Reference Manual

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2002 Alesis. All rights reserved. Reproduction in whole or in part is prohibited. Specifications Subject To Change Without Notice. All trademarks are property of their respective holders. 7-51-0121-A 8/2002

Table of Contents

Introduction...3
Welcome!....3 About the Smashup...4 Important features of your Smashup..4 Smashup Key Features....5 How to Use This Manual...6
Safety Instructions/Notices..7
Important Safety Instructions (English)..7 CE Declaration Of Conformity..9 FCC Compliance Statement..9 Instructions de Scurit Importantes (French)...10 Lesen Sie bitte die folgende Sicherheitshinweise (German)...12 If you cant wait to get started...15 Hook it up to a synthesizer...15 A quick overview of the controls..16 Rear Panel....16

Quick Start Guide...15

Connections...17
Unpacking and Inspection...17 Installing in a Rack....17 Power....17 Connecting to the Channel Inserts of a mixing console:.19 Connecting to the Main Outputs of a mixing console:..20 Connecting to the inserts on an instrument amplifier:..20 Connecting to equipment with XLR inputs and outputs:..21 About audio cables....21 Using the ModLink..22

Using the Smashup..23

What is a compressor?...23 What the controls do...24 How the Smashup goes beyond just compression.25 Operational advice..26 Gain structure....26 Description of Controls...27 Threshold....27 Attack....28 Look Ahead....28 Release....28 Output....29 Sizzle.....29 Type Select Switch...30 Bypass....32 Using the Foot Switch...32

Sample Settings...33

Blank Settings Templates...36

Troubleshooting..37

Troubleshooting Index...37 Avoiding ground loop noise...39

Table Of Contents

Line conditioners and spike protectors..40 Care and Maintenance...41 Cleaning...41 Refer all servicing to Alesis...41 Obtaining repair service...42

Specifications...43

Audio Input....43 Audio Output...43 Audio Performance...43 Mechanical...43
Index...45 Warranty/Contact Alesis..46
Alesis Limited Warranty...46 Alesis Contact Information...47

Introduction

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

For more effective service and product update notices, please register your Smashup online at:
http://www.alesis.com/supp ort/warranty.htm

About the Smashup

Your new Smashup is a member of the Alesis ModFX family of performance effects boxes. This particular ModFX unit is a deluxe compressor with the ability to model several different types of compression. Each ModFX unit provides a different set of sound effects and signal processing, and they are easy to arrange and connect to each other. With a uniform, friendly, uncomplicated user interface and high-resolution digital processing, the ModFX products are perfect for keyboardists, guitarists, and any other studio or live performance artists.
Important features of your Smashup
High resolution processing
The Smashup internally uses 28-bit stereo digital signal processing. The digital-to-analog and analog-to-digital conversion is sampled at 48kHz with 24 bits of resolution. That means you can get the effect you want, without adding unwanted noise and distortion.

ModLink

If youre using multiple ModFX boxes to make your own unique effects chain, ModLink makes it easy to hookup without needing patch cords between units in a chain. The nine-pin connectors built into each side of the case enable a ModFX box to transfer digital audio and word clock directly to another. Any number of units can be connected together.
Selectable compression types
Capitalizing on the unique capabilities of Alesiss digital signal processing techniques, the Smashup is able to sound like several different types of classic analog compressors. Adjustable attack and release controls, plus unique look ahead and sizzle features, make this compressor uniquely suited to the needs of guitarists, bassists, remix engineers, and producers.

Smashup Key Features

Digital emulation of six different kinds of analog compression Adjustable threshold, attack, release, and output level Look Ahead feature anticipates upcoming peaks for compression before theyre processed Sizzle feature keeps clarity and punch even with extreme compression settings Uniform, friendly, uncomplicated user interfaceno fiddling with complicated menus or hidden knobs Stereo processing via four 1/4 unbalanced connectors ModLink port, a cable-free connection that transfers digital audio and word clock to other boxes in the ModFX family Footswitch connection to control the bypass function Ability to mount 3 ModFX boxes in the optional ModFX rack adapter Input trim control to adjust input level Internal 28-bit digital processing 24-bit D/A and A/D conversion at 48kHz sampling rate for quiet, distortion-free effects External 9VAC power supply included

How to Use This Manual

A little technical knowledge will help you get the most out of your gear.its really pretty simple. This manual is divided into the following sections describing the various functions and applications for the Smashup. While it's a good idea to read through the entire manual once carefully, those having general knowledge about effect devices should use the table of contents to look up specific functions. Chapter 1: Quick Start. If you're already experienced with effect boxes, this will get you started using the Smashup right away. It's a short guide to the essential elements of hooking it up and using it for the first time. A brief tour of the front and rear panels also directs you to the chapters focused on individual features. Chapter 2: Connections gives detailed instructions for connecting the Smashup to a variety of typical audio systems. It also discusses the process of linking the Smashup with other ModFX devices. Chapter 3: Using the Smashup explains the controls of the Smashup and their functions. Chapter 4: Sample Settings provides a selection of sound charts created by the sound designers at Alesis for you to try. Near the end of the manual are troubleshooting tips, specifications, and an index to help you find what you're looking for.
When something important appears in the manual, an exclamation mark (like the one shown at left) will appear with some explanatory text. This symbol indicates that this information is vital when operating the Smashup. Helpful tips and advice are highlighted in a shaded box like this
Safety Instructions/Notices
Important Safety Instructions (English) Safety symbols used in this product
This symbol alerts the user that there are important operating and maintenance instructions in the literature accompanying this unit.
This symbol warns the user of uninsulated voltage within the unit that can cause dangerous electric shocks.
This symbol warns the user that output connectors contain voltages that can cause dangerous electrical shock.
Please follow these precautions when using this product:
1. 2. 3. 4. 5. 6. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a damp cloth. Do not spray any liquid cleaner onto the faceplate, as this may damage the front panel controls or cause a dangerous condition. 7. Install in accordance with the manufacturer's instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Continued next page

Important Safety Instructions
11. Use only attachments or accessories specified by the manufacturer. 12. Use only with a cart, stand, bracket, or table designed for use with professional audio or music equipment. In any installation, make sure that injury or damage will not result from cables pulling on the apparatus and its mounting. If a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as when the power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. This unit produces heat when operated normally. Operate in a well-ventilated area with at least six inches of clearance from peripheral equipment. 16. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 17. Do not expose the apparatus to dripping or splashing. Do not place objects filled with liquids (flower vases, soft drink cans, coffee cups) on the apparatus. 18. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CE Declaration Of Conformity
See our website at: http://www.alesis.com

FCC Compliance Statement

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

Threshold sets the level where the compressor starts working on the signal. At the 5 oclock setting, the threshold is high and theres no compression; turn counter-clockwise for more compression (and less output).
Attack sets how much time will pass after a peak is detected before the signal is compressed. Turn clockwise to let more attack through, counter-clockwise to compress all peaks. BYPASS lets signal pass through without any compression. The FOOT SWITCH may be connected to any momentary pedal, to engage the BYPASS function.

Rear Panel

Plug the power adapter in here.
The ModLink connectors let you arrange several ModFX units in a chain, without having to use input and output cables inside the chain.
INPUTS and OUTPUTS are standard 1/4 line-level jacks.
If youre using a ModLink chain, you only need to connect to the first units input, and the last units output.

2 Connections

Unpacking and Inspection
Your Smashup was packed carefully at the factory. The shipping carton was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the Smashup for servicing. The shipping carton should contain the following items: Smashup with the same serial number as shown on the shipping carton Power Adapter This instruction manual
To register your purchase, go to the Alesis website at www.alesis.com.

Installing in a Rack

The Smashup is designed for tabletop use, but can also be installed in a standard 19" audio equipment rack. For rack mounting, contact your Alesis dealer for the ModFX Rack. This rack shelf holds three ModFX units in a 3-space high 19 rack.
The Smashup comes with an AC power adapter that transforms the voltage from a standard outlet into 9 volts AC (830 mA). Plug the small end of the power adapter cord into the Smashups POWER INPUT socket and then plug the adapter itself into a good quality, noise-free AC power source of the proper rating. The supplied AC line adapter is designed only for the destination to which the unit is shipped. To use the Smashup in another country, contact your Alesis dealer for an Alesis P3 adapter suitable for the electrical system in the country you are traveling to.

Master

First Slave Audio Flow

Second Slave

The audio signal flows from left to right. The Master will send its digital audio output to the First Slave, and the First Slave will, in turn, send its output to the Second Slave.

3 Using the Smashup

This section defines compression, and explains the functions of the Smashups controls in greater detail.

What is a compressor?

Most types of signal processors, such as reverbs, phaser/flangers, and equalizers, make an obvious change in the sound. But a compressor's action is much more subtle; when used properly, many listeners won't be aware that signal processing is being used. Yet, compressors are essential in modern audio work to make instruments hold their place in the mix, and add sustain and body. Almost every lead vocal on a pop record is compressed during tracking or mixdown. Often the entire stereo mix is compressed or limited during the mastering process. A compressor/limiter like the Smashup is essentially an automatic volume control. Imagine an engineer with his hand on a fader and his eyes on an input level meter. As long as the meter stays below a certain point (the threshold), he leaves the fader up and the gain is unchanged. But the instant the sound gets louder, the engineer pulls down the fader by a certain amount. After the sound gets soft again, the engineer will push the fader back up. That's what the Smashup is doing, except much faster and more accurately than humanly possible. Paradoxically, by cutting the peak levels, the Smashup allows you to raise the average level of a sound using the [OUTPUT] control and make the overall sound louder. By coordinating the [THRESHOLD] and [OUTPUT] controls, you can set a stable sound that will hold its position in the mix regardless of the dynamics of the instrument or vocal. Compression is the tool to use when you want a lead vocal to go from a scream to a whisper and not get buried behind the instruments.

Using the Smashup

What the controls do
Let's go back to the "engineer with his hand on a fader and eyes on the meter" analogy. The top panel controls simply tell the "engineer" what rules he should follow. [THRESHOLD] tells him how high the input level can rise before he has to start pulling down the fader: if it's turned full clockwise, he won't pull down his fader at all; if it's turned full counter-clockwise, he'll have his hand on the fader even for very faint sounds. How far does he pull the level down? That depends on the [TYPE] setting, as will be explained later. For example, in Classic mode, Smashup acts as a compressor/limiter with a ratio of 4:1. That means that if the input rises above the threshold by 8 decibels, the output will only be allowed to rise 2 decibels. In Transparent mode, the compression ratio is a gentler 2:1, so an input 8 dB above the threshold will be allowed to rise 4 dB. In most modes, the detector of the Smashup looks at peak levels, not the average level of the signal. In addition, each compressor has its own knee characteristic (hard or soft). Soft-knee compressors allow signal levels near the threshold to be compressed more gradually. The [ATTACK] and [RELEASE] controls involve the speed of the engineer's response, as does the [LOOK AHEAD] switch. Short attack times may order the engineer to pull down the fader 1/10,000th of a second after he sees a too-loud signal; long attack times tell him to let transients less than about 1/5th of a second pass. [RELEASE] tells the engineer how quickly he should push the fader back up again after a loud signal has stopped; when it's turned counter-clockwise, he pushes the fader back up instantly, and when it's full clockwise, he may take take a few hundred milliseconds to push his fader back up to unity gain. The [OUTPUT] control is simply a gain control located after our "automatic engineer in the box". Since the engineer will pull the fader down when he sees levels above the [THRESHOLD] setting, its up to you to compensate for that action by raising the output level, if thats necessary to restore the average level after the peaks have been removed. The most important controls are the [THRESHOLD] and [OUTPUT] knobs. They both interact to get the effect you want, and that requires some experimenting.

Attack/Release times vary by Type
In fact, each Type has its own Attack/Release behavior and time ranges.
How the Smashup goes beyond just compression
Having explained what the controls are designed to do, you should be aware that the Smashups digital compression algorithms do much more than just control levels. Just as a tube guitar amp sounds different from a solid-state power amp, the most popular compressors sound notably different from each other, even when their attack, threshold, ratio and release controls are set exactly the same. And, like guitar amps, theres no single best compressor.good studios often have 6 or 7 different brands of compressor in the rack because some are better on rock vocals, others are best on bass, still others offer a unique drum sound. Alesis analyzed the behavior of many compressors, and the Smashups different [TYPE] settings are the result. You really get six different-sounding compressors in a single, compact ModFX box. Theres no way to describe the complete behavior of each control in each mode. Just be aware that a particular [ATTACK] setting will have a totally different result when the [TYPE] is set to OPTO, as compared to FAT. Experiment with all the settings on different instruments and vocals, and youll find some really greatsounding combinations.
Operational advice Gain structure
Extreme settings will lead to extreme results. If you turn the threshold down all the way, the Smashup will do what it's being told to do: turn the level way down. If you then try to compensate by cranking the [OUTPUT] control to its maximum, you'll amplify the noise of your source and the Smashup itself. The noise will fade itself in whenever the input signal stops, resulting in the classic "pumping" and "breathing" problems. Noise is present in every system, and improper use of any compressor will amplify it to an obnoxious level. For low noise operation, make sure your mixer, Smashup, and amplifier settings are set properly. As a general rule, you want as much gain as possible in the front of the system (at the instrument or microphone preamp), so that a good line-level signal is travelling through the whole signal path. If you have a weak signal to start with, and then amplify it at the end of the signal path (by turning the main outputs of the mixer all the way up, for example) it will be excessively noisy. When using a compressor on a live P.A. system, improper settings can cause feedback. Make sure that a channel is well below the feedback point when there is no gain reduction active. If you hear feedback every time the music stops, you must lower the overall level of the system.

Setting Levels

Proper setting of the output levels is crucial in order to achieve the maximum signal-to-noise ratio. As a good rule of thumb, it is usually best to first set the [OUTPUT] level control at 12 oclock or 50%. Then, press the [BYPASS] button in and out while listening to signal through the unit. Turn the [OUTPUT] level up or down so that the output level is roughly the same whether the unit is bypassed or compressing.

About stereo compression

The Smashup is, in fact, two separate compressor channels joined by one set of controls. The detectors of the two channels are linked. This means that if the left channel's signal rises above the threshold, the right channel's gain will be reduced by the same amount as the left channel, and vice versa. This keeps the stereo image from wandering from left to right when compressing a stereo mix.
Description of Controls Threshold
The [THRESHOLD] knob sets the level where compression will begin. As long as the input signal level is below the Threshold level, the Smashup will do nothing to the signal. Once the input signal crosses the Threshold, the Smashup will begin compressing (turning down the level).

Graph of input level

Threshold This shows the level of an input to the Smashup. The dotted line represents the [THRESHOLD] level.

Graph of compression

This shows the Smashups internal gain setting, with the solid line meaning no reduction for most of the graph above. (This assumes the [ATTACK] and [RELEASE] knobs are set fast enough to track the input this closely).

Graph of output level

Threshold This is what the output will sound likethe third peak in the signal has been smashed from its original level.

Attack

The [ATTACK] knob controls the amount of time before compression starts. The range of this control is generally in the range from 0.1 (full counter-clockwise) to 300 milliseconds; but this may vary depending on the [TYPE] setting. [ATTACK] has no effect when the [LOOK AHEAD] switch is engaged. Long attacks are useful for keeping the initial transients of percussive sounds like drums, lead guitar, and bass. Short attacks are good for melodic parts like vocals and strings. Experiment with different short attack times on snare drums to get more or less of the stick attack.

Pumping and Breathing

When a compressor is making large changes to the input signal (10 to 12 dB or more) the noise floor will also rise and fall with the signal level. When this noise signal rises and falls drastically between signals, such as a heavily compressed, noisy drum track, you might hear the noise level breathing between drum hits. One solution to this breathing problem is to turn up the release time. This way, the noise floor wont have time to rise between drum hits. However, if the Release time is too long, lower level signals after the peak will be lost as the compressor slowly stops reducing gain. This is called pumping as the lower level signals (noise included) slowly fade back up to their normal signal level. The secret to avoiding these problems is to achieve a balanced release time on the input signal. The PUMP mode of the Smashup is set up intentionally to use pumping as a creative tool.

Look Ahead

When the [LOOK AHEAD] switch is turned on, a very small amount of delay (under 3 milliseconds, about the time sound takes to travel 3 feet) is introduced in the signal. The detector of the compressor looks at the peak levels in this delay, so it can preattack or lower its gain even before the peak arrives for processing. For obvious reasons, when [LOOK AHEAD] is on, the [ATTACK] knob has no effect.

Release

The [RELEASE] knob controls the amount of time the compressor takes to stop compressing after the signal crosses under the threshold. The range of this control is very different from type to type, but in every case the longest release time is at the full clockwise rotation. Short release times are good for percussive, punchy sounds; longer release times can make compression less obvious on vocals. Adjusting the release time may be necessary when using extreme compression and pumping or breathing is audible, or if lowerlevel signals are getting lost after peaks.

Output

The [OUTPUT] knob controls the level of the Smashups output. The Output control is useful for making up level that was lost during compression, or matching the input level of a mixer or recorder. The unity gain setting of the [OUTPUT] knob (the level where input level = output level when [THRESHOLD] is set to the maximum) is around the 12 oclock position. Set the output low enough to avoid clipping the output (unless thats the sound youre going for), and high enough so theres a good signal-to-noise ratio. This control is disabled if the [BYPASS] button is pressed. If you get approximately the same level when Bypass is on as when it is off, thats generally a good place for the [OUTPUT] knob to sit.
Intentional clipping: The output drivers of some classic analog compressors have unique soft clip characteristics that enhance the tone of the signal. Certain TYPE settings emulate this output overdriving when you deliberately raise the [OUTPUT] control above unity gain. Try it!

Sizzle

This button adds brightness and punch to the signal, avoiding the dull sound that compression sometimes brings. [SIZZLE] is especially good for electric bass and drums. Technically speaking, [SIZZLE] does two things: adds a little high frequency EQ on the output to brighten things up, and puts a 120 Hz high-pass filter before the compressors detector so strong bass notes wont be compressed.

FAT mode and Sizzle

The FAT mode starts out pre-sizzled, and pressing [SIZZLE] adds even more bottom and high end.

Type Select Switch

The up/down [TYPE] rocker switch on the right side of the unit selects the type of compression used by the Smashup. The LEDs next to the switch light up to indicate the current Type. The Smashup contains six different compression styles. Some are modeled after the operation of classic analog compressor/limiters, and others are totally unique. Each Type has its own unique sound and effect on the other controls, though the differences may be subtle at first. Each Type has its own compression ratio (the amount of gain reduction applied when a signal rises above the threshold), hard knee/soft knee setting, detector characteristics, attack and release curves, and distortion characteristics. These have been carefully developed to give you the most useful compressor sounds, without having to set eight different controls. Theres no way to adequately describe all the characteristics of the complex digital compression algorithms developed by Alesis engineers, so after youve read the following descriptions be sure to try each one with several different audio sources:

Classic

This is the standard VCA-style compressor sound, as found in classic units like the dbx 160. The compression ratio is 4:1, but it has a very soft knee setting and a slightly nonlinear release. Classic mode is great for taking the peaks out of vocals with a fast attack, or to get a clean sustain on guitar or bass while still preserving some dynamics.
The first compressors regulated the audio level by using an optical system. A light got brighter at higher input levels, and this light shone on a photoresistor that reduced the output level. The most famous of these devices, the Tektronix LA-2A, is still a prized possession of many studios. Optical compressors have a very particular sound to them. Because the lamp filament takes a moment to get to full brightness, they naturally have a slower attack than other compressors. In OPTO mode, the Smashup emulates the sound of these units. In particular, the attack time is not as quick as in other types, even at the minimum setting. The ratio is 6:1 with a soft knee setting; it is useful for classic vocals and drum sounds.

Transparent

When you want compression without any side effects, use TRANSPARENT mode. In this mode, the compression ratio is a more subtle 2:1 with a soft knee, and it emulates a clean, solid-state output driver circuit with no coloration. Even at extremely low settings of [THRESHOLD], gain isnt reduced as much as it is in other types.

De-Ess

De-essing is commonly used to process voices where the s sound and other sibilants are too loud and distracting. By telling the compressor to be extra sensitive to a certain range of frequencies, the s sound can be almost completely removed from a voice. The ratio is 8:1 with a soft knee, but because the detector is listening most closely to 4.5 kHz, the resulting sound is still relatively transparent.
On the other hand, PUMP is designed to emulate a limiter deliberately overdriven to provide creative processing. With a 100:1 compression ratio and a hard knee, the [THRESHOLD] sets a wall that the input signal cant rise above. The PUMP type has some secret ingredients that are especially suited for extreme guitar and drum processing. On drums, adjust the [ATTACK] and [RELEASE] controls properly, and youll make a polyrhythm out of the resulting pumping sound. Note that even at full counterclockwise, the [RELEASE] setting is still relatively short; though the release times will vary according to the [THRESHOLD] setting automatically.
In many standard compressors, a detector loop is included. By placing an equalizer in this loop with a boost at around 4 kHz, the detector will be more sensitive to the s sounds in that range. Note that the tone of the signal doesnt changeit will just compress the signal when the high frequency content rises above the threshold.
FAT is a close relative of PUMP, but designed for extra bottom end. This is another heavy compression type with an infinite ratio, but has a softer knee than PUMP. The most important characteristic of FAT is that it wont compress the bottom end as much, and adds a little high end EQ for brightness. Pressing [SIZZLE] doubles this effect.

Bypass

This button sends the signal directly from the input to the output without any compression. Press [BYPASS] to check the sound of the source without any effect from the Smashup. When the red BYPASS LED is lit, the compressor is off. The Bypass function can also be activated by the foot switch. Since the Smashup is a digital effect, signal always passes through the digital A/DD/A conversion process, so that digital signal will flow through to other effects in a ModLink chain even when [BYPASS] is on. So, unlike old analog effects, this is not a hardwire bypass switchthe Smashup must be powered on to pass signal through, even in bypass mode. Similarly, the [TRIM] control is always active, since its an analog control regulating the level feeding the analog-to-digital converters.

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.

Specifications

Audio Input
Input Connectors: Maximum Input Level: Nominal Level: Input Impedance: Input Converter Resolution: 2 unbalanced 1/4 jacks +10 dBV -10 dBV 470k 24-bit, 48 kHz sampling
All measurements done over a 22Hz 22kHz range with a 1kHz sine wave at -1dBFS input. Impedances are measured at 1kHz.

Audio Output

Output Connectors: Maximum Output Level: Output Impedance: Output Converter Resolution: 2 unbalanced 1/4 jacks +9 dBV 500 24-bit, 48 kHz sampling

Audio Performance

(Analog In to Analog Out) Signal To Noise Ratio: THD+N: Frequency Response: Internal DSP Resolution: Power Consumption: >100 dB A-weighted < 0.005% 1dB from 22Hz to 22kHz 28-bit 7 Watts max (9VAC Alesis P3)

Mechanical

Size: 2.1 H x 5.8 W x 3.9 D (53mm H x 148mm W x 98mm D) 12.6oz. (357 g)

Weight:

amplifier, 20 Attack, 16, 24, 28 BYPASS, 16, 32 with foot switch, 32 cables, 21 Classic, 24, 30 clipping, 29 compression defined, 23 compression ratio, 30 defined, 24 De-Ess, 31 digital converters, 32, 43 digital signal processing, 4 DSP, 43 Fat, 31 feedback, 26 FOOT SWITCH, 16, 32 Ground Loop, 39 grounding, 7 guitar, 18 hard knee/soft knee, 30 Hums and buzzes, 39 INPUTS, 15 INPUTS and OUTPUTS, 16 Insert Cables, 19 knee, 24 levels, 21, 26 Look Ahead, 16, 24, 28
mixing console hookup, 20 ModFX, 4, 22 ModLink, 4, 16, 22 and Bypass, 32 noise, 26 Opto, 30 Output, 23 knob, 16 knob, 24, 29 OUTPUTS, 15 on ModLink slave units, 22 power adapter, 17 Power cable, 7 Pump, 31 pumping and breathing, 26, 28 Rack mounting, 17 Release, 16, 24, 28 Safety, 7 SIGNAL LED, 15, 16, 18, 21 Sizzle, 16, 29 stereo, 18, 19, 26 Threshold, 16, 23, 24, 27 transformers, 21 Transparent, 24, 30 TRIM, 15, 16, 18 active in bypass mode, 32 Type, 16, 24, 25 Type Select Switch, 30 XLR, 21
Warranty / Contact Alesis

Alesis Limited Warranty

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

Apple Music Store.8 Summer NAMM Guitars.9 Making the Band.10 Software Samplers.11 Alesis ModFX Modules.15
Sweet Notes / Fall 2003 / Page 2
Yamaha AW2816 The MOTU 828mkII FireWire Solution for Mac and Windows
Continued from Page 1 latency. The 828mkII supports up to four separate stereo monitor mixes assigned to any four digital or analog output pairs. Each mix can support all 20 inputs (eight TRS analog, two mic, eight ADAT optical digital and stereo SPDIF digital). A new CueMix Return feature lets the user route one of the four CueMix DSP mixes back to the computer. For example, musicians can record their entire mix, including monitored inputs, back into the computer. Front-panel programming. 828mkII owners can access their mixes, or any 828mkII setting, directly from the front panel using six rotary encoders and a 2x16 backlit LCD display. Mix settings such as input gain, panning, +4/-10 input level, 6dB boost, stereo pair grouping, mix output assignment and others are quickly accessed, clearly marked and easy to adjust. Users can create, save, recall and duplicate eight global presets. Stand-alone operation. An 828mkII user can program the unit at the studio with the CueMix Console software and then take the 828mkII on the road for mixing/monitoring without a computer. Any setting analog I/O (with individually switchable reference can be changed on location with the backlit LCD and levels on input), two mic inputs with high-resolution preamps and phantom power, eight channels of 24-bit front-panel controls. ADAT optical digital I/O (four channels at 96kHz), 24-bit / 96kHz SPDIF digital I/O, headphone out Front-panel mic/instrument inputs with and stereo main out. All inputs and outputs can be insends. Tired of reaching around in back to make a dividually addressed from host audio software running connection? Two front-panel Neutrik combo (XLR/TRS) on the computer. All inputs can also be individually adjacks with preamps and phantom power allow users to dressed in the 828mkIIs built-in CueMix DSP mixer. connect a microphone, guitar or any quarter-inch input Features: with front-panel convenience. The XLR jack serves as a FireWire connectivity low-impedance mic input, and the TRS jack serves as 20 inputs and 22 outputs a high-impedance guitar/instrument input. Before A/D Support for 96kHz via ADAT (S/MUX) MIDI I/O conversion, the pre-amplified Front-panel control signal from each front-panel CueMix DSP for DSP-driven monitoring input is routed to one of two Stand-alone operation: program your mixes rear-panel quarter-inch analog then bring the 828mkII to your gig! sends so that users can insert Front-panel mic & guitar inputs a favorite outboard EQ, com 8 TRS analog I/O ADAT lightpipe I/O pressor, amp or effects processor S/PDIF I/O to the mic/guitar input signal before it is converted to Sync includes Word Clock, ADAT Sync In digital form. and SMPTE I/O 20 inputs / 22 outputs. The 828mkII provides Includes AudioDesk for Mac OS and OS X the following simultaneous, independent inputs and outwww.sweetwater.com/828mkii puts: eight channels of quarter-inch TRS 24-bit / 96kHz

The MOTU 828mkII or Digi002 Rack: Which unit is right for your needs?
Digi 002 Rack from Digidesign
Continued from Page 1 partners, are available for virtually every signal processing, sound design, and specialized editing purpose. These software applications work in conjunction with Pro Tools in both real-time and non-real-time formats, emulating and often improving upon the hardware counterparts that they frequently emulate. The addition of a FireWire hard drive is also a wise choice, improving the performance of your system by virtue of increased throughput and data transfer speeds. And you always have access to upgrades and updates to Pro Tools LE software, often available for free to registered users. www.sweetwater.com/digi002
The best thing about having two such powerful, affordable packages available to choose from is that there is no wrong choice! Aside from a few differences in I/O configurations, both units offer stunnning 24-bit / 96kHz audio right out of the box, so theres not going to be any appreciable difference in sonic quality. So the main differences really come down to the way you work. While this is an oversimplification, musicians that are doing a lot of MIDIbased sequencing laying down the basic tracks with a few hardware modules or keyboards then sweetening with audio (vocals plus a guitar track or two) will probably find the 828mkII, with its direct connection to MOTUs ultrasophisticated Digital Performer software, the perfect choice. Meanwhile, those who are mainly recording live tracks and then sweetening with MIDI will probably find the Digi002 Rack to be the way to go, particularly as many thousands of musicians, engineers and producers have worked with some version of Pro Tools along the line. If youre one of those thousands, then stepping up to the Digi002 Rack will feel like slipping into your favorite pair of old shoes nice and comfy. Naturally, there is also the issue of your budget, and at $795 list, the MOTU 828mkII is a bit lighter on your bank account than the $1295 list Digi002. But beyond that, both hardware units will work with almost any current audio workstation software. A Digital Performer user can use a MOTU 828mkII or Digi 002 Rack, and so can most other applications. At present however, Pro Tools software will only run on a Digi 002, which is the only known exception. Got concerns about compatibility? Call your Sweetwater Sales Engineer. They know these products and can match your specific needs to either unit!
8 discrete analog inputs (4 mic / line / instrument preamps w/phantom power selectable in two channel increments) Alternate Source Input for monitoring 10 dBV audio equipment (tape players, CD-players, etc.) directly to the monitor outputs 8 discrete analog outputs, all balanced/unbalanced +4 levels, plus a separate balanced/unbalanced monitor output Precision 24-bit/96 kHz converters 8 channels of ADAT optical I/O 2 channels of S/PDIF I/O > 108 dB Dynamic Range; > 98 dB (0.002%) THD+N Monitor output includes dedicated volume control knob Headphone output includes dedicated volume control knob MIDI I/O 1 input port / 2 output ports (16 channels in / 32 out) Footswitch for QuickPunch control

THE ROLAND FANTOM-S88 AT-A-GLANCE 88-note Hammer-Action keyboard with velocity and aftertouch Seamless integration of audio and MIDI with realtime timestretch Dynamic Pad Bank with 16 velocity-sensitive trigger pads Integral USB port for.WAV /.AIFF file exchange with a PC or Mac All-new Patches and Rhythm Sets built from 64MB wave ROM 32MB of sample RAM onboard expandable to 288MB 16MB of flash RAM with optional SmartMedia storage Expandable via four optional SRX-Series Wave Expansion Boards Four line outputs, stereo line input and 24-bit S/PDIF digital output Complete Studio Effects and Mastering. The S88 is loaded
TASCAM US122 USB/ MIDI Interface Sony Oxford Plug-Ins: Million-Dollar Processing While many home and project studio owners may not be aware of the legacy of the
You say you own a computer and want to get audio in and out without spending big bucks? You just want a box that does its job with very little hassle and, yes, it should carry a reasonable price tag. Theres a new solution that combines affordability and ease-of-use with powerful capabilities and excellent built-in compatibility with your computer: the US-122 from TASCAM ($269 list). The US-122 features two XLR-based, phantom-powered mic inputs plus analog inserts, so you can place hardware devices (compressors, etc.) into the signal chain. Two line-level inputs on balanced 1/4" TRS jacks are included (switchable to guitar-level for DI recording) plus line level outs with a dedicated control for adjustable zero-latency monitoring plus headphone jacks. The US-122 also gives you 16 channels of MIDI I/O for use with synths and other sound generating equipment. The US-122 includes drivers for ASIO, WDM, GSIF and Apple Core Audio (OS X) systems, so you can turn nearly any USB-equipped computer into a powerful audio recording system. The US-122 even comes packaged with TASCAMs GigaStudio 24 sampling software and a special version of Steinbergs Cubasis recording / sequencing software! www.sweetwater.com/US122 new Sony Oxford Plug-ins, people who make their living in the pro audio world are blown away by the prospect of Oxford processing in their computers. Essentially, Sony has made plug-ins that effectively emulate the sonic characteristics of their Oxford digital console, which happens to carry a price tag that can easily reach a million dollars! So when we say million dollar processing at a fraction of the cost, its not just marketing hype! The Oxford EQ plug-in is designed to offer three different styles of EQ that take into account sophisticated Gain/Q dependency, as well as overall control ranges. Its available for Pro Tools (HD/Mix, TDM/RTAS, OS9/OSX) and TC Electronics PowerCore for Mac and Windows. The Oxford Dynamics plug-in is modeled on the extremely flexible and capable unit used in the OXF-R3 professional mixing console and is available for Pro Tools (HD/Mix, TDM/RTAS, OS9/OSX). No matter how limited, compressed and crushed your recording may already be, the Inflator will provide even more loudness as well as repair and add musicality to previously clipped signals! The Oxford Inflator is available for Pro Tools (HD/Mix, TDM/RTAS, OS9/OSX), as well as PowerCore (Mac and Windows). Call now for additional information and your special Sweetwater pricing! www.sweetwater.com/OXFR3Mac

A: AAC stands for Advanced Audio Coding, and its a big part of the MPEG-4 specification. While we could go into all the technical stuff, all you really need to know is that AAC is a cutting-edge audio codec thats perfect for the Internet, as its encoding compresses much more efficiently than older formats like MP3 (which iTunes still supports, by the way), while delivering quality rivaling that of uncompressed CD audio. In fact, many listeners have judged AAC stereo audio files compressed at 128 kbps to be virtually indistinguishable from the original uncompressed audio source. If youre working on a Mac, iTunes 4 and QuickTime 6.2 (or later) is all you need to get started. Dolby Labratories have made AAC available to any manufacturers who wish to license it, so we would expect to see it employed in a PC format shortly. Q: What is the safest way to clean out the insides of my older equipment. Ive heard this is a good way to prolong its life. A: We get asked this so often, its worth repeating here. Cleaning your equipment (old or new) is a good idea. Electric current causes a positive charge on many parts, which can then attract dust. While many people use a vacuum or hair dryer to do the cleaning, there is always a chance that these methods will generating a static charge not a good thing. When using these cleaning methods, you should wear a static strap (available at any Radio Shack). We recommend compressed air as the safest, most efficient solution for cleaning gear. This allows you to get into all the little nooks and crannies with ease. You might want to do this in a well-ventilated room when cleaning really old equipment. You can purchase compressed air in a can from (where else?) Radio Shack or a shop air compressor will also do the trick. Q: Ive heard that guitars purchased via mail order must be professionally set up after shipping. Is this true? A: Guitars are shipped from the Sweetwater warehouse only after receiving a pro setup by our master luthier. Barring unforseen accidents, they will arrive at your doorstep ready to rock!
MOVING? MOVED? Call, fax or e-mail us your new address and dont miss an issue of Sweet Notes!
Sweet Notes / Fall 2003 / Page 6
dbx DriveRack Studio: The Ultimate Monitor Management System
Most project studios, and even some smaller pro studios, have to make compromises when mixing because they are limited by the number of monitoring options available. If youre like most studio owners, you probably have just one or two sets of monitors in your control room, and no matter how good they may be, you could always use a second, third or even a fourth pair. But that costs big bucks, right? Designed by the DSP wizards at dbx and programmed by the studio experts at Sweetwater, the DriveRack Studio ($859.99 list) is designed to deliver not only the benefits of several different monitoring systems in a single rackspace module, but a host of other functions essential in todays studio control room environment. The DriveRack Studio concept. The DriveRack was designed to solve problems inherent in PA systems for live sound applications, but the recording engineers at Sweetwater Productions recognized that the vast array of tools available on the unit could be used to address a variety of studio monitor management tasks. So they set about programming a Youd spend thousands of dollars series of monitor on other gear to get everything emulation presets the DriveRack Studio gives you using the most popular monitors for just a few hundred bucks! of the day from companies such as Yamaha, JBL, Mackie, Tannoy, Event, Auratone, Genelec and more. The product engineers at dbx were so impressed with these presets that they built them into a special DriveRack unit and thus was born the DriveRack Studio! What is studio monitor emulation? Every type of studio monitoring system has a particular sonic signature. Studio owners have historically relied upon several different monitor systems to test how a particular mix translates to various playback environments. While a huge stack of speakers might look impressive, it eats up valuable studio space and is prohibitively expensive. The DriveRack Studio addresses this dilemma by emulating the sound of various environments and monitoring systems! In addition to its dimming and matrixing functions, the DriveRack features 17 internal presets that digitally adapt the output signal to accurately recreate the experience of listening to your material on a wide variety of popular studio monitor platforms, as well as things like built-in TV speakers, boom boxes and more. Tune your room for maximum accuracy! Pro studios use expensive tools to tune their room to compensate for the frequency anomalies inherent in all acoustic spaces. That need is increased dramatically in todays average recording environment: a spare bedroom, converted garage or basement studio. Using the built-in Real Time Analyzer, you can quickly and easily find the frequencies that are being boosted or attenuated, then the DriveRack Studio automatically adjusts its own EQ settings to compensate. The must-have studio device! The DriveRack Studio is easily one of the most useful additions to any studio, large or small. Youd literally have to spend thousands of dollars on other gear to get everything the DriveRack Studio gives you for just a few hundred bucks. Got more questions? Since Sweetwater helped voice the DriveRack Studio, we can answer all your questions and then some, so call your Sweetwater Sales Engineer today and get the full scoop! www.sweetwater.com/DriveRackStu

THE DBX DRIVERACK STUDIO AT-A-GLANCE Emulate 17 of the most popular studio monitoring systems Tune your studio for maximum accuracy via RTA (Real Time Analyzer) Onboard equalization (multiband parametric and 24-band graphic EQ) Classic dbx compression, limiting and crossover filters Output matrix allows audio to be sent to monitors, recording devices, amplifiers, outboard processors and headphone systems Super clean 24-bit A/D and D/A converters 24 factory presets plus 24 user programs Full graphic LCD display Subharmonic synthesizer 2-channel XLR input / 6-channel XLR output Front-panel Real Time Analyzer XLR input with phantom power
Platinum Yamaha Compact, High-Performance MG Series Mixers Focusriteprincipally as anTwinTrak Pro Designed affordable, high-spec
Yamaha has been innovating, leading, and (in many ways) defining the development of modern mixing consoles. If you need a high-performance, compact analog mixer for PA applications, the Yamaha MG Series may well be the first and last place you should look. In short, they offer extraordinary performance and mixing power at remarkably affordable prices. If you simply need to mix a few analog sources to stereo, but insist on the finest audio quality, the MG10/2 ($129 list) is compact and convenient to use, but wont compromise your signal in any way. If you dont need effects, or already have an arsenal of outboard favorites, the MG12/4 ($239 list) or MG16/4 ($329 list) may offer all the capabilities you need. If the idea of having some of the finest effects available built right into the console appeals to you, then consider the MG16/6FX ($419 list). If your application is live sound reinforcement, youll want all the channel capacity you can get just in case. With 24 and 32 input channels, respectively, the MG24/14FX ($1099 list) and MG32/14FX ($1299 list) are ready to handle almost any sound reinforcement needs. The MG24/14FX has 16 mono mic/line channels while the MG32/14FX has 24. Both also offer four stereo line channels, and with dual SPX digital effect systems onboard, you wont need racks of outboard gear to get the sound you need. Call your Sales Engineer for additional information and special pricing, or check out the MG Series on our website. Yamaha MG16/6FX www.sweetwater.com/YamahaMG
dual mono/stereo tracking device, the Focusrite Platinum Twin Trak Pro ($700 list) also boasts latency-free monitoring and unmatched digital connectivity. Each channel features Focusrites award-winning Class A, discrete mic preamp, embellished with the option of instant air and variable input impedance for improved mic performance. A mid-scoop EQ provides variable frequency and depth of cut for vocal problem solving and miked-up cabinet ambience.
The TT Pro includes a powerful optical compressor along with side-chain inputs and the ability to operate as a true twinned stereo pair. Whats more, TT Pro is the first in the Platinum line to feature a 24-bit / 192kHz digital-to-analog (D/A) converter as standard. The D/A converter enables the user to feed mono or stereo digital signals into TT Pro, which can then be fed either into the stereo latency-free monitoring section or via line inputs for further processing. www.sweetwater.com/TwinTrakPro

We Jobs! Great People! Great Pay! INDUSTRYS FIRST AND ONLY 100% BEST VALUE GUARANGreathave allPROTECTS YOU WITH THE Careers available on manufacturers IN STOCK! SWEETWATER the hottest products from all major the Sweetwater Team! (800) 222-
Sweet Notes / Fall 2003 / Page 10
Yamaha MTV Hit Sweetwater Makes the Band onAW2816 Series
When MTV needed a professional audio production rig for the second season of their hit reality series, Making the Band, they knew they not only needed help selecting and putting together the right gear, but also needed an industry heavy hitter to pull together all the equipment and have it up and running in short order. So it came as no surprise that they turned to the music technology experts here at Sweetwater for help! The reason is simple: our company is uniquely qualified to organize such an undertaking due to our remarkable relationship with all the top manufacturers and our ability to design, install, maintain and service an entire studio at literally a moments notice! A huge MTV hit, Making the Band 2 follows the trials and tribulations of an aspiring hip-hop group as they strive to become the next big thing. P. Diddy, one of the most recognizable figures in the entertainment industry, developed the show and serves as the bands mastermind, helping the group build their sound and image and putting the young performers through what amounts to music industry boot camp. For the series, MTV needed a high-end audio production center for in front of the cameras that would be used to record and produce all the music the performers create on the show. In Sweetwater put together over $80,000 other words, worth of gear from todays top millions of manufacturers, all built around a statetelevision viewof-the-art Pro Tools|HD2 system running ers were going on a dual processor Power Mac G4. to actually see music being made via this studio. This meant the system had to be versatile and powerful enough to deliver pro quality recording, editing, mixing, and mastering. Sweetwater put together over $80,000 worth of gear from many of todays top manufacturers, all built around a state-of-the-art Digidesign Pro Tools|HD2 hard disk recording system running on an Apple dual processor Power Mac G4. With an audience of millions tuning-in week after week to check out the progress of P. Diddys protges, it was essential that the shows audio production rig reflect the industrys current state of the art, while also providing both the performers and audio engineers with equipment that they were familiar with. The core of the system used on the show was based on the essentials of P. Diddys own production facility.

A number of other issues had to be taken into account, such as the camera crews ability to maneuver around all the equipment and capture the action as it happened. As experts in pro audio, MIDI and computerbased audio production for over two decades, Sweetwater was uniquely qualified to handle the task. P. Diddy, along with the shows producers, had definite ideas about some of the audio equipment they wanted to work on. For the rest of the gear, Sweetwater served as a consultant, helping with decisions on everything from microphones to monitors, as well as other items based on the producers requirements. While this was in and of itself a very cool gig for our company, it also carried a bonus feature: at the end of production, much of the equipment would be donated to charity. Thanks to Sweetwaters involvement, many of the industrys top manufacturers stepped up to the plate with donations of gear that any aspiring artist would love to have access to. You can see the results of this collaboration on MTVs Making the Band 2 on Wednesday nights at 10 PM (East Coast time) or check out the full "Making the Band" Gear List at sweetwater.com/mtv.
Novation Introduces KS Rack Virtual Analog Synth
The new KS Rack synthesizer ($1,099 list) from those virtual analog mavens at Novation features four-part multi-timbral operation, 16-voice polyphony and four individual audio outputs. The ergonomically designed front panel is simple to use with all the important sound shaping controls all logically laid out for you. For ease of editing, the 2 x 20 character backlit LCD screen accepts full descriptions for program and parameter naming. Recall a named factory preset, tweak it and instantly save it in any of the 400 program or 100 performance locations. Desktop or rack mount 5U package with 33 knobs and sliders
Liquid analog sound based on the enhanced K-Station engine HyperSync editing for instant sync and effects settings Four-part multi-timbral with four individual outputs 16-Voice Polyphony plus 16-band Vocoder Four arpeggiators 2 x 20 character backlit LCD Audio input for processing of external signals 400 memories (200 pre-programmed) and 100 performance memories (50 pre-programmed) 6 high-quality simultaneous FX on each part: Reverb, Chorus, Phaser Delay, Panning and more
www.sweetwater.com/KSRack
To stay on top of all the amazingly hot deals, special offers and unique money-saving promotions that Sweetwater has to offer, you need to subscribe to GearNET! Whats GearNET? Its a weekly electronic newsletter that keeps you up-to-date on all of our special sales and one-of-a-kind savings. But its so much more than that: GearNET also includes valuable insider technical information along with the very latest Freeware and Shareware software tools. While most retailers are now starting to create their own e-mail catalogs, GearNET will also keep your finger on the pulse of the music technology industry an industry that changes at a lightning pace these days! To subscribe, log onto our web site at www.sweetwater.com. Enter your e-mail address in the Free Newsletters box and click on Join.

VariOS: The Most Flexible Roland Product Ever?
Roland is a name long associated with the finest in hardware, from the TB-303 and SH-101 to the current crop of Fantom instruments and the amazing V-Synth. At the same time, the company recognized the increasing power, flexibility, and user interface advantages of todays computer technology. Rather than abandon the benefits of a hardware instrument in favor of virtual synths, Roland did one better they built a radical piece of gear, the VariOS ($1,495 list), with the open-ended architecture of a virtual instrument, plus Mac and PC connectivity for the ultimate in graphic user interface. Simply put, the unit interfaces with your Mac or PC via USB port and the V-Producer 2.1 software, which allows you to manipulate pitch, timing and formant information, all in real time. Roland VariOS Module The VariOs module produces the sounds, while the computer stores all the data. Its all actually a very efficient use of both computer and synth. And now, the company has also introduced the new VariOS-8 and VariOS 303 modeling synths, which effectively turns your VariOS module into a virtual Juno/Jupiter synth and TB-303! As the company that actually built these products, theres nobody else that has the inside track on just how the original magic was created. The Nitty-gritty. VariOS can be customized for different needs. With the bundled V-Producer software, users can create audio-based arrangements while independently manipulating pitch, time and formant without unwanted artifacts. Load the VariOS-8 and VariOS 303 software, and VariOS can emulate some of Rolands most popular vintage synthscomplete with an impressive array of effects. Easy Audio Encoding and Arranging. Building a song is simple. Browse your computer hard drive for.WAV and.AIFF files. V-Producer can then quickly and automatically batch encode the data and transfer it via USB to the module, so you can arrange tracks using simple drag-and-drop commands. Twist Your Loops with GrooveScope. First, GrooveScope analyzes the audio and time-slices it into separate events. Not only can these events be re-arranged to create new loops, but each events pitch and time can be manipulated graphically without altering the original sound quality. All editing is non-destructive, so youre free to experiment as much as you pleaseall in real time. To find out more about VariOS and just how it can change the way you make music, call us today! www.sweetwater.com/VariOS
a top-of-the-line GigaStudio, users have 160 disk-based, streaming voices of polyphony available in real-time, so theres no more voice-stealing or drop-outs. Listing at a mere $699 and weighing just two pounds, GigaStudio 160 has to be the cheapest, most versatile per voice sampler available for the PC (sorry, no Mac version yet). Just before going to press, MOTU shipped their highly anticipated Mach Five software ($395 list), whose claim to fame is its ability to read almost any sample format ever invented, from Akai and Kurzweil to Roland and even the Giga format! Whats more, it will run as a plug-in from within any Mac or PC audio application. This is the very definition of cutting edge software, and by all odds, this one is going to be huge! The next upgrade will offer disk-based sample streaming. I am so impressed with the response time and the service I've received since buying my gear. I'll definitely tell all my musician friends about you guys! Lisa Brady

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Sweet Notes / Fall 2003 / Page 13
mLAN: Simple, Powerful Networking for Music Systems
In todays studios from pro to project the sheer number of connections involved can be overwhelming. MIDI and audio signals are routed separately, with each MIDI cable handling up to 16 channels of data, while audio, be it analog or digital, typically requires a separate cable for each channel. The situation is further complicated by numerous connector types and line level standards, as well as the care that must be taken to ensure that outputs are properly connected to inputs. This often results in a literal rats nest of cables that make reconfiguring many studios into a nightmare. The innovative mLAN networking system, as implemented by Yamaha, neatly overcomes all these problems by allowing many channels of digital audio and MIDI music data to be transferred via a single 1394standard cable, also known in the industry as FireWire. Extremely powerful music systems can be quickly and easily configured using mLAN-compatible musical instruments, computer components and interface devices. Adding devices to or removing devices from an mLAN system is easy too, with none of the frustration and downtime incurred when re-configuring conventional systems.
Flexible computer-based patching. Usmance serial bus, mLAN transfers music and audio data at speeds of up to 200 Mbps. Up to 100 channels of digital ing the software patchbay application provided with all audio data or up to 256 ports of MIDI data (16 chan- Yamaha mLAN products, you can easily reconfigure your system connecting and disconnecting devices as required without having to physically plug, unplug, or re-route any cables at all. And although computer control can be an advantage in mLAN networks, mLAN also allows music and audio devices to be networked without a computer an ideal way to set up systems for live performance. Though it will still be a few years until all products take advantage of nels x 256 connections) can be transferred via a single this technology, the writing is clearly on the wall: cable. Just imagine the bundle of cables youd need to mLAN is unquestionably the way all studios and all transfer that volume of musical instruments as well as other devices, such data with conventional as video and digital still camera connections! will be connected in the very Heres yet another near future. Almost benefit: You dont need all Yamaha products, to worry about the order you as well as quite a few connect the devices in, and mLAN ports are hot plug- from other manufacturers, are already equipped with gable so you can unplug and plug in devices without mLAN-compatible connections. having to power-down or reset your entire system like you Get ready to say goodbye to that mess of studio did in the old days. This saves an amazing amount of spaghetti lurking on the floor and behind all your gear. High-speed, high-volume data transfer. time and potential headaches when changing the configu- Thanks to mLAN, that tangle of cords, cables and dust Based on the industry-standard IEEE 1394 high-perfor- ration of your studio. bunnies will soon be a thing of the past!

Sweet Notes / Fall 2003 / Page 14
This issue, well continue our virtual company tour by visiting what most of you would consider the candy store here at Sweetwater, our incredible warehouse! How exciting can this be? you might ask. Well, if youve ever seen it running full tilt during crunch time (late afternoon of any normal weekday) you know that this is an amazing department and a real key to the Sweetwater Difference in terms of providing extraordinary service for our customers. As you can probably guess, our warehouse has grown immensely over the years and is now one of the largest in the entire industry. Weve gone from being able to fit all of our inventory into Chucks house back in the early days, to building progressively larger spaces until we moved into the huge warehouse we use today! Yes, I could talk about square footage or the number of packages we ship each day, but Id rather tell you how our warehouse is different from anybody elses. As usual, this involves some philosophy about customer service and starts with our Shipping Manager, Brian Randol. His extensive background includes well over a decade of successful warehouse management as well as experience working at UPS, so he really gets all sides of the shipping game. Ive never met a person in his position who is so totally committed to excellence and understanding of how his crews work affects customer satisfaction. This is indicated by his management style, which is very positive and team oriented. This team approach is critical at crunch times, where everyone has to work smoothly to get every order right and on its way to you fast. Chris Kellum, our Assistant Shipping Manager, has been with Sweetwater for nearly nine years and also had prior shipping experience. While Id love to tell you a little bit about each of the great folks who make this department hum, I need to move on to the reasons they are such a key to the Sweetwater Difference. Reason #1 A Box Isnt Just A Box. When you buy a product from another retailer, odds are that it arrived at their warehouse on a pallet, with the rest of the order from the manufacturer. With other retailers, that product is generally pulled off the pallet and shipped to you in the box it arrived in. Here at Sweetwater, we apply our years of experience and the millions of boxes weve shipped, and the fact is, some boxes just arent able to handle shipping without being repacked or packed in a larger box with additional packing material. Due to the large volume of products we ship and the experience weve gained over the years, weve been able to provide valuable feedback to our manufacturers, many
of which have changed the way they package products based on our input! Reason #2 Were Green. Yep, we work very hard to be environmentally sensitive, so we avoid using Styrofoam materials as much
as humanly possible. We collect and recycle boxes for packing from other local businesses, so your gear may arrive at your home not in a special Sweetwater box, but one from a clothing store, for instance. Its less advertising for us, but we helped save a tree! We also buy and use clear plastic air pillows wherever needed, as they have a

minimal impact on the environment (theyre 100% recyclable!). Reason #3 Accuracy. Im guessing this one is pretty self-explanatory, but when you place your order, you expect to receive exactly what you ordered exactly when you were told it would arrive (or before). To ensure accurate shipping, each order goes through a 4-step check-off process. First, the puller (who locates and carefully pulls your order off the shelves) signs off on the order once he or she has it in hand. Next, a shipping manager double-checks the order. Then, a packer (the person who boxes the order) triple checks it for accuracy while packing. Your order is checked one last time when we determine shipping methods and confirm shipping address. Reason #4 Candy. I have to admit that when I made my first purchase from Sweetwater as a customer, I was pretty knocked out by the candy that came in the box. Maybe Im easily impressed but I thought it added a personal touch and a nice tie to the sweet in our name. I think it also shows we really do value our customers and want to do something a little extra to show our appreciation for their business. Reason #5 SweetTrack. This is the most secure way possible for you to know the status of your order once it has shipped. We dont offer package tracking using the carriers tracking number for security reasons. So weve developed a system that allows you to track your order using your Invoice number, Customer ID number or the last 4 digits of the credit card. Its convenient, fast and much safer than using the carriers tracking numbers, plus you get the convenience of both FedEx and UPS tracking integrated into one system! The bottom line is that, with our experienced shipping team and our gigantic warehouse, you know your order is in good hands with us here at Sweetwater! Rock and Roll! Jeff (VP of Sales)
M-Audio Ozone: Everything but the Kitchen Sink!
M-Audio revolutionized the world of the mobile musician with their Oxygen 8 MIDI controller. Offering full controller functionality (including 25 full-size keys) in a package whose price was as small as its footprint, the Oxygen 8 fit into just about any portable musical setup. But what can they possibly do for an encore? Introducing the M-Audio Ozone ($399.95 list). This tiny beast packs quite a punch, and M-Audio believes that it will change the way you interface with your computer forever. The Ozone is an all-in-one keyboard, MIDI control surface, mic preamp, USB audio interface and USB MIDI interface. Whats more, its no bigger than a laptop. Combined with your computer and software like Reason or Live, the Ozone provides a complete personal mobile studio from input to output, with a built-in 16-channel USB MIDI interface, a 25-note full-size keyboard with eight assignable MIDI controllers plus pitch and mod wheels. Add an onboard 2x2 24-bit/96kHz audio interface, XLR mic inputs with phantom power and a Direct Monitor switch for zero-latency monitoring, and you have one product that does the work of three or four, and all without a mess of connections just one USB cable does it all.

to just a single page per Sweet Notes issue. I hope youll log on and check it out. Besides my current column, therell also be an archive of past online columns, just in case theres something Ive covered that you might have missed. So for more information, as well as a cool hack you can perform with the ModFX units, go and have a look at my online column at: www.sweetwater.com/technotes Finally, just as I was finishing up this article, Alesis sent me their brand new Ion Analog Modeling Synth (see photo at left), and I simply dont have room to tell you how it works or sounds, but please check into my Tech Notes Online column for more on yet another breakthrough product from a company that always seems to find new ways to give us musicians more sonic innovations for a lot less cash.
Open up a whole new world of purchasing power and shopping convenience!
Address Service Requested 5335 BASS ROAD, FORT WAYNE, IN 46808
PRSRT STD U.S. POSTAGE SWEETWATER SOUND
Digidesign Digi002R MOTU 828mkII New MOOG Voyager The Power Mac G5 Roland Fantom-S88 New Guitars

and much more!

All contents 2003 Sweetwater, Inc.

Employee Profile

Name: BOB MONDOK Guilty pleasure of choice: Ice cream Position at SSI: Senior Sales Engineer How would your boss describe you? A Start Date: 6/22/98 Zen Master. This was courtesy of a customer of Hired as: Sales Intern mine who wrote it on a comment card. It just Education: BA in Music, Baldwin-Wallace College, seemed to stick. Berea, Ohio; Music Recording and Tech program, How would your best friend describe The Recording Workshop, Chilicothe, Ohio. you? A genuine gentleman. Your occupation before coming to SweetWhat did you dream about doing for a water? College Student living when you were growing up? Pro Foreign Languages: None Baseball Player (before high school when music Technical Strengths: Synthesis and sound took over my life). design, extensive knowledge of all the myriad What in your life best prepared you for recording systems. the work you do here at Sweetwater? Instruments you play: Drums, all manner of Teaching audio/MIDI classes to high school percussion and guitar. summer camp students while I was in college. Gear you Own: Roland VS-2480 workstation, What do you enjoy most about being part Apogee Rosetta 48, Focusrite Trakmaster, TC Helof the Sweetwater Team? The fact that it truly icon Voice One, Roland V-Session Set and SPD20, is a team. Everybody helps everybody out. Roland Fantom-S88, Kurzweil SP88X, Fender What is the most important thing you've Employment Rhoads mkII, Royer R121, Gibson 335, Mackie HR824s, PC with tons of software. ad to come (half page) A better understanding of what customer service is. learned at Sweetwater? Family Info: Married with a baby on the way! Describe the most dramatic situation in which you provided the "SweetOther stuff we should know about you (hobbies, interests, etc.): Politics, water Difference" for a customer or the most unusual/creative solution fishing (particularly for walleye on Lake Erie), golf, and am currently installing a horseshoe to a customer problem: A customer came in to pick up a keyboard that his son had pit in my back yard. Im a dedicated Cleveland Browns and Indians fan, love to take roadtrips dropped off at our service department. When he went to load it into his car, he discovered and, of course, write and record music. it did not fit (he was not driving his sons car). So, instead of having him drive the half Real Life Hero: Neil Peart. Ive always admired him as a musician, but Im currently hour back home just to swap cars, I loaded the keyboard into my car and delivered it on reading his book, Ghost Rider, and am equally impressed by him as a human being. my lunch break.