Reference Manual

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Table Of Contents

Introduction...5
About the IO|14 and IO|26...6 Minimum System Requirements..6 How to Use This Manual...7
Chapter 1: Hardware Overview..9
Section Identification...9 Top Panel.... 9 Rear Panel.... 12
Chapter 2: Installation (Windows).15
Install the software/drivers first..15 Install Cubase LE (optional)..16 Connect your IO|14/26..16 Make IO|14/26 the default audio device..17 Disable Windows System Sounds.19 Install the software/drivers first..21 Install Cubase LE (optional)..21 Connect your IO|14/26..21 Make IO|14/26 the active audio device..22
Chapter 3: Installation (Macintosh).21
Chapter 4: Getting Started with Cubase LE..23
Introducing Cubase LE...23 Windows only: selecting the IO|14/26 as your audio and MIDI device..23 Creating a new file...27 Working with the IO14/26 control panel..31 Accessing the control panel... 31 1. Select the Alesis IO... 31 2. Create a nickname for your IO|14/26 (optional).. 31 3. Adjust latency by changing the buffer size.. 32 4. Choose a Buffer Mode... 32 5. Specify how sample rates can change.. 33 6. Enable or Disable WDM audio... 33 (Windows only)... 33 7. Set the clock master... Specify the audio clock source... 33 9. Set the sample rate... 34
Chapter 5: Using the Control Panel.31
Chapter 6: Hardware Direct Monitoring...35
The Alesis Hardware Direct Monitoring and Routing Application...35 Using the Hardware Direct Monitoring (HDM) panel...35 1. Output Monitor Tabs... 36 2. Pan/Mute/Solo... 36 3. Volume.... 36 4. Stereo Channel Linking and Unlinking... 36 5. Channel Names... 36 6. Master HDM Mix Fader... 36 7. Narrow/Wide View Switch... 37 8. Metering Options.... 37 9. Bank Hide/Show buttons... 37 10. ADAT-S/PDIF Toggle... 37 11. Main Level.... 37 12. Save/Recall Settings... 38 14. Headphones 2 Assignment... 38 15. S/PDIF output assignment... 38
Chapter 7: Getting In Deeper: Hardware...39
Cabling 101...39 Common Hookup Scenarios..40 Singer / Songwriter... 40 Full Studio Setup.... 41 Using the Insert Jacks..42 Additional Uses of Insert Jacks... 43
Chapter 8: Getting In Deeper: Recording..45
Watch Your Levels While Recording..45 Base Sample Rates: 44.1/88.2/..46 176.4kHz versus 48/96/192kHz..46 High Resolution Recording...46 The Upside of High Definition recording... 46 The Downsides of High Definition Recording.. 47 Surround Sound (IO|26 only)..49 Using the IO14/26 with Sonar and other WDM applications..50 WDM or ASIO?.... 50 Choosing the IO14/26 as your audio device.. 50
Chapter 9: Troubleshooting..52
Computer or audio application does not see the IO|14 or IO|26 interface..56 Basic troubleshooting... 56 Advanced troubleshooting under Windows.. 56
Audio playback or recording is at the wrong speed...58 Audio playback or recording stutters or drops out...59 Audio echoes during recording..59 Problems with notebook computer audio recording...59 Technical Specifications...60
Glossary...63 Warranty/Contact Alesis.67
Alesis Limited Warranty.... 67 Alesis Contact Information... 68 Trademarks... 68
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Introduction

Thank you for purchasing the Alesis IO FireWire audio interface! You could say Alesis knows a thing or two about recording. Countless artists, engineers, and producers have relied on our digital recorders since the introduction of the original Blackface ADAT in 1991. Some publications have even claimed that our ADAT recorders started the home studio revolution back in the 1990s. Were proud that our line of affordable tools has made professional-quality recording possible for millions of people around the world. The IO series FireWire interfaces are the next step in Alesis recording technology. Once you work with the IO|14/26, were confident youll appreciate the outstanding sound quality, superior construction, and attention to detail. Were continually delighted by the recordings that have been captured with our products. We hope that your IO|14/26 will be there to inspire and capture your finest performances.
For more effective service and product update notices, please register your IO|14 or IO|26 FireWire interface at http://www.alesis.com/.
Sincerely, The People of Alesis
About the IO|14 and IO|26
Our IO|14 and IO|26 audio interfaces are professional-grade tools with everything you need to turn your musical ideas to polished recordings. The two units are virtually identical except that the larger IO|26 has more inputs and outputs than its smaller sibling, the IO|14. The IO|14 and IO|26 feature the following: High-speed FireWire (IEEE 1394a) interface for low latency and tons of audio I/O from your computer. The high bandwidth of the FireWire interface allows a single IO|26 to handle 26 inputs and 8 outputs simultaneously (the IO|14 handles 14 inputs and 6 outputs simultaneously). Premium 192k analog-to-digital and digital-to-analog converters. True 24-bit operation for all digital and analog inputs and outputs. High-Definition Microphone Preamplifiers. This new design exhibits superb technical performance and delivers pristine, unclouded sonics. +48v phantom powerrequired for powering condenser studio microphonescan be applied to any pair of inputs on the unit. Switchable guitar inputs for direct recording of guitars and basses. Dedicated stereo turntable inputs (IO|26 only). Alesis Hardware Direct Monitoring for hassle-free headphone mixes in any recording situation. The included software makes setting up mixes a snap. Two headphone outputs optimized for the recording engineer and the artist. S/PDIF I/O and ADAT inputs to cover all of your digital connectivity needs. Inserts on every analog input for patching additional hardware into your signal path. Integrated MIDI I/O on standard 5-pin connectors. FireWire bus or AC adapter power. Solid construction thats built for many years of heavy use.

Minimum System Requirements
Windows: Pentium 4 2.4GHz or equivalent (e.g. Centrino) 512Mb RAM Windows XP Service Pack 2 or higher 5400RPM or faster hard drive recommended G4 512Mb RAM OS X 10.4 or higher 5400RPM or faster hard drive recommended

How to Use This Manual

We know this manual will be an integral part of the experience with your IO 14 or IO|26 interface so weve done our best to make it complete, accurate, and helpful for you. The manual is divided into the following sections describing the various functions and applications of the IO audio interface. While its a good idea to read through the entire manual once carefully, those having general knowledge about audio interfaces may want to use the table of contents to look up specific topics. Chapter 1: Hardware Overview describes every section of the IO|14/26s in detail. If youre not sure about the function of a knob, button, connector, or status light, read this section for clarification. Chapter 2: Installation (Windows) walks you though the installation of the drivers and included software that accompany the IO|14/26. This section covers ASIO, WDM, and MIDI I/O drivers for the PC. Chapter 3: Installation (Macintosh) discusses installation of the CoreAudio and CoreMIDI drivers for Macintosh computers. Chapter 4: Getting Started with Cubase LE is designed to help you start recording right away. Chapter 5: Using the Control Panel shows you how to configure the IO|14/26. Chapter 6: Hardware Direct Monitoring provides detailed instructions for using the IO1|14/26s built-in digital mixer for low-latency audio monitoring. Chapter 7: Getting In Deeper: Hardware covers a variety hardware issues such as cabling, using the IO|14/26s insert jacks, and wiring up a home studio. Chapter 8: Getting In Deeper: Recording discusses various recording methods and techniques and includes a special section for Cakewalk SONAR users. Chapter 9: Troubleshooting provides various troubleshooting techniques in case of difficulty. Technical Specifications covers a variety of technical information that technical users will want to know. And at the end of this manual youll see a glossary of common terms and a page about the IO|14/26s warranty.

If you have access to the Internet, check http://www.alesis.com for the very latest software updates. The updates posted there are guaranteed to be the most current, best software versions available.
Windows XP, Service Pack 2 or later is required.
The Windows drivers include the two most popular standards for audio interfacingWDM (the Windows Driver Model built by Microsoft) and ASIO (the Audio Stream Input/Output standard used by many audio software applications).
Windows Logo Certification warning. Ignore this warning by clicking Continue Anyway.

Installation (Windows)

Install Cubase LE (optional)
If you are interested in using Cubase LE as your multitrack Digital Audio Workstation, install it from the CD now.

Connect your IO|14/26

Now, connect your IO|14/26 to your computer using a Firewire cable. Watch for one of the lights on the unit to turn on within a few seconds. If a light does not turn onor if you are using a notebook computer with a small four-pin Firewire connector plug in the external AC adapter. Windows will recognize the IO|14/26 and start the Found New Hardware wizard. The installation process will automatically install these drivers one by one. When you are prompted whether to install the drivers automatically or search for a specific location, choose to install them automatically. If you are asked whether you want to connect to the Internet to check for the latest driver, choose not to. Let the installer continue installing the various sets of drivers until you see a message stating, Your new hardware is installed and ready to use. Do not cancel any of the installations, as they are all required for proper operation.
Make IO|14/26 the default audio device
To use your IO|14/26 interface as your default Windows sound device, follow these steps: 1. From the Windows Start menu, choose Control Panel. Depending on your Windows preferences, it will appear similar to one of the two pictures below:
Choose Sounds and Audio Devices. Click the Audio tab. Change the default devices for both sound playback and sound recording to your IO interface.
4. Click the Voice tab. Change the voice playback and voice recording settings to the IO|14/26.
Click Apply to apply these changes.
Disable Windows System Sounds
Windows System Soundsthe sounds that Windows plays to signal starting up, shutting down, alerts and so forthcan interfere with your audio recording. We strongly suggest that you disable these sounds. 1. 2. Click the Sounds tab of Sounds and Audio Devices. Under Sound Scheme, choose No sounds.

If you want to monitor your audio with Cubases effects (distortion, reverb, etc.), press the direct monitoring button next to the Record Enable button.
Using Cubases direct monitoring requires the audio to make a round-trip through the computer, which causes a small but noticeable delay as the digital audio is processed. To avoid any echo effects, open the Alesis Hardware Direct Monitoring panel and mute the corresponding input. This way, you will only hear the signal with effects without also hearing the pure signal output from the IO. 8. Add additional audio tracks as needed. Record-arm each one and press the RECORD button to begin recording.
For additional information, consult Cubases documentation.
5 Using the Control Panel
Working with the IO14/26 control panel Accessing the control panel
In Windows, open the control panel from the shortcut on your desktop, the Programs menu, or from within your audio application. On the Mac, access this panel from the configure device button of Audio/MIDI Setup.
To open the control panel from within Cubase in Windows, select Devices | Device Setup. | VST MultiTrack. Then, click the Control Panel button.

1. Select the Alesis IO.

Be sure that your IO14/26 is shown here. If it is not shown, then your computer does not see it. Check the IOs connections to your computer.
2. Create a nickname for your IO|14/26 (optional)
You can change the name of the IO|14/26 as its seen by the recording program. Once this is done, choose Reset All in Cubase (or the equivalent command in other programs) to update the display of the device and channel names.
Creating a nickname for your device is entirely optional.

Using the Control Panel

3. Adjust latency by changing the buffer size
Latency refers to the amount of time it takes for audio to get into and out of the computer. In the best of all possible worlds, there would be no such thing as latencywe would hear audio the moment it was created. However, computers have limited processing power, and they can chokecutting off recording or crashing programsif they are asked to handle too much data all at once. To minimize this risk, audio can be stored in a buffer for a certain amount of time. This buffering helps smooth out the stream of data that the computer needs to handle. In the end, all of the audio is sorted out and played correctly, but with a delay. Here are the basic considerations to consider when adjusting buffer sizes: Lower buffer size = less latency but higher risk of audio problems Higher buffer size = more latency but lower risk of audio problems Very high buffer size = possible system instability For most systems, there is a sweet spot where latency is not too high and system performance is stable. Experiment with raising or lowering buffer sizes to hit this sweet spot. As you begin adding plug-in EQ, compression, and so forth to your project, your computer will need to work harder. Consider increasing your buffer size at this time.

2. Pan/Mute/Solo

Set the left/right pan position of the audio here. Also, you can solo and mute individual channels. Using the Shift key, click the pan knob to return it to center. Also, hold down Shift while clicking to mute or solo (or un-mute or unsolo) all of the inputs at one time.

3. Volume

Set the volume using this slider.
4. Stereo Channel Linking and Unlinking 5. Channel Names
Use this button to link or unlink the controls for stereo channel pairs. Just like the output tabs, the incoming audio channels can be renamed. (Words like vox and snare probably have more value than Analog1 and ADAT12.) The names you provide carry over to all of the tabs.
If you hear the input signal twicewith a short delay between each instance then you are most likely monitoring through both the HDM panel and also your DAW software. Either turn off input monitoring on your DAW or mute the corresponding input on the HDM panel.

6. Master HDM Mix Fader

This is the master fader for the Direct Monitor mix for this output pair. Bringing this fader up or down affects all the channels being monitored using HDM but does not affect the audio coming back from the computer. Once you have set your balances for multiple instruments using the individual slider, this control allows you to bring your whole mix into balance with the audio from your Digital Audio Workstation.
For outputs 1 and 2, the MIX BLEND knob on the front panel of the hardware can also be used to control this slider.
7. Narrow/Wide View Switch
You can switch between Narrow and Wide views of the HDM panel. Note that the Input Monitor tab is always in Narrow mode.

8. Metering Options

Choose from a number of different metering options here. Meter Scale Under Meter Scale, choose High, Medium, or Safe. These options change the thresholds at which the meters change to yellow and then to red. WHATEVER SETTING YOU CHOOSE, THE ACTUAL AUDIO BEING RECORDED IS UNTOUCHED. Rather, these modes can help keep you from recording too hot, resulting in digital overs. Peak Hold time Set how long the highest peak of the incoming audio should be displayed. Peak Reset Click this button at any time to reset the peak levels of the meters.
The metering options do not change how audio is actually recorded. They only change how the audio is metered on screen.
9. Bank Hide/Show buttons
In Wide mode, not all channels are visible at once. If you are not using some of your channels, choose to hide them. Note that these buttons are grayed out in Narrow mode.

Full Studio Setup

The following setup makes full use of the IO|14s audio inputs and outputs. All of the arrows indicate analog or XLR cabling unless otherwise noted. An IO|26 would allow you to connect four additional analog inputs as well as 8 additional digital inputs via a second ADAT port.

Using the Insert Jacks

Sometimes, you may want to add additional gear into your signal path before your analog-to-digital converter digitizes your signal and sends it to the computer. For example, many bass players like to compress their instrument with an analog compressor before recording into the computer. Inserts help you do this by letting you tap into your signal after the IO|14/26s preamplifier but before the A/D converter. The two diagrams below demonstrate where the inserts fit into your signal path. In the diagram to the left, no insert is used and your signal passes straight from the preamp to the A/D converter. In the diagram on the right, an effects processor is inserted into the signal path just after the preamp (before the A/D converter).
Note that you need a special insert cable to utilize this connection. These cables have a TRS connector on one end and two TS connectors on the other end. The TRS side goes into the insert jack on the IO|14/26. The two TS connectors are usually labeled send and return. The send plug goes to your external devices input whereas the return plug connects to the devices output.
Additional Uses of Insert Jacks
Inserts can be used in two additional ways that you may find useful. They are as follows: 1. Using the IO|14/26 as a preamplifier In certain situations, you may want to use the IO|14/26s preamps by themselves. For example, if youre recording a performance onto an external hardware recorder (such as an Alesis HD24) but you need more preamplifiers, you can use an inserts send cable to send your preamplified signal to the recorder and simply not use the return connection on the insert cable.
Bypassing the IO|14/26s preamplifier The IO|14/26 has excellent sounding preamplifiers built in, but if you have a megabucks or vintage preamp that you want to use instead, experiment with connecting it to the insert jack. The insert jack allows you to use your external preamp while completely bypassing the IO|14/26s built in preamplifier. To bypass the IO|14/26s internal preamplifier, connect the return of the insert cable to your external device. Leave the send of the insert cable disconnected. Doing this will unbalance the external preamplifiers signal. In most cases this is not a problem, but check with your preamplifiers manufacturer for any noise, level, or grounding concerns before connecting your equipment in this way.

Changing base sample rates mid-stream in projects is fairly straightforward in most DAW programs. However, doing so may cause very slight but still audible degradation of your audio.
If youre working on a commercial project and youre not sure what rate to use, ask your technical supervisor before you begin working.
High Resolution Recording The Upside of High Definition recording
Recording at high definitions (i.e., anything at 88.2k or above) means youre capturing sound at well beyond the range of human hearing. Doing so has three sonic advantages: 1. At the Hardware Level: All analog-to-digital converters need to heavily filter your signals highest frequencies to prevent a nasty form of distortion called aliasing from taking place. Only sounds above the sampling limit are removed, but the filter itself causes unwanted phase-shifts that some critical listeners can hear (mind you these are quite subtle changes in your audio) When youre recording in HD, the anti-aliasing filter is much more gradual and set at a very high frequency (well over the upper limit of human hearing). This all but eliminates any of the phase distortion that you may have heard. 2. At the Software Level: Since software plugins such as equalizers and compressors have more sample data to work with, carefully programmed plugins can sound better.
3. Archiving: If youre capturing a special recording that may have some historical value in the future, it makes sense to capture it with the highest level of technical accuracy. Alesis has designed your IO14/26 to sound excellent at all sample rates. Decide for yourself if the benefits and tradeoffs are worth it for a particular session.
The Downsides of High Definition Recording
1. Disk Usage Recording at high sample rates consumes hard disk space much more quickly than standard rates. The following table describes sampling rate vs. disk usage for a 60-second snippet of monophonic (1 track) audio: Length 60 Seconds 60 Seconds 60 Seconds 60 Seconds 60 Seconds 60 Seconds Bit Depth 24 bit 24 bit 24 bit 24 bit 24 bit 24 bit Sampling Rate 44.1k 48k 88.2k 96k 176.4k 192k Disk Usage 7.9 MB 8.6 MB 15.9 MB 17.3 MB 31.8 MB 34.6 MB
Please note: At quad sample rates (176.4k and 192k), only inputs 1-4 of the IO|26 are operational.
You can see how this may become a problem on large musical projects. For example, whereas a 5-minute song with 16 channels of 24-bit audio would require up to 635MB to record at 44.1k, the same song would need approximately 2.54 gigabytes of storage if youre recording at 176.4k! We recommend that you take a look at your available hard disk resources when deciding which sampling rate to use. You can use the following formula to estimate the total disk space required for a song: Song length (in seconds) X Number of Channels X Sampling Rate X 3 So Our hypothetical 5-minute song would be calculated in the following way: 300 sec x 16 channels x 44,100 x 3 = 635,040,000 byes (about 635 MB) That same song recorded at 176.4k would be: 300 sec x 16 channels x 176,400 x 3 = 2,540,160,000 bytes (or 2.54 GB)

Geek talk: Why do we multiply by 3? We have to multiply our disk usage by 3 because we assume youll be recording at 24 bit. One byte of disk space contains 8 bits of information. Thus, if you are recording at 24-bit resolution, youll need 3 bytes to contain all of that sample data (since 3 x 8 = 24). This is why your disk usage must be multiplied by 3. If you were recording at 16 bit (which we do not recommend due to the reduction in sound quality) you would only multiply your total by 2 since a 16 bit sample only needs 2 bytes to describe the sample (2 x 8 = 16). If all of this sounds like Martian to youdont worry. You dont really need to know this stuff and theres no quiz at the end of the manual!
Processor Usage A second drawback of recording in high definition is that youll use substantially higher amounts of CPU resources. This is because your computer processor has to deal with twice as many samples operating at 88.2k than it does when processing at 44.1k and four times as many samples when recording at 176.4k. The following hypothetical scenario should clarify: Sample Rate 44.1/48k 88.2/96k 176.4/192k Maximum Plugins you can run on your computer 10
If you generally dont use many audio tracks and plugins, this wont affect you very much. If you use tons of audio tracks and plugins, this may tilt you in favor of recording at a lower sampling rate (or get a faster computer if you insist in recording in HD). 3. Fewer ADAT optical inputs If youre using an external analog-to-digital converter to add more inputs to your IO14/26, you can add 8 (IO|14) or 16 (IO|26) channels at 44.1 or 48k, but you can only add 4 channels of 88.2k or 96k audio.
The ADAT2 port on the IO|26 is only operational at 44.1k and 48k sample rates.
Surround Sound (IO|26 only)
The IO|26s 8 analog outputs make it perfect for multichannel surround-sound applications (such as sound for film, TV, or DVD). If your software supports surround mixing, simply hook up your speakers to the IO|26 and refer to the softwares documentation on how to set up a surround mixing environment. Note that there are several common surround formats including 4-channel (a.k.a. quad), 6channel (5.1), and 8-channel (7.1). There are also many non-standard and custom mixing scenarios and every situation has its own rules and requirements on speaker type, placement, and other factors. It would be beyond the scope of this manual to cover each type of surround configuration, but the following 5.1 mixing scenario is commonly used and will work for most applications. The diagram below illustrates the setup: The Mix circle represents the sweet spot where the engineer sits. The left and right speakers are positioned 30 off center. The rear two channels are positioned 135 off of the center speaker. The distance from the mixing engineer to each speaker should be identical (or as close to it as possible). Note that subwoofer placement depends on the size and shape of the mixing room. The sub should be placed in a location that provides the most linear frequency response. This generally requires some trial-and-error before the optimal subwoofer position is located. Again, if youre working on a commercial project, make sure to speak to the supervisor and iron out the details before jumping in! This may save you from time-consuming conversion or remixing in the future.

If youre having problems operating the IO|14 or IO|26, this troubleshooting index may help you resolve your issues. Symptoms No sound from the IO|14/26. Cause No power. Solution Plug in power adapter or FireWire cable. If using FireWire bus power, be sure that your computers FireWire port can provide power to the IO|14/26. Raise the MAIN LEVEL knob. Turn speakers (or amplifiers) on or up. Turn up the PHONES knob for your headphone output.
Main Output level set too low. Speakers (or amplifier) is turned off or down. Headphone level is too low.

Technical Specifications

Cables not hooked up properly. Bad cable(s). Audio signal is distorted. Channel input gain is too high.
Check outputs to make sure cables are plugged in correctly (and securely). Check all cables; substitute cables with known good ones. Turn down the input gain knob for the distorting channel (use the LED meters to locate channels that are distorting). Turn down your audio softwares output level. Be sure that the -10/+4 input switch for each input is set correctly in the IO|14/26s control panel Turn down the output level of the sound source. If you are using a microphone with a volume pad, engage the pad switch.
Output levels are too high. -10/+4 input switch set incorrectly.
Sound source is too loud.
Audio signal carries an unwanted hum.
Not using balanced cables.
Make sure you are using balanced (XLR or 1/4 TRS) cables wherever possible. Insert a ground lift switch into the offending cables signal path. Replace cable with a known good cable. Turn on phantom power using the +48V switch on top panel of IO|14/26. Test the microphone on other audio devices. If you detect damage, contact the manufacturer or dealer. Increase the gain for that channel. Turn up the instruments volume knob. Turn up the instruments volume knob. Hook up your turntable to outputs 7-8 (on your IO|26) and set the Mic/Line or Phono switch to Phono.
Improper grounding Damaged cable Microphone level is too low. Phantom power is not turned on. Microphone is damaged.
No or low sound from a channel input.
Gain set too low. Instrument volume is too low. Instrument volume is too low.
Turntable input is too low in level and/or lacks bass.
Mic/Line and Phono switch is set incorrectly (this applies only to the IO|26)

Advanced troubleshooting under Windows
The best way to see that your IO|14/26 is connected and operating properly is through the Windows Device Manager. This is a powerful Windows component that requires some navigation but yields very detailed information. 1. Start by finding the My Computer icon either on your desktop or from the Start menu.
Right-click the My Computer icon and select Properties.
The active tab at the top of this window is now the General tab. Click the Hardware tab. Then, click the Device Manager button.
Finally, expand the Sound, video and game controllers section. An Alesis 1394 entry should appear.
No connection If Alesis 1394 does not appear, Windows does not see the interface as being connected to the computer. 1. Check your Firewire cable and try powering the mixer off and on again. 2. Expand the IEEE 1394 Bus host controllers section. Check that your Firewire card is listed as properly working. 3. As a last resort, power your computer off and on. Faulty connection If Alesis 1394 appears, but there is a yellow question mark or exclamation point next to it, the drivers are improperly installed. Right-click on the Alesis 1394 listing and choose Uninstall, and uninstall the device. The next time you connect the IO14/26 to your computer, you will need to re-install the drivers again.
When restarting your computer, turn it off all the way. Pull out the AC power cord, keep it out for a few seconds, and then plug it back in again before you restart your computer. This ensures that your computers motherboard and PCI cards (including your FireWire card) are properly reinitialized.
Audio playback or recording is at the wrong speed
Adjust the buffers in the ASIO control panel or through your WDM applications audio setup options. It is impossible to say which buffer settings are perfect for each system, but generally buffer sizes around the middle or low-middle of the available range provide the best results.
Audio playback or recording stutters or drops out
Again, work with the buffer settings in the ASIO control panel or through your WDM applications audio setup options in order to find the most reliable setting. Many audio applications include advanced setting dialog boxes where pre-fetch and other parameters can be set. Explore those options.
Help on the web Most major recording programs are supported by lively user forums. The odds are that, if youre having problems, someone who posts at these forums has already experienced them and found solutions. Dont be shy about visiting these forums and posting your questions.

Audio echoes during recording
This is probably happening because your delayed signal (the signal that passes through your computers audio application back out to your speakers) is mixing with your hardware direct monitoring mix. To resolve this problem, either disable your audio softwares input monitor option or, if you want to monitor through your software, mute the appropriate input channel(s) on the Alesis Hardware Direct Monitoring application. For more information on the HDM application, see page 35.
Problems with notebook computer audio recording
Notebook computer recording problems (hum, dropouts, etc.) can generally be diagnosed and solved in one of the following ways: 1. The power from your notebook computer may be marginally insufficient to guarantee stable performance. Use the included AC adapter whenever you connect your IO|14/26 to a notebook computer or small form factor computer (such as a Mac Mini computer or a computer built around a microATX motherboard). 2. The notebook computer may be introducing a ground loop problem. To test for this, unplug your notebooks power adapter and run on battery power. If this solves your problem, consider using a three-to-two prong "ground lifter" between your computer and your AC power source. Be sure to observe all necessary safety precautions. 3. If your computer has a mini Firewire jack, be suspicious of your four-to-six pin Firewire cable. Many poorly constructed cables cause problems. Try using a respected, brand-name cable. 4. Again, if your computer has a mini Firewire jack, consider using a six-pin Firewire PCMCIA card or ExpressCard to bypass the built-in firewire connection altogether.
Analog Inputs Sample rates: Frequency response: Dynamic range: Signal-to-noise ratio: THD+N: Crosstalk: Preamplifier THD+N: Preamplifier slew rate: Microphone gain range: Microphone impedance: Line gain range: Line impedance: Guitar gain range: Guitar impedance: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz +/- 0.05dB from 20Hz to 22kHz 112dB, A-weighted 112 dB, A-weighted, minimum gain 0.001 -0.0015% @ 1kHz/0dBFS -110dB @ 1 kHz <0.0007 at 20dB gain 15 volts/microsecond +6.8dB to +50dB 1.2kOhm -15.4dB to 27.8dB 16kOhm +6.8dB to +50dB 1 MegaOhm

balance

bus channel clipping
codec condenser microphone DAW dB (decibel) dry dynamic microphone effects processor

EQ (equalizer)

A device that allows you to control the level of an audio signal by sliding the fader up and down a straight path. Each input on the IO|14/26 has its own fader in the Zero Latency Monitoring application. A standard for connecting external devices to a computer. Also called IEEE 1394a The measure of extra amplification applied to an audio signal. Each analog input on your IO|14/26 has its own gain knob, which can be used for boosting mic and line signals. Another name for Firewire. A special access point found in mixers and some audio interfaces that allows you to place an audio device (such as a compressor) in the signal path. Inserts are placed after the preamplifier and before the remaining electronics in your signal path. They require special insert cables. The time it takes for audio to travel from the IO|14/26, through the computers recording program, and out again to your speakers (or heaphones). Latency is measured in either samples or milliseconds. The amount of power driving an audio signal. The most common names given to levels of varying voltage are, from lowest to highest, microphone level, instrument level and line level. The section of a mixer where the main mix is controlled. An amplifier that boosts a microphone or instrument-level signal up to line level. A device whose purpose is to combine and output a number of audio signals, allowing various types of signal manipulation. Refers to an audio signal that has only one channel. The opposite of stereo. A control that lets you position a mono signal within the stereo spectrum by altering the level of the signal being sent to the left channel as opposed to the right. A way of providing power to condenser microphones. Also known as +48volt power. A line input whose function is to carry back to the mixer an audio signal that has been sent from the mixer. Returns are used in conjunction with insert points.

Firewire gain

IEEE 1394a insert

latency

master section mic preamp mixer mono (monaural) pan

phantom power return

sample rate
Digital audio is chopped up into tiny time slices. The sample rate is the number of time slices captured in one second. 44.1kHz44,100 samples per secondis the standard used for Compact Disc audio. 48kHz48,000 samples per second, is commonly used for film and video. A line output whose function is to send a signal from the mixer to an external device, usually an effects processor. Like returns, sends are used in conjunction with insert cables. Refers to an audio signal that has two channels. Refers to the setting of an audio channel at which the signal leaves the channel at the same level at which it entered. Unity gain is marked by a 0 on the MultiMixs faders. The Windows Driver Model. This is the default standard by which Microsoft Windows communicates with audio devices. An audio signal that has had effects or other manipulations applied. The opposite of dry.

stereo unity gain

WDM wet

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.

24-bit / 96k USB Audio/MIDI Interface Quick Start Owners Manual
BOX CONTENTS IO|2 USB AUDIO/MIDI INTERFACE USB CABLE QUICK START OWNERS MANUAL IMPORTANT SAFETY INSTRUCTIONS
Manual de inicio rpido para el usuario
CONTENIDO DE LA CAJA INTERFAZ DE AUDIO/MIDI USB IO|2 CABLE USB MANUAL DE INICIO RPIDO DEL USUARIO INSTRUCCIONES IMPORTANTES DE SEGURIDAD
Manuel dutilisation du propritaire
CONTENUE DE LA BOTE IO|2 AVEC INTERFACE USB AUDIO/MIDI CBLE USB GUIDE DUTILISATION SIMPLIFI CONSIGNES DE SCURIT

Kurzbedienungsanleitung

INHALT DER VERPACKUNG IO|2 USB AUDIO/MIDI INTERFACE USB KABEL KURZBEDIENUNGSANLEITUNG WICHTIGE SICHERHEITSHINWEISE
Manuale rapido di utilizzo
CONTENUTO DELLA CONFEZIONE INTERFACCIA AUDIO/MIDI IO|2 USB CAVO USB MANUALE RAPIDO DI UTILIZZO IMPORTANTI ISTRUZIONI DI SICUREZZA
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IO|2 Quick Start Users Guide (English)

Introduction

Congratulations on your purchase of the Alesis IO|2 audio/MIDI interface! Were proud of this interface and weve taken a great deal of care in making the IO|2 the best sounding, most rugged and easy to use audio interface on the market. Weve made this quick start guide as short as possible, but please read it carefully. It will guide you through the installation process as well as teach you how to get the most out of your IO|2 interface. We hope the IO|2 will serve you well for many years.
Sincerely, The People of Alesis

Key Features

Your IO|2 features the following:

24-bit / 96k recording and playback Balanced XLR and inputs with adjustable gain Switchable phantom power TRS inserts High quality mic preamps Comprehensive 4-segment input metering Low latency ASIO/WDM/Core Audio drivers Zero-Latency monitoring MIDI and S/PDIF inputs and outputs Headphone out with separate volume knob Bus powered for operation without power supply Ultra-rugged and lightweight case thats built to last

Computer Requirements

Minimum PC Requirements: Pentium III 450 MHz Processor 128 MB RAM Available USB 1.1 Port Windows XP (with Service Pack 2 installed)
Memory Requirements The IO|2 requires a minimum of 128MB of RAM to operate, but most audio applications need more than 128MB of RAM to run smoothly. If your computer only has 128 MB of memory and is sluggish while running audio applications, try adding memory to improve performance.
Recommended PC Requirements: Pentium 4 or Athlon Processor 512 MB RAM 7,200 RPM Hard Disk Drive Available USB 1.1 Port Windows XP (with Service Pack 2 installed)
Minimum Macintosh Requirements: Any Apple computer with native USB support Mac OS X Jaguar version 10.2 or later 128 MB RAM
Recommended Macintosh Requirements: G4 733-MHz Processor or faster 7,200 RPM Hard Disk Drive Mac OS X Jaguar version 10.2 or later 512 MB RAM

Product Registration

Please go to http://www.alesis.com and register your new IO|2. Registering helps us to keep you up-to-date on any last minute product issues and driver updates. If you would like, we can also send you information on other products that might interest you. By registering with us, you let us know what products you use (or dream about) and this helps us bring you better products in the future.

Top Panel Connections

1. Lo-Z XLR Input - Connect your microphones and other XLR equipment to the IO|2 using this input. 2. Hi-Z 1/4 Input - Connect your guitars and other high-impedance instruments to the IO|2 using this connector. 3. Input Gain Knob - Set the gain level of each channel with this knob.

Audio Inputs Do not use the Lo-Z and High-Z inputs at the same time on one channel. This will overload the channel and cause distortion.
4. Mic/Line Input Select Switch - Allows you to set the sensitivity level of the incoming signal. Use with gain knob to set levels of incoming instruments. 5. Insert - The insert jack allows you to insert a compressor, EQ, or any other signal processor in between IO|2s preamplifier and the A/D converter. 6. +48v Phantom Power Switch - Phantom power switch allows you to power condenser microphones requiring 48V phantom power. This switch activates phantom power on both channels. 7. Headphone Output Jack - Plug your headphones into this jack. 8. Headphone Level Knob - Set your headphone level using this knob. 9. Mono/Stereo Monitoring Switch - Allows you to switch your headphones to mono. This is useful for zero-latency monitoring situations where you may not want your inputs panned hard left and hard right in your headphones. 10. Monitor Mix Knob - Blend in any amount of zero-latency signal from your mic/line inputs with the output of your computer. 11. Digital/Analog Input Switch - Select the IO|2s input source using this switch. For normal operation, leave this switch set to analog. If this switch is set to digital, the S/PDIF input will become active and the Lo-Z, Hi-Z, and Insert inputs on the IO|2 will be ignored. 12. Main Level Knob - Set the level of the main outputs of the IO|2.

Back Panel Connections

1. MIDI Out Connector - Use a five-pin MIDI cable to connect the MIDI out of the IO|2 to the MIDI input of an external MIDI device. 2. MIDI In Connector - Use a five-pin MIDI cable to connect the output of an external MIDI device to the MIDI IN of the IO|2. 3. Stereo Main Output - Use balanced (TRS) or unbalanced (TS) cables to connect the IO|2 to a mixer or powered studio monitors. 4. S/PDIF Out - Use a 110-ohm coaxial cable to connect the S/PDIF output of your IO|2 to the digital input of another device. 5. S/PDIF In - Connect the digital output of another device to your IO|2s S/PDIF input using a 110-ohm coaxial cable. 6. USB Connector - Use a standard USB cable to hook up your IO|2 to the USB 1.1 (or higher) connection on your computer.
Plug the IO|2 directly into your computer, and avoid using a USB hub. Hubs can interfere with the IO|2s audio and MIDI timing signals.

Status Lights

Setting Gain Levels
1. +48V Lights up when phantom power is engaged. 2. MIDI Out Flashes whenever MIDI data is sent out of the IO|2. 3. MIDI In Flashes whenever MIDI data is received from an external MIDI controller. 4. USB Lights up when a USB connection has been established with your computer. 5. Stereo 4-segment input meters Allow you to monitor incoming levels. See the sidebar on the right for tips on how to set levels.

The 4-segment input meters are there to help you know how loud your inputs are. When you are adjusting the gain knobs for each channel, try to set your levels as loud as possible without reaching 0 dB. If your input reaches 0 dB, you are overloading or clipping the IO|2 and this results in severe distortion. Ideally, your levels should peak between -6 and -3 dB on the meters.

Hookup Diagrams

The following setup will work well for most guitarist/singers:
1. Guitars Plug guitars into the Hi-Z input and make sure the mic/line switch is set to mic to ensure best recording quality. 2. Microphones Plug microphones into the XLR input of the IO|2 make sure that the mic/line switch is set to mic. If you are using a condenser microphone that requires phantom power (most condensers do), turn on phantom power using the +48V switch. 3. Headphones Plug your headphones into this jack. The IO|2s headphone output can be very loud, so turn the gain up slowly until you reach a level that is comfortable for you. If you are experiencing distracting latency delays of your guitar or voice, turn the Monitor Mix knob towards direct until you find a good balance between the zero-latency mic inputs and the output of your computer. 4. Main Outputs The IO|2 supports both balanced TRS and unbalanced TS cables. If your speakers (or mixer) support balanced cables, use them as they give you better performance and lower noise. 5. USB Cable Plug in your USB cable directly into your computer and avoid using a USB hub. Hubs can interfere with audio and MIDI timing signals and cause problems for the IO|2. 6. Insert The IO|2 allows you to easily insert an additional processor such as a reverb or compressor in your recording path. Simply use a TRS to dual-TS insert cable to connect the additional device to the IO|2s insert jack.
The following setup will work well for most keyboard players:
1. Keyboards Connect the outputs of your keyboard into the Hi-Z inputs of the IO|2. If your keyboard only has one output, go ahead and connect to whichever channel of the IO|2 you prefer. When connecting keyboards, be sure to set the Mic/Line switch to line. 2. MIDI If you plan to use a MIDI sequencing program on your computer to control your keyboard, go ahead and connect the MIDI OUT of your keyboard to the MIDI IN of the IO|2 and the MIDI OUT of the IO|2 to the MIDI IN of your keyboard. 3. Headphones Plug your headphones into this jack. The IO|2s headphone output can be very loud, so turn the gain up slowly until you reach a level that is comfortable for you. If you are experiencing distracting latency delays of your guitar or voice, turn the Monitor Mix knob towards direct until you find a good balance between the zero-latency mic inputs and the output of your computer. 4. Main Outputs The IO|2 supports both balanced TRS and unbalanced TS cables. If your speakers (or mixer) support balanced cables, use them as they give you better performance and lower noise. 5. USB Cable Plug in your USB cable directly into your computer and avoid using a USB hub. Hubs can interfere with audio and MIDI timing signals and cause problems for the IO|2.

Plug-and-Play Connection to a Computer
Both Windows XP and Mac OS X see the IO|2 as a plug-and play device. No installation is necessary on Mac OS 10.2Just connect the USB cable and youre ready to go. Driver installation is not required on Windows XP since the IO|2 supports the default audio drivers, but we highly recommend installing the Alesis audio drivers. Our drivers will yield significantly lower latency and better performance.
The IO|2 is not compatible with earlier versions of Windows or Mac OS. Check http://www.Alesis.com for driver updates and last minute issues regarding the IO|2
To install the IO|2 on Windows XP, simply insert the supplied Alesis CD-ROM and wait for the following menu to pop up:
Click Install Alesis Audio Driver, to proceed with the driver installation. During the installation process, Windows XP will prompt you with the following warning:
Press Continue Anyway, to finish the installation. Restart the machine as the software recommends. Once your computer is restarted, your IO|2 is ready to record.

Troubleshooting:

Symptom USB light does not turn on. Cause The IO|2 is not receiving power or USB connection is not being made to your computer Solution Make sure you are connecting your IO|2 directly to your computers USB connector and not into a USB hub. If this does not solve the problem, double check your driver installation and verify that the IO|2s drivers have been installed properly. If the problem persists, the cable may be faulty. Try using another USB cable. Make sure the input switch is set to analog if you are recording using the XLR and 1/4 inputs on the top of the IO|2. Only set this switch to digital if you want to use the S/PDIF connectors. If you plan to use S/PDIF connections to transfer audio digitally, make sure the input switch is set to digital. Otherwise, leave this switch set to analog for normal operation. Double check that the mic/line switch is set correctly for each channel. If youre using condenser microphones that require phantom power, turn on the +48v phantom power switch. Finally, make sure the gain knob is turned up. It is very important to use 110-ohm coaxial cables for all S/PDIF connections. Most plain RCA cables are NOT 110-ohm and cause clocking problems between two digital devices. This causes loud clicks, pops, and sustained white noise.