Benutzeranleitung / Produktwartung 1622 des Produzenten Alesis
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A L ES I S 1622 Mixer Reference M a nu a l.
TABLE OF CONTENTS INTRODUCTION .................................................................................................................... 2 WHAT IS A MIXING CONSOLE? ...........................................................................
SECTION 3 APPLICATIONS ........................................................................................................ 18 MULTITRACK RECORDING ......................................................................... 18 INTRODUCTION TO MULTITRACK 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.
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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.
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.
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.
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.
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.
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.
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 .
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.
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.
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.
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.
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.
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.
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 s.
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.
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.
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.
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.
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.
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".
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.
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.
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 OU.
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.
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 .
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.
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 M.
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.
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.
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 S.
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.
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.
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.
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.
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.
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.
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.
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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, .
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 Retu.
Ein wichtiger Punkt beim Kauf des Geräts Alesis 1622 (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie Alesis 1622 noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Alesis 1622 - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Alesis 1622 reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Alesis 1622 erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Alesis 1622 besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Alesis 1622 verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Alesis 1622. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Alesis 1622 gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
