Alesis STUDIO24 User Manual
ALESIS
Studio 24
Reference Manual
Contents
Contents
Important Safety Instructions ................................................................................ 5
Safety symbols used in this product ........................................................................................... 5
Please follow these precautions when using this product:..................................................... 5
Instructions de Sécurité Importantes (French) .......................................................................... 7
Symboles utilisés dans ce produit ............................................................................................. 7
Veuillez suivre ces précautions lors de l’utilisation de l’appareil: ........................................ 7
Beim Benutzen dieses Produktes beachten Sie bitte die folgenden
Sicherheitshinweise: (German)..................................................................................................... 9
CE Declaration of Conformity...................................................................................................... 10
Introduction .............................................................................................................. 11
How to use this manual................................................................................................................. 11
For beginners .................................................................................................................... 11
For the experienced: a quick overview ....................................................................................... 13
About the Studio 24........................................................................................................................ 15
Basic Principles of Mixing & Multitrack Recording................................................................. 17
The stages of multitrack recording............................................................................... 18
The different mixes and what they’re needed for .................................................................... 20
Multitrack Mix..................................................................................................................20
Monitor (Control Room) Mix......................................................................................... 22
Aux Sends and Returns: Effects .................................................................................... 24
Guided Tour .............................................................................................................. 25
Recorder Mix/Monitor Mix System............................................................................................ 25
Starting at the source: input and trim .......................................................................... 25
The equalizer .................................................................................................................... 26
Fader and assignment section ....................................................................................... 27
Monitor 1/2 section......................................................................................................... 28
Aux Send/Return System ............................................................................................................. 29
Aux sends.......................................................................................................................... 29
Stereo Aux Returns.......................................................................................................... 29
Control Room System .................................................................................................................... 30
Control Room source ...................................................................................................... 30
Solo ..................................................................................................................................... 31
Meters................................................................................................................................. 31
Hooking It Up ........................................................................................................... 33
Unpacking and Inspection ............................................................................................................ 33
Power ................................................................................................................................................ 34
Avoiding ground loop noise.......................................................................................... 35
Channel Inputs and Outputs........................................................................................................ 36
Mic Inputs ......................................................................................................................... 36
Line Inputs ........................................................................................................................ 37
Tape Inputs ....................................................................................................................... 37
Direct Outputs..................................................................................................................38
Insert................................................................................................................................... 38
Master Inputs and Outputs........................................................................................................... 39
Main Outputs....................................................................................................................39
Main Inserts ...................................................................................................................... 39
Group Outputs ................................................................................................................. 39
Group Inserts.................................................................................................................... 40
Control Room Outputs ................................................................................................... 40
2 Track Inputs................................................................................................................... 40
Stereo Aux Returns.......................................................................................................... 40
MONITOR OUTS 1/2 and AUX SENDS 3/4............................................................. 40
STUDIO 24 REFERENCE MANUAL 1
Contents
Headphones......................................................................................................................40
Chart of Connections...................................................................................................................... 41
Connecting to an Unbalanced -10 dBV Multitrack Recorder .................................. 42
Connecting to a 2-Track Mixdown Deck..................................................................... 43
Connecting to a Control Room amplifier .................................................................... 44
Connecting to a Headphone Amp................................................................................ 44
Connecting to a Patchbay............................................................................................... 44
Effects and Signal Processing................................................................................ 45
Connecting Aux Sends and Returns to Outboard Effects....................................................... 45
Should you use one or two inputs to effects?............................................................. 46
Using Effects .................................................................................................................................... 47
Connecting Signal Processors to Insert Jacks ............................................................................ 49
Multitrack Recording Applications........................................................................ 51
Recording ......................................................................................................................................... 51
Setting Levels.................................................................................................................... 51
How to Record a Single Source to One Track............................................................. 53
Recording Multiple Sources to One Track .................................................................. 54
Recording Multiple Sources to Two Tracks (Stereo)................................................. 55
Recording Tips ................................................................................................................. 57
About Metering................................................................................................................ 57
Overdubbing.................................................................................................................................... 58
Using MONITOR 1/2 to Monitor the Multitrack...................................................... 58
Using the Channel Faders to Monitor the Multitrack............................................... 59
Getting the Mix to the Headphones ............................................................................. 61
Monitoring MIDI Virtual Tracks................................................................................... 62
Bouncing Tracks............................................................................................................... 63
Playback/Mixdown........................................................................................................................ 65
Getting the Mix to the 2-Track Deck ............................................................................ 65
Mixdown Basics ............................................................................................................... 65
Guidelines for a rough mix ............................................................................................ 66
Sound Reinforcement Applications ....................................................................... 69
Creating a mono house mix .......................................................................................................... 69
Subgrouping with the Group Faders .......................................................................................... 69
Stage Monitor Mix ........................................................................................................... 70
Alternate uses for the Monitor 1/2 section: Stereo recording during a live concert.......... 71
Using Monitor 1/2 to feed a cassette deck.................................................................. 72
Using Monitor 1/2 as the PA mix during multitrack recording............................. 73
Video Production and Post-Production...................................................................................... 74
Description of Controls ........................................................................................... 75
Channel Input Controls ................................................................................................................. 75
Trim .................................................................................................................................... 75
Fader/Monitor Source switch: ...................................................................................... 75
CHAN/MON REVERSE ................................................................................................ 75
DIRECT OUT SOURCE switch ..................................................................................... 76
Equalizer section ............................................................................................................................. 76
75 Hz switch...................................................................................................................... 76
HIGH and LOW............................................................................................................... 77
MID EQ controls: LEVEL and FREQ............................................................................ 78
Auxiliary Send Section................................................................................................................... 79
AUX 3 and AUX 4 Sends................................................................................................ 79
MONITOR 1/2 LEVEL and PAN (Channels 1 - 8).................................................... 79
MONITOR 1/2 LEVEL and BAL.................................................................................. 79
(Stereo Channels 9 - 16)................................................................................................... 79
Channel Output Section ................................................................................................................ 80
Channel PAN (Channels 1 - 8) ...................................................................................... 80
Channel BALance (Stereo Channels) ........................................................................... 80
2 STUDIO 24 REFERENCE MANUAL
Contents
MUTE ................................................................................................................................. 80
PEAK LED......................................................................................................................... 80
-20 dB (Signal Present) LED........................................................................................... 81
SOLO .................................................................................................................................. 81
Group Assign Switch: GRP............................................................................................ 81
L/R Switch ........................................................................................................................ 81
Channel Fader .................................................................................................................. 82
Stereo Aux Return Section (A and B).......................................................................................... 82
MON 1/2........................................................................................................................... 82
LEVEL ................................................................................................................................ 82
L/R Assign Switches....................................................................................................... 82
MASTER SECTION ........................................................................................................................ 82
Power and Phantom indicators..................................................................................... 82
Headphone Level............................................................................................................. 83
Headphone jack................................................................................................................ 83
GRP Assign Switches ...................................................................................................... 83
SOLO IN PLACE Switch ................................................................................................ 83
Monitor 1/2 Master........................................................................................................................ 83
LINK TO L/R switch ...................................................................................................... 83
Control Room/Solo Section.......................................................................................................... 85
Solo Master Level............................................................................................................. 85
Control Room Level and Source ................................................................................... 85
Meters................................................................................................................................. 86
Master L/R Fader ............................................................................................................ 86
Group Master Controls.................................................................................................................. 86
LINK TO L/R switch ...................................................................................................... 86
MONO switch .................................................................................................................. 87
GRP 1 and 2 Master FADERS........................................................................................ 87
L/R Master Fader ............................................................................................................ 87
Top Panel Inputs and Outputs..................................................................................................... 88
Main Outs.......................................................................................................................... 88
Main Inserts ...................................................................................................................... 88
Back panel ........................................................................................................................................ 89
POWER switch ................................................................................................................. 89
Power cable ....................................................................................................................... 89
PHANTOM Switch.......................................................................................................... 89
Control Room Outs L and R .......................................................................................... 89
2 Track Tape In.................................................................................................................90
Main Outs.......................................................................................................................... 90
GROUP OUTPUTS .......................................................................................................... 90
STEREO AUX RETURNS ............................................................................................... 90
AUX SENDS...................................................................................................................... 90
MON 1/2........................................................................................................................... 90
Channel Input/Output Jacks (8)..................................................................................................91
Direct Out.......................................................................................................................... 91
Tape In ............................................................................................................................... 91
Insert jack........................................................................................................................... 91
Line In jack (Channels 1 - 8)........................................................................................... 91
Line In jacks (Stereo Channels) ..................................................................................... 92
Mic In jack (Channels 1 - 8 only)................................................................................... 92
Troubleshooting....................................................................................................... 93
Troubleshooting Index................................................................................................................... 93
Maintenance/Service ..................................................................................................................... 94
Specifications ........................................................................................................... 97
Frequency Response....................................................................................................................... 97
Connectors........................................................................................................................................ 97
Levels ................................................................................................................................................ 97
STUDIO 24 REFERENCE MANUAL 3
Contents
Impedance........................................................................................................................................ 98
Noise performance (typical) ......................................................................................................... 98
Distortion (THD+N)....................................................................................................................... 98
Power ................................................................................................................................................ 98
Dimensional Drawings: ................................................................................................................. 100
Gain Diagram............................................................................................................ 101
Block Diagram.......................................................................................................... 102
Index .......................................................................................................................... 103
4 STUDIO 24 REFERENCE MANUAL
Important Safety Instructions
IMPORTANT SAFETY
INSTRUCTIONS
SAFETY SYMBOLS USED IN THIS PRODUCT
This symbol alerts the user that there are important operating and
maintenance instructions in the literature accompanying this unit.
This symbol warns the user of uninsulated voltage within the unit
that can cause dangerous electric shocks.
PLEASE FOLLOW THESE PRECAUTIONS WHEN USING
THIS PRODUCT
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.
:
1. Read these instructions.
STUDIO 24 REFERENCE MANUAL 5
Important Safety Instructions
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.
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 wellventilated area.
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.
6 STUDIO 24 REFERENCE MANUAL
Important Safety Instructions
INSTRUCTIONS DE SÉCURITÉ IMPORTANTES
(FRENCH)
SYMBOLES UTILISÉS DANS CE PRODUIT
Ce symbole alèrte l’utilisateur qu’il existe des instructions de
fonctionnement et de maintenance dans la documentation jointe
avec ce produit.
Ce symbole avertit l’utilisateur de la présence d’une tension non
isolée à l’intérieur de l’appareil pouvant engendrer des chocs
électriques.
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. Ne pas vaporiser de liquide nettoyant
sur l’appareil, cela pourrait abîmer les contrôles de la face avant ou engendrer des
conditions dangeureuses.
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.
11. N’utilisez que des accessoires spécifiés par le constructeur.
STUDIO 24 REFERENCE MANUAL 7
Important Safety Instructions
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. Cet appareil produit de la chaleur en fonctionnement normal.
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.
8 STUDIO 24 REFERENCE MANUAL
Important Safety Instructions
BEIM BENUTZEN DIESES PRODUKTES BEACHTEN
SIE BITTE DIE FOLGENDEN SICHERHEITSHINWEISE:
ERMAN)
(G
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. Sprühen Sie keine flüssiger
Reiniger auf die Oberfläche, dies könnte zur Beschädigung der Vorderseite führen
und auch weitere Schäden verursachen.
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. Verlegen Sie das Netzkabel des Gerätes niemals so, daß man darüber stolpern
kann oder daß es gequetscht wird.
10. Benutzen Sie nur das vom Hersteller empfohlene Zubehör.
11. 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.
12. Ziehen Sie während eines Gewitters oder wenn Sie das Gerät über einen längeren
Zeitraum nicht benutzen den Netzstecher aus der Steckdose.
13. 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.
14. Bei normalem Betrieb des Gerätes kommt es zu Wärmeentwicklungen.
15. 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.
STUDIO 24 REFERENCE MANUAL 9
Important Safety Instructions
CE DECLARATION OF CONFORMITY
Manufacturer’s Name: Alesis Corporation
Manufacturer’s Address: 1633 26th Street
Santa Monica, CA 90404
USA
declares, that the product:
Product Name: Studio 24
Model Type: Analog Signal Processor
conforms to the following Standards:
EMC: EN 55022:1988 Class B; EN50082-1:1992;
IEC 801-2:1984 2nd Edition, 4kV
direct, 8kV air; IEC 801-3:1984 2;
3V/m 150MHz-1GHz, IEC 8014:1988 1st Edition 2; 1kV, 0.5kV
(all tests were performed with fully-shielded
cabling.)
Safety: EN 60065
European Contact: Sound Technology plc
Letchworth Point, Letchworth,
Hertfordshire, SG6 1 ND,
UNITED KINGDOM
Phone: +44.1462.480000
Fax: +44.1462.480800
March, 1999
1 0 STUDIO 24 REFERENCE MANUAL
INTRODUCTION
HOW TO USE THIS MANUAL
You’ve taken the leap and purchased an Alesis Studio 24 Recording Console with
Inline Monitor. Congratulations. At Alesis, we design equipment that’s used by
everyone from first-time users to engineers with decades of experience. In either
case, the Studio 24 packs a lot of power into a small package, and we wrote this
manual so that no matter what your background is, you can get the most out of it.
FOR BEGINNERS
The first two chapters are designed to give you a background in console operation. If
you read them carefully, the rest of the manual will be easier to understand, and
you’ll be happier with your results. Mixers really aren’t as difficult as they seem to
be, but there’s a lot of things going on at one time.
Introduction
CHAPTER 1
Chapter 1: Introduction describes the capabilities of the Studio 24 and explains the
basic principles of mixing and recording.
Chapter 2: Guided Tour provides a brief tour of the Studio 24, and shows you how
the basic principles of all console operation apply to the particular features of the
Studio 24.
Chapter 3: Hooking It Up details installation and power hookups, back panel
connections (inputs, outputs, and cables), and typical hook-up procedures.
Chapter 4: Effects and Signal Processing contains information on how to connect
external effects and how to use them properly. If you don’t read any other chapter, read
this one–effects send and return is one of the most misunderstood aspects of mixing consoles.
Chapter 5: Recording Applications covers the various uses for the Studio 24 in
multitrack recording, with step-by-step instructions on setting up and mixing
techniques.
Chapter 6: Sound Reinforcement Applications covers the Studio 24’s features when
it’s connected to a PA system; but this chapter will also be useful for those doing live
recording.
Chapter 7: Description of Controls is a “dictionary” of each control for fast
reference.
Chapter 8: Troubleshooting. A guide to trouble-free operation, maintenance and
service information.
We have also included a block diagram, Gain Structure Chart and an Index.
STUDIO 24 REFERENCE MANUAL 1 1
Introduction
We appreciate your feedback. If you have any suggestions on how to improve this
manual, please write to us at:
Technical Communications Dept.
Alesis Corp.
1633 26
Santa Monica, CA 90404
or via email at: support@alesis.com
CONVENTIONS
The buttons, knobs, and top and back panel connectors are referred to in this manual
just as their names appear on the Studio 24, using all capital letters (Example: TRIM
control, PAN knob, MIC IN jack, etc.).
✪
th
Street
When something important appears in the manual, an icon (like the
one on the left) will appear in the left margin. This symbol indicates
that this information is vital when operating the Studio 24.
1 2 STUDIO 24 REFERENCE MANUAL
FOR THE EXPERIENCED: A QUICK OVERVIEW
If you're already familiar with mixing consoles, here are some important points you
need to know about the Alesis Studio 24 Recording Console. The Studio 24 follows
commonly-accepted traditions for signal levels and routing.
Channel Input Jacks: All 1/4” inputs and outputs are balanced except the INSERT
jacks and Stereo Aux Returns. All other 1/4” jacks are TRS 3-conductor types and
may be used with +4 dBu balanced or -10 dBV unbalanced systems. The XLR and
LINE IN jacks do not have a switch between them, and use the same TRIM control,
so you can use only one of them at a time.
The TAPE IN jacks are unbalanced RCA and are entirely independent, have no TRIM
control, and can handle input levels up to +13 dBV. The DIRECT OUT jacks are also
unbalanced RCA and output a -10 dBV (nominal) signal.
CHAN/MON REVERSE switch: in its up position, the Channel fader receives signal
from the MIC IN or LINE IN jacks and the MON 1/2 control receives its input from
the TAPE IN jacks. This is the typical setting for tracking and overdubbing.
In its down position, MON 1/2 receives input from MIC IN or LINE IN and the
Channel’s input comes from TAPE IN. This is the typical setting for mixdown.
Introduction
DIRECT OUT SOURCE switch: this switch functions for Channel pairs as follows:
In its up position, this switch routes the signal from the pair of Channels (post-fader,
post-EQ but pre-pan control) to each one’s respective DIRECT OUT jack. This is the
most common function of Direct Out signal flow: what goes through the channel is
fed right to its DIRECT OUT.
But in its down position, this switch routes signals from the GRP 1/2 bus to the
selected pair of DIRECT OUTs. Thus, any and all channels assigned to a Group will
have their signals routed to the selected pair of DIRECT OUTs.
Think of these switches as “Direct Out assignment” switches that allow you to use
the Studio 24’s Group function to eliminate the need to repatch when using the
DIRECT OUTs during tracking and overdubbing.
Stereo channels: the Studio 24 has four stereo channels labeled 9/10, 11/12, 13/14
and 15/16. They use paired 1/4” line inputs that are ideally suited for synthesizers,
samplers, sound modules, drum machines and the like. During the mixdown of an 8track recording, you can also use the LINE IN jacks on Channels 1 - 8 for and
additional 8 “virtual tracks”.
Unlike Channels 1 - 8, instruments plugged into these channels are routed to MON
1/2 (which acts like a pre-fader Aux send) and the Channel FADER simultaneously.
Note that both PAN controls (one for Monitor and one for the Fader) are called
BALance since the channel routes the signal of two different sources.
PEAK indicator headroom: The PEAK LED in each channel will light 3 dB before the
onset of actual channel clipping. The PK segment of the main meter lights at +18 dB
over reference, which is 5 dB before master clipping. PEAK is monitored both preand post-EQ.
Monitor LINK TO L/R: Unlike most other mixers, the Studio 24's monitor busses are
independent from the L/R mix, unless you LINK them to the L/R using the switch.
STUDIO 24 REFERENCE MANUAL 1 3
Introduction
Think of them as an AUX 1/2 send with independent input source selection from the
channel source, which can be submixed into the L/R if desired.
EQ: The 75 Hz high-pass filter switch is independent of the EQ and may be used
even if the EQ IN switch is out. The midrange controls are semi-parametric
(frequency select and boost/cut). The EQ section affects the channel path only, not
the MONITOR 1/2 section.
AUX: There are two post-fader Auxiliary send busses, with two knobs from each
channel. Both controls always send from the channel.
SOLO: The SOLO keys function as SIP (stereo solo-in-place, also known as AfterFader-Listen or AFL). The Stereo Aux Returns are also soloed in SIP mode.
FADERS and gain structure: The Group and L/R master faders are designed with a
nominal "0" position at the top of their travel, not the 3/4 position. The channel
faders have 10 dB of gain from the nominal position to the top of fader travel. Most
other pots are marked with a nominal position (usually "2 o'clock"). The Main Outs
(1/4”) and Group outputs add an extra 6 dB of gain when used in balanced mode.
Chapter 7 “Description of Controls” gives a knob-by-knob definition of each feature
of the Studio 24, so if you know what the “EQ” controls do, but you need more
information on “LINK TO L/R”, this is where you can look it up. In any case, please
remember that after you get started, this manual contains information that will help
you get the highest level of performance from your Studio 24. Even an expert may
pick up some creative alternative techniques that aren't obvious at first glance.
To find what you need quickly, refer to the index at the back of the manual, or the
Table of Contents.
1 4 STUDIO 24 REFERENCE MANUAL
ABOUT THE STUDIO 24
The Studio 24 is an extremely flexible, 12-channel, 24-input, 2-group plus L/R
output, in-line monitor professional audio mixing console.
Channels 1 - 8 are of the familiar design that include an XLR microphone input,
balanced line input, trim control, equalization section, aux sends and pan knob. In
addition, the Studio 24 incorporates an in-line monitor system and each channel has
a level control and knob that pans the signal between the two outputs.
Channels 9 through 16 are actually four stereo line-input channels and are labeled
accordingly (9/10, 11/12, etc.) They use paired 1/4” line inputs that are ideally
suited for synthesizers, samplers, sound modules, drum machines and the like.
During the mixdown of an 8-track recording, you can also use the LINE IN jacks on
Channels 1 - 8 for an additional 8 “virtual tracks”.
This flexible design allows full mix control of 24 sources (8 tape returns plus 16 line
inputs for MIDI virtual tracks), plus 4 aux returns, for a total of 28 sources at
mixdown. For this reason, the Studio 24 is perfectly suited for professional project
studios with a large number of MIDI sequencer-controlled sources that are
synchronized with 8 tracks of ADAT.
The MONITOR 1/2 path of each channel has its own volume and pan. The
MONITOR 1/2 mix may be linked to the main stereo output, but also features its
own 1/4” output jacks on the back panel and may be heard in the Control Room or
Headphones.
Introduction
Unlike Channels 1 - 8, instruments plugged into the stereo channels are routed to
MON 1/2 and the Channel FADER simultaneously. Note that both PAN controls
(one for Monitor and one for the Fader) are called BAL (balance) since the channel
routes the signal of two different sources.
Each channel features a high-quality 3-band equalizer with a frequency-adjustable
midrange control on channels 1 - 8 (inputs 9 - 16 have fixed midrange controls). A
switchable 75 Hz high-pass filter on channels 1 - 8 removes low frequency rumble
and noise.
The Studio 24 uses fully balanced +4 dBu inputs on 1/4" jacks for all LINE IN
connections. The Studio 24 may also be used with unbalanced -10 dBV level
equipment. Each channel has its own unbalanced RCA Direct Out, so that
simultaneous 8-track recording is possible.
Channels 1 - 8 feature a high-quality, low-noise balanced microphone preamp with
globally switchable 48-volt phantom power for condenser microphones. Each input
channel features a green “-20 dB signal present” LED and a red PEAK LED to warn
of input signals that are too high for the present trim or EQ setting. The MUTE and
SOLO switches use these same LEDs to indicate when a channel is muted or soloed.
Effects mixes are handled by two post-fader Aux send busses, with two controls in
each channel that vary the amount of signal to either Aux 3 or Aux 4. These two
sends are always sourced from the channel fader.
Two Stereo Aux Returns (labeled A and B) are provided, each with its own
assignment switches. Returns may be routed to the stereo mix, the groups, and
soloed to the control room, so that effects may be added to the final mix, printed to
multitrack, monitored on headphones, or any combination desired. The Studio 24
STUDIO 24 REFERENCE MANUAL 1 5
Introduction
provides insert points on Channels 1 - 8, both Groups and the stereo main outputs,
for use with compressors and graphic equalizers.
Control room monitoring is made simpler by stereo-in-place Solo on each main
channel. Either Auxiliary mix may be previewed in the control room while leaving
the rest of the signal path undisturbed. A built-in headphone jack allows you to hear
either the control room source or the monitor mix.
1 6 STUDIO 24 REFERENCE MANUAL
Introduction
BASIC PRINCIPLES OF MIXING & MULTITRACK
RECORDING
Source select, level control, and destination assignment
When it’s being used in a recording studio, the Studio 24’s job is to control the
volume, tone, pan and effects for many different inputs such as microphones,
electronic instruments and digital recorders. You could think of this as the “where
from” (source select) and “how much” (level control) function of the console. Then, it
must route these signals to a monitor system and recorder tracks so they can be
heard and recorded: this is the “where to” (assignment) function of the console.
The two-way signal flow of multitrack recording
Using a console for recording is very different from a live PA application, where
signal basically flows in one direction: from the microphones to the speakers. During
multitrack recording, signal flows two ways: from the input sources through the
mixer to the recorder, and simultaneously back from the recorder through the
monitor section to speakers or headphones so the musicians can play along with
previously-recorded tracks. This two-way flow is what makes a true recording
console more versatile than a PA-only console.
MUTE
PEAK
-20
SOLO
GRP
L/R
STUDIO 24 REFERENCE MANUAL 1 7
Introduction
THE STAGES OF MULTITRACK RECORDING
Most multitrack recording is a three-stage process. Instead of recording an entire
musical group in a single take of a live performance, recordings are usually made a
part at a time and built up in layers. Recording one or two instruments at a time
makes it easier to fix mistakes of an incorrectly played part. The signal flow may
seem complex, but it’s easy to understand the functions of the Studio 24 once you
understand the basic signal flows of each stage: tracking, overdubbing, and
mixdown.
Recording/Tracking
When recording the first tracks, which define the tempo and basic structure of the
song, signal flows in one direction: from the sources through the mixer to the
recorder. Monitoring the playback from the multitrack isn’t necessary, although you
may need to provide a headphone mix, which can come either from the sources or
through the multitrack (because at this stage, they’re the same thing).
Monitoring/Overdubbing
In order to properly record a performance, the engineer, the producer, and all of the
players must be able to hear what’s going on. Traditionally, the engineer listens to
speakers in the control room (where the mixer is). This is called monitoring. In the
studio, the musicians listen to a cue mix in headphones while overdubbing.
Adjustments to monitor or cue mixes should not affect the mix going to the recorder,
so that recording levels remain set at the optimum, regardless of what the monitor
mix needs to be.
During overdubbing, it’s easy to get confused, since there may be three or more
separate mixes happening at the same time. As long as you keep them separate in
your mind, and keep track of what’s going where, the Studio 24 will let you get
almost any sound mix you want.
Mixdown
In the final stage of multitrack recording, you take all the parts that were separated
so they could be perfected, and recombine them so an audience can hear them.
Mixdown is the “reverse flow”: now the multitrack is the source (sometimes
supplemented by MIDI-controlled “virtual tracks”) and a 2-track stereo recorder is
the destination. During this stage, the tracks are blended together, tonally enhanced
with EQ and effects, positioned in the stereo field with the PAN controls, and finally
recorded onto a mixdown tape deck (such as a DAT machine, 2-Track reel-to-reel or
cassette recorder, or 2 tracks of an ADAT). During mixdown, the engineer must hear
the exact same mix the recorder is receiving. For this purpose, the Control Room
section of the Studio 24 provides an external 2 TRACK input for listening to the
output of the mixdown tape deck.
1 8 STUDIO 24 REFERENCE MANUAL
Introduction
L
R
OUT
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EQ
DLY
RVB
PCH
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DLY
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DLY
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IN
EDITED
PRESET
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DIG.IN
AUX Sends
STUDIO 24 REFERENCE MANUAL 1 9
Introduction
THE DIFFERENT MIXES AND WHAT THEY’RE
NEEDED FOR
Now that you understand the different sources and different destinations used
during the three stages of the multitrack recording process, let’s look at each one
individually, without the other components getting in the way. Please note that these
illustrations show the controls in the order they are electronically, and omit controls that
don’t apply to the mix being explained. Here are the mixes that you will control during a
typical multitrack recording session:
MULTITRACK MIX
This mix goes from the sources (microphones or line inputs) to the tracks of the
multitrack recorder. It is controlled by the Channel Faders and sent via the two
Group Master Faders to the Group Output jacks. (If you need to record more than
two tracks at once, some signals will go to the multitrack directly from Channel
Faders via the Direct Out jacks.) In the multitrack mix, the goal is to set the controls
so that each track is recorded as loud as it can be without distorting the recorder.
For example, a microphone is plugged into channel 1 MIC IN port, and its level is set
by the TRIM control. The CHAN/MON REVERSE switch is left in the UP position.
After passing through the INSERT jack on the top panel, signal may then pass
through the 75 Hz filter (if its switch is down) and the EQ on its way to the Channel
Fader and MUTE switch. At this point, signal is available to the DIRECT OUT jack
(where it may be connected to the multitrack); in any case it then goes on to the
channel PAN, the GRP and L/R assignment switches.
The channel PAN affects what Group the mic will be sent to: panning hard left sends
the signal to GRP 1, panning hard right goes to GRP 2, and pan settings between
extreme left and right results in a mixture of both Groups. The mic is mixed with any
other channel sources feeding the same group, via the Group Master faders to the
selected track (in the illustration, Group and track 4).
Please note a key concept: you can go from any channel input to any of the group,
direct outs or main outputs. Inputs and tracks are independent of each other. You
can plug a mic into channel 1, and record it on track 4 without repatching.
2 0 STUDIO 24 REFERENCE MANUAL
TRIM
CHAN/MON
REVERSE
MIC
IN
LINE
IN
TAPE
IN
Introduction
Multitrack Recorder Mix
(Groups, Directs and L/R)
INSERT
jack
75 Hz
HIGH
MID
FREQ
LOW
FADER
MUTE
(to AUX
sends)
(to MON 1/2)
DIRECT
OUT
DIRECT OUT
SOURCE
Switch
GROUP
OUTPUTS
1 L/R
2
MAIN L/R
OUTS &
INSERTS
PA N
GRP 1/2
L/R
(from GRP 2 on Even Channels)
(combined with signals
from other channels)
STUDIO 24 REFERENCE MANUAL 2 1
Introduction
MONITOR (CONTROL ROOM) MIX
This mix is what the engineer and/or performer hears in headphones or the control
room speakers. During overdubbing, this mix is typically controlled by the Studio
24’s MONITOR 1/2 section, and sometimes by the L/R mix.
In the monitor mix, the goal is to set the controls so that the performers get whatever
mix they need so they can perform their overdubs as well as possible. In the
engineer’s mix, the goal is to make sure that he or she can hear any problems with
the tracks being recorded, so they can be fixed before making more overdubs. In
either case, the Studio 24 allows you to adjust the monitor and control room mix
(change levels, pan position, or solo individual channels) without disturbing the
signals being recorded to the multitrack.
In the illustration, the microphone we recorded on track 4 comes back on TAPE IN
#4. The CHAN/MON REVERSE switch is left at its up position. The purple LEVEL
knob and the MONITOR PAN determine the mix going to the MONITOR 1/2
MASTER. At this point, the CONTROL ROOM SOURCE switch is set to MON 1/2,
so the engineer can adjust the monitor mix.
Monitor PAN: Note that the Monitor PAN controls (the black knobs above the
purple knobs) will not affect what track a signal is recorded on. They only affect
the position in the control room speakers or headphones. On the other hand, the
lower row of PAN controls for the channel faders will pan the signal from the
microphone between two tracks of tape (if you’re recording using the Groups instead
of the Direct Outs).
Sometimes you may need another mix for the musicians’ headphones, since some
musicians may need certain instruments louder or softer in the mix in order to hear
their cues. In the Studio 24, a complicated cue mix will usually come from
MONITOR 1/2, and less complicated ones may come from the post-fader AUX sends
(if it’s OK for the Aux mix to change if the engineer makes adjustments to the
channel fader). Don’t forget that MONITOR 1/2, instead of being used as one stereo
mix, may be used as two mono mixes, with careful setting of the MONITOR PAN
controls.
Also, please note that the EQ, 75 HZ filter, and INSERT jack do not affect the
MONITOR 1/2 mix.
2 2 STUDIO 24 REFERENCE MANUAL
Monitor/Control Room/Solo System
TRIM
CHAN/MON REVERSE
MON 1/2 LEVEL
MONITOR PAN
MIC
Introduction
LINE
TAPE
IN
IN
IN
MONITOR
1/2 MASTER
CONTROL
ROOM
SELECT
SWITCHES
(Channel details on
previous page)
Channel Fader
MUTE
Channel PAN
SOLO
-20
(SIP)
(from AUX,
GROUP,
L/R masters
and
2 TRK inputs)
(Master
takeover
SOLO
MASTER
solo
relay)
Any SOLO
on console
controls this
relay
electronically
CONTROL
ROOM
OUTPUTS
CONTROL
ROOM
LEVEL
MASTER
SOLO
LED
STUDIO 24 REFERENCE MANUAL 2 3
Introduction
AUX SENDS AND RETURNS: EFFECTS
The last important mix is usually used for adding effects (such as reverb, delay,
chorus, etc.) to the mix. This may be part of the tracking and overdubbing stage, and
is almost always part of the mixdown stage. The rows of blue knobs running across
the center of the Studio 24 may be thought of as secondary submixers, with a little
less independence from the other mixes, because they follow them in the signal path.
This is the “send” side of the “effects send/receive” process. Both the AUX 3 and
AUX 4 knobs send the signal of that channel, post-fader, to the respective AUX
SEND jack.
Aux Sends (8)
CHANNEL
FADER
MUTE
AUX 3
AUXILIARY OUTPUTS
AUX 4
Once you’ve made an effect, it’s of no use unless you hear it, so the STEREO AUX
RETURNS are a pair of “miniature stereo channels” designed for effect returns. You
may want to record effects to the multitrack, so they have GRP ASSIGN switches.
The musicians may want some reverb in their headphones to help them stay on
pitch, so it has a pair of MON 1/2 controls. The engineer may need to hear the
output of a single effect device to change the delay time, so there are SOLO switches.
And, of course, you want effects on the final mix, so they all have L/R ASSIGN
switches.
Except for the limitations of not having a mic preamp, EQ, post-fader Aux Sends, or
mute, the Aux Returns are just like channels—they don’t have to be used for effects.
Consider them as an extra four input channels especially for stereo line instruments
such as synthesizers that already have their own internal effects.
Stereo Aux Returns (2)
STEREO AUX
RETURNS L, R
MON 1/2
RETURN
LEVEL
GRP 1/2
(to Monitor 1/2 Master)
(to GRP masters)
L/R
(to L/R master)
2 4 STUDIO 24 REFERENCE MANUAL
GUIDED TOUR
RECORDER MIX/MONITOR MIX SYSTEM
Guided Tour
CHAPTER 2:
The Studio 24 is designed to accommodate the two-way signal flow required in a
recording console. The recorder and monitor mix systems are where signals are
mixed, EQ’d and routed to the Aux sends, Groups and Left and Right Master outs.
Channels 1 - 8 provide a Mic and Line Input plus a Tape In connector, where signals
return from the multitrack recorder (stereo Channels 9 - 12 provide only line-level
inputs). Any input may be routed to either the main or monitor section of the
channel (and on Channels 9 - 12, to both the Main and Monitor outputs at the same
time). This allows you to mix an input and monitor a tape signal simultaneously.
Counting the Stereo Aux Returns, the Studio 24 has a total of 28 inputs to the main
mix. These can all be mixed down to a master tape deck via the L/R Main outs.
STARTING AT THE SOURCE: INPUT AND TRIM
Let’s trace the signal flow from beginning to end. In our example, we’ll focus on
using Channels 1 - 8; the stereo channels will be covered later in this manual.
Note that the controls from top to bottom of each channel are not placed in the same
order as they appear in the signal flow. To see the paths of the signal flow, refer to
the block diagram on page 102.
Each Channel 1 - 8 has three possible sources of audio signal — line, mic and tape in
STUDIO 24 REFERENCE MANUAL 2 5
Guided Tour
— and two paths that the audio signal can take: the main channel and the monitor
outputs. This is a key concept to understand: the basic principle is that there are three
sources of audio and two ways it can go. There are variations on this concept that
will be covered later in the manual, but all of them relate to this basic idea.
First, the signal arrives at either the line or mic input of a channel; you should not
plug into both at once. If using the mic input with a condenser microphone, the
back-panel PHANTOM switch must be turned on to provide phantom power (after
the mics have all been plugged in – do not plug in a microphone while phantom
power is on).
Next, we come to the gray TRIM knob, which is used to set the initial level of the mic
or line signal (the tape in does not have an input level control). It is important to set
the trim level for MIC or LINE properly, since high levels could lead to distortion
and levels set too low will cause noise (see Setting Levels).
The audio from recorded tracks on your multitrack connect to the Studio 24 at the
TAPE IN jacks of Channels 1 - 8.
Channel and Monitor source select switch: Each channel 1 - 8 has its own switch
that determines where the Channel signal comes from and where the Monitor signal
comes from. This is the CHAN/MON REVERSE switch, located under the TRIM
control. You can also think of this switch as a “Fader Source” selector: where does the
Channel fader get its signal, from the mic or line input, or from the multitrack?
When this switch is UP:
• the LINE IN or MIC IN jack is the source of the Channel (the audio
path that flows through the 75Hz filter, the EQ, AUX 3/4 sends, the
PAN knob and the Fader)
• the TAPE IN jack is the source of MON 1/2 (the audio path of the
Studio 24’s Monitor system).
This is the position normally used for tracking and overdubbing.
When this switch is DOWN, the routing is reversed:
• the TAPE IN jack becomes the source of the Channel
• the LINE IN or MIC IN jack is now the source of MON 1/2.
This is the position normally used for mixdown (with the main channel assigned
to L/R) or for bouncing tracks (with the main channel assigned to the
appropriate Group or Groups).
THE EQUALIZER
EQ section: The EQ section affects only the signal in the Channel, not the signal of
the monitor section. Once the fader source has been chosen using the CHAN/ MON
REVERSE switch, signal will flow through the green knobs in the EQ section.
The EQ has three bands: the Hi & Lo EQ, and the semi-parametric Mid EQ. The Hi &
Lo EQ are shelving-type EQs, with 12 kHz and 80 Hz shelving points and an
adjustable boost or cut of ±15 dB. These act much like the bass and treble knobs
found on most audio equipment: the “12 o’clock” position has no effect, and you turn
to the right to get more of the frequencies and to the left to cut them.
2 6 STUDIO 24 REFERENCE MANUAL
Guided Tour
The Mid EQ has two knobs: one to set the amount of boost or cut and one to select
the frequency you want to control (adjustable from 120 Hz to 13 kHz).
To avoid low-end rumble and noise, turn on the 75 Hz high-pass filter, which
removes frequencies below 75 Hz at a rate of 18 dB per octave. The 75 HZ switch has
this effect even if the EQ controls are set to “flat”: the 12 o’clock position where there
is no boost or cut.
FADER AND ASSIGNMENT SECTION
Channel controls: Finally, at the bottom of each channel we find the channel’s fader,
PAN knob, SOLO and MUTE buttons, PEAK and -20 LEDs, and a pair of buttons that
let you determine the channel routing, i.e., where it’ll go to. The assignment switches
can route the channel’s signal to the two Groups and to the L/R Master.
Group mix: If signals are routed to the Group section, you can use the GROUP
FADERS to determine the total volume of all channels assigned there.
In the studio, the Group output usually is connected to the inputs of a multitrack
recorder, such as the Alesis ADAT. A very useful application of the Group feature is
to assign the output of the Groups to the Direct Outs by pressing the DIRECT OUT
SOURCE switch at the top of the Channel that corresponds to the Direct Outs you
want to use. Example: if you want to route all channels assigned to the Groups to
DIRECT OUTs 5 and 6, press the DIRECT OUT SOURCE switch located at the top of
Channels 5 and 6.
In live performance applications, the Group Out jacks may be used to feed other
amplifiers, broadcast feeds or even other mixers. Some engineers even use the
Groups for extra effect sends.
Subgrouping: During mixdown or in PA applications, the Groups may be
“subgrouped” or assigned to the L/R Main mix, using the LINK TO L/R buttons
above the GROUP FADERS. so that the Group Master faders can be used to adjust
the volume of several different inputs at once, such as multiple channels of drums or
vocals.
L/R master: Every input may be routed to the main left and right outputs, either
directly or via a Group Master or the Monitor LINK TO L/R.
STUDIO 24 REFERENCE MANUAL 2 7
Guided Tour
MONITOR 1/2 SECTION
In multitrack recording, once signal goes from the Group Outputs to the recorder, it
comes back to the tape inputs. The TAPE IN jack has no trim control of its own; it is
designed to handle the unbalanced line levels that most multitrack recorders
generate.
Each Channel 1 - 8 features an in-line monitor which uses either the tape return or
the mic/line input as the source for the MONITOR 1/2 mix (the stereo channnels are
always routed to MON 1/2). To listen to tape tracks in the Monitor, make sure the
CHAN/MON REVERSE switch in the up position. (To listen to the mic or
instrument connected to a Channel via the Monitor, make sure the CHAN/MON
REVERSE switch is in the down position.)
The MONITOR 1/2 mix has its own MASTER LEVEL control and may be heard in
several different ways:
• From its own output jacks on the Studio 24’s back panel connected to an
external headphone amplifier
• the HEADPHONE jack of the Studio 24 with the MON 1/2 switch down in
the CONTROL ROOM section
• in the Control Room mix, with the MON 1/2 switch down
• in the L/R mix, if the LINK TO L/R switch is down
2 8 STUDIO 24 REFERENCE MANUAL
AUX SEND/RETURN SYSTEM
Guided Tour
AUX SENDS
In the center of each channel module are the blue knobs that make up the Auxiliary
Send section, which allows the signal to be routed to outboard signal processing
equipment. There are two Aux knobs in each channel labeled “3” and “4” that set the
level of signal sent out of the AUX SENDS jacks on the top panel.. Since some people
will use the Monitor section as an auxiliary send, they’re numbered “1” and “2”.
STEREO AUX RETURNS
The Stereo Aux Returns, found near the upper right section of the top panel, are extra
input channels designed for routing the signals back from signal processing
equipment. Aux Returns can be thought of as very basic line input channels. The
gray LEVEL knobs control how much effect will be added to the mix, either while
tracking or mixing down. The purple MON 1/2 knobs control how much effect will
be sent to the monitor section so you can hear it in the control room and headphone
mix, independently of the amount going to the multitrack or stereo mix.
If you are using a MIDI system with several keyboards, each with stereo signals, you
can alternatively use the Stereo Aux Returns as additional line inputs. This is
especially useful for keyboards that provide their own on-board signal processing,
and therefore do not need to be routed to the other Aux Sends.
STUDIO 24 REFERENCE MANUAL 2 9
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