ALESIS MicroVerb 4

Reference Manual

Introduction

Thank you for purchasing the Alesis MicroVerb 4 Multieffects Processor. To take full advantage of the MicroVerb 4s functions, and to enjoy long and trouble-free use, please read this users manual carefully.

How To Use This Manual

This manual is divided into the following sections describing the various modes of the MicroVerb 4. Though we recommend you take time to read through the entire manual once carefully, those having general knowledge about effects devices should use the table of contents to reference specific functions. Chapter 1: Your First Session with the MicroVerb 4. A basic introduction to getting the unit up and running, auditioning the factory Programs, adjusting levels, comparing and storing edited Programs. Chapter 2: Connections. Deals with the necessary preparation before using, including connections to other components such as instruments, mixing consoles, patchbays, and multitrack recorders. Chapter 3: Overview of Effects. A detailed look at the signal processing capabilities of the MicroVerb 4 and the concept of multieffect programming. Chapter 4: Description of Controls. A summary of all buttons, connectors, and parameters. Use this chapter as a quick reference guide when searching for specific information. Chapter 5: MIDI Applications. This chapter discusses the various MIDI functions, such as recalling Programs, realtime modulation of parameters, and SysEx data transfer. Chapter 6: Troubleshooting. Contains the Troubleshooting Index, maintenance and service information, and MIDI implementation chart. Appendices. MIDI basics, trouble-shooting, maintenance and service information, MIDI Implementation Chart and an Index.

Conventions

The buttons, knobs, and rear panel connectors are referred to in this manual just as their names appear on the MicroVerb 4, using all capital letters and in brackets (Example: [STORE] button, [VALUE] Knob, etc.). When text in the MicroVerb 4s display is quoted, it is indicated using special typeface (Example: 00 to127, etc.).
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 MicroVerb 4.
MicroVerb 4 Reference Manual

Contents

CONTENTS
Your First Session with the MicroVerb 4... 7
Unpacking and Inspection....7 Basic Connections.... 7 Powering Up.... 8 Setting Levels....8 Whats on the Front Panel?... 8 Auditioning Internal Programs.... 10 Switching Between Preset and User Banks.. 10 Adjusting Effects Mix Levels... 10 Storing Edited Programs.... 11 Bypassing Effects..... 11

Connections.... 13

AC Power Hookup.... 13 Line Conditioners and Protectors... 13 Audio Connections.... 13 Typical Applications.... 14 Input Jack Wiring.... 14 Interfacing Directly with Instruments.. 15 Interfacing to a Mixing Console... 16 Using Aux Sends... 16 Using Inserts.... 18 Using Main Outputs... 19 Avoiding Ground Loops...20 MIDI.... 21 Footswitch.... 21
Overview of Effects.... 23
Reverb Effects.....23 Concert Hall....23 Real Room.... 23 Plate Reverb... 23 Reverb Parameters.... 23 Decay.... 23 Hi Cut.... 23 Chorus/Flange Effects.... 24 Stereo Chorus.... 24 Quad Chorus.... 25 Chorus.... 25 Stereo Flange.... 25 Auto Pan....26 Chorus/Flange Parameters... 26 Rate.... 26 Depth.... 26 Delay Effects.... 26 Mono Delay.... 26 Stereo Delay... 26 Ping Pong Delay.... 26 MultiTap Delay....26 Delay Parameters..... 27 Time.... 27 Feedback.... 27 Setting Delay Time Using Tap Tempo... 27
Pitch Shifter Effects.... 27 Stereo Pitch Shifter... 27 Stereo Pitch Detuner.... 27 Multi Effects.... 28 Lezlie.... 28 Multi Effects Parameters.... 28 Decay.... 28 Rate/Time.... 28 Dual Send Effects..... 28 Reverb/Delay.... 29 Reverb/Chorus....29 Reverb/Flange....29
Description of Controls... 31
Front Panel..... 31 Input Level.... 31 Mix Level.... 31 Output Level... 31 Level Meters... 31 LED Display.... 32 STORE Button.... 32 BANK/MIDI Button.... 32 Value Knob.... 33 Edit A/Edit B Knobs.... 33 Rear Panel.... 34 Power.... 34 Footswitch.... 34 MIDI In.... 34 MIDI Out/Thru.... 34 Input (Left/Mono & Right)... 35 Output (Left & Right)... 35

Adjusting Effects Mix Levels
Whether a Program contains a single effect or two or three effects, you can adjust the MicroVerb 4s [MIX] control to obtain a desirable balance between the original, uneffected signal and each effects output. The [MIX] Knob controls the balance between the input signal and the effects generated by the MicroVerb 4. When hooked up to an instrument setup, such as a guitar amp, the Mix setting will typically be somewhere in the middle, balancing the effects with the sound of the source instrument. If the MicroVerb 4 is connected to a mixing consoles Aux Send, the Mix control should be set all the way to the right (effects only) so that the balance can be controlled from the board.

Storing Edited Programs

Once you are satisfied with the changes you have made to an edited Program, or are creating a new Program from scratch, you will need to store your edited Program back into memory. The MicroVerb 4 will temporarily store the currently selected Program in non-volatile memory. If you edit a Program, the changes you made will be lost the next time you power on the unit if you havent stored the edited Program into memory. If you select another Program from memory before storing the edited Program, your changes will also be lost.
Although the MicroVerb 4 has two banks (Preset and User), you can only store Programs in the User bank.
To store an edited Program:

Press [STORE].

The Destination Program Number will flash. If the edited Program is from the Preset bank (Programs 00-99), the MicroVerb 4 will show the complement Program in the User Bank (by adding 100 to the Program number.) Programs can only be stored to the location provided, i.e. there is no way to store an edited version of Program 112 over Program 113.

Press [STORE] again.

The LED Display will momentarily flash quickly, indicating that the Program has been stored. Any changes you make to a Program are temporary, until you store those changes into memory. If the Program you are editing is in the Preset bank, you must save the changes youve made to a location in the User bank. If you recall another Program before storing, your changes will be lost.

Bypassing Effects

At any time you can bypass the effects, thereby allowing the direct signal to pass through the MicroVerb 4 unchanged. This can be done in two ways: by turning the MIX knob all the way to the left, by connecting a footswitch to the [FOOTSWITCH] jack and pressing the footswitch.
Each time the footswitch connected to the [FOOTSWITCH] jack is pressed, Bypass mode is toggled on and off again. For more information about Footswitches, see Chapter 2.

Mono. Connect a mono cord to the [LEFT] INPUT of the MicroVerb 4 from a mono source, and another mono cord from the [LEFT] output of the MicroVerb 4 to an amplification system or mixer input.
TO MIXING CONSOLE OR AMPLIFIER
INSTRUMENT OR EFFECTS SEND

INPUT MIX OUTPUT

Mono In, Stereo Out. While still using a mono input, you could connect two mono cords to the [LEFT] and [RIGHT] outputs of the MicroVerb 4 to a stereo amplification system or two mixer inputs.
Dual Mono. Connect two mono cords to the [LEFT] and [RIGHT] inputs of the MicroVerb 4 from two mono sources , and two other mono cords from the [LEFT ] and [RIGHT] outputs of the MicroVerb 4 to a stereo amplification system or two mixer inputs. This hookup allows discrete processing of the two channels, since some of the effects are discrete stereo to maintain stereo imaging. Stereo. Connect two mono cords to the [LEFT] and [RIGHT] INPUTS of the MicroVerb 4 from a stereo source , and two other mono cords from the [LEFT] and [RIGHT] OUTPUTS of the MicroVerb 4 to a stereo amplification system or two mixer inputs.
Interfacing to a Mixing Console
The MicroVerb 4 handles mono or stereo sends at all system levels. The input circuitry of the MicroVerb 4 can easily handle +4 dBu levels (+20 dBu peaks), while having enough input and output gain to interface with the low -10 dBV signal levels of budget recording systems. The MicroVerb 4 may be connected to a mixing console in several different ways. It can be used to effect several instruments at once by using the auxiliary send and return controls of the mixer. Another method of interfacing is to connect the unit directly to the insert send and return patch points of the channel that is to be effected. Still another way of interfacing the MicroVerb 4 to a mixer or recording console would be in-line across the output of your mixing console. This last setup would be used only if you wanted effects on the entire mix.

Using Aux Sends

Generally, mixing consoles provide two types of auxiliary sends: pre-fader sends for creating a cue (headphone) mix, and individual, post-fader effect sends. Typically, if a mixer has more than two sends per channel (4, 6 or 8, perhaps), the first two sends are reserved for the cue sends, while the remaining sends are used to feed effects, such as the MicroVerb 4. If you are using a mixer with more than two sends, connect the MicroVerb 4 using post-fader sends. Using a mixers aux sends poses a distinct advantage: each channel has its own level control feeding the aux output (and eventually the MicroVerb 4 input). This allows you to make a mix of any channels you want to go to the effects by using the individual channels aux send levels on the mixer. Most consoles also have aux master controls, which set the overall level of each aux output. Coming back from the MicroVerb 4s outputs into the mixer, you have two options: connecting to dedicated return inputs, or connecting to channel inputs.

INSERT

Using Main Outputs
When you want to add effects to everything on the mixer, you can connect the MicroVerb 4 between the mixers outputs and the amplifiers or tape machines
inputs. This is done by using two 1/4" mono cables to connect the Left and Right Main Outputs of the mixing console to the [LEFT/MONO] and [RIGHT] inputs of the MicroVerb 4. The [LEFT] and [RIGHT] outputs of the MicroVerb 4 are then connected to a stereo amplifier, or two input channels of another mixing console (for sub-mixing applications).
LEFT/MONO INPUT RIGHT INPUT
LEFT OUTPUT LEFT MASTER OUT RIGHT MASTER OUT

LEFT INPUT

POWER AMP

Avoiding Ground Loops

In todays studio, where it seems every piece of equipment has complex routing and computer logic, 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. Here are some easy helpful hints that a professional studio installer might 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 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 (turn it around in the socket) until the quietest position is found. C) Make sure that all of the audio cables are in good working order. Cables with a detached ground wire will cause a very loud hum!! D) Keep all cables as short as possible, especially in unbalanced circuits. If the basic experiments dont uncover the source of the problem, consult your dealer or technician trained in proper studio grounding techniques. In some cases, a star grounding scheme must be used, with the mixer at the center of the star providing the shield ground on telescoping shields, which do NOT connect to the chassis ground of other equipment in the system.
MIDI (Musical Instrument Digital Interface) is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. The MIDI connections on the MicroVerb 4 provide four different functions: To recall Programs using MIDI program change messages To control (modulate) parameters inside the MicroVerb 4 in realtime via MIDI controllers (example: A keyboards mod wheel, or pedals, etc.) To send and receive SysEx (System Exclusive) dumps of individual programs or the entire bank of programs for storage and retrieval purposes To pass-on MIDI information thru the MicroVerb 4 to another MIDI device.
To connect the MicroVerb 4s MIDI ports to another MIDI device:
Connect a MIDI cable from the MicroVerb 4s MIDI [IN] connector to the other
MIDI devices MIDI OUT connector.
Connect another MIDI cable from the MicroVerb 4s MIDI [OUT/THRU] connector to the MIDI IN connector of the other MIDI device.
Note: It is not necessary to follow step 2 if you intend to only send information to the MicroVerb 4, and do not need to receive information back from it. Example: If you only want to be able to recall Programs using MIDI program change messages, there is no need to connect a cable to the MicroVerb 4s [OUT/THRU] connector. For more information about MIDI and Modulation, refer to chapter 5.

Footswitch

On the rear panel you will find a footswitch jack labeled [FOOTSWITCH]. This is a Stereo jack, with connections for both a normal Bypass jack and for two footswitch jacks. All footswitches must be plugged in before the MicroVerb 4 has its power turned on. To hook up a single Bypass Footswitch: Any momentary footswitch can be plugged into the Footswitch input on the MicroVerb 4. The extra connector on the footswitch jack will simply be ignored. To hook up two Footswitches: The MicroVerb 4 is equipped with a 1/4 TRS footswitch jack which can connect to two footswitch jacks. To connect both footswitches, first locate a cable or adapter which has one male 1/4 TRS jack and two female 1/4 mono jacks. This cable is available from several manufacturers, such as Radio Shack (#274-302) and Hosa (YPP-118).
The footswitch connected to the tip of this jack will function as a Bypass pedal. The footswitch connected to the center ring of this jack will function as a Control pedal. (See below.) You may also use a dual footswitch, which has two pedals on one
assembly with a stereo cord already attached. The pedals are often packaged with digital pianos. You should not use the dual footswitch from a guitar amplifier, as these are typically latching type footswitches. You can tell a latching footswitch from an unlatched type when it takes two presses to enable any of the functions (Bypass, etc.). Also, these footswitches usually click when stepped on. Use only Momentary (non-latching) footswitches with the MicroVerb 4. If desired, a mono footswitch can be plugged half way (to the first click) to function as a Control Footswitch only. Bypass Footswitch. Pressing the footswitch will toggle Bypass mode on and off. When Bypass mode is activated, the effects will mute and the Display will read bYP and then dim. Bypass turns off any effects going to the output, and is useful for turning off delay for a certain part of a song, for example. Control Footswitch. When a footswitch is connected to the ring of the 3 connector Footswitch jack, it functions as a Control footswitch. This footswitch has 2 different functions, depending on the type of effect it is used on. On a Lezlie Effect: The control footswitch controls the Lezlie speed. When it is pressed, the display will either read ffFSt or SLO and the rotating speaker will ramp up to the Fast or down to the Slow speed, respectively. On a Delay Program: The Control footswitch acts as a Tap Tempo control. Tapping on the footswitch in tempo with the music will create a 1/4 note delay in tempo with the song. The display will briefly display the Delay Time (in milliseconds). When the selected Program is not a Lezlie or Delay Program, pressing the Control footswitch will have no effect. Tap From Audio. If the Control footswitch is held down and audio is played into the inputs, these impulses will be used to set the delay time. For example, hold down the Control footswitch on a delay program and play two staccato notes on a guitar, keyboard, etc. The delay time will be set for the time between these two sounds. Make sure that the level of these impulses are at least -6dB on the front panel meters (the third segment up) so that the MicroVerb 4 has sufficient level to trigger from. Tip: High notes work better than low notes when using this feature.

Overview of Effects Chapter 3

CHAPTER 3

OVERVIEW OF EFFECTS

Reverb Effects

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 many other factors. The MicroVerb 4 offers the following types of reverberation:
Concert Hall (Programs 00-09, 100-109)
This is a simulation of a large concert hall. Halls tend to be large rooms with lots of reflective surfaces, where sounds can swim around, changing timbre over time. This is a classic reverb which sounds good on just about anything. Try it on vocals, drums, acoustic, electric, or orchestral instruments.
Real Room (Programs 10-19, 110-119)
This algorithm gives you the sound of a medium size studio room. This algorithm uses a lot of processing power for a rich sound and smooth decay. It has a punchier, bigger sound than a Hall reverb, which makes it good for Rock and Dance music. The attack is also more reflective. It sounds good on drums, keyboards and guitars. This type also includes Nonlinear, Gated, and Reverse reverbs. for percussion and effects.
Plate Reverb (Programs 20-29, 120-129)
This is a simulation of a classic echo plate, a 4' by 8' suspended sheet of metal with transducers at either end used to produce reverb. Popular in the 1970s, it still prized for its transparent sound, particularly on vocals and guitars. It works well for a lush lead vocal, piano, or guitar, especially when looking for a classic rock and roll sound.

Reverb Parameters

Decay (Edit A)
The Reverb Decay determines how long the Reverb will sound before it dies away. Turning up the Reverb Decay will have the effect of increasing the rooms size. Generally, Classical, Jazz, and Ballad styles will use longer decay times than Up tempo Rock or Dance music. The LCD display will show the Decay time in Seconds and Milliseconds.

Hi Cut (Edit B)

The Hi Cut filter can be set between 059 Hz and 36.2 kHz or OFF, and attenuates all frequencies above this value by 6dB per octave. The lower the setting, the less high frequencies of the input are allowed to pass thru to the reverb effect. This controls the overall character of the room. Try a brighter sound on vocals, drums, and percussion, and a darker sound (i.e. lower Hi Cut frequency) on Acoustic Guitar, Piano, and Strings.
Chorus/Flange Effects (Programs 30-49, 130-149)
The Chorus and Flange effects alter the pitch and delay of a signal in various ways to produce layered timbres that are more complex than the original signal. Although
Chapter 3 Overview of Effects
some of these effects can sound similar to one another depending on the parameter settings, each is achieved differently and can be quite dramatic under the right circumstances. Pitch effects are achieved by splitting the signal into at least two parts, effecting the pitch of one of the parts, then mixing them back together. This eventual mixing is essential since the overall sound of the effect is achieved by the difference between the dry, uneffected signal and the effects signal. Therefore, when using Chorus or Flange, its best to keep the Mix control around 50%. Also included in this bank is Auto Pan, which pans a mono signal from Left to Right. This type of effect works best with the Mix control set 100% wet. The various types of Chorus and Flange are:

LEFT FLANGED OUTPUT

DELAY RIGHT FLANGED OUTPUT

Auto Pan

The Auto Pan effect alternates the loudness of the signal in opposite channels at a definable rate. This effect may be triggered by the input signal (either the left or right input, or both). It can also be used for Tremolo effects, creating a fast panning effect for surf guitar. Edit A controls the speed of the panning effect and Edit B controls the width of the pan. When using the Auto Pan effect, the MicroVerb 4 should have its effects mix 100% wet with no direct signal mixed in to avoid phase problems.

Chorus/Flange Parameters

MicroVerb 4 Reference Manual 25

Rate (Edit A)

The Rate control sets the speed of the Chorus or Flanging sweep. When the Edit A knob is turned, the LCD display will show the edited sweep frequency in Hertz.

Depth (Edit B)

The Depth control sets the intensity of the Chorus or Flanger sweep. The LCD display will show the depth in a scale from 0 to 127 (0-125 for Flangers). Tip: Faster Choruses or Flangers typically sound better with a shallower depth than slower ones.
Delay Effects (Programs 50-59, 150-159)
Delay is a discrete echo repeat, unlike the rapid wash of repeats that create reverb effects. It is useful for adding depth to a track or performance if a reverb is muddying up the mix. There are several types of Delay in the delay bank:

Mono Delay

This subtype provides a delay of up to 1270 ms. The delay time can be adjusted separately by 10 millisecond increments. Feedback is also available to increase the number of delay repeats.

Stereo Delay

This Single Configuration provides two separate delays. Typically, the Edit A knob controls one side, and the other changes in proportion. The delay time can be adjusted separately by 5 ms increments.

Ping Pong Delay

So called because the output bounces from left to right in stereo with the speed determined by the delay time. The delay can be adjusted in 5 ms increments, and feedback is adjustable from 0-99%.

MultiTap Delay

This is like having three delays at once. They are usually arranged in a rhythmic delay pattern. The Edit A knob scales all of the delay times so that you can make the delay rhythm fit the tempo of a song.

Delay Parameters

Time (Edit A)
This control sets the time between the input signal and the first delay tap. On the Multi Tap Delay and Stereo Delay programs, the Edit A knob will scale all of the delays by a percentage. The LCD display will show you the delay time in Seconds and Milliseconds, or (in the case of Multi Tap and Stereo Delays) percentage of the time scaling.

Feedback (Edit B)

After a signal has gone through the delay processing, it is fed back to the delay input. The Feedback control sets what percentage of the signal will go back through the delay. At a setting of 0%, no signal will go back through the delay, so only one delay
tap will be heard. At a setting of 10%, only a little signal will be fed back through the delay, so the signal will repeat back a few times before fading into silence. At a Feedback setting of 100%, the signal will continue repeating for a few minutes before decaying into silence.
Setting Delay Time Using Tap Tempo
You can adjust the delay time using a technique called tap tempo. If you connect a footswitch to the ring of the Footswitch jack, it can be used as for Tap Tempo. (See Chapter 2, Footswitch, for connection instructions.) By tapping on the Control footswitch in tempo with the song, you can get a delay which repeats in time with the music. The MicroVerb 4 can also set its Delay Time by playing audio into the Inputs. To set the delay time using this method, hold down the Control Footswitch and play some quick notes into the MicroVerb 4. See Chapter 2, Footswitch, for details.
Pitch Shifter Effects (Programs 60-69, 160-169)
The Pitch shifter in the MicroVerb 4 takes the Pitch of the input signal and shifts it higher or lower by a fixed amount. Pitch shifters are useful for creating instant parallel harmonies and for creating subtle chorusing effects. The Pitch Shifters in the MicroVerb 4 include:

Stereo Pitch Shifter

The Pitch Shifter effect transposes the pitch of the incoming signal by a fixed amount. It is useful for creating parallel harmonies, detuning, chorusing, and special effects. The Semi (Edit A) parameter shifts the pitch in increments of one half step, with a range of up or down one octave. The Fine (Edit B) parameter detunes the signal in very fine increments, with a range of up or down one half step.

The Left input again feeds a Room reverb and the Right input feeds a Stereo Flanger. Edit A controls the Reverb Time (in seconds) and Edit B controls the Flanger Rate (in Hertz).
Description of Controls Chapter 4

CHAPTER 4

DESCRIPTION OF CONTROLS

Front Panel

Input Level
The Input Level controls the level of the signal being fed into the MicroVerb 4. The MicroVerb 4 can operate with signal levels anywhere from +4dBv Pro Audio gear to guitar level signals. To set the input level, watch the Input Meters while adjusting the Input level (see below).

Mix Level

The Mix Level controls the balance between the uneffected signal coming through the inputs and the effects being generated by the MicroVerb 4. When the Mix is turned all the way to the left, the input signal will be sent straight to the output with no effects added. When the Mix is turned all the way to right, only the effects will be sent to the outputs with none of the original input signal mixed in. By keeping the Mix somewhere in the center, a blend of dry and wet signal can be achieved. With a typical instrument setup (use with a guitar amp, etc.) the Mix is usually set around 12 oclock. When used with a mixing console, the Mix control should be turned all the way to the right (full wet) so that the effects mix can be controlled from the mixer.

Output Level

The Output Level controls the volume of the signal from the output of the MicroVerb 4. The optimum level for this control is 75%, but it can be raised or lowered as necessary.

Level Meters

These peak-style meters monitor the signal strength of the unprocessed inputs, and are used in much the same way as the level meters on a standard tape recorder. Since the MicroVerb 4 is a True Stereo device, both the Left and Right inputs are shown separately as they may be performing different functions. When the red Clip LEDs are lit, the input signal may be distorted so the Input level should be backed off. If the bottom -32dB LEDs are barely coming on, the input signal is not high enough and the resulting sound from the MicroVerb 4 may be noisy. Ideally, the Input signal level should be set so that the input lights the first two or three LEDs. The Clip indicators may light up even if the signal level has not passed the -6dB level. If this happens, it means that the signal is clipping internally, probably on a regenerating program like a reverb or a flange with lots of feedback. If this happens simply back off the Input level until the problem goes away.

LED Display

When the MicroVerb 4 is first turned on, it will always cycle through a simple test mode. First, all LED segments in the display will light up. Then, it will display the software version installed (i.e. 1.00). Finally, it will return to the Program Number
Chapter 4 Description of Controls
which was last selected. (Note: When the MicroVerb 4s power is disconnected, any edits to the currently selected Program will be lost.) The MicroVerb 4s display is used to indicate the following:

VALUE Knob

When no other button is being pressed, the Value Knob is used to change Programs. If the Bank/MIDI button is held while the Value Knob is being turned, the MicroVerb 4 will change its MIDI channel.

Edit A/ Edit B Knobs

The Edit A and Edit B knobs are used to adjust aspects of the currently selected Program. For example, on a Concert Hall program, the Edit A knob adjusts Reverb Decay Time and the Edit B knob adjusts Reverb Input Hi Cut. When the Edit A or Edit B knobs are adjusted, the new parameter registers briefly on the display.

Rear Panel

This is a plug for connecting the Alesis Model P3 +9VAC power supply (supplied). The power supply is then connected to an AC outlet delivering a nominal 120VAC. The correct power supply must be used AT ALL TIMES. Any other power supply might create a fire risk and/or permanently damage your unit. This damage would NOT be covered under your warranty.
This is a 1/4" stereo phone jack which connects to one or two momentary (not latching) footswitches, either normally-open or normally-closed. When one footswitch is plugged into the Footswitch jack, it will function as a Bypass footswitch. When the Footswitch is pressed, the display will read bYP, the display will dim, and the MicroVerb 4 will stop producing effects. If the footswitch is pressed again, effects output will continue. Two footswitches can be connected if a simple adapter cable is used, similar to an Insert cable:
When this setup is used, the footswitch connected to the Tip functions as a Bypass footswitch. The footswitch connected to the Ring functions as a Control footswitch. For more information, see Chapter 2, Footswitch.

MIDI In

This is a 5-pin DIN standard MIDI plug which connects to any MIDI compatible equipment such as a MIDI sequencer that will send program changes and controller information to the unit.

MIDI Out/Thru

This is a 5-pin DIN standard MIDI plug which connects to any MIDI compatible equipment such as a keyboard or another effects device. It is provided for sending system exclusive commands for storing programs. It also relays all messages received on the [MIDI IN].
Input (Left/Mono & Right)
These are 1/4" phone jacks which connect to sources such as the effects sends of mixing consoles. They may be used with nominal input levels from -10dBV (guitar level) to +4dBu. For mono applications, use the [LEFT/MONO] input. The [LEFT/MONO] input jack is normalled to the [RIGHT] jack. This means that when nothing is plugged into the [RIGHT] input jack, the signal present at the [LEFT/MONO] input is routed to the [RIGHT] as well.
Output (Left & Right)
These are 1/4" phone jacks which connect to devices such as the effects returns on a mixing console or Power Amplifier Inputs. For mono applications, use the [LEFT] output.

Customers outside the USA and Canada: Contact your local Alesis distributor for any warranty assistance. The Alesis Limited Warranty applies only to products sold to users in the USA and Canada. Customers outside of the USA and Canada are not covered by this Limited Warranty and may or may not be covered by an independent distributor warranty in the country of sale. Do not return products to the factory unless you have been given specific instructions to do so.
MIDI Implementation Chart
MIDI IMPLEMENTATION CHART

Function

Basic Channel Mode Note Number Velocity Default Changed Default Messages Altered True Voice Note On Note Off Keys Chs X X X

Transmitted

Recognized
Mode 3 X X X X X X X X O X O O X X X X X X X X X

Remarks

******** ********

********

X X After X Touch X Pitch Bender X Control 0,1, 11 X Change 210,X Prog X Change True # ** System Exclusive O System Song Pos X Common Song Sel X Tune X System Clock X Realtime Commands X Aux Local On/Off X Messages All Notes Off X Active Sense X Reset X Notes

******

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO O : Yes X : No
MidiVerb 4 Reference Manual

Specifications

SPECIFICATIONS

Electrical

Frequency Response: Dynamic Range: Distortion: Crosstalk: 1dB from 20Hz to 20 kHz >90dB "A" wtg., 20 Hz-22kHz <0.009% @ 1kHz, nominal level (-12 dBfs) <0.005% @ peak level <90dB below full scale
Number of Channels: Format: Nominal Level: Maximum Level: Impedence: 2 1/4" unbalanced -10 dBV, adjustable to +4 dBv +10 dBV 1MW/channel stereo, 500kW/channel mono

A/D - D/A Conversions

Processor Speed: Processor Memory: A/D converter: D/A converter: 3 MIPs (million instructions per second) 64K x 16 bits 18 bit Sigma-Delta, 128 times oversampling 18 bit Sigma-Delta, 8 times oversampling

Output

Number of Channels: Format: Maximum Level: Nominal Level Output Impedance: 2 1/4" unbalanced +17.5dBu -20 dBV or +4dBu, front- panel adjustable 500 ohms
Controls INPUT OUTPUT EDIT A STORE LED Display LED Peak Meters 1/4" 2-conductor 1/4" 2-conductor 1/4" Stereo (accepts normally open or normally closed momentary footswitches, such as the Alesis PD, and Stereo Footswitches) 5 pin DIN 9 Volt Power Transformer (Alesis P3) MIX VALUE EDIT B BANK/MIDI

Buttons Indicators

Input (LEFT/MONO, RIGHT) Output (LEFT, RIGHT) FOOTSWITCH MIDI (IN, OUT) Power

Processing and Memory

User Programs (RAM): 100
Factory Preset Programs (ROM): Internal processing resolution: Delay memory: Reverb effects: Delay effects: Pitch effects: Special effects:

PAGE 3

Decay 80

LPF 22.8

B EDITED

PDly 150

PMix 000

2 Page Numbers

. Depending on the Configuration, there will be up to four pages available in Edit mode. In this example, only three pages are available.

Selected Page

. The currently selected page will be indicated by a box around its number. In this example, page 1 is currently selected. Each time you press the [PAGE] button, the display will advance to the next page. Each page in Edit mode contains up to four parameters. whose names will appear at the top of the display, above their value settings.

Parameter Name Strip

Parameter Values and Bar Graphs
. Each parameter is shown with both a numerical value and a bargraph. As you adjust a parameter, both its numerical value and bargraph will change in relation to the [VALUE] knobs position. The type of units a parameter uses will be shown as well (dB, mSec, kHz, etc.).
A, B, C, D and EDITED Indicators. Each parameter in the selected page is
designated by a letter (A, B, C or D), which indicates which button ([A], [B], [C] or [D]) should be pressed to select the desired parameter for editing. Once a parameter has been edited, the word EDITED will appear below it.
To edit effect parameters:
Press the [PAGE] button to enter Edit mode.
This selects the first page of effect parameters, if you are editing the Program for the first time. There are usually two or more pages available in Edit mode, depending on the Programs Configuration. The exact number of pages available will be indicated by the numbers illuminated in the bottom-left corner of the display. Repeatedly pressing [PAGE] advances through the available pages. The currently selected page will have a box around its number. Each page contains up to four parameters, which are labeled with abbreviated names directly above each.
Press one of the [A], [B], [C] or [D] buttons to select a parameter in the currently
selected display page. The parameter will flash indicating it is selected for editing.

Press [STORE] again.

The [STORE] buttons LED will momentarily flash quickly, while the display reads:

Program nnnnnnnn Stored!

whereby nnnnnnnn is the Programs name. The [STORE] button will turn off and the display will revert to wherever it was before [STORE] was pressed for the first time.

Bypassing Effects

At any time you can bypass the effects, thereby allowing the direct signal to pass through the MidiVerb 4 unchanged. This can be done in two ways: by simultaneously pressing both the [PROG] and [UTIL] buttons on the front panel; or, by connecting a footswitch to the [FOOTSWITCH] jack and pressing the footswitch. This requires that the [FOOTSWITCH] jack be set to trigger the Bypass function, which is located among the UTILity functions.
Each time the [PROG] and [UTIL] buttons are pressed, or the footswitch connected to the [FOOTSWITCH] jack is pressed, Bypass mode is toggled on and off again. When Bypass mode is turned on, the [BYPASS] LED will be lit. To set the [FOOTSWITCH] jack to the Bypass function:
Press [EDIT/PAGE] until page 1 is selected.
Footswitch Dry Defeat Press [B] to select the Footswitch parameter. Turn the [VALUE] knob to set the Footswitch parameter to Bypass mode (bYP).

Connections Chapter 2

CHAPTER 2

CONNECTIONS

AC Power Hookup
The MidiVerb 4 comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60 Hz). With the MidiVerb 4 off, plug the small end of the power adapter cord into MidiVerb 4s [POWER] socket and the male (plug) end into a source of AC power. Its good practice to not turn the MidiVerb 4 on until all other cables are hooked up.
Alesis cannot be responsible for problems caused by using the MidiVerb 4 or any associated equipment with improper AC wiring.
Line Conditioners and Protectors
Although the MidiVerb 4 is designed to tolerate typical voltage variations, in todays world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascending order of cost and complexity: Line spike/surge protectors. Relatively inexpensive, these are designed to protect against strong surges and spikes, acting somewhat like fuses in that they need to be replaced if theyve been hit by an extremely strong spike. Line filters. These generally combine spike/surge protection with filters that remove some line noise (dimmer hash, transients from other appliances, etc.). Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS provides power even if the AC power line fails completely. Intended for computer applications, a UPS allows you to complete an orderly shutdown of a computer system in the event of a power outage, and the isolation it provides from the power line minimizes all forms of interferencespikes, noise, etc.

Stereo. In the case where a stereo instrument (such as a keyboard or sampler) is connected to two separate channels of a mixing console, you will need two 1/4" TRS cables, one for each channel. The connection is made in a similar fashion as described above.

Using Main Outputs

When you want to effect everything on the mixer, you can connect the MidiVerb 4 between the mixers outputs and the amplifiers or tape machines inputs. This is done by using two 1/4" mono cables to connect the Left and Right Main Outputs of the mixing console to the [LEFT/CH.1] and [RIGHT/CH.2] inputs of the MidiVerb 4. The [LEFT/CH.1] and [RIGHT/CH.2] outputs of the MidiVerb 4 are then connected to a stereo amplifier, or two input channels of another mixing console (for sub-mixing applications).

Avoiding Ground Loops

In todays studio, where it seems every piece of equipment has its own computer chip inside, 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. Here are some easy helpful hints that a professional studio installer might 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 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 (turn it around in the socket) until the quietest position is found. C) Make sure that all of the audio cables are in good working order. Cables with a detached ground wire will cause a very loud hum!! D) Keep all cables as short as possible, especially in unbalanced circuits. If the basic experiments dont uncover the source of the problem, consult your dealer or technician trained in proper studio grounding techniques. In some cases, a star grounding scheme must be used, with the mixer at the center of the star providing the shield ground on telescoping shields, which do NOT connect to the chassis ground of other equipment in the system.
MIDI (Musical Instrument Digital Interface) is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. The MIDI connections on the MidiVerb 4 provide four different functions: To recall Programs using MIDI program change messages To control (modulate) parameters inside the MidiVerb 4 in realtime via MIDI controllers (example: A keyboards mod wheel, or pedals, etc.) To send and receive Sysex (System Exclusive) dumps of individual programs or the entire bank of programs for storage and retrieval purposes To pass-on MIDI information thru the MidiVerb 4 to another MIDI device.
To connect the MidiVerb 4s MIDI ports to another MIDI device:
Connect a MIDI cable from the MidiVerb 4s MIDI [IN] connector to the other
MIDI devices MIDI OUT connector.
Connect another MIDI cable from the MidiVerb 4s MIDI [OUT/THRU] connector
to the MIDI IN connector of the other MIDI device. Note: It is not necessary to follow step 2 if you intend to only send information to the MidiVerb 4, and do not need to receive information back from it. Example: If you only want to be able to recall Programs using MIDI program change messages, there is no need to connect a cable to the MidiVerb 4s [OUT/THRU] connector. For more information about MIDI and Modulation, refer to chapter 6.

Footswitch

On the rear panel you will find a footswitch jack labeled [FOOTSWITCH]. This footswitch has three functions, which can be selected using the [UTIL] button: An program advance function (Advance) An effects bypass function (Bypass) A tap tempo control for Delay effects (Control)

Delay & DLY

These effects are mono, less processor-intensive versions of the Stereo Delay effect, used in the Multi Chain Configurations Delay->Realroom, Chorus->Dly->Room and Flange->Dly->Room; the Double Configuration Realroom+Delay; and the Dual Mono Configurations Delay:Delay, Chorus:Delay and Flange:Delay. They provide only high frequency cutting ability with no control over the low frequencies.
Setting Delay Time Using Tap Tempo
You can adjust the delay time using a technique called tap tempo. By tapping the button which corresponds to the Tap parameter, you can have the MidiVerb 4 follow your tapping and adjust its delay time to match the tempo you are using. If the Footswitch parameter (UTILity mode) is set to Control, you can tap your delay time by repeatedly pressing down on the footswitch. You can also adjust the delay time using tap tempo from the audio source being routed to the MidiVerb 4s input(s). This can be done in two ways: Hold the button which corresponds to the Tap parameter; or Hold down the footswitch (if the Footswitch parameter is set to the Control function).
While using either of these methods, feed signal to the MidiVerb 4. This could be done by hitting a drum, plucking notes on a guitar or keyboard, or by singing some doot doots into a microphone (depending on what is connected). Note: When the Footswitch parameter is set to the Control function, you can control tap tempo as described above while in either Program mode ([PROG] button lit) or Edit mode ([EDIT/PAGE] button lit), unlike when using the front panel for tap tempo which requires that you be in Edit mode. For more information on connecting a footswitch and selecting the Footswitch parameters function, see Chapter 2.

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. Although some of these effects can sound similar to one another depending on the parameter settings, each is achieved differently and can be quite dramatic under the right circumstances. Pitch effects are achieved by splitting the signal into at least two parts, effecting the pitch of one of the parts, then mixing them back together. This eventual mixing is essential since the overall sound of the effect is achieved by the actual difference between the dry, uneffected signal and the effects signal. The various types of Pitch change are:

Chapter 5 Description of Controls way as the level meters on a standard tape recorder. The meters shown in this example are idle, indicating that there is no input signal activity. Normally, these are labeled as L and R. However, when the selected Program uses a Dual type Configuration (two mono effects), these will be labeled as CH1 and CH2. For more information on Dual Configurations, see Chapter 3.
When editing a Program, the display changes slightly to indicate additional information. Once in Edit mode, the display will look something like this:
Decay LPF PDly PMix PRESET 395 2@8 150 000
Page Numbers. Depending on the Configuration, there will be up to four pages available in Edit mode. In this example, only three pages are available. Selected Page. The currently selected page will be indicated by a box around its number. In this example, page 1 is currently selected. Each time you press the [EDIT/PAGE] button, the display will advance to the next page. Parameter Name Strip. Each page in Edit mode contains up to four parameters. whose names will appear at the top of the display, above their value settings. Parameter Values and Bar Graphs. Each parameter in the selected page is shown with both a numerical value and a bargraph. As you adjust a parameter, both its numerical value and bargraph will change in relation to the [VALUE] knobs position. The type of units a parameter uses will be shown as well (dB, mSec, kHz, etc.). A, B, C, D and EDITED Indicators. Each parameter in the selected page is

BYPASS LED Indicator

The [BYPASS] LED will be lit whenever Bypass mode is enabled. Bypass mode can be toggled on and off by simultaneously pressing the [PROG] and [UTIL] buttons, or by pressing a footswitch connected to the [FOOTSWITCH] jack (if the footswitch is switched to act as a Bypass function; see UTILity Button, next page).

VALUE Knob

The [VALUE] knob is used to raise or lower the selected value in the display by turning either clockwise or counterclockwise. If the [PROG] button is lit, turning the [VALUE] knob lets you scroll through the internal Programs. When an effect parameter is selected (flashing in the display), turning the [VALUE] knob will alter its value.

PROGram Button

The [PROG] button is used to select Program mode. When Program mode is selected, the [PROG] button will be lit. The [VALUE] knob may then be used to scroll through programs. The [PROG] button is also used to toggle between the Preset and User banks. The display will show either "PRESET" or "USER" indicating the currently selected bank. The [PROG] button is also used in conjunction with the [UTIL] button to toggle between "BYPASS" ON and "BYPASS" OFF.

Foostwitch Dry Defeat

Page 2: Cascade Mode. This applies only to Programs with Dual Configurations. Use [D] to toggle Cascade mode on and off. When Cascade mode is turned on, the output of channel 1s effect is routed internally to the input of channel 2s effect.

Dual Programs: Cascade

Page 3: MIDI. Three functions are available in Utility page 3, all dealing with MIDI. The first is MIDI Channel (Chan), which can be selected by pressing [B] and using the [VALUE] knob to select a channel from 1 to 16, or to 00 for Omni mode (all 16 channels simultaneously). The next function, MIDI-Thru (Thru), can be toggled on and off by pressing [C]. When turned on, the MidiVerb 4 allows the MIDI data received at the [MIDI IN] port to be passed through to the [MIDI OUT/THRU] port. The third functionis Program Change Enable (PChg). This can be set by pressing [D] and using the [VALUE] knob to either Off, On or Table. When set to off, the MidiVerb 4 ignores program change messages. When set to on, incoming MIDI program change messages received on the same channel the MidiVerb 4 is set to will recall the same numbered User Program. When set to table, the MidiVerb 4 will use the Program Change Table (see below) to remap incoming program change messages.

MIDI: Chan Thru PChg

Page 4: Modulators. This is where you select the two MIDI modulation sources which will be used for all Programs to control their parameters. The parameters these control depend on the selected Programs Configuration. For example, in all Reverb Configurations, Modulator X controls the Reverb Decay Time, while Modulator Y controls the Wet/Dry Mix. Either Modulator can be assigned to: Pitch Bend, Aftertouch, Note Number, Velocity or a Controller from 000119. Each Modulators amplitude can be set between -99 and +99. The default settings are: Mod#X = 001 (modulation wheel), Mod#Y = 007 (volume), Amp X and Y = 000. For more information and a list of the modulated parameters in each Configuration, see Chapter 6.

Mod#X AmpX Mod#Y AmpY

Page 5: Program Table. The Program Table allows you to intercept incoming program change messages and have them recall specific Programs (in either the Preset or User bank) which may not be the same number as the program change message received. There are 128 different possible MIDI program change messages (000 127). However, the MidiVerb 4 has 256 Programs to choose from. Therefore, the Program Table allows us to choose which of the 256 Programs will be recalled when certain program change numbers are received. The first value in the display indicates the MIDI program change you wish to remap (000127). The second value indicates the Program you wish to be recalled (00127 Preset (Pset) and 00127 User). You can remap each of the 128 program change numbers, if so desired.

Auto Level

When both [INPUT] and [OUTPUT] buttons are pressed simultaneously, the Auto Level function is activated. This function listens to the signal present at the input jacks and sets the input level to an appropriate value. The Auto Level function listens for a period of five seconds. During this time, you should feed signal to the MidiVerb 4s inputs (i.e. play your guitar or keyboard, or playback tape). To cancel the Auto Level function once it has been engaged, press any button on the front panel. To extend the Auto Levels listening time beyond the normal five second period, hold down the footswitch pedal (connected to the [FOOTSWITCH] jack) during the listening process. The Auto Level function will continue listening until the footswitch pedal is released.

Rear Panel

This is a plug for connecting the +9VAC power supply (supplied). The power supply is then connected to an AC outlet delivering a nominal 120VAC. The correct power supply must be used AT ALL TIMES. Any other power supply might create a fire risk and/or permanently damage your unit. This damage would NOT be covered under your warranty.
Bypass/Advance Footswitch
This is a 1/4" phone jack which connects to a footswitch, either normally-open or normally-closed. This footswitch can perform either one of two functions: Bypass or Advance. The function is selected from the UTILity mode. When set to the Bypass function and the footswitch is pressed, the signal will bypass the effects chain allowing an instant comparison between the dry and wet signal. The red [BYPASS] LED on the front panel will illuminate. When set to the Advance function and the footswitch is pressed, the currently selected program number is advanced by one. When 127 is reached it will rollover to 00.
Note: The footswitch can also be used in conjunction with the Auto Level feature to extend the input level sensing time. Normally the input sensing discontinues five seconds after it has been activated. However, if the footswitch is held down anytime during input level sensing process, the Auto Level function will continue sensing the inputs indefinitely until the footswitch is released. When this is done the footswitch will not perform its normal function, whether set to Bypass or Advance mode. Once the footswitch is released and level sensing ceases, the footswitch returns to its assigned function. For more information about the Auto Level function see INPUT and OUTPUT Buttons, earlier in this chapter.

PDly 000-250 Gate OFF, 000-500 Fdbk 00-99
CMix 000-100 DMix 000-100 Diff 000-100 RMix 000-100 FMix 000-100 DMix 000-100 Diff 000-100 RMix 000-100 Diff 000-100 RMix 000-100 1ms 0-9 DMix 000-100 PMix 000-100 RMix 000-100 CMix 000-100 CMix 000-100

REALROOM+ FLANGE

CHORUS: DELAY
Decay !0-7%8 Dens 000-100 Rate )0-(9 Trig 0fffffffFF, L, r, Lr Rate )0-(9
LPF 059-3^2, OFF Diff 000-100 Depth 000-250 Attck 000-255 Depth 000-255 Wave Sin, tri 100ms 0-5 LoCut OFF, 059-3^2 Rate )0-(9 Wave Sin, tri 100ms 0-5 LoCut OFF, 059-3^2 Fine -50-50 LoCut OFF, 059-3^2 100ms 0-5 LoCut OFF, 059-3^2
PDly 000-250 Gate OFF, 000-500 Fdbk -99-99 Rel 000-255 Fdbk 00-99
PMix 000-100 RMix 000-100 Wave Sin, tri FMix 000-100 PDly 000-250 Mix 000-100 1ms 0-9 Mix 000-100 Fdbk -99-99 Mix 000-100 1ms 0-9 Mix 000-100 Fdbk 00-99 Mix 000-100 1ms 0-9 Mix 000-100

Tap --Fdbk 00-99

FLANGE: DELAY
Tap --Fdbk 00-99 Semi -12-12
10ms 0-9 HiCut 059-3^2, OFF Depth 000-250

PITCH: DELAY

10ms 0-9 HiCut 059-3^2, OFF PDly 000-250 HiCut 059-3^2, OFF 10ms 0-9 HiCut 059-3^2, OFF
Advanced Applications Chapter 6

CHAPTER 6

MIDI APPLICATIONS

MIDI Functions

The MidiVerb 4 provides many MIDI functions, including being able to respond to program changes, sending and receiving Program information via Sysex (System Exclusive) dumps, and realtime control over effect parameters via MIDI controllers. For more information about basic MIDI connections, see Chapter 2.

MIDI Channel

The MIDI Channel is used to receive program change messages, as well as other MIDI events for use with the realtime modulation capabilities in the MidiVerb 4. To set the MidiVerb 4s MIDI channel:
Press the [EDIT/PAGE] button until page 3 is selected.
The display will look like this:
MIDI: Chan Thru PChg PRESET 01 0FF

PAGE 5 6

Press [B] to select the MIDI Channel parameter.
The current MIDI Channel value will be flashing to indicate it is now selected for editing. In the example above, the MIDI channel is set to 01.
Turn the [VALUE] knob to set the MIDI Channel to either 01 through 16, or 00 for
Omni mode (receives on all 16 channels simultaneously).

MIDI Thru

In order to pass on MIDI information from a control device thru the MidiVerb 4 to another MIDI device:
Connect the control devices MIDI OUT to the MidiVerb 4s [MIDI IN]. Then
connect the MidiVerb 4s [MIDI OUT] to the MIDI IN of the other device you wish to control.
Press [UTIL], then press the [EDIT/PAGE] button until page 3 is selected. Press the [D] button to turn MIDI Thru On.
Chapter 6 Advanced Applications

program change message to be re-mapped to (User 000127 or Preset 000127). If the [VALUE] knob is turned counterclockwise so that the value goes below User 000, the upper display will change to Pset indicating you are selecting a Program in the Preset bank.

Sysex Storage

In order to send and receive Program information via Sysex (System Exclusive) dumps using a computer, or some other Sysex storage device, or another MidiVerb 4:
Connect the other devices MIDI OUT to the MidiVerb 4s [MIDI IN]. Connect the
MidiVerb 4s [MIDI OUT] to the other devices MIDI IN. This provides two-way communication between the devices.
Press [UTIL], then press [EDIT/PAGE] button until page 6 is selected.
The [UTIL] button will now be flashing, and the display will read:
Send MIDI Sysex: All Use the [VALUE] knob to select All User Programs (All), or the currently selected
Program (Buffer), or the Program Change Table (Table).
Set the receiving MIDI device to receive or record the MIDI information about to
be sent from the MidiVerb 4.
Press the flashing [UTIL] button to transmit.
The [UTIL] button will briefly flash rapidly and the display will read:
Transmitting Sysex. When you send a Sysex dump back to the MidiVerb 4, it will automatically go
into receive mode (you do not have to do anything special). When this occurs, the display will momentarily read:

RECEIVING MIDI DATA.

Note: If an error occurs while receiving Sysex data back into the MidiVerb 4, the display will briefly indicate:

!!! SYSEX DATA ERROR !!!

If this occurs, try sending the data again. If the problem persists, it may indicate a bad MIDI cable connection or a problem with the data itself.
Realtime Modulation Functions
You can use various MIDI messages (such as note number, velocity, aftertouch, or pitch-bend, etc.) to simultaneously control up to two parameters in the MidiVerb 4, such as delay time, room size, etc. Modulation functions are hard-wired in each Configuration, and therefore cannot be changed. However, you can select which two types of MIDI messages will act as the modulation sources, and you can adjust how much they will affect the MidiVerb 4s parameters by either a positive or negative amount. The two parameters in each Configuration which can be modulated via MIDI have been chosen very carefully to provide the most-desired modulation combinations. The two modulation sources are designated as Modulator X and Modulator Y. In the Utility mode, you can select the type of MIDI message which will be designated as each Modulator. The parameters that Modulators X and Y control are determined by the selected Programs Configuration. Example: If using any of the Stereo Reverb Configurations, Modulator X controls the Reverbs decay time, while Modulator Y controls the Reverbs wet/dry mix. Keep in mind that both Modulator X and Y can be assigned to the same MIDI message. Therefore, a single MIDI source can modulate two different parameters simultaneously.

Refer All Servicing to Alesis
We believe that the MidiVerb 4 is one of the most reliable multi-effects processors that can be made using current technology, and should provide years of trouble-free use. However, should problems occur, DO NOT attempt to service the unit yourself. High voltage/high current DC voltages are present at several points within the chassis. Service on this product should be performed only by qualified technicians. NO USER-SERVICEABLE PARTS INSIDE.

Obtaining Repair Service

Before contacting Alesis, check over all your connections, and make sure youve read the manual. Customers in the USA: If the problem persists, call Alesis USA at 1-800-5-ALESIS and request the Product Support department. Talk the problem over with one of our technicians; if necessary, you will be given a return authorization (RA) number and instructions on how to return the unit. All units must be shipped prepaid and COD shipments will not be accepted. For prompt service, indicate the RA number on the shipping label. If you do not have the original packing, ship the MidiVerb 4 in a sturdy carton, with shock-absorbing materials such as styrofoam pellets (the kind without CFCs) or bubble-pack surrounding the unit. Shipping damage caused by inadequate packing is not covered by the Alesis warranty. Tape a note to the top of the unit describing the problem, include your name and a phone number where Alesis can contact you if necessary, as well as instructions on where you want the product returned. Alesis will pay for standard one-way shipping back to you on any repair covered under the terms of this warranty. Next day service is available for a surcharge. Field repairs are not normally authorized during the warranty period, and repair attempts by unqualified personnel may invalidate the warranty.
Service address for customers in the USA: Alesis Product Support 3630 Holdrege Avenue
Los Angeles, CA 90016 Customers outside the USA: Contact your local Alesis dealer for warranty assistance. Do not return products to the factory unless you have been given specific instructions to do so. Note that the warranty is valid only in the country of origin.
MIDI Implementation Chart
MIDI IMPLEMENTATION CHART

Function

Basic Channel Mode Note Number Velocity Default Changed Default Messages Altered True Voice Note On Note Off Keys Chs X

Transmitted

Recognized
Mode 3 X O O X O O O O O X X X O X X X X X

Remarks

********
After Touch Pitch Bender Control Change Prog Change True #

X X X X X X X

O X X X O X X X X X
System Exclusive System Song Pos Common Song Sel Tune System Clock Realtime Commands Aux Local On/Off Messages All Notes Off Active Sense Reset Notes
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO

O : Yes X : No

Specifications

SPECIFICATIONS

Electrical
Frequency Response: Dynamic Range: Distortion: Crosstalk: 1dB from 20Hz to 20 kHz >90dB "A" wtg., 20 Hz-22kHz <0.009% @ 1kHz, nominal level (-12 dBfs) <0.005% @ peak level <90dB below full scale
Number of Channels: Format: Nominal Level: Maximum Level: Impedence: 2 1/4" unbalanced -10 dBV +10 dBV 1M/channel stereo, 500k/channel mono

A/D - D/A Conversions

Processor Speed: Processor Memory: A/D converter: D/A converter: Sampling Frequency: 3 MIPs (million instructions per second) 64K x 16 bits 18 bit Sigma-Delta, 128 times oversampling 18 bit Sigma-Delta, 8 times oversampling 48 kHz

Output

Number of Channels: Format: Maximum Level: Nominal Level Output Impedance: 2 1/4" unbalanced +17.5dBu -20 dBV or +4dBu, front- panel adjustable 500 ohms
Controls Buttons Value PROG UTIL STORE INPUT OUTPUT Power Custom LCD display EDIT/PAGE A/NAME B/ESC C/< D/>

Switches Indicator

Input (Left/CH 1, Right/CH 2) Output (Left/CH 1, Right/CH 2) FOOTSWITCH MIDI (In, Out/Thru) Power 1/4" 2-conductor 1/4" 2-conductor 1/4" (accepts normally open or normally closed momentary footswitch, such as the Alesis PD) 5 pin DIN 9 Volt Power Transformer

Processing and Memory

User Programs (RAM): Factory Preset Programs (ROM): Internal processing resolution: Delay memory: Reverb effects: Delay effects: Pitch effects: 24 bit accumulator 1299 milliseconds Concert Hall, Real Room, Ambience, Plate Reverb, Nonlinear Mono Delay, Stereo Delay, Ping Pong Delay, Multi Tap Delay, BPM Mono Delay Stereo Chorus, Quad Chorus, Stereo Flange, Stereo Pitch Shifter Auto Pan
Special effects: Multiple effect configurations: Double: Real Room+Delay, Real Room+Chorus, Real Room+Flange Dual Mono: Delay:Delay, Chorus:Chorus, Flange:Flange, Pitch:Pitch, Chorus:Delay, Flange:Delay, Pitch:Delay Multi Chain: Delay->Real Room, Chorus->Real Room, Flange->Real Room, Lezlie->Room, Real Room->Flange, Chorus->Delay->Room, Flange->Delay->Room