Alesis X2 User Manual
ALESIS
X2
Reference Manual
Introduction
Thank you for purchasing the Alesis X2 24-channel, 8-group output, in-line monitor
professional mixing console. To take full advantage of the X2’s functions, and to
enjoy long and trouble-free use, please read this user’s manual carefully.
How To Use This Manual
This manual is divided into the following sections describing the various modules
and functions of the X2. Though we recommend you take time to read through the
entire manual once carefully, those having general knowledge about mixers should
use the table of contents and index to reference specific functions while using the
console.
Chapter 1: Introduction. Describes the various capabilities of the X2 and explains
the basic principles of mixing and recording.
Chapter 2: Guided Tour. This section provides a brief tour of the X2, and shows
you how particular features interact.
Chapter 3: Connections. Details rear panel connections (inputs, outputs, ADAT
sync and audio interfaces, etc.), and their proper hook-up procedures.
Chapter 4: Applications. Covers the various uses for the X2 in different scenarios,
with step-by-step instructions on setting up and mixing techniques.
J
Chapter 5: Mute Automation. Explains how to automate channel mutes using either
the X2’s built-in sequencer or with an external MIDI sequencer.
Chapter 6: Description of Controls. A “dictionary” of each control.
Chapter 7: Trouble-shooting. A guide to trouble-free operation, maintenance and
service information.
We have also included a block diagram, MIDI Implementation Chart and an Index.
Conventions
The buttons, knobs, and rear panel connectors are referred to in this manual just as
their names appear on the X2, using all capital letters (Example: EQ IN switch, PAN
knob, PHONES jack, etc.).
When something important appears in the manual, an icon (like the one on the left) will
appear in the left margin. This symbol indicates that this information is vital when
operating the X2.
X2 Reference Manual 1
2 X2 Reference Manual
Contents
CONTENTS
1: Introduction ............................................................................................................ 7
About the X2........................................................................................................................7
Basic Principles of Mixing & Multitrack Recording ......................................................... 8
Recording/Tracking..............................................................................................8
Monitoring.............................................................................................................. 8
Mixdown ................................................................................................................9
2: Guided Tour............................................................................................................ 11
Recorder/Mix Systems ....................................................................................................... 11
Aux Send/Return Systems.................................................................................................13
Control Room Systems........................................................................................................ 14
Muting Automation.............................................................................................................14
Meter Bridge........................................................................................................................14
3: Connections ............................................................................................................ 15
Unpacking and Inspection..................................................................................................15
Power.................................................................................................................................... 15
Power Supply.........................................................................................................15
Avoiding Ground Loops.......................................................................................17
Channel Inputs and Outputs..............................................................................................18
Balanced Mic Inputs..............................................................................................18
Unbalanced Line Inputs ........................................................................................ 18
Tape Input .............................................................................................................. 19
+4/-10 Switch.........................................................................................................19
Tape Send (Direct Output)....................................................................................19
Insert.......................................................................................................................19
Balanced Tape I/O................................................................................................. 20
Stereo Returns and Groups.................................................................................................21
Group Outputs.......................................................................................................21
Group Inserts..........................................................................................................21
Aux A & B Returns................................................................................................ 21
Master Inputs and Outputs ...................................................................................22
Master Outputs......................................................................................................22
Master Inserts .........................................................................................................22
Control Room Outputs..........................................................................................22
Studio Outputs.......................................................................................................22
External 1 & 2 Inputs............................................................................................. 22
Aux Sends............................................................................................................... 22
Headphones............................................................................................................23
ADAT Sync..........................................................................................................................23
MIDI .....................................................................................................................................23
Examples of Connections ....................................................................................................24
Interfacing to an Unbalanced -10 dBV Multitrack Recorder..............................25
Interfacing to a Professional +4 dBu Multitrack Recorder.................................26
Interfacing to a Multitrack Recorder via a Patchbay ..........................................27
Interfacing to ADAT Using ELCO Connectors...................................................27
Interfacing to the Mixdown Deck .........................................................................27
Interfacing to the Control Room...........................................................................28
Interfacing to the Studio........................................................................................28
X2 Reference Manual 3
Contents
Interfacing to the Headphone Amp......................................................................28
Interfacing Aux Sends and Returns to Outboard Effects ................................... 28
Interfacing the Inserts............................................................................................29
Interfacing with a MIDI Sequencer ......................................................................30
4: Applications ............................................................................................................31
Recording.............................................................................................................................31
Setting Levels ......................................................................................................... 31
Recording a Single Source to One Track..............................................................32
Recording Multiple Sources to One Track...........................................................33
Recording Multiple Sources to Two Tracks (Stereo)...........................................34
Recording Tips.......................................................................................................35
About Metering ......................................................................................................35
Overdubbing........................................................................................................................36
Monitoring the Multitrack on the Monitor Faders.............................................. 36
Monitoring the Multitrack on the Channel Faders..............................................36
Getting the Mix to the Headphones.....................................................................37
Monitoring MIDI Virtual Tracks .......................................................................... 37
Adding Effects........................................................................................................38
Bouncing Tracks..................................................................................................... 40
Playback/Mix-Down........................................................................................................... 41
Mixdown Basics..................................................................................................... 41
Getting the Mix to the Tape Deck......................................................................... 41
Creating a Dependable Mix .................................................................................. 42
Mute Automation ..................................................................................................43
Live Performance.................................................................................................................44
Creating a Monitor Mix .........................................................................................44
Using Group Faders as Subgroups....................................................................... 44
Stage Monitor Mix.................................................................................................45
Video Post-Production........................................................................................................ 45
5: Mute Automation.................................................................................................... 47
Overview..............................................................................................................................47
Destructive Solo................................................................................................................... 48
Mute Groups........................................................................................................................48
Defining Mute Groups...........................................................................................49
Recalling Mute Groups.......................................................................................... 50
OVERLAY Button..................................................................................................50
Display..................................................................................................................................51
Synchronization................................................................................................................... 51
Selecting a Sync Source..........................................................................................51
Getting On-line/Locking .......................................................................................51
Mute Events.........................................................................................................................52
Recording and Playing Back Mute Events ...........................................................52
Undoing Mute Events............................................................................................52
Overdubbing..........................................................................................................52
Editing Songs.......................................................................................................................53
Erasing....................................................................................................................53
Erase All Memory..................................................................................................54
Copying................................................................................................................................ 55
Copy Mute Events ................................................................................................. 55
Copy Song ..............................................................................................................55
4 X2 Reference Manual
Contents
MIDI .....................................................................................................................................56
MIDI Channel......................................................................................................... 56
Selecting Songs via MIDI.......................................................................................56
MIDI Map...............................................................................................................57
Memory Backup ..................................................................................................................58
Transmitting System Exclusive.............................................................................58
Receiving System Exclusive.................................................................................. 58
Remaining Memory...............................................................................................58
6: Description of Controls ........................................................................................... 59
Input Channel Controls.......................................................................................................59
+48 V Switch........................................................................................................... 59
Mic/Line Switch .................................................................................................... 59
PHASE (Ø) Switch.................................................................................................59
Mic/Line Gain........................................................................................................ 59
Chan/Mon Reverse ...............................................................................................59
HPF Switch.............................................................................................................60
Hi and Lo EQ .........................................................................................................60
TO MON Switch .................................................................................................... 60
Hi Mid and Lo Mid EQ.........................................................................................60
EQ IN Switch.......................................................................................................... 60
AUX 1–2, AUX 1–2 PAN.......................................................................................61
AUX 3/7 and AUX 4/8.........................................................................................61
7/8 Switch (Aux 3/4).............................................................................................61
AUX SOURCE Switch ........................................................................................... 61
AUX 5/7 and AUX 6/8.........................................................................................61
7/8 Switch (Aux 5/6).............................................................................................61
Monitor PAN..........................................................................................................62
Monitor PEAK LED...............................................................................................62
Monitor SOLO Button...........................................................................................62
Monitor MUTE Button..........................................................................................62
Monitor L-R Button ...............................................................................................62
Monitor Fader ........................................................................................................ 62
Channel PAN .........................................................................................................62
Channel PEAK LED............................................................................................... 63
Channel SOLO Button........................................................................................... 63
Channel MUTE Button.......................................................................................... 63
DIR Switch.............................................................................................................. 63
Group Assign Switches (1–2, 3–4, 5–6, 7–8).........................................................63
Channel L-R Button...............................................................................................63
Channel Fader........................................................................................................64
Aux Master Controls...........................................................................................................64
Aux Send Levels ....................................................................................................64
AFL (After-Fader-Listen) Buttons ........................................................................ 64
MUTE Buttons........................................................................................................64
Stereo Aux Return Controls................................................................................................64
Level........................................................................................................................ 64
Hi and Lo EQ .........................................................................................................64
PEAK LED ..............................................................................................................65
Stereo Separation ................................................................................................... 65
Balance....................................................................................................................65
TO AUX 1–2 Level.................................................................................................65
X2 Reference Manual 5
Contents
AUX A ASSIGN Switches (Aux A Only).............................................................65
GROUP MASTERS Switch (Aux B Only) ............................................................ 65
L-R Button .............................................................................................................. 65
SOLO Button..........................................................................................................65
MUTE Button.........................................................................................................66
Group Master Controls....................................................................................................... 66
ASSIGN LEFT ........................................................................................................66
ASSIGN RIGHT ..................................................................................................... 66
PFL (Pre-Fader-Listen) Button..............................................................................66
MUTE Buttons........................................................................................................66
Group 1—8 Master Faders.................................................................................... 66
Master Controls...................................................................................................................67
Oscillator Frequency and Level............................................................................ 67
SOLO LED and Level............................................................................................67
Studio Level and Assignment...............................................................................67
Talkback Level and Assignment........................................................................... 67
Phones.....................................................................................................................68
Control Room Level and Source........................................................................... 68
DIM......................................................................................................................... 68
MONO....................................................................................................................68
Master Faders .........................................................................................................68
Meter Bridge...........................................................................................................68
Mute Automation Controls ................................................................................................69
DISPLAY.................................................................................................................69
INC & DEC............................................................................................................. 69
SONG......................................................................................................................69
SYNC.......................................................................................................................69
CHANNEL.............................................................................................................69
MAP........................................................................................................................ 69
MUTE GROUPS.....................................................................................................70
DEFINE................................................................................................................... 70
ALL/ALT...............................................................................................................70
OVERLAY ..............................................................................................................70
ONLINE..................................................................................................................71
UPDATE.................................................................................................................71
UNDO .....................................................................................................................71
Copy Song ..............................................................................................................72
ERASE FWD and ERASE BWD Buttons ..............................................................72
ERASE SONG.........................................................................................................72
Memory Remaining...............................................................................................72
SYS EX.....................................................................................................................73
Mute Solo................................................................................................................ 73
7: Trouble-Shooting.................................................................................................... 75
Trouble-Shooting Index ......................................................................................................75
Checking the Software Version..........................................................................................75
Re-initializing.......................................................................................................................75
Maintenance/Service ..........................................................................................................76
MIDI Maps Index........................................................................................................ 79
Maps 1.1—1.3....................................................................................................................... 79
Map 1.4.................................................................................................................................80
6 X2 Reference Manual
Contents
Maps 2.0—2.9....................................................................................................................... 81
MIDI Implementation Chart ........................................................................................82
Specifications.............................................................................................................. 83
Internal Connector Pinouts.................................................................................................86
Block Diagram ..................................................................................................................... 77
Index........................................................................................................................... 88
X2 Reference Manual 7
About the X2
The X2 is an extremely flexible, 24-channel, 8-group output, in-line monitor
professional mixing console. The monitor path of each channel has its own 45mm
linear fader, automated mute, and access to EQ and Aux sends, so you can mix or
monitor one input while the main path mixes another. This flexible design allows
full mix control of 48 sources, plus 16 aux returns, for a total of 64 sources at
mixdown. For this reason, the X2 is perfectly suited for professional project studios
with a large number of MIDI sequencer-controlled sources that are synchronized
with 24 tracks of ADAT.
Each channel features a high-quality 4-band equalizer with two midrange bands
that are fully parametric, not just sweep EQ. The midrange Q (bandwidth) can be
set as narrow as 1/6th of an octave, or as wide as several octaves, for boosting or
cutting any frequency range desired. The two shelving bands may be split from the
main channel path and switched into the monitor path. An EQ IN/OUT switch
permits the entire EQ circuit to be bypassed when desired, maintaining the
minimum signal path. A switchable high-pass filter removes low frequency rumble
and noise. The EQ section uses film capacitors in a gyrator filter design, with plenty
of headroom available so that boosting a band doesn’t cause distortion.
Introduction
CHAPTER 1
INTRODUCTION
The X2 uses fully balanced +4 dBu inputs and outputs on 1/4" jacks, plus three 56pin ELCO® multipin connectors for quick, reliable +4 dBu balanced connection
direct to the ELCO connector on each ADAT. The X2 may also be interfaced with 10 dBV level unbalanced equipment. A DIRECT switch on each channel connects
the Direct Out (instead of the corresponding Group Out) to the channel’s Tape Out
jack, so that simultaneous 24-track recording is possible without repatching.
All 24 channels have a high-quality, low noise balanced microphone preamp with
individually switchable 48 V phantom power for condenser microphones. Each
input channel is individually modular, using glass epoxy circuit boards. The 24/8/2
meter bridge is integral, not an optional add-on. It provides peak metering on each
channel, group and the stereo master outputs.
Effects and headphone mixes are handled by 8 Aux sends. Aux 1–2 is a pre-fader,
pre-mute, stereo send that can be used to provide a cue mix from either the main or
monitor path; Auxes 3–8 are post-fader intended for effects sends. Eight Stereo Aux
Returns are provided, each with its own 2-band EQ, Stereo Separation control, Solo
switch, and automated Mute. Returns may be routed to the stereo mix, the groups,
and the cue mix, so that effects can be added to the final mix, printed to multitrack,
monitored on headphones, or any combination desired. The X2 provides insert
points on each channel, each group, and the stereo master for use with compressors
and graphic equalizers.
Alesis Dynamic Mute Automation™ is built-in, providing control of 72 mute points
X2 Reference Manual 9
Introduction
in the console (each channel, monitor, effect return, aux send, and group output). It
features its own ADAT Synchronization Interface jack, plus MIDI in/out jacks, so
that its built-in 10,000-event sequencer can be synchronized directly to the ADAT
system or to a MIDI system. The mutes may be externally controlled by a MIDI
sequencer, or, in live applications, by using 100 sets of four mute groups.
Control room monitoring is made simpler by stereo-in-place Solo on each main
channel, monitor channel, and aux return. Each aux master and group may be
previewed in the control room while leaving the rest of the signal path undisturbed.
Studio outputs, a built-in talkback mic and three-frequency oscillator provide the
necessary facilities for complete communication between engineer and artist.
Basic Principles of Mixing & Multitrack Recording
The function of the X2 Mixer, or any recording console for that matter, is to provide
control of volume, tone and spatial positioning of signals from microphones,
electronic instruments, and tape machines, and then to route these signals to a
monitor system and tape recorder so they can be recorded and heard. Before the
introduction of multitrack tape recorders, these signals had to be mixed together as
a live performance. If the desired performance wasn’t correct because of a musical
mistake or mixing problem, the performance had to be recorded again and again
until the performance was deemed satisfactory.
The introduction of multitrack tape machines has changed this recording method
forever. Most recording today has evolved into a multi-step process, including:
Recording/Tracking
Instead of needing an entire musical group to come together in order to capture a
live performance, recordings can be made one instrument at a time and pieced
together in a building block fashion. With the advent of drum machines and
sequencers (such as the Alesis HR-16, HR-16:B, SR-16 and MMT-8), it is possible to
build an entire song using “virtual” tracks before ever having to record onto tape.
Using this method of recording an instrument at a time allows for fixing mistakes
(normally called “punching in”) of an incorrectly played part. By “punching in,” or
replacing, the misplayed part, you can record a performance over and over again
until it’s perfect.
Monitoring
In order to properly record a performance, both the engineer, producer and all of
the players must be able to hear the performance. When listening to the speakers in
a control room (where the mixer is), this is called monitoring; when the musicians
are listening to headphones while overdubbing, this is called cueing. Adjustments to
monitor or cue mixes should not affect the mix going to the recorder, so that
recording levels remain at the optimum, even if the performer requires less of a
particular instrument in the headphones.
Monitoring is a more complex operation than it might seem at first, since there are
many mixes that occur simultaneously. Often there are 3 separate mixes (sometimes
10 X2 Reference Manual
Introduction
more) happening simultaneously in order to complete the task of overdubbing. The
comprehensive systems and logical layout of the X2 Mixer will make it relatively
easy for you to accommodate even the most complex monitoring requirements. The
following are a few of the typical mixes that may occur during a session:
• Multitrack Mix: The first mix would be the mix that is being recorded onto
tape. This mix is derived from the Channel Faders and the Tape Outs or the
Group Outs. These levels are nominally adjusted so that the optimum signal
level reaches tape in order to ensure the least amount of noise or distortion. This
level averages about 0 VU on the meters of an analog multitrack tape machine,
or -15 dB on the inserts of a digital multitrack tape machine, such as the Alesis
ADAT. However, the transient peaks of instruments such as percussion may
exceed this average level by 10 to 15 dB. One of the key factors in setting the
proper mix for the recorder is being aware of the headroom available on the
tape, and making sure it isn’t exceeded.
• Monitor Speaker (Control Room) Mix: If you were to listen only to the
multitrack mix, you would probably find that it would be terribly out of balance
since the optimum recording level (the primary concern of a multitrack mix) is
not necessarily the best listening level. Therefore, a second mix is required
called the monitor mix, which provides the engineer with a useful instrument
balance and enables him or her to make changes and adjustments to the mix
(such as muting or soloing channels) without disturbing the signals being
recorded on tape.
• Cue Mix: Many times a third separate mix is required which is sent to the
musicians’ headphones for overdubbing. This is called the cue mix. This mix can
be radically different from what the engineer is listening to (the monitor mix),
since the musicians may need certain instruments either played louder or
removed from the mix in order to hear their cues (hence the name “cue mix”).
This mix is derived from the Pre-Fader Sends, so that the headphone mix will not
change if the engineer makes fader adjustments to the monitor mix. Since the X2
Mixer has two Pre-Fader Aux Sends (Aux 1-2), either 2 separate mono cue
mixes or 1 stereo cue mix may be created.
Mixdown
After all the desired musical parts have been performed and recorded satisfactorily,
the mixdown stage takes place. During this stage, the musical parts are blended
together, tonally enhanced with EQ and effects, positioned in the desired stereo
spectrum 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 should be hearing the exact same mix the
recorder is receiving. For this purpose, the Control Room section of the X2 provides
two independent pairs of stereo External Inputs for listening to the playback from
the mixdown tape deck.
X2 Reference Manual 11
Introduction
12 X2 Reference Manual
GUIDED TOUR
Recorder/Mix Systems
Guided Tour
CHAPTER 2:
The X2 is designed to be extremely flexible, as evidenced by the channel module
design. This is where signals are mixed, EQ’d and routed to the Aux sends, Groups
and Left and Right Master outs. Each channel provides a Tape In connector, where
signals return from the multitrack recorder. These can be routed to either the main
or monitor section of the channel. This allows you to mix a signal and monitor a
tape signal simultaneously. If you also count the Aux returns, you have a total of 64
inputs. These can all be mixed down to a master tape deck via the L-R Master outs.
Let’s trace the signal flow from beginning to end. 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 accompanying
this manual.
Each input module has three possible sources (line, mic and tape in) and two paths
(the main channel and the monitor). First, the signal arrives at either the line or mic
input of a channel; you choose one of these using the MIC/LINE switch. If using the
mic input with a condenser microphone, the +48 V switch should be turned on to
provide phantom power. If necessary, the Ø (phase) switch can be used to invert the
signal’s phase. Next we come to the MIC/LINE GAIN knob, which is used to set the
initial level of the signal. It is important to set this level properly, since high levels
could lead to distortion and too low levels will cause noise (see Setting Levels).
Each channel features an in-line monitor which sends either the tape return or the
input source to the L-R Master mix for monitoring. If we want to swap the inputs
between the main channel and the monitor, we just press the CHAN/MON
REVERSE button; now the tape returns are on the main channel while the normal
X2 Reference Manual 13
Guided Tour
input appears at the monitor controls. 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). To avoid low-end
rumble and noise, turn on the HPF (high-pass filter), which removes frequencies
below 75 Hz.
Next we have the EQ section, which is broken into two groups: the Hi & Lo EQ, and
the Hi Mid & Lo Mid EQ. The Hi & Lo EQ are shelf types, nested at 12 kHz and 80
Hz, respectively, with an adjustable gain of ±15 dB. These act much like the bass and
treble knobs found on a typical amplifier. They can be assigned to the monitor path
by pressing the TO MON switch located between the two knobs. The Hi Mid & Lo
Mid EQ are true parametric types, with a sweepable bandwidth of 650 Hz to 15 kHz
and 45 Hz to 950 Hz, respectively, with an adjustable gain of ±15 dB. The Q control
adjusts how wide an area around the selected frequency should be cut or boosted,
allowing you to be extremely specific about how you tailor your sound.
We’ll get back to the Aux Sends in a moment. Now let’s jump down to the Monitor
section. Normally, this is where you can mix your tape returns. Here you have a
PAN knob, SOLO and MUTE buttons, and a fader for controlling the monitor level.
The PEAK LED will light momentarily whenever the monitor’s signal gets too hot.
The L-R button lets you assign the monitor signal to the Master outputs. If you’re
not using the monitor, leave this button turned off.
Finally, at the bottom of each channel we find the channel’s fader, PAN knob, SOLO
and MUTE buttons, PEAK LED, and a set of buttons that let you determine the
routing of the channel’s signal, and what signal the TAPE OUT jacks of the channel
will receive. DIR selects the source of the TAPE OUT jacks of the channel strip:
either the direct output of the channel itself (for recording a single source to a track)
or the Group that is normally connected to that TAPE OUT (Group 1 in channels 1,
9, 17; Group 2 in channels 2, 10, 18; etc.). The assignment switches below DIR can
route the channel’s signal to any of the eight Groups and to the L-R Master.
Once signals are routed to the Group section, you can use the Group faders to
determine the total volume of all channels assigned there. Each Group module has
its own set of SOLO and MUTE buttons. In the studio, the Group output usually is
connected to the inputs of a multitrack recorder, such as the Alesis ADAT via the
TAPE OUT jacks. During mixdown, the Groups may be “subgrouped” or assigned
to the L-R Master mix, so that the Group modules can be used to adjust the master
volume of like signals, such as multiple channels of drums or vocals. Using the
ASSIGN L and ASSIGN R buttons, the Group signal can be routed back to the
Master outputs. In live performance applications, the Group Out jacks may be used
to feed other amplifiers, broadcast feeds or recorders where multiple mixers are
required.
14 X2 Reference Manual
Aux Send/Return Systems
In the center of each channel module is the Aux Sends section, which allows the
signal to be routed to outboard signal processing equipment or to feed a headphone
amplifier. The first two sends (Aux 1-2) are Pre-Fader, meaning that the signal level
is independent of the channel’s fader. These are ideal for headphone mixing of tape
tracks for the musicians in the studio. Aux 3 through 8 are post fader, ideal for
routing signals to reverb and other effects devices. Aux Sends 3-4 and 5-6 can be
reassigned to Aux 7-8, using the 7/8 switch between either pair of knobs. You can
route either the Channel’s signal or the Monitor’s signal to Aux Sends 1 through 4,
by using the AUX SOURCE switch. In the Master module you’ll find master level
controls for all 8 Aux Sends, along with individual SOLO and MUTE buttons.
Guided Tour
The Aux Returns, found at the top of the Group section, are designed for routing the
signals back from signal processing equipment. Aux Returns can be thought of as
input channels without microphone inputs. They have most of the same routing
capabilities of a channel. Each of the four Group modules provides two stereo
returns with PEAK LEDs and controls for Hi & Lo EQ, Stereo Separation and
Balance, SOLO and MUTE buttons, and output routing. Additionally, you can route
each return to Aux 1-2 if you want your headphone mix to include the effects
returns.
If you are using a MIDI system with several keyboards, each with stereo signals,
you can alternatively use the 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.
X2 Reference Manual 15
Guided Tour
Control Room Systems
A three-frequency oscillator, with adjustable level, allows you to record test tones
onto your tapes. Below the Aux Masters section, level controls are available for
Studio outputs, Headphone outputs and the Control Room outputs. The Control
Room can selectively monitor the Master outputs (L-R), AUX 1-2, or External inputs
1 and 2 (EXT IN 1/EXT IN 2); these last two inputs are useful for signals returning
from mix-down tape decks. The STUDIO outputs may receive signal either from
Aux 1-2, or the same signal the Control Room is listening to, plus the Talkback from
the internal microphone. The DIM button takes down the Control Room level by a
significant amount (in case the studio phone rings while listening to a mix). Press
the MONO button when you want to hear how a mix will sound in a ‘57 Chevy. The
built-in talkback mic has its own adjustable level and may be routed to the Group
outs (for slating the tape) and/or the Studio outputs. Finally, the Master output
faders, which set the overall level of the stereo mix, are found at the bottom of the
module.
Muting Automation
The Master module comes complete with X2 Dynamic Mute Automation™. The
display and accompanying controls let you record each individual press of a MUTE
button anywhere on the console into the internal mute automation sequencer,
synchronized to incoming ADAT Sync, MIDI Time Code or a MIDI Clock. Four
Mute Groups, which allow you to mute as many channels as you want with a single
button press, are available in each of the 100 sequencer memory locations.
Alternatively, these mute groups or individual mutes can be triggered remotely via
MIDI or recorded into a MIDI sequencer.
Meter Bridge
The meter bridge provides a total of thirty-four 15-segment LED peak meters for the
24 Channels, 8 Groups and the two Master Outs (L-R). The 24 Channel meters can
monitor either the Tape Send levels or the Tape Returns levels. To select the meter
bridge mode, hold the ALL (ALT) button and press DISPLAY (METER BRIDGE).
16 X2 Reference Manual
Guided Tour
This toggles the meters between Tape Sends and Tape Returns. Two Mode LEDs on
the meter bridge indicate which mode is selected.
X2 Reference Manual 17
CHAPTER 3:
CONNECTIONS
Unpacking and Inspection
Your X2 was packed carefully at the factory, and the container was designed to
protect the unit during shipping. Please retain this container in the highly unlikely
event that you need to return the X2 for servicing.
Upon receiving the X2, carefully examine the shipping carton and its contents for
any sign of physical damage that may have occurred in transit. If you detect any
damage, do not destroy any of the packing material or the carton, and immediately
notify the carrier of a possible claim for damage. Damage claims must be made by
you. Contact your Alesis dealer.
The shipping carton should contain the following items:
• This instruction manual
• Alesis X2 with the same serial number as shown on shipping carton
• X2 Power Supply unit
• AC Power Cable
• Alesis warranty card
Connecting the X2
J
Power
It is important to register your purchase; if you have not already filled out your warranty
card and mailed it back to Alesis, please take the time to do so now.
Power Supply
The X2 external power supply works with any standard line voltage (100 to 240V, 50
to 60 Hz), and comes with a line cord suitable for the destination to which the
mixing console is shipped.
The power supply should be placed within easy reach of the console, but not
directly underneath it. However, do not mount it directly over unshielded audio
equipment, to avoid electromagnetically inducing hum in such units.
The power supply comes with two cables. The first is a multi-pin adapter cable
which connects between the power supply unit and the back panel of the X2. Do not
use any multipin cable between the power supply unit and the X2 except that
provided with the unit. Mount the power supply in an area with proper ventilation.
The second cable is a IEC-spec AC power cable (do not substitute any other AC
cord), which is designed to be connected to an outlet that includes three pins, with
the third, round pin connected to ground. The ground connection is an important
safety feature designed to keep the chassis of electronic devices such as the X2 at
ground potential. Unfortunately, the presence of a third pin does not always
X2 Reference Manual 19
Connecting the X2
indicate that an outlet is properly grounded. You may use an AC line tester to
determine this. If the outlet is not grounded, consult with a licensed electrician.
When AC currents are suspected of being highly unstable in VAC and Hz, a
professional power conditioner should be used.
To connect the power supply to the X2:
1 Screw on one end of the multipin cable to the X2’s POWER connector, and the
other end to the same type connector on the back of the power supply unit.
You will find the X2’s power supply connector on the left side of the rear panel.
2 Attach the female end of the AC power cord to the power supply unit and the
male end to a good quality, noise-free AC power source of the proper rating.
3 To apply power to the X2, switch on the POWER switch of the power supply
unit, so that it is in the | (on) position.
J
J
Do not operate any electrical equipment with ungrounded outlets. Plugging the X2 into an
ungrounded outlet, or “lifting” the unit off ground with a three-to-two wire adapter, can
create a hazardous condition.
Alesis cannot be responsible for problems caused by using the X2 or any associated
equipment with improper AC wiring.
20 X2 Reference Manual
Connecting the X2
Avoiding Ground Loops
In today’s studio, where it seems every piece of equipment has its own computer
chip inside, there are many opportunities for ground loop problems to occur. These
show up as hums, buzzes or sometimes radio reception and can occur if a piece of
equipment “sees” two or more different paths to ground. While there are methods
to virtually eliminate ground loops and stray radio frequency interference, most of
the professional methods are expensive and involve installing a separate power
source just for the sound system. Alternatively, here are some easy helpful hints that
a professional studio installer might use to keep those stray hums and buzzes to a
minimum.
1 KEEP ALL ELECTRONICS OF THE SOUND SYSTEM ON THE SAME AC
ELECTRICAL CIRCUIT. Most stray hums and buzzes happen as a result of
different parts of the sound system being plugged into outlets of different AC
circuits. If any noise generating devices such as air conditioners, refrigerators,
neon lights, etc., are already plugged into one of these circuits, you then have a
perfect condition for stray buzzes. Since most electronic devices of a sound
system don’t require a lot of current (except for power amplifiers), it’s usually
safe to run a multi-outlet box or two from a SINGLE wall outlet and plug in all
of the components of your system there.
2 KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS POSSIBLE.
Many hums come from audio cabling being too near AC wiring. If a hum
occurs, try moving the audio wiring around to see if the hum ceases or
diminishes. If it’s not possible to separate the audio and AC wiring in some
instances, make sure that the audio wires don’t run parallel to any AC wire
(they should only cross at right angles, if possible).
3 TO ELIMINATE HUM IF THE ABOVE HAS FAILED:
A) Disconnect the power from all outboard devices and tape machines except
for the X2 mixer and control room monitor power amp.
B) Plug in each tape machine and outboard effects device one at a time. If
possible, flip the polarity of the plug of each device (turn it around in the
socket) until the quietest position is found.
C) Make sure that all of the audio cables are in good working order. Cables
with a detached ground wire will cause a very loud hum!!
D) Keep all cables as short as possible, especially in unbalanced circuits.
If the basic experiments don’t uncover the source of the problem, consult your
dealer or technician trained in proper studio grounding techniques. In some cases, a
“star grounding” scheme must be used, with the X2 at the center of the star
providing the shield ground on telescoping shields, which do NOT connect to the
chassis ground of other equipment in the system.
X2 Reference Manual 21
Connecting the X2
Channel Inputs and Outputs
Each of the 24 channel modules on the X2 contains an XLR balanced MIC Input
connector, a 1/4" TRS balanced LINE Input jack, a 1/4" TRS balanced TAPE IN jack
with a +4/-10 level switch, an unbalanced 1/4" TAPE SEND jack, and a TRS 1/4"
INSERT jack. Also included are three 56-pin ELCO connectors which provide eight
channels each of BALANCED TAPE Ins and Outs. Here are more detailed
descriptions of each of these, and what they should be connected to.
Balanced Mic Inputs
The MIC Input is a standard female XLR-3 connector and is available when the
MIC/LINE switch is in the MIC (out) position (see section 6.0.2). The cable wiring is
illustrated below
The MIC Input is designed to accept a wide range of balanced or unbalanced low
impedance input signals. Each Mic input can provide the +48V necessary for
phantom-powered microphones on pins 2 and 3; this may be turned on and off with
the [+48V] switch (see section 6.0.1). The phase of pins 2 and 3 may be reversed
using the [Ø] (phase) switch.
Unbalanced Line Inputs
The LINE Input is a 1/4" socket which will accept unbalanced or balanced line level
sources when the MIC/LINE switch (see section 6.0.2) is in the LINE position.
Unlike the low impedance microphone input, this connection provides a high
impedance (>10k) to the input signal, enabling many types of instruments to be
plugged straight in without direct boxes or external preamplification. While the
output of a standard synthesizer (or other equipment) can be plugged in using a 2conductor 1/4" plug, balanced line sources may also be connected here using a
“stereo” TRS plug as shown above.
Line inputs may also be used for connecting additional effects returns, where
22 X2 Reference Manual
additional post-effect equalization is required.
Connecting the X2
X2 Reference Manual 23
Connecting the X2
Insert Points
Tape Input
The Tape Input is a 1/4" balanced TRS connector which will accept either -10 dBV
or +4 dBu, depending on the setting of the +4/-10 switch (see next section). The
Tape Input is the normal source of the Monitor path. However, when the
CHAN/MON REVERSE switch is pressed, the Tape Input is switched over to the
Channel path (see section 6.0.5). Connect the outputs of your balanced or
unbalanced multitrack tape machine here; however, this jack is normally intended
for use with unbalanced inputs, since the ELCO-type connector provides an easier
way of connecting balanced tape inputs and outputs.
If you don’t use all the Tape Inputs, unused jacks may also be connected to the
outputs of synthesizers or effects devices.
+4/-10 Switch
The +4/-10 switch adjusts the input level of the Tape In path. Its setting affects both
the 1/4" jack and the ELCO balanced connector. When pressed in, the -10 setting is
selected. When out, the +4 setting is selected. When using equipment with a high
output, switch this to the +4 setting. When the source has a low signal, select the -10
setting.
Tape Send (Direct Output)
The Tape Send output is an unbalanced 1/4" connector which provides either a
direct output of the post-fader channel signal or a Group Out signal, as set by the
DIR switch on the top panel of each channel strip. It is set to give a -10 dBV output.
Connect this to the track inputs of your multitrack tape recorder, if you aren’t using
the ELCO connectors for balanced operation.
Insert
The INSERT connector is a TRS 1/4" jack which consists of an insert send (the tip of
the TRS plug) and an insert return (the ring of a TRS plug), and is used to insert an
outboard effects device (such as a compressor, EQ, or chorus) directly into the
signal path of only the channel it is connected to. A special Y-cable consisting of a
TRS 1/4" plug on one end and two mono 1/4" plugs on the other end is required.
Send
Return
Ground
Ring
Tip
Sleeve
Tip
Ring
Sleeve
24 X2 Reference Manual
Connecting the X2
Balanced Tape I/O
The BALANCED TAPE I/O is a 56 pin ELCO connector designed to deliver eight
channels of balanced +4 dBu tape inputs and outputs, such as that on the Alesis
ADAT Digital Multi Track Recorder. There are three BALANCED TAPE I/O
connectors provided which, when connected to three ADATs, provide the tape
sends and returns of 24 digital tape tracks. The unbalanced and balanced outputs
are available simultaneously. The wiring scheme for this connector is as follows:
Note: The larger of the two key notches is on the right. When connecting to an
ADAT, the cable should be wired pin-to-pin (not flipping inputs and outputs).
To connect an ELCO cable to the X2:
1 Place the male connector of the cable directly on any one of the ELCO-type
connectors of the X2.
The cable will only fit on the connector one way. If you have trouble attaching the cable,
rotate the cable’s end around 180° and try again.
2 Push the cable into the connector slightly.
3 Tighten the screw in the center of the connector while pushing in.
4 After turning the screw a few times, push the connector itself in.
5 Tighten the screw repeatedly until the cable is tightly connected to the X2.
®
ELCO is a registered trademark of Elco Corporation - a Kyocera Group Company
X2 Reference Manual 25
Connecting the X2
Stereo Returns and Groups
Each of the four Group modules contain two 1/4" GROUP OUT connectors (for a
total of eight Group Outs), two TRS 1/4" GROUP INSERT connectors (for a total of
eight Group Inserts), and four 1/4" RETURN connectors (for a total of eight Stereo
Returns). Here are detailed descriptions of each.
Group Outputs
The GROUP Outputs are unbalanced 1/4" connectors which are available for
connection to the inputs of a multitrack tape machine. Note, however, that in most
applications it is more flexible to use the TAPE OUT jacks for this purpose, since
they can receive either the Group Outputs or the direct output of each channel. In
certain applications, such as video post-production, a pair of Group Outputs may be
used to provide a different mix than the Main Outputs, such as a mix containing
music and effects but minus the dialog.
Group Inserts
The GROUP Inserts are TRS 3-conductor 1/4" connectors which consist of an insert
send (the tip of the TRS plug) and an insert return (the ring of a TRS plug). They are
used to insert an outboard effects device (such as a compressor, EQ, or chorus)
directly into the signal path of the corresponding Group. A Y-cable consisting of a
stereo 1/4" plug on one end and two mono 1/4" plugs on the other end is required.
Group Insert Points
Send
Return
Ground
Tip
Ring
Tip
Ring
Sleeve
Sleeve
Aux A & B Returns
The STEREO AUX RETURNS are made up of sixteen 1/4" jacks especially dedicated
to the stereo signals returning from up to 8 outboard effects. However, these may
also be used as additional inputs for stereo sound modules, samplers or
synthesizers, if desired.
26 X2 Reference Manual
Connecting the X2
Master Inputs and Outputs
The Master Module contains two balanced 1/4" MASTER OUT jacks, two TRS 1/4"
MASTER INSERT jacks, two balanced 1/4" CONTROL ROOM output jacks, two
1/4" STUDIO jacks, and two pair of 1/4" jacks that serve as EXTERNAL 1 IN and
EXTERNAL 2 IN. Additionally, a PHONES jack is found along the front end of the
X2. Here are more detailed descriptions of each.
Master Outputs
The MASTER OUT consists of two balanced TRS 1/4" jacks which provide both the
left and right signals, respectively. These may be connected to the inputs of a
mixdown tape machine or a PA system amplifier.
Master Inserts
The MASTER INSERTS are two TRS 1/4" jacks, each of which consists of an insert
send (the tip of the TRS plug) and an insert return (the ring of a TRS plug). They are
used to insert an outboard effects device (such as a limiter, reverb or EQ) directly
into the stereo signal path of only the left or right signal, depending on which it is
connected to. A special Y-cable (stereo 1/4" plug to two mono 1/4" plugs) is
required.
Control Room Outputs
The CONTROL ROOM Outputs consist of two balanced TRS 1/4" jacks which
provide both the left and right signals, respectively. These may be connected to the
inputs of an amplifier for control room monitor speakers. The signal level is
controlled by the CONTROL ROOM knob.
Studio Outputs
The STUDIO Outputs consist of two unbalanced 1/4" jacks which provide both the
left and right signals, respectively. These may be connected to the inputs of an
amplifier for studio monitor speakers, or to a headphone amp. The signal level is
controlled by the STUDIO knob.
External 1 & 2 Inputs
The EXT 1 IN and EXT 2 IN consist of two 1/4" jacks each for connection to the
outputs of a mixdown tape machine. This allows you to playback your mix without
repatching. The second input may be used for a CD player or VCR audio output.
Aux Sends
The AUX SENDS are eight unbalanced 1/4" jacks which feed the signals from Aux 1
through 8. Aux Sends 1 and 2 are Pre-Fader, and are ideal for feeding a headphone
amp for musicians in the studio to monitor themselves and other tracks already
recorded onto tape. However, depending on your studio hookup, you may find it
more flexible to connect the headphone amp to the STUDIO OUT jacks, which may
be switched to receive the Aux 1-2 signals or the Control Room mix. Aux 3 - 8 are
Post-Fader, and are normally connected to the inputs of outboard effects devices,
X2 Reference Manual 27
Connecting the X2
like reverbs and digital delays.
28 X2 Reference Manual
Connecting the X2
Headphones
Headphones
The PHONES connector (found on the front end of the console, directly below the
Master faders) is a stereo 1/4" jack which provides a substantial level to drive most
headphones. The signal level is controlled by the PHONES knob. The wiring scheme
is as follows.
ADAT Sync
The ADAT SYNC is a 9-pin, D connector which is designed to connect to an ADAT
system. The X2 uses the proprietary timecode found on an ADAT formatted tape to
synchronize its Dynamic Mute Automation system to tape. For more information,
refer to Chapter 5.
To synchronize the X2 to an ADAT system:
1 Connect one end of a male/male, D connector cable to the SYNC OUT
connector of the last ADAT in your system.
2 Connect the other end of this cable to the ADAT SYNC connector on the back of
the X2.
Left Signal
Right Signal
Ground
Tip
Ring
Tip
Ring
Sleeve
Sleeve
MIDI
The MIDI IN, OUT and THRU are standard 5 pin DIN connectors, and are provided
for interfacing the Dynamic Mute Automation system with a MIDI sequencer or
other MIDI devices. The MIDI IN connector is for connecting to the MIDI Out of a
MIDI device, while the MIDI OUT connector is for connecting to the MIDI In of the
device. The X2’s MIDI THRU connector is provided for connecting other MIDI
equipment that you wish to control from the MIDI device you have connected to the
X2’s MIDI IN and MIDI OUT connectors.
For more information see Chapter 5.
X2 Reference Manual 29
Loading...