MultiMix USB Multi-Track Recording Setup
Part I: Connect the MultiMix USB and Configure Windows XP Part II: Configure your MultiMix USB Mixer Part III: Configure Cubase LE in Windows XP Part IV: Compatible Third Party ASIO Drivers for Windows XP
Welcome! Congratulations on your purchase of the MultiMix USB mixer from Alesis. This product allows you to record whatever you have plugged into your mixer into your computer. We have created this document as a guide in the configuration and setup with your PC. Before we begin, please note a few things that may help you better understand some of the basics with Multi-Track recording on a PC. The MultiMix USB mixers utilize USB as the connection to the computer. USB is the physical connection between your mixer and the computer with the recording software of your choice. In the case of the Alesis MultiMix USB, we ship a fully functional version of Cubase LE from Steinberg. Audio latency is a common issue with recording using computer audio interfaces. In the case of the MultiMix USB mixers, it is the time it takes for the signal to travel through the mixer, out of the mixer, into the computer, through the computer CPU, into the computer software and then back again. Latency is often described in milliseconds, (1000ths of seconds). This delay is a by product of recording into a computer through windows and not a fault of the audio devices connected to the computer. We have considered this, and offer a solution for Zero Latency Monitoring with the MultiMix USB.
Part I: Connect the MultiMix USB and Configure Windows XP
Installing and Configuring the MultiMix in Windows XP: Setting up the MultiMix USB is very easyall you have to do is power up the mixer, then connect the USB cable from the mixer to the PC. Upon power up, your computer will automatically install the drivers needed for the MultiMix USB to be an audio choice. No software installation is necessary under Windows XP. Maximizing Stability and Performance in Windows XP: For better performance we recommend you set up Windows to route non-Cubase sounds to another sound output on your computer (most computers have built-in sound nowadays and you can route non-Cubase sounds to that output). You can do this by following these instructions:
1. Open the Windows Control Panel.
2. Click Sounds, Speech, and Audio Devices.
3. Next, click Sound and Audio Devices.

4. Click the Audio tab.

5. Under Sound Playback, select anything OTHER than USB Audio CODEC. The USB Audio CODEC is your MultiMix Mixer and you dont want to have your regular Windows sounds (i.e., the Windows BING! and other sounds from messaging, email, and other programs) being routed to the MultiMix. By selecting anything other than USB Audio CODEC, youre having Windows route all non pro-audio sounds elsewhere and freeing up your MultiMix for recording purposes only. Doing this will increase stability and potentially improve sound quality.
Part II: Configure your MultiMix Mixer
You can set up your MultiMix USB mixer to monitor yourself without any latency. Please note that there is a slight difference on how to do this on the MultiMix 8USB than the MultiMix 12/16USB. This Zero Latency Monitoring is extremely useful because it allows you to hear yourself while youre recording without any irritating delayed echoes. To set up zero-latency monitoring, follow these instructions:

MultiMix 8USB:

1. Turn down the LEVEL, MAIN MIX, and HDPH/CTRL RM knobs. 2. Make sure that the 2 TK TO CTRL ROOM button is DOWN and the 2 TK TO MIX button is UP, otherwise youll hear feedback when you turn up the MAIN MIX knob later. 3. Connect the 2 TRACK OUT of the mixer to the 2 TRACK IN with a stereo RCA cable. 4. Set each channels GAIN and LEVEL knobs so that youre getting good level without lighting the PEAK indicator on the mixer. The MAIN MIX knob now acts like a mastervolume knob for all your mic/line inputs. Adjust this knob until youre getting good levels into Cubase. The HDPH/CTRL RM knob now controls the loudness of your headphones (or studio monitors), but does not affect recording levels in Cubase. You can set this level to a comfortable setting (or even off) without affecting what gets recorded into Cubase.

MultiMix 12/16USB:

1. Turn down the HDPH/CTRL RM knob along with the LEVEL and MAIN MIX faders. 2. Make sure that the 2 TK TO HDPH/CTRL RM and MIX TO HDPH/CTRL RM buttons are IN. 3. Set each channels GAIN knob and FADER so that youre getting good level without lighting the CLIP indicator on the mixer. The MAIN MIX fader on the lower right now acts like a mastervolume control for all your mic/line inputs. Adjust this fader until youre getting good levels into Cubase. The HDPH/CTRL RM knob controls the levels of your headphones (or studio monitors), but does not affect recording levels in Cubase. You can set this level to a comfortable setting (or even off) without affecting what gets recorded into Cubase.
Part III: Configure Cubase LE in Windows XP
1. Open Device Setup under the Devices menu.
2. Under the Devices column, click VST Multitrack. Then open the ASIO Driver drop down menu.
3. Select ASIO DirectX Full Duplex Driver.
4. Click OK to exit. Cubase is now routing audio to your MultiMix mixer. When recording, please remember the following to avoid a delay when using Zero Latency Monitoring with the MultiMix USB mixers. 5. Record-Enable a track in Cubase LE and make sure input monitoring is turned off in the program (if input monitoring is on, youll hear a delayed echo of your voice or instrument because of computer latency.)
Part IV: Compatible Third Party ASIO Drivers for Windows XP
In some cases, the regular built-in driver for audio in Windows XP may still have some latency issues. In these cases you may want to try using 3rd party ASIO drivers. Some examples of tested ASIO you can download are available on these websites. http://www.asio4all.com/ http://usb-audio.com/ These companies are not affiliated with Alesis, but do offer Windows XP ASIO drivers that work with the MultiMix Mixers with USB. Please contact them for specific questions relating to their software and your computer.

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Reference Manual

Table Of Contents

Introduction...5

Welcome!.... 5 About the Multimix USB...6 Multimix USB Key Features... 6 Aditional Features of the Multimix 12 USB and Multimix 16 USB.... 7 How to Use This Manual...8 A Few Words for Beginners...9
+48V Indicator... 19 Rear of the Mixer...20 Power Input.... 20 Power Supply Unit... 20 Power On.... 20 Phantom On... 20 USB port.... 20
Chapter Three: Digital Effects Processor...21
Effects Section Components..21 Program Selection Knob... 21 LED Display... 21 CLIP Indicator.... 21 SIG Indicator.... 21 Effect Descriptions...21 HALL.... 21 ROOM.... 21 PLATE.... 21 CHAMBER.... 21 CHORUS.... 22 FLANGE.... 22 DELAY.... 22 PITCH.... 22 MULTI & MULTI II.... 22
Chapter 1: Getting Started..11
Hooking up the Multimix USB..11 Using Proper Cables...11 Setting Levels...12
Chapter Two: A Tour of the MultiMix.13
Patchbay...13 Mic Inputs (Channels 1 4)... 13 Line Inputs (Channels 1 4)... 13 Line Inputs (Channels 5 12)... 14 Digital Output Jack... 14 PHONE Jack.... 14 AUX RETURNS... 14 AUX SENDS.... 14 ALT 3/4 OUT.... 14 2-TRACK.... 15 MAIN MIX OUT.... 15 CTRL RM OUT.... 15 Channel Strips...15 Fader.... 15 MUTE / Alt 3/4.... 15 PFL / SOLO.... 15 PAN or BAL... 16 Aux.... 16 EQ..... 16 Master Section...17 Main Mix Fader... 17 Alt 3/4 Fader.... 17 2TK To Mix.... 17 Alt 3/4 To Mix.... 17 Solo Mode.... 17 HDPH / CTRL RM... 18 MIX Switch... 18 ALT 3/4 Switch... 18 2TK Switch... 18 Aux Ret A Level... 18 Effects / Aux Ret B level... 18 LED Meters.... 19 POWER Indicator... 19
Chapter Four: Applications.23
Simple Recording Setup...23 Simple Live Setup...23 Using Additional External Audio Sources..23 Digital output to a digital recorder..24 Using the Multimix USB with a Computer.24 Sending and Receiving Audio Data... 24 Precautions when using the USB connection... 24 Connection instructions for Windows (XP, 2000, ME, and 98 Second Edition).... 24 Connection instructions for Macintosh (OS X only).. 25
Chapter Five: Troubleshooting.27 Chapter Six: Specifications.31 Chapter Seven: Block Diagram.33 Glossary...35 Warranty/Contact Alesis..39
Alesis Limited Warranty.... 39
Alesis Contact Information... 40
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Introduction

About the Multimix USB
The Multimix USB consoles are a versatile series of mixers designed to perform well in the live and home studio realm. They are the latest in the large family of Alesis audio mixers. Weve come a long way since introducing our first mixing console in 1989. Since that time audio technology has grown in leaps and bounds, pushing up quality and driving down prices. Only a few years ago, you wouldnt have been able to buy a mixer this powerful for such an affordable price. Just take a look at the key features listed below, and youll see that you have just made an incredible addition to your home studio or live setup. The Multimix USB consoles give you just about everything you need to create polished, professional-sounding mixes. When designing this unit, our goal was to give you as much control over your mixes as possible without requiring a wealth of extra equipment. Thats why we added tools like the digital effects processor, the mic preamps, the USB computer interface, and the digital out (12- and 16-channel models only). And with a multitude of ways in which to connect other equipment and instruments, the Multimix USB offers endless possibilities.

Welcome!

Thank you for making the Alesis Multimix USB 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 musical goals. Sincerely, The people of Alesis

For more effective service and product update notices, please register your MultiMix mixer online at: http://www.alesis.com/ support/warranty.htm
Multimix USB Key Features
Three Models: Multimix 8 USB (4 mic/line preamps, 4 stereo inputs) Multimix 12 USB (4 mic/line preamps, 4 stereo inputs) Multimix 16 USB (8 mic/line preamps, 4 stereo inputs) Clean and powerful preamps up to 50dB of preamp gain for capturing quiet sources. Globally switched phantom power. Stereo inputs Two stereo pairs for the Multimix 8 USB. Four stereo pairs for the 12- and 16-channel versions. Great for line-level instruments. Internal digital effects processor with 100 preset effects and an easy-to-read display includes a variety of reverbs, delays, choruses, flanges, a pitch transposer and multiple combinations of these. 3-band EQ per channel a potent tool for sonically shaping each channel to get that perfect mix. 1 aux send per channel (pre/post-fader switchable on the 12- and 16-channel versions) gives you control over the level of the pre- or post-fader signal being routed to an external device. 1 post-fader aux send/effects send per channel a control for the signal being routed to another external device or to the onboard effects processor. Control room output level provides control over the separate control room output
2-track send and return lets you mix your audio to tape or other media and to add a tape deck or CD player to the mix. Stereo USB input and output routes the main output and the 2-track return through the USB port in crystalclean, 16-bit, 44.1 kHz stereo digital audio. Use the Multimix USB as a high-quality soundcard for recording and playback with Windows and Macintosh computers.
Aditional Features of the Multimix 12 USB and Multimix 16 USB
PFL/Solo in place functionality per channel isolates a channel with a single push of a button. Mute/Alt 3/4 assign per channel lets you mute a channel and, at the same time, route its signal to the mixers ALT 3/4 outputa separate stereo bus. Independent Main Mix and Alt 3/4 levels permits you to separately command the levels of the MultiMixs two stereo buses 44.1 kHz S/PDIF digital out sends the digital stereo signal directly to a DAT, DVD or other recording device that can accept a S/PDIF signal.
2-track send and return lets you mix your audio to tape or other media and to add a tape deck or CD player to the mix. Stereo USB input and output routes the main ouput and the 2-track return through the USB port in crystalclean, 24-bit, 44.1 kHz stereo digital audio. Use the Multimix USB as a high-quality soundcard for recording and playback with Windows and Macintosh computers.

How to Use This Manual

This manual is divided into the following sections describing the various functions and applications for the Multimix consoles. While it's a good idea to read through the entire manual once carefully, those having general knowledge about mixing should use the table of contents to look up specific functions. Chapter 1: Getting Started shows you how to include the Multimix in your audio setup for recording, computer interfacing, and live applications. Weve included a hookup diagram, guidelines for which cables to use and the vital steps you must take to set levels properly. Chapter 2: A Tour of the MultiMix describes the Multimix piece by piece. This chapter also features diagrams of the mixer to help you find each component as you read about it. Chapter 3: Digital Effects Processor explains the effects provided by the on-board digital effects processor. If you want to know what a certain effect will do to your sound before you select it, this is where you should look. Chapter 4: Applications outlines a number of scenarios in which you can use the Multimix, including some tips on what goes where when youre hooking everything up. Chapter 5: Troubleshooting can give you a hand if youre experiencing problems with your mixer. Youll find that most issues can be resolved simply and quickly with the push of a button. Chapter 6: Specifications and Chapter 7: Block Diagrams are full of technical information for the more techie users. And at the end of this manual youll see a glossary of common mixing-related terms and a page about the Multimix USBs warranty.

Helpful tips and advice are highlighted in a shaded box like this.
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 MultiMix consoles.
A Few Words for Beginners
We realize that some of you who have purchased the Multimix USB are fairly new to the art of mixing, and weve written this manual with that in mind. We designed the Multimix to be both powerful and easy enough to use that even a beginner can quickly pick up the basics. Many mixer manualsand manuals for just about any electronic instrument for that matterare full of complicated terminology and incomplete instructions that presume a lot of experience on the part of the reader. We try to avoid that with this manual. True enough, you will find all the technical lingo and specifications you can handle in here, but we do our best to make this accessible to you. Beginners will find several elements of this manual especially useful. Keep your eye out for the tips found in the gray boxes on the right side of the page. Be sure to check out the hookup diagrams on page 11, which will give you some ideas on how to fit the mixer into your audio setup after youve taken a tour of the mixer in Chapter 2. And if you come across any terms that you havent seen before, the glossary probably can help you out.
One of the most important things youll do before you begin a mixing session is to set the levels. Be sure to refer to the instructions on page 20.
One of the most important things youll do before you begin a mixing session is to set the levels. Be sure to refer to the instructions on page 14.

1 Getting Started

Hooking up the Multimix USB
This diagram will help you get the Multimix USB hooked up and ready to go. The equipment you use depends on personal preference and on whether youre performing live or recording. For example, youll see below that the MAIN MIX OUT can be routed to a recording device for recording, or to a PA system for live performance.
Be sure to follow the guidelines for which cables to use (further down this page) and the procedure for setting levels (on the next page) before you begin mixing.

Getting Started

Use a USB cable to connect the USB port to a computer. Do not use a USB hub, as hubs can introduce timing glitches in USB communication. For the S/PDIF Digital out, we suggest that you use a coaxial cable that is specifically designed for S/PDIF applications. These cables are better suited for high frequency (digital) signals and are unbalanced, shielded coaxial cables with shielded RCA connectors on each end. Better to get the high quality S/PDIF cables and save yourself some unnecessary grief.

Setting Levels

Before you can begin mixing different audio sources with your MultiMix, you must set the level for each channel youre using. This helps to prevent distortion and clipping. Heres how: 1. Slide the channel fader to unity gain (0). 2. Turn the AUX SEND and GAIN controls all the way down, and turn the EQ knobs to the center detent (youll feel a click). 3. Connect the source of the signal to the channels input. 4. Press the PFL / SOLO switch on the channel. 5. Make sure the SOLO MODE switch in the master section is set to SOLO. 6. Play the instrument at a normal level and watch the LED meters in the master section. 7. Adjust the channels gain until the LED meters remain at or very close to 0 and do not exceed +6dB. 8. If you need to apply EQ, do so and check the meter again.

Using Proper Cables

When connecting instruments and other equipment to the MultiMix, its important that you use the appropriate types of cables. Here are some simple but important guidelines: For the mic inputs, use XLR cables. For the line inputs and all other 1/4 connections, use 1/4 mono TRS cables. Use stereo RCA cables for the 2-track in and out.
2 A Tour of the MultiMix USB
In this chapter, youll learn all about the MulitMixs components (except for the digital effects processor, which is explained in the next chapter). Please refer to the diagrams as you read each section to see which components were talking about.
A Tour of the MultiMix USB
Line Inputs (Channels 5 12)
Unlike channels 1 4, the line inputs on channels are stereo inputs that have left and right inputs. If youre using one of these channels as a mono input, plug your instrument into the left input. Channels dont have the extra gain found on channels because most line-level instruments dont require the extra boost. Synthesizers and other electronic instruments will work especially well on these channels. These inputs are also good for connecting CD players or tape decks, as these audio sources dont require extra gain.

Patchbay

At the rear portion of the top of the Multimix, youll find the patchbay. This is where you plug in instruments, signal processors, multitrack recorders and other devices. Whatever you need to connect to the mixer, this is where its done. In the following paragraphs, we tell you all about the inputs, outputs, switches and knobs you see in this section of the mixer.

Digital Output Jack

The digital output jack is used to send the 44.1 kHz stereo audio signal to an Alesis Masterlink or any other recording device such as a DAT recorder or a PC with an S/PDIF enabled sound card installed. Always use a high quality cable when connecting the DIGITAL OUTPUT JACK to your recording device. We recommend that you use a cable that is specifically designed to carry a digital signal and does not exceed 5 meters (16.4 ft) in length.

Any audio signal that is routed to the MAIN OUTPUTS will also be sent out of the DIGITAL OUTPUT jack. The level is controlled by the MAIN FADERS. The DIGITAL OUTPUT mirrors the output from the MAIN OUTPUTS.
Mic Inputs (Channels 1 4)
The MultiMix uses standard XLR-type mic inputs. These provide +48V phantom power that you can turn on and off with the Phantom On switch located on the rear of the mixer. You probably will have to turn on the phantom power when youre using most condenser mics, as these usually require the extra voltage (unless the mic has its own power source, such as a battery). Dynamic and ribbon mics dont require phantom power and are unaffected when the power is on. These high-quality mic inputs also feature up to 50dB of preamp gain that you can adjust with the Gain knob. Another useful feature of these mic inputs is a high-pass filter (HPF) that can be turned on and off with the HPF switch. When you activate this switch, all frequencies below 75Hz are cut from the signal. This is useful for mic or line signals that dont have much bottom end, such as vocals, snares, cymbals and electric guitar. Youll want to leave this inactivated for instruments like basses and kick drums.
Although chances are your microphones will work fine with these mic inputs, we recommend that you do some checking up on the type of microphone youre using, especially if its one of the older vintage models. Verify that your microphone requires phantom power and make sure its output is low impedance, balanced and floating.

PHONE Jack

The headphone jack accepts 1/4 jacks. If your headphones are 1/8, you can find a 1/8 to 1/4 adapter in most electronics stores.

AUX RETURNS

These are the 1/4 jacks where you connect the outputs of an external effects processor or other audio source. Each aux return gives you 15dB of gain that can be controlled by the AUX RET A and EFFECTS / AUX RET B LEVEL knobs in the mixers output section.
If you are using an effects device with only a mono output, plug it into the left return of STEREO AUX RETURN. It will appear in the center of the stereo spectrum, and not to the left.

AUX SENDS

Always connect your microphones before activating phantom power. Microphones tend to be very sensitive, and the sudden power surge can do permanent damage to the mics circuitry. Its also a good idea to lower mixer levels before you activate phantom power.
And this is the 1/4 jack where you connect the line thats going into the input of an external effects processor. The aux sends give you 10dB of gain that can be controlled in the AUX section of each channel input.

Line Inputs (Channels 1 4)
The line inputs, marked LINE IN, are balanced 1/4 jacks that offer the same 50dB of preamp gain and the high-pass filter provided by the mic inputs (however, phantom power does not apply to line inputs). These inputs accept line-level instruments such as keyboards and drum machines. If you find that your instrument has a weak line signal, just plug it into channels and crank it up with the Gain knob.

ALT 3/4 OUT

These jacks are the outputs for the MultiMixs extra stereo bus. This signal includes channels whose MUTE / ALT 3/4 switch is activated.

2-TRACK

The 2-TRACK IN and OUT jacks are standard RCA jacks. Youll use the OUTs for mixing to a tape deck or other recorder. With the INs you can bring in a signal, which can be monitored and even added to the main mix via the 2TK TO MIX switch in the master section of the mixer.
troubleshooting. PFL stands for pre-fade listen. In other words this switch lets you hear the signal before it is affected by the fader. This switch is post-EQ.

PAN or BAL

This controllabeled PAN on the mono channels and BAL on the stereo channelslets you assign the channel to a particular spot within the stereo spectrum. If you turn this knob to the left, you can hear the signal move to the left, and if you turn it to the rightyou get the picture. The pan controls do this by adjusting the amount of the signal being sent to the left main mix bus versus the right main mix bus. The balance controls do it by controlling the relative balance of the left and right channel signals being sent to the left and right main mix buses.

MAIN MIX OUT

These 1/4 jacks are where the signal on the main mix bus leaves the mixer. From there you can send it to a recorder or a PA system. The level of this signal is controlled by the MAIN MIX fader.

CTRL RM OUT

You can use these 1/4" jacks to send the control room signal to the input of the amplifier driving your monitors or headphones. This output can carry several different signals, depending on which source you have selected in the master section of the mixer.
Here youll find knobs that control the levels of aux sends A and B. AUX A is either pre-fader or post-fader, depending on the position of the PRE / POST switch. When the switch is in the raised position, the aux send is pre-fader. When the switch is depressed, the aux send is post-fader. What does all this mean? In POST mode the aux send is affected by the fader, EQ and HPF settings. In PRE mode the aux send is affected only by the EQ and HPF settings. POST mode is generally used for sending the signal to an external effects device (so that the fader controls the signal level), and PRE mode is usually used for cue sends (for example, sending a signal to headphones while recording, for which you may not want the fader to alter the channels level). AUX B is always post-fader, as indicated by the word POST to the right of this knob. Like AUX A, AUX B can be used for routing signals to external devices. And when you are using the onboard effects processor, AUX B is used to control the level of the channels signal being routed to the processor.

Channel Strips

The eight channel strips are virtually identical to each other, with the only difference being that channels are mono and channels are stereo. Each channel strip contains the following components.
The fader controls how much of the signal from the mic or line inputs is sent to the channel. To adjust the level, simply slide the fader up and down to the desired level. In the lowest position, levels are cut completely, and in the uppermost position you get an additional 10dB of gain. When the fader is at 0, it is at unity gain, where the level of the output equals the level of the input.

MUTE / Alt 3/4

This switch has two purposes. The mute function is pretty selfexplanatory: when you press the switch, the channels output is no longer routed to the main mix output. The second purpose of this switch is that in addition to muting a channel, it also routes it to the ALT 3/4 OUT found in the patchbay. This is where you get the MultiMixs extra stereo bus. If you dont have anything connected to the ALT 3/4 OUT, the switch acts only as a mute button. If you do have something connectedsay, a multitrack recorderthis button acts as a signal router.
The MultiMix gives you three bands of EQ per channel. Using these knobs, you can tailor the channels signal by boosting some frequencies and cutting others. The LO and HI controls are shelving controls with fixed frequencies of 80 Hz and 12 kHz respectively. The MID control has a peaking response fixed at 2.5 kHz. Shelving means that the mixer boosts or cuts all frequencies past the specified frequency. Peaking means that frequencies above and below the specified frequency fall off, forming a peak in a graphical representation.

PFL / SOLO

The PFL / SOLO switch allows you to single out a channel so you can make adjustments to it before you run it into the main mix. This is useful for setting an instruments gain or EQ and for

HDPH / CTRL RM

The HDPH / CTRL RM knob controls the level of the signal being sent to the CTRL RM OUT and the PHONES output. The level of this signal is represented by the LED meters. The switches to the right of the HDPH / CTRL RM knob determine the source of the control room mix as explained below. You can use these switches in any combination. If none is selected, youll hear silence in the control room mix and the LED meters wont light up. The CTRL RM in the name of this knob refers to the fact that it controls the signal that typically is sent to the control room monitors of a studio, where someoneusually an engineeris working the mixer. However, dont be intimidated if youre using this mixer in your bedroom, which probably isnt equipped with a control room. In this scenario, you can use headphones or connect the CTRL RM OUT to your speakers.

Master Section

The Master Section is the heart of the mixer, where the channel inputs and aux returns all are mixed together and routed in various ways.

Main Mix Fader

The signals from all channels and aux sendsexcluding those that are mutedare sent to the main mix. The MAIN MIX fader is the one youll use to control the overall level of those combined signals. This fader affects the levels of the signals sent to the MAIN MIX OUT, the DIGITAL OUT (12FXD and16FXD models only) and the 2-TRACK OUT. In its lowest position the signal is cut off completely, and in the uppermost position you get an additional 10dB of gain. In the 0 position the fader is at unity gain.
When you solo a channel via its PFL / SOLO switch, that channels signal will override your control room mix selection. You then will hear only that channel in the control room and the headphones.

MIX Switch

Pressing the MIX switch routes the main mix to the control room level control. When you engage this switch, the channels and aux sends will pass through the MAIN MIX fader and then through the HDPH / CTRL RM level control. You can then keep the MAIN MIX fader set to unity gain for optimal recording, and the HDPH / CTRL RM level control set to a more comfortable listening level if necessary.

Alt 3/4 Fader

This fader controls the output of the Alt 3/4 bus.

2TK To Mix

When you press this switch, the signal coming in through the 2TRACK IN gets routed to the MAIN MIX, joining whichever other signals are already part of the main mix. Used this way, the 2-TRACK IN effectively becomes another stereo channel (but without all the extras like pan, EQ, etc.).

ALT 3/4 Switch

When you press the ALT 3/4 switch, the signal from the ALT 3/4 stereo mix bus is routed through the HDPH / CTRL RM level control.

Alt 3/4 To Mix

This switch adds the signal from the Alt 3/4 bus to the main mix bus.

2TK Switch

If you want to monitor the signal coming in from the 2-TRACK jacks, press the 2TK switch.
The purpose of seeing a soloed channels level on the LED meters is so that you can see the true level of that channels signal. For that reason, the HDPH / CTRL RM knob does not change the LED meters readingit changes only the level at which youre listening to the soloed channel.

Solo Mode

The SOLO MODE switch affects the signals of channels whose PFL / SOLO switches are engaged. When the SOLO MODE switch is in the up position, youre in PFL, or pre-fader listen mode. This means that youll hear the signals of all soloed channels as they sound before they pass through their respective faders. Youll need to be in PFL mode when youre setting levels (see Setting Channel Levels, page 12. This mode is post-EQ. When the SOLO MODE switch is engaged (in the down position), you are in SOLO mode. This means that you will hear the output of every soloed channel (after it passes through its fader, pan and EQ).

Microphone level is too low.
Phantom power is not turned on. Microphone is damaged.
No or low sound from a channel.
Fader is too low. Instrument volume is too low.
Check all cables; substitute cables with known good ones. Set channel levels using the procedure on page 12. Turn down your instrument to a normal volume and then set channel levels using procedure on page 12. Lower the level of AUX RET B in the master section of the mixer. Lower the MAIN MIX fader in the master section of the mixer. Lower the ALT 3/4 fader in the master section. Channel is muted. Gain is too low. Internal effects arent working. Effects level is too low.
AUX RET B level is too high. MAIN MIX level is too high. ALT 3/4 level is too high.
An effect hasnt been selected.
External effects arent working.
Effects processor is not plugged in or turned on. Aux outputs of mixer arent connected to inputs of processor or processors outputs arent connected to mixers inputs. Mixers effects return signal is too low.
Make sure unit is plugged in and turned on. Make sure the mixers aux outputs are connected to the processors inputs and that the processors outputs are connected to the mixers aux inputs. Turn up the output of the effects processor or turn up the mixers AUX RET A RETURN or EFFECTS / AUX RET B RETURN in the master section. Press the desired MIX, ALT or 2 TK button. Unplug the USB cable and turn off the Multimix. Turn the Multimix back on and plug the cable back in. If this does not work, leave the Multimix on, turn off the computer (do not use restart but instead actually turn off the computer) and then turn it on again. In the computers Control Panel, go to the Sounds/Multimedia area. In the Audio section, set the default sound recording and playback devices to USB audio codec. If you are using a USB hub, disconnect the Multimix from it and connect the mixer to the computer directly instead. Certain USB chipsets have design limitations or IRQ assignment restrictions that must be resolved before audio can work correctly on them. See your USB chipset documentation for further information if required. Replace with correct power supply (only use Alesisrecommended AC output power supply).
LED meters not working. Computer does not see the Multimix.
Nothing is routed to the HDPH/CTRL RM output. USB connection must be established.
Computer sees the Multimix Multimix USB is not set as USB, but no sound is received primary sound device. and/or transmitted.
USB audio has crackling or glitches, or audio plays/records at incorrect pitch.

USB hub may be in use.

Computer configuration may be incompatible with USB audio.

No power.

Incorrect or defective power supply.

6 Specifications

For the more technical-minded, here are some detailed specifications for the MultiMixs operating levels. Input Channels Mic In Sensitivity Range: Line In Sensitivity Range: Mic/Line Gain Range: Equalization High-Pass Filter: High Shelving: Mid Bandpass/Band Reject: Low Shelving: -60dBu to 10dBu nominal, +5dBu maximum -40dBu to -+10dBu nominal, +25dBu maximum +10 to +60dB 75Hz, 18dB/octave 12kHz, +/- 15dB 2.5 kHz, +/- 15dB 80Hz, +/- 15dB

Specifications

Mechanicals Multimix 12 USB: (W x L x H) 13.0 x 13.4 x 3.2 / 331mm x 340mm x 80mm, 7.0lbs / 3.2kg 13.0 x 15.2 x 3.2 / 331mm x 386mm x 80mm, 9.7lbs / 4.4kg
All measurements done over a 22Hz 22kHz range with a 1kHz sine wave at +18dBu (-1dBFS) input. Impedances are measured at 1kHz.

Multimix 16 USB:

Aux Sends Aux Send A & B Gain Range: - to +10dB Aux Returns Aux Return A Gain Range: Effects Level/ Aux Return B Gain Range: Channel Levels Channel Level Gain Range: Master Levels Main Mix, Ctrl Room Gain Range: 1/4 Inputs Stereo Aux Return Level: RCA Inputs Tape In Level: 1/4 Outputs Main Mix, Ctrl Room, Aux 3/4, Ext Aux Send Level: Headphone Output: - to +15dB - to +15dB - to +10dB
- to +10dB +4dBu nominal, +20dBu maximum -10dBV nominal, +5dBV maximum
+4dBu nominal, +20dBu maximum 75 ohm output impedance >105mW into 75 ohms, >40mW into 600ohms -10dBV nominal, +5dBV maximum
RCA Outputs Tape Out Level:

7 Block Diagrams

Block Diagrams

Glossary

Here are the definitions to some terms youll probably encounter while using your Multimix USB. Term aux (auxiliary) balance bus channel channel strip clipping codec condenser microphone dB (decibel) detent Definition An additional set of outputs and inputs found on many mixers. These allow the addition of external effects and other audio sources. A control that lets you control the position of sound in a stereo signal by altering the relative levels of the left and right channels. The electrical component that carries signals from multiple sources to a single destination such as an amplifier. A path through which an audio signal flows. A section of a mixer on which reside controls like a fader, EQ and pan for manipulating the signal of an input channel. The cutting of an audio signal caused by a level that is too great for a mixer circuit to handle. Compression/decompression algorithm. Different CODECs are used by different digital audio devices and file formats. A type of high-quality microphone that produces a weak signal, usually requiring an external power source like the ones provided by your Multimixs XLR mic inputs. A common unit of measure for audio. A point of resistance in the path that a mixer knob or fader travels. Detents are used to mark important settings. As you turn the knob or slide the fader, youll feel it click into the detent. Term used to describe an audio signal free of effects. The opposite of wet. A common type of microphone that does not require external power. Dynamic microphones are generally cheaper than condenser microphones. A unit whose purpose is to provide effects for audio signals. Some common effects include reverb, chorus, flange and delay. Effects processors come in many shapes and sizes, from small pedals up to rectangular rackmount units. The part of your mixer (or other device) that manipulates an audio signal by lowering the level of some frequencies and increasing the levels of others. EQ is used to fine-tune a signals highs and lows.

A device that allows you to control the level of an audio signal by sliding the fader up and down a straight path. Each input channel of the Multimix has its own fader, and so do the MAIN MIX and ALT 3/4. The measure of extra amplification applied to an audio signal. Channels on your Multimix have gain controls, which are useful for boosting mic and line signals. The amount of power driving an audio signal. The most common names given to levels of varying voltage are, from lowest to highest, microphone level, instrument level and line level. The section of a mixer where the main mix is controlled. An amplifier that boosts a microphone-level signal up to line level. A device whose purpose is to combine and output a number of audio signals, allowing various types of signal manipulation. Refers to an audio signal that has only one channel. The opposite of stereo. A control that lets you position a mono signal within the stereo spectrum by altering the level of the signal being sent to the left channel as opposed to the right. A way of providing power to condenser microphones. Called phantom because the power isnt apparent to dynamic microphones when you connect them to an input that provides phantom power. Describes an aux send that sends a signal that already has passed through the channel fader. Describes an aux send that sends a signal that has not passed through the channel fader. A line input whose function is to carry back to the mixer an audio signal that has been sent from the mixer. Usually used in the application of effects. A line output whose function is to send a signal from the mixer to an external device, usually an effects processor. Refers to an audio signal that has two channels. Refers to the setting of an audio channel at which the signal leaves the channel at the same level at which it entered. Unity gain is marked by a 0 on the Multimixs faders. An audio signal that has had effects or other manipulations applied. The
master section mic preamp mixer mono (monaural) pan

phantom power

post-fader pre-fader return
dry dynamic microphone effects processor

send stereo unity gain

EQ (equalizer)

opposite of dry.

Warranty / Contact

Alesis Limited Warranty

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

Warranty/Contact

Alesis Contact Information
For more effective service and product update notices, please register your MultiMix online at: http://www.alesis.com/ support/warranty.htm
Alesis Distribution, LLC Los Angeles, CA USA E-mail: Web site: support@alesis.com http://www.alesis.com
Multimix USB Reference Manual Revision 2.0 by Edwin Erdmann, Brooks Bruner, and Fred Morgenstern Copyright 2004, Alesis Distribution, LLC. All rights reserved Reproduction in whole or in part is prohibited. Multimix and Multimix USB are trademarks of Alesis, LLC. Specifications subject to change without notice. 7-51-0179-A 4/05/2004

7-51-0179-A