ALESIS X2 Reference Manual
Introduction Thank you for purchasing the Alesis X2 24-channel, 8-group output, in-line monitor professional mixing console. To take full advantage of the X2’s functions, and to enjoy long and trouble-free use, please read this user’s manual carefully. How To Use This Manual This manual is divided into the following sections describing the various modules and functions of the X2.
2 X2 Reference Manual
Contents CONTENTS 1: Introduction ............................................................................................................ 7 About the X2 ........................................................................................................................7 Basic Principles of Mixing & Multitrack Recording .........................................................8 Recording/Tracking ..............................................................................................
Contents Interfacing to the Headphone Amp......................................................................28 Interfacing Aux Sends and Returns to Outboard Effects ...................................28 Interfacing the Inserts ............................................................................................29 Interfacing with a MIDI Sequencer ......................................................................30 4: Applications ...............................................................
Contents MIDI .....................................................................................................................................56 MIDI Channel.........................................................................................................56 Selecting Songs via MIDI.......................................................................................56 MIDI Map ...............................................................................................................
Contents AUX A ASSIGN Switches (Aux A Only) .............................................................65 GROUP MASTERS Switch (Aux B Only) ............................................................65 L-R Button ..............................................................................................................65 SOLO Button ..........................................................................................................65 MUTE Button ..................................................
Contents Maps 2.0—2.9.......................................................................................................................81 MIDI Implementation Chart ........................................................................................ 82 Specifications .............................................................................................................. 83 Internal Connector Pinouts...............................................................................................
Introduction CHAPTER 1 INTRODUCTION About the X2 The X2 is an extremely flexible, 24-channel, 8-group output, in-line monitor professional mixing console. The monitor path of each channel has its own 45mm linear fader, automated mute, and access to EQ and Aux sends, so you can mix or monitor one input while the main path mixes another. This flexible design allows full mix control of 48 sources, plus 16 aux returns, for a total of 64 sources at mixdown.
Introduction in the console (each channel, monitor, effect return, aux send, and group output). It features its own ADAT Synchronization Interface jack, plus MIDI in/out jacks, so that its built-in 10,000-event sequencer can be synchronized directly to the ADAT system or to a MIDI system. The mutes may be externally controlled by a MIDI sequencer, or, in live applications, by using 100 sets of four mute groups.
Introduction more) happening simultaneously in order to complete the task of overdubbing. The comprehensive systems and logical layout of the X2 Mixer will make it relatively easy for you to accommodate even the most complex monitoring requirements. The following are a few of the typical mixes that may occur during a session: • Multitrack Mix: The first mix would be the mix that is being recorded onto tape. This mix is derived from the Channel Faders and the Tape Outs or the Group Outs.
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Guided Tour CHAPTER 2: GUIDED TOUR Recorder/Mix Systems The X2 is designed to be extremely flexible, as evidenced by the channel module design. 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 Tape In connector, where signals return from the multitrack recorder. These can be routed to either the main or monitor section of the channel. This allows you to mix a signal and monitor a tape signal simultaneously.
Guided Tour input appears at the monitor controls. This is the position normally used for mixdown (with the main channel assigned to L-R) or for bouncing tracks (with the main channel assigned to the appropriate Group or Groups). To avoid low-end rumble and noise, turn on the HPF (high-pass filter), which removes frequencies below 75 Hz. Next we have the EQ section, which is broken into two groups: the Hi & Lo EQ, and the Hi Mid & Lo Mid EQ.
Guided Tour Aux Send/Return Systems In the center of each channel module is the Aux Sends section, which allows the signal to be routed to outboard signal processing equipment or to feed a headphone amplifier. The first two sends (Aux 1-2) are Pre-Fader, meaning that the signal level is independent of the channel’s fader. These are ideal for headphone mixing of tape tracks for the musicians in the studio. Aux 3 through 8 are post fader, ideal for routing signals to reverb and other effects devices.
Guided Tour Control Room Systems A three-frequency oscillator, with adjustable level, allows you to record test tones onto your tapes. Below the Aux Masters section, level controls are available for Studio outputs, Headphone outputs and the Control Room outputs. The Control Room can selectively monitor the Master outputs (L-R), AUX 1-2, or External inputs 1 and 2 (EXT IN 1/EXT IN 2); these last two inputs are useful for signals returning from mix-down tape decks.
Guided Tour This toggles the meters between Tape Sends and Tape Returns. Two Mode LEDs on the meter bridge indicate which mode is selected.
Connecting the X2 CHAPTER 3: CONNECTIONS Unpacking and Inspection Your X2 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 X2 for servicing. Upon receiving the X2, carefully examine the shipping carton and its contents for any sign of physical damage that may have occurred in transit.
Connecting the X2 indicate that an outlet is properly grounded. You may use an AC line tester to determine this. If the outlet is not grounded, consult with a licensed electrician. When AC currents are suspected of being highly unstable in VAC and Hz, a professional power conditioner should be used. To connect the power supply to the X2: 20 1 Screw on one end of the multipin cable to the X2’s POWER connector, and the other end to the same type connector on the back of the power supply unit.
Connecting the X2 Avoiding Ground Loops 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.
Connecting the X2 Channel Inputs and Outputs Each of the 24 channel modules on the X2 contains an XLR balanced MIC Input connector, a 1/4" TRS balanced LINE Input jack, a 1/4" TRS balanced TAPE IN jack with a +4/-10 level switch, an unbalanced 1/4" TAPE SEND jack, and a TRS 1/4" INSERT jack. Also included are three 56-pin ELCO connectors which provide eight channels each of BALANCED TAPE Ins and Outs. Here are more detailed descriptions of each of these, and what they should be connected to.
Connecting the X2 additional post-effect equalization is required.
Connecting the X2 Tape Input The Tape Input is a 1/4" balanced TRS connector which will accept either -10 dBV or +4 dBu, depending on the setting of the +4/-10 switch (see next section). The Tape Input is the normal source of the Monitor path. However, when the CHAN/MON REVERSE switch is pressed, the Tape Input is switched over to the Channel path (see section 6.0.5).
Connecting the X2 Balanced Tape I/O The BALANCED TAPE I/O is a 56 pin ELCO connector designed to deliver eight channels of balanced +4 dBu tape inputs and outputs, such as that on the Alesis ADAT Digital Multi Track Recorder. There are three BALANCED TAPE I/O connectors provided which, when connected to three ADATs, provide the tape sends and returns of 24 digital tape tracks. The unbalanced and balanced outputs are available simultaneously.
Connecting the X2 Stereo Returns and Groups Each of the four Group modules contain two 1/4" GROUP OUT connectors (for a total of eight Group Outs), two TRS 1/4" GROUP INSERT connectors (for a total of eight Group Inserts), and four 1/4" RETURN connectors (for a total of eight Stereo Returns). Here are detailed descriptions of each. Group Outputs The GROUP Outputs are unbalanced 1/4" connectors which are available for connection to the inputs of a multitrack tape machine.
Connecting the X2 Master Inputs and Outputs The Master Module contains two balanced 1/4" MASTER OUT jacks, two TRS 1/4" MASTER INSERT jacks, two balanced 1/4" CONTROL ROOM output jacks, two 1/4" STUDIO jacks, and two pair of 1/4" jacks that serve as EXTERNAL 1 IN and EXTERNAL 2 IN. Additionally, a PHONES jack is found along the front end of the X2. Here are more detailed descriptions of each.
Connecting the X2 like reverbs and digital delays.
Connecting the X2 Headphones The PHONES connector (found on the front end of the console, directly below the Master faders) is a stereo 1/4" jack which provides a substantial level to drive most headphones. The signal level is controlled by the PHONES knob. The wiring scheme is as follows. Headphones Left Signal Tip Right Signal Ring Ground Sleeve Tip Ring Sleeve ADAT Sync The ADAT SYNC is a 9-pin, D connector which is designed to connect to an ADAT system.
Connecting the X2 Examples of Connections The X2 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. The microphone inputs are standard balanced XLR type jacks. Input Mic Inputs Line Inputs Tape Send (Direct) Tape In Inserts Tape I/O Aux Sends Aux Returns Group Outs Group Inserts Master Outs Master Inserts Studio Outs Control Room Outs Ext.
Connecting the X2 Interfacing to an Unbalanced -10 dBV Multitrack Recorder Interfacing the X2 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 to interface the balanced inputs and outputs using the ELCO-type connectors.
Connecting the X2 Interfacing to a Professional +4 dBu Multitrack Recorder Professional recorders typically feature 3-pin XLR connectors on their inputs and outputs. The nominal signal level of these units is +4 dBu (1.23 volts). Depending on the model of recorder, these inputs and outputs may be balanced, servo-balanced (which automatically compensate if one side of the input is grounded), or unbalanced. Check the manual of the recorder to find out the true specification for the inputs and outputs.
Connecting the X2 Interfacing to a Multitrack Recorder via a Patchbay It is also possible to access the multitrack tape recorder by the use of a patchbay, which is several rows of jacks that are permanently connected to both the inputs and the outputs of the X2, the multitrack tape machine, and all of the outboard equipment. This is much more convenient, but a more expensive method than described in the last section, and is not absolutely necessary for operation.
Connecting the X2 • cables from the phono jack outputs to the 1/4" EXT IN jacks of the X2. If the mixdown deck has only XLR outputs, make or purchase an adapter from XLR-to-phone plug, with pin 1 connected to the sleeve and either pin 2 or 3 connected to the tip. Check with the manual of your mixdown deck to see if unbalanced operation is allowed, and if so, whether the other pin should be left disconnected or grounded.
Connecting the X2 simultaneously, if desired. Note: If you want to use a separate effect on each channel, use the INSERT jacks, not the Aux Sends (see next section). To connect the Aux Sends and Stereo Aux Returns to outboard effects: 1 Connect the Aux Sends (AUX 3, AUX 4, AUX 5, AUX 6, AUX 7, AUX 8) to the input or inputs of your outboard effects devices (like the Alesis QuadraVerb 2 or Midiverb III).
Connecting the X2 Interfacing the Inserts 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 one of these devices into the signal path of any of the GROUP OUTS or the MASTER OUTS, since they also have INSERT jacks available.
Applications CHAPTER 4: APPLICATIONS Recording Setting Levels In order to ensure the cleanest signal with the least amount of background noise (hiss or hum), it is extremely important that proper level settings be maintained not only within the X2 itself, but throughout the entire audio system. Therefore, it’s best to observe the following guidelines when using the X2. I. Maintain Proper Input Levels.
Applications If several “hot” (loud) Channels are assigned to a Group, it is possible that the Group will overload. Since the internal electronics of the X2 have 18 dB above 0 VU of headroom, it is only possible to clip the Group if: • the Group meter is hitting the top of its range with the GROUP MASTER FADER set to nominal level, or • the GROUP MASTER FADER is set to -20 or lower, and the Group Meter is reading 0 or above.
Applications Recording Multiple Sources to One Track When more than one Channel is to be recorded onto the same track of a multitrack tape machine, it is necessary to assign all desired Channels to a Group. When the DIR switch of a channel is up, the TAPE OUT jacks receive the signal from a corresponding Group. For example, use Group 1 if you want to record on tracks 1, 9, or 17. Group 8 is used to record on tracks 8, 16, or 24.
Applications Recording Multiple Sources to Two Tracks (Stereo) Recording multiple sources onto two tape tracks can either be done as two separate Groups or as a stereo mix using two Groups. The former requires that you pan hard left all Channels going to the odd-number Group, and pan hard right all Channels going to the even-number Group. The latter requires that you pan each Channel to obtain the proper stereo positioning between left and right.
Applications Recording Tips For the cleanest possible recording, the Group FADERS (or Channel FADERS if the TAPE SENDS 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 -15 dB on a digital multitrack machine, such as the Alesis ADAT).
Applications Overdubbing Monitoring the Multitrack on the Monitor Faders Once you have recorded onto the multitrack tape machine, you will want to listen back to those tracks, especially if you are overdubbing new tracks with musicians who need to hear the material already on tape (see next section, Getting the Mix to Headphones).
Applications previous section.
Applications 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 Aux Sends 1 and 2 on the X2, because the signals from these sends are derived Pre-Fader (before the Channel or Monitor FADER).
Applications Adding Effects Effects such as reverb, chorus and delay are typically wired in a loop from an Auxiliary Send to a Stereo Aux Return (see Chapter 3, “Interfacing Aux Sends and Returns to Outboard Effects”). There are two basic stages to getting a low-noise, distortion-free signal flow from an effects device: 1 Adjust the send level from the X2 to the effect device using the channel Aux Sends, the Aux Master, and the input controls of the effect device itself.
Applications 4 Raise the input control of the effects device until its meter or clip LED shows peak level, then lower the input control a bit. Consult the manual for the effect device for more information. Some effect devices have level setting switches on the back; these should be set so that a peak level can be reached with reasonable settings (neither too high nor too low) of the input control.
Applications To make sure you’re hearing what’s actually going to tape, make sure the L-R switch is up, and follow the procedure earlier in this section under “Recording Multiple Sources.” If the effect is stereo, it must be recorded onto two tracks. If you’re recording onto one track only, try setting the STEREO SEPARATION control to MONO (counterclockwise). To record effects onto the mixdown deck: This procedure is the same as for hearing effects in the monitors, listed above.
Applications REVERSE button so it is down. This sends the tape tracks to the Channel (long) FADERS. 2 Assign the Channels to Groups 5 and 6 by pressing the 5-6 button next to the long fader. 3 Make sure Channel 5’s DIR switch is in the UP position. 4 Place tracks 5 and 6 into record-ready, and adjust the Group 5 and 6 FADERs to achieve a desirable recording level. 5 Adjust each Channel’s PAN knob and FADER to achieve a desirable mix.
Applications tape deck’s left and right inputs. For more information on interfacing the X2 with a mixdown deck, see page 27. Assign all Channels, Monitors, Stereo Aux Returns and Groups being used to the LR MASTER FADERS, by making sure the L-R buttons for each is down. Then create a mix using the Faders for the selected channels. If there are any channels, monitors or aux returns you are not using, make sure their L-R switches are up, to keep the noise floor to a minimum.
Applications 7 Raise the Toms Channel FADERS. Set them so that the LED meter indicates “0.” Mute the Toms Channels. 8 Bring up the Bass Guitar Channel FADER so that the LED meter reads “-6.” Mute the Bass Channel. 9 Raise the Channel FADERS with the rhythm guitar and/or keyboards so that the LED meters read “-10,” unless percussion instruments are involved (such as cowbell, triangle or shaker), in which case the meters should read “-15.” Mute these Channels.
Applications or MIDI Clock. This can either come from a synchronization processor (one that can translate SMPTE or VITC timecode into MTC) or from a MIDI sequencer. Alternatively, you can also use the MIDI sequencer to record mutes from the X2’s console, thereby bypassing the X2’s built-in sequencer. If you plan to use an external sequencer for automating mutes, there are several things to consider.
Applications Live Performance Creating a Monitor Mix Most sound reinforcement applications work best in mono, since so few members of the audience are seated in the ideal spot to hear the balance of a stereo sound system effectively. Also, a stereo sound system can be much more difficult to mix. To configure the X2 mixer in order to achieve a mono mix: 1 Pan all of the Channels fully left (or fully right).
Applications “On” (down) position, and assign Group 2 to the Right Master FADER by switching the ASSIGN RIGHT to its “On” (down) position. The Group 1 and 2 FADERS will now control the selected Channels, and the combined signal will appear at the Master FADERS along with the other Channels/Groups. Stage Monitor Mix It is possible to create two separate stage monitor mixes by using the Pre-Fader Sends (Aux Sends 1 and 2).
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Mute Automation CHAPTER 5: MUTE AUTOMATION Overview Because muting channels can be as much a part of the creative aspect of music as composing the song itself, the X2 comes with a built-in sequencer that lets you automate this task. The Mute Automation section of the Master Module lets you record the muting and unmuting of any Channel, Monitor, Group, Aux Send or Return. When automating, each time a MUTE button is pressed it is recorded as an event that occurred at a particular time reference.
Mute Automation and have them playback. This is done by choosing one of the many built-in MIDI maps the X2 provides, which determines how the mute events will be transmitted (using note-on messages, controller data or as System Exclusive). The entire memory of the Mute Automation (100 songs, 400 Mute Groups and up to 10,000 mute events) can be downloaded to an external MIDI device (such as an Alesis DataDisk, MIDI sequencer, bulk librarian, or some other MIDI device).
Mute Automation Mute Groups allow you to mute as many channels as you want with a single button press. Each of the 100 songs contains 4 Mute Groups. Mute Groups are ideal when you want to mute a group of channels that relate together. For example: The various individual drum tracks (snare, kick, percussion, etc.) that make up the drum section. Mute Groups can be recalled by simply pressing one of the MUTE GROUP buttons (1—4). You can easily mute all channels by pressing the ALL button.
Mute Automation Defining Mute Groups The DEFINE buttons allows you to define a Mute Group of channels. Defined Mute Groups are stored into the currently selected song. Make sure you have the desired song selected before defining a Mute Group. There are two ways to set the mute status of all channels when defining a Mute Group. You can either mute channels one at a time, or you can mute all channels with the touch of the ALL button.
Mute Automation Recalling Mute Groups To recall a Mute Group: 1 Select a Song (00—99) by pressing the DISPLAY button until the SONG LED above it is lit, and then using the INC/DEC buttons to change the Song number. 2 Press one of the MUTE GROUP buttons (1—4). The MUTE GROUP button’s LED will light and the Mute Group will be recalled. 3 At any time, you can press any other MUTE GROUP button to recall its defined Mute Group. The four MUTE GROUP buttons act as radio buttons, i.e.
Mute Automation Display Mode The two-digit LED display has four modes: Song, Sync, Channel, and Map. The mode is selected by pressing the DISPLAY button. Each time DISPLAY is pressed, the X2 will cycle through the four modes, as indicated by the four LEDs directly above the display. Once a mode is selected, the displayed parameter may be adjusted by using the INC & DEC buttons, directly below the display. Holding down either button will cause the value in the display to scroll at an increasing speed.
Mute Automation events into the current Song. The ONLINE button must be turned on in order for the UPDATE button to function. Mute Events Recording and Playing Back Mute Events The UPDATE button should be thought of as a mute record button. When turned on and the X2 is locked to a sync source (see previous section), any mutes or unmutes are recorded into the currently selected song. Mute events can be recorded by pressing any MUTE button on the console, or by pressing a MUTE GROUP button (1—4).
Mute Automation Anytime you wish to add more mute events to a Song, simply select the song, put the X2 Online, play the tape and press UPDATE. New mute events will be added to the original ones. Be sure to turn UPDATE off when you’re done, to avoid recording unwanted mute events.
Mute Automation Editing Songs Erasing The X2’s Mute Automation provides several editing tools. The ERASE FWD button lets you remove all mute events on any channel from a particular time event to the end of the Song. This requires that you first locate your tape machine providing the sync source to the X2, so that the tape’s position is exactly at the location you wish to begin deleting mute events from. J The following erase commands are not undo-able. Once something is erased, it’s really gone.
Mute Automation 4 Press UPDATE to execute the erase, or press UNDO to abort erase mode. All mute events on this channel from the current tape position to the beginning of the song (the first mute event recorded) will be deleted. To erase all events on one or more channels: 1 Press the ERASE FWD button. The ERASE FWD LED will flash. 2 Press the ERASE BWD button. The ERASE BWD LED will flash. 3 Select the channels to be erased by pressing any MUTE button.
Mute Automation The display will temporarily read “rS” (reset). 4 Release all three buttons. Copying Copy Mute Events The X2 allows you to copy all mute events for a single channel within a Song to any other channel. This copy function merges copied data with whatever events were already on the destination channel. To replace a channel’s mute events you must first erase the mute events on that channel before copying (see previous section).
Mute Automation MIDI When you want to use an external MIDI sequencer to provide mute automation, instead of the X2’s internal sequencer, you must select a MIDI channel and choose a MIDI Map. There are several different sequencers to choose from, although we recommend using a sequencer that provides “event chasing,” so that you can locate to any location on your sequencer and be confident that it will update the mixer with its correct mute status for that particular section of the song.
Mute Automation MIDI Map The MIDI Map determines what MIDI messages will be used for each Mute and Mute Group when using an external MIDI sequencer to automate the X2. There are several maps to choose from, each designed for use with specific sequencers. In general, you will probably pick one Map to use on all occasions, based on what type of sequencer you are using. J You must be offline for the MIDI maps to be active. If you are online, the X2’s internal sequencer is active. MIDI Map 1.
Mute Automation Memory Backup All contents of the Mute Automation’s memory (including 100 Songs, all mute events and 400 Mute Groups) can be transmitted (or dumped) to an external MIDI storage device by using System Exclusive messages. In order for this to work correctly, you’ll need to use a device capable of storing such information (like an Alesis DataDisk, System Exclusive librarian or sequencing software). The device should be connected using two MIDI cables. For more information see page 30.
Description of Controls CHAPTER 6: DESCRIPTION OF CONTROLS Input Channel Controls +48 V Switch When pressed, the +48 V switch applies phantom power to the XLR microphone jack for that channel. 48 volts DC appears equally on pins 2 and 3 to be used by condenser-type microphones requiring external power. Since this potential is equal, it is “invisible” to standard balanced dynamic microphones, hence the name, “phantom power.
Description of Controls FADERS will get signal from the Line inputs, and the short Monitor FADERS will get the Tape Returns, the typical patch for recording & overdubbing. HPF Switch When the HPF (High Pass Filter) switch is pressed (down), a filter is inserted into the signal path which rolls off (attenuates) frequencies below 75 Hz at a rate of 18 dB per octave. A 19 Hz signal will be attenuated 36 dB when this is turned on.
Description of Controls EQ IN Switch This inserts the equalizer controls into the channel signal path. When down, the EQ is in the signal path. This switch has no effect on the HPF control (see above), or on the HI and LO EQ if the TO MON switch is down. AUX 1–2, AUX 1–2 PAN The AUX 1-2 knob controls how much signal will be sent to either AUX SEND 1 or AUX SEND 2, as set by the PAN knob directly below this knob.
Description of Controls 7/8 Switch (Aux 5/6) This switch functions identically as the 7/8 switch found between Aux 3/7 and 4/8, but is used to assign the AUX 5/7 and 6/8 knobs (refer to previous section). Monitor PAN The PAN control sends the output of the Monitor in continuously variable degrees to either side of the stereo mix (if the Monitor’s L-R switch is pressed -- see below).
Description of Controls Channel PAN The PAN sends the output of the Channel in continuously variable degrees to either side of the stereo mix (if L-R switch is pressed -- see below), or to odd-even sides of the Group Assignment switches (pan left for Groups 1, 3, 5 and 7; pan right for Groups 2, 4, 6 and 8). The PAN control is a combination “where to/how much” control, in that it controls both the level and direction of a signal.
Description of Controls J Note that even if the 1-2 button is pressed, no signal will go from the channel to Group 1 if the Channel PAN knob is turned hard right. Channel L-R Button The L-R button routes the channel’s signal to the Master L-R FADERS, depending on the setting of the Channel PAN knob. This switch is normally pressed for final mixdown, or if the entire channel is being used for monitoring.
Description of Controls inputs will be applied to the Aux Return ASSIGN switches and the STEREO SEPARATION and BALANCE controls see below). Hi and Lo EQ These provide standard shelving controls. The HI 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 LO knob range is +/- 15 dB at a fixed frequency of 80 Hz.
Description of Controls The GROUP MASTERS switch routes the Aux Return’s signal to the pair of Group FADERS directly below the Aux Return (example: pressing the GROUP MASTERS switch on Aux B of the first Group module would route that signal to Groups 1 and 2.). Remember that the STEREO SEPARATION and BALANCE knobs have an effect on the assignment. L-R Button The L-R button routes the Aux Return’s signal to the Master L-R FADERS, depending on the settings of the STEREO SEPARATION and BALANCE knobs.
Description of Controls MUTE Buttons The MUTE buttons disconnects the Group’s signal from the Master outputs, the GROUP OUT jacks and the TAPE OUT jacks. When pressed, the MUTE button’s LED will light. This can be controlled via the Dynamic Mute Automation system, which gives it other functions as well (see Chapter 5). Group 1—8 Master Faders The 8 Group Master FADERS adjust the total output level of all signals assigned to the Group.
Description of Controls Master Controls Oscillator Frequency and Level The built-in Oscillator provides reference tone with a variable output level. The two switches are used together to determine the Oscillator’s frequency between 10 kHz, 1 kHz, 100 Hz and OFF. Bottom Switch Up Down Top Switch Up Down OFF 1 kHz 10 kHz 100 Hz 10 kHz tone is used to lay tones on a tape so it can be adjusted for azimuth and frequency response at another studio. 1 kHz is the industry standard level reference tone.
Description of Controls both). If the STUDIO switch is down, the Talkback signal is routed to the Studio outputs. Phones This controls the output level of the Headphone output (located at the front end of the console). This headphone mix follows whatever is chosen as the Control Room source (see below). Control Room Level and Source The CONTROL ROOM knob sets the overall Control Room level.
Description of Controls and Tape Return mode. Two Mode LEDs on the meter bridge indicate which mode is selected.
Description of Controls Mute Automation Controls DISPLAY The DISPLAY button is used to cycle the 2-digit LED display through a cycle of four display modes: Song, Sync, Channel and Map. Each time the DISPLAY button is pressed, the display will advance to the next display mode. The Display Mode is indicated by four LEDs (Song, Sync, Channel and Map). They are located directly above the LED display and the DISPLAY button. INC & DEC The INC/DEC buttons are to edit a value in the display.
Description of Controls MUTE GROUPS (1—4) The MUTE GROUPS buttons (1—4) are used to recall a group of mutes on various channels at the touch of a button. Four Mute Groups are available in each Song, giving you 400 Mute Groups altogether. To create a Mute Group, you must use the DEFINE button (see below). The MUTE GROUPS buttons are effected by the OVERLAY button (see below). Mute Group, like any other mute, can be recorded into a Song using the Mute Automation sequencer.
Description of Controls When OVERLAY is turned on (its LED lit), Mute Groups can be recalled “on top of one another” instead of canceling each other out. This is handy when you want to independently yet simultaneously control the enabling of multiple groups of channel mutes. J When the Mute Automation is recording Group Mute events, they are treated as single events. instead of many mute events. If OVERLAY was on when you recorded Mute Group events, make sure it is on whenever you are ONLINE (see below).
Description of Controls COPY The COPY button makes it possible to copy the mute events recorded for one channel and have them affect any number of other channels. Example: If you had four channels of vocals that you wanted to mute simultaneously, you could record the mute events for one of the channels and then copy those events to the remaining channels (another way of doing this is to create a Mute Group for those channels and record the Mute Group events to do the same thing).
Description of Controls Erasing Memory To erase all memory including the mute events in all 100 Songs and their 400 Mute Groups, hold ALT (ALL) and press ERASE FWD and DEC simultaneously. This function is not reversible. SYS EX By holding ALT and pressing UPDATE (SYS EX), all memory is dumped out the MIDI OUT port. This information can be recorded into a MIDI sequencer, or librarian program, or stored to a System Exclusive data storage device, such as the Alesis DataDisk.
Description of Controls 86 X2 Reference Manual
Trouble-Shooting CHAPTER 7: TROUBLE-SHOOTING Trouble-Shooting Index If you are experience problems while operating the X2, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance. Symptom The display does not light when the ON/OFF switch is turned on. DEFINE and DISPLAY buttons don’t work. Cause No power. ONLINE switch is turned on. Solution Check that the power cable is plugged in properly. Turn off ONLINE switch.
Trouble-Shooting 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.
Trouble-Shooting damage caused by inadequate packing is not covered by the Alesis warranty. Tape a note to the top of the unit describing the problem, include your name and a phone number where Alesis can contact you if necessary, as well as instructions on where you want the product returned. Alesis will pay for standard one-way shipping back to you on any repair covered under the terms of this warranty.
Trouble-Shooting 90 X2 Reference Manual
MIDI Maps Index MIDI MAPS INDEX Maps 1.1—1.3 These maps are very similar in that they all use MIDI note numbers to transmit and recognize mute events. In the case of map 1.1, a high-velocity note-on message is sent when a channel is muted, and a low-velocity note-on message is sent when unmuted. With map 1.2, a note-on message is sent when a channel is muted, and a note-off message is sent when unmuted. With map 1.
MIDI Maps Index Map 1.4 This map uses controllers, instead of note numbers, to transmit and recognize mute events.
MIDI Maps Index Maps 2.0—2.9 These maps are virtually identical in that they transmit “snapshots” of the mute status of the entire console. Each mute event is represented by a different SystemExclusive message. The only difference between these maps is how often the “snapshots” are transmitted. By choosing one of these maps, you can select how frequently the X2 sends these messages. Map Number 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.
MIDI Implementation Chart MIDI IMPLEMENTATION CHART Function Transmitted Recognized Basic Channel Default Changed 1 — 16 1 — 16 Mode Default Messages Altered Mode 1, Mode 3 X Mode 1, Mode 3 X 0 — 127 0 — 127 0 — 127 Note Number True Voice ******** ******** ******** X1 X X After X Touch X Pitch Bender Control 2 — 49 O Change 65 — 96 X Prog Change True # ** Velocity System Exclusive System Song Pos Common Song Sel Tune System Clock Realtime Commands Aux Local On/Off Messages All Notes Off Ac
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. All Tape In & Out measurements made on balanced +4 dBu connectors. (+4 dBu into a line input with minimum trim & faders at unity “0” will yield +4 dBu at any balanced output.
Specifications MIC Nominal Input Level LINE Nominal Input Level TAPE Nominal Input Level -56 dBu to -8 dBu -44 dBu to +4 dBu +4 dBu / -10 dBV Switchable Maximum Gain: MIC to L/R Master Out MIC to L/R Group Out MIC to Aux Sends 70 dB 70 dB 68 dB Power Supply: X2 Maximum Power U.L.
Specifications Rear Panel: Balanced I/O Mic Inputs Balanced Line Inputs Mono Aux Sends Channel Inserts Mono Tape Outs Balanced Tape Inputs Balanced L/R Outputs L/R Inserts Mono Group Outs Group Out Inserts Balanced Control Room Outputs Balanced Studio Outputs MIDI ADAT Synchronization Interface Input Mono Aux Returns External 2-Track Inputs 56-pin (3) XLR (24) 1/4" TRS (24) 1/4" (8) 1/4" TRS (24) 1/4" (24) 1/4" TRS (24) 1/4" TRS (2) 1/4" TRS (2) 1/4" (8) 1/4" TRS (8) 1/4" TRS (2) 1/4" (2) In, Out, Thru 9-
Specifications INTERNAL CONNECTOR PINOUTS 98 X2 Reference Manual
Specifications BLOCK DIAGRAM Note: An 11"x17" version of this drawing is included with the manual.
Index INDEX +4/-10 Switch 19 ADAT 23, 27, 71 Adding Effects 38 AFL 64 ALL 70 ALT 70 Copy Song 72 Erase Song 72 METER BRIDGE 35, 68 SOLO 73 SYS EX 73 ASSIGN LEFT 66 ASSIGN RIGHT 66 Aux Master 64 Levels 64 MUTE 64 Aux Return 13, 29 ASSIGN 65 Balance 65 EQ 64 GROUP MASTERS 65 L-R 65 LEVEL 64 MUTE 66 PEAK 65 SOLO 65 STEREO SEPARATION 65 TO AUX 1-2 65 Aux Send/Return Systems 13 Aux Sends 13, 28 Balanced Tape I/O 20 CHAN/MON REVERSE 11, 19, 31, 32, 36, 40, 41, 59, 63 channel 11, 69 48 V 59 AUX 1-2 61 Chan/Mon Re
Index monitor 62 Level Aux Return 64 setting 31 lock 47 Map 57, 69 Master FADERS 68 INSERTS 22 Oscillator 67 Memory Remaining 72 meter bridge 35, 68 MIC/LINE GAIN 11, 31, 59 MIDI 23 CHANNEL 69 Map 57, 69 sequencer 30 System Exclusive 57, 58 virtual tracks 37 Mixing example 42 Group Faders as Subgroups 44 mixdown 41 Monitor Mix 44 stage monitor 45 monitor 11, 62 Fader 62 L-R 62 MUTE 62 PAN 62 PEAK 62 SOLO 62 TAPE IN 36 MONO 68 Mute Aux Master 64 Aux Return 66 Channel 63 Group 66 Monitor 62 Mute Automation 43
Index Assignment 67 level 67 swap 55 Sync 69 SYS EX 58, 73 receive 58 transmit 58 Talkback 67 UNDO 52, 71 UPDATE 52, 71 102 X2 Reference Manual
