The MicroVerb4 from Alesis is an easy-to-use programmable reverb and effects processor designed to provide a wide variety of great-sounding effects for small studios engineers and performing musicians. The unit offers 200 programs that include everything from high-quality reverb delay chorus and flange to multi-effects and more. To customize programs two front panel knobs allow for quick user-storable edits or the MIDI inputs can be used for control over program changes and modulation. Edited pr... Read more
Part Numbers: (db) DE6669, C4, MC4X110, MICROVERB, MICROVERB 4, MICROVERB-4, MICROVERB4, MicroVerb 4, MicroVerb4, microverb4
UPC: 00694318000854, 0694318000854, 6.94318E+11, 694318000854
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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
MIDI Applications.... 37
MIDI Functions..... 37 MIDI Channel.... 37 MIDI Thru..... 37 Receiving Program Changes... 37 Sysex Storage....38 Realtime Modulation Functions.... 38
Trouble-Shooting Index.... 39 Re-initializing.... 39 Checking the Software Version.... 39 Maintenance/Service... 40 Cleaning.... 40 Obtaining Repair Service.... 40
MIDI Implementation Chart... 42 Specifications.... 43
Your First Session with the MicroVerb 4 Chapter 1
YOUR FIRST SESSION WITH THE MICROVERB 4
Unpacking and Inspection
Your MicroVerb 4 was packed carefully at the factory, and the shipping carton was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the MicroVerb 4 for servicing. The shipping carton should contain the following items: This instruction manual Alesis MicroVerb 4 with the same serial number as shown on shipping carton AC Power Supply Adapter Alesis warranty card
It is important to register your purchase; if you have not already filled out your warranty card and mailed it back to Alesis, please take the time to do so now.
The MicroVerb 4 is designed to accommodate a number of applications, whether you are connecting an instrument directly into it, or connecting it with a mixing console. Briefly described here are the basic connections to get you up and running quickly. For more information on connections, please refer to Chapter 2. Mono In, Mono or Stereo Out. Connect a mono cord to the [LEFT/MONO] INPUT of the MicroVerb 4 from a mono source. (The Left input will then feed both inputs.) Connect another mono cord from the [LEFT] OUTPUT of the MicroVerb 4 to an amplification system or mixer input. Additionally, you could connect a second mono cord to the [RIGHT] OUTPUT for use with a stereo amplification system, or two mixer inputs. Stereo. Connect two mono cords to the [LEFT/MONO] & [RIGHT] INPUTS of the MicroVerb 4 from a stereo source , and two mono cords from the [LEFT/MONO] & [RIGHT] OUTPUTS of the MicroVerb 4 to a stereo amplification system or two mixer inputs.
INSTRUMENT OR EFFECT SEND
TO AMPLIFIER OR MIXING CONSOLE
DUAL CHANNEL PARRELL PROCESSOR
00-99 PRESET 100-199 USER
L INPUT R
If connecting to a mixing consoles aux sends/returns, you will want to adjust the output [MIX] so that the MicroVerb 4 outputs only wet (effected) signal.
After making your connections, turn on the systems power using this procedure:
Chapter 1 Your First Session with the MicroVerb 4
Before turning on the MicroVerb 4s power, check the following items:
Have all connections been made correctly? Are the volume controls of the amplifier or mixer turned down?
Plug in the power adapter and insert the Power jack into the [POWER] input on the rear panel of the MicroVerb 4.
Upon power-up, the display will briefly illuminate all front panel LEDs, display the Software version, and then display the last selected Program Number (00199 ).
Turn on the power of the amplifier/mixer, and adjust the volume.
Proper setting of the input and output levels is crucial in order to achieve the maximum signal-to-noise ratio. As a good rule of thumb, it is always best to set both input and output level controls at 3/4 or 75% of full. This will decrease the possibility of overload distortion and keep the amount of background noise to a minimum. If the Input Meters on the MicroVerb 4 begin to clip (go into the red), turn down the Input level or decrease the volume of the source (instrument, mixer send, etc.). If the MicroVerb 4s level is causing the mixer or amp to distort, turn the Output Level down.
Switching Between Preset and User Banks
To instantly switch between the Preset and User banks, press the [BANK] button. Each time you press the [BANK] button, the MicroVerb 4 will toggle back and forth between the Preset and User banks. The display will indicate this by showing a program in the 00-99 (Preset) range or the 100-199 (User) range. You can also switch between banks when scrolling through the Programs with the [VALUE] knob. When you scroll clockwise past Preset 99, the display will roll-over to User 100. Likewise, if you turn back the [VALUE] knob counterclockwise past User100, the display will move to Preset 99. However, if you turn back the [VALUE] knob counterclockwise past Preset 00, the display will not wrap around back to User 199 but instead will remain at Preset 00.
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:
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.
The connections between the MicroVerb 4 and your studio are your musics lifeline, so use only high quality cables. These should be low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Route cables to the MicroVerb 4 correctly by observing the following precautions: Do not bundle audio cables with AC power cords. Avoid running audio cables near sources of electromagnetic interference such as transformers, monitors, computers, etc. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance), or reduce the cables reliability. Avoid twisting the cable or having it make sharp, right angle turns.
Chapter 2 Connections
Although Alesis does not endorse any specific product, chemicals such as Tweek and Cramolin, when applied to electrical connectors, are claimed to improve the electrical contact between connectors.
The analog audio inputs and outputs are typically used in one of three ways: from one or two effect/aux send outputs of a mixer, and out to the effect return inputs of the mixer; or, from a line-level instrument (like a guitar or keyboard with either a mono or stereo output), and out to an amplifier or mixer input; or, from the stereo buss outputs of a mixer to a mix-down tape machine or amplifier.
When used with a mono source, the MicroVerb 4 is placed between the source and the mixer/amplifier. Although the source may be mono, both the [LEFT/MONO] and [RIGHT] outputs can be connected to the inputs of a mixer/amplifier if stereo processing effects are desired. If using the effect sends of a mixer, you have the advantage of sending any of the mixers input channels to the MicroVerb 4s input(s), and have control over the level of each channel being sent. These applications are outlined and illustrated in detail on the following pages.
Input Jack Wiring
The MicroVerb 4s [LEFT] INPUT jack is normalled to the [RIGHT] INPUT. This means that if you only connect a single mono cable to the [LEFT] INPUT jack, it will also be routed to the [RIGHT] INPUT. However, if anything is connected to the [RIGHT] INPUT jack, this normalized connection will be broken; therefore the [LEFT] INPUT jack feeds only the [LEFT] INPUT, and the [RIGHT] INPUT jack feeds only the [RIGHT] INPUT. Also, the [RIGHT] INPUT jack is NOT normalled to the [LEFT] INPUT.
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.
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
OVERVIEW OF 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.
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:
The Chorus effect is achieved by splitting the signal into three parts with a dry signal and a separate Detuning section for both left and right channels. The detuning is further effected by being modulated by an LFO (low frequency oscillator) which causes the detuning to vary. Many variables are available in this scheme: the Predelay can be varied, the LFO depth can be varied, the LFO speed can be varied, and a portion of the detuned signal can be fed back to the input to increase the effect. Finally, the waveform shape of the LFO can be changed from a smooth sine wave, to a more abrupt squarewave to make the pitch detuning more pronounced. Some of the MicroVerb 4s Choruses have individual LFOs controlling the Left and Right sides, set at different rates. These effects, called True Stereo Choruses, often have a wider stereo image than regular Stereo Chorus effects. When the Rate is changed on a True Stereo Chorus, the frequency difference between the Left and Right sides is maintained. Note: These Choruses process the Left and Right sides individually, so any stereo imaging will be maintained.
DRY SIGNAL FEEDBACK
LEFT CHORUSED OUTPUT
DETUNE RIGHT CHORUSED OUTPUT
FEEDBACK DRY SIGNAL
Quad Chorus modulates four delayed signals, each with its phase offset by 90. It gives you twice as much modulation effect as the Stereo Chorus, so its great for really fattening up a sound.
24 MicroVerb 4 Reference Manual
This is a less processor intensive version of the Stereo Chorus, used in Multi Effect configurations. The effect of Chorusing is achieved by splitting and slightly delaying one part of the signal, then varying the time delay with an LFO. The delayed signal is then mixed back with the original sound to produce a thicker, warmer sound.
First used in the 1960s, flanging was achieved by the use of two tape recorders that would record and play back the same program in synchronization. By slowing down one tape machine, and then letting it catch up with the other, different phase cancellations would occur at different frequencies. Since the slowing down of the tape machines was done by hand pressure against the flanges of the tape supply reels, the term flanging came into being. Flanging is similar to chorusing , but modulates the delayed signal over a much shorter delay range (typically 0-12 ms). This produces a jet airplane-like sound. The flange modulation sweep can be triggered by the audio input (either the left or right input, or both), in order to sync up with the rhythm of your playing. In the case of the Stereo Flange, the signal is split into four parts with a stereo dry signal and a separate Delay section for both left and right channels with one channel flanging up while the other channel flanges down. Once again, this causes the effect to become more pronounced and dramatic. True Stereo Flanges have individual LFOs controlling the Left and Right sides for a wider stereo image. Some of the Flange Programs reset their LFO every time the input level passes a set threshold. These are called Triggered Flanges, and are useful for sweeping effects that move in time with the music or part. If the flange is retriggered in the middle of its sweep, this may cause a thumping or popping effect. This is not a malfunction of the MicroVerb 4. If you set the input volume properly ( retriggering will occur when the input signal crosses -6dBv on the input meters), the flanger will only retrigger for attacks and produce a smooth, sweeping sound.
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.
Stereo Pitch Detuner
The Pitch Detuner has a range of plus or minus one half step in increments on 1 cent. It is useful for a slight chorus effect or for Half step shifts. The Shift L (Edit A) and Shift R (Edit B) parameters control the shift of the Left or Right output.
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
DESCRIPTION OF CONTROLS
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).
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.
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.
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.
Troubleshooting Chapter 6
If you are experience problems while operating the MicroVerb 4, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance.
The display does not light when the unit is powered on. Sound is distorted, Red Clip LEDs are lit Does not respond to MIDI program changes or modulation control. No audio is heard.
No power. Input level is too high.
Check that the power cable is plugged in properly.
Hum or noise from output. Unit does not respond to front panel controls.
Turn down the Input Level control. MIDI channel is set to a Hold [BANK/MIDI] and turn different number than the the [VALUE] knob to adjust controlling device. the MIDI channel. Bypass function is on Turn the Mix control to the with Mix turned 100% left or press the Bypass wet. Footswitch. Output level is too low. Turn the Output control to the right. Ground loop. Try plugging the unit into another power jack or different audio cables. Unknown software Disconnect MIDI input. conflict, cosmic rays, Power down and power up aliens, or static again. If this doesnt work, electricity. try reinitialization.
To re-initialize the MicroVerb 4, hold down both [STORE] and [BANK/MIDI] while turning on the power. This will reset all User Programs and the MIDI channel to their default values, and will recall Preset 00.
Important: The Programs in the User bank are erased when re-initializing the unit this way. Be sure you have stored these Programs into some sort of data storage device via MIDI System Exclusive before performing a re-initialization (see Chapter 6).
Checking the Software Version
The current software version is displayed when the MicroVerb 4 is powered on. To check the software version, plug in the Microverb 4 and note the number displayed.
Chapter 6 Troubleshooting
Disconnect the AC cord, then use a damp cloth to clean the MicroVerb 4s metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409 or Fantastik. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS! Spray onto a cloth, then use cloth to clean the unit.
Refer All Servicing to Alesis
We believe that the MicroVerb 4 is one of the most reliable multieffects 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 and Canada: If the problem persists, call Alesis USA at 1310-841-2272 and request the Product Support department. Talk the problem over with one of our technicians; if necessary, you will be given a return order (RO) 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 MicroVerb 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 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
Basic Channel Mode Note Number Velocity Default Changed Default Messages Altered True Voice Note On Note Off Keys Chs X X X
Mode 3 X X X X X X X X O X O O X X X X X X X X X
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
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
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
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:
bit accumulator 1270 milliseconds Concert Hall, Real Room, Ambience, Plate Reverb, Nonlinear Mono Delay, Stereo Delay, Ping Pong Delay, Multi Tap Delay Stereo Chorus, Quad Chorus, Stereo Flange, Stereo Pitch Shifter Auto Pan
Multiple effect configurations: Dual Send: Real Room+Delay, Real Room+Chorus, Real Room+Flange Multi Chain: Delay->Real Room, Chorus->Real Room, Flange->Real Room, Lezlie->Room, Real Room->Flange, Chorus->Delay->Room, Flange->Delay->Room
The MicroVerb4 from Alesis is an easy-to-use programmable reverb and effects processor designed to provide a wide variety of great-sounding effects for small studios engineers and performing musicians. The unit offers 200 programs that include everything from high-quality reverb delay chorus and flange to multi-effects and more. To customize programs two front panel knobs allow for quick user-storable edits or the MIDI inputs can be used for control over program changes and modulation. Edited programs can be saved in the 100-space user program bank and even though the MicroVerb4 is affordable and easy to use it non the less offers great audio quality.
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