Reference Manual
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Table Of Contents
Introduction..........................................................5
Welcome!......................................................................................................5
About the Multimix USB...................................................6
Multimix USB Key Features......................................................................6
Aditional Features of the Multimix 12 USB and Multimix
16 USB .........................................................................................................7
How to Use This Manual ...................................................8
A Few Words for Beginners.............................................. 9
Chapter 1: Getting Started ................................11
Hooking up the Multimix USB ........................................11
Using Proper Cables ..........................................................11
Setting Levels ...................................................................... 12
Chapter Two: A Tour of the MultiMix .............13
Patchbay...............................................................................13
Mic Inputs (Channels 1 – 4)...................................................................... 13
Line Inputs (Channels 1 – 4).....................................................................13
Line Inputs (Channels 5 – 12) ..................................................................14
Digital Output Jack.....................................................................................14
PHONE Jack...............................................................................................14
AUX RETURNS........................................................................................ 14
AUX SENDS.............................................................................................. 14
ALT 3/4 OUT ............................................................................................ 14
2-TRACK.....................................................................................................15
MAIN MIX OUT....................................................................................... 15
CTRL RM OUT .........................................................................................15
Channel Strips ....................................................................15
Fader............................................................................................................. 15
MUTE / Alt 3/4.........................................................................................15
PFL / SOLO...............................................................................................15
PAN or BAL................................................................................................ 16
Aux................................................................................................................ 16
EQ.................................................................................................................16
Master Section.....................................................................17
Main Mix Fader........................................................................................... 17
Alt 3/4 Fader............................................................................................... 17
2TK To Mix.................................................................................................17
Alt 3/4 To Mix............................................................................................ 17
Solo Mode.................................................................................................... 17
HDPH / CTRL RM...................................................................................18
MIX Switch..................................................................................................18
ALT 3/4 Switch.......................................................................................... 18
2TK Switch.................................................................................................. 18
Aux Ret A Level..........................................................................................18
Effects / Aux Ret B level ..........................................................................18
LED Meters................................................................................................. 19
POWER Indicator...................................................................................... 19
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Table Of Contents
+48V Indicator ...........................................................................................19
Rear of the Mixer................................................................20
Power Input................................................................................................. 20
Power Supply Unit......................................................................................20
Power On..................................................................................................... 20
Phantom On................................................................................................ 20
USB port ......................................................................................................20
Chapter Three: Digital Effects
Processor ...............................................................21
Effects Section Components ............................................21
Program Selection Knob ...........................................................................21
LED Display................................................................................................21
CLIP Indicator ............................................................................................ 21
SIG Indicator ..............................................................................................21
Effect Descriptions............................................................. 21
HALL ...........................................................................................................21
ROOM .........................................................................................................21
PLATE......................................................................................................... 21
CHAMBER .................................................................................................21
CHORUS.....................................................................................................22
FLANGE..................................................................................................... 22
DELAY........................................................................................................22
PITCH.......................................................................................................... 22
MULTI & MULTI II..................................................................................22
2
Chapter Four: Applications ...............................23
Simple Recording Setup ...................................................23
Simple Live Setup...............................................................23
Using Additional External Audio Sources....................23
Digital output to a digital recorder................................24
Using the Multimix USB with a Computer ................... 24
Sending and Receiving Audio Data..........................................................24
Precautions when using the USB connection.........................................24
Connection instructions for Windows (XP, 2000, ME,
and 98 Second Edition) .............................................................................24
Connection instructions for Macintosh (OS X only)............................ 25
Chapter Five: Troubleshooting ........................27
Chapter Six: Specifications ...............................31
Chapter Seven: Block Diagram ........................33
Glossary .................................................................35
Warranty/Contact Alesis.....................................39
Alesis Limited Warranty............................................................................. 39
Table Of Contents
Alesis Contact Information.......................................................................40
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4
Introduction
Welcome!
Thank you for making the Alesis Multimix USB a part of your
studio. Since 1984, we've been designing and building creative
tools for the audio community. We believe in our products,
because we've heard the results that creative people like you have
achieved with them. One of Alesis' goals is to make high-quality
studio equipment available to everyone, and this Reference Manual
is an important part of that. After all, there's no point in making
equipment with all kinds of capabilities if no one explains how to
use them. So, we try to write our manuals as carefully as we build
our products.
The goal of this manual is to get you the information you need as
quickly as possible, with a minimum of hassle. We hope we've
achieved that. If not, please drop us an email and give us your
suggestions on how we could improve future editions of this
manual.
We hope your investment will bring you many years of creative
enjoyment and help you achieve your musical goals.
Introduction
For more effective service
and product update notices,
please register your
MultiMix mixer online at:
http://www.alesis.com/
support/warranty.htm
Sincerely,
The people of Alesis
5
6
Introduction
About the Multimix USB
The Multimix USB consoles are a versatile series of mixers
designed to perform well in the live and home studio realm. They
are the latest in the large family of Alesis audio mixers. We’ve
come a long way since introducing our first mixing console in
1989. Since that time audio technology has grown in leaps and
bounds, pushing up quality and driving down prices. Only a few
years ago, you wouldn’t have been able to buy a mixer this
powerful for such an affordable price. Just take a look at the key
features listed below, and you’ll see that you have just made an
incredible addition to your home studio or live setup.
The Multimix USB consoles give you just about everything you
need to create polished, professional-sounding mixes. When
designing this unit, our goal was to give you as much control over
your mixes as possible without requiring a wealth of extra
equipment. That’s why we added tools like the digital effects
processor, the mic preamps, the USB computer interface, and the
digital out (12- and 16-channel models only). And with a multitude
of ways in which to connect other equipment and instruments, the
Multimix USB offers endless possibilities.
Multimix USB Key Features
y Three Models:
Multimix 8 USB (4 mic/line preamps, 4 stereo inputs)
Multimix 12 USB (4 mic/line preamps, 4 stereo inputs)
Multimix 16 USB (8 mic/line preamps, 4 stereo inputs)
y Clean and powerful preamps – up to 50dB of preamp
gain for capturing quiet sources. Globally switched
phantom power.
y Stereo inputs – Two stereo pairs for the Multimix 8 USB.
Four stereo pairs for the 12- and 16-channel versions.
Great for line-level instruments.
y Internal digital effects processor with 100 preset
effects and an easy-to-read display – includes a variety
of reverbs, delays, choruses, flanges, a pitch transposer and
multiple combinations of these.
y 3-band EQ per channel – a potent tool for sonically
shaping each channel to get that perfect mix.
y 1 aux send per channel (pre/post-fader switchable on
the 12- and 16-channel versions) – gives you control over
the level of the pre- or post-fader signal being routed to an
external device.
y 1 post-fader aux send/effects send per channel – a
control for the signal being routed to another external
device or to the onboard effects processor.
y Control room output level – provides control over the
separate control room output
6
y 2-track send and return – lets you mix your audio to tape
or other media and to add a tape deck or CD player to the
mix.
y Stereo USB input and output – routes the main output
and the 2-track return through the USB port in crystalclean, 16-bit, 44.1 kHz stereo digital audio. Use the
Multimix USB as a high-quality soundcard for recording
and playback with Windows and Macintosh computers.
Aditional Features of the Multimix 12 USB
and Multimix 16 USB
y PFL/Solo in place functionality per channel – isolates a
channel with a single push of a button.
y Mute/Alt 3/4 assign per channel – lets you mute a
channel and, at the same time, route its signal to the mixer’s
ALT 3/4 output—a separate stereo bus.
y Independent Main Mix and Alt 3/4 levels – permits you
to separately command the levels of the MultiMix’s two
stereo buses
y 44.1 kHz S/PDIF digital out – sends the digital stereo
signal directly to a DAT, DVD or other recording device
that can accept a S/PDIF signal.
Introduction
7
Introduction
H
How to Use This Manual
This manual is divided into the following sections describing the
various functions and applications for the Multimix consoles.
While it's a good idea to read through the entire manual once
carefully, those having general knowledge about mixing should use
the table of contents to look up specific functions.
Chapter 1: Getting Started shows you how to include the Multimix in
your audio setup for recording, computer interfacing, and live
applications. We’ve included a hookup diagram, guidelines for
which cables to use and the vital steps you must take to set levels
properly.
Chapter 2: A Tour of the MultiMix describes the Multimix piece by
piece. This chapter also features diagrams of the mixer to help you
find each component as you read about it.
Chapter 3: Digital Effects Processor explains the effects provided by
the on-board digital effects processor. If you want to know what a
certain effect will do to your sound before you select it, this is
where you should look.
Chapter 4: Applications outlines a number of scenarios in which
you can use the Multimix, including some tips on what goes
where when you’re hooking everything up.
Chapter 5: Troubleshooting can give you a hand if you’re experiencing
problems with your mixer. You’ll find that most issues can be
resolved simply and quickly with the push of a button.
Chapter 6: Specifications and Chapter 7: Block Diagrams are full of
technical information for the more techie users.
And at the end of this manual you’ll see a glossary of common
mixing-related terms and a page about the Multimix USB’s
warranty.
elpful tips and advice are
highlighted in a shaded box
like this.
When something important
appears in the manual, an
exclamation mark (like the
one shown at left) will appear
with some explanatory text.
This symbol indicates that
this information is vital when
operating the MultiMix
consoles.
8
A Few Words for Beginners
0
We realize that some of you who have purchased the Multimix
USB are fairly new to the art of mixing, and we’ve written this
manual with that in mind. We designed the Multimix to be both
powerful and easy enough to use that even a beginner can quickly
pick up the basics.
Many mixer manuals—and manuals for just about any electronic
instrument for that matter—are full of complicated terminology
and incomplete instructions that presume a lot of experience on
the part of the reader. We try to avoid that with this manual. True
enough, you will find all the technical lingo and specifications you
can handle in here, but we do our best to make this accessible to
you.
Beginners will find several elements of this manual especially
useful. Keep your eye out for the tips found in the gray boxes on
the right side of the page. Be sure to check out the hookup
diagrams on page 11, which will give you some ideas on how to fit
the mixer into your audio setup after you’ve taken a tour of the
mixer in Chapter 2. And if you come across any terms that you
haven’t seen before, the glossary probably can help you out.
Introduction
One of the most important
things you’ll do be for e yo u
begin a mixing session is to
set the levels. Be sure to refer
to the instructions on page
2
.
Introduction
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Introduction
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10
1 Getting Started
B
e
Hooking up the Multimix USB
This diagram will help you get the Multimix USB hooked up and
ready to go. The equipment you use depends on personal
preference and on whether you’re performing live or recording.
For example, you’ll see below that the MAIN MIX OUT can be
routed to a recording device for recording, or to a PA system for
live performance.
e sure to follow th
guidelines for which cables to
use (further down this page)
and the procedure for setting
levels (on the next page)
before you begin mixing.
1
Using Proper Cables
When connecting instruments and other equipment to the
MultiMix, it’s important that you use the appropriate types of
cables. Here are some simple but important guidelines:
y For the mic inputs, use XLR cables.
y For the line inputs and all other 1/4” connections, use 1/4”
mono TRS cables.
y Use stereo RCA cables for the 2-track in and out.
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12
1
Getting Started
y Use a USB cable to connect the USB port to a computer.
Do not use a USB hub, as hubs can introduce timing
glitches in USB communication.
y For the S/PDIF Digital out, we suggest that you use a
coaxial cable that is specifically designed for S/PDIF
applications. These cables are better suited for high
frequency (digital) signals and are unbalanced, shielded
coaxial cables with shielded RCA connectors on each end.
Better to get the high quality S/PDIF cables and save
yourself some unnecessary grief.
Setting Levels
Before you can begin mixing different audio sources with your
MultiMix, you must set the level for each channel you’re using.
This helps to prevent distortion and clipping. Here’s how:
1. Slide the channel fader to unity gain (0).
2. Turn the AUX SEND and GAIN controls all the way down,
and turn the EQ knobs to the center detent (you’ll feel a click).
3. Connect the source of the signal to the channel’s input.
4. Press the PFL / SOLO switch on the channel.
5. Make sure the SOLO MODE switch in the master section is
set to SOLO.
6. Play the instrument at a normal level and watch the LED
meters in the master section.
7. Adjust the channel’s gain until the LED meters remain at or
very close to 0 and do not exceed +6dB.
8. If you need to apply EQ, do so and check the meter again.
12
2 A Tour of the MultiMix USB
A
A
I
A
In this chapter, you’ll learn all about the MulitMix’s components
(except for the digital effects processor, which is explained in the
next chapter). Please refer to the diagrams as you read each section
to see which components we’re talking about.
Patchbay
At the rear portion of the top of the Multimix, you’ll find the
patchbay. This is where you plug in instruments, signal processors,
multitrack recorders and other devices. Whatever you need to
connect to the mixer, this is where it’s done. In the following
paragraphs, we tell you all about the inputs, outputs, switches and
knobs you see in this section of the mixer.
2
Mic Inputs (Channels 1 – 4)
The MultiMix uses standard XLR-type mic inputs. These provide
+48V phantom power that you can turn on and off with the
Phantom On switch located on the rear of the mixer. You
probably will have to turn on the phantom power when you’re
using most condenser mics, as these usually require the extra
voltage (unless the mic has its own power source, such as a
battery). Dynamic and ribbon mics don’t require phantom power
and are unaffected when the power is on.
These high-quality mic inputs also feature up to 50dB of preamp
gain that you can adjust with the Gain knob.
Another useful feature of these mic inputs is a high-pass filter
(HPF) that can be turned on and off with the HPF switch. When
you activate this switch, all frequencies below 75Hz are cut from
the signal. This is useful for mic or line signals that don’t have
much bottom end, such as vocals, snares, cymbals and electric
guitar. You’ll want to leave this inactivated for instruments like
basses and kick drums.
Line Inputs (Channels 1 – 4)
The line inputs, marked LINE IN, are balanced 1/4” jacks that
offer the same 50dB of preamp gain and the high-pass filter
provided by the mic inputs (however, phantom power does not
apply to line inputs). These inputs accept line-level instruments
such as keyboards and drum machines. If you find that your
instrument has a weak line signal, just plug it into channels 1 – 4
and crank it up with the Gain knob.
lthough chances are your
microphones will work fine
with these mic inputs, we
recommend that you do some
checking up on the type of
microphone you’re using,
especially if it’s one of the
older vintage models. Verify
that your microphone
requires phantom power and
make sure its output is low
impedance, balanced and
floating.
lways connect your
microphones before
activating phantom power.
Microphones tend to be very
sensitive, and the sudden
power surge can do
permanent damage to the
mic’s circuitry. It’s also a
good idea to lower mixer
levels before you ac tiv ate
phantom power.
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2
I
A
A Tour of the MultiMix USB
Line Inputs (Channels 5 – 12)
Unlike channels 1 – 4, the line inputs on channels 5 – 12 are stereo
inputs that have left and right inputs. If you’re using one of these
channels as a mono input, plug your instrument into the left input.
Channels 5 – 12 don’t have the extra gain found on channels 1 – 4
because most line-level instruments don’t require the extra boost.
Synthesizers and other electronic instruments will work especially
well on these channels. These inputs are also good for connecting
CD players or tape decks, as these audio sources don’t require
extra gain.
Digital Output Jack
The digital output jack is used to send the 44.1 kHz stereo audio
signal to an Alesis Masterlink or any other recording device such as
a DAT recorder or a PC with an S/PDIF enabled sound card
installed.
Always use a high quality cable when connecting the DIGITAL
OUTPUT JACK to your recording device. We recommend that
you use a cable that is specifically designed to carry a digital signal
and does not exceed 5 meters (16.4 ft) in length.
ny audio signal that is
routed to the MAIN
OUTPUTS will also be sent
out of the DIGITAL OUTPUT
jack. The level is controlled
by the MAIN FADERS. The
DIGITAL OUTPUT mirrors
the output from the MAIN
OUTPUTS.
PHONE Jack
The headphone jack accepts 1/4” jacks. If your headphones are
1/8”, you can find a 1/8” to 1/4” adapter in most electronics
stores.
AUX RETURNS
These are the 1/4” jacks where you connect the outputs of an
external effects processor or other audio source. Each aux return
gives you 15dB of gain that can be controlled by the AUX RET A
and EFFECTS / AUX RET B LEVEL knobs in the mixer’s
output section.
f you are using an effe cts
device with only a mono
output, plug it into the left
return of STEREO AUX
RETURN. It will appear in
the center of the stereo
spectrum, and not to the left.
AUX SENDS
And this is the 1/4” jack where you connect the line that’s going
into the input of an external effects processor. The aux sends give
you 10dB of gain that can be controlled in the AUX section of
each channel input.
ALT 3/4 OUT
These jacks are the outputs for the MultiMix’s extra stereo bus.
This signal includes channels whose MUTE / ALT 3/4 switch is
activated.
14
A Tour of the MultiMix USB
2-TRACK
The 2-TRACK IN and OUT jacks are standard RCA jacks. You’ll
use the OUTs for mixing to a tape deck or other recorder. With
the INs you can bring in a signal, which can be monitored and
even added to the main mix via the 2TK TO MIX switch in the
master section of the mixer.
MAIN MIX OUT
These 1/4” jacks are where the signal on the main mix bus leaves
the mixer. From there you can send it to a recorder or a PA system.
The level of this signal is controlled by the MAIN MIX fader.
CTRL RM OUT
You can use these 1/4" jacks to send the control room signal to
the input of the amplifier driving your monitors or headphones.
This output can carry several different signals, depending on which
source you have selected in the master section of the mixer.
Channel Strips
The eight channel strips are virtually identical to each other, with
the only difference being that channels 1 – 4 are mono and
channels 5 – 12 are stereo. Each channel strip contains the
following components.
Fader
The fader controls how much of the signal from the mic or line
inputs is sent to the channel. To adjust the level, simply slide the
fader up and down to the desired level. In the lowest position,
levels are cut completely, and in the uppermost position you get an
additional 10dB of gain. When the fader is at 0, it is at unity gain,
where the level of the output equals the level of the input.
MUTE / Alt 3/4
This switch has two purposes. The mute function is pretty selfexplanatory: when you press the switch, the channel’s output is no
longer routed to the main mix output. The second purpose of this
switch is that in addition to muting a channel, it also routes it to
the ALT 3/4 OUT found in the patchbay. This is where you get
the MultiMix’s extra stereo bus. If you don’t have anything
connected to the ALT 3/4 OUT, the switch acts only as a mute
button. If you do have something connected—say, a multitrack
recorder—this button acts as a signal router.
PFL / SOLO
The PFL / SOLO switch allows you to single out a channel so you
can make adjustments to it before you run it into the main mix.
This is useful for setting an instrument’s gain or EQ and for
2
2
15
16
2
A Tour of the MultiMix USB
troubleshooting. PFL stands for “pre-fade listen.” In other words
this switch lets you hear the signal before it is affected by the fader.
This switch is post-EQ.
PAN or B AL
This control—labeled PAN on the mono channels and BAL on
the stereo channels—lets you assign the channel to a particular
spot within the stereo spectrum. If you turn this knob to the left,
you can hear the signal move to the left, and if you turn it to the
right…you get the picture. The pan controls do this by adjusting
the amount of the signal being sent to the left main mix bus versus
the right main mix bus. The balance controls do it by controlling
the relative balance of the left and right channel signals being sent
to the left and right main mix buses.
Aux
Here you’ll find knobs that control the levels of aux sends A and
B. AUX A is either pre-fader or post-fader, depending on the
position of the PRE / POST switch. When the switch is in the
raised position, the aux send is pre-fader. When the switch is
depressed, the aux send is post-fader.
What does all this mean? In POST mode the aux send is affected
by the fader, EQ and HPF settings. In PRE mode the aux send is
affected only by the EQ and HPF settings. POST mode is
generally used for sending the signal to an external effects device
(so that the fader controls the signal level), and PRE mode is
usually used for cue sends (for example, sending a signal to
headphones while recording, for which you may not want the fader
to alter the channel’s level).
AUX B is always post-fader, as indicated by the word “POST” to
the right of this knob. Like AUX A, AUX B can be used for
routing signals to external devices. And when you are using the
onboard effects processor, AUX B is used to control the level of
the channel’s signal being routed to the processor.
EQ
The MultiMix gives you three bands of EQ per channel. Using
these knobs, you can tailor the channel’s signal by boosting some
frequencies and cutting others. The LO and HI controls are
shelving controls with fixed frequencies of 80 Hz and 12 kHz
respectively. The MID control has a peaking response fixed at 2.5
kHz.
“Shelving” means that the mixer boosts or cuts all frequencies past
the specified frequency. “Peaking” means that frequencies above
and below the specified frequency fall off, forming a peak in a
graphical representation.
16
A Tour of the MultiMix USB
T
Master Section
The Master Section is the heart of the mixer, where the channel
inputs and aux returns all are mixed together and routed in various
ways.
Main Mix Fader
The signals from all channels and aux sends—excluding those that
are muted—are sent to the main mix. The MAIN MIX fader is the
one you’ll use to control the overall level of those combined
signals. This fader affects the levels of the signals sent to the
MAIN MIX OUT, the DIGITAL OUT (12FXD and16FXD
models only) and the 2-TRACK OUT. In its lowest position the
signal is cut off completely, and in the uppermost position you get
an additional 10dB of gain. In the 0 position the fader is at unity
gain.
Alt 3/4 Fader
This fader controls the output of the Alt 3/4 bus.
2TK To Mix
When you press this switch, the signal coming in through the 2TRACK IN gets routed to the MAIN MIX, joining whichever
other signals are already part of the main mix. Used this way, the
2-TRACK IN effectively becomes another stereo channel (but
without all the extras like pan, EQ, etc.).
Alt 3/4 To Mix
This switch adds the signal from the Alt 3/4 bus to the main mix
bus.
Solo Mode
The SOLO MODE switch affects the signals of channels whose
PFL / SOLO switches are engaged. When the SOLO MODE
switch is in the up position, you’re in PFL, or pre-fader listen
mode. This means that you’ll hear the signals of all soloed
channels as they sound before they pass through their respective
faders. You’ll need to be in PFL mode when you’re setting levels
(see “Setting Channel Levels,” page 12. This mode is post-EQ.
When the SOLO MODE switch is engaged (in the down
position), you are in SOLO mode. This means that you will hear
the output of every soloed channel (after it passes through its
fader, pan and EQ).
2
he purpose of seeing a
soloed channel’s level on the
LED meters is so that you can
see the true level of that
channel’s signal. For that
reason, the HDPH / CTRL
RM knob does not change the
LED meters’ reading—it
changes only the level at
which you’re listening to the
soloed channel.
2
17
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2
A Tour of the MultiMix USB
HDPH / CTRL RM
The HDPH / CTRL RM knob controls the level of the signal
being sent to the CTRL RM OUT and the PHONES output. The
level of this signal is represented by the LED meters. The switches
to the right of the HDPH / CTRL RM knob determine the source
of the control room mix as explained below. You can use these
switches in any combination. If none is selected, you’ll hear silence
in the control room mix and the LED meters won’t light up.
The “CTRL RM” in the name of this knob refers to the fact that it
controls the signal that typically is sent to the control room
monitors of a studio, where someone—usually an engineer—is
working the mixer. However, don’t be intimidated if you’re using
this mixer in your bedroom, which probably isn’t equipped with a
control room. In this scenario, you can use headphones or connect
the CTRL RM OUT to your speakers.
When you solo a channel via
its PFL / SOLO switch, that
channel’s signal will override
your control room mix
selection. You then will hear
only that channel in the
control room and the
headphones.
MIX Switch
Pressing the MIX switch routes the main mix to the control room
level control. When you engage this switch, the channels and aux
sends will pass through the MAIN MIX fader and then through
the HDPH / CTRL RM level control. You can then keep the
MAIN MIX fader set to unity gain for optimal recording, and the
HDPH / CTRL RM level control set to a more comfortable
listening level if necessary.
ALT 3/4 Switch
When you press the ALT 3/4 switch, the signal from the ALT 3/4
stereo mix bus is routed through the HDPH / CTRL RM level
control.
2TK Switch
If you want to monitor the signal coming in from the 2-TRACK
jacks, press the 2TK switch.
Aux Ret A Level
This is the level control for the signal returning to the mixer via
AUX RETURN A.
Effects / Aux Ret B level
If you are using one of the Multimix’s internal effects, this knob
controls the effect level. If AUX SEND B is connected to an
external device, this knob controls the level for AUX RETURN B.
18
A Tour of the MultiMix USB
A
LED Meters
These are the two rows of yellow, green and red lights you see in
the master section of the mixer. They are very versatile, allowing
you to view the signal level of the main mix, individual channels
(both pre- and post-fader) and aux returns depending on which
signal you have routed to the control room mix.
POWER Indicator
When this LED is lit up, that means the POWER ON switch on
the rear of the mixer has been activated.
+48V Indicator
When this one is lit up, that means the PHANTOM ON switch on
the rear of the mixer has been activated and is supplying +48V
phantom power to all XLR mic inputs.
2
2
19
20
2
A
A Tour of the MultiMix USB
Rear of the Mixer
Here’s what you’ll find at the rear of the mixer.
Power Input
Here’s where you plug in your mixer’s external power supply. You
should always connect your power supply to the mixer before you
plug the power supply into an electrical outlet.
Power Supply Unit
This unit provides 18.5 VAC at 700 mA of power, more than
enough to keep your Multimix running smoothly. As with nearly all
power supply units, this one tends to get warm when left on for a
while. This is perfectly normal.
The POWER INPUT is built
to accept only the power
supply unit provided with
your MultiMix, or an AC
power supply that has the
same specs. Others probably
will not work.
Power On
Another easy one. Switch this one on and your mixer has power.
Switch it off and it doesn’t. Make sure the faders in the master
section are pulled all the way down when powering your mixer up
or down.
Phantom On
This switch activates and deactivates the phantom power
described in “Mic Inputs (Channels 1 – 4),” page 13. This
switch controls phantom power for all four mic inputs.
s we said earlier, it’s very
important that you plug in
your microphones and mute
your system before you turn
on phantom power.
USB port
This port allows you to connect the Multimix to a computer for 2way, stereo digital audio communication.
20
3 Digital Effects Processor
Onboard your Multimix™ is a powerful effects unit that has 100
preset programs. We offer a few tips on where to use these, but
don’t limit yourself to our suggestions. We recommend that you
experiment with these effects to get a good feel for how they can
improve your mixes
Effects Section Components
Program Selection Knob
You can use this knob to assign one of 100 effect programs
to your mix. Turning the knob to the right increments the
program number, and turning it to the left decrements the
program number. You can control the level of the effect for each
channel via the channel’s AUX B knob. You must PRESS the
effect knob to activate the selected effect.
LED Display
This display shows you the number of the current program.
CLIP Indicator
When lit, this LED tells you that there is a signal clip at the
internal effects input. This means that you should reduce the signal
via the EFFECTS / AUX RET B LEVEL control.
SIG Indicator
When lit, this LED indicates that the effects processor is receiving
a signal.
Effect Descriptions
HALL
This type of reverb simulates the ambience of a grand concert hall.
ROOM
This type of reverb reproduces the more intimate ambiance of
natural room acoustics.
PLATE
These are simulations of metal plate reverbs, as used on classic
recordings from the '70s and '80s.
CHAMBER
These are simulations of the reverb created by artificial echo
chambers, as used on classic recordings of the '50s and '60s.
3
21
22
Digital Effects Processor
3
CHORUS
These create the effect of multiple voices (or instruments)
sounding at once from a single input.
FLANGE
These create a sweeping, swooshing sound effect that you will
probably recognize.
DELAY
These effects are based on a discreet repetition or echo of the
input.
PITCH
These effects transpose the pitch of the input signal and blend the
effect signal with the original to create harmonies.
MULTI & MULTI II
These are combinations of two or more of the above effects.
22
4 Applications
B
Your Multimix can be used in a wide variety of ways in both live
and recording applications. You have several options for bringing
sound into and out of the board. And when it’s brought in, you
can route it to various parts of the mixer for certain desired
effects, or even send it to an external processor or tape deck and
back. To give you some ideas for different mixing scenarios, here
are descriptions of a few common applications for the Multimix.
Simple Recording Setup
In this setup, you connect your instruments and microphones to
the mono and stereo channels, making sure to properly set the
level of each channel. You connect your recorder (for example, a
4-track, ADAT, or a tape deck) via the 2-TRACK OUT jack. If
you want to output more than two tracks, use the ALT 3/4 OUT.
Just remember to activate the MUTE / ALT 3/4 switch for each
channel you want to feed into the ALT 3/4 OUT.
You can also connect the DIGITAL OUT to a Masterlink or other
stereo recording device with an S/PDIF digital input for a crystal
clear mixdown.
You can select one on-board effect and control its level with the
AUX B knob for each channel. Or you can use an external effects
processor by sending a signal to the external unit via the AUX
SEND A and returning it via AUX RETURN A (you’ll probably
want to set AUX SEND A to POST, for “post-fader.”). For
monitoring you can connect the CTRL RM OUT jacks to a
speaker or headphone amplifier, or just simply plug headphones
into the PHONES jack.
Simple Live Setup
This is similar to the recording setup. In a live setup, you most
likely will connect the MAIN MIX OUT to a PA system amplifier
and the CTRL RM OUT to a headphone amplifier for monitoring
purposes. You could also connect a digital equalizer (like the Alesis
DEQ-230D) between the DIGITAL OUTPUT and a PA system
for extra tone control. Try connecting an external effects processor
to the MultiMix’s send and receive. Your headphones will allow
you to audition a channel before you bring it into the mix, making
sure the levels are OK before the audience hears it.
Using Additional External Audio
Sources
The Multimix gives you 12 audio inputs in all. If you want to bring
external audio sources into a recording or live mix, you can do it in
several different ways. Using the 2-TRACK IN, you can add a tape
deck, ADAT, CD player or other source to the mix. The 2-TRACK
IN also can be used to entertain the audience with a CD as the
band is setting up for a live show. The AUX RETURNS can be
e sure to use proper cables
when connecting instruments
and other equipment to the
MultiMix. The guidelines on
page 19 will help.
4
23
24
4
Applications
used as additional audio inputs when you are not using them for
effects.
Digital output to a digital recorder
Connect the S/PDIF DIGITAL OUTPUT of your Multimix
console to the DIGITAL IN on your external digital recorder.
(12-channel and 16-channel models only)
Using the Multimix USB with a
Computer
Your Alesis Multimix mixer comes with a Full Speed USB port
which you can connect to a computer. This USB connection
allows you to send CD-quality (stereo, 16-bit, 44.1 kHz) audio
between the computer and your Multimix mixer.
This feature allows you to use the Multimix USB as a highly
flexible external soundcard. Use the computer’s built in audio
recorder—or use dedicated Digital Audio Workstation software—
to record and play back CD-quality audio within your computer.
A 2-meter USB cable is included. If you need to connect the
Multimix across a longer distance, we recommend that you
purchase a longer USB cable, as using hubs and other extenders
with USB audio often causes glitches and other problems.
Sending and Receiving Audio Data
The USB port sends the Multimix’s MAIN OUT/TAPE OUT left
and right signals to the computer.
The USB port receives a stereo audio stream from the computer
and assigns it to the TAPE IN left and right channels of your
Multimix mixer. Note that, if a device is connected to the
Multimix’s TAPE IN inputs, the signal from this device is merged
with the signal from the computer.
Precautions when using the USB connection
To ensure that the Multimix is recognized correctly by your
computer, always turn the Multimix on a few seconds before
inserting the USB cable into the computer. When powering up
both your computer and the Multimix, turn on the Multimix first
and the computer second. When powering down your computer
and the Multimix, turn off the computer first. Wait to turn off the
Multimix until the computer has shut down.
Connection instructions for Windows (XP,
2000, ME, and 98 Second Edition)
Upon first sensing the Multimix’s USB input, Windows XP and
Windows 2000 automatically recognize the Multimix and proceed
to install “USB audio codec” drivers. Windows ME and Windows
24
98 Second Edition may require you to insert your Windows disc,
after which the drivers should load correctly.
After the Multimix has been recognized and its drivers have been
installed, open the Control Panel. Select Sounds and Audio
Devices (or Multimedia), go to the Audio tab, and select the “USB
audio codec” as your default sound recording and sound playback
device.
Connection instructions for Macintosh (OS X
only)
After plugging in the Multimix, select “USB Audio CODEC” in
the Sound area of System Preferences. No other action is required.
The Multimix USB is not designed for use with Mac OS9 and
below.
Applications
4
4
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26
4
Applications
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26
5 Troubleshooting
If you’re having problems operating the Multimix, this
troubleshooting index will help you correct them.
Symptoms Cause Solution
5
No sound from the mixer. Mixer is not plugged in or
turned on.
Faders are too low. Raise appropriate faders.
Control room level is turned
down
The appropriate signal hasn’t
been assigned to the control
room out.
Cable is not plugged into
output jack.
Headphones are not plugged
into PHONE jack.
Monitor or headphone
amplifier is turned off or
down.
Bad cable. Check all cables; substitute
Audio signal is distorted. Channel level is too high. Set channel levels using the
Channel input is too high. Turn down your instrument to a
Plug in mixer and turn it on.
Turn up control room level.
In the master section of the
mixer, be sure the right switch is
selected (MIX, ALT 3/4 or
2TK)
Check outputs to make sure
cables are plugged in securely.
Plug headphones into PHONE
jack.
Turn amplifier on or up.
cables with known good ones.
procedure on page 12.
normal volume and then set
channel levels using procedure
on page 12.
AUX RET B level is too
high.
MAIN MIX level is too high. Lower the MAIN MIX fader in
ALT 3/4 level is too high. Lower the ALT 3/4 fader in the
Lower the level of AUX RET B
in the master section of the
mixer.
the master section of the mixer.
master section.
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28
5
Troubleshooting
Audio signal carries an
unwanted hum.
Too much low-level noise in
the mix.
Engage the channel’s high-pass
filter by pressing the HPF
switch.
Interference from appliances
Not using TRS cables. Make sure you are using 1/4”
Microphone level is too low. Phantom power is not
Microphone is damaged. Test the microphone on other
No or low sound from a
channel.
Instrument volume is too
Channel is muted. Check the MUTE / ALT 3/4
Gain is too low. Adjust the channel’s GAIN
such as air conditioners.
turned on.
Fader is too low. Raise channel fader.
low.
Engage the channel’s high-pass
filter by pressing the HPF
switch.
TRS cables.
Turn on phantom power using
the switch on the rear panel of
the mixer.
audio devices. If you detect
damage, contact the
manufacturer or dealer.
Turn up the instrument’s
volume control. If problem
persists, check the instrument by
plugging headphones into the
instrument’s phone jack.
switch.
control.
28
Internal effects aren’t
working.
An effect hasn’t been
Effects level is too low. Turn up the level using the
selected.
EFFECTS / AUX RET B
LEVEL control in the master
section of the mixer.
Press the EFFECTS knob on
the desired effect and make sure
the SIG indicator is lit.
Troubleshooting
5
5
External effects aren’t
working.
Aux outputs of mixer aren’t
Mixer’s effects return signal is
LED meters not working. Nothing is routed to the
Computer does not see the
Multimix.
Computer sees the Multimix
USB, but no sound is received
and/or transmitted.
Effects processor is not
plugged in or turned on.
connected to inputs of
processor or processor’s
outputs aren’t connected to
mixer’s inputs.
too low.
HDPH/CTRL RM output.
USB connection must be
established.
Multimix USB is not set as
primary sound device.
Make sure unit is plugged in and
turned on.
Make sure the mixer’s aux
outputs are connected to the
processor’s inputs and that the
processor’s outputs are
connected to the mixer’s aux
inputs.
Turn up the output of the
effects processor or turn up the
mixer’s AUX RET A RETURN
or EFFECTS / AUX RET B
RETURN in the master section.
Press the desired MIX, ALT ¾
or 2 TK button.
Unplug the USB cable and turn
off the Multimix. Turn the
Multimix back on and plug the
cable back in. If this does not
work, leave the Multimix on,
turn off the computer (do not
use “restart” but instead actually
turn off the computer) and then
turn it on again.
In the computer’s Control Panel,
go to the Sounds/Multimedia
area. In the Audio section, set
the default sound recording and
playback devices to “USB audio
codec.”
USB audio has crackling or
glitches, or audio
plays/records at incorrect
pitch.
No power. Incorrect or defective power
USB hub may be in use.
Computer configuration may
be incompatible with USB
audio.
supply.
If you are using a USB hub,
disconnect the Multimix from it
and connect the mixer to the
computer directly instead.
Certain USB chipsets have
design limitations or IRQ
assignment restrictions that
must be resolved before audio
can work correctly on them.
See your USB chipset
documentation for further
information if required.
Replace with correct power
supply (only use Alesisrecommended AC output power
supply).
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5
Troubleshooting
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30
6 Specifications
A
For the more technical-minded, here are some detailed
specifications for the MultiMix’s operating levels.
Input Channels
Mic In Sensitivity Range: -60dBu to –10dBu nominal, +5dBu
maximum
Line In Sensitivity Range: -40dBu to -+10dBu nominal,
+25dBu maximum
Mic/Line Gain Range: +10 to +60dB
Equalization
High-Pass Filter: 75Hz, 18dB/octave
High Shelving: 12kHz, +/- 15dB
Mid Bandpass/Band Reject: 2.5 kHz, +/- 15dB
Low Shelving: 80Hz, +/- 15dB
Aux Sends
Aux Send A & B Gain Range: -∞ to +10dB
Aux Returns
Aux Return A Gain Range: -∞ to +15dB
Effects Level/
Aux Return B Gain Range: -∞ to +15dB
Channel Levels
Channel Level Gain Range: -∞ to +10dB
Master Levels
Main Mix, Ctrl Room Gain
Range: -∞ to +10dB
1/4” Inputs
Stereo Aux Return Level: +4dBu nominal, +20dBu maximum
RCA Inputs
Tape In Level: -10dBV nominal, +5dBV maximum
1/4” Outputs
Main Mix, Ctrl Room,
Aux 3/4, Ext Aux
Send Level: +4dBu nominal, +20dBu maximum
Headphone Output: 75 ohm output impedance
>105mW into 75 ohms, >40mW
into 600ohms
RCA Outputs
Tape Out Level: -10dBV nominal, +5dBV maximum
ll measurements done over
a 22Hz – 22kHz range with a
1kHz sine wave at +18dBu
(-1dBFS) input. Impedances
are measured at 1kHz.
6
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6
Specifications
Mechanicals (W x L x H)
Multimix 12 USB: 13.0” x 13.4” x 3.2” /
331mm x 340mm x 80mm,
Multimix 16 USB: 13.0” x 15.2” x 3.2” /
331mm x 386mm x 80mm,
7.0lbs / 3.2kg
9.7lbs / 4.4kg
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7 Block Diagrams
7
33
34
7
Block Diagrams
34
Glossary
Here are the definitions to some terms you’ll probably encounter
while using your Multimix USB.
Te r m Definition
aux (auxiliary) An additional set of outputs and inputs found on many mixers. These
balance A control that lets you control the position of sound in a stereo signal by
bus The electrical component that carries signals from multiple sources to a
channel A path through which an audio signal flows.
channel strip A section of a mixer on which reside controls like a fader, EQ and pan
clipping The cutting of an audio signal caused by a level that is too great for a
codec Compression/decompression algorithm. Different CODECs are used
condenser
microphone
dB (decibel) A common unit of measure for audio.
detent A point of resistance in the path that a mixer knob or fader travels.
allow the addition of external effects and other audio sources.
altering the relative levels of the left and right channels.
single destination such as an amplifier.
for manipulating the signal of an input channel.
mixer circuit to handle.
by different digital audio devices and file formats.
A type of high-quality microphone that produces a weak signal, usually
requiring an external power source like the ones provided by your
Multimix’s XLR mic inputs.
Detents are used to mark important settings. As you turn the knob or
slide the fader, you’ll feel it “click” into the detent.
dry Term used to describe an audio signal free of effects. The opposite of
dynamic
microphone
effects processor A unit whose purpose is to provide effects for audio signals. Some
EQ (equalizer) The part of your mixer (or other device) that manipulates an audio signal
“wet.”
A common type of microphone that does not require external power.
Dynamic microphones are generally cheaper than condenser
microphones.
common effects include reverb, chorus, flange and delay. Effects
processors come in many shapes and sizes, from small pedals up to
rectangular rackmount units.
by lowering the level of some frequencies and increasing the levels of
others. EQ is used to fine-tune a signal’s highs and lows.
35
36
Glossary
fader A device that allows you to control the level of an audio signal by sliding
gain The measure of extra amplification applied to an audio signal. Channels
level The amount of power driving an audio signal. The most common
master section The section of a mixer where the main mix is controlled.
mic preamp An amplifier that boosts a microphone-level signal up to line level.
mixer A device whose purpose is to combine and output a number of audio
mono (monaural) Refers to an audio signal that has only one channel. The opposite of
pan A control that lets you position a mono signal within the stereo spectrum
phantom power A way of providing power to condenser microphones. Called
the fader up and down a straight path. Each input channel of the
Multimix has its own fader, and so do the MAIN MIX and ALT 3/4.
1 – 4 on your Multimix have gain controls, which are useful for boosting
mic and line signals.
names given to levels of varying voltage are, from lowest to highest,
microphone level, instrument level and line level.
signals, allowing various types of signal manipulation.
stereo.
by altering the level of the signal being sent to the left channel as
opposed to the right.
“phantom” because the power isn’t apparent to dynamic microphones
when you connect them to an input that provides phantom power.
36
post-fader Describes an aux send that sends a signal that already has passed through
the channel fader.
pre-fader Describes an aux send that sends a signal that has not passed through the
channel fader.
return A line input whose function is to carry back to the mixer an audio signal
that has been sent from the mixer. Usually used in the application of
effects.
send A line output whose function is to send a signal from the mixer to an
external device, usually an effects processor.
stereo Refers to an audio signal that has two channels.
unity gain Refers to the setting of an audio channel at which the signal leaves the
channel at the same level at which it entered. Unity gain is marked by a 0
on the Multimix’s faders.
wet An audio signal that has had effects or other manipulations applied. The
Glossary
opposite of “dry.”
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38
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Glossary
38
Warranty / Contact
Alesis Limited Warranty
ALESIS CORPORATION ("ALESIS") warrants this product to be free of defects
in material and workmanship for a period of one (1) year for parts and for a period of
one (1) year for labor from the date of original retail purchase. This warranty is
enforceable only by the original retail purchaser and cannot be transferred or assigned.
For the most effective service, the purchaser should register the purchase on the
ALESIS website at http://www.alesis.com/support/warranty.htm.
During the warranty period ALESIS shall, at its sole and absolute option, either repair
or replace free of charge any product that proves to be defective on inspection by
ALESIS or its authorized service representative. In all cases disputes concerning this
warranty shall be resolved as prescribed by law.
To obtain warranty service, the purchaser must first call or write ALESIS at the
address and telephone number available on the Alesis Website to obtain a Return
Authorization Number and instructions concerning where to return the unit for
service. All inquiries must be accompanied by a description of the problem. All
authorized returns must be sent to ALESIS or an authorized ALESIS repair facility
postage prepaid, insured and properly packaged. Proof of purchase must be
presented in the form of a bill of sale, canceled check or some other positive proof
that the product is within the warranty period. ALESIS reserves the right to update
any unit returned for repair. ALESIS reserves the right to change or improve design
of the product at any time without prior notice.
This warranty does not cover claims for damage due to abuse, neglect, alteration or
attempted repair by unauthorized personnel, and is limited to failures arising during
normal use that are due to defects in material or workmanship in the product.
THE ABOVE WARRANTIES ARE IN LIEU OF ANY OTHER
WARRANTIES OR REPRESENTATIONS WHETHER EXPRESS OR
IMPLIED OR OTHERWISE, WITH RESPECT TO THE PRODUCT, AND
SPECIFICALLY EXCLUDE ANY IMPLIED WARRANTIES OF FITNESS
FOR A PARTICULAR PURPOSE OR MERCHANTABILITY OR OTHER
IMPLIED WARRANTIES. Some states do not allow limitations on how long an
implied warranty lasts, so the above limitation may not apply to you.
IN NO EVENT WILL ALESIS BE LIABLE FOR INCIDENTAL,
CONSEQUENTIAL, INDIRECT OR OTHER DAMAGES RESULTING
FROM THE BREACH OF ANY EXPRESS OR IMPLIED WARRANTY,
INCLUDING, AMONG OTHER THINGS, DAMAGE TO PROPERTY,
DAMAGE BASED ON INCONVENIENCE OR ON LOSS OF USE OF THE
PRODUCT, AND, TO THE EXTENT PERMITTED BY LAW, DAMAGES
FOR PERSONAL INJURY. Some states do not allow the exclusion or limitation of
incidental or consequential damages, so the above limitation or exclusion may not
apply to you.
THIS CONTRACT SHALL BE GOVERNED BY THE INTERNAL LAWS OF
THE STATE OF CALIFORNIA WITHOUT REFERENCE TO CONFLICTS
OF LAWS. This warranty gives you specific legal rights, and you may also have other
rights required by law which vary from state to state.
This warranty only applies to products sold to purchasers in the United States of
America or Canada. The terms of this warranty and any obligations of Alesis under
this warranty shall apply only within the country of sale. Without limiting the
foregoing, repairs under this warranty shall be made only by a duly authorized Alesis
service representative in the country of sale. For warranty information in all other
countries please refer to your local distributor.
For more effective
service and product
update notices, please
register your
MultiMix online at:
http://www.alesis.com/
support/warranty.htm
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40
Warranty/Contact
Alesis Contact Information
Alesis Distribution, LLC
Los Angeles, CA USA
E-mail: support@alesis.com
Web site: http://www.alesis.com
Multimix USB Reference Manual
Revision 2.0 by Edwin Erdmann, Brooks Bruner, and Fred
Morgenstern
Copyright 2004, Alesis Distribution, LLC. All rights reserved
Reproduction in whole or in part is prohibited. “Multimix” and
“Multimix USB” are trademarks of Alesis, LLC. Specifications
subject to change without notice.
7-51-0179-A
4/05/2004
7-51-0179-A
40
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