MIXER / MICROPHONE PREAMPLIFIER

REFERENCE MANUAL

Important Safety Instructions
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. 7. 8. 9. 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. Install in accordance with the manufacturer's instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 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. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Use only attachments or accessories specified by the manufacturer.

10. 11.

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.
Instructions de Scurit Importantes (French) Symboles utiliss dans ce produit
Ce symbole alrte lutilisateur quil existe des instructions de fonctionnement et de maintenance dans la documentation jointe avec ce produit.
Ce symbole avertit lutilisateur de la prsence dune tension non isole lintrieur de lappareil pouvant engendrer des chocs lectriques.
Ce symbole prvient l'utilisateur de la prsence de tensions sur les raccordements de sorties, reprsentant un risque d'lectrocution.
Veuillez suivre ces prcautions lors de lutilisation de lappareil:
1. 2. 3. 4. 5. 6. 7. 8. 9. Lisez ces instructions. Gardez ces instructions. Tenez compte de tous les avertissements. Suivez toutes les instructions. Nutilisez pas cet allareil proximit de leau. Ne nettoyez quavec un chiffon humide. Il est potentiellement dangereux d'utiliser des pulvrisateurs ou nettoyants liquides sur cet appareil. Installez selon les recommandations du constructeur. Ne pas installer proximil de sources de chaleur comme radiateurs, cuisinire ou autre appareils (dont les amplificateurs) produisant de la chaleur. Ne pas enlever la prise de terre du cordon secteur. Une prise murale avec terre deux broches et une troisirme relie la terre. Cette dernire est prsente pour votre scurit. Si le cordon secteur ne rentre pas dans la prise de courant, demandez un lectricien qualifi de remplacer la prise. Evitez de marcher sur le cordon secteur ou de le pincer, en particulier au niveau de la prise, et aux endroits o il sor de lappareil. Nutilisez que des accessoires spcifis par le constructeur.

Dimensional Drawing..48 Block diagram...49

Level diagram....50

Index... 51
Operating Instructions..25
Before turning the mixer on, "zero out' the controls..25 Setting input trim levels...26 PEAK LED method...26 Metering/Unity Gain method...27 Typical Fader and Control Levels...28 Proper gain staging of other equipment..29 Multimix 12R Reference Manual 1

INTRODUCTION

The Alesis Multimix 12R Microphone Preamplifier/Mixer
The Alesis Multimix 12R is a high-quality, rack-mountable 12-input, stereo output audio mixer. It is designed to handle eight microphones, two stereo line inputs, and to route signal to and from external effect processing devices. As a basic, easy-to-understand mixer, it can be used in a wide variety of applications from sound reinforcement to multitrack recording. It may also be used as an accessory or submixer to a larger console.

Grounding Instructions

This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with all local rules and ordinances.

Using this manual

To get the most out of your Multimix 12R, please read this manual. While the mixer is not complicated to operate, the manual contains information that will help you get the highest level of performance from it. Weve included creative alternative techniques that aren't obvious at first glance. To find what you need quickly, refer to the index at the back of the manual, or the Table of Contents.
DANGER - Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with the product; if it will not fit the outlet, have a proper outlet installed by a qualified electrician.

Conventions

The buttons, knobs, and rear panel connectors are referred to in this manual just as their names appear on the Multimix 12R, using all capital letters (Example: [TRIM] control, [PAN] knob, [PHONES] jack, etc.).
When something important appears in the manual, an icon (like the one on the left) will appear in the left margin. This symbol indicates that this information is vital when operating the Multimix 12R.

Connections

CONNECTIONS

Inputs

Cable common sense
Make all connections to the Multimix 12R with the power turned off wherever possible. If you must connect or disconnect inputs while power is on, make sure the channel fader and [TRIM] are turned all the way down to avoid sudden pops and clicks which may damage speakers or other equipment. Use good-quality cable: 99% of all mixer problems turn out to be cable or connector problems. Use the best quality cable you can, for highest reliability and lowest noise. If something goes wrong, check the cable and its connection to the mixer first. If the connectors are dirty or corroded, clean them with isopropyl alcohol or other approved electrical contact cleaner before inserting them into the Multimix 12R. High quality cables are low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Route cables in your system correctly by observing the following precautions: Do not bundle audio cables with AC power cords. Avoid running audio cables, or placing the Multimix 12R itself, near sources of electromagnetic interference such as transformers, monitors, computers, etc. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance), or reduce the cables reliability. Avoid twisting the cable or having it make sharp, right angle turns.

Microphone Inputs

The Alesis Multimix 12R features eight studio-grade, low-noise hybrid microphone preamplifiers. These [MIC] jacks are designed to work with almost any low-impedance microphone using standard 3conductor XLR connectors. The [MIC] jacks also feature 48 volt phantom power, which may be turned on and off by the [PHANTOM] switch on the back panel, for condenser microphones which require external powering.

Balanced Mic Input

Ground

Cold Socket (female)

The MIC Input is designed to accept a wide range of balanced or unbalanced low impedance input signals, with up to 60 dB of amplification available (which is 10 to 20 dB more than many other rack-mount mixers). It is wired with "pin 2 hot" according to the accepted standard.
Use only one input per channel. The LINE IN jack and the MIC IN jack of a channel cant be used at the same time. If you turn up the level of a line source to hear it at the same time a microphone is connected, you may damage the microphone.

Connections 2. Connect the stereo/TRS end to the INSERT jack of channel 1 of the Multimix 12R. 3. Connect the mono plug from the tip connector to the input of the ADAT. NOTE: the ADATs tracks are arranged from left to right on the back panel, and the mixers channels are from right to left, so the wires will have to cross over. 4. Connect the mono plug from the ring connector to the output of the ADAT. If you're not sure which mono plug is from the tip and which is from the ring, check to see if the cable box has that information. If not, simply try it one way and play a prerecorded tape from the ADAT. If you can't hear output from the mixer with the faders and master up, swap the input and output plugs the other way. 5. Plug in channels 2-8 of the mixer to tracks 2-8 of the ADAT in the same way.
Connections Because the ADAT has normalled inputs, the stereo output of the source mixer may be recorded on other tracks without repatching. The left output of the mixer will appear at the inputs of tracks 1, 3, 5 & 7; the right output will appear at track 2, 4, 6 & 8. On the ADAT-XT, press and hold [ANALOG INPUT] and the REC READY keys for track 1 or 2 to activate this "built-in patch bay" feature.
2. Plug track outputs 1-8 of the ADAT to LINE IN 1-8 of the "monitor/mixdown" 12R. Note that output 1 is on the left of the ADAT, but on the right of the mixer, so the wires must cross over. 3. To record more than two tracks at a time, plug a mono cable from the INSERT jack of any channels of the mixer to the input of any track. By plugging the cable all the way in the INSERT jack, and not returning the signal from the recorder, the individual channels will be removed from the stereo mix. This way, you can record a stereo mix of several inputs on any two tracks while simultaneously recording individual sources on other tracks.

OUTPUT

LOCATE/PLAY LRC REMOTE

PUNCH IN/OUT

DIGITAL
Using two Multimix 12Rs for more flexibility: The in-line method may be used for recording one source to a track. But if you want to record a mix of microphones or other sources onto a pair of tracks, two Multimix 12Rs can do the job more quietly and in a smaller space than expensive dedicated recording consoles. One 12R is the "source" mixer which feeds the ADAT's inputs, and the other is the "monitor/mixdown" mixer which receives the ADAT's outputs. 1. Plug the -10 dBV MAIN OUT jacks of the "source" 12R to track inputs 1 and 2 of the ADAT.

Instead of doing this, get as much gain as possible as close to the signal source as possible. If you've plugged a synthesizer or other line-level source into the Multimix 12R, set its output volume to maximum. If a microphone is the source, the Multimix 12R's [TRIM] control will determine the gain of the system.
The goal is to get the signal as loud as possible as early as possible in the signal path, without causing clipping (distortion) anywhere in the path or in the sound system.

PEAK LED method

Each channel of the Multimix 12R has its own [PEAK] indicator, which will light when the signal level rises to within 6 dB of clipping. In situations where the maximum signal-to-noise ratio is required (such as digital recording), use the PEAK LED as a guide for setting the [TRIM] control.
When the PEAK LED is flashing, it does NOT necessarily mean that distortion has occurred. There is usually some headroom left if the PEAK LED is flashing momentarily on the loudest peaks. 1. With the sound source active, and the channel fader down to minimum, raise the [TRIM] control until the PEAK LED flashes occasionally on the loudest transients. 2. If desired, lower the [TRIM] control slightly until the flashing stops. Note for extremely high level line inputs in stereo channels: If the [TRIM] setting is set below unity (12 o'clock position) on a stereo channel, it is possible for the first input stage to clip without the PEAK LED coming on. If distortion is still heard after lowering the trim to its minimum setting, it means the source is extremely high (+22 dBu or higher). In this case you must lower the output level of the source, use an external pad, or repatch to a LINE IN on channels 1-8 (which can take up to +32 dBu levels before clipping).
Metering/Unity Gain method
This method gives you more headroom than the peak method, while maintaining a low noise floor which will be well below the noise of most PA or live recording environments. 1. With the mic or line level signal flowing through the channel, set the TRIM to minimum. 2. Set the CHANNEL FADER to 0 (about 2/3 up). Set all other channel faders to minimum (off). 3. Set the MASTER fader to 0 dB (all the way up). 4. Observe the Multimix 12R's LED Meter. Adjust the [TRIM]knob until the average signal level on the meter is about 0 dB (highest green LED), or peaks do not exceed the +10 dB LED (or whatever maximum your system is designed for). If you ever see the channel's PEAK LED flash, you are within 6 dB of signal overload. Turn down the TRIM knob until the PEAK LED stops flashing.

Using the meter

The meter of the Multimix 12R is a fast peak type that reads in decibels, normally displaying the level of the [MAIN OUT] jacks. When the meter reads "0", the main outputs are at the nominal level: the phono jacks at -10 dBV (.316 volts) and the 1/4" jacks at +4 dBu (1.24 volts) balanced, or -2 dBu unbalanced. Use this reference level to calibrate your system. The input controls of analog recorders should be set so that 0 on the mixer's meters equals 0 VU on the recorder's meters. Digital recorders use a different reference; for example, an ADAT connected to the Multimix 12R's outputs will read "-15 dB" at nominal output, if you connect to the proper input jacks (balanced to balanced, or unbalanced to unbalanced). The meter follows the [MSTR/TAPE] switch, but not the PHONES/MONITOR level control. Whatever you hear in the headphone output, the master output (up position) or the 2-track tape input (down position) is what the meter is reading. Output distortion The Multimix 12R has plenty of headroom, but eventually every electronic device reaches its limit. At +18 dB over nominal level, the top LED of the meter labeled PK will light; at this point there is 6 dB of headroom before the master electronics will clip. Final clipping is reached at 24 dB over nominal "0" on the meter; this represents a level of +28 dBu at the MAIN OUT jacks if balanced, +22 dBu if unbalanced, and +14 dBV at the MAIN OUT -10 dBV phono jacks. Even if no channel PEAK LEDs are on, with extreme settings of the faders it may be possible to overdrive the output to this level.
As long as the meter of the Multimix 12R is below its top LED, and the PEAK LEDs of all channels are off, the mixer should not be causing distortion. If you hear distortion, check other devices in the signal chain for overload, and make sure the STEREO channels' PEAK LEDs do not come on when their TRIM is set to 12 o'clock.
Operating Instructions TO ELIMINATE HUM IF THE ABOVE HAS FAILED: A) Disconnect the power from all outboard devices and tape machines except for the mixer and control room monitor power amp. B) Plug in each tape machine and outboard effect device one at a time. If possible, flip the polarity of the plug of each device (turn it around in the socket) until the quietest position is found. C) Make sure that all of the audio cables are in good working order. Cables with a detached ground wire will cause a very loud hum!! D) Keep all cables as short as possible, especially in unbalanced circuits. If these basic experiments dont uncover the source of the problem, consult your dealer or a technician trained in proper studio grounding techniques. In some cases, a star grounding scheme must be used, with the mixer at the center of the star providing the shield ground on telescoping shields, which do NOT connect to the chassis ground of other equipment in the system. Note that the Multimix 12R is grounded through its AC cable. Signal ground is connected to chassis ground, which in turn may be grounded again by the rack rails. But since almost all of the inputs and outputs of the Multimix 12R are balanced, the ground does not have to be made part of the signal path unless you are connecting to unbalanced equipment. If the Multimix 12R is mounted in a metal rack, the mixer shares a common ground with the other equipment in the same rack. In some cases (such as a star ground scheme), you may need to use nonconductive rack rails or rack isolators to avoid ground loops.

Telescoping shield: In fixed installations using balanced outputs where the amplifier is more than 20' from the mixer and on a different AC power panel, it may be advisable to disconnect (or "float") the shield at the amplifier end. This keeps the ground potential of the amp
Operating Instructions rack from being conducted back to the mixer. Even though the mixerto-amp connection is balanced, any unbalanced sources or effects plugged into the mixer may exhibit a hum when the amp's ground is carried back to the mixer.

Applications

APPLICATIONS

Multitrack recording

See the "Connections" chapter for information on how to connect the Multimix 12R to an ADAT or other multitrack recorder. In the most common setup, the ADAT is patched into the INSERT points of each channel. It receives signal directly from the [TRIM] control; no other controls will affect the level being recorded to tape.

Mixdown

You may leave the ADAT connected to the INSERT jacks for mixdown; there's no need to repatch to the LINE IN jacks. Make the connections according to the procedure in the "Connections" chapter. 1. Connect the MAIN OUTs (-10 dBV or +4 dBu, depending on the deck) to the inputs of the mixdown deck. 2. Connect the outputs of the mixdown deck to the TAPE IN jacks. 3. Connect the [MONITOR OUT] jacks to the inputs of your control room monitor amplifier. 4. Press the [PHONES/MONITOR] switch down so it is in the TAPE position. 5. Put the mixdown deck into record/pause mode, play the ADAT, and adjust the mix and level controls of the mixer for the desired level. Set the MASTER fader up to the maximum, and adjust the input controls of the mixdown deck until its meters give the desired reading. You will also be able to see the levels on the mixer itself; check to make sure the output of the mixdown deck is set to nominal (unity gain). By monitoring through the mixdown deck, you'll be able to hear if there is any distortion in that deck's electronics.

Tracking/Overdubbing

1. Put the desired tracks of the ADAT into record ready mode. Press "Auto Input Monitor" or "All Input Monitor" depending on your situation (see the ADAT manual for more information). 2. With the signal source (microphone or line input) active, slowly increase the [TRIM] level of each input while watching the ADAT meter until the top red segment comes on. Then turn down the trim level so that the red LED does not light. 3. Set the EQ, aux, and channel faders for the desired control room mix. Note that none of these settings will affect the signal going to the ADAT. 4. For overdubbing, put the original tracks into safe mode. These tracks will play back through the same channels they were recorded on. 5. If necessary, repatch the microphone or line inputs to the next channels you want to record. NOTE: the ADAT and ADAT-XT can automatically "normal" the input to track 1 to any odd-numbered track, and the input to track 2 to any even-numbered track. Check the manual of the ADAT or XT for more information.

Using the HIGH and LOW EQ controls
The Multimix 12R provides standard shelving EQ controls on each channel. The HIGH knob range is +/- 15 dB with a shelving frequency of 12 kHz. "Shelving" means that all frequencies above 12 kHz will be boost or cut by the same amount , and frequency response between 1 kHz and 12 kHz will gradually rise or fall to the shelving point. The LOW knob range is +/- 15 dB at a shelving frequency of 80 Hz. This means that frequencies below 80 Hz will be boosted or cut by the same amount, and frequency response will gradually rise or fall from 80 Hz to about 1 kHz. The frequency response range is shown in the curve below:

+15 dB

Monitoring AUX 1 in the PHONES jack
If you are using AUX 1 as a monitor feed, you may want to check that mix using the headphones. If you've connected the PA or recorder to the MAIN OUTPUTS, and are not using the TAPE IN jacks, use Y-cords to connect the AUX 1 SEND to the TAPE IN jack(s) at the same time it feeds the monitor amplifier. Use the front panel [PHONES/MONITOR] switch to select between the main and aux 1 feeds.

-15 dB

100 Hz
The normal position for the EQ controls is "12 o'clock" or straight up. A "click" or detent will be felt at this position. At this position, the EQ does not affect the frequency response of the channel--it is "flat". Use only the amount of EQ necessary to achieve the desired effect. Excessive boost on either EQ section may cause clipping in the channel electronics, and will amplify noise.

Specifications

Specifications Hum or noise from output. Try plugging the unit into another power jack or different audio cables. Monitor switch is set Set switch to "MSTR" No meter, although audio is heard through to TAPE main outputs. Unplug and replug Crackling sounds. Dirty or corroding connections on back connectors several times, clean plugs. of mixer. A microphone cable Unplug the has a small short or microphone cables from the mixer until break. the noisy one is found, and replace it. Ground loop, unshielded cables.

TROUBLESHOOTING

Troubleshooting Index
If you experience problems while operating the Multimix 12R, please use the following table to locate possible causes and solutions before contacting Alesis Product Support or your dealer for assistance. Symptom Cause The Power LED does No power. not light when the unit is powered on. Sound is distorted, red Input level is too PEAK LED is lit. high. Solution Check that the power cable is plugged in properly. Turn down the source volume, or turn down the TRIM control. Dont plug line level signals into the MIC jacks. Input level is too Turn up the TRIM low. control. Set the source(s) to a higher level. Turn Output of effect AUX 2 send level is device up and reduce too low and Stereo Aux Return on mixer Aux Return level on mixer. Increase Aux is up full. Send levels. Monitor switch is set Set switch to "MSTR" to TAPE. INSERT jack is connected to a device thats off. TRIM level is too low. MIC IN and LINE IN jacks being used on the same channel. Microphone requires phantom power. Check insert jack cables and device. Turn the TRIM control up. Unplug one of the sources from the channel. Turn PHANTOM switch on (on rear panel next to POWER)

Sound is excessively noisy, faders must be raised to full to hear. Sound from effect is noisy.
No audio is heard from PHONES or MONITOR output. No audio on an individual channel.

Maintenance/Service

Exterior cleaning
Disconnect the AC cord, then use a damp cloth to clean the mixers metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409 or Fantastik. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS! Spray onto a cloth, then use cloth to clean the unit. Never spray any kind of cleaner into the faders, even if it claims to be safe for such use. Such electronic potentiometer cleaners may improve performance for a short time, but they cause the fader to wear out faster by attracting dirt.
Refer All Servicing to Qualified Technicians
We believe that the Multimix 12R is one of the most reliable mixers that can be made using current technology, and should provide years of trouble-free use. However, should problems occur, DO NOT attempt to service the unit yourself. Service on this product should be performed only by qualified technicians. NO USER-SERVICEABLE PARTS INSIDE.

SPECIFICATIONS

All measurements taken with an Audio Precision System One. All noise measurements taken with trim at minimum and faders at unity gain with 22 Hz to 22 kHz bandwidth unless otherwise specified. All In & Out measurements made on balanced +4 dBu connectors. (+4 dBu into a line input with faders at unity and the meter reading 0 will yield +4 dBu into a balanced load or -2 dBu into an unbalanced load.)

Levels

MIC IN -60 dBu to -10 dBu nominal, maximum level +12 dBu LINE IN -40 dBu to +10 dBu nominal, maximum level +32 dBu (balanced) STEREO LINE IN -15 dBu to +15 dBu nominal, maximum input level +22 dBu MAXIMUM GAIN +76 dB, MIC IN to MAIN OUT, balanced +80 dB, MIC IN to MONITOR OUT, balanced or unbalanced CHANNEL PEAK LED ON: 6 dB below channel clipping METER: Peak type -24 dB to PK (+18 dB over reference at MAIN OUT, 6 dB before output clipping) MAIN OUT LEVEL (1/4" phone jacks) (when meter is at 0 VU) +4 dBu (1.24 volts) into a balanced load -2 dBu into an unbalanced load MAIN OUT LEVEL (phono jacks) -10 dBV (.316 volts) unbalanced MAXIMUM OUTPUT LEVEL +22 dBu unbalanced, +28 dBu balanced (6 dB above "PK" segment of main meter) MONITOR OUT LEVEL Same as above, but variable following MONITOR/PHONES control INSERT/DIRECT OUT (tip) Unity gain INSERT IN (ring) Maximum level +22 dBu HEADROOM: 23.5 dB above nominal output

Frequency Response

10 Hz 65 kHz +0/-1 dB -3dB Point: (any input to any output at nominal operating levels) 125 kHz

Connectors

MIC IN jacks: LINE IN jacks: Female XLR (Pin 1 ground, Pin 2 +, Pin 3 -) Female 1/4" 3-conductor phone (Tip = +, ring = -, sleeve = ground) Female 1/4" 3-conductor phone (Tip = send, ring = return, sleeve = ground) Inserting plug to first "click" allows direct output without breaking normal signal flow Female 1/4" 3-conductor x 2

INSERT jacks:

STEREO LINE IN and STEREO AUX RETURN jacks: MAIN OUT BALANCED, MONITOR OUT, and AUX SEND jacks:

Impedance

MIC IN 50-150 nominal source impedance (presents 4 k balanced load impedance) 600 -2 k nominal (>20 k load impedance) 150 unbalanced, 300 balanced 1.1 k at -10dBV MAIN OUTS
Female 1/4" 3-conductor phone (Tip = +, ring = -, sleeve = ground) Female phono ("RCA") jacks Female phono ("RCA") jacks
LINE IN OUTPUTS (MAIN, AUX and MON):
MAIN OUT -10 dBV jacks: TAPE IN jacks:
Noise performance (typical)
Measured at MAIN OUT +4 dBu jacks, unbalanced load, 22 Hz to 22 kHz, all channels panned to center. MIC IN to INSERT OUT: -128.5 dBu Equivalent Input Noise at maximum gain

DIMENSIONAL DRAWING

Residual output noise (MASTER fader at nominal, channel faders at minimum): <-88 dBu 12 inputs, faders and trims at unity gain, inputs terminated 150: <-85 dBu unbalanced (+22 dB max unbalanced out = 107 dB dynamic range)

Distortion (THD+N)

Measured with a 0 dBu signal coming into a MIC IN jack with trim set for a +15 dBu output from the insert jack. At INSERT jack: Better than 0.0010% At MAIN OUT (+21 dBu balanced output level) Better than 0.0015%
U.S.A. model: 120 VAC, 60 Hz, 40 watts power consumption maximum
19" EIA rack mountable, 3 spaces

B LOCK

DIAGRAM

Level diagram

ADAT, 18, 22, 34, 39 amplifier, 20, 31 Aux 1, 17, 20 AUX 2, 16, 32 AUX SEND, 16, 20 balanced, 12, 20 cable, 9 clipping, 13 compressor, 17 direct output

using INSERT jack, 18

distortion, 28, 31 effect, 16 EQ, 31 Fader, 30 feedback, 20, 21 gain, 30 ground loop, 35

isolating from rack, 8

PHONES, 25 PHONES/MONITOR, 14, 34 phonograph, 15 post-fader, 32 pre-fader, 17 rack, 8, 36 reverbb, 16 Service, 45 shield, 36 Specifications, 47 stage monitor, 20 STEREO AUX RETURN, 16, 32 STEREO LINE channels
as Effect Return, 16, 32 for CDs and synths, 12 maximum input level, 13 PEAK LED, 28

TAPE IN, 14

as Aux 1 monitor, 42
grounding, 6, 7 guitars, 12 Headphone, 20, 25 headroom, 13, 34, 48 HIGH, 41 Impedance, 10, 48 INSERT cables, 22 INSERT jack, 17, 24

in 2-mixer system, 24

tape recorder, 21 TRIM, 9, 13, 22, 28, 29, 30, 39 TRS, 17, 20 Unity gain, 30 wet/dry, 17, 32 XLR, 10, 13

Levels, 13, 28, 48

diagram, 52
LINE IN, 12 LOW, 41 MAIN OUT -10 dBV, 21 MAIN OUT BALANCED, 20 Master, 30 maximum level, 13, 48 meter, 34 MIC IN, 10, 13 Microphone, 10 microphone preamps, 22 MONITOR OUT, 14, 20, 25 mono, 20 MSTR/TAPE switch, 14, 21

affects meter, 34

noise, 7, 28, 35, 49 nominal, 34 PA system, 14, 20 PEAK, 28, 34 Phantom power, 13

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.

For more effective service and product update notices, please register your Multimix 12R online at: http://www.alesis.com/ support/warranty.htm
Alesis Contact Information
Alesis Distribution, LLC Los Angeles, CA USA E-mail: Website: support@alesis.com http://www.alesis.com
Alesis Multimix 12R Reference Manual Revision 1.0 by Brooks Bruner Copyright 2002, Alesis Distribution, LLC. All rights reserved Reproduction in whole or in part is prohibited. Multimix 12R is a trademark of Alesis Distribution, LLC. Specifications subject to change without notice. 7-51-0135 10/11/2002

About the MultiMix FireWire
The MultiMix FireWire mixers are the latest in the large family of Alesis audio mixers and the second series that includes computer interfacing (following on the launch of the MultiMix USB mixers in 2004). 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 with analog performance this powerful for such an affordable price, and the addition of multichannel computer audio interfacing would have been a pipe dream. 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.
All-In-One Mixer and Multichannel Computer Audio Interface
The MultiMix FireWire consoles give you just about everything you need to create polished, professional-sounding mixes both live and within a computer-based recording studio. 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, and the S/PDIF digital output (12- and 16-channel models only). The MultiMix FireWire is also a full-duplex, multichannel computer recording interface device. Not only can you record every channel independently, but you can also record the MAIN mix channels. To get you started with computer-based recording, we even include a well-specified Digital Audio Workstation (DAW) software program. With a multitude of ways in which to connect other equipment and instruments, the MultiMix FireWire offers endless possibilities.
Important: download the drivers from http://www.alesis.com onto a folder on your desktop or insert the software CD into your computers CD drive BEFORE you plug your MultiMix into your computer for the first time. See page 25 for details.
MultiMix FireWire Key Features
Three Models: MultiMix 8 FireWire (4 mic/line preamps, 2 stereo inputs) MultiMix 12 FireWire (4 mic/line preamps, 4 stereo inputs) MultiMix 16 FireWire (8 mic/line preamps, 4 stereo inputs)
Multichannel Firewire (IEEE 1394a) input and output routes each individual channels output, plus the MAIN outputs, through the FIREWIRE port, and receives two channels back from the computer, all in 24-bit, 44.1/48 kHz digital audio. ASIO and WDM computer drivers lets you use the MultiMix FireWire with the vast majority of digital audio workstation programs. 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 FireWire. 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. 2 aux sends per channel one can be used to access an external effects device; the other can be used either to access the MultiMixs internal effects or to access a second external device. On the 12-channel and 16-channel MultiMix FireWires, the first aux send can be switched between either pre- or post-fader operation. 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.

Additional Features of the MultiMix 12 FireWire and MultiMix 16 FireWire
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 S/PDIF digital out sends the 24-bit, digital stereo signal directly to a DAT, DVD or other recording device that can accept a S/PDIF signal.

How to Use This Manual

This manual is divided into the following sections describing the various functions and applications of 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: Traditional Mixing outlines a number of scenarios in which you can use the MultiMix for live mixing and simple, non-Firewire based recording. Chapter 5: Firewire Recording orients you to the MultiMixs powerful Firewire recording features, including software installation and setup with common DAW programs. Chapter 6: 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 7: Specifications and Chapter 8: 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.

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. Use a Firewire (IEEE 1394a) cable to connect one of the Firewire ports to a computer. 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 and recording 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 knob until the LED meters remain at or very close to 0. 8. If you need to apply EQ, do so and check the meters again.
2 A Tour of the MultiMix FireWire
In this chapter, youll learn all about the MultiMixs 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.

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.
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.

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.

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.). The 2-TRACK IN signal combines both whatever is plugged into the 2-TRACK RCA jacks and also any audio coming back to the computer over Firewire.

Alt 3/4 To Mix

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

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).
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.

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 no switches are 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.

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 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.

2TK Switch

If you want to monitor the signal coming in from the 2-TRACK jacks and from the computer (if a Firewire cable is attached), press the 2TK switch.

Aux Ret A Level

This is the level control for the signal returning to the mixer via AUX RETURN A.
Effects / Aux Ret B level
If you are using one of the MultiMixs internal effects, this knob controls the effect level. If AUX SEND B is connected to an external device, this knob controls the level for AUX RETURN B.

LED Meters

These are the two rows of yellow, green and red lights you see in the master section of the mixer. They are very versatile, allowing you to view the signal level of the main mix, individual channels (both pre- and post-fader) and aux returns depending on which signal you have routed to the control room mix.

POWER Indicator

When this LED is lit up, that means the POWER ON switch on the rear of the mixer has been activated.

+48V Indicator

When this one is lit up, that means the PHANTOM ON switch on the rear of the mixer has been activated and is supplying +48V phantom power to all XLR mic inputs.

Rear of the Mixer

Heres what youll find at the rear of the mixer.
Heres where you plug in your mixers external power supply. You should always connect your power supply to the mixer before you plug the power supply into an electrical outlet.

Power Input

Power Supply Unit
This unit provides 18.5 VAC at 700 mA of power, more than enough to keep your MultiMix running smoothly. As with nearly all power supply units, this one tends to get warm when left on for a while. This is perfectly normal.

This type of reverb simulates the ambience of a grand concert hall.
This type of reverb reproduces the more intimate ambiance of natural room acoustics.
These are simulations of metal plate reverbs, as used on classic recordings from the '70s and '80s.

CHAMBER

These are simulations of the reverb created by artificial echo chambers, as used on classic recordings of the '50s and '60s.
Digital Effects Processor

CHORUS

These create the effect of multiple voices (or instruments) sounding at once from a single input.

FLANGE

These create a sweeping, swooshing sound effect that you will probably recognize.
These effects are based on a discreet repetition or echo of the input.
These effects transpose the pitch of the input signal and blend the effect signal with the original to create harmonies.

MULTI & MULTI II

These are combinations of two or more of the above effects.

4 Traditional Mixing

Simple Live Setup
Connect your instruments and microphones to the mono and stereo channels, making sure to properly set the level of each channel. You can select one on-board effect and control its level with the AUX B knob for each channel. You can also use an external effects processor by sending a signal to the external unit via the AUX SEND A and returning it via AUX RETURN A (youll probably want to set AUX SEND A to POST, for post-fader.). If you wish, you can use a second external effects processor via AUX SEND B and AUX RETURN B. However, note that use of an external effects processor on these jacks disables the internal effects. Connect the MAIN MIX OUT to a PA system amplifier. For monitoring purposes, you can connect the CTRL RM OUT to a headphone amplifier. You could also connect a digital equalizer (like the Alesis DEQ-230D) between the DIGITAL OUTPUT and a PA system for extra tone control. By muting channels and pressing the ALT 3/4-to-HDPH/CTRL RM button in, you can audition a channel before you bring it into the mix, making sure the levels are OK before the audience hears it.
Using Additional External Audio Sources
The MultiMix gives you a few extra audio inputs in addition to the mic and line inputs. If you want to bring external audio sources into a recording or live mix, you can do it in one of two ways: Using the 2-TRACK IN, you can add a tape deck, ADAT, CD player, Firewire audio stream from a computer, or other source to the mix. The 2-TRACK IN also can be used to entertain the audience with a CD as the band is setting up for a live show. The AUX RETURNS can be used as additional audio inputs when you are not using them for effects.
Audio coming into the MultiMix from a computer over the Firewire connection is routed to the 2-TRACK IN. You can use the RCA jacks of the 2-TRACK IN at the same time as audio is playing back from a computer, but you must adjust the relative levels of each input from outside the MultiMix.

S/PDIF digital output to a digital recorder
Connect the S/PDIF DIGITAL OUTPUT of your MultiMix console to the DIGITAL IN on your external digital recorder (12-channel and 16-channel models only).
The S/DPIF output operates at 24 bits. This is compatible with devices like CD recorders that operate at 16 bits: the least significant bits are simply ignored by the 16bit device.

Traditional Mixing

5 Firewire Recording
Important: download the drivers from http://www.alesis.com onto a folder on your desktop or insert the software CD into your computers CD drive BEFORE you plug your MultiMix into your computer for the first time.
First-time connection instructions and driver installation
Important: Follow these steps BEFORE you plug in your MultiMix FireWire mixer for the first time. If your computer has access to the Internet, point your browser to the Support > Downloads section of http://www.alesis.com. Its possible that updated drivers have been posted there since the time the software CD included with your MultiMix was printed. Using either drivers from the website or the software CD, connect your MultiMix FireWire to your computer and turn the MultiMix FireWire on. Windows Under Windows XP, the Found New Hardware wizard will run. You will be prompted to install a series of drivers. If you downloaded the drivers from the Internet, choose to install the drivers from a specific location when prompted, and point to the folder that contains the drivers. If you are using the drivers from the CD, choose to install the drivers automatically when prompted. For each of the several installations that occur, click Continue Anyway if Windows warns you that the drivers have not passed Microsoft Logo Certification.
These drivers include the two most popular standards for audio interfacingWDM (the Windows Driver Model built by Microsoft) and ASIO (the Audio Stream Input/Output standard used by many audio software applications).
Windows Logo Certification warning. Ignore this warning by clicking Continue Anyway.
Your MultiMix Firewire mixer requires several sets of drivers to work properly. The installation process will automatically install these drivers one by one. Let the installer continue installing the various sets of drivers until the you see a message stating, Your

Firewire Recording

new hardware is installed and ready to use. Do not cancel any of the installations, as they are all required for proper operation. Macintosh Mac driver installation is more straightforward, as only CoreAudio drivers are installed. Simply double-click the installer program to install the drivers.
Mac OS X 10.3 or higher is required by the MultiMix drivers.
Installing the optional applications
The software CD that comes with the MultiMix FireWire contains not only the drivers (the small computer programs that work behind the scenes so that your MultiMix works properly with your computer) but also some powerful music applications. If you dont already have a Digital Audio Workstation (DAW) program, definitely install the one provided on the CD. Its a fantastic way to get started in computer-based recording. You may find that its the only program you need. The demo applications give you a taste of some of the premier computer-based music programs on the market today. We encourage you to install and explore them.

Using the MultiMix FireWire with Cubase and other ASIO applications
Audio recording programs running on Microsoft Windows generally use one of two different audio standardsWDM (the Windows Driver Model, developed by Microsoft) or ASIO (Audio Stream Input/Output, developed by Steinberg and made freely available to other companies). Audio on the Macintosh (OS X) generally runs on top of Apples CoreAudio standard. Well look at how to use the MultiMix FireWire under each of these standards, starting with ASIO (using Cubase as an example).
Choosing the MultiMix as your audio device
1. Choose the menu option Devices | Device Setup.
This discussion uses Steinbergs Cubase software, but the principles provided here apply to all ASIO recording software.
Click the VST Multitrack option.
3. From within the ASIO Driver drop-down box, choose the MultiMix.
Press OK to accept this setting.
Different versions of Cubase function similarly, but not exactly, to the examples shown here.
Now that the MultiMix is selected as the audio device, individual channels must be activated for use. Again, return to the Devices menu, and select VST inputs.
Some versions of Cubase do not allow all inputs to be used simultaneously.
Click the activation buttons for channel pairs that you want to use.
In Cubase, you can rename channels by clicking in the Label area. This is useful if, for instance, your lead vocals are always on channel 1, your bass drum is always on channel 2, etc.
Creating a new audio file
Now, youre ready to create an audio project. Choose File | New Project
You can begin with a template or an empty file. For now, begin with an empty file.
3. Cubase needs to know where to place audio. Choose a directory here.
An excellent scheme for storing your projects is to create a directory called audio projects. Then, within that folder, create a new folder for each song you work on. Cubase will store your song file and all associated audio files in that same folder.
Now, you have a blank project. Add an audio track for recording by choosing Project | Add Track | Audio.
Be sure that the inspectora strip on the left-hand side of Cubase that shows all sorts of information about the selected trackis active. If your view is similar to that shown below, the Inspector is active. If you do not see all of the information on the lefthand side, the Inspector is not active. To activate it, press the show Inspector button towards the upper left of the screen (just below the Edit menu in the following picture).
Later, you can hide the Inspector if you want to save space on your screen.
Choose an input for your track by selecting it from the in area on the left. To record stereo on the track, click the button highlighted below.

You will do most of your monitoring through the mixer. However, if you want to monitor with Cubases effects, or if you just want to hear what the computer is hearing, press the direct monitoring button next to the Record Enable button.
Note that using direct monitoring causes a small delay as the digital audio is being processed. For this reason, when you use direct monitoring, you may want to press the MultiMixs MIX TO CONTROL ROOM button up so as not to hear the audio signal twice.
Add additional audio tracks as needed. Record-arm each one and press the RECORD button to begin recording.
For additional information, consult your softwares documentation.
Working with the ASIO control panel Accessing the ASIO control panel
From within Cubase, select Devices | Device Setup. | VST MultiTrack. Then, click the Control Panel button to access the MultiMixs ASIO control panel.
Setting the mixer nickname
You can change the name of the mixer as its seen by the recording program. Once this is done, choose Reset All in Cubase (or the equivalent command in other programs) to make the change to the mixer down flow down to the names of the input and output channels.
Setting the master device
If multiple audio devices are connected, one must be designated as the clock master.
Adjusting latency by changing the buffer size
Latency refers to the amount of time it takes for audio to get into and out of the computer. In the best of all possible worlds, there would be no such thing as latencywe would hear audio the moment it was created. However, computers have limited processing power, and they can chokecutting off recording or crashing programsif they are asked to handle too much data all at once. To minimize this risk, audio can be stored in a buffer for a certain amount of time. This buffering helps smooth out the stream of data that the computer needs to handle. In the end, all of the audio is sorted out and played correctly, but with a delay. Here are the basic considerations to consider when adjusting buffer sizes: Lower buffer size = less latency but higher risk of audio problems Higher buffer size = more latency but lower risk of audio problems Very high buffer size = possible system instability For most systems, there is a sweet spot where latency is not too high and system performance is good. Experiment with raising or lowering buffer sizes to hit this sweet spot. As you begin adding plug-in EQ, compression, and so forth to your project, your computer will need to work harder. If you start to hear clicks, pops and other glitches in your audio, consider increasing your buffer size at this time. As a final note, one tremendous benefit that the MultiMix FireWire offers is that you can monitor through it without latency at all. Simply press down the MIX TO CTRL ROOM button, and you can hear what youre recording without havig to worry about your computers settings.

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.
Channel is muted. Gain is too low. Internal effects arent working. Effects level is too low.
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 (or aux return). 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 FIREWIRE 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 MultiMix FireWire. Certain Firewire chipsets have design limitations or IRQ assignment restrictions that must be resolved before audio can work correctly on them. See your Firewire 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. FIREWIRE connection must be established.
Computer sees the MultiMix FireWire, but no sound is received and/or transmitted.
MultiMix FireWire is not set as primary sound device.
Firewire audio has crackling or glitches, or audio plays/records at incorrect pitch.
Computer configuration may be incompatible with Firewire audio.

No power.

Incorrect or defective power supply.
7 Troubleshooting: Firewire
Computer or audio application does not see the MultiMix FireWire Basic troubleshooting
First, check that the MultiMix is seen by the computer: Under Sounds and Audio Devices (Windows) or Audio MIDI Setup (Mac), look for the MultiMix FireWire to be listed as an available device. If the MultiMix FireWire is not seen, check that the Firewire cable is properly connected. Power the MultiMix FireWire off, wait a few seconds, and then power it on again. Repeat this process until the MultiMix FireWire is found.

For instructions for checking on this basic connectivity, see page 28 (Windows) or page 36 (Macintosh).
Advanced troubleshooting under Windows
The best way to see that your MultiMix is connected and operating properly is through the Windows Device Manager. This is a powerful Windows component that requires some navigation but yields very detailed information. 1. Start by finding the My Computer icon either on your desktop or from the Start menu.
Right-click the My Computer icon and select Properties.
Troubleshooting: Firewire
The active tab at the top of this window is now the General tab. Click the Hardware tab. Then, click the Device Manager button.
Finally, expand the Sound, video and game controllers section. MultiMix Audio should appear.
No connection If MultiMix Audio does not appear, Windows does not see the mixer as being connected to the computer. Check your Firewire cable and try powering the mixer off and on again. Expand the IEEE 1394 Bus host controllers section. Check that your Firewire card is listed as properly working. As a last resort power your computer off and on. Faulty connection If MultiMix Audio appears, but there is a yellow question mark or exclamation point attached to it, the drivers are improperly installed. Right-click on the MultiMix Audio listing, choose Uninstall, and uninstall the device. The next time you connect the MultiMix to your computer, you will need to re-install the drivers from scratch.
When restarting your computer, turn it off all the way. Pull out the AC power cord, keep it out for a few seconds, and then plug it back in again before you restart your computer. This step helps reset your computers PCI cards, including any Firewire cards.
Audio playback or recording is at the wrong speed
Adjust the buffers in the ASIO control panel or through your WDM applications audio setup options. It is impossible to say which buffer settings are perfect for each system, but generally buffer sizes around the middle or low-middle of the available range provide the best results.
Audio playback or recording stutters or drops out
Again, work with the buffer settings in the ASIO control panel or through your WDM applications audio setup options in order to find the most reliable setting. Many audio applications include advanced setting dialog boxes where pre-fetch and other parameters can be set. Explore those options.

Help on the web Most major recording programs are supported by lively user forums. The odds are that, if youre having problems, someone who posts at these forums has already experienced them and found solutions. Dont be shy about visiting these forums and posting your questions.
Audio echoes during recording
Either turn your software direct monitoring off orif you want to monitor your incoming audio through your softwareput the MIX TO CTRL RM button in the UP position. Be sure to attach your monitoring speakers to the CTRL RM OUT jacks, not the MAIN MIX OUT jacks.

8 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
All measurements done over a 22Hz 22kHz range with a 1kHz sine wave at +18dBu (-1dBFS) input. Impedances are measured at 1kHz.
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 2-TRACK 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 2-TRACK OUT Level:
S/PDIF and Firewire digital outputs Bit depth: 24 bit Sample rate: 44.1kHz, 48kHz (switchable in software)

Specifications

Mechanicals MultiMix 12 FireWire: (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

dry dynamic microphone effects processor

Contact Information

rectangular rackmount units. EQ (equalizer) 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. A standard for connecting external devices to a computer. Also called IEEE 1394a. 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. Another name for Firewire (see above). The time it takes for audio to travel from the MultiMix, through the computer and the recording program, and out again. Latency is measured in either samples or milliseconds. The amount of power driving an audio signal. The most common names given to levels of varying voltage are, from lowest to highest, microphone level, instrument level and line level. The section of a mixer where the main mix is controlled. An amplifier that boosts a microphone-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.

Firewire gain

IEEE 1394a latency
master section mic preamp mixer mono (monaural) pan

phantom power

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