Alesis 1622 manual

A L ES I S 1622 Mixer Reference M a nu a l[...]

TABLE OF CONTENTS INTRODUCTION .................................................................................................................... 2 WHAT IS A MIXING CONSOLE? ............................................................................... 2 FEATURES ...................................................................................[...]

SECTION 3 APPLICATIONS ........................................................................................................ 18 MULTITRACK RECORDING ......................................................................... 18 INTRODUCTION TO MULTITRACK RECORDING ........................... 18 RECORDING ...........................................[...]

Alesis 1622 Monolithic/Integrated Surface™ Audio Console USER'S MANUAL[...]

2 Alesis 1622 Monolithic/Integrated Surface™ Audio Console INTRODUCTION The A lesis 1622 Monolithic/Integrated Surface™ Audio Console is a 16 channel, two buss audio mixing console which features the new Integrated Monolithic Surface ™ technology. This technology makes available a number of features at low cost which previously could only be [...]

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4 SECTION 1 DESCRIPTION OF CONTROLS TOP PANEL INPUT TRIM The INPUT TRIM is a variable gain control that allows the preamp stage of the mixer to boost the level of a mic or line level signal being fed into the input. The input section of any mixer is the most critical due to the high gain required to amplify such a low level signal (such as that of [...]

5 faders will not upset the headphone balance. Pre-Fader SENDS can also be used to send a signal to outboard effects as well. See Figure 2A and 2B FIGURE 2A PRE-FADER SEND LEVEL FROM THE 1622 MIXER TO EFFECTS DEVICE WITH CHANNEL FADER UP SIGNAL PRE-FADER SEND MASTER INPUT FADER UP FIGURE 2B PRE-FADER SEND LEVEL FROM THE 1622 TO EFFECTS DEVICE WITH [...]

6 POST-FADER SEND TO HEADPHONES OR EFFECTS +3 0VU -10 -20 -30 -40 -50 -60 INPUT LED METER INSTRUMENT/MIC EFFECTS DEVICE A. POST-FADER SEND WITH CHANNEL FADER UP CHANNEL FADER FIGURE 3B POST-FADER SEND LEVEL FROM THE 1622 MIXER TO EFFECTS DEVICE WITH CHANNEL FADER DOWN POST-FADER SEND TO HEADPHONES OR EFFECTS INSTRUMENT/MIC EFFECTS DEVICE B. POST-FA[...]

7 SOLO disconnects the normal signal feed to the monitor speakers and replaces it with the signal present at the Channel Fader. When a channel is soloed, the signal will be heard in mono regardless of the position of the pan pot, and without any effects via the Sends and Returns. Soloing enables the engineer to hear exactly what is being recorded b[...]

8 The SUB MASTER Faders can serve several different functions, depending upon the application. In sound reinforcement or in recording during mixdown, the SUB MASTER Faders will act as a group master for a number of input channels. For instance, if Input Channels 1 through 8 contained drum mics, and you wanted to control the overall level of the dru[...]

9 signal path of only that channel. A special cable consisting of a single stereo 1/4" jack on one end and two mono 1/4" jacks on the other is required. See Section 2 - INSERT INTERFACING SENDS These jacks feed the signal from SEND MASTER 1 through 6 to an outboard effects device or headphone amplifier. SENDS 1 and 2 are derived Pre-Fader[...]

10 ON/OFF SWITCH Turns power on or off to the 1622 . This should always be the first device turned on in the system and the last device turned off. SIGNAL FLOW IN THE 1622 To help you better understand the way that the 1622 operates, the following is a Signal Flow Diagram of the complete signal path of the 1622 . FIGURE 4 1622 SIGNAL FLOW[...]

11 Input Input Trim EQ Section Aux Sends 1 - 2 (Pre-Fader Sends) Channel Insert Input Fader Aux Sends 3 - 6 (Post - Fader Sends) Direct Out (Channels 1 - 8) Left/Right Pan Control Master Assign Switch (Channel) Submaster Assign Switch (Channel) Sub Inserts 1 - 2 Sub Faders 1 - 2 Sub Outs 1 -2 Submaster to Master Assign Switch Aux Returns 1 - 4 (Pan[...]

12 channels 1-8 will defeat the XLR jack for that channel). The signal is then boosted by the Input Trim to a level that the board can deal with easily. Now, you can adjust the tone of the singer's voice with the EQ Section , perhaps boosting the presence range a bit, or rolling off the low end to compensate for close miking. After you've[...]

13 long fade on the whole mix at the end of the tune. This mixed signal, however, is also sent to the monitoring system. Since the Master Out jacks are generally connected to a stereo mixdown deck, your monitoring system (amp/speakers, headphones, etc.) has its own set of jacks - the Monitor Outputs - that are fed from the same source as the Main O[...]

14 piano or the output of a drum machine, perhaps), then you would connect the SUB OUT Left and Right Jacks to the INPUT of Tracks 3 and 4. If you only wanted to record on track 7, you would connect either SUB OUT Left or SUB OUT Right to the input of track 7. FIGURE 6 INTERFACING THE 1622 MIXER TO A MULTITRACK TAPE DECK LINE INPUTS MIC DIRECT OUTP[...]

15 With a Patchbay, it is also easier to make use of the DIRECT OUTPUTS of the 1622 . A DIRECT OUT is used when only one signal is going to be recorded on tape at a time. Using the DIRECT OUT has the advantage of a cleaner and quieter signal since there are fewer electronic stages in the signal path. See Figure 8. FIGURE 8 USING A PATCHBAY TO INTER[...]

16 There are two different sets of Sends on the 1622 MIXER . Sends 1 and 2, which are derived before the Channel Fader, are used primarily for setting up a separate Cue mix for musicians to overdub to, since any changes in the Channel Fader level will not affect the signal level of these Pre-Fader Sends. 1) Connect the output of Sends 1 and 2 (SEND[...]

17 RING (RETURN) TIP (SEND) SEND (TO INPUT) RETURN (FROM OUTPUT) WIRING OF INSERT CABLE HOW TO ADJUST LEVELS In order to ensure the cleanest signal with the least amount of background noise (hiss and hum), it is extremely important for the proper levels to be maintained not only within the 1622 MIXER itself, but throughout the entire audio system. [...]

18 decrease the possibility of overload distortion and keep the amount of background noise to a minimum. SEVERAL CAUTIONS!! Even if you observe the above guidelines, it is still possible to run into some distortion in the following instances: 1) If a large amount of EQ is used, it may be necessary to decrease either the TRIM control, the Channel FA[...]

19 INTRODUCTION TO MULTITRACK RECORDING The function of the 1622 MIXER , or any recording console for that matter, is to provide control of volume, tone, and spatial positioning of signals from microphones, electronic instruments, and tape machines, then to route these signals to a monitor system and tape recorder so they can be heard and recorded.[...]

20 which means that the headphone mix will not change if the fader level changes while the engineer makes adjustments to his monitor mix. Since the 1622 MIXER has 2 Pre-Fader Sends, either 2 separate mono Cue mixes or 1 stereo Cue mix can be provided. MIXDOWN - After all of the desired musical parts have been performed and recorded satisfactorily, [...]

21 frequency information, such as cymbals, which should be recorded at -10 or -15 VU to prevent unwanted peaks which the meters won't indicate. 6) Be sure that the SUB ASSIGN switch (the one above the SUB MASTER Fader) is in the "Off" position. Otherwise, the signal will be assigned twice to the Master buss and may cause the signal t[...]

22 RECORDING TIPS • For c leanest recording, the SUB MASTER Faders (or Channel Faders if the DIRECT OUTPUTS are being used) should be adjusted so that the level going to tape should reach 0 VU on peaks on the meters of the Multitrack Tape Deck. The exception to this would be for percussive instruments with lots of high frequency information, such[...]

23 PLEASE NOTE: For quietest operation with the greatest headroom, it's best to run the individual channel SENDS at about the 3/4 level and the SEND MASTERS at about half or less. MIXDOWN BASICS Below is a simplified step by step way to establish a mix. For a more complex (but better sounding) method, see the following "How to Create a Gr[...]

24 A BIT OF MIXING THEORY Any mix can be separated into 5 parts or "Elements". It is the balance between these elements that is responsible for the mix balance. The five mix Elements can be broken down as follows: ELEMENT 1 - RHYTHM The Rhythm is usually just the bass guitar and drums but really can be any instruments that keeps steady ti[...]

25 10) Bring up the Bass Guitar Channel Fader. Set so that the meters read "-6". 11) Mute the Bass 12) Raise the Channel Faders with the Motion instruments. Set so that the meters read "-10 " unless percussion instruments such as cowbell, triangle, or shaker are involved in, which case the meters should read "-15". 13)[...]

26 3) Unassign the Channel Faders that are being used as Tape Returns (in this case Channels 1 through 4) by switching the "MASTER" assign switch to the "Off" position. 4) Now assign the Channel Faders that are being used as Tape Returns by switching the "SUB MASTER " assign switch to the "On" position. 5) Ra[...]

27 SOUND REINFORCEMENT The 1622 MIXER performs well in a Sound Reinforcement application. Here are some helpful hints to help you get the most out of your unit. SOUND REINFORCEMENT APPLICATIONS IN MONO Most sound reinforcement applications work best in mono. This is because so few members of the audience are actually seated in the ideal spot to hea[...]

28 FIGURE 14 MONO OUTPUT FROM THE 1622 MIXER FOR SOUND REINFORCEMENT USING ALL 8 RETURNS LINE INPUTS MIC DIRECT OUTPUT CHANNEL INSERTS SENDS RETURNS MAIN OUT TAPE MON SUB OUT IN IN IN IN IN OUT OUT OUT EFFECTS UNIT STAGE MONITOR AMP HOUSE SPKR AMP MONITOR SPKR "Y" LEFT AND RIGHT TOGETHER FOR MONO INSTRUMENTS OR MICROPHONES MICRO LIMITER U[...]

29 1) Raise the selected Channel Faders to the desired levels See Section 2, HOW TO ADJUST LEVELS 2) Unassign the selected Channel Faders by switching the "MASTER" assign switch to the "Off" position. See Section 1, MASTER ASSIGN SWITCH 3) Now assign the Channel Faders by switching the "SUB MASTER" assign switch to the[...]

30 FIGURE 15 USING THE SUB MASTERS OF THE 1622 MIXER FOR SEPARATE OUTPUTS LINE INPUTS MIC DIRECT OUTPUT CHANNEL INSERTS SENDS RETURNS MAIN OUT MON TAPE SUB OUT IN IN IN OUT OUT OUT EFFECTS UNIT IN IN MONITOR SPKR DRUM MACHINE KEYBOARDS MICRO LIMITER STAGE MONITOR AMP HOUSE MIXING CONSOLE STAGE MONITOR MIX FROM THE PRE-FADER SENDS It is possible to [...]

31 FIGURE 16 THE 1622 MIXER USED AS A DEDICATED KEYBOARD MIXER LINE INPUTS MIC DIRECT OUTPUT CHANNEL INSERTS SENDS RETURNS MAIN OUT TAPE MON SUB OUT IN IN IN OUT OUT OUT EFFECTS UNIT MIXING CONSOLE OR SOUND SYSTEM DRUM MACHINE KEYBOARDS IN MICRO LIMITER VIDEO POST-PRODUCTION The 1622 MIXER can easily be used in editing bays or video post-production[...]

32 FIGURE 17 USING THE 1622 MIXER FOR A MIX MINUS OUTPUT LINE INPUTS MIC DIRECT OUTPUT CHANNEL INSERTS SENDS RETURNS MAIN OUT TAPE MON SUB OUT IN IN IN OUT OUT OUT EFFECTS UNIT MONITOR SPKR AMP CART MACHINES VTR'S VTR IN IN IN MIX-MINUS OUT OUT MICRO LIMITER VTR IN SECTION 4 TROUBLESHOOTING NO SOUND NO SOUND WHEN CHANNEL IS SOLOED 1) Plug is i[...]

33 2) Tape Machine input is overloaded. Set tape recorder input level control or SUB MASTER levels so that the meters of the tape deck hit 0 VU or less when recording. 3) Monitor input of the 1622 MIXER is overloaded. Decrease TRIM control or output of Multitrack Tape Deck. DISTORTION AT MIXDOWN MACHINE OR SOUND SYSTEM 1) Input Channel is overloade[...]

34 diminished. If the power amp has a grounded type plug (3 pin), use a 3 to 2 pin adapter (ground lift ) instead of flipping the plug. C) Plug in each tape machine and outboard effects device one at a time. Either use a ground lifter or flip the polarity until the quietest position is found. D) You should've done this in the first place, but [...]

35 SECTION 6 SPECIFICATIONS ELECTRICAL CHARACTERISTICS FREQUENCY RESPONSE +0/-2 dBV 20 to 20KHz HARMONIC DISTORTION Better than .015% @ 1KHz @ 0dBV CROSSTALK -91 dBV Channel to Channel @ 1KHz @ 0dBV SIGNAL TO NOISE RATIO Worst Ca se -78dBV Master or Monitor with 16 inputs @ unity gain @ 0dB INPUTS GAIN +70 dB Mic Input to Master Output MAXIMUM LEVE[...]

36 GLOSSARY 1/4" plug - Also known as a phone plug, this is the common "guitar" type plug used on most electronic music instruments and amplifiers. All connections except for the microphone inputs on the 1622 MIXER are done with 1/4" plugs. See Figures 9 & 30. Balanced Line - A circuit incorporating 2 wires to carry the sign[...]

37 vocal. A compression ratio of 10:1 or above changes the compressor into a limiter. A limiter is used to prevent short term peaks, which add little information to program material, from overloading amplifiers or tapes. The A lesis MICRO LIMITER is an example of a compressor/limiter. Cue Mix - The mix sent to musicians studio headphones is called [...]

38 or QUADRAVERB . The effect of flanging, either electronically or mechanically done, is achieved by slightly delaying a signal, then constantly varying the amount of time delay. The delayed signal is then mixed back with the original signal to produce the "swishing" or "tunneling" sound. Gate - See "Noise Gate". Grap[...]

39 Monitor - In recording, Control Room Monitors are the primary speaker for listening to either a performance or tape playback. In sound reinforcement, a Monitor is a separate on-stage sound system intended only for the performer so he can hear himself. MultiTrack - A tape machine that has 4 or more independent recording tracks, and is capable of [...]

40 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 decrea[...]

41 Sub Master - A Sub Master (sometimes called a "SubGroup" or "Group") is used to control the level of several channels with the movement of only one fader. The 1622 MIXER has 2 Sub Masters. Tape Returns - Inputs on a console specifically dedicated to receiving the signal from a tape deck. This may either be from a Mixdown Tape[...]

42 APPENDIX There may be situations that arise that the 1/4" type outputs of the 1622 MIXER must be interfaced to a balanced XLR type input. This is fairly easy to do and will have no effect on the performance of the unit. There are two methods to accomplish this since there is currently no adhered to international standard. METHOD A The publi[...]

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44 INDEX A Aux Returns, 13 Aux Send Master, 13 Aux Sends, 8, 13, 25, 32 Auxiliary Sends, 6, 7, 48 B Balanced, 15, 16, 40 Buss, 7, 10, 13, 28, 40 C Channel Fader, 7, 8, 19, 25, 27, 31, 32, 34, 35, 42, 47 Compressor, 12, 13, 14, 26, 40, 44 Cue mix, 6, 25, 41, 48 Cue, 21 D Direct Outputs, 12, 23, 24, 41 Distortion, 18, 35, 41 E Effects Device, 12, 44 [...]

45 Phone Plug, 46, 49 Phono Plug (RCA), 14, 46 Post-fader, 7, 13, 25, 46 Power LED, 11 Pre-Fader, 7, 13, 25, 32, 47 Punching In, 20, 47 Q 1/4 " plug, 31, 40 1/4" phone jack 11, 14, 15 R Returns, 8, 17, 25, 26, 29, 30, 35, 36, 47 Reverb, 6, 9, 13, 14, 25, 26, 42, 44, 47 S Send Master, 8, 28, 32, 35, 36 Send, 7, 17, 26, 48 Shelving, 6 Signa[...]