TABLE-TOP STEREO EFFECTS PROCESSOR

Reference Manual

Ineko Reference Manual

Ineko Manual

Contents

Contents....3

Welcome!....6 How to Use This Manual...7 Important Safety Instructions..8 FCC Notice....14

Quick Start Guide.... 15

If you can't wait to get started:...15 Step 1: Hook it up to a mixer..15 Step 2: Try some effects...16 Play some signal into the unit...16

Connections.... 19

Unpacking and Inspection..19 Power...19 AC Power Hookup...19 Connecting inputs and outputs...20 Connecting to an Instrument or Microphone:..20 Connecting to the Effects Send & Return of a console:.20 Connecting to the Channel Inserts of a mixing console:..22 Connecting to the Main Inserts of a mixing console:..23 Connecting to the inserts on an instrument amplifier:.23 About Audio Cables...24

Using the Ineko.... 25

Description of Controls...25 List of Programs...25 Reverb Effects (1st Column)...26 Delay Effects (2nd Column)..28 Pitch Effects (3rd Column)...30 Filter Effects (4th Column)...33 Misc. Effects (5th and 6th columns)..36

Troubleshooting.... 41

Troubleshooting Index..41 Avoiding ground loop noise...42 Line Conditioners and Protectors..43 Care and Maintenance..44
Ineko Manual Cleaning....44 Refer All Servicing to Alesis..44 Obtaining Repair Service...44 Specifications...46 Audio I/O...46 Audio Performance...46 Physical...45
Alesis Limited Warranty... 47

Welcome!

Thank you for making the Alesis Ineko 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

How to Use This Manual

This manual is divided into the following sections describing the various functions and applications of the Ineko. While it's a good idea to read through the entire manual once carefully, users who are already familiar with studio equipment can use the table of contents to look up specific functions. Chapter 1: Quick Start. If you're already familiar with recording, this will get you started using the Ineko right away. It's a short guide to the essential elements of connections and operation. Chapter 2: Connections. This section gives detailed instructions for connecting the Ineko to a variety of typical audio systems. Chapter 3: Basics of Effects. This section explains what an effects processor does and explains the function of each of the controls. Chapter 4: Description of Programs. This chapter lists each of the programs and gives a description of their parameters. Chapter 5: Troubleshooting. Refer to this chapter if you experience any problems while using the Ineko. Helpful tips and advice are highlighted in a shaded box like this.
The names of specific controls or connectors on the Ineko are printed in a special font, i.e., the BYPASS button.
When something important appears in the manual, an icon (like the one on the left) will appear in the left margin. This symbol indicates that this information is vital when operating the Ineko.
Important Safety Instructions
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 un-insulated 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. Read these instructions. 2. 3. 4. 5. 6. 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. 9. Do not defeat the safety purpose of the polarized or groundingtype 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

Ineko Manual provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Use only attachments or accessories specified by the manufacturer. 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, softdrink 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.
Instructions de Scurit Importantes (French)
Symboles utiliss dans ce produit Ce symbole alrte lutilisateur quil existe des instructions de fonctionnement et de maintenance dans la documentation jointe avec ce produit.
Ce symbole avertit lutilisateur de la prsence dune tension non isole lintrieur de lappareil pouvant engendrer des chocs lectriques. Ce symbole prvient l'utilisateur de la prsence de tensions sur les raccordements de sorties, reprsentant un risque d'lectrocution. Veuillez suivre ces prcautions lors de lutilisation de lappareil: 1. Lisez ces instructions. 2. 3. 4. 5. 6. Gardez ces instructions. Tenez compte de tous les avertissements. Suivez toutes les instructions. Nutilisez pas cet allareil proximit de leau. Ne nettoyez quavec un chiffon humide. Il est potentiellement dangereux d'utiliser des pulvrisateurs ou nettoyants liquides sur cet appareil. Installez selon les recommandations du constructeur. Ne pas installer proximil de sources de chaleur comme radiateurs, cuisinire ou autre appareils (dont les amplificateurs) produisant de la chaleur. 9. Ne pas enlever la prise de terre du cordon secteur. Une prise murale avec terre deux broches et une troisirme relie la terre. Cette dernire est prsente pour votre scurit. Si le cordon secteur ne rentre pas dans la prise de courant, demandez un lectricien qualifi de remplacer la prise.

CE Declaration of Conformity
See the Internet site: www.alesis.com
Instructions to the User (FCC Notice)
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 and correct the interference by one or more of the following measures: 1. 2. 3. 4. 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.
This equipment has been verified to comply with the limits for a class B computing device, pursuant to FCC Rules. In order to maintain compliance with FCC regulations, shielded cables must be used with this equipment. Operation with non-approved equipment or unshielded cables is likely to result in interference to radio and TV reception. The user is cautioned that changes and modifications made to the equipment without the approval of manufacturer could void the users authority to operate this equipment.

Chapter 1

Quick Start Guide
If you can't wait to get started:
The Alesis Ineko is a unique product, but its basic hookup and operation is similar to other effects processors in most respects. If you're experienced with signal processors, this chapter is a "shorthand" guide for those who want to start using the Ineko right away. If you have questions about any of the features, dont worry later chapters will unveil the mysteries of the Ineko's special features.
If you're new to signal processing, start with the more detailed instructions for hookup and operation starting in the next chapter.
Step 1: Hook it up to a mixer
1. 2. Pull the Ineko out of the package. Plug the P O W E R jack on the back of the Ineko into a grounded AC power source with the supplied power adapter. Using a pair of 1/4 cables, plug the insert sends of the mixer to the left and right INPUTS on the back of the Ineko. Connect the Inekos OUTPUTS to the effects return of the mixer. Adjust the INPUT LEVEL knob on the back of the Ineko until the red INPUT light does not light when signal is played into the unit. Turn the control counter-clockwise to increase the level.

3. 4. 5.

For more information on connecting the Ineko, see

chapter 2:

Connections.
quick start guide chapter 1

Step 2: Try some effects

Play some signal into the unit 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 features. 1. 2. Turn the INPUT LEVEL all the way down so that you dont distort the unit. Begin to play your source material. Turn the INPUT knob clockwise until the red INPUT light comes on, then back down a bit. Use the PROGRAM the Ineko. and buttons to change programs on
Turn the A, B and C knobs to adjust the program. Press the BYPASS button to hear your signal without the effect. Press it again to return to the effected signal.
If you arent hearing any effect, check your connections or try another program. Some programs are easier to hear than others.
chapter 1 quick start guide

Chapter 2

Connections

Unpacking and Inspection

Your Ineko 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 Ineko for servicing. The shipping carton should contain the following items: Ineko with the same serial number as shown on shipping carton P3 Power Adapter This instruction manual

AC Power Hookup

Plug the female end of the power adapter into the Inekos 9V~ POWER INPUT socket and the male (plug) end into a good quality AC power outlet. Tip: Its good practice to not plug in the Ineko until all other audio cables are hooked up as well. Make sure your amplifier or powered speakers are switched off when turning the Ineko on or off to avoid damage. The Ineko works with the AC line voltage listed on the P3 adapter that came with the unit. To use the Ineko with a different voltage, contact your Alesis dealer for a compatible P3 adapter.

connections chapter 2

Connecting inputs and outputs
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.

Connecting to an Instrument or Microphone:
The Inekos INPUT LEVEL knob has been calibrated to accept instrument level signals such as a microphone or guitar input. To use the Ineko this way, simply plug the guitar or microphone into the Inekos Input and connect the output to an amplifier, mixer or recorder. When using the Ineko 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 Ineko, as you will be able to use an effect on several sources at once.
Effects Send Ineko In Ineko Out

Effects Return

When you connect the Ineko this way, you may hear an odd phasing sound on some of the reverb and delay programs. To prevent this, always set the MIX parameter (usually the A knob) fully clockwise. You can then control the balance between the
chapter 2 connections 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 Ineko as a channel insert, you will need an insert cable (not included).
Ring: Insert Return Insert Send: To Ineko Input

T Tip: nsert Send

Sleeve: Insert Ground
Insert Return: From Ineko Output
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 just try it both ways this wont damage the Ineko. You may need to raise the mixers input trim if the signal coming back from the Ineko is too low.
Mixer Insert Ineko In Ineko Out

chapter 2 connections

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 Ineko 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 connect the two mono jacks to the left INPUT and OUTPUT of the Ineko. Use another insert cable to connect the right main insert to the right INPUT and OUTPUT of the Ineko.

Connecting to the inserts on an instrument amplifier:
Guitar and bass amplifiers often have insert points for effects as well. These are typically labeled "effects send and return" or "insert send and return".

About Audio Cables

The connections between the Ineko and your studio are your musics lifeline, so use only high quality cables. These should be low-capacitance 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 Ineko 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.
And most importantly, keep 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.

Chapter 3

Using the Ineko
This section explains the functions of the controls on the Ineko and lists the programs and their parameters functions.

Description of Controls

The Ineko has five controls on its front panel:

PROGRAM

This button changes programs within a column of effects.
This button selects a column of effects. Use this control to switch to an entirely different type of effect.
and C These knobs adjust the parameters of an effect.

BYPASS

This button disables the effect of the Ineko, allowing the direct signal to be heard without Effect.

List of Programs

This section lists the Inekos programs and describes the functions of the A, B and C parameter knobs.
using the ineko chapter 3
Reverb Effects (1st Column)
The first column of effects programs in the Ineko are all reverberation programs. 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: MIX Mix controls the balance between the original, direct sound and the effected sound. When this control is turned fully counter-clockwise, you should hear no effect from the Ineko. When it is fully clockwise, you will hear only reverb. DECAY Decay controls the length of the reverb tail. Turn the control clockwise for a longer reverb sound or to simulate a larger space.

Short Decay Time r

Long Decay T e Tim
COLOR The tonal balance or EQ of the reverb signal. This is often described in terms of brightness or darkness. Turn the control clockwise for a brighter, livelier sound. Turn it counterclockwise for a darker, less defined sound. HALL A simulation of a large concert hall.
chapter 3 using the ineko VOCAL HALL A smaller, brighter concert hall designed for vocals. VOC PLATE Emulation of a classic plate reverb, transparent and smooth, also good for vocals. DRUM ROOM Room reverb optimized for drums. SPACE A large space for sounds to swim around in. TRASH CAN A trashy metallic reverb. Try it on drums and guitars. GATED This reverbs signal abruptly cuts in and which abruptly cuts off, good for rock drums. REVERSE This reverb has a reversed decay envelope fading in, then cutting off abruptly. MIX TIME Balance between direct/reverb signal. Length of time until the effect cuts off.
RATE This adjusts the fade-in slope, or attack of the effect. Turn the control clockwise for a more gradual fade-in.
Delay Effects (2nd Column)
The second column of effects programs in the Ineko are delay programs. Delay provides a discrete repetition, or echo of the input signal. A portion of the delayed signal is fed back into the input to produce additional echoes of the original signal. Most of the programs in this column share the following three parameters: MIX Mix controls the balance between the original, direct sound and the effected sound. When this control is turned fully counter-clockwise, you should hear no effect from the Ineko. When it is fully clockwise, you will hear only the delayed signal. DELAY This control specifies the amount of time that the input sound is delayed. FDBK Feedback adjusts the amount of the delayed signal which is fed back into the input. This effectively controls how many times you will hear the input signal repeat. When Feedback is set fully counter-clockwise, you will only hear one repeat of the input signal. When it is fully clockwise, the high feedback level can cause self-oscillation. DELAY A simple mono delay. ST DELAY A stereo delay program. RUNAWAY A mono delay where the Mix control has been placed in front of the delay loop. Careful manipulation of the Mix knob will let you create complex looping phrases. Or just crank up the Mix for out-of-control fun. LPF DELAY A delay program which passes the delayed signal through a low-pass filter.

chapter 3 using the ineko HPF DELAY A delay program with a high-pass filter in the delay feedback loop. BPF DELAY A delay program with a band-pass filter in the delay feedback loop. PHASE DELAY A delay program with a phasor effect in the delay feedback loop. DYN REVERB A reverb program whose decay is made shorter or longer, depending on the level of the input signal. MIX Balance between direct/reverb signal
SENS This controls the sensitivity of the effect how closely it follows the input level. -DECAY+ This adjusts whether the reverb decay time grows shorter or longer when the input level increases.
Pitch Effects (3rd Column)
The third column of programs are Pitch effects. The Pitch effects alter the pitch of a signal in various ways to produce layered timbres that are more complex than the original signal. Many of these effects make use of a Low Frequency Oscillator LFO to modulate the signal. The effect of the LFO modulation is heard as a sound characteristic rising and falling at a constant, cyclical rate. PHASE 1 A classic 4-stage phasor effect with feedback. FDBK Adjusts the amount of feedback, making the effect more pronounced. WIDTH Controls how far the LFO sweeps. RATE Rate of the LFO.
PHASE 2 Deeper, 8-stage phasor effect. PITCH Adjusts the center frequency from which the LFO modulates up and down. This effectively sets the frequency range and character of the effect. WIDTH Controls how far the LFO sweeps. RATE Rate of the LFO.
FLANGER Classic sweeping tape flange effect. PITCH Adjusts the center frequency from which the LFO modulates up and down. This effectively sets the frequency range and character of the effect. WIDTH Controls how far the LFO sweeps. RATE Rate of the LFO.
chapter 3 using the ineko INV FLANGER Flanger effect with the feedback signal inverted for a hollow, metallic sound. PITCH Adjusts the center frequency from which the LFO modulates up and down. This effectively sets the frequency range and character of the effect. WIDTH Controls how far the LFO sweeps. RATE Rate of the LFO.
TRANSPOSE Dual pitch shifter which transposes the signal harmonically. MIX Balance between direct and pitch-shifted signal. PITCH L Amount of pitch shift (+/-) applied to Left signal. PITCH R Amount of pitch shift (+/-) applied to Right signal. ST DETUNE Dual pitch detune effect. MIX Balance between direct and pitch-shifted signal. PITCH L Amount of detune (+/-) applied to Left signal. PITCH R Amount of detune (+/-) applied to Right signal. CHORUS Rich 6 voice chorus effect. MIX Balance of direct and effected signals. PITCH Adjusts the center frequency from which the LFO modulates up and down. This effectively sets the frequency range and character of the effect. WIDTH Controls how far the LFO sweeps.

using the ineko chapter 3 VIBRATO LFO controlled pitch shift. DEPTH How far the pitch is shifted by the LFO. SHAPE Shape of the LFO wave. Constantly variable from a smooth sine to chaotic sample-and-hold. RATE Rate of the LFO.
chapter 3 using the ineko
Filter Effects (4th Column)
The fourth column of effects on the Ineko has a series of filter effects. These effects change the frequency response of the input by boosting or cutting parts of the signal. BAND LIMIT Limits the high and low frequency range of the input. Good for emulating telephones, radio and other low-fidelity sound sources. FREQ Adjusts the center frequency of the effect mid point between the high and low frequency cut-offs. WIDTH The bandwidth of the filter. This determines the distance between the highest and lowest frequencies which will be heard. NOISE Adds noise to the signal. Useful for Lo-Fi effects.
LP BP HP A selectable low-pass, band-pass or hi-pass filter with resonance. FREQ Cut-off frequency of the filter. This sets which frequencies are boosted and which are cut by the filter. Q Adjusts the resonance, or shape of the filter at the cutoff frequency. Turning the knob clockwise increases the level boost at the cutoff frequency. At high Q levels, the filter can selfoscillate. LP-BP-HP Toggles between low-pass, band-pass and high-pass filter modes. LFO LP A resonant low-pass filter whos frequency is modulated by an LFO. Initial cut-off frequency of the filter. FREQ WIDTH Width of the filter change. RATE Rate of the LFO.
using the ineko chapter 3 AUTOWAH Wah-wah filter effect with envelope control. The frequency of the filter changes in response to the input signal level. FREQ Initial filter frequency. ENV Envelope sensitivity. This determines how much effect the input signal has on the wah-wah. RATE Envelope rate. This determines how quickly the filter frequency responds to the input level. FORMANTS Filters which simulate human vocal sounds. An LFO sweeps through a series of vowel sounds. VOWEL The starting vowel filter shape of the effect. RANGE Controls how many vowel filter shapes will be used in the effect. RATE Rate of the LFO.
SAMPLED BP Band-pass filter whos frequency is driven by a sample-and hold circuit. Balance between the input and the filtered signal. MIX FREQ RATE Initial band-pass filter frequency. Rate at which the filter frequency will change.
RESONATOR Resonant band-pass filters swept by an LFO. PITCH Center frequency of the filters. RANGE Controls how far from the center frequency the filters are swept. RATE Rate of the LFO.
chapter 3 using the ineko AUTOPHAZ An envelope controlled phasor effect. The sweep of the phasor tracks the input signal level. SENS Sensitivity of the envelope. This determines how closely the phasor follows the input level. FDBK Amount of feedback. Turn clockwise to make the effect more pronounced. RATE Rate of the envelope. This determines how quickly the phasor sweeps.

Misc. Effects (5th and 6th columns)
The last two columns of effects on the Ineko are a selection of miscellaneous effects. RING MOD Ring modulator effect with envelope follower. DEPTH Amount of ring modulation. ENV Input envelope follower amount. Turn this knob clockwise to increase the effect that the input level has on the modulator frequency. FREQ Frequency of the modulating signal.
DECIMATOR Reduces the digital resolution of the signal to create unique lo-fi distortion. DECIM Amount of decimation. RING Turn clockwise to increase the aliasing artifacts.
DAMP Filter to decrease high frequency distortion and aliasing artifacts. FREQ SHIFT Shifts frequency without preserving harmonics. MIX Balance of Frequency shifted signal and input. FREQ WARP Adjusts how far frequency is shifted from original. Stereo modulation amount.
RMS LIMITER A faithful emulation of a classic optical limiter. DRIVE Amount of gain reduction. RATE Attack and release envelope rate. Turn clockwise for slower envelope. OUTPUT Output volume.
VOCO-BEND 40-band vocoder with adjustable formant frequencies. SHIFT Shifts the frequencies of the output formant filters. SIBIL IN MIX Amount of sibilant boost for intelligibility. Mix between input signal and vocoder output.
VOCODER 40-band vocoder effect for robotic vocals. PITCH Pitch of the carrier wave. SIBIL IN MIX Amount of sibilant boost for intelligibility. Mix between input signal and vocoder output.
GRINDER Filtered, multi-band distortion. Works best with dynamic material. THRES Threshold of the distortion. RES FREQ Filter resonance. Band-pass frequencies.
SUB BASS Sub-harmonic synthesizer. Adds ultra-low bass to the signal. SUB Sub-harmonic (sub-bass) level. DRIVE Multi-band limiter threshold. This adjusts the feel of the bass turn counter-clockwise for a more dynamic sound, clockwise for longer sustain. LO CUT Adjusts frequency of steep high-pass filter. At high volumes, the ultra-low bass frequencies produced by the SUB BASS program have the potential to damage some speakers. Turn knob clockwise to reduce the low frequencies.
using the ineko chapter 3 AUTOPAN Automated stereo panning effect. CENTER Pan location of the mono summed input. WIDTH Width of the panning effect. RATE Rate at which the signal is panned.
TREMOLO Mono tremolo (volume modulation) effect. DEPTH Amount of volume change. SHAPE RATE Shape of the tremolo wave, from sine to square. Rate at which the volume will be varied.

REC NOISE Vinyl record emulator. DUST Amount of dust on the record. TICKS Amount of scratches on the record.
SKIP Turn the control in either direction to simulate a record skipping. TAPE SAT Simulates the effects of analog tape saturation. DRIVE Amount of tape saturation. NOISE BUMP Amount of simulated tape hiss. Amount of bass boost.
chapter 3 using the ineko FUZZ Big and furry, analog-style distortion. DRIVE Amount of distortion. LOW HIGH Low frequency boost. High frequency boost.
G GARAGE Multi-effect with compression, stereo detune, and trashy reverb. Try it on guitar or drums. COMP Amount of compression. DETUNE Depth of detune effect. REVERB Reverb level. PITCH / REV A reverbs decay is looped through a pitch shifter with spacey and supernatural results. Try it on vocals or lead instruments. MIX Balance between the direct and effected signal. DECAY Reverb decay time. PITCH Amount of pitch shift up or down.
VIBROWOBL Unsynchronized Vibrato and tremolo effects. VIBRO Rate of the Vibrato effect. TREMO Rate of the Tremolo effect. DEPTH Depth of the Vibrato and Tremolo effects. amounts may cause sea-sickness! Large

Chapter 4

Troubleshooting

Troubleshooting Index

If you experience problems while operating your Ineko, please use the following table to locate possible causes and solutions before contacting Alesis Product Support for assistance.
Symptom No audio from 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 Ineko is connected to. Verify that power supply is plugged in. Make sure that the Ineko and its audio cables are kept away from power cables, and wall warts. Replace the cable with a new, highquality cable. Try removing the Ineko from the signal path, and see if the problem remains. Place all equipment in the studio on a common ground (see next page)
Power is not connected Buzz from outputs Cables are crossing a power cable
Bad cables Problem with the source

AC hum

Ground loop
Avoiding ground loop noise
In todays studio, there are many opportunities for ground loop problems to occur. These show up as hums, buzzes or sometimes radio reception and can occur if a piece of equipment "sees" two or more different paths to ground. While there are methods to virtually eliminate ground loops and stray radio frequency interference, most of the professional methods are expensive and involve installing a separate power source just for the sound system. Alternatively, here are some helpful hints that professional studio installers use to keep those stray hums and buzzes to a minimum. KEEP ALL ELECTRONICS OF THE SOUND SYSTEM ON THE SAME AC ELECTRICAL CIRCUIT. Most stray hums and buzzes happen as a result of different parts of the sound system being plugged into outlets of different AC circuits. If any noise generating devices such as air conditioners, refrigerators, neon lights, etc., are already plugged into one of these circuits, you then have a perfect condition for stray buzzes. Since most electronic devices of a sound system dont require a lot of current (except for power amplifiers), its usually safe to run a multi-outlet box or two from a SINGLE wall outlet and plug in all of the components of your system there. KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS POSSIBLE. Many hums come from audio cabling being too near AC wiring. If a hum occurs, try moving the audio wiring around to see if the hum ceases or diminishes. If its not possible to separate the audio and AC wiring in some instances, make sure that the audio wires dont run parallel to any AC wire (they should only cross at right angles, if possible). TO ELIMINATE HUM IF THE ABOVE HAS FAILED: A) Disconnect the power from all outboard devices and tape machines except for the Ineko, the mixer and control room monitor power amp. B) Plug in each tape machine and outboard effects device one at a time. If possible, flip the polarity of the plug of each device

ALESIS Studio Electronics Los Angeles, CA www.alesis.com
Alesis Studio Electronics, Los Angeles, CA 2001 Alesis Studio Electronics, Specifications Subject To Change Without Notice

Toontrack Electronic EZX Gear List This is a list of the gear used when recording the Electronic EZX: 1. Circuit Bent Yamaha RY-30 by Alien Devices 2. Circuit Bent Custom HR-16 bit by Burnkit 2600 3. Circuit Bent Speak N Spell by (Glitch Machines) 4. Circuit Bent Speak N Math by (Glitch Machines) 5. Circuit Bent Casio SK1-Fragment - Richard Devine Custom 6. Circuit Bent Synthax Cataract - Heavily modified Richard Devine 7. Custom of the Texas Instruments Touch & Tell. (Glitch Machines) 8. Circuit Bent Talking Teacher (Substitute Teacher) by Glitch Machines 9. Circuit Bent Logic Bomb Ultra-Casio SK-5 - Richard Devine Custom 10. Glitch Desk & Custom box by John at Highly Liquid, for the Circuit 11. Bent Modifications to the Roland TR-707 Drum Machine and Casio CZ-101 12. TR-606 Drum Machine custom mods by Tim Adams 13. TB-303 Devilfish Modifications by "Real World Interfaces" Robin Writtle 14. TR-808 Drum Machine Modified by Richard Devine & Josh Kay 15. Alesis Andromedia 16. Access Virus TI polar & Snow 17. Symbolic Sound Kyma System 18. Eventide Harmonizers H-8000FW & H3000DSE 19. Korg Chaos Pad KP3 20. Alesis Ineko Effects Unit 21. MFB-522 Analogue Drum Machine (Drum Computer) 22. MFB-Step 64 CV sequencer 23. MFB-Synth II 24. MFB-Synth Lite II 25. MFB Filter Box 26. Cwejman S1 Mk 2 Analogue Synthesizer 27. Arp-2600 modified by Phil Cirocco at C.M.S 28. TC Electronic FireworX effects processor 29. Doepfer Monster Case with modules from Harvestmann, Livewire, MakeNoise, PlanB, Cwejman, and TipTop 30. Akai MPC 60 31. Circuit Bent Yamaha DD7 by Glitch Machines 32. Circuit Bent Commodore 64 by Waterhed- running Cynthcart 33. Circuit Bent Atari 2600 -running Synthcart 34. E-MU SP1200 35. Dave Smith Instruments- Mopho 36. Waldorf Pulse 37. Ensoniq EPS+ 38. Shadow Hills GAMA Mic Pre 39. Neve 8816 Summing Mixer 40. SSL G Series Buss Compressor 41. Thermionic Devices Culture Vulture 42. Roland RE 20 Space Echo
43. SPL Transient Designer 44. Tandberg 1/4" Analog Tape Machine 45. Roland TR 909 46. Roland Juno 60 47. Sherman Filterbank 48. Inward Connections EQP2 49. Inward Connections VC500 EZdrummer, EZX and Toontrack are registered trademarks of Toontrack Music. All other product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack Music.