dual channel, effects loop, slave out, direct out with speaker emulation. The only thing that could have made it better is independant preamp feeds so you could run one side dirty and the other clean, etc. That's the only reason it got a 9 here.

everyone who hears it just lets out a jaw dropped "Wow!". Vox tones, Champ tones, Marshall, Matchless, it's all there. It's the best kept secret in guitar. I have no idea why Lexicon quit making these, cause they are the shit. The amazing thing is how clean it is for a single ended class a amp. Just a very faint hiss at the highest gain settings. The best recording amp I've ever heard. Would easily be enough live with a mic'd 2x12 or 4x12.

Not even a hiccup.

I have no idea. The manuals on thier site. But I've had no need to talk to them.

I've been playing for 20+ years, mainly played Strats or copies, some various humbucker types (Explorer, Ibanez, etc) Amps: Fender, Ampeg, Tophat, (Ok I'll admit it.. I tried the POD, and thought it was pretty good for the money/features) This thing is no POD. It's the real McCoy.

2 x 3W stereo recording amp for studio or home use. True class A single ended unit. Each EL84 is used for one side with a dedicated (huge) output transformers. Uses two 12AX7 preamp tubes and one 12AX7 phase splitter tube.
No effects but it is possible to feed effects in-between preamp and power amp sections (nice).
Has dummy loads for both sides (safe to run with no speakers attached). Can be used directly for recording.
Perfect features for what it was designed to be.
Stock Sovtek power tubes suck and should be replaced for good results. The preamp EI tubes are just fine to me (These are actually excellent tubes if you buy them from a reliable source. They are made on machines purchased from Telefunken. Most guys don't know this and they think that the EI tubes are just look-alike Telefunkens).

The most versatile amp that I've ever tried. Needs of course a good set of speakers. I use two Celestion Vintage 30s. Ideally, the amp's small output and Class A operation are perfect for Celestion Alnico Blue speakers...$$$$

Very dependable.

N/A

I'm very happy with the amp. I own loads of vintage tube amps (G.A.S.) but this is the oneI use 95% of the time.
They don't make them anymore and I don't think I'm going to part with mine.

the lexicon features are easy to uderstand,and easy to setup.The only thing is how to use the effect loop split.I'm using a line6pro pod and I use left(mono)effect loop to be able to use both left&right volume.Only thing that SUCKS!!it kills bass,tre,gain controls.So I only use it for volume.

I have four different guitars a jackson,a 1978 ibanezfling V,bc rich,and a dean select Z.Each armed w/killer picks for highgain and sustain.The lexicon makes each guitar sound great.line6 also plays a big part.When I preform I combine it w/another ampstack.My set up first is lexicon loop w/line6 pro&cab then the salve out I send to a randall w/cab to guitar input.this allows me to set one on highs the other on lows.So when play loud it stays clean,and active vary impressing.thick sound goodass tube sound.

so far so good i'm love it no problems.

kickass could be many ways just got to expariment.you can also screw around w/tubes to better sound.(must be careful.

Made in 1998. Came with two(2) SOVTEK EL84 and three(3) Ei 12AX7 tubes.
This amp has everything needed to play on the stage, direct to the console or to another guitar amp.
It has a speaker emulation when going to the XLR outputs, very weak.
It has a built-in load when no speakers are connected, this is good.
It is a single channel preamp with two power outputs, each output can have a different volume level. Volume is used to change the tone from clean to great distortion.
No effects but a tube driven effect loop.
The preamp gain knob can be pulled to increase the gain.
All knobs really work from 0 to 10. 0 is reaslly 0, set the bass to 0 and it's gone.

I tested the amp with the guitar plugged straight in to a VHT 4X12 cabinet.
My normal setup has a couple of pedals going to the amp going to a Palmer ADIG-ST speaker emulation going to a chorus than delay than reverb units then going to a non saturating power amp. Mixed up in the chain are noise gates and compressors.

The sound was muddy when the preamp was pushed. Bass lost its punch. Highs were mixed up with the mids. Tubes, tubes, tubes, tubes, tubes!!!

Two new tube setups:
1 - 3 12AX7/ECC83 R.F.T. with 2 EL84 S.T.R. HARMA. (Marshall sound)
2 - 3 12AX7WA GE with 2 EL84 CV2975 MULLARD. (Fender sound)

With the new tubes, this amp sound awesome. Sonic detail, clarity and distortion are magnificent, and all that a low volume so you can play in your room without the police showing up every 15 minutes. Finger picking and sweep arpeggios come out clear and distinct. Harmonics shine through.

Must be played through a cabinet simulator or real speakers. Otherwise doesn't sound too good, like every other amp out there.

Never had a problem. Change of tube, which is normal.

Never needed.

I have been playing for 30 years (how time flies whe you're having fun). I love the amp with the new tube setups. It has great sonic flexibility and can be used in any type of venues.
I would definitively buy another used one if it was lost or stolen. The only thing that can go wrong is the tubes and that's easy to fix.

Has the features that you would expect. Could use an easier method
of accessing the drive channel.

Great tone and real neighbor freindly. Since there are a lot more guys
playing at home than in front of 5,000 people, I guess the price point
is what's kept this thing from taking off. Versatile enough to sound
great with a variety of guitars and effects. Mike the cab for recording and stay away from the XLR's - don't ask me what they
were thinking. Long story short, cool Fendery vibe.

So far so good.

Hope I don't need it. Previous calls to Lexicon put me in touch with
guys who knew less about the products than myself - go figure!

If lost or stolen I won't take a fit 'cause I own two of them.
I guess that's an indication that I really like this product so if
the idea of genuine TONE at managable volume levels appeals to you,
I would urge you to check this out. I wouldn't exactly call it a
"fantastic value" but it really has no direct competition that
I know of.

2 stage amp, 12ax7 preamp tubes and el34 powers
Stereo
Balanced line out
Class A power
rubber feet or rack mount
line in on front and back

missing:
boost foot switcheability
midi control

This thing has a sound reminiscent of an old Fender Cranked. I remember having a Fender Champ that sounded a bit like this , when it was blasting, of course the Champ was a bit louder.

I use this amp with a Fender (1982) 1962 Re-issue Strat unmodified. To hear me play some lead, with this thing recorded 16 bit, 44.1 khZ
check out this link:

http://www.artistcollaboration.com/users//pearldiver/tenfeet-3rdead.mp3

I ran the head straight into my Mackie 1402 VLZ Pro. The fact that this amp has muddy Bass doesnt bother me at all, the old Fenders had that and it suits a Fender Strat, with its string rattle on the 6th straight that is so common. Of course with my Ibanez, and its naked noiseless 6th string, the bottom end doesnt sound all that great, but thats because Ibanez's bottome end doesnt sound all that great to begin with. The article abovee that said this unit was unsuitable for direct recording, and that the bottom end was unusable; I'd like to ask him what kind of guitar and mixer he was using. I dialed the Bass back to about4, set the mids to about 2,treble on 7-8, and the presence at about 4. I set my neck pickup on the strat to about volume leve 7-8.

I am impressed~~~~! I can't wait to combine this direct sound with a mic'd sound patch in my mixer. The mp3 has a slight bit of mono delay, 9/100, in the effect loop. I found that the effect loop was so clean and brilliant, suddenly my Yamaha EMP 100 effects unit started to show its age.

The distortion breakup on this unit is sweet, and it surrisingly loud for a 3 watt amp. I was disturbing the neighbours, Im sure, and i havent cranked it up yet. Made me laff it was so loud for 3 watts.
this puppy combined with a Mesa 50/50 tube power amp would totally kick. This amp and an SG would be crazy for the sabbath or zeppelin sound.

The distortion is not as brutal as mesa boogie, its more like a Hiwatt Fender kinda thing.

Clean it is so nice, wow... now theres your direct clean sound.
The line noise is next to nothing, so discreet that I was able to
set to zero between riffs on a lead recording and not have it sound blatant , like punch ins, something I've never been able to do with a tube amp. (in the mp3 example i have set zero between riffs)

just got it

don't know yet, hear its bad though

I have been playing about 15 yrs on and off. i have had Fender amps, and i do love Strats. My guitar is a '62 re-issue Strat and this piece of gear is a great match, indeed. I'll find this more versatile than a Fender tube amp, especially in that it is stereo and VERY VERY crankable in nearly every setting.