Reference Manual

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Table Of Contents

Introduction..3 Important Safety Instructions..7 Chapter One: Quick Start Guide.15
If you cant wait to get started...15 Step 1: Hook it up to a mixer...15 Step 2: Try some effects...16 Connecting to an Instrument or Microphone..18 Connecting to the Effects Send and Return of a Mixing Console...18 Connecting to the Channel Inserts of a Mixing Console..19 Connecting to the Main Inserts of a Mixing Console..20 Connecting to the Inserts of an Instrument Amplifier..20 About Audio Cables...21 Bypass Footswitch..22 MIDI In and Out...22 Editing Programs...23 Storing Your Edits..24
Chapter Two: Connections..17
Chapter Three: Editing..23
Chapter Four: Description of Programs..25
Reverb Effects 0 - 11...HALL....VOCAL HALL...VOCAL PLATE...DRUM ROOM...SPACE....TRASH CAN...GATED...REVERSE...DYNAMIC REVERB...FLANGED REVERB...PITCHED REVERB....G GARAGE....28 Delay Effects 12 - 18...DELAY....STEREO DELAY....RUNAWAY....LPF DELAY....HPF DELAY...BPF DELAY....PHASOR DELAY....31
Pitch Effects 19 - 29...PHASOR 1....PHASOR 2....AUTOPHAZ...FLANGER....INV FLANGER...DUAL TRANSPOSER...STEREO DETUNE...FREQUENCY SHIFT...CHORUS...VIBRATO....VIBRO-WOBBLE...33 Filter Effects 30 - 38...BAND LIMIT....LP BP HP....LFO LP....AUTOWAH...FORMANTS...SAMPLED BPF...RESONATOR....VOCO-BEND....VOCODER....36 Distortion Effects 39 - 43...RECORD NOISE....TAPE SATURATOR....FUZZ....DECIMATOR....GRINDER....37 Miscellaneous Effects 44 - 49..RING MODULATOR...RMS LIMITER....SUB BASS....TREMOLO....AUTOPAN....VOCAL CANCEL....38

Chapter Five: MIDI..39

MIDI Program Change...39 Setting the MIDI Channel...39 Soft MIDI Thru....39 Using MIDI Continuous Controllers..40
Chapter Six: Troubleshooting..41 Specifications..43 Warranty/Contact Alesis..45 Program Chart..47

Introduction

Welcome! Thank you for making the Alesis Akira a part of your studio. Since 1984, we've been designing and building creative tools for the audio community. We believe in our products, because we've heard the results that creative people like you have achieved with them. One of Alesis' goals is to make high-quality studio equipment available to everyone, and this Reference Manual is an important part of that. After all, there's no point in making equipment with all kinds of capabilities if no one explains how to use them. So, we try to write our manuals as carefully as we build our products. The goal of this manual is to get you the information you need as quickly as possible, with a minimum of hassle. We hope we've achieved that. If not, please drop us an email and give us your suggestions on how we could improve future editions of this manual. We hope your investment will bring you many years of creative enjoyment and help you achieve your goals. Sincerely, The people of Alesis
For more effective service and product update notices, please register your Akira online at: http://www.alesis.com/ support/warranty.htm

Helpful tips and advice are highlighted in a shaded box like this
When something important appears in the manual, an exclamation mark (like the one shown at left) will appear with some explanatory text. This symbol indicates that this information is vital when operating the Akira.
Important Safety Instructions
Important Safety Instructions (English) Safety symbols used in this product
This symbol alerts the user that there are important operating and maintenance instructions in the literature accompanying this unit.
This symbol warns the user of uninsulated voltage within the unit that can cause dangerous electric shocks.
This symbol warns the user that output connectors contain voltages that can cause dangerous electrical shock.
Please follow these precautions when using this product:
1. 2. 3. 4. 5. 6. 7. 8. 9. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a damp cloth. Do not spray any liquid cleaner onto the faceplate, as this may damage the front panel controls or cause a dangerous condition. Install in accordance with the manufacturer's instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Use only attachments or accessories specified by the manufacturer. Continued next page

10. 11.

12. Use only with a cart, stand, bracket, or table designed for use with professional audio or music equipment. In any installation, make sure that injury or damage will not 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 lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as when the power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. This unit produces heat when operated normally. Operate in a well-ventilated area with at least six inches of clearance from peripheral equipment. 16. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 17. Do not expose the apparatus to dripping or splashing. Do not place objects filled with liquids (flower vases, soft drink cans, coffee cups) on the apparatus. 18. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

CE Declaration Of Conformity
See our website at: http://www.alesis.com

FCC Compliance Statement

This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: -- Reorient or relocate the receiving antenna. -- Increase the separation between the equipment and receiver. -- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. -- Consult the dealer or an experienced radio/TV technician for help.

Quick Start Guide

If you cant wait to get started The Alesis Akira is a unique product, but its basic hookup and operation is similar to other effects processors in most respects. If youre experienced with signal processors, this chapter is a shorthand guide for those who want to start using the Akira right away. If you have questions about any of the features, dont worry later chapters will unveil the mysteries of the Akiras special features. Step 1: Hook it up to a mixer 1. Pull the Akira out of the package. 2. Plug the supplied power cable into the POWER jack on the back of the Akira and then into a grounded AC power source. 3. Using a pair of 1/4 cables, plug the effects sends of the mixer to the left and right INPUTS on the back of the Akira. 4. Connect the Akiras OUTPUTS to the effects return of the mixer. 5. When signal is played into the unit, adjust the INPUT level knob on the front of the Akira until the green meter LEDs light but the red ones (top LEDs) do not. Turn the control clockwise to increase the level.

For more information on connecting the Akira, see chapter 2: Connections
Step 2: Try some effects 1. Play some audio into the Akira. Turn up your mixers effects sends to a moderate level and then turn up the level on your effects returns. 2. Adjust the INPUT knob on the front of the Akira until you hear a strong, clear signal coming from the unit. If you hear distortion or clipping, turn down the INPUT knob until the distortion goes away. 3. Adjust the MIX knob on the front of the Akira to set the dry/wet balance of the effect. To hear the effect only, as you will want to do in most effects send/return setups, turn the MIX knob fully clockwise. 4. Press the VALUE up/down buttons to change programs on the Akira.
While learning the unit, it is helpful to play a CD or a multi-track source into the effects processor. Choose a song or part that doesnt change much so that you can take your time experimenting with the different timbres.
If you are not hearing any effect, check your connections or try another program. Some programs effects are easier to hear than others.
To jump to program 00, press both VALUE buttons at the same time.
To jump to different programs quickly, you can jump ahead by 10 by holding the VALUE down button, then pressing the VALUE up button. Similarly, to jump down by 10, hold the VALUE up button, then press the VALUE down button.

Connections

Unpacking and Inspection Your Akira was packed carefully at the factory. The shipping carton was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the Akira for servicing. The shipping carton should contain the following items:
Akira with the same serial number as shown on the shipping carton IEC detachable AC power cable This instruction manual
AC Power Hookup Plug the female end of the detachable AC power cable into the Akiras POWER jack and the male (plug) end into a good quality AC power outlet. The Akira contains an internal switching power supply which automatically recognizes the incoming voltage. You can use your Akira in any country of the world without voltage transformers.

Its good practice to not plug in the Akira until all other audio cables are hooked up as well. Make sure your amplifier or powered speakers are switched off when turning the Akira on or off to avoid damage.
Connecting Audio Inputs and Outputs Connecting to an Instrument or Microphone The Akiras INPUT knob has been calibrated to accept instrument level signals such as a microphone or guitar input. To use the Akira this way, simply plug the guitar or microphone into one of the Akiras Input jacks and connect the output to an amplifier, mic preamp, mixer or recorder. When using the Akira with a microphone, you may need an XLR to 1/4 adapter (not included). Connecting to the Effects Send and Return of a Mixing Console Most mixing consoles have post-fader effects send and return jacks on their rear panels. This is usually the best choice for connecting the Akira as you will be able to use an effect on several sources at once.
When connecting audio cables and / or turning power on and off, make sure that all devices in your system are turned off and the volume controls are turned down.
When you connect the Akira in this way, you may hear an odd phasing sound on some of the reverb and delay programs. To prevent this, turn the MIX knob fully clockwise (effect only). You can then control the balance between the direct and effect signal with the effects return level control on your mixer.
Connecting to the Channel Inserts of a Mixing Console Most mixing consoles have a jack near the mic and line inputs labeled insert. This is typically a TRS jack with the send and return on the same jack. To use the Akira as a channel insert effect, you will need an insert cable (not included).
This cable splits the TRS insert jack into two unbalanced mono connectors. Usually the tip is connected to the INPUT of the effects processor and the ring is connected to the OUTPUT of the effects processor. However, this may be reversed on some mixing consoles. Check your mixers reference manual to be sure, or you can just try it both ways plugging it in the wrong way wont damage the Akira. You may need to raise the mixers input trim if the signal coming back from the Akira is too low.
Connecting to the Main Inserts of a Mixing Console In addition to channel inserts, most mixing consoles have main insert jacks near the main outputs. You can use insert cables to connect the Akira to the main L/R bus the same way you connect it to a pair of channels. Simply connect one insert cable to the left main insert of the mixer, and then connect the two mono plugs to the left INPUT and OUTPUT of the Akira. Use another insert cable to connect the right main insert to the right INPUT and OUTPUT of the Akira. Connecting to the Inserts of an Instrument Amplifier Guitar and bass amplifiers often have insert points for effects as well. These are typically labeled effects send and return, insert send and return or effects loop.

About Audio Cables The connections between the Akira and your studio are musics lifeline, so use only high quality cables. These should be lowcapacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Route cables to the Akira correctly by observing the following precautions: Do not bundle audio cables with AC power cords. Avoid running audio cables near sources of electromagnetic interference such as transformers, monitors, computers, etc. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance) or reduce the cables reliability. Avoid twisting the cable or having it make sharp, right angle turns. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward.
It is very important to keep your connectors clean. Every few months, unplug them and wipe off oxidation with a clean cloth soaked in alcohol or contact cleaner. Insert the plugs in the jacks a few times to clean the internal jack contacts. Although Alesis does not endorse any specific product, chemicals such as Tweek and Cramolin, when applied to electrical connectors, are claimed to improve the electrical contact between connectors.
Bypass Footswitch The Akira has a bypass function that allows you to disengage the effect. To use the bypass, either press the BYPASS button on the front panel or connect a footswitch to the jack on the rear panel labeled FOOTSWITCH.
MIDI In and Out To send program changes or continuous controller data to the Akira from an external device such as a keyboard or computer, connect a MIDI cable from the MIDI Out of the controller device to the MIDI In of the Akira. To record your continuous controller movements from the front panel of the Akira, connect a MIDI cable from the MIDI Out of the Akira to the MIDI Input of the recording device (generally a computer or MIDI sequencer). To avoid a MIDI loop, you should not connect both the Akiras MIDI In and Out to the same device. See Chapter 5 MIDI for more information.

Editing

Editing Programs The sound designers at Alesis have assigned three specific editable parameters to each individual program in the Akira. These editable parameters are accessed simply by turning the Parameter X, Y and Z knobs. The following chapter contains a description of each Akira program and its editable parameters assigned to X, Y and Z. Description of Controls VALUE UP / DOWN These buttons select the different programs within the Akira. They also allow you to change the MIDI channel (with the MIDI button engaged) and select memory locations when storing new programs. X, Y and Z The knobs adjust the parameters of an effect. BYPASS This button disables the effect of the Akira allowing the direct signal to be heard without any processing. MIDI This button allows you to set the MIDI channel of the Akira and also to assign continuous controllers to the X, Y and Z editable parameters. COMPARE This button temporarily reverts an edited program back to its stored state. STORE This button saves edited programs into the user memory locations 50-99.
Compare The COMPARE button allows you to temporarily revert back to the stored state of the program without losing your edits. This feature allows you to compare the original stored version of the program with your edited version without saving it to a new location first. When the compare function is activated, you will hear the stored version of the program. To go back to your edited version, press COMPARE a second time. Storing Your Edits Saving your edits is simple! The Akira has 50 user memory locations in which to store your new programs. Once you have made your desired edits to an existing program, press STORE once. The display will flash the number of the target program location. Press the VALUE up / down buttons to navigate to your desired new location and then press STORE again to save your edits to this new location. If you wish to overwrite an existing user program, simply press STORE twice. Note that you cannot overwrite the first 50 programs as these are the Akiras presets.

Description of Programs

Your Akira comes from the factory with 50 studio quality preset effects programs. Press the VALUE up / down buttons to select an effects program. Reverb Effects 0 - 11 Reverb is made up of a large number of distinct echoes, called reflections. In a natural acoustic space, each reflections amplitude and brightness decays over time. This decaying action is influenced by the room size, the location of the sound source in the room, the hardness of the walls, and other factors. Most of the reverb programs share the following three parameters: DENSITY This controls how smeared the reverb sounds. When all the way down, the reverb sounds gritty, with distinct echoes. When all the way up, the reverb sounds smooth. DECAY This controls the length of the reverb tail. Turn the control clockwise for a longer reverb sound or to simulate a larger space. COLOR The tonal balance or EQ of the reverb signal. This is often described in terms of brightness or darkness. 0 HALL A simulation of a large concert hall.

31 LP BP HP A selectable low-pass, band-pass or hi-pass filter with resonance.
X FREQUENCY Cutoff frequency of the filter. This sets Y Q

Z LP-BP-HP

which frequencies are boosted and which are cut by the filter. Adjusts the resonance, or shape of the filter at the cut-off frequency. Turning the knob clockwise increases the level boost at the cutoff frequency. At high Q levels, the filter can self-oscillate. Selects between low-pass, band-pass and high-pass filter modes.
32 LFO LP A resonant low-pass filter whos frequency is modulated by an LFO.
X FREQUENCY Initial cutoff frequency. Y DEPTH Width of the filter change. Z RATE Speed of the LFO.
33 AUTOWAH Wah-wah filter effect with envelope control. The frequency of the filter changes in response to the input signal level.
X FREQUENCY Initial filter frequency. Y SENSITIVITY Envelope sensitivity. This determines Z RATE
how much effect the input signal has on the wah-wah. Envelope rate. This determines how quickly the filter frequency responds to the input level.
34 FORMANTS Filters which simulate human vocal sounds. An LFO sweeps through a series of vowel sounds.

X VOWEL Y RANGE Z RATE

The starting vowel filter shape of the effect. Controls how many filter shapes will be used in the effect. Speed of the LFO.
35 SAMPLED BPF Band pass filter whos frequency is driven by a sample-andhold.
X DEPTH Amount of modulation. Y FREQUENCY Initial band-pass filter frequency. Z RATE Speed at which the filter frequency

changes.

36 RESONATOR Resonant band pass filters swept by an LFO.
X FREQUENCY Center frequency of the filters. Y DEPTH/SHAPE Controls how far the filters are swept and Z RATE
the shape of the LFO. Speed of the LFO.
37 VOCO-BEND 40-band vocoder with adjustable formant frequencies.
X BRIGHTNESS Frequency of the output formant filters. Y SIBILANCE High-frequency (sibilant) boost for Z FREQUENCY Pitch of the internal oscillator.

intelligibility.

38 VOCODER 40-band vocoder effect for robotic vocals. Pitch of the carrier wave. High-frequency (sibilant) boost for intelligibility. Z SENSITIVITY Envelope follower sensitivity.

X PITCH Y SIBLANCE

Distortion Effects 39 - RECORD NOISE Vinyl record emulator.

X DUST Y TICKS Z SKIP

Amount of dust on the record. Simulates scratches on the record. Turn the control in either direction to simulate a record skipping.
40 TAPE SATURATOR Simulates the effects of analog tape saturation.
X DRIVE Amount of tape saturation. Y DISTORTION Amount of crunchy tape distortion. Z BUMP Amount of bass boost.
41 FUZZ Big, furry, analog-style distortion.

X DRIVE Y LOW Z HIGH

Amount of distortion. Low frequency boost. High frequency boost.
42 DECIMATOR Reduces the digital resolution of the signal to create unique lofi distortion.

Using MIDI Continuous Controllers You can assign the Akiras Parameter X, Y and Z to a MIDI continuous controller for external control. For example, you can assign the modulation wheel on a MIDI keyboard to change Parameter X. To assign a Parameter knob to a MIDI continuous controller, hold the Akiras MIDI button and then turn the individual Parameter knobs to the desired controller numbers which will appear in the display. In the above example, to assign Parameter X to be controlled by an external keyboards modulation wheel, hold the Akiras MIDI button and then turn the Parameter X knob until the display reads 0. Changing the MIDI continuous controller settings for Parameter X, Y and Z is a global function. This means that when you set the Parameter knobs to MIDI continuous controllers for one program, all of the Akiras programs will respond similarly. No storing of your continuous controller assignments is necessary. The Akira will remember your settings.

6 Troubleshooting

Troubleshooting Index If you experience problems while operating your Akira, please use the following table to locate possible causes and solutions before contacting Alesis Product Support for assistance.
Symptoms No audio outputs Cause No input audio Bad cables Destination is turned down. Solution Test with a known good input. Replace the cables. Check the connections and the level of the mixer or amp that the Akira is connected to. Turn down Input knob. Make sure that the Akira and its audio cables are kept away from power cables and wall warts. Replace the cable with a new, quality cable. Try removing the Akira from the signal path and see if the problem remains. Place all equipment in the studio on a common ground. Set the Akira to the same MIDI channel as the unit which is transmitting the program changes. Replace the cables. Disconnect Akiras MIDI Out or turn off MIDI Echo on source device (computer, etc.)
Output is distorted Buzz from outputs
Too much input to effects processor. Cables are crossing a power cable
Bad cables Problem with the source

AC hum

Ground loop

No MIDI program change

Wrong MIDI channel.
Bad cables Erratic program change or controller behavior MIDI loop

Troubleshooting

Clearing Memory and Restoring the Factory Defaults To clear the Akiras user memory and restore the factory default settings, first turn off your Akira. Next, turn it on and immediately press both of the VALUE up and down buttons. The display should read Cl, which stands for Clear. Immediately after this, the display will flash the software version number.

Specifications

In/Out with MIDI merge for Thru applications

Audio Input

Input Connectors: Nominal Input Level: Maximum Input Level: Input Impedance: Input Trim: 2 1/4" balanced TRS jacks +4dBU (-15dBFS) +19dBU (6.90 V rms) 10k mono, 20k stereo Yes

Audio Output

Output Connectors: Nominal Output Level: Maximum Output Level: Output Impedance: 2 1/4" balanced TRS jacks -10dBV (-15dBFS) or +4dBU (-15dBFS) +5dBV (1.78 V rms) or +19dBU (6.90 V rms) switchable 220

Audio Performance

Signal To Noise Ratio: THD+N: Frequency Response: <100 dB A-weighted <0.005% @ +5dBu 20-20k Hz 0.50 dB
All measurements done over a 22Hz 22kHz range with a 1kHz sine wave at +18dBu (-1dBFS) input. Impedances are measured at 1kHz.
Supply Type: Power Consumption: IEC type internal universal power supply 7 Watts Max (90-230 VAC / 50-60 Hz)

Mechanical

Size: Spaces: Weight: 1.75" H x 19.0" W x 5" D 1 Rack Space 3.0 lbs. (1.4 kg)

Warranty/Contact

Alesis Limited Warranty
ALESIS CORPORATION ("ALESIS") warrants this product to be free of defects in material and workmanship for a period of one (1) year for parts and for a period of one (1) year for labor from the date of original retail purchase. This warranty is enforceable only by the original retail purchaser and cannot be transferred or assigned. For the most effective service, the purchaser should register the purchase on the ALESIS website at http://www.alesis.com/support/warranty.htm. During the warranty period ALESIS shall, at its sole and absolute option, either repair or replace free of charge any product that proves to be defective on inspection by ALESIS or its authorized service representative. In all cases disputes concerning this warranty shall be resolved as prescribed by law. To obtain warranty service, the purchaser must first call or write ALESIS at the address and telephone number available on the Alesis Website to obtain a Return Authorization Number and instructions concerning where to return the unit for service. All inquiries must be accompanied by a description of the problem. All authorized returns must be sent to ALESIS or an authorized ALESIS repair facility postage prepaid, insured and properly packaged. Proof of purchase must be presented in the form of a bill of sale, canceled check or some other positive proof that the product is within the warranty period. ALESIS reserves the right to update any unit returned for repair. ALESIS reserves the right to change or improve design of the product at any time without prior notice. This warranty does not cover claims for damage due to abuse, neglect, alteration or attempted repair by unauthorized personnel, and is limited to failures arising during normal use that are due to defects in material or workmanship in the product. THE ABOVE WARRANTIES ARE IN LIEU OF ANY OTHER WARRANTIES OR REPRESENTATIONS WHETHER EXPRESS OR IMPLIED OR OTHERWISE, WITH RESPECT TO THE PRODUCT, AND SPECIFICALLY EXCLUDE ANY IMPLIED WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE OR MERCHANTABILITY OR OTHER IMPLIED WARRANTIES. Some states do not allow limitations on how long an implied warranty lasts, so the above limitation may not apply to you. IN NO EVENT WILL ALESIS BE LIABLE FOR INCIDENTAL, CONSEQUENTIAL, INDIRECT OR OTHER DAMAGES RESULTING FROM THE BREACH OF ANY EXPRESS OR IMPLIED WARRANTY, INCLUDING, AMONG OTHER THINGS, DAMAGE TO PROPERTY, DAMAGE BASED ON INCONVENIENCE OR ON LOSS OF USE OF THE PRODUCT, AND, TO THE EXTENT PERMITTED BY LAW, DAMAGES FOR PERSONAL INJURY. Some states do not allow the exclusion or limitation of incidental or consequential damages, so the above limitation or exclusion may not apply to you. THIS CONTRACT SHALL BE GOVERNED BY THE INTERNAL LAWS OF THE STATE OF CALIFORNIA WITHOUT REFERENCE TO CONFLICTS OF LAWS. This warranty gives you specific legal rights, and you may also have other rights required by law which vary from state to state. This warranty only applies to products sold to purchasers in the United States of America or Canada. The terms of this warranty and any obligations of Alesis under this warranty shall apply only within the country of sale. Without limiting the foregoing, repairs under this warranty shall be made only by a duly authorized Alesis service representative in the country of sale. For warranty information in all other countries please refer to your local distributor.

Alesis Contact Information
Alesis Distribution, LLC Los Angeles, CA USA E-mail: Website: support@alesis.com http://www.alesis.com
Alesis Akira Reference Manual Revision 1.0 by Erik Norlander/Modifications by Brian Shim Copyright 2002, Alesis Distribution, LLC. All rights reserved Reproduction in whole or in part is prohibited. Akira is a trademark of Alesis Distribution, LLC. Specifications subject to change without notice. 7-51-0122-A 7/31/2002

Program Chart

# REVERBS 0 HALL 1 VOCAL HALL 2 VOCAL PLATE 3 DRUM ROOM 4 SPACE 5 TRASH CAN 6 GATED 7 REVERSE 8 DYNAMIC REVERB 9 FLANGED REVERB 10 PITCH/REV 11 G GARAGE # DELAYS 12 DELAY 13 STEREO DELAY 14 RUNAWAY 15 LPF DELAY 16 HPF DELAY 17 BPF DELAY 18 PHASE DELAY # PITCH EFFECTS 19 PHASOR PHASOR AUTOPHAZ 22 FLANGER 23 INVERSE FLANGER 24 TRANSPOSE 25 STEREO DETUNE 26 FREQ SHIFT 27 CHORUS 28 VIBRATO 29 VIBRO-WOBBLE X PARAMETER Reverb Density Reverb Density Reverb Density Reverb Density Reverb Density Reverb Density Trigger Threshold Predelay Time Trigger Sensitivity Brightness Reverb Density Compression Amount X PARAMETER Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time Delay Time X PARAMETER Feedback Amount Center Frequency Center Frequency Center Frequency Center Frequency Mix between A and B Spread Fine tune Modulation Rate Modulation Depth Vibrato Rate Y PARAMETER Decay Time Decay Time Decay Time Decay Time Decay Time Decay Time Gate Time Attack Time Decay Time Reverb Decay Decay Time Phasor Amount Y PARAMETER Delay Feedback. Delay Feedback. Delay Feedback. Delay Feedback. Delay Feedback. Delay Feedback. Delay Feedback. Y PARAMETER Modulation Depth Modulation Depth Feedback Amount Modulation Depth Modulation Depth A Transpose Amount Left Transpose Amount Shift Amount Modulation Depth LFO Shape Tremolo Rate Z PARAMETER Brightness Warmth Warmth Brightness Brightness Brightness Decay Time Brightness Brightness Flanger Feedback Pitch Shift Reverb Mix Z PARAMETER Brightness Brightness Brightness Filter Frequency Filter Frequency Filter Frequency Phasor Feedback Z PARAMETER Modulation Rate Modulation Rate Envelope Sensitivity Modulation Rate Modulation Rate B Transpose Amount Right Transpose Amount Modulation Rate Sweep Range Modulation Rate Modulation Depth
# FILTER EFFECTS 30 BAND LIMIT 31 LP HP BP 32 LFO LOWPASS 33 AUTOWAH 34 FORMANTS 35 SAMPLED BPF 36 RESONATOR 37 VOCO-BEND 38 VOCODER DISTORTION EFFECTS 39 REC NOISE 40 TAPE SAT 41 FUZZ 42 DECIMATOR 43 GRINDER # MISC EFFECTS 44 RING MOD 45 RMS LIMITER 46 SUB BASS 47 TREMOLO 48 AUTO PAN 49 VOCAL CANCEL X PARAMETER Center Frequency Filter Frequency Filter Frequency Filter Frequency Formant Select Modulation Depth Filter Frequency Brightness Oscillator Frequency Y PARAMETER Bandwidth Resonance Amount Modulation Depth Envelope Follower Amt Modulation Depth Filter Frequency Depth/LFO Shape Sibilance Boost High Boost Z PARAMETER Adds Noise Filter Type Selection Modulation Rate Response to Input Rate Modulation Rate Modulation Rate Modulation Rate Oscillator Frequency Envelope Follower Amt

X PARAMETER Dust Amount Saturation Amount Drive Amount Decimation Amount Distortion Sensitivity X PARAMETER Depth Reduction Amount Adds Sub Bass Modulation Depth Initial Pan Position Cancel Frequency
Y PARAMETER Scratches Amount Tape Distortion Crunch Low Frequency Boost Aliasing Artifacts Resonance Amount Y PARAMETER Envelope Follower Amt Release Time Limiter Threshold LFO Shape LFO Mod Depth L/R Cancel Balance
Z PARAMETER Needle Skip Bass Warmth High Frequency Boost Brightness Band Pass Filter Frequency Z PARAMETER Mod Signal Frequency Output Gain Low Frequency Cut Modulation Rate Modulation Rate Pitch Shifter

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, Akira ( ). TRS-

TS- ( ). 1/4 TRS . INPUT OUTPUT Akira, (. ). .

. 1/4 TRS , . .

- . , , .
: . , . , . , . , : 1. . 2. , , , . 3. . 4. , . 5. , .
. BYPASS , FOOTSWITCH .

MIDI In Out

MIDI In MIDI- , , Akira MIDI-. MIDI Out , . MIDI-, MIDI In Out Akira .

X, Y Z. .

VALUE UP / DOWN Akira, MIDI- ( MIDI) . X, Y Z . BYPASS Akira. MIDI MIDI- Akira X, Y Z. COMPARE . STORE 50-99.
COMPARE . . . COMPARE.
Akira 50 . STORE. . VALUE STORE . STORE. 50 .

Akira 50 . VALUE.

. . , , . : DENSITY . , . DECAY . , . COLOR . .

0 HALL

. X DENSITY: , . Y DECAY: . Z BRIGHTNESS: , .

1 VOCAL HALL

. X DENSITY: , . Y DECAY: . Z WARMTH: , .

2 VOCAL PLATE

. X DENSITY: , . Y DECAY: . Z WARMTH: , .

3 DRUM ROOM

, . X DENSITY: , . Y DECAY: . Z BRIGHTNESS: , .

4 SPACE

. X DENSITY , . Y DECAY: . Z BRIGHTNESS: , .

5 TRASH CAN

. X DENSITY , . Y DECAY: . Z BRIGHTNESS: , .

6 GATED

. X THRESHOLD: . , . Y TIME: . Z DECAY: .

7 REVERSE

. , . X PREDELAY: . Y ATTACK: . Z BRIGHTNESS: , .

8 DYNAMIC REVERB

. X SENSITIVITY: . Y DECAY TIME: . 50, , . 50, , . Z BRIGHTNESS: , .

9 FLANGED REVERB

. X BRIGHTNESS: , . Y DECAY: . Z FEEDBACK: .

10 PITCHED REVERB

. X DENSITY , . Y DECAY: . Z PITCH SHIFT: .

11 G GARAGE

, . X COMPRESSION: . Y PHASOR: . Z REVERB: .

12 18

. , . : DELAY . FDBK . 0, . , . COLOR .

12 DELAY

. X DELAY: . Y FEEDBACK: . Z BRIGHTNESS: , .

13 STEREO DELAY

. X DELAY: . Y FEEDBACK: . Z BRIGHTNESS: , .

14 RUNAWAY

. Mix . X DELAY: . Y FEEDBACK: . Z BRIGHTNESS: , .

15 LPF DELAY

. X DELAY: . Y FEEDBACK: . Z FREQUENCY: .

16 HPF DELAY

17 BPF DELAY
. X DELAY: . Y FEEDBACK: . Z FREQUENCY: .

18 PHASOR DELAY

. X DELAY: . Y FEEDBACK: . Z REGEN: .

19 29

, , , . , LFO .

19 PHASOR 1

4- . X FEEDBACK: . Y DEPTH: LFO. Z RATE: LFO.

20 PHASOR 2

8-. X FREQUENCY: , . . Y DEPTH: LFO. Z RATE: LFO.

21 AUTOPHAZ

, , . X FREQUENCY: , . . Y FEEDBACK: . Z SENSITIVITY: .

22 FLANGER

. X FREQUENCY: , . . Y DEPTH: LFO. Z RATE: LFO.

23 INV FLANGER

. X FREQUENCY: Y DEPTH: LFO. Z RATE: LFO.

24 DUAL TRANSPOSER

. X BALANCE: A B. Y PITCH A: A. Z PITCH B: B.

25 STEREO DETUNE

. X SPREAD: , , . Y PITCH L: (+/-) . Z PITCH R: (+/-) .

26 FREQUENCY SHIFT

. X FINE TUNE: . Y SHIFT: . Z RATE: .

27 CHORUS

6-. X RATE: . Y DEPTH: LFO. Z WIDTH: .

28 VIBRATO

LFO. X DEPTH: LFO. Y SHAPE: LFO . Z RATE: LFO.

29 VIBRO-WOBBLE

. X VIBRATO: . Y TREMOLO: . Z DEPTH: .

30 38

30 BAND LIMIT
- , . X FREQUENCY: , - . Y WIDTH: . Z NOISE: . .

31 LP BP HP

, . X FREQUENCY: . Y Q: , . . Z LP-BP-HP: , .

32 LFO LP

LFO. X FREQUENCY: . Y DEPTH: . Z RATE: LFO.

33 AUTOWAH

- , . X FREQUENCY: . Y SENSITIVITY: . Z RATE: .

34 FORMANTS

LFO. X VOWEL: . Y RANGE: . Z RATE: LFO.

35 SAMPLED BPF

. X DEPTH: . Y FREQUENCY: . Z RATE: .

36 RESONATOR

LFO. X FREQUENCY: . Y DEPTH/SHAPE: LFO. Z RATE: LFO.

37 VOCO-BEND

40- . X BRIGHTNESS: . Y SIBILANCE: . Z FREQUENCY: .

38 VOCODER

40- . X PITCH: . Y SIBILANCE: . Z SENSITIVITY: .

39 43

39 RECORD NOISE
. X DUST: . Y TICKS: . Z SKIP: .

40 TAPE SATURATOR

. X DRIVE: . Y DISTORTION: . Z BUMP: .

41 FUZZ

. X DRIVE: . Y LOW: . Z HIGH: .

42 DECIMATOR

. X DECIMATION: . Y RING: . Z DAMP: .

43 GRINDER

. X SENSITIVITY: . Y RESONANCE: . Z FREQUENCY: .

44 49

44 RING MODULATOR
. X DEPTH: . Y ENVELOPE: . Z FREQUENCY: .

45 RMS LIMITER

-. X DRIVE: . Y RATE: . Z OUTPUT: .

46 SUB BASS