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ALESIS

Studio 24

Reference Manual

Summary of Contents for Studio 24

Page 1: ...ALESIS Studio 24 Reference Manual...

Page 2: ...ges of multitrack recording 18 The different mixes and what they re needed for 20 Multitrack Mix 20 Monitor Control Room Mix 22 Aux Sends and Returns Effects 24 Guided Tour 25 Recorder Mix Monitor Mix...

Page 3: ...ltitrack 59 Getting the Mix to the Headphones 61 Monitoring MIDI Virtual Tracks 62 Bouncing Tracks 63 Playback Mixdown 65 Getting the Mix to the 2 Track Deck 65 Mixdown Basics 65 Guidelines for a roug...

Page 4: ...85 Meters 86 Master L R Fader 86 Group Master Controls 86 LINK TO L R switch 86 MONO switch 87 GRP 1 and 2 Master FADERS 87 L R Master Fader 87 Top Panel Inputs and Outputs 88 Main Outs 88 Main Insert...

Page 5: ...Contents 4 STUDIO 24 REFERENCE MANUAL Impedance 98 Noise performance typical 98 Distortion THD N 98 Power 98 Dimensional Drawings 100 Gain Diagram 101 Block Diagram 102 Index 103...

Page 6: ...c shocks PLEASE FOLLOW THESE PRECAUTIONS WHEN USING THIS PRODUCT 1 Read these instructions 2 Keep these instructions 3 Heed all warnings 4 Follow all instructions 5 Do not use this apparatus near wate...

Page 7: ...t 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 li...

Page 8: ...ttoyez qu avec un chiffon humide Ne pas vaporiser de liquide nettoyant sur l appareil cela pourrait ab mer les contr les de la face avant ou engendrer des conditions dangeureuses 7 Installez selon les...

Page 9: ...ndommag de quelque sorte que ce soit par exemple losrque le cordon secteur ou la prise sont endommag s si du liquide a coul ou des objets se sont introduits dans l appareil si celui ci a t expos la pl...

Page 10: ...und Musikinstrumente geeignet sind Achten Sie immer darauf da die jeweiligen Ger te sicher installiert sind um Sch den und Verletzungen zu vermeiden Wenn Sie einen Rollwagen benutzen achten Sie darau...

Page 11: ...Type Analog Signal Processor conforms to the following Standards EMC EN 55022 1988 Class B EN50082 1 1992 IEC 801 2 1984 2nd Edition 4kV direct 8kV air IEC 801 3 1984 2 3V m 150MHz 1GHz IEC 801 4 1988...

Page 12: ...ovides a brief tour of the Studio 24 and shows you how the basic principles of all console operation apply to the particular features of the Studio 24 Chapter 3 Hooking It Up details installation and...

Page 13: ...via email at support alesis com CONVENTIONS The buttons knobs and top and back panel connectors are referred to in this manual just as their names appear on the Studio 24 using all capital letters Exa...

Page 14: ...ach one s respective DIRECT OUT jack This is the most common function of Direct Out signal flow what goes through the channel is fed right to its DIRECT OUT But in its down position this switch routes...

Page 15: ...Group and L R master faders are designed with a nominal 0 position at the top of their travel not the 3 4 position The channel faders have 10 dB of gain from the nominal position to the top of fader...

Page 16: ...s 1 8 instruments plugged into the stereo channels are routed to MON 1 2 and the Channel FADER simultaneously Note that both PAN controls one for Monitor and one for the Fader are called BAL balance s...

Page 17: ...ith compressors and graphic equalizers Control room monitoring is made simpler by stereo in place Solo on each main channel Either Auxiliary mix may be previewed in the control room while leaving the...

Page 18: ...and recorder tracks so they can be heard and recorded this is the where to assignment function of the console The two way signal flow of multitrack recording Using a console for recording is very dif...

Page 19: ...mixer is This is called monitoring In the studio the musicians listen to a cue mix in headphones while overdubbing Adjustments to monitor or cue mixes should not affect the mix going to the recorder...

Page 20: ...DLY RVB 1 L M R EQ PCH DLY RVB L M R EQ PCH DLY RVB L M R EQ PCH DLY RVB L M R EQ PCH DLY RVB L M R EQ PCH DLY RVB L M R EQ PCH DLY RVB L M R EQ PCH DLY RVB L M R 2 3 4 5 6 7 8 L R IN L R OUT PRESET P...

Page 21: ...orded as loud as it can be without distorting the recorder For example a microphone is plugged into channel 1 MIC IN port and its level is set by the TRIM control The CHAN MON REVERSE switch is left i...

Page 22: ...N 1 2 GROUP OUTPUTS combined with signals from other channels to AUX sends TRIM LINE IN MIC IN TAPE IN CHAN MON REVERSE 75 Hz HIGH MID FREQ LOW INSERT jack MAIN L R OUTS INSERTS 1 L R 2 Multitrack Rec...

Page 23: ...e mix going to the MONITOR 1 2 MASTER At this point the CONTROL ROOM SOURCE switch is set to MON 1 2 so the engineer can adjust the monitor mix Monitor PAN Note that the Monitor PAN controls the black...

Page 24: ...MON 1 2 LEVEL MONITOR 1 2 MASTER SOLO Channel Fader Channel PAN SIP SOLO MASTER MASTER SOLO LED CONTROL ROOM SELECT SWITCHES CONTROL ROOM LEVEL Any SOLO on console controls this relay electronically...

Page 25: ...you hear it so the STEREO AUX RETURNS are a pair of miniature stereo channels designed for effect returns You may want to record effects to the multitrack so they have GRP ASSIGN switches The musician...

Page 26: ...on Channels 9 12 to both the Main and Monitor outputs at the same time This allows you to mix an input and monitor a tape signal simultaneously Counting the Stereo Aux Returns the Studio 24 has a tot...

Page 27: ...CHAN MON REVERSE switch located under the TRIM control You can also think of this switch as a Fader Source selector where does the Channel fader get its signal from the mic or line input or from the...

Page 28: ...here In the studio the Group output usually is connected to the inputs of a multitrack recorder such as the Alesis ADAT A very useful application of the Group feature is to assign the output of the Gr...

Page 29: ...channnels are always routed to MON 1 2 To listen to tape tracks in the Monitor make sure the CHAN MON REVERSE switch in the up position To listen to the mic or instrument connected to a Channel via t...

Page 30: ...tra input channels designed for routing the signals back from signal processing equipment Aux Returns can be thought of as very basic line input channels The gray LEVEL knobs control how much effect w...

Page 31: ...er It also controls the stereo meter display Normally the CONTROL ROOM OUT jacks are connected directly to the inputs of a stereo amplifier such as the Alesis RA 100 which power a set of near field mo...

Page 32: ...aster solo LED that shows you when the solo system is active The solo system has its own MASTER control which is used to adjust the level feeding the Control Room knob The source of the solo is called...

Page 33: ...Guided Tour 32 STUDIO 24 REFERENCE MANUAL...

Page 34: ...damage that may have occurred in transit If you detect any damage do not destroy any of the packing material or the carton and immediately notify the carrier of a possible claim for damage Damage clai...

Page 35: ...potential Unfortunately the presence of a third pin does not always indicate that an outlet is properly grounded You may use an AC line tester to determine this If the outlet is not grounded consult...

Page 36: ...o run a multi outlet box or two from a SINGLE wall outlet and plug in all of the components of your system there 2 KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS POSSIBLE Many hums come from audio ca...

Page 37: ...uted to the Right side of the stereo image or to Group 2 if the GRP switch is pressed on the Channel and even numbered inputs are mono inputs that appear equally in the left right stereo image or both...

Page 38: ...nced line sources may also be connected here using a stereo TRS plug as shown above Line inputs may also be used for connecting additional effects returns where additional post effect equalization is...

Page 39: ...le when one of the DIRECT OUT SOURCE switches is in its down position as explained on pages 54 and 55 The third option for getting Channels to tape is to connect the Group Out jacks to the recorder as...

Page 40: ...plug and an insert return the ring of a TRS plug One is for the left channel and one is for the right channel of the stereo mix They are used to insert a outboard stereo effects device such as a comp...

Page 41: ...cks top panel that are most often used to connect to the stereo outputs of two external effect units However these may also be used as additional inputs for stereo sound modules samplers or synthesize...

Page 42: ...The microphone inputs are standard balanced XLR type jacks Input Connector Type Mic Inputs XLR Balanced Line Inputs 1 4 TRS Unbalanced or Balanced DIRECT OUT RCA Unbalanced TAPE IN RCA Unbalanced Ins...

Page 43: ...ECT OUTs to the corresponding tape tracks by using either 1 4 to RCA cables or RCA to RCA cables The Studio 24 s DIRECT OUT SOURCE switch allows you to re route the Groups to tape tracks without repat...

Page 44: ...ck You may also use a balanced 1 4 cables if you want to use the MAIN OUTS L and R jacks on the Studio 24 s top panel Note that the nominal output of the top panel 1 4 MAIN OUTS in unbalanced operatio...

Page 45: ...an amplifier s inputs using a tip ring sleeve stereo splitter cable the same type used for Insert cables This also may be used for a second set of Control Room or studio playback monitors Just keep t...

Page 46: ...a single 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 and AUX 4 to the input or inp...

Page 47: ...ce all the way to wet The effect device will generate an artificial stereo output from the signal input Check the manual for your effect device for more information On the other hand true dual channel...

Page 48: ...to the multitrack tape deck press a GRP switch Aux Returns A and B can send to GRP 1 2 And if the DIRECT OUT SOURCE switch is set to GRP it may be routed to any tracks Most complaints of noisy effects...

Page 49: ...ource is MON 1 2 1 Select MON 1 2 as the Control Room source so you can hear what the studio is hearing 2 Raise the MON 1 2 control the purple knobs of the Stereo Aux Return s until the desired balanc...

Page 50: ...signal path of the MAIN L R OUTS using the MAIN INSERT jacks This is desirable when either a group of instruments or the entire mix needs to be processed All INSERT jacks on the Studio 24 are TRS jac...

Page 51: ...Effects and Signal Processing 50 STUDIO 24 REFERENCE MANUAL...

Page 52: ...serve the level on the MASTER LED Meter Adjust the TRIM knob until the signal hits 3 or 6 the first two yellow LEDs It s OK if the top yellow 10 lights during the loudest peaks but if you ever see the...

Page 53: ...top of its range PK with the GROUP MASTER FADER set to nominal level or the GROUP or MASTER FADER is set to 20 or lower and the MASTER LED Meter is reading 0 dB or above Once again it may be necessar...

Page 54: ...er respond to the microphone or instrument Adjust the fader for the proper recording level 4 To monitor listen to the signal through the multitrack tape machine make sure the CHAN MON REVERSE switch i...

Page 55: ...the Channels you wish to record onto the same track to GROUPS 1 and 2 by pressing the GRP button situated next to the Channel FADERs If you want to record effects or other devices from a Stereo Aux Re...

Page 56: ...S jacks as extra instrument inputs you wish to record onto the same track of tape to GROUPS 1 and 2 by pressing the GRP button situated next to the Channel FADER or below the AUX RETURN LEVEL knob 3 U...

Page 57: ...must be up Set the Monitor PAN controls to hard left and right to hear the proper stereo image in the control room If you don t perform this last step the main PAN settings you make on the channels y...

Page 58: ...of headroom above the nominal level depending on the tape type and any noise reduction being used and ADAT has 15 dB of headroom above nominal Other digital decks have anywhere from 12 to 20 dB of he...

Page 59: ...ne you wish to monitor into the Tape or Playback position Usually this is done simply by taking the tracks out of Record mode 2 Make sure the CHAN MON REVERSE button is up on each Channel that will be...

Page 60: ...hannels not being used for playback To listen to tape tracks on the Channel faders 1 On the multitrack set the tracks you want to monitor into playback mode Record switched OFF 2 On the Studio 24 make...

Page 61: ...Recording 60 STUDIO 24 REFERENCE MANUAL Tape Returns...

Page 62: ...buttons in the up position the headphones hear the L R mix Pressing any of the SOURCE buttons will send the mix of the lowest button to the headphones as well as to the Control Room Pressing SOLO will...

Page 63: ...l tracks to L R only But if you really need to record the instruments on these Channels assign them to a Group and connect the GROUP OUTPUTS directly to the recorder s track inputs Alternately you can...

Page 64: ...o Group 1 by pressing the GRP button next to the Channel s fader Make sure none of these channels is assigned to L R Also make sure that no unwanted channels or Aux Returns are assigned to Group 1 2 a...

Page 65: ...xt to the channel faders 3 Raise the GRP 1 and 2 FADERS to the maximum position 4 Place tracks 5 and 6 into record ready and select either GRP 1 2 or MON 1 2 as the Control Room source If you re using...

Page 66: ...2 TRACK as the source in the CONTROL ROOM section This assures that you will hear only what is actually reaching the mixdown deck and that it is in RECORD mode when you want it to be You may test the...

Page 67: ...Begin with all the Channel ______ in the down position 2 Set the L R MASTER _____ to the 0 dB point all the way up 3 Raise the Kick Drum Channel _____ until the LED meters read 3 4 Mute the Kick Drum...

Page 68: ...ke balance adjustments as necessary The above process can be accomplished very quickly once you get the hang of it Usually it is done at least twice when getting up a mix The first time is without eff...

Page 69: ...Recording 68 STUDIO 24 REFERENCE MANUAL...

Page 70: ...used to assign the Group signals to left and right equally no matter what the pan position is Follow the instructions below for subgrouping making sure that no channel is assigned to L R directly SUBG...

Page 71: ...monitor speakers have the same mics and instruments available unlike in the studio where the Channels have the mics and instruments and the MON 1 2 mix handles tape returns Using the LEVEL and PAN kn...

Page 72: ...Channels 1 8 and 8 inputs for the four stereo Channels with an effects send like this At a major concert feeds from microphones are often split so they can be sent to two different consoles a monitor...

Page 73: ...PA system 3 Connect the 8 RCA to RCA jumpers between the DIRECT OUTs and the TAPE INs on the back panel 4 Make sure that the CHAN MON REVERSE and DIRECT OUT SOURCE switches are in their up positions...

Page 74: ...rs 1 Use MON 1 2 as the PA feed with only 3 channels used one for vocal and two effect returns 2 Use Group 1 as a mono drum mix Group 3 as a mono keyboard mix the L R master as a stereo guitar mix the...

Page 75: ...effects programs on MIDI compatible outboard effects devices Video deck outputs may be patched to either the LINE IN or TAPE IN jacks in most cases To feed the output of the Studio 24 into a video de...

Page 76: ...N REVERSE This switch selects the source of the Channel which includes the Channel Fader EQ INSERT jack and AUX 3 4 and the MON 1 2 system In other words where is the signal coming from When this swit...

Page 77: ...nning hard left routes the Channel s signal to GRP 1 only and panning hard left routes the Channel s signal to GRP 2 This means that any or all Channels assigned to a GRP can be re routed to any of th...

Page 78: ...eans that frequencies above 12 kHz will be boosted or cut by the same amount and frequency response between 1 kHz and 12 kHz will gradually rise or fall to the shelving point The LOW knob range is 15...

Page 79: ...lifies the band to a maximum of 15 dB Turning to the left cuts the band to a maximum cut of 15 dB To learn how the midrange EQ works put some broadband material like a CD into a channel at a low level...

Page 80: ...n The left right balance of the MON 1 2 mix is set by the black PAN control directly above this knob By turning the PAN fully left the signal is routed only to MON 1 When turned fully right the signal...

Page 81: ...he stereo balance of the Left and Right inputs on the Channel If a stereo instrument is connected to the Channel the BAL knob acts much the balance control on your home stereo system As you rotate it...

Page 82: ...b affects the solo volume The meter will show the level of the soloed signal unaffected by the master solo level knob so you can easily compare the level of individual channels and set the TRIM contro...

Page 83: ...1 2 send is not affected by the LEVEL control beneath it LEVEL The gray LEVEL controls set how much signal from the Stereo Aux Return inputs will be sent to the Aux Return ASSIGN switches In that sens...

Page 84: ...r of the stereo image SOLO IN PLACE SWITCH The SOLO IN PLACE switches in the Stereo Aux Returns are a special kind of SOLO switch to allow you to hear the effect returns in the Control Room mix It sen...

Page 85: ...he 12x2 monitor mix to the L R mix buss as well If you are sending the Monitor signal to the headphones or control room but don t want that signal on the Master L R stereo output leave the LINK TO L R...

Page 86: ...trol Room as the entire mix does allowing you to focus The type of Solo used in the Studio 24 is called SIP Solo In Place This permits you to hear instruments in their post fader post pan arrangement...

Page 87: ...s its signal from the stereo busses which are fed by any of the Channels Monitors Groups and Aux Returns which have their L R or LINK switch down They send signal to the MAIN OUT L and R jacks and the...

Page 88: ...FADERS adjust the total output level of all signals assigned to each Group They get their signal from the GRP switches in the Channels and the Stereo Aux Returns They send signal to the two Group outp...

Page 89: ...AIN OUTS are also duplicated on the back panel but are unbalanced RCA jacks at a level of 10 dBV instead of balanced 1 4 connectors They receive the same signal as the top panel jacks including any si...

Page 90: ...d dynamic microphones hence the name phantom power Check the manual for the mics you plan on using to make sure that this phantom method is correct before you apply power The PHANTOM switch must be tu...

Page 91: ...lications you may connect these jacks to amplifiers for specific zones Group 1 feeds a center cluster Group 2 feeds side fills etc In broadcast applications these may be used to provide mix minus or m...

Page 92: ...he TRIM control so extremely low level or high level signals should be connected to the LINE IN jack instead INSERT JACK This is a 3 conductor unbalanced send receive jack for signals going through th...

Page 93: ...vel When the TRIM is set to hard right the LINE IN signal will be amplified 15 dB When TRIM is set to hard left it will be attenuated lowered 15 dB MIC IN JACK CHANNELS 1 8 ONLY This balanced XLR conn...

Page 94: ...Aux Return level on mixer Increase Aux Send levels Noise hum Ground loop between devices in system See page 35 Unshielded cables Don t use speaker cables for mixer connections No signal from channel D...

Page 95: ...tract more dirt and will make it noisy again The one place where contact cleaner is useful is on the back panel jacks and cables Periodically disconnect the mixer from AC power and all cables and clea...

Page 96: ...t be accepted You must indicate the RA number on the shipping label or the shipment will not be accepted If you do not have the original packing ship the Studio 24 in a sturdy carton or road case with...

Page 97: ...Troubleshooting 96 STUDIO 24 REFERENCE MANUAL...

Page 98: ...1 4 3 conductor phone Tip ring sleeve ground TAPE IN DIRECT OUT 2 TRACK IN jacks Female RCA INSERT jacks Female 1 4 3 conductor phone Tip send ring return sleeve ground Inserting plug to first click a...

Page 99: ...load impedance OUTPUTS MAIN GROUP DIRECT AUX and MON 150 unbalanced 300 balanced NOISE PERFORMANCE TYPICAL Dynamic Range 111 dB Mic Line to Main L R output Signal to noise ratio 88 dB Mic Line to Main...

Page 100: ...4 TRS 4 Group Outs 1 4 TRS 2 L R Main Outputs balanced 1 4 TRS 2 Back Panel Tape Inputs RCA phono 8 Direct Outputs RCA phono 8 Control Room and Monitor 1 2 Outputs 1 4 TRS 4 2 Track Inputs RCA phono...

Page 101: ...Specifications 100 STUDIO 24 REFERENCE MANUAL DIMENSIONAL DRAWINGS...

Page 102: ...dBu MIC input 10 dBVTAPE input 2 dBu unbalanced 8 dBu LINE input Max line input 32 dBu 42 dBu LINE input Hi mid low 15 dB Chan fader Master fader Phones monitor OUTPUTS Balanced 4 dBu Main Out Tape Ou...

Page 103: ...Specifications 102 STUDIO 24 REFERENCE MANUAL BLOCK DIAGRAM...

Page 104: ...ffects 47 Ground Loops 35 grounding 6 34 Group Master Faders 87 Group Outputs 20 27 39 54 GRP 1 2 in Stereo Aux Returns 24 47 headphone 83 Headphones 30 40 61 83 amplifier 44 headroom 86 high pass fil...

Page 105: ...eceive 24 Setting Levels 51 signal flow 25 102 SOLO 30 31 81 in Stereo Aux Return 83 level 85 SOLO IN PLACE 31 83 sound reinforcement 69 source 17 stage monitoring 70 STEREO AUX RETURNS 24 29 40 45 82...

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