Alesis 1622, Reference Manual, Page: 43 / 48

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Post-Fader - A signal that is derived from a point in the circuitry after the Channel Fader. This
means that the Post-Fader signal is subject to any changes in volume level of the Channel
Fader; i.e. when the Channel Fader level is increased, the Post-Fader signal increases; when
the Channel Fader level is decreased, the Post-Fader signal decreases.
Post-Production - In video and film, the portion of production that occurs after the initial
shooting takes place on stage or location. This entails many phases which include editing, dialog
looping, adding sound effects, etc.
Pre-Fader - A signal that is derived from a point in the circuitry before the Channel Fader. This
means that the Pre-Fader signal is not subject to any changes in volume level of the Channel
Fader; i.e. when the Channel Fader level is increased or decreased, the Pre-Fader signal
remains constant.
Preamp - A high quality, low noise amplifier especially designed to accept low level signals
from microphones or phono cartridges and boost the signal to a more easily used Line level.
See "Line Level"
Punching In/Punching Out - The process of replacing just a part of a previously recorded part
by listening to the playback, "Punching In" to record at the desired place, and "Punching Out" of
record at the appropriate moment.
Return - A Return is an additional input besides the Channel Inputs on a mixing console that
are used especially for outboard effects such as reverbs, delays, chorus, etc. These inputs
eliminate the need to plug effects into channel inputs and therefore keep the input channels
available for additional microphones, synthesizers, etc. The
1622 MIXER is unique in that it has
8 separate Returns as opposed to the average 2 or 4.
Reverb - Reverb can be thought of as a great number of distinct echos, called reflections, that
occur so fast that our ear hears them blurred together as one. In nature, different size spaces
give distinctly different sounding reverbs, depending upon the size and shape of the space, and
the texture of the surfaces that the reflections bounce off of. Nearly any natural reverberant
space that can be imagined, and a few artificial ones as well, can be simulated by many by the
many digital signal processors on the market today including the
A lesis MIDIVERB II ,
MIDIVERB III , MICROVERB II , and QUADRAVERB .
Send - Sends (sometimes called "Auxiliary Sends" or "Aux's") on a mixing console are
adjustable feeds from the input channel that are used to send part of the signal to an outboard
effect (like a reverb, delay, or chorus) or to set up a separate cue mix for musicians headphones
during recording and overdubbing. The
1622 MIXER has 6 Sends.
Shelving - The most common type of equalizer is the Shelving type. This is the simple bass
and/or treble control normally found on stereo systems, guitar amplifiers, and the like. These are
called shelving because the maximum boost or cut is at its maximum (usually 100Hz for the
bass and 10KHz for treble) and maintains this maximum amplitude "shelf" or plateau on all
frequencies from this point (called the "turnover") to beyond the range of audibility. The
frequencies below the turnover point of the shelf are also affected, but less and less so the
further away from the turnover point. The
1622 MIXER has Shelving type EQ. See Figure 1.
Solo - Solo on a mixing console stops the normal Master Stereo signal feed to the monitor
speakers and replaces it with the signal present in the input fader of the channel. Soloing
enables the engineer to hear exactly what is being recorded by eliminating the masking effects
caused by the presence of other signals. When soloed, any signal overloading or other
undesired sounds in an input channel can be heard easily and corrected.
Studio Quality - Since the equipment used in a recording studio must be of the highest quality
in order to accurately reproduce every nuance of sound, any piece of equipment which measures
up to this standard is known as Studio Quality.