Troubleshooting... 85

Troubleshooting Index....85 Maintenance/Service...86

Specifications... 89

Frequency Response...89 Connectors....89 Levels....89 Impedance....90 Noise performance (typical)...90 Distortion (THD+N)....90 Power....90 Mounting dimensions....90 Dimensional Drawings:...92
Gain Diagram... 93 Block Diagram.... 94 Index... 96

Introduction

CHAPTER 1

INTRODUCTION

How to use this manual
Youve taken the leap and purchased an Alesis Studio 32 Recording Console with Inline Monitor. Congratulations. At Alesis, we design equipment thats used by everyone from first-time users to engineers with decades of experience. In either case, the Studio 32 packs a lot of power into a small package, and we wrote this manual so that no matter what your background is, you can get the most out of it.

For beginners

The first two chapters are designed to give you a background in console operation. If you read them carefully, the rest of the manual will be easier to understand, and youll be happier with your results. Mixers really arent as difficult as they seem to be, but theres a lot of things going on at one time. Chapter 1: Introduction describes the capabilities of the Studio 32 and explains the basic principles of mixing and recording. Chapter 2: Guided Tour provides a brief tour of the Studio 32, and shows you how the basic principles of all console operation apply to the particular features of the Studio 32. Chapter 3: Connections details installation and power hookups, rear panel connections (inputs, outputs, and cables), and typical hook-up procedures. Chapter 4: Effects and Signal Processing contains information on how to connect external effects and how to use them properly. If you dont read any other chapter, read this oneeffects send and return is one of the most misunderstood aspects of mixing consoles. Chapter 5: Recording Applications covers the various uses for the Studio 32 in multitrack recording, with step-by-step instructions on setting up and mixing techniques. Chapter 6: Sound Reinforcement Applications covers the Studio 32s features when its connected to a PA system; but this chapter will also be useful for those doing live recording. Chapter 7: Description of Controls is a dictionary of each control for fast reference. Chapter 8: Troubleshooting. A guide to trouble-free operation, maintenance and service information. We have also included a block diagram, Gain Structure Chart and an Index.
We appreciate your feedback. If you have any suggestions on how to improve this manual, please write to us at: Technical Communications Dept. Alesis Corp. 3630 Holdrege Los Angeles, CA 90016 or via email at: alecorp@alesis1.usa.com

Monitor/Control Room/Solo System

MIC LINE TAPE IN IN IN

(to channel FADER SOURCE switch) (MIC/LN source is post-EQ when both SOURCE switches are set to MIC/LN)
MONITOR 1/2 SOURCE MON LEVEL MON PAN

MONITOR 1/2 MASTER

CONTROL ROOM SELECT SWITCHES
(from AUX, GROUP, L/R masters and 2 TRK inputs)
(Master solo takeover relay)
CONTROL ROOM OUTPUTS MONO CONTROL ROOM LEVEL
(Channel details on previous page)

Channel fader

(PFL feed)
Any SOLO on console controls this relay electronically

Channel PAN

MASTER SOLO LED

SIP/PFL SWITCH

SOLO MASTER

Aux Sends and Returns:

Effects
The last important mix is usually used for adding effects (such as reverb, delay, chorus, etc.) to the mix. This may be part of the tracking and overdubbing stage, and is almost always part of the mixdown stage. The rows of blue knobs running across the center of the Studio 32 may be thought of as secondary submixers, with a little less independence from the other mixes, because they follow them in the signal path. This is the send side of the effects send/receive process. The upper row of AUX controls is capable of sending from either the MONITOR 1/2 mix (the row of purple knobs) or from the channel faders.

Aux Sends (16)

CHANNEL FADER MONITOR LEVEL

(to monitor pan)

(to channel pan and assign)

AUX 3(5) SOURCE TO 5/6

AUXILIARY OUTPUTS AUXILIARY MASTERS

AUX 3(5)

AUX 4(6)
Once youve made an effect, its no use unless you hear it, so the STEREO AUX RETURNS are four miniature stereo channels designed for effect returns. You may want to record effects to the multitrack, so they have GRP ASSIGN switches. The musicians may want some reverb in their headphones to help them stay on pitch, so it has a row of four MON 1/2 controls. The engineer may need to hear the output of a single effect device to change the delay time, so there are SOLO switches. And, of course, you want effects on the final mix, so they all have L/R ASSIGN switches. Except for the limitations of not having a mic preamp, EQ, post-fader Aux Sends, or mute, the Aux Returns are just like channels--they dont have to be used for effects. Consider them as an extra eight input channels especially for stereo line instruments such as synthesizers that already have their own internal effects.

Monitor 1/2 section

In multitrack recording, once signal goes from the Group Outputs to the recorder, it comes back to the tape inputs. The TAPE IN jack has no trim control of its own; it is designed to handle the balanced or unbalanced line levels that all multitrack recorders generate. Each channel features an in-line monitor which selects either the tape return or the mic/line input source for the MONITOR 1/2 mix. The MONITOR 1/2 mix has its own MASTER LEVEL control and may be heard in several different ways: From its own output jacks connected to an external headphone amplifier the HEADPHONE jacks of the Studio 32, with the SOURCE switch down in the Control Room mix, with the MON 1/2 switch down in the L/R mix, if the LINK TO L/R switch is down

Aux Send/Return System

Aux sends
In the center of each channel module are the blue knobs that make up the Auxiliary Send section, which allows the signal to be routed to outboard signal processing equipment. There are two Aux knobs in each channel, but there are four different Auxiliary Masters and outputs. Since some people will use the Monitor section as an auxiliary send, its numbered 1/2, and the other auxes are numbered 3 through 6. Both Aux Sends of any channel may be sent to Aux 3/4, or to Aux 5/6 by using the switch in the middle of the knobs: this is the AUX ASSIGN switch and it affects both knobs in the channel. The upper Aux knob has a unique capability: by pressing the AUX 3(5) SOURCE switch it can select either the Channels signal or the Monitors signal to send to Aux 3/5. In the Master section youll find master level controls for all four Aux Sends.

Stereo Aux Returns

The Stereo Aux Returns, found near the top of the master section, are extra input channels designed for routing the signals back from signal processing equipment. Aux Returns can be thought of as very basic line input channels. The gray LEVEL knobs control how much effect will be added to the mix, either while tracking or mixing down. The purple MON 1/2 knobs control how much effect will be sent to the monitor section so you can hear it in the headphone or control room mix, independently of the amount going to the multitrack or stereo mix. If you are using a MIDI system with several keyboards, each with stereo signals, you can alternatively use the Stereo Aux Returns as additional line inputs. This is especially useful for keyboards that provide their own on-board signal processing, and therefore do not need to be routed to the other Aux Sends.

Control Room System

The SOLO switches in each channel, along with the Control Room switches and Headphone section, make up the Control Room system of the Studio 32. This is the engineers mix. It allows you to audition the different mixes that are going on at any given time and to hear individual inputs when needed, all without disturbing the other mixes that are going to the musicians, the PA system or recorder. It also controls the stereo meter display. Normally, the CONTROL ROOM OUT jacks are connected directly to the inputs of a stereo amplifier such as the Alesis RA-100, which power a set of near-field monitors such as the Alesis Monitor One or Point Seven reference monitors mounted within a few feet of the console.

To set the level coming FROM the effects device: In most cases, the output level of the effect device itself should be set relatively high, at nominal or maximum. Lower the output of the device only if the meter keeps the +10 LED on when the Stereo Aux Return is soloed, or if the effect levels are too loud even at low settings of the Stereo Aux Return LEVEL controls. To hear effects in the control room monitors: Its possible to put effects into the monitor or headphone mix without recording them to the multitrack. 1 Press the L/R switch of the Stereo Aux Return. Make sure the GRP 1/2 or GRP 3/4 switches are in the up position. Otherwise, the signal will be assigned to the group and effects may be sent to the multitrack recorder. Raise the Stereo Aux Returns LEVEL control until you hear the desired volume of effect return.
Remember that you can SOLO the Aux Return to make adjustments to the sound, if desired, as long as the master solo select switch is in SIP (solo in place) mode (green solo master LED). You will be hearing the output of the effects device only, without any dry signal coming from the channel.
To hear effects in the headphone/cue mix: Often while recording, musicians would like to hear some reverb or delay in their headphone mix. It is possible to meet this need without actually recording the effect. If youre using L/R as the cue feed, follow the steps for control room monitors above. If the headphone mixs source is MON 1/2: 1 Select MON 1/2 as the Control Room source so you can hear what the studio is hearing. Raise the MON 1/2 control (the purple knobs) of the Stereo Aux Return(s) until the desired balance is heard.
To record effects onto the multitrack: In most cases, effects are added at mixdown instead of during tracking and overdubbing. However, you can record wet (with effects) in order to use the same device for some other effect at mixdown, or because the effect is essential to the part. To do this, you simply: 1 Assign the Stereo Aux Return to the Group that youre recording, by pressing the GRP switch. Returns A and B can be sent to Groups 1 and 2, and Returns C and D can be sent to Groups 3 and 4. (If this doesnt fit your needs, you will have to repatch.) To make sure youre hearing whats actually going to tape, make sure the L/R switch is up, and follow the procedure earlier in this section under Recording Multiple Sources.
If the effect is stereo, it must be recorded onto two tracks. The left Aux Return input will go to the odd-numbered group (1 or 3) and the right Aux Return input will go to the even-numbered group (2 or 4). To record effects onto the mixdown deck: This procedure is the same as for hearing effects in the control room monitors described earlier: assign the STEREO AUX RETURNS to L/R and adjust the LEVEL controls.

Note: There is no TRIM control for the TAPE IN jack, because it is designed to handle the full range of inputs generated by modern tape recorders.
Maintain Proper Fader Levels In typical operation, the Channel, Group and Master FADERS should be run at about the 0 dB or nominal position. NOTE: thats about 2/3 of the way up the channel fader travel, but all the way up on the Group and L/R faders. This position gives the best balance between maintaining adequate headroom and lowest noise. It also allows for any additional increase or decrease in level that might be required during mixing. Ultimately, the channel fader levels are dependent on the requirements of the mix; the nominal level is only a starting point.
If a large amount of EQ is used, it may become necessary to decrease either the TRIM control, or the Channel FADER, or both. The EQ is capable of adding quite a bit of gain and is a frequent cause of overload distortion problems. The Studio 32 has been designed with plenty of headroom on the internal summing amplifiers (23 dB of headroom above a +4 dBu balanced output level). It is only possible to clip the mixer internally if several channels are at or near their maximum clipping point (with PEAK indicators flashing) and then sent at maximum gain to an output. You are in danger of this if: the meter is hitting the top of its range (PK) with the GROUP MASTER FADER set to nominal level, or the GROUP or MASTER FADER is set to -20 or lower, and the meter is reading 0 dB or above.
Once again, it may be necessary to decrease either the TRIM control, the Channel FADERS, or both, of each of the Channels assigned to the Group.
Maintain Proper System Levels As a good rule of thumb, try to run most volume level controls of other equipment receiving signal from the Studio 32 (amplifiers, effect devices) at 3/4 or 75% of full, as well. This will decrease the possibility of overload distortion and keep the amount of background noise to a minimum.
How to Record a Single Source to One Track
When recording a single source appearing on one Channel onto a single tape track, it is usually best to use the DIRECT OUT of the Channel. This provides the most direct connection between the Studio 32 Mixer and the multitrack. To record a single source to a single track: 1 With a microphone or instrument connected to the desired input channel, set the TRIM and fader level correctly (see page 45, Setting Levels). Make sure the channels FADER SOURCE switch is up. Connect the channels DIRECT OUT to the Input of the desired tape track (see page Error! Bookmark not defined., Connecting to a Multitrack Recorder). Place the track you want to record into the source or input mode (usually by arming the track for recording). At this point, you may see the channel meter of the recorder respond to the microphone or instrument. Adjust the fader for the proper recording level. To monitor (listen to) the signal through the multitrack tape machine, make sure the TAPE/ML switch of MONITOR 1/2 is up and raise the Monitor 1/2 LEVEL of the track being recorded. Note that this Monitor control may be in a different channel strip, if youre recording onto a different-numbered track. 5 To hear MONITOR 1/2 in the control room, raise the MONITOR 1/2 MASTER control, select MON 1/2 as the control room source (by making sure all other Control Room Select switches are up), and raise the control room level. To hear it in the headphones, you may select MON 1/2 directly as the headphone source.

Overdubbing

Using MONITOR 1/2 to Monitor the Multitrack
Once you have recorded onto the multitrack tape machine, youll need to hear the playback of those tracks, as you record new tracks in sync with the material already on tape (see next section, Getting the Mix to Headphones). The signals coming back from the multitrack tape machine connect to the TAPE IN connectors of each channel, and during the overdubbing stage youll usually hear them via the MONITOR 1/2 system. To listen to tape tracks via MONITOR 1/2: 1 Place the tracks of the tape machine you wish to monitor into the Tape or Playback position. Make sure the MIC-LINE/TAPE switches above the MONITOR 1/2 PAN pots are up (TAPE position). Raise the MONITOR 1/2 LEVEL controls being used for the tape tracks you want to hear. Select MON 1/2 as the Control Room Source and turn the CONTROL ROOM control up to the desired listening level. Alternatively, you may select L/R as the Control Room source, and press the LINK TO L/R switch under the MONITOR 1/2 MASTER. This will allow you to hear other sources from the channel faders if they are assigned to L/R. 4 Play the tape and raise the MONITOR 1/2 MASTER until the peaks of the signal briefly light the yellow LEDs in the meters.
Using the Channel Faders to Monitor the Multitrack
If youre only recording a few inputs at a time, you may want to use a different technique for monitoring. Monitoring on the channel faders gives you a head start on your mixdown, and also allows you to start using the parametric EQ. Another advantage of using the L/R mix for monitoring in the control room is that it frees the MONITOR 1/2 mix to provide an independent mix for musicians headphones. Keep in mind, however, that you will not be able to record any Mic or Line source thats plugged into a channel being used to monitor a tape return. To listen to tape tracks on the Channel faders: 1 On the multitrack, set the tracks you want to monitor into playback mode (Record switched OFF). Make sure the Group Assign 1-4 switches of the tracks you want to hear are all UP (off). Press the FADER SOURCE switch at the top of the channel (below TRIM) down (to the TAPE position), for all tape tracks you want to hear. This makes the tape input jack the source of the large Channel FADER. Note: to avoid confusion, make sure youre not simultaneously monitoring the tape return via MONITOR 1/2 in the same channel. Assign the tape track channels to L/R (the switch lowest on the channel strip). Raise the Channel FADERS being used for the tape tracks you wish to listen to. Raise the L/R MASTER FADER, make sure all CONTROL ROOM SOURCE switches are UP (L/R) and adjust the CONTROL ROOM settings, as in the previous section.
Once you have the tape tracks returning to the mixer, it is simple to create a cue mix for the musicians to listen to over headphones while overdubbing. The cue mix is created using MONITOR 1/2 on the Studio 32, because it is a pre-fader mix that is independent from all other mixes. Follow the instructions in the previous pages to get a monitor mix if you have not already done so. Built-in headphone amp The simplest solution for headphone monitoring is to simply plug into the headphone jacks at the upper right hand side of the Studio 32. You may run stereo extension cables from these jacks; they will power most standard headphones. (If the phones arent loud enough, consider trying some more efficient headphones with a lower impedance and a closed-cup design.) The HEADPHONES SOURCE switch may be set to either position: CR: The headphones will hear exactly whats heard in the Control Room, as set by the CONTROL ROOM SOURCE switch. Pressing SOLO will also affect the headphones. Only the CONTROL ROOM LEVEL pot will not affect the headphones. MON 1/2: In this position, the headphones will hear only the MONITOR 1/2 mix, regardless of how the control room is set. The HEADPHONES SOURCE switch is usually set to MON 1/2 while tracking and overdubbing, so the engineer can solo and change things without affecting the headphone mix. Then, if you want the headphones to hear the 2 track or L/R mix, set it to the CR position. Using an external headphone amp AUXILIARY OUTPUTS 1 and 2 (MON is labeled underneath) may be connected directly to the inputs of a headphone amplifier (see page Error! Bookmark not

defined., Connecting to a Headphone Amp). In this case, the MONITOR 1/2 MASTER control will set the overall level going to the headphones. Turn down the input controls (if provided) of the headphone amplifier itself so that average levels from the monitor section (up to +10 on the meter) do not make the headphones too loud. Option: You may use a standard stereo splitter cable with the TRS 3-conductor end plugged into the Headphone output jack and connect it to an amplifier, with the headphone level set to about 12 oclock.
Monitoring MIDI Virtual Tracks
If you are using a MIDI sequencer, the tracks being played live from sound modules in synchronization with the tape are effectively the same as additional tracks on tape which is why they are called virtual tracks. Synthesizers and drum machines are normally plugged into the LINE IN jacks of the channels, and can be monitored on the Channel FADER or MONITOR 1/2 , using the procedures above. Since the point of virtual tracks is not to use up a track of tape, just make sure that when the synthesizer is on the Channel FADER, that its Group Assign switches are OFF, so it doesnt get recorded. Assign virtual tracks to L/R only. If you are using Monitors and Channels simultaneously for tape return and virtual track monitoring, the L/R mix should be used for the performers headphone mix, not MON 1/2. Set the Control Room source to L/R (all CR Select buttons up). Press the LINK TO L/R switch. This mixes the MON 1/2 mix onto the L/R buss. Set the HEADPHONES SOURCE switch to CR (up). Set the MONITOR 1/2 SOURCE switches for the channels with virtual tracks to MIC/LN (down). Set the FADER SOURCE switches to TAPE (down). Set the MONITOR 1/2 MASTER LEVEL control to its nominal position (about 2 oclock). Adjust all other levels to taste. If you want to turn all the virtual tracks up or down in the mix simultaneously, use the MONITOR 1/2 MASTER LEVEL control.

Bouncing Tracks

Sometimes it is necessary to combine several tracks onto another track, particularly when you are running out of tape tracks. Example: Once youve recorded the vocal harmonies on four different tracks, you could bounce them all over to one track, or two tracks for a stereo mix, thereby freeing up the original four tracks. When bouncing tracks, you must control the tape tracks being bounced with the Channel FADERS, instead of hearing them through MONITOR 1/2. You then route the signals to a Group which corresponds to the track(s) you wish to bounce to. Example: If we were bouncing those four vocal tracks to track 5, we would press the FADER SOURCE button for those channels (TAPE position), route them to Group 1 (which is normalled to the input of track 5 on the tape deck), create a desirable mix, and place track 5 in record. Heres the recipe: To bounce tracks to a single track (mono): 1 For each Channel (tape track) you wish to bounce, press the FADER SOURCE button so it is down. This selects the TAPE IN jacks as the source of the Channel FADERS. Assign the Channels to Group 1 by pressing the 1/2 button next to the long fader. Make sure none of these channels is assigned to L/R. Also make sure that no unwanted channels or Aux Returns are assigned to Group 1/2, and that none are being heard through the MONITOR 1/2 mix. Turn each Channels PAN knob hard left. This routes the signals to Group 1 only. Place track 5 into record-ready, and adjust the Group 1 MASTER FADER to maximum. If you have an ADAT-XT, press and hold ANALOG INPUT and one of the first four track keys, so that Input 1 will normal to Input 5. For other multitrack recorders, check to see if they have normalling or electronic patching. In the Control Room section, press the GRP 1/2 switch and make sure all other switches are off. This will allow you to hear Group 1 in the left Control Room monitor, and bring it up in the Studio 32s meter. If you wish, you may press the MONO switch so its in both speakers. Adjust each Channel FADER to achieve a desirable mix. If necessary, you may adjust the Group Fader down to avoid clipping the tape track. Rewind the tape, and record onto track 5 those portions you wish to bounce. Tracks 1-4 are now available for recording new parts.

Guidelines for a rough mix
Creating a mix is easy; creating a great mix (one that jumps off the tape) is a lot harder. There are those engineers who are in demand just for mixing because of their sense of balance between instruments causes the mix to come alive with excitement. Although outboard effects and tonal adjustments are important, youd be surprised at how good a dry (meaning no EQ or effects) mix can be if the balances between parts are right. When you add effects and EQ, it will sound that much better. Since much of the art of mixing is totally subjective and up to the taste of the engineer, a basic balance between instruments is necessary first before any tonal or effect enhancements can really become effective. Heres a method to help you quickly create a dependable mix; one that sounds good no matter what speakers you mix or play back on. Although our example involves mixing the instruments found in popular music, this method can be applied to any type of music regardless of the instruments being used. Note: This is only a reference or starting point. Each song is unique and calls for different balances. To create a dependable mix: Begin with all the Channel FADERS in the - (down) position. Set the L/R MASTER FADER to the 0 dB point (all the way up). Raise the Kick Drum Channel FADER until the LED meters read -3. Mute the Kick Drum Channel by switching the MUTE button to the On (down) position, so that the Kick can no longer be heard. DO NOT MOVE THE FADER! Just mute the Kick Channel. Raise the Snare Drum Channel FADER until the LED meter reads 0. Mute the Snare Drum Channel, the same as the Kick. Raise the Hi-Hat Channel FADER until it reads -12 on the LED meter. If any cymbals (ride or crashes) occur in the song, set those Channels to -12. Mute the Hi-hat and Cymbals Channels. Raise the Toms Channel FADERS. Set them so that the LED meter indicates 0. Mute the Toms Channels. Bring up the Bass Guitar Channel FADER so that the LED meter reads -6. Mute the Bass Channel. Raise the Channel FADERS with the rhythm guitar and/or keyboards so that the LED meters read -12, unless percussion instruments are involved (such as cowbell, triangle or shaker), in which case the meters should read -18. Mute these Channels.
10 Raise the Channel FADERS with the keyboard pads, strings and/or organ so that the LED meters read -24. Mute these Channels. 11 Raise the Channel FADERS with the melody and solo instruments (such as

This is what will happen with this setup: There will be no EQ on the recording mix. Any changes you make on the main channel (lowering the fader, muting the channel, or changing the group or L/R master levels) will NOT be heard on the recording. Any effect that goes to the STEREO EFFECT RETURNS (ABCD) will be recorded on the cassette deck only if the purple MON 1/2 controls in this section are raised. If you want reverb or other effects on the recording, but not on the PA, you can set AUX 3 to the MON position, and use the upper row of AUX knobs as a dedicated recording effects buss. Dedicate one RETURN channel to this, make sure it is not assigned to L/R, and turn up its MON 1/2 level. If you have house mics for recording audience reaction or hall ambience, make sure to mute the main faders of those channels so they arent brought up in the PA system.
Using Monitor 1/2 as the PA mix during multitrack recording
You may run into some situations where you need the opposite hookup from the above, especially with acoustic jazz or folk recordings where a minimum of PA or monitoring is needed, but the recording must be digitally pristine. For example, suppose youre recording in a very small club, and only the vocalist needs any sound reinforcement because the instruments are loud enough acoustically or through their own amplifiers. 1 Use MON 1/2 as the PA feed, with only 3 channels used (one for vocal, and two effect returns). Use Group 1/2 as a stereo drum mix, Group 3/4 as a keyboard mix, the L/R master as a guitar mix (there were acoustic and electric guitars, both in stereo).
Patch these six outputs (Groups 1-4 and L/R) to the first six tracks of the recorder. 3 Patch the vocal and bass from their respective TAPE OUTs without assigning them to any of the main outputs:
Voila, an 8-track digital recording that is easy to manage, and a happy audience and vocalist. The point of all these techniques is: dont limit yourself in how you use the different sections of the Studio 32. What works in one situation will require a different solution in another.

The grey LEVEL controls set how much signal from the Stereo Aux Return inputs will be sent to the Aux Return ASSIGN switches. In that sense, they are just like the Channel Faders in function.

L/R Assign Switch

This switch routes the signal from the Stereo Aux Return jacks to the Master L/R FADER, with the left input going to the left and right going to right. If no plug is inserted into the Right input, the left signal will be connected to both sides, appearing in the center of the stereo image.
GRP 1/2 Assign Switches (Stereo Aux Return A and B Only) GRP 3/4 Assign Switches (Stereo Aux Return C and D Only)
The Aux Return Assign switches (1/2, 3/4) route a Stereo Aux Return to two of the four Group outputs, as written. They work in the same way as the CHANNEL ASSIGN switches (see page 72). Press these switches if you want to record an effect (or other device plugged into the Stereo Aux Return inputs) onto the multitrack. Left inputs will be routed to the odd-numbered groups, and right inputs to the evennumbered groups. If no plug is inserted into the Right input, the left signal will be connected to both groups, appearing in the center of the stereo image.

SOLO IN PLACE Switch

The SOLO IN PLACE switches in the Stereo Aux Returns are a special kind of SOLO switch to allow you to hear the effect returns in the control room mix. It sends the returns post-fader signal (and only that Monitors signal, if no other SOLO buttons are pressed) directly to the Control Room monitors, cutting off any other signals to the Control Room. Unlike the channel SOLO switches, however, the SOLO IN PLACE switches do not work when the master solo section is in PFL (Pre-Fade-Listen) mode, denoted by the red LED next to the solo master. The control room signal will be cut off, but you will not hear anything from the Aux Returns until you set the solo status switch to SIP (green LED).

Aux Master Controls

Auxiliary Masters
The four blue knobs in the Aux Master section provide the final overall level control for the Aux Send mixes. They get their signal from the individual Aux Send level controls to the left. The signal then goes to the respective AUXILIARY OUTPUT jacks on the back panel, and to the appropriate Control Room select switch. Adjust the Aux Masters for the correct level feeding your external effects device. The nominal (unity gain) setting for these controls is approximately 2 oclock.

Monitor 1/2 Master

This purple knob is the final overall level control for the Monitor 1/2 mix (the sixteen controls to its left, plus the four in the Stereo Aux Return section). This controls the level at the AUXILIARY OUTPUT 1/2 (labeled MON underneath) jacks on the back panel, the MON 1/2 switch in the Control Room section, and the MON 1/2 selection of the HEADPHONES SOURCE switch. Adjust the Monitor 1/2 Master for the correct level feeding your external headphone or stage monitor amplifier. The nominal (unity gain) setting for this control is approximately 2 oclock. Set it there if the MON 1/2 mix will be used to add more inputs to the final mix using the LINK switch, described below.

LINK TO L/R switch

This is a powerful switch that allows you to turn the Studio 32 into a 32-input stereo mixer, instead of a 16-input mixer with an in-line monitor section. The LINK TO L/R switch routes the MONITOR 1/2 MASTER signal to the Master L/R FADER. Regardless of whether the LINK switch is up or down, the MONITOR 1/2 signal always feeds the headphone source and control room source switches, as well as the AUX 1/2 output jacks on the rear panel. The LINK switch simply mixes or assigns the 16x2 monitor mix to the L/R mix buss as well. If you are sending the Monitor signal to the headphones or control room, but dont want that signal on the Master L/R stereo output, leave the LINK TO L/R switch off (up). If monitors are not being used as extra inputs during mixdown, turn the LINK switch off for the best signal-to-noise ratio.
Control Room/Solo Section
The Control Room section determines what youll hear in the control room and see on the meters. The Control Room section does not affect any other mix of the Studio 32it just eavesdrops on them. The Solo controls are a special part of the Control Room mix, taking it over anytime any SOLO switch is pressed anywhere on the console, allowing you to hear only the soloed source instantly.

Solo Master Level

If any SOLO switch is pressed anywhere on the console, the MASTER SOLO LED will light indicating that the Control Room is receiving signal from the Solo buss instead of the Control Room Source switch (see below). Note that if SOLO is engaged on a Channel that has no signal in it, you will hear nothing in the Control Room until SOLO is turned off on that Channel. The SOLO knob sets the level you will hear in the Control Room when SOLO is pressed. Typically it is set a little above unity gain (about 2 oclock), so that a single instrument will sound about as loud in the Control Room as the entire mix does, allowing you to focus.

Control Room Out

Connect these jacks to the input of your control room amplifier. Signal comes here from the Control Room section of the speaker. The jacks are 3-conductor with a forward-referenced ground to avoid ground loops, and may be used balanced or unbalanced.

2 Track Tape In

Connect the output of your 2-track (cassette, DAT, CD-R, reel-to-reel, etc.) to these jacks. Any stereo source connected here may be heard in the control room mix only. As with all Studio 32 input jacks, you may connect balanced TRS or unbalanced sources here.

Main Outs

Connect these jacks to your primary destination: the PA systems inputs, or the 2track mixdown recorder. Signal comes here from the L/R MASTER FADER, and passes through the Main Inserts. This output is a true, 3-wire balanced differential output with a maximum output level of +28 dBu.
If you want to compress or equalize the stereo mix before it hits the L/R fader, connect your processing device to these jacks using a 1/4 TRS 3-conductor splitter cable (tip connector to the input of the device, and ring to the return), same as for the channel insert jacks. See page Error! Bookmark not defined.
Connect these jacks to the first four inputs of a multitrack recorder such as the ADAT, whose input normalling feature allows you to go to any of the eight tracks (Group 1 will feed tracks 1 and 5, etc.). In PA applications, you may connect these jacks to amplifiers for specific zones (Group 1 feeds a center cluster, Group 2 feeds side fills, etc.). In broadcast applications, these may be used to provide mix minus or matrix feeds. These jacks are true balanced +4 dBu nominal level (+28 dBu maximum) outputs on a TRS 3-conductor phone jack.
Stereo Aux Return Input Jacks
These eight balanced TRS input jacks are arranged along the top of the jack field for easy repatching. Connect the output of your effects devices, or any other stereo input that doesnt require EQ here. Traditionally, the A inputs are fed by an effect device fed by Auxiliary Output #3, the B by a device fed by Aux 4, etc.
Auxiliary Outputs (including Mon 1/2)
Auxiliary Outputs 3, 4, 5 and 6 are normally connected to the inputs of effect devices. The MON 1/2 jacks may be fed to a headphone amplifier in recording applications, or to a stage monitor system in PA applications. These jacks are 3conductor TRS with a forward-referenced ground to avoid ground loops.
Channel Input/Output Jacks (16)

Direct Out

This jack provides the output of the channel, post-fader. Connect it to the input of a multitrack tape recorder if you need to record more than four tracks at a time, or if you only need one microphone per track. Unlike most DIRECT OUT jacks on other consoles, these are true +4 dBu balanced outputs, so you can easily repatch the sends to the tape recorder between the group and direct outs. In theory, the DIRECT OUT jacks provide a cleaner signal than that of the GROUP OUT jacks, but the difference is almost unmeasurable. You can be confident that if its more convenient for you, its perfectly OK to record from the Groups.

Never connect an electronic line input to the MIC IN jack if phantom power will be turned on. Doing this could damage the equipment and the Studio 32.

Troubleshooting

CHAPTER 8:

TROUBLESHOOTING

Troubleshooting Index
If you are experience problems while operating the Studio 32, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance.

Symptom

The POWER LED does not light when the ON/OFF switch is turned on. Hiss/noise in output, faders must be raised to top to hear. Effects are noisy.

No power.

Solution
Check that the power cable is plugged in properly. Turn up the TRIM controls, lower the faders. Set the source(s) to a higher level. Turn output of effect device up and reduce Aux Return level on mixer. Increase Aux Send levels. See page Error! Bookmark not defined. Dont use speaker cables for mixer connections. Remove insert jack, set it to bypass, or reverse input/output of device. Set to left for GRPs 1 & 3, to right for 2 & 4

Input level is too low.

Effects send too low, return too high.

Noise/hum.

Ground loop between devices in system. Unshielded cables. Device in INSERT jack is stopping the signal. PAN pot set in wrong direction.

No signal from channel.

Feedback when REC is pressed on recorder.
Microphone requires phantom power. TAPE OUT is feeding its own input.

Crackling sounds.

Dirty or corroded connections on back of mixer. A microphone cable has a small short or break.
Turn PHANTOM switch on. Set channel source to MIC/LN or turn off GRP 1/2 & 3/4 switches on tape channels. Use MON 1/2 to hear tape. Unplug and replug connectors several times, clean plugs. Use SOLO to find the noisy channel, and replace the cable.

Maintenance/Service

Cleaning and Maintenance
Disconnect the AC cord, then use a damp cloth to clean the consoles 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 the cloth to clean the unit. Here are some tips for preventive maintenance: Periodically check the AC cord for signs of fraying or damage. Unplug the Studio 32s power supply when not in use for extended periods of time. Place a dust cover over the console when it is not in use. Vacuum around the faders to keep dust from falling into them. DO NOT SPRAY ANY KIND OF FADER CLEANER or lubricant into the faders. These chemicals may work for a time but over the long run they attract more dirt and will make it noisy again. The one place where contact cleaner is useful is on the rear panel jacks and cables. Periodically disconnect the mixer from AC power and all cables, and clean the 1/4 and XLR cable ends with rubbing alchohol or electronic contact cleaner, then work the plug into the jack repeatedly. DO NOT SPRAY CONTACT CLEANER DIRECTLY INTO THE JACKS OF THE MIXER. Its better to use a damp plug to clean the jacks, or use a cotton or foam swab (but be careful not to get cotton or foam stuck in the mixer). While Alesis does not endorse the use of any specific product, certain contact enhancers (such as Cramolin) may be used to keep the connections from corroding in the future.

Details
Name Age Marital status Nationality David Preston 27 Single British Address Postcode Phone E-mail Springfield Farm, Salden Lane, Little Horwood, Milton Keynes MK17 0PN mob: home: david@hiddenrealm.co.uk

Qualifications

2001 - - 1988 - 1995 School of Sound Recording Diploma Audio Engineering and Production Techniques (Distinction) University of Sheffield BSc Hons Mathematics (3rd class) Guitar Institute Certificate Contemporary Guitar Techniques (Merit) Magdalen College School A-Levels: Mathematics (A) Physics (C) Business Studies (C) GCSE's: 6 Grade (A) 2 Grade (B) 1 Grade (C) 1 Grade (D)

Equipment

Consoles AMEK Einstein 24:24:2 AMEK Big 36:36:12:2 Soundcraft Ghost 24:8:2 Alesis Studio 32 Saturn 624 2" (24-Track) Alesis ADAT LX20 Alesis BRC Tascam DA30 DAT Tascam DA20 DAT Alesis Comp 3630 Behringer Quad Gate Behringer Composer Behringer Autogate Joe Meek VC2.2 Joe Meek VC1Q Drawmer DS-201 Tube Tech CL1B TL Audio TL AC1 Drawmer 1960 Drawmer DF320 Drawmer DC221 DBX 266XL BSS DPR402 Klark Teknik DN514 Avalon 747 Lexicon PCM100 Lexicon PCM80 Lexicon 224XL Lexicon MPX 500 Lexicon LXP-15 Zoom 1201 Alesis Quadraverb Alesis MIDIverb II Alesis Quadraverb II Studio Quad Roland SBF325 Korg SDD-2000 Yamaha SPX900 Yamaha Rev 7 Sony R7 Sony M7 Sony D7 Digidesign Pro Tools TDM Digidesign Pro Tools LE Steinberg Cubase VST Propellerhead Reason Propellerhead ReCycle Sonic Foundry Sound Forge Mac and Windows OS IK Multimedia T-RackS

Tape Machines

Dynamics

Experience

Live Undertaking freelance live work, both front of house and monitors across the UK. Most recently engineering weekly in thecentre:mk for alternative music promoters 4playuk. Operating monitors at the Road Mender, Northampton. Extensive work for a PA company in Nottingham. Experience of larger venues, for example the Contact Theatre in Manchester. Personal Pro Tools set-up for audio editing, restoration and mix-down of recordings for local clients. Project managed completion of personal recording studio in a converted cow shed. In the midst of an album project in the new facility. Have taken on a variety of recording briefs in a freelance capacity at studios around the area, including Great Linford Manor, Lost Boys Studios and React Studios. Effects

Private Studio

Interests
Music Engineering and producing local artists Playing in two rock bands and touring Austria with a jazz band Managing London based band Regularly undertake private audio editing work Make a mean curry, well travelled Software

Referees

Ian Hu School of Sound Recording 10 Tarriff Street Manchester M1 2FF ian.hu@s-s-r.com Paul Barefoot Audio Recording Studio Open University Walton Hall Milton Keynes MK7 6AA P.A.Barefoot@open.ac.uk