Alesis MODFX METAVOX User Manual

Reference Manual

This page intentionally left blank

10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Copyright 2002, Alesis. All rights reserved
Reproduction in whole or in part is prohibited.
Specifications subject to change without notice.
All trademarks are the property of their respective holders.

7-51-0117-A
8/2002

Table of Contents

Introduction....................................................................3

Welcome! .........................................................................................................3

About the Metavox ........................................................................4

Important features of your Metavox ..........................................................4

Metavox Key Features...................................................................................5

How to Use This Manual.............................................................6

Safety Instructions/Notices .....................................7

Important Safety Instructions (English)............................ 7

CE Declaration Of Conformity................................................9

FCC Compliance Statement......................................................9

Instructions de Sécurité Importantes (French) .........................................10

Lesen Sie bitte die folgende Sicherheitshinweise

(German) ..................................................................................................12

Quick Start Guide ........................................................15

If you can’t wait to get started......................................................................15

Hookup for voice modulation of a synthesizer........................................15

A quick overview of the controls ........................................... 16

Rear Panel........................................................................................................16

Connections ....................................................................17

Unpacking and Inspection............................................................................17

Installing in a Rack .........................................................................................17

Power................................................................................................................17

Connecting to the Channel Inserts of a mixing console: ........................20

Connecting to the Group Sends or Aux Send/Return of

a mixing console:.....................................................................................21

Connecting to the inserts on an instrument amplifier: ............................22

Connecting to equipment with XLR inputs and outputs:.......................23

About audio cables.........................................................................................23

Using the ModLink........................................................................24

Using the Metavox .......................................................25

About Vocoding...............................................................................25

What is Tempo Sync? ....................................................................................27

To turn Tempo Sync off: ..............................................................................27

Description of Controls...............................................................28

Synthesis Input Switch ..................................................................................28

Phreeq...............................................................................................................29

Siblance.............................................................................................................29

Modulation switch..........................................................................................30

Depth................................................................................................................32

Rate ...................................................................................................................32

Reset Mod........................................................................................................33

Tap Tempo......................................................................................................33

Bypass...............................................................................................................34

Using the Foot Switch...................................................................................34

1

Table Of Contents

Sample Settings.............................................................35

Blank Settings Templates..............................................................................38

Troubleshooting............................................................39

Troubleshooting Index................................................................ 39

Avoiding ground loop noise.........................................................................41

Line conditioners and spike protectors ......................................................42

Care and Maintenance ................................................................ 43

Cleaning............................................................................................................43

Refer all servicing to Alesis...........................................................................43

Obtaining repair service ................................................................................44

Specifications.................................................................45

Audio Input.....................................................................................................45

Audio Output..................................................................................................45

Audio Performance........................................................................................45

Mechanical.......................................................................................................45

Index...................................................................................47

Warranty/Contact Alesis ...........................................48

Alesis Limited Warranty................................................................................48

Alesis Contact Information ..........................................................................49

2

Introduction

F

Welcome!

Thank you for making the Alesis Metavox a part of your studio.
Since 1984, we've been designing and building creative tools for
the audio community. We believe in our products, because we've
heard the results that creative people like you have achieved with
them. One of Alesis' goals is to make high-quality studio
equipment available to everyone, and this Reference Manual is an
important part of that. After all, there's no point in making
equipment with all kinds of capabilities if no one explains how to
use them. So, we try to write our manuals as carefully as we build
our products.

The goal of this manual is to get you the information you need as
quickly as possible, with a minimum of hassle. We hope we've
achieved that. If not, please drop us an email and give us your
suggestions on how we could improve future editions of this
manual.

We hope your investment will bring you many years of creative
enjoyment and help you achieve your goals.

or more effective
service and product
update notices, please
register your Metavox
online at:

http://www.alesis.com/
support/warranty.htm

Sincerely,
The people of Alesis

3

Introduction

About the Metavox

Your new Metavox is a member of the Alesis ModFX family of
performance effects boxes. The Metavox is a vocoder with a built­in oscillator that can be modulated by the amplitude and tone of
any input (usually a human voice) to produce unique “talking”
effects.

Each box in the line provides a different set of sound effects and
signal processing, and they are easy to arrange and connect to each
other. With a uniform, friendly, uncomplicated user interface and
high-resolution digital processing, the ModFX product line is
perfect for keyboardists, guitarists, and any other studio or live
performance artists.

Important features of your Metavox

High Resolution Processing

Internally the Metavox uses 28-bit stereo digital signal processing.
The digital-to-analog and analog-to-digital conversion is sampled
at 48kHz with 24 bits of resolution. That means you can get the
effect you want, without adding unwanted noise and distortion.

ModLink

If you’re using multiple ModFX boxes to make your own unique
effects chain, ModLink makes it easy to hookup without needing
patch cords within the chain. The nine-pin connectors built into
each side of the case enable a ModFX box to transfer digital audio
and word clock directly to another. Any number of units can be
connected together.

Vocoding of internal or external sources

The Metavox features a built-in oscillator section, complete with
several kinds of modulation, that can be controlled by an incoming
stereo signal. Alternatively, it can produce a vocoding effect on
any external source plugged into the right input, with the
controlling (voice) source plugged into the left input.

4

Metavox Key Features

• One-oscillator vocoder with four built-in waveforms (saw,

rectified saw, square, and noise) in a compact box

• Can vocode external sources, for polyphonic vocoding of an

external synthesizer, guitar, etc.

• Built-in modulation of internal oscillator by any of five

different mod sources

• Tempo Sync keeps modulation in time with the music

• Tap Tempo makes it easy to set the speed of modulation by

tapping a beat on the top panel

• Reset Mod lets you reset the phase of any modulation shape

from its beginning

• Uniform, friendly, uncomplicated user interface—no fiddling

with complicated menus or “hidden” knobs

• Stereo processing via four 1/4” unbalanced connectors

• ModLink port, a cable-free connection that transfers digital

audio and word clock to other ModFX units

• Footswitch connection to control the bypass function

• Ability to mount 3 ModFX boxes in the optional ModFX

rack adapter

• Input trim control to adjust input level

• Internal 28-bit digital processing

• 24-bit D/A and A/D conversion at 48kHz sampling rate for

quiet, distortion-free effects

• External 9VAC power supply included

Introduction

5

Introduction

H

How to Use This Manual

A little technical knowledge will help you get the most out of your
gear...it’s really pretty simple. This manual is divided into the
following sections describing the various functions and
applications for the Metavox. While it's a good idea to read
through the entire manual once carefully, those having general
knowledge about effect devices should use the table of contents to
look up specific functions.

Chapter 1: Quick Start. If you're already experienced with effect
boxes, this will get you started using the Metavox right away. It's a
short guide to the essential elements of hooking it up and using it
for the first time. A brief tour of the front and rear panels also
directs you to the chapters focused on individual features.

Chapter 2: Connections gives detailed instructions for connecting the
Metavox to a variety of typical audio systems. It also discusses the
process of linking the Metavox with other ModFX devices.

Chapter 3: Using the Metavox explains the controls of the Metavox
and their functions.

Chapter 4: Sample Settings provides a selection of sound charts
created by the sound designers at Alesis for you to try.

Near the end of the manual are troubleshooting tips,
specifications, and an index to help you find what you're looking
for.

elpful tips an d ad v ic e a re
h ig hlig h te d in a sh a de d b ox
lik e th is

Whe n so m ething im po r ta nt
a pp ea rs in the ma nua l, a n

e xc la ma tio n m ar k (like th e
o ne s ho wn at le ft) will a pp ea r
with so m e ex p la na to r y te x t.
This sy m bo l ind ic ate s th a t
this in for ma tio n is vita l whe n
o pe ra tin g th e Metav ox .

6

Safety Instructions/Notices

Important Safety Instructions (English)

Safety symbols used in this product

operating and maintenance instructions in the literature
accompanying this unit.

the unit that can cause dangerous electric shocks.

voltages that can cause dangerous electrical shock.

This symbol alerts the user that there are important

This symbol warns the user of uninsulated voltage within

This symbol warns the user that output connectors contain

Please follow these precautions when using
this product:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a damp cloth. Do not spray any liquid cleaner
onto the faceplate, as this may damage the front panel
controls or cause a dangerous condition.

7. Install in accordance with the manufacturer's instructions.

8. Do not install near any heat sources such as radiators, heat
registers, stoves, or other apparatus (including amplifiers) that
produce heat.

9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding-type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. When the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched,
particularly at plugs, convenience receptacles, and the point
where they exit from the apparatus.

Continued next page

7

Important Safety Instructions

11. Use only attachments or accessories specified by the
manufacturer.

12. Use only with a cart, stand, bracket, or table designed for use
with professional audio or music equipment. In any
installation, make sure that injury or damage will not result
from cables pulling on the apparatus and its mounting. If a
cart is used, use caution when moving the cart/apparatus
combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused
for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is
required when the apparatus has been damaged in any way,
such as when the power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not
operate normally, or has been dropped.

15. This unit produces heat when operated normally. Operate in a
well-ventilated area with at least six inches of clearance from
peripheral equipment.

16. This product, in combination with an amplifier and
headphones or speakers, may be capable of producing sound
levels that could cause permanent hearing loss. Do not
operate for a long period of time at a high volume level or at a
level that is uncomfortable. If you experience any hearing loss
or ringing in the ears, you should consult an audiologist.

17. Do not expose the apparatus to dripping or splashing. Do not
place objects filled with liquids (flower vases, soft drink cans,
coffee cups) on the apparatus.

18. WARNING: To reduce the risk of fire or electric shock, do
not expose this apparatus to rain or moisture.

8

Important Safety Instructions

CE Declaration Of Conformity

See our website at:

http://www.alesis.com

FCC Compliance Statement

This device complies with Part 15 of the FCC rules. Operation is
subject to the following two conditions: (1) This device may not
cause harmful interference and (2) this device must accept any
interference received, including interference that may cause
undesired operation.

NOTE: This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to Part 15 of
the FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential installation.
This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does
cause harmful interference to radio or television reception, which
can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of
the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different

from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for

help.

9

Important Safety Instructions

Instructions de Sécurité Importantes (French)

Symboles utilisés dans ce produit

de fonctionnement et de maintenance dans la documentation
jointe avec ce produit.

tension non isolée à l’intérieur de l’appareil pouvant engendrer des
chocs électriques.

sur les raccordements de sorties, représentant un risque
d'électrocution.

Ce symbole alèrte l’utilisateur qu’il existe des instructions

Ce symbole avertit l’utilisateur de la présence d’une

Ce symbole prévient l'utilisateur de la présence de tensions

Veuillez suivre ces précautions lors de
l’utilisation de l’appareil:

1. Lisez ces instructions.

2. Gardez ces instructions.

3. Tenez compte de tous les avertissements.

4. Suivez toutes les instructions.

5. N’utilisez pas cet allareil à proximité de l’eau.

6. Ne nettoyez qu’avec un chiffon humide. Il est potentiellement
dangereux d'utiliser des pulvérisateurs ou nettoyants liquides
sur cet appareil.

7. Installez selon les recommandations du constructeur.

8. Ne pas installer à proximilé de sources de chaleur comme
radiateurs, cuisinière ou autre appareils (don’t les
amplificateurs) produisant de la chaleur.

9. Ne pas enlever la prise de terre du cordon secteur. Une prise
murale avec terre deux broches et une troisièrme reliée à la
terre. Cette dernière est présente pour votre sécurité. Si le
cordon secteur ne rentre pas dans la prise de courant,
demandez à un électricien qualifié de remplacer la prise.

10. Evitez de marcher sur le cordon secteur ou de le pincer, en
particulier au niveau de la prise, et aux endroits où il sor de
l’appareil.

Suite de la page suivante

10

Important Safety Instructions

11. N’utilisez que des accessoires spécifiés par le constructeur.

12. N’utilisez qu’avec un stand, ou table conçus pour l’utilisation
d’audio professionnel ou instruments de musique. Dans toute
installation, veillez de ne rien endommager à cause de câbles
qui tirent sur des appareils et leur support.

13. Débranchez l’appareil lors d’un orage ou lorsqu’il n’est pas
utilisé pendant longtemps.

14. Faites réparer par un personnel qualifié. Une réparation est
nécessaire lorsque l’appareil a été endommagé de quelque sorte
que ce soit, par exemple losrque le cordon secteur ou la prise
sont endommagés, si du liquide a coulé ou des objets se sont
introduits dans l’appareil, si celui-ci a été exposé à la pluie ou à
l’humidité, ne fonctionne pas normalement ou est tombé.

15. Puisque son fonctionement normale génère de la chaleur,
placez cet appareil au moins 15cm. des équipments
péripheriques et assurez que l’emplacement permet la
circulation de l’air.

16. Ce produit, utilisé avec un amplificateur et un casque ou des
enceintes, est capable de produite des niveaux sonores
pouvant engendrer une perte permanente de l’ouïe. Ne
l’utilisez pas pendant longtemps à un niveau sonore élevé ou à
un niveau non confortable. Si vous remarquez une perte de
l’ouïe ou un bourdonnement dans les oreilles, consultez un
spécialiste.

17. N'exposez pas l'appareil à l'égoutture ou à l'éclaboussement.
Ne placez pas les objets remplis de liquides (vases à fleur,
boîtes de boisson non alcoolique, tasses de café) sur l'appareil.

18. AVERTISSEMENT: Pour réduire le risque du feu ou de
décharge électrique, n'exposez pas cet appareil à la pluie ou à
l'humidité.

11

Important Safety Instructions

Lesen Sie bitte die folgende Sicherheitshinweise (German)

Sicherheit Symbole verwendet in diesem
Produkt

Funktionieren und Wartung Anweisungen in der Literatur gibt, die
diese Maßeinheit begleitet.

Spannung innerhalb der Maßeinheit, die gefährliche elektrische
Schläge verursachen kann.

Spannungen enthalten, die gefährlichen elektrischen Schlag
verursachen können.

Dieses Symbol alarmiert den Benutzer, daß es wichtige

Dieses Symbol warnt den Benutzer der nicht isolierten

Dieses Symbol warnt den Benutzer, dem Ausgabestecker

Folgen Sie bitte diesen Vorkehrungen, wenn
dieses Produkt verwendet wird:

1. Lesen Sie die Hinweise.

2. Halten Sie sich an die Anleitung.

3. Beachten Sie alle Warnungen.

4. Beachten Sie alle Hinweise.

5. Bringen Sie das Gerät nie mit Wasser in Berührung.

6. Verwenden Sie zur Reinigung nur ein weiches Tuch.
Verwenden Sie keine flüssigen Reinigungsmittel. Dies kann
gefährliche Folgen haben.

7. Halten Sie sich beim Aufbau des Gerätes an die Angaben des
Herstellers.

8. Stellen Sie das Gerät nich in der Nähe von Heizkörpern,
Heizungsklappen oder anderen Wärmequellen (einschließlich
Verstärkern) auf.

9. Verfehlen Sie nicht den Zweck des grounging Terminals auf
dem Netzstecker. Dieses Terminal wird für Ihre Sicherheit zur
Verfügung gestellt.

10. Verlegen Sie das Netzkabel des Gerätes niemals so, daß man
darüber stolpern kann oder daß es gequetscht wird.

Fortsetzung auf nächster Seite

12

Important Safety Instructions

11. Benutzen Sie nur das vom Hersteller empfohlene Zubehör.

12. Verwenden Sie ausschließlich Wagen, Ständer, oder Tische, die
speziell für professionelle Audio- und Musikinstrumente
geeignet sind. Achten Sie immer darauf, daß die jeweiligen
Geräte sicher installiert sind, um Schäden und Verletzungen zu
vermeiden. Wenn Sie einen Rollwagen benutzen, achten Sie
darauf, das dieser nicht umkippt, um Verletzungen
auszuschließen.

13. Ziehen Sie während eines Gewitters oder wenn Sie das Gerät
über einen längeren Zeitraum nicht benutzen den Netzstecher
aus der Steckdose.

14. Die Wartung sollte nur durch qualifiziertes Fachpersonal
erfolgen. Die Wartung wird notwendig, wenn das Gerät
beschädigt wurde oder aber das Stromkabel oder der Stecker,
Gegenstände oder Flüssigkeit in das Gerät gelangt sind, das
Gerät dem Regen oder Feuchtigkeit ausgesetzt war und
deshalb nicht mehr normal arbeitet oder heruntergefallen ist.

15. Dieses Gerät produziert auch im normalen Betrieb Wärme.
Achten Sie deshalb auf ausreichende Lüftung mit mindestens
15 cm Abstand von anderen Geräten.

16. Dieses Produkt kann in Verbindung mit einem Verstärker und
Kopfhörern oder Lautsprechern Lautstärkepegel erzeugen, die
anhaltende Gehörschäden verursachen. Betreiben Sie es nicht
über längere Zeit mit hoher Lautstärke oder einem Pegel, der
Ihnen unangenehm is. Wenn Sie ein Nachlassen des Gehörs
oder ein Klingeln in den Ohren feststellen, sollten Sie einen
Ohrenarzt aufsuchen.

17. Setzen Sie den Apparat nicht Bratenfett oder dem Spritzen
aus. Plazieren Sie die Nachrichten, die mit Flüssigkeiten
(gefüllt werden Blumevases, Getränkdosen, Kaffeetassen)
nicht auf den Apparat.

18. WARNING: um die Gefahr des Feuers oder des elektrischen
Schlages zu verringern, setzen Sie diesen Apparat nicht Regen
oder Feuchtigkeit aus.

13

Important Safety Instructions

This page intentionally left blank.

14

1 Quick Start Guide

I

L

A
p

If you can’t wait to get started

The Alesis Metavox is a unique product, and is inherently different
from other effects units. If you've already used a vocoder device,
this chapter is a "shorthand" guide for those who want to start
using the Metavox right away in the most popular way. If you have
questions about any of the features, don’t worry – later chapters
will unveil the mysteries of the Metavox's special features.

Hookup for voice modulation of a
synthesizer

1. First, make sure the power is off to all the components
you’re connecting to: amp, mixer, and instruments.

2. Pull the Metavox and its power supply out of the
package.

3. Using a 1/4” instrument cable, plug the output of the
synthesizer into the RIGHT INPUT on the back of the
Metavox.

4. Plug the output of a microphone preamplifier (or the
DIRECT OUT of a mixer channel with a microphone
plugged into it) into the Metavox’s LEFT INPUT.

5. Connect the OUTPUTS of the Metavox to the inputs of
a mixer, powered speakers, or instrument amplifier.

6. Insert the power jack of the Metavox’s power adapter
into the POWER 9VAC input on the rear panel of the
Metavox and plug the power adapter into an AC outlet
(preferably on a power strip with its switch off).

The Metavox doesn’t have a POWER switch of its own. The
moment you plug in the power, its top panel LEDs will come on.

7. Turn the power on to the system: the keyboard, then
the Metavox’s power strip (if it’s not already on), then
the mixer, then the amp.

8. Turn the INPUT TRIM knob on the back of the
Metavox while talking into the microphone to adjust the
input level. The SIGNAL LED on the top panel will
light green, not red, when the level is correct.

9. Set the [SYNTHESIS INPUT] switch to RIGHT IN =
SYNTH. Hold a sustained keyboard sound while
talking into the microphone. (The other controls of the
Metavox have no effect in this mode.)

f you're new to

vocoding...

s ta rt with th e mo re de ta ile d
ins tr uc tio ns fo r ho o ku p a nd
o pe ra tio n sta rtin g in th e n ex t
c ha pter .

eft and right input

levels

djus t y ou r m ic ro ph o ne

r e a m p s o it pu ts o u t a s tr on g
lin e le v el. Th e INPUT TRIM
c on tr ol do es no t affec t the
s yn th es ize r ( righ t inp ut) lev el;
a djus t the le ve l on th e
ins tr um e nt itse lf.

For more detailed information on connecting the Metavox, see
chapter 2: Connections, especially the diagram on page 19.

15

Quick Start Guide

f

1

A quick overview of the controls

SYN TH ESI S IN PUT

This se lec ts th e in ter na l
o sc illa tor wa ve o r e xter n al
inp ut ( a s sh o wn b y the LED s
n ex t to th e s witc h) th at will b e
v oc od ed by th e in pu t.

PHREEQ se ts
the fre q ue nc y
o f th e inter n al
o sc illa tor wh en
S YNTH ES I S IN
is se t to SAW,
RECTI FI ED or
S QU ARE.

SIBILAN CE

c on tr ols h ow
m uc h of th e
h ig h- en d
c on so na n t so u nd s will be
injec te d into the v oc od er ’ s
o utpu t.

BYPASS le ts s ign al pa ss
thr ou gh with o ut a ny effe c ts .

Rear Panel

Plu g th e p owe r ad ap ter in
h er e.

Res et Mo d

Res ta rts the mo du la tio n fro m
the b eg inn in g o f its c yc le.
G en er ate s a trigg er in
TRI GG ERED mo d e, o r
c ha ng es th e p atte rn in
PATTERN mo de .

RATE affe cts the sp ee d o f
m od ulation , in co op e ra tio n
with TEMPO S YNC a nd th e
TAP TEMPO bu tto n. S ee
p ag e3 3..

The FOO T SWI TCH ma y be
c on ne cte d to an y mo m en ta r y
p ed al, to en g ag e th e BYPASS
fun ctio n .

The MODULATION

unctions

h av e effec t o nly if the
SYN TH ESI S IN PUT s witch
is se t to SAW, RECTI FI ED ,
o r SQ U ARE.

Tap Tem p o

I f MO DU LATIO N is
in TEMPO S YNC
m od e, ta p a b ea t on
this bu tto n, an d th e
s pe ed o f the
m od ulation will b e s et
a t so me mu ltiple of
tha t be a t, a s s et b y the
RATE kn o b.

MOD ULATI ON
s witc h se le cts wha t

k in d of mo d s ou rc e
will be ap plied to the
inter na l S AW or
S QU ARE wav e, an d
whe th er th e
Mod ulation s p ee d is in
Tem po S y nc m o de ( se e
LED s to th e left)

D EPTH co ntro ls ho w m uc h
the inte rn al os cilla to r will be
m od ulate d.

Sig na l LED

Whe n th is lig hts gr e en , the
Metav ox is g e ttin g a n in p ut
s ig na l. Whe n it’ s r ed , it’ s
s ee in g too m u ch lev e l...so
tur n do wn th e ins tr u me nt...

...o r th e TRI M co ntro l h er e
o n th e b ac k p an el. NO TE:
this co n tr ols O NLY the LEFT
inp ut, a nd h a s no e ffe ct on the

r ig ht.

The
Mod Link co nnec tor s le t yo u
a rr an ge se ve r al Mod FX un its
in a ch a in , witho ut ha vin g to
u se inp u t an d o utpu t c ab les
ins id e the c h ain.

I NPUTS a nd O U TPUTS a re
s ta nd ar d 1 /4 ” lin e- lev el
jac ks . To v oc od e a n ex ter na l

s ourc e, plug the so urc e into

the r ig ht ja c k and the
m ic ro pho ne p re am p into the
lef t ja c k.

16

2 Connections

M

I
f

A

D

M

Unpacking and Inspection

Your Metavox was packed carefully at the factory. The shipping
carton was designed to protect the unit during shipping. Please
retain this container in the highly unlikely event that you need to
return the Metavox for servicing.

The shipping carton should contain the following items:

• Metavox with the same serial number as shown on the

shipping carton

• Power Adapter

• This instruction manual

To register your purchase, go to the Alesis website at

www.alesis.com.

Installing in a Rack

The Metavox is designed for tabletop use, but can also be installed
in a standard 19" audio equipment rack. For rack mounting,
contact your Alesis dealer for the ModFX Rack. This rack shelf
holds three ModFX units in a 3-space high 19” rack.

Power

The Metavox comes with an AC power adapter that transforms
the voltage from a standard outlet into 9 volts AC (830 mA).
Plug the small end of the power adapter cord into the Metavox’s
POWER INPUT socket and then plug the adapter itself into a
good quality, noise-free AC power source of the proper rating.

The supplied AC line adapter is designed only for the destination
to which the unit is shipped. To use the Metavox in another
country, contact your Alesis dealer for an Alesis P3 adapter
suitable for the electrical system in the country you are traveling
to.

ak e su r e yo u r ea d the

initial Im po r ta nt S a fe ty

n s t r u c t i o n s c h a p t e r a t t h e
ro nt o f this m an ua l.

void “popping”:

on ’t p lug th e po we r a da p te r
into th e Metav ox un til a ll
o th er a u dio c ab le s h av e b ee n
h oo ke d u p. Mak e su r e yo u r
a mp lifie r or po w e r e d
s pe ak er s a re switch e d off
whe n plu gg in g in th e

etav ox to a v oid da m ag e.

17

Connections

M

2

Connecting audio

The Metavox will work in many different applications, whether
you are connecting an instrument directly into it, or connecting it
through a mixing console.

Signal processor vs. synthesizer

Unlike other signal processors, a vocoder is half processor, half
synthesizer. A signal processor takes an input signal and makes it
sound different. But a vocoder uses an input signal (usually from
a microphone) to control the amplitude and tone of an internal
oscillator (or an external input); none of the controlling signal is
mixed in with the output signal. Because of this, a vocoder is
usually connected in a different way from most other signal
processors. For example, it’s not likely that you’ll connect the
Metavox in the effect send/return path of a mixing console.

Mic preamplification options

To get the classic “talking guitar” or “talking robot” sounds
associated with vocoding, you’ll probably want to use a vocal
microphone as the controlling input of the Metavox. Since
microphones are low-output devices, they must be amplified to
line level before the Metavox can “read” them. You have several
options for this:

• Direct Out of mixer channel: Connect a microphone to a
mixer channel. Adjust the channel’s input gain (trim) in the
normal way to get a strong output. Connect the DIRECT
OUT of the mixer channel to the [LEFT INPUT] of the
Metavox. If possible, turn off any assignment switches in the
mixer channel to the groups or stereo mixes.

• Outboard mic preamp: Especially for live use, it may be a
good idea to get a small mic preamp and dedicate a special
microphone just for vocoding use to it. Connect the output
of the preamp to the [LEFT INPUT] of the Metavox.

• Aux send of mixer: If your mixer has an extra pre-fader aux
send or monitor send, connect the output of that mix to the
left input of the Metavox. This has the advantage of letting
several different sources be the controller.

• Insert point: If you don’t have a DIRECT OUT on your
mixer, sometimes the INSERT point can act as a pre-fader
direct out by plugging a 1/4” cable in to the “first click”
(about 1/4” before the plug is all the way in) without
interrupting the signal flow to the mixer. Or, if you use a
regular insert cable connected to the input and output of the
Metavox, the microphone level will be set by the TRIM of the
channel, and the channel will “hear” the output of the
Metavox.

Whe n co n ne cting a ud io
c ab le s a nd /o r tur nin g po wer
o n an d o ff, m ak e su r e th a t all
d ev ic es in y o ur s ys tem a r e
tur ne d o ff a n d th e v olum e
c on tr ols a re tu rn ed do wn .

If y ou ’ re u s in g a h ig h- o utpu t
d yn am ic micr o ph on e, a go o d­q ua lity pa ss ive lin e
tra ns fo r me r m ig ht p r ov id e
e no ug h g ain to co ntr ol th e

etav ox , with the [ TRI M]

c on tr ol up fu ll.

18

Typical vocoding setup

I

M
L

M

F

f

I

p

M

If you’re connecting an instrument directly to the Metavox, hook it
up this way:

1. Connect a 1/4" phone cord to the [RIGHT INPUT] of the
Metavox from the instrument you want to have vocoded.

Or, you can just use the Metavox’s own waveforms as the synthesis input
source.

2. Connect another 1/4" phone cord from the microphone
preamplifier or mixer’s direct output to the [LEFT INPUT]
(as shown below).

3. Connect two 1/4" phone cords from the [LEFT] and
[RIGHT OUTPUTS] of the Metavox to two mixer inputs.

4. If you’re connecting directly to a stereo mixer, pan the two
channels hard left and hard right to get the maximum effect.

5. To vocode the instrument, set [SYNTHESIS INPUT] to
RIGHT IN = SYNTH. Otherwise, use either the microphone
or the instrument to control the internal oscillator.

Connections

NPUT TRIM affects

only the left input

O nc e yo u ’v e s et y ou r
m ic ro ph o ne p re am p g ain,
c ra nk u p the [I NPUT TRIM]
c on tr ol on th e ba ck of th e

etav ox un til the S I GNAL

ED o n its to p pa ne l fla s he s
r ed while yo u talk, th en ba ck
it off a b it.

os t gu ita rs an d ba s se s h av e

r elativ e ly lo w ou tp u t le v els.

or the qu ie tes t effec t, tu rn

u p th e v olum e o n th e g uitar to

ull. I f th a t’ s no t e no u gh ,
d on ’t c h an ge th e INPUT
TRI M of th e Metav ox .

n s t e a d , p l u g t h e g u itar in to a

m ix er c h an ne l o r oth er

r e a m p fir st.

2

I ns t r um e nt ( s y n t h , gui t a r )

o ut pu t

Fro m DI RECT O UT ( m ic ) to [LEFT I NPUT]

O utpu ts of Metav ox to m ixe r in p uts

ic in

19

Connections

L

R

I

2

Connecting to the Channel Inserts of a
mixing console:

Most recording consoles have a jack near the mic and line inputs
labeled "Insert". This is typically a TRS jack with the send and
return on the same jack. To use the Metavox as a channel insert,
you will need an insert cable (not included).

Rin g:

I ns er t r etur n

Tip : Sle ev e:

n s e r t s e n d I n s e r t G r o u n d

This cable splits the TRS insert jack into two unbalanced mono
connectors. Usually, the tip is connected to the INPUT of the
Metavox and the ring is connected to the OUTPUT of the
Metavox. However, this may be reversed on some recording
consoles. Check your mixer’s Reference Manual to be sure or just
try it both ways – this won’t damage the Metavox.

For stereo operation, you would use two insert cables, inserted
into two adjacent channels of the mixer. One would send and
receive signal to the left channel of the Metavox, and the pan pot
of that mixer channel would normally be panned to the left. Pan
the next mixer channel, for the right side of the Metavox, to the
right.

I ns er t SEN D:

To Mo dFX I NPU T

I ns er t RETURN :

Fro m Mo d FX O U TPUT

eft and right split

Whe n us ing th e in se r t ca b le s
this wa y , th e RIG HT ch an n el
c an b e the in stru me n t be ing
v oc od ed (s yn th o r g uitar ) an d
the LEFT c ha n ne l is th e v oice
s ou rc e ( fr o m t h e
m ic ro ph o ne ). S et
S YNTH ES I S IN PUT to

IG HT I N = S YNTH.

20

Connecting to the Group Sends or Aux

I
f
M

I

Send/Return of a mixing console:

Connections

2

The Metavox is designed more for in-line processing than the
send/receive kind of processing typically used for reverb units.
However, plugging the Metavox into a Group or Aux send/return
loop will allow you to vocode a mix of several instruments, from
any mixer channel assigned to that group.

The principle of operation is this: you use one mix bus (a group,
or auxiliary send) as the vocoding source (the modulator), and
another mix bus as the instrument mix to be processed (the
carrier). This will make it easy to select different mics to be the
controller, and vocode different instrument/synthesis sources with
those mics. This is also necessary if you want to mix some of the
original controller or instrument sound back into the main mix,
instead of just hearing the vocoded result from the Metavox.

To do this, connect a single cable from the Group or Aux Send
Out to the [LEFT/MONO] input of the Metavox. Assign a
microphone to this Group, or bring up the Aux Send on the
microphone channel only with all other aux sends down.

Connect another cable from a different Group or Aux Send to the
[RIGHT INPUT] of the Metavox. Use two separate cables to
connect the [LEFT OUTPUT] and [RIGHT OUTPUT] of the
Metavox to the left and right inputs of a Stereo Effect Return, or
to two adjacent mixer channels panned to left and right.

Fro m GRO UP O U T #2 ( ins tr u me nts)

Fro m GRO UP O U T #1 ( m ic ro p ho ne s)

To re tu r ns

f yo u use m ixe r cha nnels
o r t h e r e t u r n s f r o m t h e

etav ox , b e su re th e G ro up

S en ds fo r t h o s e c h a n n e l s a r e
tur ne d o ff to a vo i d f e e d b a c k .

n t h i s e x a m p l e , a n y
m ic ro ph o ne a n ywhe re in th e
c on so le as sig ne d to Gr ou p 1
c an b e a v oc od er co ntr ol
s ou rc e. Any so un d m ix ed to
G ro up 2 will be v oc od ed by
tha t mic ro ph o ne a nd se nt to
the o utp ut o f the Metav ox .

21

Connections

d

M

2

Connecting to the inserts on an instrument
amplifier:

Use this method only if you occasionally use the Metavox to
provide synthesizer sounds and noises under control of
your guitar. This method won’t let any guitar sound through

unless BYPASS is pressed.

The insert send on a guitar or bass amp is usually labeled
"effects send and return" or "insert send and return". This allows
you to preamplify your instrument before vocoding it and sending
it to the power amp.

Most guitar amps are single channel, so connect a single insert
cable from the amp to the LEFT INPUT and LEFT OUTPUT of
the Metavox. Some amps have separate “effect send” and “effect
return” jacks; for these, use standard cables. Check the manual of
your amplifier for details.

N e v e r c o nn e c t t he
M e t a v ox be t w e e n t he
p ow e r a m p an d t he
s pe a k e r !

The h ig h p owe r le ve ls cr e ate
b y th e p ower am p will
d es tr oy th e c ir cu itr y of th e

etav ox .

If you are using a dedicated rack-mount preamplifier, another
method would be to insert the Metavox between the preamp and
the input(s) of the power amp.

22

Connecting to equipment with XLR inputs

D

M

N

D

y

H

p

and outputs:

Connections

2

If you are connecting the Metavox to a product with XLR
balanced inputs and outputs, you will need to convert this signal to
a 1/4” unbalanced connector. Make sure that Pin 2 of the XLR
connector is connected to the Tip of the 1/4” adapter or cable.

Watch out for high levels, however: some XLR sources put out
levels close to the maximum the Metavox can accept (about +12
dBu) even when its trim is at minimum. Lower the level of the
source if the [SIGNAL] LED flashes red.

About audio cables

The connections between the Metavox and your studio are your
music’s lifeline, so use only high quality cables. These should be
low-capacitance shielded cables with a stranded (not solid) internal
conductor and a low-resistance shield. Although quality cables
cost more, they do make a difference.

Route cables to the Metavox correctly by observing the following

on't use line

transformers:

an y XLR-to- 1 /4 " ad a pter s

s old at elec tro nics stor e s ar e

OT a da p te rs , b ut
tra ns fo r me rs (a nd v e ry lo w
q ua lity tr an s fo rm er s a t tha t) .

o n ' t u s e t h e s e o n the o u tp ut
o f th e Metav ox —th ey 're
u nn ec es s ar y a nd g en e ra lly
s ou nd a wfu l b ec au se th ey
d on 't h a ve th e he ad r oo m to
h an dle the Metav ox 's ou tpu t.
G et a h a rd -wire d ad a pter or
c ab le fr om y o ur p ro fes sio na l
a ud io d e aler , o r ma k e on e

o u r s e l f f r o m c o m p o n e n t s .

o w e v e r , a m i c - t o - l i n e
tra ns fo r me r m ig ht wo rk to

r o v i d e a v oc od in g inp ut to

the Metav ox .

precautions:

• Do not bundle audio cables with AC power cords.

• Avoid running audio cables near sources of

electromagnetic interference such as transformers,
monitors, computers, etc.

• 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 cable’s reliability.

• Avoid twisting the cable or having it make sharp, right

angle turns.

• Never unplug a cable by pulling on the wire itself.

Always unplug by firmly grasping the body of the plug
and pulling directly outward.

23

Connections

j

j

j

A

2

Using the ModLink

The Metavox can be connected to other effect boxes in the
ModFX family via the ModLink. The ModLink is a cable-free
connection between two ModFX units that transfers digital audio
and word clock. The 9-pin male connector on the left side of the
unit is the ModLink IN port. The 9-pin female connector on the
right side is the ModLink OUT port. By directly connecting two
ModFX units via the ModLink, audio will pass from the left-most
unit to the right-most unit.

Inputs AC adapter Outputs

Master First Slave Second Slave

udio Flow

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

What about the 1/4”

acks on the slave

units?

Whe n a u nit is a sla ve to
a no th er un it, its a u dio inp ut

ac ks a r e dis ab le d; it will g et
its a ud io in p ut d ig ita lly fro m
its Mod Lin k p or t. The o u tp ut

ac ks , h owev e r, a re alwa y s
a ctiv e; so a n a ud io ou tp u t
c an b e tap pe d fro m a ny
lin ke d u nit, with ou t
inter ru p ting th e flo w to th e
r es t of th e c ha in .

24

3 Using the Metavox

E

This section explains the technology of synthesis and vocoding
and describes the functions of the Metavox’s controls in greater
detail.

About Vocoding

The Metavox is a vocoder. Vocoders are the result of research into
the sound of the human voice, and ways to artificially synthesize
voices. One way of understanding it is to think of the Metavox as
a synthesizer whose output level and tone are controlled by an
audio input, instead of by a keyboard. Usually, but not always, that
controlling audio is from a vocal microphone. Speak into the
microphone, and the sound of the Metavox’s own synthesizer will
come on, following the volume of your voice; this is called envelope
following. The tone and pitch of the incoming signal are used to
control multiple band pass filters of the vocoder: higher pitches
excite higher band pass filters through which the synth input must
pass. Note that the pitch of the controlling signal does not

control the pitch of the synthesizer—it controls the tone only.

There are two important elements to vocoding in the Metavox:

1. The SYNTHESIS INPUT. This can be either the internal
single-oscillator synthesizer, with 3 different kinds of
waveforms (sawtooth, rectified sawtooth, or square), or a noise
generator, or it can be an external instrument plugged into the
RIGHT IN. In classic synthesis, this is referred to as the carrier.

2. The CONTROLLER input. This can be any line-level signal,
though it’s usually from a microphone preamp. In classic
synthesis, this is called the analysis signal.

The Metavox listens constantly to the controller input, derives a
multiband filter envelope follower setup from it, and applies that
setup to the synthesizer. This allows it to mimic the human vocal
sounds that make one vowel (like “a”, “e”, “i”, “o”, “u”) sound
different from one another.

But human speech also features consonants (“c”, “k”, “s”),

The m os t b as ic elem e nt o f
v oc od in g is a mp litu d e
c on tr ol. Th e Metav ox
“listen s ” to th e le v el o f the
c on tr oller s ign al, a nd m a ke s
the c ar r ie r/s yn th es is sig na l as
lou d or as s o ft a s tha t inp ut.

ve ry s o un d h as its own
“en ve lo p e” o r d yn am ic
c ur ve ; the Metav ox us es th at
e nv elop e to c on tr ol its o utpu t
VCA (v o ltag e -c on tr o lled
a mp lifie r) .

fricatives, and plosives. These sounds are crucial for making the
“voice” say something understandable. The Metavox’s
[SIBILANCE] control adds shaped noise to the high frequency
bands of the Synthesis filters, so that when a consonant is detected
in the Controller signal, there will be a sibilant sound in the
vocoded output, making it even more speech-like.

25

Using the Metavox

3

The result is a unique signal processing path that puts one sound
under the control of another. The creative and commercial
possibilities of generating voice-like sounds from either the
internal synthesizer or from an external instrument are as varied as
the sound of the human voice itself. But vocoding need not stop
there. Any sound can be the controller, and any sound can be the
synthesizer. You could vocode Jimi Hendrix with the sound of
water droplets, for example.

26

Using the Metavox

I
R

R
f

What is Tempo Sync?

In the Metavox, Tempo Sync affects only the frequency
modulation (e.g., vibrato) of the internal waveform oscillator.

Sometimes, you’ll want the rate of the vibrato or pitch change to
match the beat of your music instead of being random. For
example, you can set the rate so that the pitch of the SAW wave
changes once per measure, or once per quarter note. The
TEMPO SYNC feature of the Alesis ModFX series not only lets
you set a tempo naturally by tapping on the TAP TEMPO button,
it can automatically adjust its speed slightly relative to a “tapped”
audio input, after setting the basic speed using the TAP button.

To use Tempo Sync:

Set the Metavox’s MODULATION section to TEMPO SYNC
mode, as follows:

3

1. Press the down side of the [MODULATION] rocker switch to
select the next modulation type.

You can see the type of effect by the LED lit next to the name—for
example, TRIANGLE, SAMPLE/HOLD, TRIGGERED and
so on.

2. Keep pressing the rocker switch through all the normal modes
until you enter TEMPO SYNC mode, and then advance to the
type of modulation you want.

Both the Mod Type and TEMPO SYNC LEDs will be lit. For
example, if you press the down side of the rocker switch when you’re in
PATTERN mode, the Metavox will go to TRIANGLE/TEMPO
SYNC mode. At this point, the TAP TEMPO LED will start
flashing at the last speed it was set to (or at the default tempo of 120
bpm).

3. Tap the [TAP TEMPO] button several times to set the desired
tempo.

The TAP TEMPO LED will flash in time to the hits. As long as
the [RATE] control is in the center position, the modulation speed will
match the tempo.

4. If the tempo isn’t quite right, “tap” a steady, discrete beat on
any instrument connected to the input. The internal processor
will then synchronize the tapped tempo with the audio input.
The processor will make slight alterations to the tempo such
that it stays synchronized with the beat of the audio input.

To turn Tempo Sync off:

Simply press the UP side of the [MODULATION] switch
repeatedly until the Tempo Sync LED goes off, then select the
modulation waveform you want.

The RATE knob is
different in Tempo
sync mode

n TEMPO S YNC m od e, th e

ATE kn o b ac ts as a
m ultiplier to the s p ee d s et b y
TAP TEMPO, s o y ou c a n’ t
g et the te mp o to ch a ng e
s ligh tly b y a djus tin g th a t
k no b. Note tha t ch a n g e s t o

ATE wo n ’t a ffe ct th e

la sh in g o f t he TEMPO LED .

27

Using the Metavox

3

Description of Controls

Synthesis Input Switch

The up/down rocker switch beside the Synthesis Input label on
the left side of the unit selects the synthesis input, i.e., the
internally-generated or external sound that will be vocoded and
sent to the OUTPUTS. The LEDs next to the switch light up to
indicate the current synthesis input. There are five choices
available:

Saw

A standard sawtooth wave is one of the most popular synthesizer
waves, with plenty of overtones and a characteristically “buzzy”
sound.

Rectified Saw

This is a sawtooth wave, with a little of the “edge” taken off. It’s
also an octave lower than the SAW wave at a given PHREEQ
setting.

28

Square

This mode uses an internal square wave for the synthesis input.
Square waves are another popular synth waveform, because they
have a more rounded low end with more fundamental.

Noise

N

Using the Metavox

3

This mode selects a white noise generator as the sound to be
vocoded by the input. Since white noise has all frequencies at
once, the vocoder’s filters will be most noticeable on this setting.

Right In = Synth

Use this mode when you want to vocode any external input—a
polyphonic synthesizer, guitar, etc. When [SYNTHESIS

INPUT] is set to RIGHT IN = SYNTH, the right input will
be the sound that is processed, and the left input (normally a
microphone) will be the sound that controls the amplitude
and tone of the right input. In other words, the right input is

what gets vocoded, and the left input does the vocoding. See page
19 for the typical hookup.

Phreeq

The [PHREEQ] knob sets the frequency or pitch of the Metavox’s
internal waveform oscillator, so it has effect only when the
[SYNTHESIS INPUT] switch is set to SAW, RECTIFIED SAW,
or SQUARE. At full-counter clockwise rotation, the frequency is
very low (subsonic). At full clockwise, the oscillator frequency is
in the upper range of a typical keyboard.

Siblance

OI SE will no t b e a ff ec te d
b y the MOD ULATI ON
c ontr ols (RATE, DEPTH ,

TAP TEMPO etc .) b ec a us e it
isn ’t a pitc h ed wav e fo rm .

[SIBILANCE] adds “consonant” sound to the output of the
Metavox if there isn’t enough high-frequency information in the
synthesis input (the carrier) itself to allow the higher band-pass
filter envelopes to mimic the effect of consonants in human
speech. Technically, [SIBILANCE] mixes in noise into the high
frequency bands of the Synthesis filters, so when a high-frequency
consonant, fricative, or plosive sound appears in the controlling
input, there will be something for the higher bandpass filters to
pass along to the output in response. If the [SYNTHESIS
INPUT] is set to NOISE, the carrier signal already has enough
high-frequency content to mimic consonants.

29

3

Using the Metavox

Modulation switch

The up/down rocker switch under the MODULATION label on
the right side of the Metavox selects the waveform that will be
used to modulate the pitch of the internal sawtooth or square wave
oscillator only. This control has no effect if the [SYNTHESIS
INPUT] switch is set to NOISE or RIGHT IN = SYNTH. There
are five shapes available, as indicated by the LEDs next to the
switch:

Triangle

This mode selects a triangle wave for the oscillator’s modulation.
Use TRIANGLE when you want the smooth up-and-down cycle
of traditional vibrato.

Sample/Hold

This mode selects a sample and hold wave for the oscillator’s
modulation. The pitch of the wave will jump randomly from pitch
to pitch, holding a pitch until it’s time for the next one.

Triggered

The triggered mode selects a triggered envelope for the oscillator’s
modulation. When a trigger occurs, the modulation will cause a
spike in the oscillator frequency. A trigger is any sudden increase
in the input audio level. So, if you play a heavy accent on a note,
the pitch will start high, the quickly slide down. Pressing the
[RESET MOD] button will also cause a trigger. Note that since
there’s no repeating waveform in Triggered mode, the [TAP
TEMPO] features have no effect. [RATE] will affect the decay
time of the envelope.

30

Using the Metavox

R

f

Uncertainty

This mode generates a continually varying waveform for the
oscillator’s modulation; it’s similar to Sample and Hold but the
pitch will glide from note to note, instead of jump.

Pattern

This mode randomly generates a 16-step pattern for the
oscillator’s modulation and repeats it over and over. In some
ways, it sounds like a mix of SAMPLE AND HOLD and
UNCERTAINTY, since Pattern mode sometimes makes the level
jump quickly from step to step, while other levels “glide” from
step to step. Another important difference is that the pattern will
repeat regularly until you change the pattern.

3

• Press the [RESET MOD] button to generate a new 16-step
pattern.

• Try using the [RATE] knob, or the TEMPO SYNC/TAP
TEMPO features, to make the steps of the pattern play in
sync with your music. Keep in mind that the pattern has 16
steps per 4 beats, so adjust the RATE knob accordingly.

ATE in Pattern

mode

You c an th in k o f Pa tte rn
m od e as be in g 4 x th e r ate o f
S am ple a nd H o ld o r
U nc er ta inty. I n Te m po S y nc
m od e, tu rn th e [RATE] kn o b

ull clo ck wis e (1 /4 sp ee d ) to
g et o ne step pe r be a t, th e
s am e as Sa mp le an d H old a t
a 1 2 o’ c lo ck se ttin g o f
[ RATE].

31

Using the Metavox

D

3

Depth

The [DEPTH] knob controls how much pitch modulation
(vibrato) of the above LFO waves and patterns will be applied to
the internal waveform oscillator’s SAW, RECTIFIED SAW, or
SQUARE waves.

Rate

The [RATE] knob changes the speed of the pitch modulation of
the internal waveform synthesizer only. In normal modulation

modes (TEMPO SYNC LED off), turning the [RATE] knob alters
the rate continuously from very slow to very fast. Turn the knob
clockwise for a faster vibrato effect, counter-clockwise for a slow
pitch change.

Rate knob operation in TEMPO SYNC mode

When the Metavox is in TEMPO SYNC mode, the fundamental
modulation speed is set by the TAP TEMPO function, and the
rate knob can be used to adjust that rate to an even fraction or
multiple of the current tempo:

• With the knob indicator in the 12 o’clock position, the mod
rate will be the same as tempo (i.e, quarter note).

•Turn the knob to the left to set the mod rate at a half of the
tempo (i.e., one cycle per half note), then a quarter of the
tempo (once per measure).

•Turn the knob to the right to set the modulation to twice the
tempo (eighth notes), or four times the tempo (sixteenth
notes).

epth = Mod Wheel

Think o f the [D EPTH ]
c on tr ol as b e in g lik e th e Mod
Whe el o n a s y nthe siz er ,
a pp ly in g a n LFO to the p itc h
o f th e inter n al o sc illato r,
g iv in g it mo r e or le ss v ibr ato.
The [ RATE] c o ntro ls th e
s pe ed o f the LFO, a n d th e
[ MO DU LATIO N] switch
d eter min es th e wa ve for m o f
the LFO .

Se e t he de sc r ip t i on of
T A P T EM P O f o r
i mp or t a n t ti p s on u s in g
t hi s f e a t u r e .

The diagram below shows where you can set the [RATE] knob to
modulate the internal oscillator at different multiples of the tempo
during TEMPO SYNC mode.

32

Using the Metavox

Reset Mod

Press this button to reset the modulation as follows:

• In TRIANGLE and SAMPLE/HOLD modes, press [RESET

MOD] to start the wave from the beginning of its phase.

In Triangle, RESET starts the mod from the bottom of the wave.

• In TRIGGERED mode press this button to generate a trigger

for the modulation (sending the equivalent of a pitch envelope
to the oscillator).

• In PATTERN mode press this button to generate a new 16-

step pattern.

Tap Tempo

This button affects the speed of the effect whenever the
[MODULATION] switch is set to TEMPO SYNC mode. In that
mode, you can tap this button along with the music to set a new
tempo. The Tap Tempo light will flash at the current tempo.

3

Tap Tempo technique

For a reliable tempo setting, make several taps in a row at a
consistent speed, especially if you’re changing the tempo
drastically. Watch the flashing of the light to see the current
tempo of the Metavox.

Adjusting tempo with audio input

After the basic tempo has been set using the [TAP TEMPO]
button, it is possible to make small adjustments to the tempo via
the audio input. You do this by “tapping” on the instrument
(playing sharp chords, or beats, without sustain or notes
inbetween) at almost the same speed as the Metavox’s tempo
LED. The Metavox can derive a beat from a complex musical
input, as long as it is reasonably close to the original “tapped”
tempo. The tempo can adjust up or down about 15% from the
original tempo tapped in.

How Tap Tempo works with Tempo Sync and
the Rate knob

When TEMPO SYNC mode is enabled, the rate of the modulation
will be based on the tempo currently being flashed, multiplied by
the position of its [RATE] knob: when it’s in the middle position
(around “12 o’clock”), the speed of the triangle, square, pattern
etc. wave will be the same as the tempo. See the earlier
descriptions of the [RATE] knob and Tempo Sync for more
information.

To get fast
modulations...

it is n’ t n ec e ss ar y to ta p a t a
h ig h sp e ed if y ou wa nt th e
e ffec t to mo d ulate a t eig hth or
s ix te en th no tes . J u st ta p on
the q ua rter - no t e b e at, the n
tur n th e [ RATE] k no b to the
r ig ht to d ou b le o r q ua dr u ple
the s pe e d ma d e by Ta p
Tem po .

33

Using the Metavox

3

Bypass

This button sends the signal directly from the input to the output
without any effect. Press [BYPASS] to check the sound of the
source without any effect from the Metavox. When the red
BYPASS LED is lit, no vocoding takes place. The Bypass
function can also be activated by the foot switch.

Since the Metavox is a digital effect, signal always passes through
the digital A/D–D/A conversion process, so that digital signal will
flow through to other effects in a ModLink chain even when
[BYPASS] is on. So, unlike old analog effects, this is not a
“hardwire” bypass switch—the Metavox must be powered on to
pass signal through, even in bypass mode. Similarly, the [TRIM]
control is always active, since it’s an analog control regulating the
level feeding the analog-to-digital converters.

Using the Foot Switch

If you need to bypass the effect totally but your hands aren’t free,
simply connect any momentary footswitch (such as those used for
keyboard sustain pedals, either NC normally closed or NO
normally open) to the [FOOT SWITCH] jack on the rear panel.
The footswitch will turn the BYPASS LED on and off.

34

4 Sample Settings

D

A

N

While there’s nothing like discovering new sounds for yourself, we
thought it would be a good idea to provide some sample settings
of the Metavox to help get you started. Simply set the knobs on
your Metavox so they’re at the positions shown, and press the
rocker switches so each effect is in the mode shown by the LEDs.
Feel free to modify these any way you want to suit your particular
playing style.

eep Robot

c la ss ic r ob o - v o i c e ,
m od ulate d by an e xte rn al
m ic ro ph o ne . Tr y it with othe r
s yn th es is in p uts as we ll.

Standard external
vocoding

on e of th e c on tr ols m atter
e xc ep t [ SI BI LANCE], wh en
[ SYNTHES IS I NPU T] is s et
to RI GH T I N = S YNTH .

35

Sample Settings

B

A

E

4

attle Star

d ee pe r s or t o f ou ter -s p ac e
v oice ; try a d ju sting PHREEQ
to ge t the p r ec is e e ffec t y ou
wan t.

Odd Inflection

This pa tch u s es the
TRI GG ERED wa v efor m to
“swoo p” th e s qu ar e wav e
e ve ry time th e co ntr ollin g
v oice o r ins tru me nt ha s a
s ud de n inc re a se in g ain.

vil whisper

U sing NO IS E a s th e s ou rc e
lets yo u h ea r the v oc od in g
e ffec t to its fulle s t.

36

Sample Settings

y
p
f

A

f

M

H

B

E
f
f

P
y

Vocomotion

This se tting ha s a r hy th m to
it, whic h yo u m us t s et u s in g
the TAP TEMPO b utto n s. I f

ou d on ’ t lik e th e p atte r n,
re ss RESET MOD u ntil yo u

in d on e y ou like .

s a va r ia tio n, try
S AMPLE/H OLD a s th e
s ou rc e, with th e RATE se t to

ull.

od Vox

i g h - f r e q u e n c y m o d u l a t i o n
o f th e S aw wa ve b y a
Trian gle wav e c ha ng e s th e
tim br e o f th e c ar rie r wa v e in
this se tting .

4

lank

xp er im e nt to fin d y ou r
av or ite s ettin g an d m ar k it
or r ec a ll h e re .

ho to co p y th e n ex t p ag e if

o u n e e d m o r e s e t t i n g s .

37

Sample Settings

4

Blank Settings Templates

38

5 Troubleshooting

Troubleshooting Index

If you experience problems while operating your Metavox, please
use the following table to locate possible causes and solutions
before contacting Alesis Product Support for assistance.

Symptoms Cause Solution

No audio output s. No input aud io(SIG NAL

Can ’t hear source
inst rum ent in mix, only
sin gle-no te oscillato r

[TAP T EMPO] button is
not working

Mod Linked units are n ot
working p roperly

Distorted sound

Distortio n when you leave
TEM PO SYN C mode

LED doesn ’t flash).
PHREEQ is too low. Raise PHREEQ to “2

Bad cables.Rep lace t he cab les.
Destination is turned

down.

Inp ut Trim knob is tu rned
down

Inp ut cab les are conn ected
to a linked unit

Power is no t conn ected Go take a walk
Not enoug h level to LEFT

INP UT when vocoding

SYN THESIS INPUT isn’t
set to RIGHT IN =
SYN TH

Mod ulatio n isn’t in T empo
Syn c mode

Power dropo ut to one of
the units in th e chain

Inp ut level too h igh
(SIGNAL LED on fro nt
pan el flashes red)

RATE set at a hig h speed,
to a poin t where it sounds
like ring modulation

[RATE] knob is set high
to get 4x the T ap Tem po
rat e; when you go back to
a n ormal mode, the RATE
jum ps up high and sounds
like dist ortion

Test with a known good
inp ut.

o’clock” or hig her.

Check the connections
and the level of th e mixer
or amp th at the Met avox is
con nected to.

Adjust th e knob to th e
pro per level.

Con nect t he inp ut cab les
to the Master o f the link
chain

Increase output level of
mic preamp; m ake su re
mic is sw itched on et c.

Set SYNTHESIS INPUT
to RIGHT IN; you will
hear source inst rum ent
when LEFT IN receives
aud io inp ut

Select Tempo Sync mod e

Plug in a power supply to
ever y unit in a chain.

Turn down the so urce, or
the TRIM cont rol on th e
Met avox’s back pan el.

Turn down the RATE
kno b (below about “ 3
o’clock”)

Red uce th e [RATE]
set ting

39

Troubleshooting

5

Symptoms Cause Solution

Buz z or h um fro m
out puts

AC hum Gro und lo op Place all equip ment in the

Aud io cab les are crossing a
power cable or a power
adapter.

Bad cables Rep lace t he cab les
Pro blem w ith th e source Try bypassing t he Met avox

Make sure that t he
Met avox an d its audio
cab les are kept away fro m
power cables and wall
warts.
Don ’t wrap cable in t ight
bun dles.

by connecting t he inp ut
cab les to the o utput cables
and see if the problem
rem ains.

studio on a com mon
gro und (see next page)

40

Troubleshooting

Avoiding ground loop noise

In today’s studio, where it seems every piece of equipment has its
own computer chip inside, there are many opportunities for
ground loop problems to occur. These show up as hums, buzzes
or sometimes radio reception and can occur if a piece of
equipment "sees" two or more different paths to ground. While
there are methods to virtually eliminate ground loops and stray
radio frequency interference, most of the professional methods are
expensive and involve installing a separate power source just for
the sound system. Alternatively, here are some helpful hints that
professional studio installers use to keep those stray hums and
buzzes to a minimum.

KEEP ALL ELECTRONICS OF THE SOUND
SYSTEM ON THE SAME AC ELECTRICAL
CIRCUIT.

Most stray hums and buzzes happen as a result of different parts
of the sound system being plugged into outlets of different AC
circuits. If any noise generating devices such as air conditioners,
refrigerators, neon lights, etc., are already plugged into one of these
circuits, you then have a perfect condition for stray buzzes. Since
most electronic devices of a sound system don’t require a lot of
current (except for power amplifiers), it’s usually safe to run a
multi-outlet box or two from a SINGLE wall outlet and plug in all
of the components of your system there.

5

KEEP AUDIO WIRING AS FAR AWAY FROM AC
WIRING AS POSSIBLE.

Many hums come from audio cabling being too near AC wiring.
If a hum occurs, try moving the audio wiring around to see if the
hum ceases or diminishes. If it’s not possible to separate the audio
and AC wiring in some instances, make sure that the audio wires
don’t run parallel to any AC wire (they should only cross at right
angles, if possible).

TO ELIMINATE HUM IF THE ABOVE HAS FAILED:

1. Disconnect the power from all outboard devices and
tape machines except for the Metavox, the mixer and
control room monitor power amp.

2. Plug in each tape machine and outboard effects device
one at a time. If possible, flip the polarity of the plug of
each device (turn it around in the socket) until the
quietest position is found.

3. 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!!

41

Troubleshooting

5

4. Keep all cables as short as possible, especially in
unbalanced circuits.

If the basic experiments don’t uncover the source of the problem,
consult your dealer or technician trained in proper studio
grounding techniques. In some cases, a "star grounding" scheme
must be used, with the mixer at the center of the star providing the
shield ground on telescoping shields, which do NOT connect to
the chassis ground of other equipment in the system.

Line conditioners and spike protectors

Although the Metavox is designed to tolerate typical voltage
variations, in today’s world the voltage coming from the AC line
may contain spikes or transients. These can cause audible noises,
and they can stress your gear and, over time, possibly cause a
failure. There are three main ways to protect against this, listed in
ascending order of cost and complexity:

• Line spike/surge protectors. Relatively inexpensive,
these are designed to protect against strong surges and
spikes, acting somewhat like fuses in that they need to
be replaced if they’ve been hit by an extremely strong
spike.

• Line filters. These generally combine spike/surge
protection with filters that remove some line noise
(dimmer hash, transients from other appliances, etc.). A
good example is the Isobar™ series from Tripp Lite.

• Uninterruptible power supply (UPS). This is the
most sophisticated option. A UPS provides power even
if the AC power line fails completely. Intended for
computer applications, a UPS allows you to complete an
orderly shutdown of a computer system in the event of a
power outage. In addition, the isolation it provides
from the power line minimizes all forms of
interference—spikes, noise, etc.

42

Troubleshooting

Care and Maintenance

Cleaning

Disconnect the AC cord, then use a damp cloth to clean the
Metavox’s metal and plastic surfaces. For heavy dirt, use a non­abrasive household cleaner such as Formula 409™ or Fantastik™.
DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE
FRONT OF THE UNIT AS IT MAY DESTROY THE
LUBRICANTS USED IN THE SWITCHES AND CONTROLS!
Spray onto a cloth, then use cloth to clean the unit.

Refer all servicing to Alesis

We believe that the Metavox is one of the best signal processors
that can be made using current technology, and should provide
years of trouble-free use. However, should problems occur, DO
NOT attempt to service the unit yourself unless you have training
and experience. Service on this product should be performed only
by qualified technicians. NO USER-SERVICEABLE PARTS
INSIDE.

5

43

Troubleshooting

5

Obtaining repair service

Before contacting Alesis, check over all your connections, and
make sure you’ve read the manual.

Customers in the USA and Canada:

If the problem persists, contact Alesis and request the Product
Support department. Make sure you have the unit’s serial number
with you. Talk the problem over with one of our technicians; if
necessary, you will be given a return order (RO) number and
instructions on how to return the unit. All units must be shipped
prepaid and COD shipments will not be accepted.

For prompt service, indicate the RO number on the shipping label.
Units without an RO will not be accepted. If you do not have
the original packing, ship the unit in a sturdy carton, with shock­absorbing materials such as Styrofoam pellets (the kind without
CFCs, please) or "bubble-pack" surrounding the unit. Shipping
damage caused by inadequate packing is not covered by the Alesis
warranty.

Tape a note to the top of the unit describing the problem, include
your name and a phone number where Alesis can contact you if
necessary, as well as instructions on where you want the product
returned. Alesis will pay for standard one-way shipping back to
you on any repair covered under the terms of this warranty. Field
repairs are not authorized during the warranty period, and repair
attempts by unqualified personnel may invalidate the warranty.

Customers outside the USA and Canada:

Contact your local Alesis distributor for any warranty assistance.
The Alesis Limited Warranty applies only to products sold to users
in the USA and Canada. Customers outside of the USA and
Canada are not covered by this Limited Warranty and may or may
not be covered by an independent distributor warranty in the
country of sale. Do not return products to the factory unless you
have been given specific instructions to do so.

44

Specifications

A

Audio Input

Input Connectors: 2 unbalanced 1/4” jacks

Maximum Input Level: +10 dBV

Nominal Level: -10 dBV (adjustable, left input)

-20 dBV (right input)

Input Impedance: 470kΩ

Input Converter Resolution: 24-bit, 48 kHz sampling

Audio Output

Output Connectors: 2 unbalanced 1/4” jacks

Maximum Output Level: +9 dBV

Output Impedance: 500Ω

Output Converter Resolution: 24-bit, 48 kHz sampling

Audio Performance

(Analog In to Analog Out)

Signal To Noise Ratio: >100 dB A-weighted

THD+N: < 0.005%

Frequency Response: ± 1dB from 22Hz to 22kHz

ll m ea s ur em e nts do n e ov e r
a 2 2H z – 2 2k H z ra ng e with a
1 kH z sin e wa v e at - 1 dBFS
inp ut. I mp ed an c es a r e
m ea su re d a t 1 kH z.

Internal DSP Resolution: 28-bit

Power Consumption: 7 Watts max (9VAC Alesis P3)

Mechanical

Size: 2.1” H x 5.8” W x 3.9” D

Weight: 12.6oz. (357 g)

(53mm H x 148mm W x
98mm D)

45

Specifications

6

This page intentionally left blank.

46

Index

amplifier, 22
Aux Send/Return, 21
BYPASS, 16, 34

with foot switch, 34
cables, 23
Cleaning, 43

CONTROLLER, 25
DEPTH, 16, 32

digital converters, 34, 45
DIRECT OUT, 18
DSP, 45
envelope, 25
external source, 4, 19
FOOT SWITCH, 16, 34
Ground Loop, 41
grounding, 7
Group Sends, 21
Hums and buzzes, 41
INPUTS, 15
INPUTS and OUTPUTS,

16

INSERT

as Direct Out for mic, 18
Insert Cables, 20
levels, 15, 16, 23
mic preamp, 18
mic transformer, 18
microphone, 15, 18, 19, 25
Mod wheel, 32
ModFX, 24
ModLink, 16, 24
MODULATION, 30
MODULATION switch, 16
Noise, 29
oscillator, 4, 28
OUTPUTS, 15

on ModLink slave units, 24

Pattern, 31

PHREEQ, 16, 29
pitch

not changed by incoming signal, 25
POWER, 15
power adapter, 17
Power cable, 7
Rack mounting, 17
RATE, 16, 32
Rectified Saw, 28
repair, 44
Reset Mod, 16, 33

in Triggered Mode, 30
RIGHT IN = SYNTH, 19, 29
Safety, 7
Sample/Hold, 30
Saw, 28
SIBILANCE, 16, 25, 29
SIGNAL LED, 15, 16, 19, 23
Square, 28
SYNTHESIS INPUT, 15, 16, 25, 28
synthesizer, 15, 18, 25
Tap Tempo, 16, 27, 33
Tempo Sync, 27

effect on RATE knob, 32
transformers, 23
Triangle, 30
Triggered, 30

by RESET MOD, 33
TRIM, 15, 16, 19

active in bypass mode, 34
Uncertainty, 31
vocoder, 4, 25

and synthesizers, 18
voice modulation, 15
XLR, 23

47

Warranty / Contact Alesis

F

Alesis Limited Warranty

ALESI S CORPORATI ON ("ALES IS") war rants this product to be free of defects
in material and workmanship for a perio d 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 purc haser and canno t be t ransferred or assig ned.
For the most effective service, the pu rchaser should re gi ster the purchase on the
ALESI S website at http://www.alesis.com/support/warranty.htm.
Duri ng the warranty period ALESIS shall, at its sole and absolute option, either repair
or replace free of charge any product that proves to be defecti ve on inspection by
ALESI S or its aut horized service representative. In all cases disputes co ncerning this
warranty shall be resolved as prescribed by law.
To ob tain warra nty service, the purchaser must first call or write ALESIS at the
address and tel ephone numb er available on the Alesis Website to obtain a Return
Autho rization Num ber and i nst ructions concerning where to return the unit for
service. All inquiries must be accompanied by a d escription of the problem. All
autho rized returns must be sent to ALESIS or an autho rized ALESIS repair facility
postage prepaid, insured and properly packaged. Proof of purchase must be
presented in the form of a bill of sale, canceled ch eck or some other positi ve proof
that the product is within the warranty period. ALESIS reserves the r ight to update
any u nit returned for repair. ALESIS reserves the right to c hange or improve design
of the p roduct at any time without prior notice.
This war ranty does not cover claims for damage due t o abuse, neglect, alte ration or
atte mpted 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 WARRANTIE S ARE IN LIEU OF ANY OTHER
WAR RA NT IE S O R R EPRESENTATIONS WHETHER EXPRESS OR
IMPLIED OR OTHERWISE, WITH RESPECT TO THE PRODUCT, AND
SPECIFICALLY EXCLUDE ANY IMPLIED WARRANTIES OF FITNESS
FOR A PARTICULAR PURPOSE OR MER CHANTABILITY OR OTHER
IMPLIED WARRANTIES. Some states do not allow limitations on how long an
implied warranty lasts, so the above limitation may no t apply to you.
IN NO EVENT WILL ALESIS BE LIABLE FOR INCIDENTAL,
CONSEQUENTI AL, INDIR ECT OR OTHER DAMAGES R ESULTING
FROM THE BREACH OF ANY EXPRESS OR IMPLIED WARRANTY,
INCLUDING, AMONG OTHER THI NGS, DAMAGE TO PROPERTY,
DAMAGE BASE D ON INCO NVENIENCE OR ON LOS S OF USE OF THE
PRODUCT, AND, TO THE EXTENT PERM ITTED BY LAW, DAMAGES
FOR PERSONAL INJURY. Some states do not allow the exclusion or li mitation 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 speci fic le gal rights, and you may
also have other rights required by law which vary from state to state.
This war ranty 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 count ry of sale. Without limiting the
foregoing, repairs under this warranty shall be made only by a duly authorized Alesis
service representative in the count ry of sale. For warranty information in all other
count ries please re fer to your local distributor.

or more effective
service and product
update notices, please
register your Metavox
online at:

http://www.alesis.com/
support/warranty.htm

48

Warranty/Contact Information

Alesis Contact Information

Alesis Studio Electronics
Los Angeles, CA USA

E-mail: [e-mail]
Website: http://www.alesis.com

Alesis Metavox Reference Manual
Revision 1.0 by Alex Souppa & Dan Tinen

Copyright 2002, Alesis. All rights reserved
Reproduction in whole or in part is prohibited. Specifications
subject to change without notice. All trademarks are the property
of their respective holders.

7-51-0117-A
8/2002

49