ALESIS Studio 24 Reference Manual
Contents Contents Important Safety Instructions ................................................................................ 5 Safety symbols used in this product ........................................................................................... 5 Please follow these precautions when using this product:..................................................... 5 Instructions de Sécurité Importantes (French) ..........................................................................
Contents Headphones ...................................................................................................................... 40 Chart of Connections...................................................................................................................... 41 Connecting to an Unbalanced -10 dBV Multitrack Recorder .................................. 42 Connecting to a 2-Track Mixdown Deck.....................................................................
Contents MUTE ................................................................................................................................. 80 PEAK LED......................................................................................................................... 80 -20 dB (Signal Present) LED........................................................................................... 81 SOLO ........................................................................................................
Contents Impedance ........................................................................................................................................ 98 Noise performance (typical) ......................................................................................................... 98 Distortion (THD+N)....................................................................................................................... 98 Power ....................................................................
Important Safety Instructions IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOLS USED IN THIS PRODUCT This symbol alerts the user that there are important operating and maintenance instructions in the literature accompanying this unit. This symbol warns the user of uninsulated voltage within the unit that can cause dangerous electric shocks. PLEASE FOLLOW THESE PRECAUTIONS WHEN USING THIS PRODUCT: 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5.
Important Safety Instructions 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10.
Important Safety Instructions INSTRUCTIONS DE SÉCURITÉ IMPORTANTES (FRENCH) SYMBOLES UTILISÉS DANS CE PRODUIT Ce symbole alèrte l’utilisateur qu’il existe des instructions de fonctionnement et de maintenance dans la documentation jointe avec ce produit. Ce symbole avertit l’utilisateur de la présence d’une tension non isolée à l’intérieur de l’appareil pouvant engendrer des chocs électriques. VEUILLEZ SUIVRE CES PRÉCAUTIONS LORS DE L’UTILISATION DE L’APPAREIL: 1. Lisez ces instructions. 2.
Important Safety Instructions 12. N’utilisez qu’avec un stand, ou table conçus pour l’utilisation d’audio professionnel ou instruments de musique. Dans toute installation, veillez de ne rien endommager à cause de câbles qui tirent sur des appareils et leur support. 13. Débranchez l’appareil lors d’un orage ou lorsqu’il n’est pas utilisé pendant longtemps. 14. Faites réparer par un personnel qualifié.
Important Safety Instructions BEIM BENUTZEN DIESES PRODUKTES BEACHTEN SIE BITTE DIE FOLGENDEN SICHERHEITSHINWEISE: (GERMAN) 1. Lesen Sie die Hinweise. 2. Halten Sie sich an die Anleitung. 3. Beachten Sie alle Warnungen. 4. Beachten Sie alle Hinweise. 5. Bringen Sie das Gerät nie mit Wasser in Berührung. 6. Verwenden Sie zur Reinigung nur ein weiches Tuch.
Important Safety Instructions CE DECLARATION OF CONFORMITY Manufacturer’s Name: Alesis Corporation Manufacturer’s Address: 1633 26th Street Santa Monica, CA 90404 USA declares, that the product: Product Name: Studio 24 Model Type: Analog Signal Processor conforms to the following Standards: EMC: EN 55022:1988 Class B; EN50082-1:1992; IEC 801-2:1984 2nd Edition, 4kV direct, 8kV air; IEC 801-3:1984 2; 3V/m 150MHz-1GHz, IEC 8014:1988 1st Edition 2; 1kV, 0.
Introduction CHAPTER 1 INTRODUCTION HOW TO USE THIS MANUAL You’ve taken the leap and purchased an Alesis Studio 24 Recording Console with Inline Monitor. Congratulations. At Alesis, we design equipment that’s used by everyone from first-time users to engineers with decades of experience. In either case, the Studio 24 packs a lot of power into a small package, and we wrote this manual so that no matter what your background is, you can get the most out of it.
Introduction We appreciate your feedback. If you have any suggestions on how to improve this manual, please write to us at: Technical Communications Dept. Alesis Corp. 1633 26th Street Santa Monica, CA 90404 or via email at: support@alesis.com CONVENTIONS The buttons, knobs, and top and back panel connectors are referred to in this manual just as their names appear on the Studio 24, using all capital letters (Example: TRIM control, PAN knob, MIC IN jack, etc.).
Introduction FOR THE EXPERIENCED: A QUICK OVERVIEW If you're already familiar with mixing consoles, here are some important points you need to know about the Alesis Studio 24 Recording Console. The Studio 24 follows commonly-accepted traditions for signal levels and routing. Channel Input Jacks: All 1/4” inputs and outputs are balanced except the INSERT jacks and Stereo Aux Returns. All other 1/4” jacks are TRS 3-conductor types and may be used with +4 dBu balanced or -10 dBV unbalanced systems.
Introduction Think of them as an AUX 1/2 send with independent input source selection from the channel source, which can be submixed into the L/R if desired. EQ: The 75 Hz high-pass filter switch is independent of the EQ and may be used even if the EQ IN switch is out. The midrange controls are semi-parametric (frequency select and boost/cut). The EQ section affects the channel path only, not the MONITOR 1/2 section. AUX: There are two post-fader Auxiliary send busses, with two knobs from each channel.
Introduction ABOUT THE STUDIO 24 The Studio 24 is an extremely flexible, 12-channel, 24-input, 2-group plus L/R output, in-line monitor professional audio mixing console. Channels 1 - 8 are of the familiar design that include an XLR microphone input, balanced line input, trim control, equalization section, aux sends and pan knob. In addition, the Studio 24 incorporates an in-line monitor system and each channel has a level control and knob that pans the signal between the two outputs.
Introduction provides insert points on Channels 1 - 8, both Groups and the stereo main outputs, for use with compressors and graphic equalizers. Control room monitoring is made simpler by stereo-in-place Solo on each main channel. Either Auxiliary mix may be previewed in the control room while leaving the rest of the signal path undisturbed. A built-in headphone jack allows you to hear either the control room source or the monitor mix.
Introduction BASIC PRINCIPLES OF MIXING & MULTITRACK RECORDING Source select, level control, and destination assignment When it’s being used in a recording studio, the Studio 24’s job is to control the volume, tone, pan and effects for many different inputs such as microphones, electronic instruments and digital recorders. You could think of this as the “where from” (source select) and “how much” (level control) function of the console.
Introduction THE STAGES OF MULTITRACK RECORDING Most multitrack recording is a three-stage process. Instead of recording an entire musical group in a single take of a live performance, recordings are usually made a part at a time and built up in layers. Recording one or two instruments at a time makes it easier to fix mistakes of an incorrectly played part.
STUDIO 24 REFERENCE MANUAL PRESET EDITED AUX Sends PAGE 1 6 2 7 3 8 4 9 5 MIDI DIG.
Introduction THE DIFFERENT MIXES AND WHAT THEY’RE NEEDED FOR Now that you understand the different sources and different destinations used during the three stages of the multitrack recording process, let’s look at each one individually, without the other components getting in the way. Please note that these illustrations show the controls in the order they are electronically, and omit controls that don’t apply to the mix being explained.
Introduction Multitrack Recorder Mix (Groups, Directs and L/R) MIC LINE TAPE IN IN IN TRIM CHAN/MON REVERSE (to MON 1/2) INSERT jack 75 Hz HIGH MID FREQ LOW FADER MUTE PAN GROUP OUTPUTS DIRECT OUT (to AUX sends) DIRECT OUT SOURCE Switch 1 2 MAIN L/R OUTS & INSERTS L/R (from GRP 2 on Even Channels) GRP 1/2 (combined with signals from other channels) L/R STUDIO 24 REFERENCE MANUAL 21
Introduction MONITOR (CONTROL ROOM) MIX This mix is what the engineer and/or performer hears in headphones or the control room speakers. During overdubbing, this mix is typically controlled by the Studio 24’s MONITOR 1/2 section, and sometimes by the L/R mix. In the monitor mix, the goal is to set the controls so that the performers get whatever mix they need so they can perform their overdubs as well as possible.
Introduction Monitor/Control Room/Solo System MIC LINE TAPE IN IN IN TRIM CHAN/MON REVERSE MON 1/2 LEVEL MONITOR 1/2 MASTER MONITOR PAN (from AUX, GROUP, L/R masters and 2 TRK inputs) CONTROL ROOM SELECT SWITCHES (Master solo takeover relay) CONTROL ROOM OUTPUTS CONTROL ROOM LEVEL (Channel details on previous page) Any SOLO on console controls this relay electronically Channel Fader MUTE MASTER SOLO LED (SIP) Channel PAN -20 SOLO SOLO MASTER STUDIO 24 REFERENCE MANUAL 23
Introduction AUX SENDS AND RETURNS: EFFECTS The last important mix is usually used for adding effects (such as reverb, delay, chorus, etc.) to the mix. This may be part of the tracking and overdubbing stage, and is almost always part of the mixdown stage. The rows of blue knobs running across the center of the Studio 24 may be thought of as secondary submixers, with a little less independence from the other mixes, because they follow them in the signal path.
Guided Tour CHAPTER 2: GUIDED TOUR RECORDER MIX/MONITOR MIX SYSTEM The Studio 24 is designed to accommodate the two-way signal flow required in a recording console. The recorder and monitor mix systems are where signals are mixed, EQ’d and routed to the Aux sends, Groups and Left and Right Master outs. Channels 1 - 8 provide a Mic and Line Input plus a Tape In connector, where signals return from the multitrack recorder (stereo Channels 9 - 12 provide only line-level inputs).
Guided Tour — and two paths that the audio signal can take: the main channel and the monitor outputs. This is a key concept to understand: the basic principle is that there are three sources of audio and two ways it can go. There are variations on this concept that will be covered later in the manual, but all of them relate to this basic idea. First, the signal arrives at either the line or mic input of a channel; you should not plug into both at once.
Guided Tour The Mid EQ has two knobs: one to set the amount of boost or cut and one to select the frequency you want to control (adjustable from 120 Hz to 13 kHz). To avoid low-end rumble and noise, turn on the 75 Hz high-pass filter, which removes frequencies below 75 Hz at a rate of 18 dB per octave. The 75 HZ switch has this effect even if the EQ controls are set to “flat”: the 12 o’clock position where there is no boost or cut.
Guided Tour MONITOR 1/2 SECTION In multitrack recording, once signal goes from the Group Outputs to the recorder, it comes back to the tape inputs. The TAPE IN jack has no trim control of its own; it is designed to handle the unbalanced line levels that most multitrack recorders generate. Each Channel 1 - 8 features an in-line monitor which uses either the tape return or the mic/line input as the source for the MONITOR 1/2 mix (the stereo channnels are always routed to MON 1/2).
Guided Tour AUX SEND/RETURN SYSTEM AUX SENDS In the center of each channel module are the blue knobs that make up the Auxiliary Send section, which allows the signal to be routed to outboard signal processing equipment. There are two Aux knobs in each channel labeled “3” and “4” that set the level of signal sent out of the AUX SENDS jacks on the top panel.. Since some people will use the Monitor section as an auxiliary send, they’re numbered “1” and “2”.
Guided Tour CONTROL ROOM SYSTEM The SOLO switches in each channel, along with the Control Room switches and Headphone section, make up the Control Room system of the Studio 24. This is the engineer’s mix. It allows you to audition the different mixes that are going on at any given time and to hear individual inputs when needed, all without disturbing the other mixes that are going to the musicians, the PA system or recorder. It also controls the stereo meter display.
Guided Tour SOLO Regardless of what’s chosen as the control room source, if any of the 14 SOLO buttons are pressed anywhere on the console, the solo mix automatically becomes the control room source. Because there are so many solo buttons, we make it easy for you to find the one on the Channel that’s “taken over” by turning on a green LED over the SOLO switch. (When SOLO is not in use, these green LEDs will flash in response to input level, but they won’t turn on solid.
Guided Tour 32 STUDIO 24 REFERENCE MANUAL
Hooking It Up CHAPTER 3: HOOKING IT UP UNPACKING AND INSPECTION Your Studio 24 was packed carefully at the factory, and the box was designed to protect the unit during shipping. Please retain this box in the highly unlikely event that you need to return the Studio 24 for servicing. Upon receiving the Studio 24, carefully examine the shipping carton and its contents for any sign of physical damage that may have occurred in transit.
Hooking It Up POWER Make sure you read the initial Important Safety Instructions chapter at the front of this manual. The Studio 24 works with a single standard line voltage and comes with a detachable AC line cord suitable for the destination to which the mixing console is shipped. Units sold in the United States are designed for use with 110 to 120 volt AC power only (nominal 60 Hz).
Hooking It Up AVOIDING GROUND LOOP NOISE In today’s studio, where it seems every piece of equipment has its own computer chip inside, there are many opportunities for ground loop problems to occur. These show up as hums, buzzes or sometimes radio reception and can occur if a piece of equipment “sees” two or more different paths to ground.
Hooking It Up CHANNEL INPUTS AND OUTPUTS Each of the first 8 channel modules on the Studio 24 contains an XLR balanced MIC IN connector, a 1/4" TRS balanced LINE IN jack, an RCA unbalanced RCA TAPE IN jack, an unbalanced RCA DIRECT OUT jack and a 1/4" TRS INSERT jack. Each of the stereo Channels 9 - 16 have two 1/4” TRS balanced LINE IN jacks per Channel, designed to accept line-level signals. These inputs may also be used with unbalanced line-level sources.
Hooking It Up LINE INPUTS The LINE IN of each channel is a 1/4" jack which will accept balanced or unbalanced line-level sources. “Line level” means that signals are typically in the 1/3 of a volt to 2-volt range, such as the output of synthesizers, keyboards, CD players, etc. This is in contrast to the much lower levels usually output by microphones (measured in millivolts).
Hooking It Up DIRECT OUTPUTS The DIRECT OUT jack on each channel is an unbalanced RCA connector which provides a direct output of the post-fader channel signal. If you want to record a single source to a track of tape, connect this to the inputs of your multitrack tape recorder, or for any other application where you need a direct output. This is the most common way of using the Direct Outs and is available when the DIRECT OUT SOURCE switch is in its up position.
Hooking It Up MASTER INPUTS AND OUTPUTS Top panel: at the upper right-hand corner of the top panel of the Studio 24 you’ll find most of the connectors that provide the outputs of the console: two 1/4” MAIN OUTs (plus two MAIN INSERT jacks), and two 1/4" GROUP OUT connectors (plus two GROUP INSERT jacks). See the next chapter “Effects and Signal Processing” for information about the AUX SENDS. Back panel: the CONTROL ROOM OUT jacks are to the right of the power connector on the back panel.
Hooking It Up GROUP INSERTS These are identical to the Main Insert jacks described above. They are used to insert a outboard stereo effects device (such as a compressor, limiter, reverb or EQ) directly into the Group signal path, before the fader. A special Y-cable (stereo 1/4" plug to two mono 1/4" plugs, as shown on page 49) is required. CONTROL ROOM OUTPUTS These back-panel outputs consist of two balanced TRS 1/4" jacks for the left and right signals coming from the Control Room Select switch.
Hooking It Up Headphones LEFT Signal Tip RIGHT Signal Ring Ground Sleeve Tip Sleeve Ring CHART OF CONNECTIONS The Studio 24 may be easily interfaced with most other professional recording and audio equipment. Most inputs and outputs use 1/4" jacks (and may be used with balanced or unbalanced circuits) and some use unbalanced RCA phono jacks. The microphone inputs are standard balanced XLR type jacks.
Hooking It Up CONNECTING TO AN UNBALANCED -10 RECORDER DBV MULTITRACK Interfacing the Studio 24 with a typical multitrack recorder using semiprofessional unbalanced phono or 1/4" phone jacks is a simple process. The Studio 24 is not designed to be used with the balanced inputs and outputs of the ELCO-type connector on the ADAT. To interface with a typical unbalanced multitrack recorder: 1 Connect any microphones or instruments to be recorded into the MIC or LINE INPUTS of channels 1 through 8.
Hooking It Up CONNECTING TO A 2-TRACK MIXDOWN DECK The mixdown deck is where everything comes together: the final mix. This is your stereo master recording of the finished project (or a rough mix of a work in progress). A special pair of inputs of the Studio 24 are provided to hear the mixdown deck in the Control Room mix only. If you connect the mixdown deck to regular line inputs, you run the risk of feedback by accidentally recording the output of the 2-track to itself.
Hooking It Up CONNECTING TO A CONTROL ROOM AMPLIFIER Connect the Studio 24’s CONTROL ROOM OUTS to the inputs of the amplifier used for the control room monitor speakers. The CONTROL ROOM LEVEL knob on the Studio 24 controls the level of the control room monitor speakers. Note: These jacks are also TRS balanced. You may use unbalanced 2-conductor cables if the power amp doesn’t have balanced inputs. If the amp features XLR inputs, use a TRS 3-conductor phone-to-XLR-male cable.
Effects and Signal Processing CHAPTER 4: EFFECTS AND SIGNAL PROCESSING CONNECTING AUX SENDS AND RETURNS TO OUTBOARD EFFECTS Aux Sends 3 and 4 (labeled AUX 3/4 on the mixer) are derived post-fader, which means that any changes in level in the fader will also change the Aux levels as well. The Auxiliaries are normally used as effects sends and are connected to whatever outboard effects that are available (reverbs, chorus, multi-effects processors, delays) to be blended into the mix.
Effects and Signal Processing Left/Right Outputs Left Input Dry Defeat = ON SHOULD YOU USE ONE OR TWO INPUTS TO EFFECTS? ✪ If your effect unit has two inputs, in most cases you only need to connect from ONE Aux Send to the LEFT (mono) INPUT of the effect unit, but you will still connect both the LEFT and RIGHT OUTPUTS of the effect to the Stereo Aux Return.
Effects and Signal Processing Channels 1 - 8. Effects returned to a stereo Channel can be SOLOed, MUTEd, sent to the Groups and routed to L/R. Also, you have the ability to change the EQ of the effect’s signal, route it to MON 1/2, and send it out AUX 3 or AUX 4. But be careful when you send an effect returned to a stereo Channel to an AUX. If the effect device’s signal source is AUX 3 for example, sending back out AUX 3 may cause feedback.
Effects and Signal Processing too loud even at low settings of the Stereo Aux Return LEVEL controls. To hear effects in the control room monitors: It’s possible to put effects into the Control Room or headphone mix without recording them to the multitrack. 1 Press the L/R switch of the Stereo Aux Return. Make sure the GRP switches are in the up position. Otherwise, the signal will be assigned to the group and effects may be sent to the multitrack recorder.
Effects and Signal Processing CONNECTING SIGNAL PROCESSORS TO INSERT JACKS Inserts are used to connect signal processing devices directly into the signal path of a Channel, the Group outputs and the Main outputs. Normally, the device connected would be one that shapes the dynamics or tone of a signal (such as a compressor, gate, or EQ), rather than an effects device (such as a reverb).
Effects and Signal Processing 50 STUDIO 24 REFERENCE MANUAL
Recording CHAPTER 5: MULTITRACK RECORDING APPLICATIONS RECORDING SETTING LEVELS To get the maximum performance from your mixer, you must set all audio levels to get the least amount of background noise (hiss or hum) while not distorting (overloading) the electronics. To do this, it’s important to set proper levels not only within the Studio 24 itself, but throughout the rest of your audio system.
Recording The Studio 24 has been designed with plenty of headroom on the internal summing amplifiers (23 dB of headroom above a +4 dBu balanced output level). It is only possible to clip the mixer internally if several channels are at or near their maximum clipping point (with PEAK indicators flashing) and then sent at maximum gain to an output.
Recording HOW TO RECORD A SINGLE SOURCE TO ONE TRACK When recording a single source appearing on one Channel onto a single tape track, it is usually best to use the DIRECT OUT of the Channel. This provides the most direct connection between the Studio 24 Mixer and the multitrack. To record a single source to a single track: 1 With a microphone or instrument connected to the desired input channel, set the TRIM and fader level correctly (see page 51, Setting Levels).
Recording RECORDING MULTIPLE SOURCES TO ONE TRACK When more than one Channel is to be recorded onto the same track of a multitrack recorder, it is necessary to assign all desired Channels to a Group, and connect the Group Output to the input of the multitrack using the DIRECT OUT SOURCE feature of the Studio 24. If you connected the eight DIRECT OUT jacks to the track inputs of your recorder, you can assign several Channels, via the Groups, to any pair of DIRECT OUTs.
Recording Tip: Note that the overall level of Channels panned left is controlled by the GRP 1 FADER; the overall level of Channels panned right is controlled by the GRP 2 FADER. So if you’re not getting signal from one or more Channels, check their PAN knobs. In this example, Channels 1, 2 and 3 must be panned hard right to be correctly routed to DIRECT OUT 6. If they’re panned left, they will be routed to DIRECT OUT 5.
Recording machine tracks you wish to record on into the record-ready or “input” mode, and raise the MON 1/2 LEVEL control knobs of the Channels the tracks’ outputs are connected to. Set the CONTROL ROOM SOURCE switch to MON 1/2 (all other CONTROL ROOM switches must be up). Set the Monitor PAN controls to hard left and right to hear the proper stereo image in the control room.
Recording RECORDING TIPS For the cleanest possible recording, the Group FADERS (or Channel FADERS if the DIRECT OUTS are being used) should be adjusted so that the level going to tape averages 0 VU on the meters of a typical analog multitrack tape machine, or peaks just below MAX or 0 dBFS on a digital multitrack machine such as the Alesis ADAT.
Recording OVERDUBBING USING MONITOR 1/2 TO MONITOR THE MULTITRACK Once you have recorded onto the multitrack tape machine, you’ll need to hear the playback of those tracks, as you record new tracks in sync with the material already on tape (see next section, Getting the Mix to Headphones). The signals coming back from the multitrack tape machine connect to the TAPE IN connectors of each channel, and during the overdubbing stage you’ll usually hear them via the MONITOR 1/2 system.
Recording USING THE CHANNEL FADERS TO MONITOR THE MULTITRACK If you’re only recording a few inputs at a time, you may want to use a different technique for monitoring. Instead of monitoring the multitrack through MON 1/2, you might prefer listening to recorded tracks through the Channels where you can use the Channel faders to mix the tape tracks rather than the MON 1/2 knobs. This is accomplished by pressing the CHAN/MON REVERSE switch on the desired Channels down.
Recording Tape Returns 60 STUDIO 24 REFERENCE MANUAL
Recording GETTING THE MIX TO THE HEADPHONES Once you have the tape tracks returning to the mixer, it is simple to create a cue mix for the musicians to listen to over headphones while overdubbing. The cue mix is created using MONITOR 1/2 on the Studio 24, because it is a pre-fader mix that is independent from all other mixes. Follow the instructions in the previous pages to get a monitor mix if you have not already done so.
Recording MONITORING MIDI VIRTUAL TRACKS If you are using a MIDI sequencer, the tracks being played “live” from synthesizers, sound modules and drum machines in synchronization with the tape are effectively the same as additional tracks on tape –– which is why they are called “virtual tracks.” Stereo Channels 9 through 12 are particularly useful for virtual tracks. These four Channels use inputs 9 through 16 that are arranged on the top panel as stereo pairs.
Recording BOUNCING TRACKS Sometimes it is necessary to combine several tracks onto another track, particularly when you are running out of tape tracks. Example: Once you’ve recorded the vocal harmonies on four different tracks, you could bounce them all over to one track, or two tracks for a stereo mix, thereby freeing up the original four tracks. When bouncing tracks, you must control the tape tracks being bounced with the Channel FADERS, instead of hearing them through MONITOR 1/2.
Recording To bounce multiple tracks to two tracks (stereo): 1 For each Channel (tape track) you wish to bounce, press the CHAN/MON REVERSE button so it is down. This sends the tape tracks to the Channel FADERS. Make sure that CHAN/MON REVERSE is UP on the Channels you’re bouncing to (Channels 5 and 6 in this example). Otherwise, feedback may occur. 64 2 Assign the Channels to Groups 1 and 2 by pressing the GRP buttons next to the channel faders. 3 Raise the GRP 1 and 2 FADERS to the maximum position.
Recording PLAYBACK/MIXDOWN GETTING THE MIX TO THE 2-TRACK DECK Once you have recorded your tracks and overdubs, you’re ready for the last stage of multitrack recording: the mixdown to stereo. This involves connecting the L/R MAIN OUT jacks to the left and right inputs of a cassette deck, DAT deck, CD recorder or hard disc recorder. For more information on connecting the Studio 24 to a two-track mixdown deck, see page 43.
Recording GUIDELINES FOR A ROUGH MIX Creating a mix is easy; creating a great mix (one that jumps off the tape and hits you right in the face) is a lot harder. There are those engineers who are in demand just for mixing because of their sense of balance between instruments causes the mix to come alive with excitement. Although outboard effects and tonal adjustments are important, you’d be surprised at how good a dry (meaning no EQ or effects) mix can be if the balances between parts are right.
Recording instruments so that the LED meters read “-12.” 13 Unmute all Channels and make balance adjustments as necessary. The above process can be accomplished very quickly once you get the hang of it. Usually, it is done at least twice when “getting up” a mix. The first time is without effects or EQ to see what (if anything) the mix needs. The second time is after all the effects and EQ have been added.
Recording 68 STUDIO 24 REFERENCE MANUAL
Sound Reinforcement CHAPTER 6: SOUND REINFORCEMENT APPLICATIONS Though the Studio 24 has been designed as a recording console, it makes an excellent console for live PA applications. It has just as much (if not more) headroom as a PA console, is more flexible, and has a much more powerful EQ than the typical stereo PA console.
Sound Reinforcement To control a stereo submix of all the vocal mics from the Group 1 and 2 faders: If you are doing a stereo mix, you may use two groups for a submix. Follow the instructions above, but pan the microphones anywhere from left to right during step 4. Make sure Group Faders 1 and 2 are both set to the same level to keep the proper stereo balance.
Sound Reinforcement 4 Route the MONITOR OUTS L and R jacks to the input of a stereo power amplifier. Usually, a 1/3 octave graphic equalizer is patched into the line to notch out feedback frequencies. The Alesis M-EQ 230 is a perfect unit for this application. 5 Route the two speaker outputs of the amplifier to two different sets of stage monitors. Usually, some channels will have to be heard in both monitors. This requires adjusting the monitor pan and level controls to taste.
Sound Reinforcement being fed by the same microphones, a whole set of possibilities open up. USING MONITOR 1/2 TO FEED A CASSETTE DECK Since the Studio 24 has a true stereo mixer independent of the main console, it can be used to create a stereo reference mix of a live concert, while the main faders set the PA mix. This technique is popular especially with artists who want to hear a tape to evaluate each performance.
Sound Reinforcement USING MONITOR 1/2 AS THE MULTITRACK RECORDING PA MIX DURING You may run into some situations where you need the opposite hookup from the above, especially with acoustic jazz or folk recordings where a minimum of PA or monitoring is needed, but the recording must be digitally pristine. For example, suppose you’re recording in a very small club, and only the vocalist needs any sound reinforcement because the instruments are loud enough acoustically or through their own amplifiers.
Sound Reinforcement VIDEO PRODUCTION AND POST-PRODUCTION The Studio 24 lends itself extremely well to post-production applications where a soundtrack is being developed for video or film. In most situations, a synchronization system is being used, which ties together all of the time-based equipment including one or more video tape recorders (VTRs), a multitrack tape recorder, and in many cases a computer running MIDI software.
Description of Controls CHAPTER 7: DESCRIPTION OF CONTROLS CHANNEL INPUT CONTROLS TRIM The TRIM knob adjusts the sensitivity of both the Mic and Line inputs. Proper setting of this control is essential for low-noise, distortion-free operation. In most cases, microphones require from 30 to 60 dB of preamplification, while line sources need much less or none at all. If the Channel PEAK LED flashes when the CHAN/MON REVERSE switch is up and signal is present, lower the TRIM control.
Description of Controls DIRECT OUT SOURCE SWITCH On many mixing consoles, the concept of a Direct Out signal path is simple: whatever signal is input to a Channel is sent back to its own direct out jack. On the Studio 24, that’s exactly what happens when this switch is in its up position. If a microphone or instrument is plugged into, say, Channel 5, that signal is present at DIRECT OUT 5 (post-fader, post-EQ).
Description of Controls HIGH AND LOW These are standard shelving “treble and bass” tone controls. The HIGH knob range is +/- 15 dB at a fixed frequency of 12 kHz. This means that frequencies above 12 kHz will be boosted or cut by the same amount , and frequency response between 1 kHz and 12 kHz will gradually rise or fall to the shelving point. The LOW knob range is +/- 15 dB at a fixed frequency of 80 Hz.
Description of Controls MID EQ CONTROLS: LEVEL AND FREQ For Channels 1 - 8, the Studio 24 features a “semi-parametric midrange”, which means that you can control some of the parameters or aspects of the midrange, besides just cutting and boosting a predetermined frequency range. Combined with the HIGH and LOW EQ controls, these make up a 3-band equalizer that can create the vast majority of tones you may need. The Mid controls consist of two knobs: FREQuency and MID gain control.
Description of Controls AUXILIARY SEND SECTION AUX 3 AND AUX 4 SENDS These blue knobs are both mono post-fader sends typically used for effect sends whose source is always the Channel FADER. The upper AUX 3 knob controls how much signal will be sent to AUX SEND 3. The AUX 4 knob controls how much signal will be sent to AUX SEND 4. The unity-gain position of the AUX SENDS is the “2 o’clock position shown by the heavy dot. 10dB of gain is available at full rotation.
Description of Controls of a mono signal to the MON 1/2 MASTER, the BAL (balance) control sets the left/right blend of a stereo signal (instruments plugged into both the L and R inputs) to the MON 1/2 MASTER. If you have an instrument plugged into the Left input only, it is routed as a mono signal, and the BAL knob sets the balance of this mono signal between the MON 1 and MON 2 outputs.
Description of Controls -20 DB (SIGNAL PRESENT) LED The green “-20” LED will light whenever a signal of -20 dB or higher is present anywhere in the channel circuit. This will help you determine what instruments are on what Channels, and if the TRIM controls are set properly. The “-20” LED has a second function as an indicator for the SOLO switch, described in the next topic.
Description of Controls CHANNEL FADER This linear 60 mm slide fader varies the level feeding the Channel PAN control and Assignment switches (L/R and GRP) and AUX 3/4.. The fader is set for unity gain (level in = level out) when it is set at the “0 dB” mark, 2/3 of the way up. When the fader is raised to its maximum, there is 10 dB of gain added to the signal. STEREO AUX RETURN SECTION (A AND B) This section is essentially a four-input addition to the channels, squeezed into the top of the master section.
Description of Controls HEADPHONE LEVEL The LEVEL knob sets the overall level of the headphone output jack. The Headphones get the same signal appearing at the Control Room outputs (but independent of the Control Room’s level control). HEADPHONE JACK The headphone jack on the top panel is designed for most stereo headphones. The internal headphone amplifier outputs the maximum power allowed by safety standards. The impedance and efficiency of the headphones will determine the maximum volume available.
Description of Controls MONITOR OUTS 1 and 2 jacks on the back panel. The LINK switch simply mixes or assigns the 12x2 monitor mix to the L/R mix buss as well. If you are sending the Monitor signal to the headphones or control room, but don’t want that signal on the Master L/R stereo output, leave the LINK TO L/R switch off (up). Tip: If monitors are not being used as extra inputs during mixdown, turn the LINK switch off for the best signal-to-noise ratio.
Description of Controls CONTROL ROOM/SOLO SECTION The Control Room section determines what you’ll hear in the control room and see on the meters. The Control Room section does not affect any other mix of the Studio 24–it just eavesdrops on them. The Solo controls are a special part of the Control Room mix, “taking it over” anytime any SOLO switch is pressed anywhere on the console, allowing you to hear only the soloed source instantly.
Description of Controls METERS The L and R meters will display whatever is selected as the Control Room source, including SOLO. When SOLO is on, the meters show you the post-fader level of an individual Channel. These are peak-type meters which respond to the immediate level. When the meters read “0” (top green LED), the signal is at its nominal output (+4 dBu balanced, -2 dBu unbalanced) RMS. Typically, signals should be lighting a few yellow LEDs.
Description of Controls drum Channels’ L/R switches off, assign them to Group 1/2, and press Group 1/2’s TO L/R switch. The Group 1/2 faders are now a submaster for the entire drum mix in the left/right stereo mix feeding the PA or mixdown deck. MONO SWITCH Sometimes you may need two separate subgroups, instead of a stereo pair. The MONO switch allows you to do this. When MONO is down, Group 1 will feed both left and right of the L/R mix, so, for example, it may be used as a vocal subgroup.
Description of Controls TOP PANEL INPUTS AND OUTPUTS MAIN OUTS Connect these jacks to your primary destination: the PA system’s inputs, or the 2track mixdown recorder. Signal comes here from the L/R MASTER FADER, and passes through the Main Inserts. This output is a true, 3-wire balanced differential output with a maximum output level of +28 dBu. The MAIN OUTS are also duplicated on the back panel but are unbalanced RCA jacks at a level of -10 dBV instead of balanced 1/4” connectors.
Description of Controls BACK PANEL POWER SWITCH This is the master power switch for the Studio 24. When it’s ON, the green LED on the front panel will light. POWER CABLE An industry-standard removable power cable is shipped with your Studio 24. If you lose it, or need a longer or shorter length, compatible cables are available from electronics and computer stores. The type is sometimes referred to as a “NEMA to CEE” cable, or an “IEC power” cord. Never defeat the grounding pin of the power cable.
Description of Controls 2 TRACK TAPE IN Connect the output of your 2-track (cassette, DAT, CD, reel-to-reel, etc.) to these jacks. Any stereo source connected here may be heard in the control room mix only. The RCA jacks accept an unbalanced signal only; you may need to make or purchase cables that have RCAs on one end if your two-track has different output connectors. MAIN OUTS These unbalanced RCA jacks receive the same signal as the top panel MAIN OUTS but output a -10dBV unbalanced signal.
Description of Controls CHANNEL INPUT/OUTPUT JACKS (8) DIRECT OUT This jack provides the output of the channel, post-fader. Connect it to the input of a multitrack tape recorder if you need to record more than two tracks at a time, or if you need only one microphone or line-level instrument per track. These are -10 dBV unbalanced outputs. In theory, the DIRECT OUT jacks provide a cleaner signal than that of the GROUP OUT jacks, but the difference is almost unmeasurable.
Description of Controls LINE IN JACKS (STEREO CHANNELS) Similar to the LINE IN jacks on Channels 1 - 8, these input jacks may be used with balanced 1/4” TRS or unbalanced 1/4” sources. Each of the stereo Channels 9 - 12 have two 1/4” TRS balanced LINE IN jacks per Channel, designed to accept line-level signals. Please note that signals present on these four stereo channels are always routed to both the Channel FADER and MON 1/2.
Troubleshooting CHAPTER 8: TROUBLESHOOTING TROUBLESHOOTING INDEX If you are experience problems while operating the Studio 24, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance. Symptom Cause The POWER LED does not light when the ON/OFF switch is turned on. Hiss/noise in output, faders must be raised to top to hear. No power. Effects are noisy. Effects send too low, return too high. Noise/hum.
Troubleshooting MAINTENANCE/SERVICE CLEANING AND MAINTENANCE Disconnect the AC cord, then use a damp cloth to clean the console’s metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409® or Fantastik®. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS! Spray onto a cloth, then use the cloth to clean the unit.
Troubleshooting REFER ALL SERVICING TO ALESIS We believe that the Studio 24 is one of the most reliable mixing consoles that can be made using current technology, and should provide years of trouble-free use. However, should problems occur, DO NOT attempt to service the unit yourself. Service on this product should be performed only by qualified technicians. THERE ARE NO USER-SERVICEABLE PARTS INSIDE.
Troubleshooting 96 STUDIO 24 REFERENCE MANUAL
Specifications SPECIFICATIONS All measurements taken with an Audio Precision System One. All noise measurements taken with trim at minimum and faders at unity gain with 22 Hz to 22 kHz bandwidth unless otherwise specified. Main In & Out measurements made on balanced +4 dBu connectors. (+4 dBu into a line input with faders at unity and the meter reading “0” will yield +4 dBu into a balanced load or -2 dBu into an unbalanced load. Unbalanced RCAs at -10dBV (.317 volts)) Subject to change without notice.
Specifications MAXIMUM GAIN CHANNEL PEAK LED ON: METER: INSERT/DIRECT OUT (tip) INSERT IN (ring) +76 dB, MIC IN to L/R outputs, balanced +70 dB unbalanced +72 dB MIC IN to MON 1/2 OUT +82 dB MIC IN to AUX 3-4 OUT +85 dB, MIC IN to MONITOR OUT, balanced.
Specifications Top Panel: Mic Inputs Balanced Line Inputs Channel Inserts Aux Sends Stereo Aux Returns Headphone Jack (1) Main and Group Inserts Group Outs L/R Main Outputs (balanced) XLR (8) 1/4" TRS (16) 1/4" TRS (8) 1/4" TRS (2) 1/4" mono (4) 1/4" TRS 1/4" TRS (4) 1/4" TRS (2) 1/4" TRS (2) Back Panel: Tape Inputs Direct Outputs Control Room and Monitor 1-2 Outputs 2-Track Inputs L/R Main Outputs (unbalanced) RCA/phono (8) RCA/phono (8) 1/4" TRS (4) RCA/phono (2) RCA/phono (2) Dimensions: Studio 24 C
Specifications DIMENSIONAL DRAWINGS: 100 STUDIO 24 REFERENCE MANUAL
Specifications GAIN DIAGRAM dBu + 30 Max. line input + 32 dBu Max. balanced output + 28 dBu Max. internal level + 22 dBu + 20 + 10 + 10 db gain at max + 8 dBu LINE input 0 -10 -20 -30 -40 -2 dBu unbalanced -10 dBV TAPE input -12 dBu MIC input OUTPUTS Balanced + 4 dBu Main Out, Tape Out Unbalanced -10 dBV Hi/mid/low + /- 15 dB -42 dBu LINE input -50 -60 -62 dBu MIC input Mon 1/2 Chan.
Specifications BLOCK DIAGRAM 102 STUDIO 24 REFERENCE MANUAL
Index INDEX 2 TRACK, 18, 40, 85 connecting, 43 -20 dB (Signal Present) LED, 81 75 Hz, 27, 76 ADAT, 39 normalling w.
Index Group, 87 overdubbing, 18, 58, 61 Overload, 80 PA systems, 69 Pan Channel, 80 Monitor, 22, 79 parametric EQ, 26 Patchbay, 44 PEAK, 13 as MUTE indicator, 80 Channel, 80 PHANTOM, 82, 92 PK, 13 in L/R meter, 86 post-fader, 45 Power, 34 Power cable, 6, 89 recording, 17, 51, 53 Returns see STEREO AUX RETURNS, 82 send/receive, 24 Setting Levels, 51 signal flow, 25, 102 SOLO, 30, 31, 81 in Stereo Aux Return, 83 104 level, 85 SOLO IN PLACE, 31, 83 sound reinforcement, 69 source, 17 stage monitoring, 70 STE
