Mixer / Microphone Preamplifier: Eference Anual
Mixer / Microphone Preamplifier: Eference Anual
Mixer / Microphone Preamplifier: Eference Anual
REFERENCE
MANUAL
2002
Important Safety Instructions
Important Safety
Instructions
Important Safety Instructions
(English)
12. Use only with a cart, stand, bracket, or table designed for use
with professional audio or music equipment. In any
installation, make sure that injury or damage will not result
from cables pulling on the apparatus and its mounting. If a
cart is used, use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused
for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is
required when the apparatus has been damaged in any way,
such as when the power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not
operate normally, or has been dropped.
15. This unit produces heat when operated normally. Operate in a
well-ventilated area with at least six inches of clearance from
peripheral equipment.
16. This product, in combination with an amplifier and
headphones or speakers, may be capable of producing sound
levels that could cause permanent hearing loss. Do not
operate for a long period of time at a high volume level or at a
level that is uncomfortable. If you experience any hearing loss
or ringing in the ears, you should consult an audiologist.
17. Do not expose the apparatus to dripping or splashing. Do not
place objects filled with liquids (flower vases, soft drink cans,
coffee cups) on the apparatus.
18. WARNING: To reduce the risk of fire or electric shock, do
not expose this apparatus to rain or moisture.
Important Safety Instructions
CE Declaration Of Conformity
See our website at:
http://www.alesis.com
NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential installation.
This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does
cause harmful interference to radio or television reception, which
can be determined by turning the equipment off and on, the user
is encouraged to try to correct the interference by one or more of
the following measures:
FRONT PANEL
High Frequency EQ Stereo Aux
Return Level
Low Frequency EQ Phones/Monitor
Level
Aux Send 1
(Pre Fader) Monitor Select
Switch
Aux Send 2
(Post Fader)
Main Out
Monitor Out Line In Channel Insert
REAR PANEL
Power Switch
Power In
120 50-60
5 HZ
2 3W MAX
Microphone In
Phantom Power Switch Aux Sends
Main Out
Tape Monitor In Stereo Aux Return
Introduction Introduction
To find what you need quickly, refer to the index at the back of the
manual, or the Table of Contents.
Conventions
The buttons, knobs, and rear panel connectors are referred to in this
manual just as their names appear on the Multimix 12R, using all
capital letters (Example: [TRIM] control, [PAN] knob, [PHONES] jack,
etc.).
✪ When something important appears in the manual, an icon (like the one on the
left) will appear in the left margin. This symbol indicates that this information
is vital when operating the Multimix 12R.
To find what you need quickly, refer to the index at the back of the
manual, or the Table of Contents.
Conventions
The buttons, knobs, and rear panel connectors are referred to in this
manual just as their names appear on the Multimix 12R, using all
capital letters (Example: [TRIM] control, [PAN] knob, [PHONES] jack,
etc.).
✪ When something important appears in the manual, an icon (like the one on the
left) will appear in the left margin. This symbol indicates that this information
is vital when operating the Multimix 12R.
• Avoid twisting the cable or having it make sharp, right angle turns.
• Avoid twisting the cable or having it make sharp, right angle turns.
affect dynamic microphones (which do not require phantom power). Cold Ring
However, make sure that your microphone cables have no short Ground Sleeve Ground Sleeve
circuits or intermittent connections to avoid damage to the system.
Tip
Sleeve Ring Sleeve
[PHANTOM POWER] is turned on. Make all connections with the
Multimix 12R powered off. If this is not possible, make sure the
channel's fader and [TRIM] are down, make the connections, then turn
on the [PHANTOM POWER] switch on the back panel before bringing
the fader and [TRIM] back up. Many microphones make a loud "pop"
when first powered, so make sure your faders are down to avoid Unbalanced -10 dBV line level sources: Most synthesizers, drum
damaging your speakers or hearing. machines, effect devices, cassette decks and CD players operate at this
level. Their average signal level is about 1/3 of a volt. They have a 2-
conductor output jack that is either a 1/4" phone or "RCA phono" type.
Never connect the MIC jack to an UNBALANCED source or to a line- These may be plugged directly into any of the Multimix 12R’s [LINE
level device (such as a tape recorder or synthesizer) when phantom IN] jacks, with the [TRIM] level set at approximately the 1 o'clock
power is being used. position. Plug stereo sources such as synthesizers, CD players, and
drum machine main outputs into the STEREO LINE channels (9/10
If none of your microphones need phantom power, leave the and 11/12) if possible.
phantom power switch off.
Electric guitars and basses may be plugged directly into the [LINE IN]
jacks, if you raise the [TRIM] level. The Multimix 12R has more than
enough gain (up to 50 dB when the channel fader and trim are set to
maximum) for guitars, although some pickups may sound better if
they're plugged directly into a high-impedance preamp designed for
guitar use. Plug the output of such preamps into any [LINE IN] jack.
A reminder: do not plug a line input and a microphone input into the
same channel. The inputs are not designed to handle two sources at
the same time. If you crank up the line level input to extremes to
compensate for the level loss, you may damage the microphone.
affect dynamic microphones (which do not require phantom power). Cold Ring
However, make sure that your microphone cables have no short Ground Sleeve Ground Sleeve
circuits or intermittent connections to avoid damage to the system.
Tip
Sleeve Ring Sleeve
[PHANTOM POWER] is turned on. Make all connections with the
Multimix 12R powered off. If this is not possible, make sure the
channel's fader and [TRIM] are down, make the connections, then turn
on the [PHANTOM POWER] switch on the back panel before bringing
the fader and [TRIM] back up. Many microphones make a loud "pop"
when first powered, so make sure your faders are down to avoid Unbalanced -10 dBV line level sources: Most synthesizers, drum
damaging your speakers or hearing. machines, effect devices, cassette decks and CD players operate at this
level. Their average signal level is about 1/3 of a volt. They have a 2-
conductor output jack that is either a 1/4" phone or "RCA phono" type.
Never connect the MIC jack to an UNBALANCED source or to a line- These may be plugged directly into any of the Multimix 12R’s [LINE
level device (such as a tape recorder or synthesizer) when phantom IN] jacks, with the [TRIM] level set at approximately the 1 o'clock
power is being used. position. Plug stereo sources such as synthesizers, CD players, and
drum machine main outputs into the STEREO LINE channels (9/10
If none of your microphones need phantom power, leave the and 11/12) if possible.
phantom power switch off.
Electric guitars and basses may be plugged directly into the [LINE IN]
jacks, if you raise the [TRIM] level. The Multimix 12R has more than
enough gain (up to 50 dB when the channel fader and trim are set to
maximum) for guitars, although some pickups may sound better if
they're plugged directly into a high-impedance preamp designed for
guitar use. Plug the output of such preamps into any [LINE IN] jack.
A reminder: do not plug a line input and a microphone input into the
same channel. The inputs are not designed to handle two sources at
the same time. If you crank up the line level input to extremes to
compensate for the level loss, you may damage the microphone.
Balanced +4 dBu line level sources: Professional recording and TAPE IN jacks
processing equipment typically provides a balanced, 3-conductor
signal output that is a higher voltage (1.24 volts nominal level) than The [TAPE IN] jacks on the rear panel are designed for playback of a
most synthesizers and stereo equipment. The Multimix 12R’s [LINE stereo tape deck (or any other -10 dBV level signal) through the
IN] jacks are designed to handle these balanced inputs. [MONITOR OUT] and [PHONES] jacks only. A signal at the [TAPE IN]
jacks cannot be heard from the [MAIN OUT] jacks.
Balanced sources often feature XLR outputs. However, they should
NOT be connected to the XLR [MIC] inputs of the Multimix 12R unless This allows you to use the Multimix 12R to monitor a mixdown to a 2-
absolutely necessary, because the higher gain of the MIC jacks gives track deck through your headphones. (If you plugged your mixdown
you less headroom than the LINE IN jacks do (also, the source could deck into the line inputs on the channels, it would cause feedback
be damaged by phantom power if it's turned on). Connect them to when you press “record”.) By placing the [PHONES/MONITOR]
the [LINE IN] jacks using an XLR-to-1/4 inch phone TRS (tip-ring- switch in the TAPE position, you will hear the mixer's output after it
sleeve) cable, as shown below: has been passed through the mixdown deck, so you can make sure
that it is recording correctly.
• Another use for the [TAPE IN] jacks is to play a CD or tape into a PA
system, automatically turning off all the microphones into the main PA
system when the front panel MSTR/TAPE switch is set to the TAPE
position. Note that in this application, the PA system must be fed from the
MONITOR OUT instead of the MAIN OUT jacks, and will be affected by
the level of the [PHONES/MONITOR] control as well as by the
[MASTER] control fader.
The nominal trim setting for a +4 dBu signal plugged into a line input is
approximately 11 o'clock (12 o'clock on the stereo channels). This will
give you plenty of headroom to start with.
Maximum levels: The maximum level the [MIC] jack can receive with
the [TRIM] control full counter-clockwise is +12 dBu before clipping, so
there’s only 8 dB of headroom if you plug a +4 dBu line source into the
mic jack. The [LINE IN] jack on channels 1-8 may receive levels up to
+32 dBu without clipping, a headroom advantage of 20 dB. The stereo
channels may receive a +22 dBu (balanced or unbalanced) maximum
input.
Balanced +4 dBu line level sources: Professional recording and TAPE IN jacks
processing equipment typically provides a balanced, 3-conductor
signal output that is a higher voltage (1.24 volts nominal level) than The [TAPE IN] jacks on the rear panel are designed for playback of a
most synthesizers and stereo equipment. The Multimix 12R’s [LINE stereo tape deck (or any other -10 dBV level signal) through the
IN] jacks are designed to handle these balanced inputs. [MONITOR OUT] and [PHONES] jacks only. A signal at the [TAPE IN]
jacks cannot be heard from the [MAIN OUT] jacks.
Balanced sources often feature XLR outputs. However, they should
NOT be connected to the XLR [MIC] inputs of the Multimix 12R unless This allows you to use the Multimix 12R to monitor a mixdown to a 2-
absolutely necessary, because the higher gain of the MIC jacks gives track deck through your headphones. (If you plugged your mixdown
you less headroom than the LINE IN jacks do (also, the source could deck into the line inputs on the channels, it would cause feedback
be damaged by phantom power if it's turned on). Connect them to when you press “record”.) By placing the [PHONES/MONITOR]
the [LINE IN] jacks using an XLR-to-1/4 inch phone TRS (tip-ring- switch in the TAPE position, you will hear the mixer's output after it
sleeve) cable, as shown below: has been passed through the mixdown deck, so you can make sure
that it is recording correctly.
• Another use for the [TAPE IN] jacks is to play a CD or tape into a PA
system, automatically turning off all the microphones into the main PA
system when the front panel MSTR/TAPE switch is set to the TAPE
position. Note that in this application, the PA system must be fed from the
MONITOR OUT instead of the MAIN OUT jacks, and will be affected by
the level of the [PHONES/MONITOR] control as well as by the
[MASTER] control fader.
The nominal trim setting for a +4 dBu signal plugged into a line input is
approximately 11 o'clock (12 o'clock on the stereo channels). This will
give you plenty of headroom to start with.
Maximum levels: The maximum level the [MIC] jack can receive with
the [TRIM] control full counter-clockwise is +12 dBu before clipping, so
there’s only 8 dB of headroom if you plug a +4 dBu line source into the
mic jack. The [LINE IN] jack on channels 1-8 may receive levels up to
+32 dBu without clipping, a headroom advantage of 20 dB. The stereo
channels may receive a +22 dBu (balanced or unbalanced) maximum
input.
1. Connect the AUX 2 (POST) AUX SEND output of the 12R to the
Do not connect any of the following to any input of the effect device. If the effect has a stereo input, check the
input of the Multimix 12R! manual of the effect to see which jack is the mono jack. (In most
cases, you won't need to connect anything to the other input jack
• The speaker output of any power amplifier. of the device, but you will still get a stereo effect output).
• Any source that is too loud for the input (no more than 3 volts RMS 2. Connect the left and right outputs of the effect device to the
into a [MIC] jack or 13 volts RMS into a [LINE IN] jack). [STEREO AUX RETURN] jacks of the Multimix 12R.
• Alternatively, you may connect the output of the effect device to either of
the STEREO LINE channels ([9-10 or 11-12].) This will allow you to
control the effect with a large fader, send the effects to the Aux 1 output
for monitoring, and use EQ on the effect.
✪ If your effect unit has two inputs, in most cases you need to connect from
only 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.
1. Connect the AUX 2 (POST) AUX SEND output of the 12R to the
Do not connect any of the following to any input of the effect device. If the effect has a stereo input, check the
input of the Multimix 12R! manual of the effect to see which jack is the mono jack. (In most
cases, you won't need to connect anything to the other input jack
• The speaker output of any power amplifier. of the device, but you will still get a stereo effect output).
• Any source that is too loud for the input (no more than 3 volts RMS 2. Connect the left and right outputs of the effect device to the
into a [MIC] jack or 13 volts RMS into a [LINE IN] jack). [STEREO AUX RETURN] jacks of the Multimix 12R.
• Alternatively, you may connect the output of the effect device to either of
the STEREO LINE channels ([9-10 or 11-12].) This will allow you to
control the effect with a large fader, send the effects to the Aux 1 output
for monitoring, and use EQ on the effect.
✪ If your effect unit has two inputs, in most cases you need to connect from
only 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 don’t need to connect anything to the other input of the effect, (the ring of a TRS plug). A special Y-cable consisting of a TRS 1/4" plug
because most effect units use the stereo inputs only to provide a path on one end and two mono 1/4" plugs on the other end is required.
for the “dry” stereo signal when the effect is connected directly
between an instrument and an amplifier. In mixing applications such Insert Points
as with the Multimix 12R, you will set the effect’s wet/dry balance all
the way to “wet” (effects only, no direct signal). The effect device will Send Tip
generate an artificial stereo output from the signal input. Check the
manual for your effect device for more information. Return Ring
Ground Sleeve
On the other hand, true dual-channel effects processors (such as the
Alesis QuadraVerb 2) may be connected to two different sends to take
advantage of the dual processing capability. Dual-channel processors
allow the left and right inputs to be used for different kinds of effects Tip
(for example, the left input to a stereo chorus while the right input is
Ring Sleeve
used for a stereo reverb).
2. Connect the stereo (TRS) end to the INSERT jack of the Multimix
12R.
In-line processing using the INSERT jacks 3. Connect the mono plug from the tip connector to the input of the
(compressors & equalizers) processor.
Some signal processors are designed to be used on one signal at a 4. Connect the mono plug from the ring connector to the output of
time, with the entire signal being processed instead of a mix of effected the processor.
and uneffected signal. The purpose of the INSERT jacks on channels 1-
8 is to allow you to insert a compressor, equalizer, or other effect into If you're not sure which mono plug is from the tip and which is from
the signal path of a single channel after its preamplifier and [TRIM] the ring, check to see if the cable is labeled. If not, simply try it one
control, but before the Multimix 12R's own EQ, aux sends, and fader. way and if the signal doesn't pass through, swap the input and output
The INSERT jacks may also be used as direct outputs to a recorder. plugs the other way.
You don’t need to connect anything to the other input of the effect, (the ring of a TRS plug). A special Y-cable consisting of a TRS 1/4" plug
because most effect units use the stereo inputs only to provide a path on one end and two mono 1/4" plugs on the other end is required.
for the “dry” stereo signal when the effect is connected directly
between an instrument and an amplifier. In mixing applications such Insert Points
as with the Multimix 12R, you will set the effect’s wet/dry balance all
the way to “wet” (effects only, no direct signal). The effect device will Send Tip
generate an artificial stereo output from the signal input. Check the
manual for your effect device for more information. Return Ring
Ground Sleeve
On the other hand, true dual-channel effects processors (such as the
Alesis QuadraVerb 2) may be connected to two different sends to take
advantage of the dual processing capability. Dual-channel processors
allow the left and right inputs to be used for different kinds of effects Tip
(for example, the left input to a stereo chorus while the right input is
Ring Sleeve
used for a stereo reverb).
2. Connect the stereo (TRS) end to the INSERT jack of the Multimix
12R.
In-line processing using the INSERT jacks 3. Connect the mono plug from the tip connector to the input of the
(compressors & equalizers) processor.
Some signal processors are designed to be used on one signal at a 4. Connect the mono plug from the ring connector to the output of
time, with the entire signal being processed instead of a mix of effected the processor.
and uneffected signal. The purpose of the INSERT jacks on channels 1-
8 is to allow you to insert a compressor, equalizer, or other effect into If you're not sure which mono plug is from the tip and which is from
the signal path of a single channel after its preamplifier and [TRIM] the ring, check to see if the cable is labeled. If not, simply try it one
control, but before the Multimix 12R's own EQ, aux sends, and fader. way and if the signal doesn't pass through, swap the input and output
The INSERT jacks may also be used as direct outputs to a recorder. plugs the other way.
providing a direct output. Or, put the recorder into INPUT mode and insert Outputs
the plug all the way, connecting the input and output of each track of the
recorder into each channel path of the mixer. This will allow playback
monitoring of the recorder. See the Applications chapter for more To a stereo PA system or instrument
information. amplifier
For more information on using the AUX and INSERT systems, see the Balanced
“Operating Instructions” chapter of this manual.
Check to see if your amplifier can accept balanced inputs. If so,
connect the [MAIN OUT BALANCED] jacks of the Multimix 12R to the
input of the amp using a 3-conductor cable, with a 1/4" TRS plug on
one end, and the connector used by the amp (usually a 1/4" TRS
connector; sometimes an XLR or terminal strip) on the other.
• You may also connect the [MONITOR OUT] jacks of the mixer to your
amplifier. This will allow you to switch between hearing 2-track playback
and the stereo output of the mixer, using the front panel monitor switch.
Unbalanced
If the amp is unbalanced, use a standard shielded "patch cord" with
1/4" connectors.
To a mono system
If your PA system or amplifier isn't stereo, connect either the left or
right MAIN OUT jacks to the input of the system. Make sure that all
[PAN] controls are in the center or turned to the side you're using.
The Aux 1 output may be connected in the same way for a number of
different applications such as:
providing a direct output. Or, put the recorder into INPUT mode and insert Outputs
the plug all the way, connecting the input and output of each track of the
recorder into each channel path of the mixer. This will allow playback
monitoring of the recorder. See the Applications chapter for more To a stereo PA system or instrument
information. amplifier
For more information on using the AUX and INSERT systems, see the Balanced
“Operating Instructions” chapter of this manual.
Check to see if your amplifier can accept balanced inputs. If so,
connect the [MAIN OUT BALANCED] jacks of the Multimix 12R to the
input of the amp using a 3-conductor cable, with a 1/4" TRS plug on
one end, and the connector used by the amp (usually a 1/4" TRS
connector; sometimes an XLR or terminal strip) on the other.
• You may also connect the [MONITOR OUT] jacks of the mixer to your
amplifier. This will allow you to switch between hearing 2-track playback
and the stereo output of the mixer, using the front panel monitor switch.
Unbalanced
If the amp is unbalanced, use a standard shielded "patch cord" with
1/4" connectors.
To a mono system
If your PA system or amplifier isn't stereo, connect either the left or
right MAIN OUT jacks to the input of the system. Make sure that all
[PAN] controls are in the center or turned to the side you're using.
The Aux 1 output may be connected in the same way for a number of
different applications such as:
• If the inputs are designed for -10 dBV level inputs (such as most In this hookup method, the ADAT is patched into the [INSERT] jacks
keyboard and guitar amplifiers, and consumer stereo amplifiers), of channels 1-8 as if each track of the recorder were a signal processor
connect the [MAIN OUT -10 dBV] outputs to the line inputs of the in each channel of the mixer. Since the ADAT is a unity-gain device, it
external mixer. will not affect the levels going through the mixer. The [TRIM] control
is the only level control for the ADAT inputs; the channel faders, EQ,
If the connection is made properly, the Multimix 12R will not distort and aux sends of the Multimix 12R are used for monitoring and will
the input of the other mixer. You may need to adjust the input trim of not affect multitrack recording levels.
the other mixer to get the best dynamic range.
This method is recommended by many audiophiles and engineers,
since there is a minimum of circuitry between the original source and
To a stereo tape recorder the recorder. Hooking a Multimix 12R to an ADAT via the [INSERT]
If you want to record the output of the mixer into a typical stereo jacks is effectively the same as connecting studio-quality microphone
cassette or DAT deck, connect the [MAIN OUT -10 dBV] phono jacks to preamps directly to the input of the tape deck.
the left and right inputs of the cassette deck using a standard stereo
phono-to-phono (RCA) cable. NOTE: To hear the microphone or line input signal through the
mixer, the ADAT track must be in RECORD READY or INPUT mode.
If your recorder is a professional type with balanced +4 inputs, in most See the ADAT manual for more details.
cases you should connect the [MAIN OUT BALANCED] jacks of the
mixer to the inputs of the recorder. 1. Obtain eight "stereo splitter" insert cables from your dealer. These
cables feature a three-conductor TRS ("stereo") 1/4" phone plug at
• If you connect the [MONITOR OUT] jacks to the recorder, the level one end, and split out to two "mono" plugs at the other, as shown
will be affected by the [PHONES/MONITOR] level control on the front below. If you have an ADAT, use 1/4" TRS to 1/4" mono cables. If
panel. However, if you're using the [TAPE IN] jacks to monitor you have an ADAT-XT, use 1/4" TRS to phono cables.
playback, you run the risk of feedback if you press the MSTR/TAPE
switch while in record mode.
• If the inputs are designed for -10 dBV level inputs (such as most In this hookup method, the ADAT is patched into the [INSERT] jacks
keyboard and guitar amplifiers, and consumer stereo amplifiers), of channels 1-8 as if each track of the recorder were a signal processor
connect the [MAIN OUT -10 dBV] outputs to the line inputs of the in each channel of the mixer. Since the ADAT is a unity-gain device, it
external mixer. will not affect the levels going through the mixer. The [TRIM] control
is the only level control for the ADAT inputs; the channel faders, EQ,
If the connection is made properly, the Multimix 12R will not distort and aux sends of the Multimix 12R are used for monitoring and will
the input of the other mixer. You may need to adjust the input trim of not affect multitrack recording levels.
the other mixer to get the best dynamic range.
This method is recommended by many audiophiles and engineers,
since there is a minimum of circuitry between the original source and
To a stereo tape recorder the recorder. Hooking a Multimix 12R to an ADAT via the [INSERT]
If you want to record the output of the mixer into a typical stereo jacks is effectively the same as connecting studio-quality microphone
cassette or DAT deck, connect the [MAIN OUT -10 dBV] phono jacks to preamps directly to the input of the tape deck.
the left and right inputs of the cassette deck using a standard stereo
phono-to-phono (RCA) cable. NOTE: To hear the microphone or line input signal through the
mixer, the ADAT track must be in RECORD READY or INPUT mode.
If your recorder is a professional type with balanced +4 inputs, in most See the ADAT manual for more details.
cases you should connect the [MAIN OUT BALANCED] jacks of the
mixer to the inputs of the recorder. 1. Obtain eight "stereo splitter" insert cables from your dealer. These
cables feature a three-conductor TRS ("stereo") 1/4" phone plug at
• If you connect the [MONITOR OUT] jacks to the recorder, the level one end, and split out to two "mono" plugs at the other, as shown
will be affected by the [PHONES/MONITOR] level control on the front below. If you have an ADAT, use 1/4" TRS to 1/4" mono cables. If
panel. However, if you're using the [TAPE IN] jacks to monitor you have an ADAT-XT, use 1/4" TRS to phono cables.
playback, you run the risk of feedback if you press the MSTR/TAPE
switch while in record mode.
2. Connect the stereo/TRS end to the INSERT jack of channel 1 of the • Because the ADAT has normalled inputs, the stereo output of the source
Multimix 12R. mixer may be recorded on other tracks without repatching. The left
output of the mixer will appear at the inputs of tracks 1, 3, 5 & 7; the right
3. Connect the mono plug from the tip connector to the input of the output will appear at track 2, 4, 6 & 8. On the ADAT-XT, press and hold
ADAT. NOTE: the ADAT’s tracks are arranged from left to right on the [ANALOG INPUT] and the REC READY keys for track 1 or 2 to activate
back panel, and the mixer’s channels are from right to left, so the wires this "built-in patch bay" feature.
will have to cross over.
2. Plug track outputs 1-8 of the ADAT to LINE IN 1-8 of the
4. Connect the mono plug from the ring connector to the output of "monitor/mixdown" 12R. Note that output 1 is on the left of the
the ADAT. ADAT, but on the right of the mixer, so the wires must cross over.
If you're not sure which mono plug is from the tip and which is 3. To record more than two tracks at a time, plug a mono cable from
from the ring, check to see if the cable box has that information. If the INSERT jack of any channels of the mixer to the input of any
not, simply try it one way and play a prerecorded tape from the track. By plugging the cable all the way in the INSERT jack, and
ADAT. If you can't hear output from the mixer with the faders and not returning the signal from the recorder, the individual channels
master up, swap the input and output plugs the other way. will be removed from the stereo mix. This way, you can record a
stereo mix of several inputs on any two tracks while
5. Plug in channels 2-8 of the mixer to tracks 2-8 of the ADAT in the simultaneously recording individual sources on other tracks.
same way.
INPUT INPUT
OUTPUT OUTPUT
1 2 3 4 5 6 7 8
LOCATE/PLAY PUNCH DIGITAL SYNC
LRC REMOTE IN/OUT
IN OUT IN OUT
1. Plug the -10 dBV MAIN OUT jacks of the "source" 12R to track
inputs 1 and 2 of the ADAT.
2. Connect the stereo/TRS end to the INSERT jack of channel 1 of the • Because the ADAT has normalled inputs, the stereo output of the source
Multimix 12R. mixer may be recorded on other tracks without repatching. The left
output of the mixer will appear at the inputs of tracks 1, 3, 5 & 7; the right
3. Connect the mono plug from the tip connector to the input of the output will appear at track 2, 4, 6 & 8. On the ADAT-XT, press and hold
ADAT. NOTE: the ADAT’s tracks are arranged from left to right on the [ANALOG INPUT] and the REC READY keys for track 1 or 2 to activate
back panel, and the mixer’s channels are from right to left, so the wires this "built-in patch bay" feature.
will have to cross over.
2. Plug track outputs 1-8 of the ADAT to LINE IN 1-8 of the
4. Connect the mono plug from the ring connector to the output of "monitor/mixdown" 12R. Note that output 1 is on the left of the
the ADAT. ADAT, but on the right of the mixer, so the wires must cross over.
If you're not sure which mono plug is from the tip and which is 3. To record more than two tracks at a time, plug a mono cable from
from the ring, check to see if the cable box has that information. If the INSERT jack of any channels of the mixer to the input of any
not, simply try it one way and play a prerecorded tape from the track. By plugging the cable all the way in the INSERT jack, and
ADAT. If you can't hear output from the mixer with the faders and not returning the signal from the recorder, the individual channels
master up, swap the input and output plugs the other way. will be removed from the stereo mix. This way, you can record a
stereo mix of several inputs on any two tracks while
5. Plug in channels 2-8 of the mixer to tracks 2-8 of the ADAT in the simultaneously recording individual sources on other tracks.
same way.
INPUT INPUT
OUTPUT OUTPUT
1 2 3 4 5 6 7 8
LOCATE/PLAY PUNCH DIGITAL SYNC
LRC REMOTE IN/OUT
IN OUT IN OUT
1. Plug the -10 dBV MAIN OUT jacks of the "source" 12R to track
inputs 1 and 2 of the ADAT.
Phones
The [PHONES] jack on the front 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. Eight-
ohm headphones may be louder at a given setting than 150-ohm or
600-ohm headphones; however, there should be enough gain to drive
any dynamic headphone to reasonable levels, if the mixer is being run
properly.
Monitor Out
The [MONITOR OUT] jacks give you a signal that will be the same as
the MAIN OUT, as long as the front panel [MSTR/TAPE] switch is in
the "MSTR" position. The only difference is that the MONITOR OUT
signal is after the front panel PHONES level control. When that
control is up full, the MONITOR OUT jack will be 10 dB louder than the
MAIN OUT. The PHONES control may be lowered to the point where
the MONITOR OUT is almost at microphone level, low enough to be
patched into the microphone-level inputs of a camcorder or house PA
system. However, connect the monitor output to line level inputs
wherever possible.
Phones
The [PHONES] jack on the front 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. Eight-
ohm headphones may be louder at a given setting than 150-ohm or
600-ohm headphones; however, there should be enough gain to drive
any dynamic headphone to reasonable levels, if the mixer is being run
properly.
Monitor Out
The [MONITOR OUT] jacks give you a signal that will be the same as
the MAIN OUT, as long as the front panel [MSTR/TAPE] switch is in
the "MSTR" position. The only difference is that the MONITOR OUT
signal is after the front panel PHONES level control. When that
control is up full, the MONITOR OUT jack will be 10 dB louder than the
MAIN OUT. The PHONES control may be lowered to the point where
the MONITOR OUT is almost at microphone level, low enough to be
patched into the microphone-level inputs of a camcorder or house PA
system. However, connect the monitor output to line level inputs
wherever possible.
Instead of doing this, get as much gain as possible as close to the signal
To avoid surprises while you're setting up a new system, set all source as possible. If you've plugged a synthesizer or other line-level
controls to their "zeroed out" positions as follows before proceeding: source into the Multimix 12R, set its output volume to maximum. If a
microphone is the source, the Multimix 12R's [TRIM] control will
1. Make all connections to the Multimix 12R, as described in the determine the gain of the system.
previous chapter.
✪ When the PEAK LED is flashing, it does NOT necessarily mean that
distortion has occurred. There is usually some headroom left if the PEAK
LED is flashing momentarily on the loudest peaks.
1. With the sound source active, and the channel fader down to
minimum, raise the [TRIM] control until the PEAK LED flashes
occasionally on the loudest transients.
2. If desired, lower the [TRIM] control slightly until the flashing stops.
Note for extremely high level line inputs in stereo channels: If the
[TRIM] setting is set below unity (12 o'clock position) on a stereo
channel, it is possible for the first input stage to clip without the
PEAK LED coming on. If distortion is still heard after lowering the
trim to its minimum setting, it means the source is extremely high
(+22 dBu or higher). In this case you must lower the output level of
the source, use an external pad, or repatch to a LINE IN on
channels 1-8 (which can take up to +32 dBu levels before clipping).
Instead of doing this, get as much gain as possible as close to the signal
To avoid surprises while you're setting up a new system, set all source as possible. If you've plugged a synthesizer or other line-level
controls to their "zeroed out" positions as follows before proceeding: source into the Multimix 12R, set its output volume to maximum. If a
microphone is the source, the Multimix 12R's [TRIM] control will
1. Make all connections to the Multimix 12R, as described in the determine the gain of the system.
previous chapter.
✪ When the PEAK LED is flashing, it does NOT necessarily mean that
distortion has occurred. There is usually some headroom left if the PEAK
LED is flashing momentarily on the loudest peaks.
1. With the sound source active, and the channel fader down to
minimum, raise the [TRIM] control until the PEAK LED flashes
occasionally on the loudest transients.
2. If desired, lower the [TRIM] control slightly until the flashing stops.
Note for extremely high level line inputs in stereo channels: If the
[TRIM] setting is set below unity (12 o'clock position) on a stereo
channel, it is possible for the first input stage to clip without the
PEAK LED coming on. If distortion is still heard after lowering the
trim to its minimum setting, it means the source is extremely high
(+22 dBu or higher). In this case you must lower the output level of
the source, use an external pad, or repatch to a LINE IN on
channels 1-8 (which can take up to +32 dBu levels before clipping).
3. Set the MASTER fader to 0 dB (all the way up). Unity gain points
4. Observe the Multimix 12R's LED Meter. Adjust the [TRIM]knob Unlike many other mixers, the Multimix 12R's [MASTER] fader is
until the average signal level on the meter is about 0 dB (highest designed for unity gain (0) when the fader is up full, not at 3/4 or 1/2
green LED), or peaks do not exceed the +10 dB LED (or whatever of the travel. This allows you greater control to use the fader for
maximum your system is designed for). If you ever see the smooth, gradual fade-outs. It also discourages inexperienced
channel's PEAK LED flash, you are within 6 dB of signal overload. operators from using the mixer incorrectly.
Turn down the TRIM knob until the PEAK LED stops flashing.
The channel faders' unity gain point is at the traditional 3/4 point, with
10 dB of gain at the full-up position.
3. Set the MASTER fader to 0 dB (all the way up). Unity gain points
4. Observe the Multimix 12R's LED Meter. Adjust the [TRIM]knob Unlike many other mixers, the Multimix 12R's [MASTER] fader is
until the average signal level on the meter is about 0 dB (highest designed for unity gain (0) when the fader is up full, not at 3/4 or 1/2
green LED), or peaks do not exceed the +10 dB LED (or whatever of the travel. This allows you greater control to use the fader for
maximum your system is designed for). If you ever see the smooth, gradual fade-outs. It also discourages inexperienced
channel's PEAK LED flash, you are within 6 dB of signal overload. operators from using the mixer incorrectly.
Turn down the TRIM knob until the PEAK LED stops flashing.
The channel faders' unity gain point is at the traditional 3/4 point, with
10 dB of gain at the full-up position.
Distortion caused by EQ: If a large amount of EQ is used, it may Wet/dry mix: No matter where you connect the output of the effect
become necessary to decrease either the trim control, or the channel unit into the mixer, you are in control of the “wet/dry” balance
fader, or both. The EQ is capable of adding quite a bit of gain and is a between the mixer’s channel inputs (the uneffected or “dry” signal),
frequent cause of overload distortion problems. The PEAK LEDs and the effect returns coming from the effect device (the “wet” signal).
monitor the signal after the EQ circuit, both pre and post fader. The output of the effect device should only contain effected signal, and
not have any uneffected or "dry" signal mixed with it (since the dry
signal is already at the mixer). Consult the manual for the effect
device to find out how to set the effect so that only effected ("wet")
signal is returned to the Multimix 12R.
✪ Improper level setting is the most common cause of noise and distortion
problems.
Distortion caused by EQ: If a large amount of EQ is used, it may Wet/dry mix: No matter where you connect the output of the effect
become necessary to decrease either the trim control, or the channel unit into the mixer, you are in control of the “wet/dry” balance
fader, or both. The EQ is capable of adding quite a bit of gain and is a between the mixer’s channel inputs (the uneffected or “dry” signal),
frequent cause of overload distortion problems. The PEAK LEDs and the effect returns coming from the effect device (the “wet” signal).
monitor the signal after the EQ circuit, both pre and post fader. The output of the effect device should only contain effected signal, and
not have any uneffected or "dry" signal mixed with it (since the dry
signal is already at the mixer). Consult the manual for the effect
device to find out how to set the effect so that only effected ("wet")
signal is returned to the Multimix 12R.
✪ Improper level setting is the most common cause of noise and distortion
problems.
By having the correct level at every point in the send/return chain, Using the meter
you avoid distortion by overloading and avoid noise. The most common
mistake with effect units is to have too low a level at the send or input, then
crank up the output of the processor or the Aux return to get the effects level The meter of the Multimix 12R is a fast peak type that reads in decibels,
desired. This amplifies the noise and wastes headroom. Here is a normally displaying the level of the [MAIN OUT] jacks. When the
procedure that will give good results with most standard equipment: meter reads "0", the main outputs are at the nominal level: the phono
jacks at -10 dBV (.316 volts) and the 1/4" jacks at +4 dBu (1.24 volts)
1. Set your mixer's input levels correctly, following the instructions balanced, or -2 dBu unbalanced.
earlier in this chapter.
Use this reference level to calibrate your system. The input controls of
2. Turn up the channels' [AUX 2] sends to the nominal level (marked analog recorders should be set so that “0” on the mixer's meters
by a heavy dot at the “2:00” position). equals “0 VU” on the recorder's meters. Digital recorders use a
different reference; for example, an ADAT connected to the Multimix
3. Play the source. 12R's outputs will read "-15 dB" at nominal output, if you connect to
the proper input jacks (balanced to balanced, or unbalanced to
4. Turn up the input level control of the effect device until you see its unbalanced).
meter or signal LED turn red on peaks; then reduce it slightly until
the red doesn't flash. The ideal input level, for optimum noise The meter follows the [MSTR/TAPE] switch, but not the
performance, is just below clipping. But if other instruments will be PHONES/MONITOR level control. Whatever you hear in the
added to the mix later, or levels are unpredictable (as in a live headphone output, the master output (up position) or the 2-track tape
show), leave yourself additional headroom by turning the input input (down position) is what the meter is reading.
level down a bit more.
Output distortion
5. The output level of the effect device should be set at or near its The Multimix 12R has plenty of headroom, but eventually every
maximum in most cases, unless distortion occurs. electronic device reaches its limit. At +18 dB over nominal level, the
top LED of the meter labeled PK will light; at this point there is 6 dB of
6. Turn up the [STEREO AUX RETURN] level until you get the desired headroom before the master electronics will clip. Final clipping is
level of effect in the mix. The one control in the chain that may reached at 24 dB over nominal "0" on the meter; this represents a level
need to be set to a low level is the Aux Return (or channel) on the of +28 dBu at the MAIN OUT jacks if balanced, +22 dBu if unbalanced,
mixer. Here is where you should increase or decrease the overall and +14 dBV at the MAIN OUT -10 dBV phono jacks. Even if no
effect level in the mix, for best low-noise performance. If you want channel PEAK LEDs are on, with extreme settings of the faders it may
"just a hint" of reverb, don't turn down the Aux 2 send; turn down be possible to overdrive the output to this level.
the Aux Return. Leave the input levels of the effect device where
they were set in step 4, unless you see the device's overload
indicator flash. ✪ As long as the meter of the Multimix 12R is below its top LED, and the PEAK
LEDs of all channels are off, the mixer should not be causing distortion. If
you hear distortion, check other devices in the signal chain for overload, and
make sure the STEREO channels' PEAK LEDs do not come on when their
TRIM is set to 12 o'clock.
By having the correct level at every point in the send/return chain, Using the meter
you avoid distortion by overloading and avoid noise. The most common
mistake with effect units is to have too low a level at the send or input, then
crank up the output of the processor or the Aux return to get the effects level The meter of the Multimix 12R is a fast peak type that reads in decibels,
desired. This amplifies the noise and wastes headroom. Here is a normally displaying the level of the [MAIN OUT] jacks. When the
procedure that will give good results with most standard equipment: meter reads "0", the main outputs are at the nominal level: the phono
jacks at -10 dBV (.316 volts) and the 1/4" jacks at +4 dBu (1.24 volts)
1. Set your mixer's input levels correctly, following the instructions balanced, or -2 dBu unbalanced.
earlier in this chapter.
Use this reference level to calibrate your system. The input controls of
2. Turn up the channels' [AUX 2] sends to the nominal level (marked analog recorders should be set so that “0” on the mixer's meters
by a heavy dot at the “2:00” position). equals “0 VU” on the recorder's meters. Digital recorders use a
different reference; for example, an ADAT connected to the Multimix
3. Play the source. 12R's outputs will read "-15 dB" at nominal output, if you connect to
the proper input jacks (balanced to balanced, or unbalanced to
4. Turn up the input level control of the effect device until you see its unbalanced).
meter or signal LED turn red on peaks; then reduce it slightly until
the red doesn't flash. The ideal input level, for optimum noise The meter follows the [MSTR/TAPE] switch, but not the
performance, is just below clipping. But if other instruments will be PHONES/MONITOR level control. Whatever you hear in the
added to the mix later, or levels are unpredictable (as in a live headphone output, the master output (up position) or the 2-track tape
show), leave yourself additional headroom by turning the input input (down position) is what the meter is reading.
level down a bit more.
Output distortion
5. The output level of the effect device should be set at or near its The Multimix 12R has plenty of headroom, but eventually every
maximum in most cases, unless distortion occurs. electronic device reaches its limit. At +18 dB over nominal level, the
top LED of the meter labeled PK will light; at this point there is 6 dB of
6. Turn up the [STEREO AUX RETURN] level until you get the desired headroom before the master electronics will clip. Final clipping is
level of effect in the mix. The one control in the chain that may reached at 24 dB over nominal "0" on the meter; this represents a level
need to be set to a low level is the Aux Return (or channel) on the of +28 dBu at the MAIN OUT jacks if balanced, +22 dBu if unbalanced,
mixer. Here is where you should increase or decrease the overall and +14 dBV at the MAIN OUT -10 dBV phono jacks. Even if no
effect level in the mix, for best low-noise performance. If you want channel PEAK LEDs are on, with extreme settings of the faders it may
"just a hint" of reverb, don't turn down the Aux 2 send; turn down be possible to overdrive the output to this level.
the Aux Return. Leave the input levels of the effect device where
they were set in step 4, unless you see the device's overload
indicator flash. ✪ As long as the meter of the Multimix 12R is below its top LED, and the PEAK
LEDs of all channels are off, the mixer should not be causing distortion. If
you hear distortion, check other devices in the signal chain for overload, and
make sure the STEREO channels' PEAK LEDs do not come on when their
TRIM is set to 12 o'clock.
rack from being conducted back to the mixer. Even though the mixer-
to-amp connection is balanced, any unbalanced sources or effects
plugged into the mixer may exhibit a hum when the amp's ground is
carried back to the mixer.
rack from being conducted back to the mixer. Even though the mixer-
to-amp connection is balanced, any unbalanced sources or effects
plugged into the mixer may exhibit a hum when the amp's ground is
carried back to the mixer.
APPLICATIONS Mixdown
You may leave the ADAT connected to the INSERT jacks for mixdown;
there's no need to repatch to the LINE IN jacks.
Multitrack recording
See the "Connections" chapter for information on how to connect the Make the connections according to the procedure in the "Connections"
Multimix 12R to an ADAT or other multitrack recorder. chapter.
In the most common setup, the ADAT is patched into the INSERT 1. Connect the MAIN OUTs (-10 dBV or +4 dBu, depending on the
points of each channel. It receives signal directly from the [TRIM] deck) to the inputs of the mixdown deck.
control; no other controls will affect the level being recorded to tape.
2. Connect the outputs of the mixdown deck to the TAPE IN jacks.
Tracking/Overdubbing 3. Connect the [MONITOR OUT] jacks to the inputs of your control
1. Put the desired tracks of the ADAT into record ready mode. Press room monitor amplifier.
"Auto Input Monitor" or "All Input Monitor" depending on your
situation (see the ADAT manual for more information). 4. Press the [PHONES/MONITOR] switch down so it is in the TAPE
position.
2. With the signal source (microphone or line input) active, slowly
increase the [TRIM] level of each input while watching the ADAT 5. Put the mixdown deck into record/pause mode, play the ADAT,
meter until the top red segment comes on. Then turn down the and adjust the mix and level controls of the mixer for the desired
trim level so that the red LED does not light. level. Set the MASTER fader up to the maximum, and adjust the
input controls of the mixdown deck until its meters give the desired
3. Set the EQ, aux, and channel faders for the desired control room reading. You will also be able to see the levels on the mixer itself;
mix. Note that none of these settings will affect the signal going to check to make sure the output of the mixdown deck is set to
the ADAT. nominal (unity gain).
4. For overdubbing, put the original tracks into safe mode. These By monitoring through the mixdown deck, you'll be able to hear if
tracks will play back through the same channels they were there is any distortion in that deck's electronics.
recorded on.
APPLICATIONS Mixdown
You may leave the ADAT connected to the INSERT jacks for mixdown;
there's no need to repatch to the LINE IN jacks.
Multitrack recording
See the "Connections" chapter for information on how to connect the Make the connections according to the procedure in the "Connections"
Multimix 12R to an ADAT or other multitrack recorder. chapter.
In the most common setup, the ADAT is patched into the INSERT 1. Connect the MAIN OUTs (-10 dBV or +4 dBu, depending on the
points of each channel. It receives signal directly from the [TRIM] deck) to the inputs of the mixdown deck.
control; no other controls will affect the level being recorded to tape.
2. Connect the outputs of the mixdown deck to the TAPE IN jacks.
Tracking/Overdubbing 3. Connect the [MONITOR OUT] jacks to the inputs of your control
1. Put the desired tracks of the ADAT into record ready mode. Press room monitor amplifier.
"Auto Input Monitor" or "All Input Monitor" depending on your
situation (see the ADAT manual for more information). 4. Press the [PHONES/MONITOR] switch down so it is in the TAPE
position.
2. With the signal source (microphone or line input) active, slowly
increase the [TRIM] level of each input while watching the ADAT 5. Put the mixdown deck into record/pause mode, play the ADAT,
meter until the top red segment comes on. Then turn down the and adjust the mix and level controls of the mixer for the desired
trim level so that the red LED does not light. level. Set the MASTER fader up to the maximum, and adjust the
input controls of the mixdown deck until its meters give the desired
3. Set the EQ, aux, and channel faders for the desired control room reading. You will also be able to see the levels on the mixer itself;
mix. Note that none of these settings will affect the signal going to check to make sure the output of the mixdown deck is set to
the ADAT. nominal (unity gain).
4. For overdubbing, put the original tracks into safe mode. These By monitoring through the mixdown deck, you'll be able to hear if
tracks will play back through the same channels they were there is any distortion in that deck's electronics.
recorded on.
Using the HIGH and LOW EQ controls Monitoring AUX 1 in the PHONES jack
If you are using AUX 1 as a monitor feed, you may want to check that
The Multimix 12R provides standard shelving EQ controls on each mix using the headphones. If you've connected the PA or recorder to
channel. The HIGH knob range is +/- 15 dB with a shelving frequency the MAIN OUTPUTS, and are not using the TAPE IN jacks, use Y-cords
of 12 kHz. "Shelving" means that all frequencies above 12 kHz will be to connect the AUX 1 SEND to the TAPE IN jack(s) at the same time it
boost or cut by the same amount , and frequency response between 1 feeds the monitor amplifier. Use the front panel
kHz and 12 kHz will gradually rise or fall to the shelving point. The [PHONES/MONITOR] switch to select between the main and aux 1
LOW knob range is +/- 15 dB at a shelving frequency of 80 Hz. This feeds.
means that frequencies below 80 Hz will be boosted or cut by the
same amount, and frequency response will gradually rise or fall from
80 Hz to about 1 kHz. The frequency response range is shown in the
curve below:
+15 dB
-15 dB
20 Hz 100 Hz 1 kHz 10k 20k
✪ The normal position for the EQ controls is "12 o'clock" or straight up. A
"click" or detent will be felt at this position. At this position, the EQ does not
affect the frequency response of the channel--it is "flat".
Using the HIGH and LOW EQ controls Monitoring AUX 1 in the PHONES jack
If you are using AUX 1 as a monitor feed, you may want to check that
The Multimix 12R provides standard shelving EQ controls on each mix using the headphones. If you've connected the PA or recorder to
channel. The HIGH knob range is +/- 15 dB with a shelving frequency the MAIN OUTPUTS, and are not using the TAPE IN jacks, use Y-cords
of 12 kHz. "Shelving" means that all frequencies above 12 kHz will be to connect the AUX 1 SEND to the TAPE IN jack(s) at the same time it
boost or cut by the same amount , and frequency response between 1 feeds the monitor amplifier. Use the front panel
kHz and 12 kHz will gradually rise or fall to the shelving point. The [PHONES/MONITOR] switch to select between the main and aux 1
LOW knob range is +/- 15 dB at a shelving frequency of 80 Hz. This feeds.
means that frequencies below 80 Hz will be boosted or cut by the
same amount, and frequency response will gradually rise or fall from
80 Hz to about 1 kHz. The frequency response range is shown in the
curve below:
+15 dB
-15 dB
20 Hz 100 Hz 1 kHz 10k 20k
✪ The normal position for the EQ controls is "12 o'clock" or straight up. A
"click" or detent will be felt at this position. At this position, the EQ does not
affect the frequency response of the channel--it is "flat".
Maintenance/Service
Exterior cleaning
Disconnect the AC cord, then use a damp cloth to clean the mixer’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 cloth to clean the unit.
Never spray any kind of cleaner into the faders, even if it claims to
be safe for such use. Such electronic potentiometer cleaners may
improve performance for a short time, but they cause the fader to
wear out faster by attracting dirt.
SPECIFICATIONS Levels
MIC IN -60 dBu to -10 dBu nominal,
maximum level +12 dBu
All measurements taken with an Audio Precision System One. All noise LINE IN -40 dBu to +10 dBu nominal,
measurements taken with trim at minimum and faders at unity gain with 22 maximum level +32 dBu
Hz to 22 kHz bandwidth unless otherwise specified. All In & Out (balanced)
measurements made on balanced +4 dBu connectors. (+4 dBu into a line STEREO LINE IN -15 dBu to +15 dBu nominal,
input with faders at unity and the meter reading “0” will yield +4 dBu into a maximum input level +22 dBu
balanced load or -2 dBu into an unbalanced load.) MAXIMUM GAIN +76 dB, MIC IN to MAIN OUT,
balanced
Frequency Response +80 dB, MIC IN to MONITOR
10 Hz – 65 kHz +0/-1 dB (any input to any output at OUT, balanced or unbalanced
nominal operating levels) CHANNEL PEAK LED ON: 6 dB below channel clipping
-3dB Point: 125 kHz METER: Peak type
-24 dB to PK (+18 dB over
reference at MAIN OUT, 6 dB
Connectors before output clipping)
MIC IN jacks: Female XLR MAIN OUT LEVEL (1/4" phone jacks) (when meter is at 0 VU)
(Pin 1 ground, Pin 2 +, Pin 3 -) +4 dBu (1.24 volts)
into a balanced load
LINE IN jacks: Female 1/4" 3-conductor phone -2 dBu into an unbalanced load
(Tip = +, ring = -, sleeve = MAIN OUT LEVEL (phono jacks) -10 dBV (.316 volts) unbalanced
ground) MAXIMUM OUTPUT LEVEL +22 dBu unbalanced, +28 dBu
balanced (6 dB above "PK"
INSERT jacks: Female 1/4" 3-conductor phone segment of main meter)
(Tip = send, ring = return, sleeve MONITOR OUT LEVEL Same as above, but variable
= ground) following MONITOR/PHONES
Inserting plug to first "click" control
allows direct output without INSERT/DIRECT OUT (tip) Unity gain
breaking normal signal flow INSERT IN (ring) Maximum level +22 dBu
HEADROOM: 23.5 dB above nominal output
STEREO LINE IN and
STEREO AUX RETURN jacks: Female 1/4" 3-conductor x 2 Impedance
MAIN OUT BALANCED, MIC IN 50-150 Ω nominal source
MONITOR OUT, and impedance (presents 4 k Ω
AUX SEND jacks: Female 1/4" 3-conductor phone balanced load impedance)
(Tip = +, ring = -, sleeve = LINE IN 600 Ω-2 k Ω nominal
ground) (>20 k Ω load impedance)
OUTPUTS (MAIN, AUX and
MAIN OUT -10 dBV jacks: Female phono ("RCA") jacks MON): 150 Ω unbalanced,
TAPE IN jacks: Female phono ("RCA") jacks 300 Ω balanced
1.1 k Ω
at -10dBV MAIN OUTS
SPECIFICATIONS Levels
MIC IN -60 dBu to -10 dBu nominal,
maximum level +12 dBu
All measurements taken with an Audio Precision System One. All noise LINE IN -40 dBu to +10 dBu nominal,
measurements taken with trim at minimum and faders at unity gain with 22 maximum level +32 dBu
Hz to 22 kHz bandwidth unless otherwise specified. All In & Out (balanced)
measurements made on balanced +4 dBu connectors. (+4 dBu into a line STEREO LINE IN -15 dBu to +15 dBu nominal,
input with faders at unity and the meter reading “0” will yield +4 dBu into a maximum input level +22 dBu
balanced load or -2 dBu into an unbalanced load.) MAXIMUM GAIN +76 dB, MIC IN to MAIN OUT,
balanced
Frequency Response +80 dB, MIC IN to MONITOR
10 Hz – 65 kHz +0/-1 dB (any input to any output at OUT, balanced or unbalanced
nominal operating levels) CHANNEL PEAK LED ON: 6 dB below channel clipping
-3dB Point: 125 kHz METER: Peak type
-24 dB to PK (+18 dB over
reference at MAIN OUT, 6 dB
Connectors before output clipping)
MIC IN jacks: Female XLR MAIN OUT LEVEL (1/4" phone jacks) (when meter is at 0 VU)
(Pin 1 ground, Pin 2 +, Pin 3 -) +4 dBu (1.24 volts)
into a balanced load
LINE IN jacks: Female 1/4" 3-conductor phone -2 dBu into an unbalanced load
(Tip = +, ring = -, sleeve = MAIN OUT LEVEL (phono jacks) -10 dBV (.316 volts) unbalanced
ground) MAXIMUM OUTPUT LEVEL +22 dBu unbalanced, +28 dBu
balanced (6 dB above "PK"
INSERT jacks: Female 1/4" 3-conductor phone segment of main meter)
(Tip = send, ring = return, sleeve MONITOR OUT LEVEL Same as above, but variable
= ground) following MONITOR/PHONES
Inserting plug to first "click" control
allows direct output without INSERT/DIRECT OUT (tip) Unity gain
breaking normal signal flow INSERT IN (ring) Maximum level +22 dBu
HEADROOM: 23.5 dB above nominal output
STEREO LINE IN and
STEREO AUX RETURN jacks: Female 1/4" 3-conductor x 2 Impedance
MAIN OUT BALANCED, MIC IN 50-150 Ω nominal source
MONITOR OUT, and impedance (presents 4 k Ω
AUX SEND jacks: Female 1/4" 3-conductor phone balanced load impedance)
(Tip = +, ring = -, sleeve = LINE IN 600 Ω-2 k Ω nominal
ground) (>20 k Ω load impedance)
OUTPUTS (MAIN, AUX and
MAIN OUT -10 dBV jacks: Female phono ("RCA") jacks MON): 150 Ω unbalanced,
TAPE IN jacks: Female phono ("RCA") jacks 300 Ω balanced
1.1 k Ω
at -10dBV MAIN OUTS
Distortion (THD+N)
Measured with a 0 dBu signal coming into a MIC IN jack with trim set for a
+15 dBu output from the insert jack.
At INSERT jack: Better than 0.0010%
At MAIN OUT (+21 dBu balanced output level)
Better than 0.0015%
Power
U.S.A. model: 120 VAC, 60 Hz, 40 watts power
consumption maximum
Mounting
19" EIA rack mountable, 3 spaces
Distortion (THD+N)
Measured with a 0 dBu signal coming into a MIC IN jack with trim set for a
+15 dBu output from the insert jack.
At INSERT jack: Better than 0.0010%
At MAIN OUT (+21 dBu balanced output level)
Better than 0.0015%
Power
U.S.A. model: 120 VAC, 60 Hz, 40 watts power
consumption maximum
Mounting
19" EIA rack mountable, 3 spaces
INDEX
ADAT, 18, 22, 34, 39 PHONES, 25
amplifier, 20, 31 PHONES/MONITOR, 14, 34
Aux 1, 17, 20 phonograph, 15
AUX 2, 16, 32 post-fader, 32
AUX SEND, 16, 20 pre-fader, 17
balanced, 12, 20 rack, 8, 36
cable, 9 reverbb, 16
clipping, 13 Service, 45
compressor, 17 shield, 36
direct output Specifications, 47
using INSERT jack, 18 stage monitor, 20
distortion, 28, 31 STEREO AUX RETURN, 16, 32
effect, 16 STEREO LINE channels
EQ, 31 as Effect Return, 16, 32
Fader, 30 for CDs and synths, 12
feedback, 20, 21 maximum input level, 13
gain, 30 PEAK LED, 28
ground loop, 35 TAPE IN, 14
isolating from rack, 8 as Aux 1 monitor, 42
grounding, 6, 7 tape recorder, 21
guitars, 12 TRIM, 9, 13, 22, 28, 29, 30, 39
Headphone, 20, 25 TRS, 17, 20
headroom, 13, 34, 48 Unity gain, 30
HIGH, 41 wet/dry, 17, 32
Impedance, 10, 48 XLR, 10, 13
INSERT cables, 22
INSERT jack, 17, 24
in 2-mixer system, 24
Levels, 13, 28, 48
diagram, 52
LINE IN, 12
LOW, 41
MAIN OUT -10 dBV, 21
MAIN OUT BALANCED, 20
Master, 30
maximum level, 13, 48
meter, 34
MIC IN, 10, 13
Microphone, 10
microphone preamps, 22
MONITOR OUT, 14, 20, 25
mono, 20
MSTR/TAPE switch, 14, 21
affects meter, 34
noise, 7, 28, 35, 49
nominal, 34
PA system, 14, 20
PEAK, 28, 34
Phantom power, 13
E-mail: [email protected]
Website: http://www.alesis.com
7-51-0135
10/11/2002