ALESIS Studio 32 Reference Manual
Contents CONTENTS Important Safety Instructions ................................................... 5 Safety symbols used in this product.........................................................................5 Please follow these precautions when using this product:.........................................5 Introduction ................................................................................. 7 How to use this manual ...............................................................................
Contents Connecting to an Unbalanced -10 dBV Multitrack Recorder ..........................34 Connecting to a Professional +4 dBu Multitrack Recorder .............................35 Connecting to a 2-Track Mixdown Deck........................................................36 Connecting to a Control Room amplifier ......................................................37 Connecting to a Headphone Amp ................................................................37 Connecting to a Patchbay.................
Contents MONITOR 1/2 LEVEL, MONITOR 1/2 PAN ...............................................73 Channel Output Section..........................................................................................73 Channel PAN ............................................................................................73 MUTE........................................................................................................73 PEAK LED............................................................................
Contents Troubleshooting .......................................................................... 85 Troubleshooting Index ............................................................................................85 Maintenance/Service .............................................................................................86 Specifications............................................................................... 89 Frequency Response ..........................................................
Introduction CHAPTER 1 INTRODUCTION How to use this manual You’ve taken the leap and purchased an Alesis Studio 32 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 32 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. 3630 Holdrege Los Angeles, CA 90016 or via email at: alecorp@alesis1.usa.com Conventions The buttons, knobs, and rear panel connectors are referred to in this manual just as their names appear on the Studio 32, 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 32 Recording Console. The Studio 32 follows commonly-accepted traditions for signal levels and routing. Channel Input Jacks: All 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 About the Studio 32 The Studio 32 is an extremely flexible, 16-channel, 4-group plus L/R output, in-line monitor professional audio mixing console. The MONITOR 1/2 path of each channel has its own volume, pan, and access to the channel’s upper Aux send knob, so you can mix or monitor the tape input while the main channel path mixes a mic or line input. Each monitor control has its own source switch, so it may be used as a conventional pre-fader auxiliary send as well as a tape monitor section.
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 32’s job is to control the volume, tone, pan and effects for many different inputs such as microphones, electronic instruments, and tape machines. 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 one instrument at a time and built up in layers. Recording one instrument at a time makes it easier to fix mistakes of an incorrectly played part.
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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 MIC IN Multitrack Recorder Mix (Groups and L/R) LINE TAPE IN IN TRIM (to MON 1/2 SOURCE) FADER SOURCE INSERT jack 75 HZ HIGH MID FREQ Q LOW EQ IN FADER MUTE (Post-EQ to MON 1/2 SOURCE when MIC/LINE is selected at both) DIRECT OUT MAIN L/R OUTS & INSERTS GROUP OUTPUTS (to AUX sends) 1 2 3 4 L/R PAN GRP 1/2 (combined with signals from other channels) GRP 3/4 L/R Studio 32 Reference Manual 15
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 32’s MONITOR 1/2 section, and sometimes by the L/R mix. In the monitor mix, the goal is to set the controls so the performer gets 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 (to channel FADER SOURCE switch) TRIM (MIC/LN source is post-EQ when both SOURCE switches are set to MIC/LN) (EQ) MONITOR 1/2 SOURCE MON LEVEL MONITOR 1/2 MASTER CONTROL ROOM SELECT SWITCHES MON PAN (from AUX, GROUP, L/R masters and 2 TRK inputs) (Master solo takeover relay) MONO CONTROL ROOM LEVEL (Channel details on previous page) Any SOLO on console controls this relay electronically Channel fader MASTER SOLO LED (PFL f
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 32 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 T OUR Recorder Mix/Monitor Mix System The Studio 32 is designed to accommodate the two-way signal flow required in a recording console. This is where signals are mixed, EQ’d and routed to the Aux sends, Groups and Left and Right Master outs. Each channel provides a Mic and Line Input plus a Tape In connector, where signals return from the multitrack recorder. Any input may be routed to either the main or monitor section of the channel, or even to both at once.
Guided Tour important to set this level properly, since high levels could lead to distortion and levels set too low will cause noise (see Setting Levels). Channel and Monitor source select switches: Each channel has its own FADER SOURCE SELECT switch, under the TRIM control, and MONITOR 1/2 SOURCE SELECT switch above the MONITOR 1/2 PAN control. These two switches are completely independent.
Guided Tour Group mix: Once signals are routed to the Group section, you can use the GROUP FADERS to determine the total volume of all channels assigned there. In the studio, the Group output usually is connected to the inputs of a multitrack recorder, such as the Alesis ADAT. But in live performance applications, the Group Out jacks may be used to feed other amplifiers, broadcast feeds or even other mixers. Some engineers even use the Groups for extra effect sends.
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, but there are four different Auxiliary Masters and outputs. Since some people will use the Monitor section as an auxiliary send, it’s numbered 1/2, and the other auxes are numbered 3 through 6.
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 32. 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 switch. (When SOLO is not in use, these green LEDs will flash in response to input level, but they won’t turn on solid.) There’s also a master solo LED that shows you when the solo system is active. Like all mixes in the Studio 32, the solo system has its own MASTER control, which is used to adjust the level feeding the Control Room knob. Right below that is the SIP/PFL switch, which is a source-select switch for the entire solo system.
Hooking It Up CHAPTER 3: HOOKING IT UP Unpacking and Inspection Your Studio 32 was packed carefully at the factory, and the container was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the Studio 32 for servicing. Upon receiving the Studio 32, 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 32 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 16 channel modules on the Studio 32 contains an XLR balanced MIC IN connector, a 1/4" TRS balanced LINE IN jack, a 1/4" TRS balanced TAPE IN jack, a balanced 1/4" TRS DIRECT OUT jack, and a 1/4" TRS INSERT jack. Here are more detailed descriptions of each of these, and what they should be connected to. Mic Inputs The MIC IN of each channel is a standard female XLR-3 connector.
Hooking It Up 1/4" plug, balanced line sources may also be connected here using a “stereo” TRS plug as shown above. Line inputs may also be used for connecting additional effects returns, where additional post-effect equalization is required. Do not connect a line input and a microphone to the same channel. Tape Inputs The TAPE IN jacks area 1/4" balanced TRS connectors which will accept either balanced or unbalanced inputs. Usually, you’ll connect the outputs of your multitrack tape machine here.
Hooking It Up Insert The INSERT connector is a TRS 1/4" jack which consists of an insert send (the tip of the TRS plug) and an insert return (the ring of a TRS plug), and is used to insert an outboard effects device (such as a compressor, EQ, or chorus) directly into the signal path of only one channel: the channel it is connected to (as opposed to the Aux system, which combines many different channels into an effect). For details on this, see page Error! Bookmark not defined..
Hooking It Up Master Inputs and Outputs Along the top of the back panel above the master section of the Studio 32 you’ll find most of the connectors that provide the outputs of the console: two 1/4” MAIN OUT connectors (plus two MAIN INSERT jacks), and four 1/4" GROUP OUT connectors. The CONTROL ROOM OUT jacks are under the power connector. See the next chapter “Effects and Signal Processing” for information about the Auxiliary Outputs.
Hooking It Up Stereo Aux Returns The STEREO AUX RETURNS are eight balanced 1/4" line input jacks that are most often used to connect to the stereo outputs of four external effect units. However, these may also be used as additional inputs for stereo sound modules, samplers or synthesizers, if desired. Monitor and Auxiliary Outputs The MONITOR and AUXILIARY OUTPUTS are six balanced 1/4" jacks which feed the signals from Monitor 1/2 and Aux 3-6.
Hooking It Up Chart of Connections The Studio 32 may be easily interfaced with most other professional recording and audio equipment. All inputs and outputs, with the exception of the microphone inputs, use 1/4" jacks, and may be used with balanced or unbalanced circuits. The microphone inputs are standard balanced XLR type jacks.
Hooking It Up Connecting to an Unbalanced -10 dBV Multitrack Recorder Interfacing the Studio 32 with a typical multitrack recorder using semiprofessional unbalanced phono or 1/4" phone jacks is a simple process. Alternatively, if you are using one or more ADATs, it is recommended that you use the balanced inputs and outputs using the ELCO-type connector on the ADAT (see next page).
Hooking It Up Connecting to a Professional +4 dBu Multitrack Recorder Professional recorders typically feature 3-pin XLR connectors on their inputs and outputs. ADATs feature a multipin ELCO connector that takes care of all the channels (8 inputs, 8 outputs) on a single connector. The nominal signal level of these units is +4 dBu (1.23 volts). In either case, connect these decks to the TAPE IN jacks, not the MIC IN XLR jacks.
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 32 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 32’s Control Room L & R Outs to the inputs of the amplifier used for the control room monitor speakers. The CONTROL ROOM knob on the Studio 32 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.
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Effects and Signal Processing CHAPTER 4: EFFECTS AND SIGNAL PROCESSING Connecting Aux Sends and Returns to Outboard Effects Aux Sends 3 through 6 are derived post-fader, which means that any changes in level in the fader will also cause a change in level at these 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 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. You may not need to connect anything to the right input of the effect, since many effect units use it only if the effect is connected directly between an instrument and an amplifier.
Effects and Signal Processing Channel’s MUTE button, either). As you change fader levels, you may need to make corresponding adjustments to MON 1 and 2 in order to maintain the desired balance between dry and effected signal. Using Aux Returns for extra line inputs The four Stereo Aux Returns also serve well as additional inputs, in case you run out of Channels.
Effects and Signal Processing In a typical installation, Aux 4 is used for effect sends from the channel. • To send signal from the monitor and the channel to the same effect device(s), press the AUX SOURCE button down and press the TO 5/6 switch. Use AUX 5 and 6 for a combined effect send. To set the level going to the effects device: 1 Set the Aux Send(s) in the input module to about “2 o’clock.” 2 Start the signal source(s); i.e., play the tape or instrument at typical levels.
Effects and Signal Processing To hear effects in the headphone/cue mix: Often while recording, musicians would like to hear some reverb or delay in their headphone mix. It is possible to meet this need without actually recording the effect. If you’re using L/R as the cue feed, follow the steps for “control room monitors” above. If the headphone mix’s source is MON 1/2: 1 Select MON 1/2 as the Control Room source so you can hear what the studio is hearing.
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. 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). It is also possible to insert a stereo signal processor into the signal path of the MAIN L/R OUTS, using the MAIN INSERT jacks.
Recording CHAPTER 5: M ULTITRACK RECORDING APPLICATIONS Recording Setting Levels Your job as operator is to set the audio levels in order to ensure the cleanest signal with the least amount of background noise (hiss or hum). To do this, it’s important to set proper levels not only within the Studio 32 itself, but throughout the entire audio system.
Recording If a large amount of EQ is used, it may become necessary to decrease either the TRIM control, or the Channel FADER, or both. The EQ is capable of adding quite a bit of gain and is a frequent cause of overload distortion problems. The Studio 32 has been designed with plenty of headroom on the internal summing amplifiers (23 dB of headroom above a +4 dBu balanced output level).
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 32 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 45, 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 jack to the input of the multitrack. If you’re recording no more than 4 tracks at a time, you may find it easier to use the Groups even if you’re recording one source per track, since you won’t have to repatch as you would if you use the Direct Outs.
Recording Recording Multiple Sources to Two Tracks (Stereo) Recording multiple sources onto two tape tracks is simple--you just use two Groups. Pan hard left all channels going to the odd-number Group, and pan hard right all channels going to the even-number Group. You can pan each channel to obtain the proper stereo positioning between left and right.
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. Monitoring on the channel faders gives you a head start on your mixdown, and also allows you to start using the parametric EQ. Another advantage of using the L/R mix for monitoring in the control room is that it frees the MONITOR 1/2 mix to provide an independent mix for musicians’ headphones.
Recording 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 32, 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 defined., Connecting to a Headphone Amp). In this case, the MONITOR 1/2 MASTER control will set the overall level going to the headphones. Turn down the input controls (if provided) of the headphone amplifier itself so that average levels from the monitor section (up to +10 on the meter) do not make the headphones too loud.
Recording Monitoring MIDI Virtual Tracks If you are using a MIDI sequencer, the tracks being played “live” from sound modules in synchronization with the tape are effectively the same as additional tracks on tape –– which is why they are called “virtual tracks.” Synthesizers and drum machines are normally plugged into the LINE IN jacks of the channels, and can be monitored on the Channel FADER or MONITOR 1/2 , using the procedures above.
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 FADER SOURCE button so it is down. This sends the tape tracks to the Channel (long) FADERS. 2 Assign the Channels to Groups 1 and 2 by pressing the 1/2 buttons next to the channel faders. 3 Raise the Group 1 and Group 2 MASTER FADERS to the maximum position. 4 Place tracks 5 and 6 into record-ready, and select either GRP 1/2 or MON 1/2 as the Control Room source.
Recording Playback/Mixdown Getting the Mix to the 2-Track Deck Once you have established a satisfactory mix, it’s time to get it over to the tape deck. This involves connecting the L/R MAIN OUT jacks to the mixdown tape deck’s left and right inputs. For more information on connecting the Studio 32 to a two-track mixdown deck, see page Error! Bookmark not defined..
Recording Guidelines for a rough mix Creating a mix is easy; creating a great mix (one that jumps off the tape) 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 lead vocal, solo guitar, etc.) so that the LED meters read “-8.” Mute these Channels. 12 Raise the Channel FADERS with the background vocals and/or incidental instruments so that the LED meters read “10.” 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.
Sound Reinforcement CHAPTER 6: SOUND REINFORCEMENT APPLICATIONS Though the Studio 32 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 Channels, and the combined signal will appear at the L/R MASTER FADER along with the other Channels directly assigned to L/R. 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 Alternate uses for the Monitor 1/2 section: Stereo recording during a live concert The most popular and obvious application of the MONITOR 1/2 section to hear the tape tracks in the control room or headphones while using the main faders for the sources, during multitrack studio recording.
Sound Reinforcement balance will be wrong on the tape for instruments that don’t need to go to the PA (for example, the lead guitarist’s kilowatt stack may be too loud to need PA reinforcement, but if you rely on bleed through the vocal mics for the recording, the guitar won’t sound right). 1 Connect the MON 1/2 OUT jacks to the input of your stereo tape deck. 2 Make sure the MON 1/2 LINK TO L/R switch is OFF. Otherwise, the mix you want for the recording will also go to the PA system.
Sound Reinforcement Patch these six outputs (Groups 1-4 and L/R) to the first six tracks of the recorder. 3 Patch the vocal and bass from their respective TAPE OUTs without assigning them to any of the main outputs: Voila, an 8-track digital recording that is easy to manage, and a happy audience and vocalist. The point of all these techniques is: don’t limit yourself in how you use the different sections of the Studio 32. What works in one situation will require a different solution in another.
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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 lights when the FADER SOURCE switch is up,lower the TRIM control.
Description of Controls Equalizer section 75 Hz switch The graphic under this switch shows what this does: it cuts frequencies below 75 Hz at a rate of 18 dB per octave. This is called a “high pass filter”, but some people prefer to think of it as “low cut filter”. It’s always available to the channel path, even if the EQ IN switch is out. It is used to filter out undesirable subsonic frequencies which may be present in the signal (air conditioning rumble, mic stand noise, etc.).
Description of Controls The MID GAIN knob controls how much boost or cut is applied to the band chosen. At the center detent position, there is no effect (flat response). Turning to the right amplifies the band, to a maximum of 15 dB. Turning to the left cuts the band, to a maximum cut of -15 dB. The Q, or bandwidth, can be adjusted to select the range of frequencies around the center frequency that will be most affected by the boost or cut.
Description of Controls Auxiliary Send Section AUX 3(5) SOURCE Switch The AUX SOURCE switch selects the input for the Aux 3(5) Send control directly below it, and only for that one control. • • When this switch is up, Aux 3(5) is a post-fader send from the Channel fader. When this switch is down, Aux 3(5) is a post-fader send from the Monitor LEVEL control.
Description of Controls • • When this switch is UP, the TAPE IN jack is the source of the Monitor send. When this switch is DOWN, the LINE IN/MIC IN jack (having already passed through the TRIM control) is the source of the monitor send. Whether the MIC/LINE signal is pre- or post-EQ is set by the position of the CHANNEL SOURCE switch: if the channel and monitor are both set to MIC/LINE, it will be post-EQ. In all other switch positions, the MONITOR 1/2 feed is pre-EQ.
Description of Controls SOLO The SOLO button sends the channel’s signal (and only that Channel’s signal, if no other SOLO buttons are pressed) directly to the Control Room monitors, cutting off any other signals to the Control Room. It allows the engineer to focus on one signal without disturbing any other mixes. When SOLO is pressed, the green “-20” LED will light solid (even if no signal is present).
Description of Controls MASTER SECTION On the right hand side of the console are controls that affect the outputs of the mixer. Power and Phantom indicators The switches for these indicators are located on the back panel. The PHANTOM LED indicates that 48 volt phantom power is being applied to all 16 XLR jacks Headphones Level and Source The LEVEL knob sets the overall level of the two headphone output jacks next to it. The HEADPHONES SOURCE switch has two positions: CR (CONTROL ROOM) and MON 1/2.
Description of Controls L/R Assign Switch This switch routes the signal from the Stereo Aux Return jacks to the Master L/R FADER, with the left input going to the left and right going to right. If no plug is inserted into the Right input, the left signal will be connected to both sides, appearing in the center of the stereo image.
Description of Controls Aux Master Controls Auxiliary Masters The four blue knobs in the Aux Master section provide the final overall level control for the Aux Send mixes. They get their signal from the individual Aux Send level controls to the left. The signal then goes to the respective AUXILIARY OUTPUT jacks on the back panel, and to the appropriate Control Room select switch. Adjust the Aux Masters for the correct level feeding your external effects device.
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 32–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 Press MON 1/2 when you wish to route the headphone mix (Aux Send 1 and 2 output) to the Control Room. AUX 3/4, AUX 5/6, GRP 1/2, and GRP 3/4 may also be selected. 2 TRACK corresponds to the 2 TRACK INPUT jacks on the rear of the Studio 32. These can be used to listen to the output of a mixdown tape recorder, or CD player. MONO The MONO button, when pressed down, sums the left and right sides of the selected Control Room mix to monophonic.
Description of Controls Group Master Controls The Groups may be used as sends to the tape recorder in recording applications, or as subgroups or zone masters in PA applications. TO L/R switches These switches are primarily used when submixing for PA applications, or possibly during a complicated recording mixdown. The first TO L/R sends Group One’s signal to the left side only and Group Two to the right side only of the Main L/R mix. The other TO L/R switch does the same for groups 3 and 4.
Description of Controls Back panel POWER switch This is the master power switch for the Studio 32. When it’s ON, the red LED on the front panel will light. Power cable An industry-standard removable power cable is shipped with your Studio 32. 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 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.
Description of Controls Tape In Connect the outputs of your multitrack tape recorder to these jacks. It may be +4 dBu balanced (+26 dBu maximum level) or -10 dBV unbalanced. Actually, any typical line input (such as the output of a synthesizer or effect device) may be connected to these inputs, so you could use the Studio 32 as a 32-input line mixer, by running the “tape inputs” through the MONITOR 1/2 section, linked to the L/R Master.
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Troubleshooting CHAPTER 8: TROUBLESHOOTING Troubleshooting Index If you are experience problems while operating the Studio 32, 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 32 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 Studio 32 Reference Manual 86
Index INDEX 2 TRACK, 12, 31, 77 connecting, 36 -20 dB (Signal Present) LED, 71 75 Hz, 20, 68 ADAT, 31 normalling w.
Index mixdown, 12 Mixing, 11 example, 58 Group Faders as Subgroups, 61 mixdown, 57 PA, 61 stage monitor, 62 MON 1/2 in headphones, 73 in Stereo Aux Returns, 22, 73 monitor, 21 on channel faders, 52 TAPE IN, 51 MONITOR 1/2, 16, 21, 71 Master, 75 MONITOR 1/2 SOURCE, 19, 62, 70 monitor speakers, 23 MONO, 23 Control Room, 77 Group, 78 output for PA systems, 61 multitrack, 11, 14, 19, 34 MUTE, 71 noise, 27, 46 noise, 88 Outputs, 33 Aux Sends, 32 Group, 78 maximum, 35 overdubbing, 12, 51, 53 Overload, 71 PA syst
