Alesis Studio 24, Справочное руководство

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Description of Controls
7 6 S
TUDIO
24 R
EFERENCE
M
ANUAL
DIRECT OUT SOURCE
SWITCH
On many mixing consoles, the concept of a Direct Out signal path is simple:
whatever signal is input to a Channel is sent back to its own direct out jack. On the
Studio 24, that’s exactly what happens when this switch is in its up position. If a
microphone or instrument is plugged into, say, Channel 5, that signal is present at
DIRECT OUT 5 (post-fader, post-EQ). In fact, if the CHAN/MON REVERSE switch
for that Channel is in the down position, the TAPE IN signal will also be routed
through the Channel then back to the same Channel’s DIRECT OUT.
Notice that each of these switches (there are four total on the Studio 24) controls two
Channels: in the up position, each pair of Channels has their post-fader mic or line
inputs (or TAPE IN if CHAN/MON REVERSE is pressed) routed to their respective
DIRECT OUT.
In the down position, labeled GRP, the switch routes the output of the two Groups to
the DIRECT OUTs of the Channel pair.
Example : if DIRECT OUT SOURCE is pressed
on Channels 5 and 6, signal present on the GRP 1 fader, which is output to the GRP 1
jack on the top panel, is also output to the DIRECT OUT 5 jack on the back panel. By
the same token, signal present on the GRP 2 fader, which is output to the GRP 2 jack
on the top panel, is also output to the DIRECT OUT 6 jack on the back panel.
Since both Groups are routed to two DIRECT OUTs, the PAN knobs come into play.
Panning 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 the eight DIRECT OUTs. This also means that two
or more Channels can be mixed in stereo and sent to any pair of DIRECT OUTs. In
any case, the GRP faders act as the master level faders for the signal going to the
selected DIRECT OUT(s).
This feature adds enormous flexibility to the Studio 24’s Grouping function by
completely eliminating the need to repatch every time you want to lay down a new
track. Since the Groups are often used to feed the inputs of your multitrack for
recording, repatching can be frequent: having only two Groups being used to record
multiple tracks (by overdubbing) means a lot of plugging and unplugging.
E
QUALIZER SECTION
75 H
Z SWITCH
The graphic over this switch shows what this does: it cuts frequencies below 75 Hz at
a rate of 18 dB per octave. This is called a “high pass filter”, but some people prefer
to think of it as “low cut filter”. It is used to filter out undesirable subsonic
frequencies which may be present in the signal (air conditioning rumble, mic stand
noise, etc.).
If you push this switch, you often won’t hear any difference, because so few
instruments (and no voices) actually have harmonics below 75 Hz, and many
loudspeakers don’t have good response below this point. As a rule of thumb, you
don’t want to press the 75 Hz switch on instruments such as kick drum, bass, or
keyboards; but it can be very useful on voices (especially if you’re boosting the 125
Hz region to get an effect using the LOW or MID controls).