THE ALES'S MICROSERIES USER'S GUIDE

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INTRODUCTION
THEALESISMICRO SERIES The EssentialSignal Processing/Music ProductionSystem MIcRoVERS9I, mlcno LIMITER9MIcRo GATEPMIcRo EQ. M I C R OE N H A NC E R P a nMIC R OC U E AM P. Toger herhey O r represent culmination yearsof research Alesis refine the of by to t h e m o s t m u s ical n cti o n s f th e si x most essential usic fu o m production toolsinto a powerful, integrated system. Eachunit is contained a compact, in cost-effective, interlocking one-third rack package designed maximum space for efficiency minimum with hassle. Withthe MicroSeriesin yourstudio, quality record sounds can nowbe achieved. And,of course, six unitsare full stereo(with all the exception MICROEQ), full bandwidth, of and designed for fast,trouble-free operation. Belowyou'llfind a brief description each unit,followed of by setuphintsand application ideasto helpyou get the mostfrom yourgear... youcangetthe mostfromyourmusic. so MICROVERB has revolutionized recording ll industry the by pro v i d i n g h e si ng l e mo st i mp o rta n a spectof music - the t t c o n t r o l l e d r e a t io n f a mb i e n ceU ti l i z ing bit linearPCM c o . 16 processing, places powerin the hands MICROVERB ll awesome o f a n y e n g i n e e r, m 4 tra ck b e d ro o m fro studiohobbyists to professionals working worldclassrecording in seasoned facilities.

T h e M I C R OL I M I T E R , s o f t - k n e ep r o g r a m - d e p e n d e n a , greatly compressor/limiter, punch vocals adds to and instruments, improves signalto noiseratioof tape recorded the tracks,and smooths fluctuating out dynamics. Attacktime and compression ratio adjust automatically you won't waste valuabletime so for searching the mostmusically correct settings.

The MICROGATE is a combination noisegate/special effects processor that is usefulfor eliminating incessant background noisebetween musicalpassages, creating for specialeffectslike gatedreverb, and for tightening loosetimingin rhythm up tracks.

INTRODUCTION

cont'd

The delay and rate (especially kick drumsand bass guitars). you to set the lengthof time that the gate stays controlsallow to openandthe slopeof the gateas it begins close. with equalizer complete EO The MIGRO is a 3 bandparametric s w i t c h a b l eb a n d w i d t hc o n t r o l s .P e r f e c t l ys u i t e d f o r t h e requirements stageand studio,the MICROEQ can be used of r tonal t w it h a n y e l e c t r i cinstru me no r mi cro p ho ne equir ing alteration. The MICROENHANCER can be thoughtof as an automatic duringtrackingand mixdownwhen you need to equalizer, used and clarity to and add brilliance instruments to restorepresence process. And the MICROENHANCER does lost in the recording found in othersignal this withoutaddingdistortion, problem a enhancers. The MICROCUE AMP is a two channel headphone amplifier that allowsyou to expandyour headphone monitoring system.lt alsofeatures secondinputwhichcan be usedwith a guitaror a keyboard privatepracticing. for And you can even chain MICRO AMPS togetherto give you all the additional CUE headphone outputs thatyou needfor biggersessions. you Nexttime you listento a greatrecording, will very likelybe you hearing Alesis MICROSERIES use.Certainly should in the be usingall six MICROSERIESproducts your studioand in in yournextliveperformance. manual showyou how. This will

ACKNOWLEDGETAENTS
FORlr,ilCRO p.37-/o EA Reproduced permission the publisher, whh ol Howard Samsand Co. Modern W. Recording Technioues RobertE. Runstein by copyright 1974. Reprinted pemissionfromthe NovemberDecember with issueof Recording Engineer/Pmducer. Publishing Corporalion, Ovedand @yright 1972, Intertec Park,Kansas.

TABLEOF CONTENTS

INSTALLATION
Beforeunpacking your new Alesis MlcRo sERlEs unit,take a momentto look throughthis instruction manual. we've made it brief and informative it will answerany questions and that you mighthave.some helpfulsetupthoughts inctuded are alongwith someapplication for eachunit. hints EachMlcRo sERlEs unit is designed and engineered give to you the highestlevel of professional performance quatity. and we've madeeach unit musicaland easy to use so that you can get the most fromyour musicwiththe leastamount effort. of lnstruments,Microphones The Alesis MlcRo SERIES has highimpedance inputs thatare ideallysuitedfor use eitherwith instrument pickupsor line level signals. Although microphones be connected can direcily any into of the MICROSERIESunits,it is recommended they be that connected a mixingconsolefirst and then connected the to to MfCROSERIESas described Figures2 or 3 for quietest in operation. Of the MICROSERIESunits that are stereo,such as the MICROVERB MICROLIMITER, ll, MTCRO GATE,and MTCRO ENHANCER, either or rightinputs left maybe used,butsignalwill only appearon the same side output(example: input-left left output) sincebothlettand rightchannels totally are isolated. See tigure 1 F I G U R E1 - M O N O M I C R O S E R I E S C O N N E C T I O N O T INSTRUMENT MICROPHONE OR
TOAMPLIFIER MIXING OR CONSOLE INSTRUMENTOR

LEFT OUTPUT

INSTALLATION cont'd
lf ll, This is NOTtrue of the MICROVERB however' the left input as will ll onlyof the MICROVERB is used,the inputsignal appear at (present bothchannels) the dry sideof the mixcontrol' in mono MixingConsotes All of the MICROSERIESunits can handlemono or stereo of sends at all systemlevels.The input circuitry the MICRO peaks),while SERIEScan easilyhandle+4dBvlevels(+20dBv gainto interface the extremely with inputor output having enough systems. low signallevelsof budgetrecording to The MICROSERIESunits may be connected the mixing ways. in console several ll, or In the caseof the MICROENHANCER MICROVERB the at unit can be used to effectseveralinstruments once by using Simply of send and returncontrols the console. the auxiliary to console eitherof the inputs connect aux sendof the mixing an ll of the MICROENHANCER MICROVERB (or 2 aux sends or t co nnect e d o b o t h t he l e ft a n d ri g h t i n p u ts of the M ICRO ll and then ENHANCER MICROVERB for stereooperation) or ll MlcRo ENHANCER MICROVERB or of connect output the the in Remember, or back to eitherthe aux returns inputchannels. this situation, mix controlshouldalwaysbe set fully to the the for right(clockwise) maximum effect.Seefigure 2 TO FIGURE2. STEREOCONNECTION MIXING CONSOLEVIA AUX SENDS
AUXSEND2 LEFTINPUT RIGHTINPUT

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INSTALLATION contd
The recommended method interfacing the MIGRO of for LlMlrER,MlcRo EQ,or MlcRo GATEis to connect unit the directly the insert to sendandreceive patch points thechannel of that is to be effected. This method work for the MlcRo will ENHANCER MICROVERBas well,but keepin mindthat and ll onlyoneinstrument mono stereo) a timewillbe effected. (in or at Seetigure 3 FIGURE STEREO 3. CONNECTION MIXING TO CONSOLE CHANNEL VIA INSERT PATCH POINTS
as 1622u

INSERT SEND

INSERT RETURN

LEFT OUTPUT

ln the caseof the MICROVERB however, ll, dedicating separate units to individual voices or instruments allowsyou to exercise greatercontrolover the ambience each sound.An "overall" of reverbcan then be usedto tie all of the soundstogetherintothe samespacefor uniformity. figwe 4 See

INSTALLATION cont'd
Anotherway to interface MICROSERIESunitsto a mixeror recording consolewould be in-lineacrossthe outputof your mixingconsole. See figure 4 This would be the case if you neededto effectthe entire mix and would be an especially appropriate for the MICROENHANCER, use MICROLIMITER, and in somecases, MICROVERB the ll. FIGURE - STEREO 4 CONNECTION THE MICROSERTES TO USING THE MAINOUTPUTS
a'*.'1622re

MAINOUTLEFT

MICRO SERIES LEFTOUTPUT RIGHTOUTPUT

The MICROSERIESunits(withthe exception MTCRO of Ee) are especially designed stereoprogrammaterial all of the for as unitsare trulystereowithcommon parameter controls prevent to "centershifting", which meansthat the balancebrieflyleans towardsone side due to short term peakson one side of the stereoprogram. The MICRO canalsobe connected way but 2 unitsmust EQ this be used since it is a mono unit. MIGROCUE AMP(s)can be connected this manneras well to expandyour headphone in monitori capabilities. ng
6

INSTALLATION cont'd
Mounting All of the unitsin the Alesis MICROSERIES rack-mountable are in the Micro Rack Adapter, where any three unitsfit perfectly. Assembly quick and simplewith a singlescrewsecuring is each devicein place.The unique designof the MICROSERIES case allowsthe devicesto lock together form a solid rack package, to or to standaloneas single units.

Power The MIGRO SERIESis powered a remotesupplyproviding by 9 volts AC througha 3.5mm plug. This externalpowersupply keepsstray magnetic fieldsfrom interfering with low approach powersources levelsignals,allowseasy conversion alternate to (220V),and furtherreduces unit'sphysical size and valuable the panel space.Althoughmany MICROSERIESdevicescould be powered a singlesupply, is not advisable ground loops by this as humand couldpossibly occurbetween to units,leading excessive noisein the system,

MICROVERBYI
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Description of in ll MICROVERB is a revolution the development digital price/performance ratio in that it represents phenomenal a reverb to the size from large,bulky hardware while reducing physical what yo u c a n n o w h o l d i n th e p a l m o f y our hand.The 16 programs MICROVERB are the result yearsof exhaustive of ll in phenomenon soundas it occurs of research Alesisinto the by to in naturally space.Fromsmall,intimateroom settings large MICROVERB spacesto usefulgatedreverbeffects, unobstructed levelof sonicflexibility will expandand that ll offersa powerful polish soundof any recording. the (Reduced Instruction Computer) Set Utilizing AlesisR.l.S.C. the l M I C R O V E R B l p r o v i d e sc l e a n , q u i e t , a r c h i t e c t u r et,h e of professional with digitalreverberation the cost and simplicity on systemis contained springunits.The entiredigitalprocessing Department by a singlechip,developed the AlesisResearch ll. Usinghigh speed f s p e c i f i c a l l yo r t h e M l c R o v E R B ( CMOS) c omp l e m e n t a r y - me ta l -o xi d e -se mi co nductor silicon severalcircuit processing, MICROVERB chip replaces ll the very littlepower. whileconsuming cardsof components room were developed our interactive on The reverbprograms the system.Philosophically, objective and simulation development adding is of reverberation to enhancea dramaticperformance,

MICROVERBYI contd
space,power,and depth.Naturalspacestend to sound more pleasing than the simulated reverbtypes such as springsand plates, for thisreason, useroomterminology desiribing and we in our programs. The programs cover a wide rangeof sizes and qualities, and includesuch unnatural concepti as gated and reverse types. Controls The Input controlsets the levelof signalthat is appliedto the MlcRovERB ll and shouldbe set so the overload Indicator readsin the redonlyon occasionaltransients. The Mix control determines amount wet signal(reverb) the of or dqysignalsentto the output. lf the Mix control set all the way is to the right, thenonlyreverb be heard.lf the Mix control set will is all the way to the left,then only dry (uneffected) signatwill be heard.The 12 o'clock position result a 50/50mixture dry will in of to reverbed signal. The Output controlsets the output level of both channelsof MICROVERB Thisshouldbe set so thatthe unitbeingfed by ll. MICROVERB is notoverloaded. ll The Program Select selectsone of MICROVERB 16 reverb ll's programs. ntCnOYERBllPrograms
SIALLI AMBIENCE SXALL2 AMBIENCE STALL3 SMALLROOM SIALT' SMAII PI ATF ED|UT T SMALL/MEOIUM ROOM TEDIUT2 SMALL/MEOIUM ROOM TEDIUU3 MEDIUMROOM TEDIUT' MEDIUM PLATEi STRONG IMMEDIATE ATTACK TEDIUT5 MEDIUM/LARGE ROOM TOIUX 6 MEDIUM PLATE/SOFTER DELAYED ATTACK LANGE1 LOWDIFFUSION VOCAIROOM LARGE2MEDIUM/LARGE ROOM LARGE3 LARGE ROOM LANGE4ENDLESSSPACE GATE.I POWERGATE GAT2 BRIGHTGATE

The OverloadIndicator is actually 3 coloredLED that shows a severalinputconditions.When the indicator glowsamber,the inputsignalto the MICROVERB is too low and the lnput level ll should increased. be Whenthe indicator glowsgreen, signal the presently beingfed to the MICROVERB is a usablelevel. ll When the indicatorglows red, the MICROVERB is being ll

MICROVERBYI contd
shouldbe decreased. and overloaded the Input control The Bypass Jack, locatedon the rear panel, bypassesthe reverbsignaland allowsonly the dry signalat the outputs. Any that (su S PS T ty p e f o o t s wi tch ch a s th e re ve r bfootswitch will withamplifiers) workfor thisfunction. comes sometimes Operation Simply anyapplication. ll MICROVERB is easyto usein almost do thefollowing: jackfor mono(used with 1. Applya signal either leftinput to the jacksfor stereo. instrument), bothleftand right or a single 2. Increase Input controluntilthe ReCLED brieflylights the programpeaks. The LED should remain"green" on occasional levelto most of the time. This indicates that there is sufficient goodsignal noiseratio. to maintain a output the 3. Increase Output controluntilthere is sufficient level. 4. Adjustthe Mix controluntilthe desiredratioof dry to wet s i g n a l i s a c h i e v e d . R E M E M B E R :l n c a s e s w e r e t h e lt MTCROVERB is used with the aux sends of a recording console,the Mix controlshouldremainallthe way to the right (ail wet signal). yourprogram choice. of 5. Select p r A s a g o o d r u l e o f th u mbfo r se l e cti n g rogr ams,hythm ic (quickly with instruments suchas drumsand instruments ostinato work bestwith smallerprograms. repeating) type patterns usually Long melodiclines and pads generally sound betterwith larger is only a startingpoint. Use however, that this rooms.Remember, your ears and selecttheprogramthatsoundsbest to you! ll Howto use MICROVERB in your studio ll in The 16 programs MICROVERB offer a wide rangeof formatmeansthat even atfordable ambientspaces.lts compact, 4 trackstudiocan own morethan one MIGROVERB the smallest and differences betweenhomerecordings ll. One of the greatest
10

MICROVERBYI

contd

top flightrecordproductions in the quality is and number high of performance reverb processors. Simply stated,the big studios havea lot of digitalreverbs the smaller and studios usually don't. MICROVERB changes that. ll ail

Theillustration shows typicalreverb a assignment a no hotdsbarredrecordprofor duction. whilethissetupmaynotrepresent capabilities yourownrecording the of efforts, doesillustrate modern it why recordings sound spaciouianddramatic. so Th6 16bitprocessor MlcRor/ERB allorvs tocreate sense spacewithcrystalin you II this of lineclarity greatresolution. and Theseprograms werechosen the purpose creatinga 'soundstage'for the for of performance. isa well musical There defined sense three of dimensional space is that occupied eachinstrument: to rightandfront back. blocks theillustration by left to The in indicate physical placement eachinstrument, the spreading the sound the of and of dueto the psychoacoustic imaging characteristics eachprogram. of Noticethatthe smallprograms havemoreof a centered spatial imagewhilethelargeprograms are wider, more openandspacious. Recornmended progralrsare listedby numbernelitto each instrument. Theseprogramsuggestions based current are popular on usesof digitalrwerb,butuseyor imagF please experiment. ption_q1d personal Musical style, tasteandcreativity 1rcur guid-eare lines. Thismix usesI MlcRovERB programs II simultaneously. attoroaoifity The ot MICROVERB Ileasily brings least portion thismixwithin reach a//studios. at a of the of Themixcontrol settings applyto either mixcontrol MICRoVERB lor stand the on II aloneoperation, thesettings applyto thesendsand receives a mixing or can of conIMPoRTANT! usedwiththesends receives a mixing sole. when and of console mix thb control MIORoVERBshould lwaysbe setfullyclockwise, thereturns the on II a and on panned console hardleftandrightforthefullstereo effect.
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SNAREDRUM . LEAOVOCAL BACKGROUNDVOCAIS .....
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MICROVERBYI

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STACKING MICROVERB ils lf 16 programs aren'tenough, stacking MrcRovERB ils try 2 together a nearlyendless for number revbrbpossibilities. of Try starting witha small Roomfeedingintoa Medium LargeRoom, or then let yourimagination wild.See ligure 5 run FIGURE5. STACKINGMICRoVERBIIs

TO CONSOLE ORAMPLIFIER

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MICROLIMITER'

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Description i out T h e Al e s i s M I CROL IMIT E R s a tru e ster eoin/ster eo gain riding, peak which compressor/limiter is usedfor automatic instruments limiting, special effects bothliveand recorded on and andvocals. A compressor/limiter, can be thought as an automatic which of gainand attenuates signalonceit fader, veryquickly reduces the of level. of exceeds predetermined The number dB increase the a inputsignalneeded causea 1 dB increase the output in signal to is rafio.Thus,for of the compressor/limitercalledthe compression a ratioof 4 to 1, an 8 dB increase inputproduces 2 dB of a increase output. in when The MICROLIMITER be thought as a compressor can of ratio the greenLEDs are lit because the low compression (2:1 of is to 8:1).A compressor usually usedto even out the volume for fluctuations an instrument vocaland sometimes special of or (SeeApplications). effects ratio A compression of 10:1or abovechanges compressor the intoa limiter.A limiter usedto prevent is shorttermpeaks(which material) from overloading add littleinformation the program to amplifiers tapes. lt also can be used for certaintypesof or specialeffects(See Applications). Once the yellowLEDs are fired, unitbecomes truelimiter withthefourthLEDindicating the a
14

MICRO LIMITER@contd
a compression of about16:1.sincewe at Alesis ratio feelthatthe MICRO LIMITERis more easily and quicktyset up by just listening, have eliminated we thesedesignations from the front panel the unit. of The MICROLIMITER employs "soft-knee" the approach,which meansthat there is alwayssome compression appliedto all signals,regardless level,but the compression of ratiois very low for low level signalsand automatically increases the signal as fevelincreases. See figure 6 FIGURE 6

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INPUT EVEL L

The MICROLIMITERalso employsprogramdependent attack timewhichallows unitto be moremusical the sounding thanother c ompr e s s o r / l i m it ers th e ma rke t.B e ca useof the unique on c haract e r i s t i co f i ts d e te cti o nci rcu i try which have been s , especially tailoredfor use with a rhythmsection, unit can be the thoughtof as a "powerbox",addingpunchto bass and drums with very few of the undesirable side effectsnormally associated withcompressor/limiters. Unlikemany other compressor/limiters the marketwhich on requireextensive technical knowledge operation, MICRO for the LIMITER was designed specifically the musician mindso it with in is bothquickand easyto use and requires littletraining achieve to the desiredresults. Controls The input controlsets not only the level enteringthe MICRO LllllTER, but alsodetermines the amountof limiting the whichwill be applied. Therefore, more inputto the unit, the higherthe the
15

MICRO LIMITER@cont'd
by ratio. This ratio is indicated the input LED'sin compression with conjunction the graphon the frontof the unit. how quicklythe limiter The releasetime controldetermines to to recovers from a signalapplied the input. Farthest the left is fastestrelease timewhilefull to the rightis the slowest. the for The output controlis provided matchinglevelsso that no of signallevelis lostdue to the effects limiting. An in/out switchallowsyou to bypassthe MIGROLIMITERfor purposes, necessary. if comparison Operation will Although specific operation the MICROLIMITER vary per of instrument effect desired,basic operationof the MICRO or rightor left LIMITER the same. First, is applya signal the unit's to inputjack (or bothjacksfor stereo), takingcare to use the same to sidefor the output. Depress in/out switch the "in" position. the To determine rightamount limiting, is bestto lookat the it the of meterson your consoleor tape machine and listento the results. This is coveredmore in the next section(see application). Be awarethat too much limitingwill causethe programmaterialto seemdullandlifeless. Next,adjustthe releasetime by startingwith the controlfull to This so the left (counterclockwise). is the mostcriticaladjustment it must be made carefully best results.As a generalrule, for signalsthat are percussive have a high treblecontent(like or drums)shouldhave a shorterreleasetime, or the controlset more to the left. Programthat containsa lot of low frequencies (likebass)shouldhavea longerrelease set time,or the control moreto the right. Careshouldbe takenwhenthe releasecontrolis set too far to the left (releasetime too short) as this setting may result in a

MICRO LIMITER@contd
slightamountof harmonic distortion. Also,a phenomena called "pumping" "breathing" or mightoccur.This meansthat if a rapid succession peakswerefed intothe limiter(a staccato of guitaror synthpart,for instance), limiter the wouldrespond eachpeakof to the signal, causing rapidrisein background a noiseas the gainis increased after each peak. Both of these conditions a byare productof the limitingprocessand can occurwith any limiter. However, theseconditions may neveroccurduringyour particular use as they are dependent the typeof instrument intothe on fed MICROLIMITER, and the styleof musicplayed, well as the as settingof the release control.Simply turn the release control a bit to the right and either the slight distortionor "pumping"and "breathing" go away! will lf the releasecontrolis set too far to the right(release time too long),the program may sounddull and lifeless a resultof as squashed dynamics. Whenin doubtas to how to setthe release control, it'sbetter to keep it on a shortersetting(towardsthe left) since fhe MICROLIMITERis most forgivingin operationat this point and you will mostlikelyget the desiredresults. Finally, the output control switching in/out control set by the in, then out, and adjustthe output controluntilthe levelis the same regardless the position the switch. of of Application The MICROLIMITERcan be made to performseveraldifferent functions, depending uponcontrol settings. Theseare: 1. Even out the volume differences betweenregisterson instruments. exampleof this wouldbe that some bass guitar An strings louder are thanothers someinstruments. useof a on The produces smoother MICROLIMITER a bassline by matching the volumes the different of notes. 2 . M i n i m i z e h e c h a n g e si n v o l u m ew h e n a v o c a l i s to r t instrumentalist momentarily changes distance his fromthe mike.
17

MICRO LIMITER@cont'd
to 3. Allow an instrument be recordedhotteronto tape by the frompinning meter. (highlevelpeaks) preventing transients "sit" better in the mix by 4. Make a vocal or instrument the the decreasing signalpeaks and increasing lower volume be made significantly parts.This actuallyenablesthe signalto the louderin the mix whileincreasing overallsignallevelmeter onlyslightly instruments suchas bassor of the 5. lncrease "punch" certain the drums,by allowing peak portionof the signalthroughwhile limiting rest. the guitar suchas electric of the 6. lncrease sustain an instrument range. its compressing dynamic by by overloading controlling due 7. Stopdistortion to temporary transients. below,we can bypassthe normaltechnical In the examples by explanations simply watchingthe meters and listening. This with the will get you the best resultsfrom your MICROLIMITER leastamount hassle. of for LIMITER addingpunchto an instrument MICRO (or Adjustthe input controluntil the instrument instruments) of on beginsto brighten the attackportion the signal. This should be at aboutthe first red LED. Be carefulnot to limitthe signaltoo much as it will start to becomevery dull and lifeless. Also, be more carefulas to the settingof the Releasecontrol(Remember: unlikeany other The MICROLIMITER, bass = longersetting). for limiteron the market,is optimized rhythmsectionwork (bass you to add the maximumpunch while and drums) allowing side to keeping undesirable effects a minimum.See figure 7

18

MICRO LIMITER@cont,d
FIGURE 7
F R O MI N S T R U M E N TR M I X I N G O N S O L E O C LEFT NPUT t I T O A M P L I F I EO R M I X I N G O N S O L E R C

MICRO LIMITER addingsustainfor electricguitar for ',snaps" the Adjustthe Input controluntil the instrument on attackportionof the signal.Now increase Releasecontrol the untilthedesired amount sustain achieved of is (thismaybe all the way to the right). Seefigure I

FIGURE 8
GUITAR T OA M P L I F I E O R M I X I N G O N S O L E R C

LEFr f'rpur

An unfortunate by-product the increased of release time is that the noiselevelwillgradually surgeto a highlevelwhenno signal is present. This may be overcome insertinga MICROGATE by afterthe MfCROLIMITER eliminate noise.Seetigure g to the

19

MICRO LIMITER@cont'd
FIGURE 9
GUITAR
LEFTINPUT

LEFT OUTPUT
TOAMPLIFIER MIXING CONSOLE OR

possible Another by-product increased of release time is thatthe input s i g n a l m a y be co med u l l d u e to fa ct that the MICRO LIMITERcontinues hold on to a note while the next one is to pla y e d ,w h i c h p r e ve n tstra n si e n ts m makingit thr ough. fro However, with the addition a MICROENHANCER of afteryour MICROLIMITERand MICROGATEyou have the perfectsetup guitar!*e figure 10 for long,sustaining

20

MICRO LIMITER@cont,d
FIGURE 1O
GUITAR LEFTINPUT

TOAMPLIFIER MIXING OR CONSOLE

MICROLIMITERfor controlling level of an instrument or vocal Withthe in/out switchin the "out"position, watchthe VU or level meter,and/orlistento the differences volumebetweennotes. in The VU or levelmeterwill show a largeamountof movement. Nowswitch IrllCROLIMITER intothe circuitand beginto increase the Input controluntilthe notesallsound relatively same,and the the levelmeteris reacting less wildly to the signal.The meter should moving be somewhat, sinceif it staysin one position then it wouldbe an indication that the signalis becoming overlimited
21

MICRO LIMITER@cont'd
andwilllackdynamics. Now adjustthe Releaseand Output controlsas in the section marked operation.Seetigure 11 be As a guide, onlythe firstthreeor four LEDs should lit during thisapplication. FIGURE 1 1
MICROPHONE MIXING OR CONSOLE INSTRUMENT. CONSOLE TOAMP OR MIXING

,-*r*- 1

OUTPUT LEFT

will Whenset up in this manner, MICROLIMITER act as a the peaklimiter. veryeffective This meansthat the MICROLIMITER fro c a n b e u s e d t o sto p a n y d i sto rti o n m occur r ingin any subsequent effectsstages(any devicepluggedin after it) due to performs The MIGROLIMITER well in this application overload. "softknee"signaldetection which because its of characteristics, meansthat the higherthe signalpeakis, the morelimiting there willbe.

22

MICROGATE'

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Description The Alesis MICROGATE is a true stereoin/stereo noise out gate.As the namesuggests, noisegate is sort of an electronic a fence gate. When there is enoughpressureon the gate (the signalis loudenough), gatewillopento letthe signal the through. You can controlhow much level it will take to open the gate (or how muchpressure), how longthe gate will stay open,and how fast it will close.Because this amountof control, MICRO of the GATEcan be set to eliminate noises, any clicks, buzzes or which mightbe a component the signalby closing gate (turning of the off) eitherwhen a signalis not present, whenthe signaldrops or (or belowa presetthreshold pressure). MICROGATEwill not The just actually eliminate noisethat is a component the signal, all of the noisethat existswhenthe signalis not present. This is true of anygatingdevice. It can alsobe usedfor a varietyof special etfects suchas gating the reverbon a snaredrumto achieve popular the 80'sstyledrum sound effect,or tightening the sound of a live drum kit by up suppressing leakage between drummics.

23

MICRO GATEtcont'd
Controls The Thresholdcontrol setsthe pointat whichthe MICROGATE (to will open(letthe signalthrough). Turning control this clockwise point,makingthe gate easierto the right)lowersthe threshold trigger. The Rate controldetermines how fast the MICROGATE will close,with the fastestpositionbeing all the way to the right (clockwise). can alsobe thought as a release This of timecontrol. A Delay controlallowsthe user to determine how long the MICROGATEwill wait beforeclosingaftera signalhas dropped below threshold. the A series of coloredLEDs are also includedto indicatethe current status of the MICRO GATE. A red "Close" LED indicates the gate is closedand no signalis beingallowed that through. A green "Open" LEDindicates the gateis open, the having point,and signal is flowing risen above the threshold freely through unit.The yellow"Delay" the LEDindicates the that signal has dropped below thresholdand the MICROGATEis waiting for a period of time (determined the delaycontrol) by before closing. An ExternalTriggerinputcan alsobe foundon the rearpanel. This inputis sometimes calleda "key"input.The function the of ExternalTrigger input is to allowthe MICROGATEto open by froma source into beingtriggered otherthanthe one plugged the inputs. example this is whenan instrument An of track(suchas a keyboard), whichhas beenplayedwith imprecise rhythm, can be "keying") (or from tightened and the track savedby triggering up instrument whichwas playedwith moreprecise another time. ln intothe this case,the outputof the snaredrumtrackis plugged Trigger Input of the MICROGATEwhichthen has the keyboard track pluggedinto its normalinputs.Everytime the snare drum hits, the gate will open allowingthe sound of the keyboard throughin perfectsync. The lengthof time that the keyboard by boththe Rateand Delay stayson will be determined adjusting
24

MICRO GATEtcont'd
controfs. Seefigure 12

FIGURE 12
KEYBOARD TRACK
TRACK SNARE

n I rnrooe rxeur

An In/Out switchis provided bypassthe MICROGATE if to purposes. desired, for comparison or Operation your MICROGATE (referto the sectionon After connecting installation), makesure that the unit is readyfor operation by making surethatthe in/outswitch depressed. is Thisis important sincethe status LED'swill flash even if the gate functionis bypassed. Whileapplying signal the MICRO a to GATE, turnthe Threshold control slowly the rightuntilthe green"Open"LEDflashes. to Now slowlyturn the Rate controlto the rightuntilthe gate turnsoff at the exactmoment the signal that Thisadjustment critical stops. is sincethe signal sound"chopped" settoo far to the right, will if and not enough noisewill be eliminated set too far to the left. As a if final step,turn the Delaycontrolslowlyto the right(starting from full counterclockwise) the smoothest until from opento transition gateis achieved. closed As a general rule,percussive (like typesof instruments drums) will requireshorterrates,while sustaining types of instruments (likeguitars pianos) require or will longer rates. The Delaycontrol is most usefulfor thesesustaining types of programs it will as
25

"chopped" the allowyou to maintain signallengthwithoutthe minimum' floorto an absolute the whilekeeping noise effect "chatter", that whichmeans alsothatthe gatedoesn't Be careful noise,clicks,and pops gate is beingtriggered spurious by the causedby the Threshold beingset just a bit too low.A cure for this is to connecta MICROLIMITERbeforethe gate in orderto true level.This is especially set the signalto a strong,constant (tomspicked fromotherdrums whenleakage whengating drums, will up by the kickdrummic,for instance) oftencausethe gateto openprematurely. Application recording and The MICROGATEis usefulin manyeveryday performing Beloware just a few of the mostcommon situations. to waysto putthisdevice use. will that the controlsettings vary depending Pleaseremember musicbeingplayed, used,the styleof equipment uponthe actual The are playing styleof the musician. settings and the particular and shouldserve as a reasonably nominally correcthowever, point. goodstarting or MICRO GATE with individualinstruments microphones (or suppressor "noise can be usedas a noise The MICRO GATE microphones or gate")with eitherguitars,basses,keyboards, the live.Whenset up correctly, MIGRO whenrecording playing or thereby GATEwill turn off at the end of each signalenvelope out of thesystem. humsandbuzzes keeping annoying into directly either keyboard, otherinstrument or Plugthe guitar, left or rightinputof the MICROGATE.Now plug the same the sideoutput(if you usedthe rightinputthenyou mustusethe right or console amplifier. into a directly either mixing output) takingcare to set Proceed in the abovesection(Operation), as

MICRO GATE@"ont'a

26

MICRO GATE@,onra
the Ratecontrol wherethe signalof the instrument to or "clipped" microphonenot is when gatecloses. tigurel3 the See FIGURE 13
FROM INSTRUMENT MICROPHONE OR LEFTINPUT
TOAMPLIFIER MIXING OR CONSOLE

LEFTOUTPUT

MICROGATEwith a mixing console The MICROGATE can also be used to eliminate noiseand "tighten-up" buzzes,and generally recorded tracks by being plugged the insertsendand returns the inputchannels a into of of mixing console. Se tigure 14 lf the mixingconsoledoes not have insertjacks,or if the insert

FIGURE 14

ats16122n

INSERT SENO
LEFTINPUT

INSERT RETURN LEFT OUTPUT

27

MICRO GATE'cont'd
jacks are dedicatedto anothereffect,it is possibleto plug the MICROGATE in betweenthe outputsof the tape machineand is the tape inputsof the console.See figure 15 Operation the sameas the aboveexample.

15 FIGURE
FROMTAPEDECK CONSOLE OF TOTAPEINPUTS MIXING

LEFTINPUI

RIGHTNPUT I

OUTPUT LEFT

RIGHTOUTPUT

ll MICROGATEas a variable decay for MICROVERB or other reverbs ll with The useof a MICROGATEin conjunction a MICROVERB will or any otherreverbwithfixeddecaycharacteristics openup a See wholenewrealmof flexibility. ltgure 16 FIGURE 6 1CONSOLE MIXING
FROM LEFTINPUT

INPUT RIGHT

MICROVERB OTHER IIOR REVERB

LEFT OUTPUT
RIGHTOUTPUT

LEFTINPUT

RIGHTINPUT

LEFTOUTPUT

MICRO GATE*contd
To varythe reverbdecaytime,turn the Thresholdcontrol the to rightuntilthe green"Open"LED is lit, then slowlyturn the rate controlclockwise untilthe desireddecaytime is achieved. The "correct" reverbtime is usually determined the tempoof the by music,and how busythe arrangement For example, many is. if instruments use the same reverb or the parts containfast passages with lots of 16th notes,the mix will usuallysound muddyand confused the reverb if time is too long.ln this case, just turn the Rate controla bit more to the right to shortenthe decaytime,whichwill leavethe senseof spaciousness while lessening muddiness. correctlength the The wouldbe whenthe reverb eachsuccessive diesjust as the nextnotesounds. of note It's also possible createyour own specialeffectgateddrum to sounds, heardon mostcontemporary as records. First,selecta largeroomtype program any medium largeprogram (or or that soundsgoodto you) on the digitalreverb. The bestprograms for this effecthavethe smoothest decaytails(thegatewill "chatter', if the tail isn'tsmooth). Nowturnthe RatecontrolJar the rightso to thatthe gateclosesabruptly, making surethatthe reverblengthis
FROMMIXING CONSOLE I L E F TI N P U TT I R I G H T N P U T

FIGURE 17

LEFT OUTPUT LEFT INPUT

RIGHT OUTPUT RIGHT INPUT

LEFT OUTPUT INPUT LEFT

RIGHT OUTPUT

TO MIXING CONSOLE

RIGHTINPUT

LEFT OUTPUT

RIGHTOUTPUT

MICRO GATE'cont'd
notso longas to spilloverontothe nextdrumbeat.Varythe delay For controlfor a smootherreleaseif necessary. an even more the striking effect,inserta MICROLIMITERbetween reverband the MICROGATE. Seefigure 17 "punch" with a The limiter settings shouldbe set for maximum (at light). Set highdegree limiting leastthe firstred LEDshould of The objecthere is to the releasetime startingat about halfway. to set the releasetime (ratecontrol)as long as necessary keep "tail" the reverb smooth. MICRO GATEusingthe triggerfunctionfor gatedreverb Another way to achieve gatedinstrument sound(likea snare a inputof is witha minimum gatechatter to feedthetrigger drum) of whilegatingthe the gate with the dry signalof the instrument in reverb the abovefashion. in Thisassures ultimate chatterthe free operation the rate is now controlled by the envelope of as itself. Seefigure 18 the instrument

FIGURE 18

FROMAUXSENDS CONSOLE OF LEFTINPUT I RIGHTNPUT

LEFT OUTPUT

RIGHT UTPUT O TOMIXING CONSOLE

LEFTINPUT

RIGHTNPUT I

LEFT OUTPUT

RIGHT UTPUT O

IN TRIGGER PUT DBYSIGNALFROMINSTRUMENT (EXAMPLE: SNAREDRUM)

30

MICRO GATEtcontd
MICRO GATEusing the trigger function for specialeffects Although MICROGATEtrigger the function usually is usedfor syncingetfectsbetweentwo instruments see figure 19, it can a ls o b e u s e d f o r se ve ra l i n te re sti n gspe cial effects and enhancements. The mostcommon theseis thetuning of andfattening a drum of (a kickdrum,for instance) adding lowoscillator of about by a tone 60hz(i.e.froma synthesizer) the drumwhichis thensynced to by the MICROGATE. A signalfrom the drum is then applied to the Trigger inputcausing gate to openwhenthedrumhits. the The output the MICRO of GATEshould thenbe mixedback into the drum soundat the mixingconsole. tuningthe oscillator By between and 80 Hz, you will be ableto add botha fullness 40 to thedrumas wellas tunethe drumto a specific pitch.

F I G URE 9 1
TOMIXING CONSOLE OSCILLATOR SYNTHESIZER OR DRUMTRACK

L E F TI N P U T

LEFT OUTPUT

TRIGGER PUT IN

A variation the abovewould be to injectwhite noisefrom a to synthesizer insteadof an oscillator tone. This would add more snapor "snares" a snaredrum.*e figure 19 to

31

MICRO EQ

FRONT
FOWF O tu^c
LVO AIIgELEJ, UA. MAOE IN U S A

AtE:sls^991?gl|loN 1Qt ee15 BACK

*#EE$gV'i,!b"63n,H,"d*
SEfuICE 4FSqNEL

oo.

Description The Alesis MICROEQ is a mono 3 band semi-parametric with sweepable equalizer frequencies and switchable bandwidth controls. Equalization, EQ, is the abilityto controlthe harmonic or bala n c e , r t i m b r e,o f a n i n stru me n t, d can be used to o an for in compen$ate frequency deficiencies either microphones or Therearethreedifferent soundequipment. all typesof equalizers, familiar of whichyouare probably with. The mostcommon is type.This is typeof equalizer the Shelving foundon stereo the simplebass and/ortreblecontrolnormally guitaramplifiers, The term shelving refersto the systems, etc. plateau, shelf, point(s) (100 amplitude or beginning the turnover at Hz and 10kHzin the diagram) extending the high(or low) and to The end limitof the equalizer. frequencies below(or above)the pointof the shelfare also atfected, less and lessso turnover but point. the further awayfromtheturnover

Turnover Frequencles

MICRO EQ cont'd
The secondtype of equalizeris the GraphicEqualizer which mostpeoplehaveseenon soundsystems, somehomestereos, and manyguitartype amplifiers. This devicegets its namefrom the fact that the controlsettingsactuallyform a graph of the frequency spectrum. Whileshelving equalizers work on broad graphicequalizer sectionsof the frequency is bandwidth, a s light ly o r es o p h i sti ca te d a n th e S h e l ving m th equalizer it as into divides frequency the spectrum sections calledbands.See figure 20 FIGURE20
Bands

The rangeof frequencies boosted cut in eachbandis referred or This bandwidthis normallymeasuredin to as the bandwidth. graphic musical octaves, on a simple so equalizer containing only 5 bands,each band would have a 2 octavebandwidth, and a graphic moresophisticated equalizer 31 bands with wouldhavea 1/3octavebandwidth. Generally is speaking, 1l3rdoctaveequalizer normally a used for room tuningand feedback controlwhile a 1 or 2 octave is equalizer usedfor normal tonalshaping.See figure 21

33

MICRO EQ cont'd
21 FIGURE

2 Octave

1 Octave

1/3 Octave

typesuchas is equalizer the parametric By far the mostversatile the MlcRo EQ. Whilethe graphicEQ alwayshas a bandwidth to allowsfor the bandwidth be varied. that is fixed,the parametric for are required sections This meansthat far fewerequalizer sincethe offending suppression or eithertonalshaping feedback manyparametric Although be dialedin precisely. can frequencies it bandwidth, has been variable have a continuously equalizers fromwideto narrowis not only bandwidth foundthat a switchable the and fasterto use.Hence, MICROEQ but far easier sutficient lrom 2 octave controlswitchable is designedwith a bandwidth to and thus is referred as semi' (wide)to llzoctave (narrow), parametric. Seeligure 22 FIGURE22

2 Octave

1/2Octave

34

MICRO EQ cont'd
Controls
Mid Freq Level

Frgq Select

Input Level

Freq Width Low Freq Width High Freq Width

The lnput controlsets the levelof signalthat is applied the to MICROEQ. Sinceaddinglarge amounts equalization of can sometimes lead to overload the units connected of after the MICROEQ, the Input control serveto maintain distortion will a freesignal controlling overall by the inputlevel. An In/Out switchallowsthe user to bypassthe MICROEe for purposes. comparison The Lo Freq Select (the outer ring of the dual concentric knob) you alfows to selectanyfrequency between Hz and 1kHz. Z0 The Lo Freq Level (the inner ring of the dual concentric knob) allowsyou to eitherboostor attenuate frequency any selected by the Lo Freq Selectknobup to a maximum +15d8. of The Lo Freq Width controlsthe bandwidth curve to selectthe one best suitedfor your application. With the switchin the "out"

MICRO EQ cont'd
position, bandwidth 2 octavewhile with the switchin the is the position, bandwidth ll2octave. is the depressed knob) The Mid Freq Select (the outerring of the dual concentric 250 Hz and 6kHz. between allowsyou to selectanyfrequency knob) The Mid Freq Level (the innerringof the dual concentric by selected you to eitherboostor attenuate frequency any allows +15d8. of the Mid FreqSelectknobup to a maximum identically the Lo Freq Width to The Mid Freq Width operates switch. knob) The Hi Freq Select (the outerring of the dual concentric 1.5kand20kHz. you between any allows to select frequency knob) The Hi Freq Level (the innerring of the dual concentric by selected you to eitherboostor attenuate frequency any allows of the Hi FreqSelectknobup to a maximum t15dB. identically the Lo Freq Width to The Hi Freq Width operates switch. The Clip LED lightswhenthe MICROEQ is beingfed too hot a turn Whenthisoccurs, downthe overloaded. and signal, therefore fires. untilthe Clip LEDno longer Inputcontrol Operation EQ The bestwayto useyourMICRO is as follows: 1. Start by turningthe Level controlof the desiredfrequency mid,or high)to maximum. band(low, with 2. Sweepthe frequencies the FrequencySelect knob until you find the frequency that you wish to cut. (lf the Clip LED light, turndownthe Inputcontrol). should results Now,backoff the Levelcontroluntilthenewamplitude 3. in a pleasing sound.

MICRO EQ cont'd
4. Depress Width switch(lo, mid,or high)to see if the result the is moresatisfying the l12octave position octave in (in) (out). or2 lf youshould findthatyou are adding largeamounts Ee in all of 3 bands, thenthe overall effectis the sameas simplyraising the volume level. In thiscase,do thefollowing: 1. Startby turning Levelcontrol thedesired the of frequency band(lo,mid,or high)tomaximum. 2. Sweep frequencies the Frequency the with Selectknobuntil you find the frequency that you wish to cut. (lf the Clip LED should light, turndownthe lnput control) 3. Now,backoff the Level controluntilyou are cutting level the instead boosting. of 4. Depress Widthswitch mid,or high)to see if the result the (lo, is moresatisfying the 1/2octave position 2 octave in (in) (out). or As with any signalprocessor, MICROEe shouldbe used the with discretion since too much EQ, indiscriminately used, can makethe soundworseinstead better. of Although is a wonderful it device and will helpyoursounda lot,remember a littlegoes that a longway. Belowis a chartthatwill helpyouzeroin on the keyfrequencies of somepopular instruments. Remember:The chart seruesonly as a startingpoint. Ultimately, you must useyour earsas a guide.

Bass Guitar

Attack or pluck is increasedat 700 or 1kHz, bottom added at 60 or 80 Hz, string noise at 2.5kHz

BassDrum

Slapat 2.5kHz, bottomat 60 or 80 Hz,air at 10kHz

37

MICRO EQ cont'ct
Snare

crispnessat Fatnessat240Hz, 1 to 2.5kHz, bottomat 60 or 80 Hz

Hi hat and CymbalsS h i m m e r a t 7 . 5 t o 1 0 k H z , clang or gong sound at about 200 Hz A tta ck a t S kHz, fullness at Toms Floor toms Electric Guitar 24OHz Attack at SkHz,fullness at 80 or 12OHz Body at 24OHz, clarity at 2.SkHz B o d y a t 240H2, clarity at 2.SkHz, b o ttom at 80 or 120H2 presence Bass at 80 or 12OHz, at 2.5 to SkHz,air at 10kHz, honky-tonk sound at 2.5kHz as bandwidth is narrowed, resonanceat 40 to 60hz F u fl n e ss a t 12 0 or 240 Hz, shrill at 7.5 or SkHz Fuflnessat 12OHz, boominess at 200 to 24OHz, presence at air sibilanceat 7.5kHz, SkHz, at12 to 15kHz Fat at 24OHz
38

Acoustic Guitar

Piano

Horns Voice

Harmonica

MICRO EQ cont'd
Conga Resonantring at 200 to 240lHz, presenceand slap at 5kHz

In summary, frequency the spectrum can be dividedup into six important sections. The following de Gar Kulka'sdescription is re p rin t e d r o m h i s arti cl ei n R e co rd i n g gineer /pr oducer f En Magazine: 1 . Th e v e r y l o w b a ss b e tw e e n 1 6 a nd 60 Hz which encompasses soundswhich are often felt more than h e a r d , s u c h a s t h u n d e r i n t h e d i s t a n c e .T h e s e frequencies the musica senseof powereven if they give occur infrequently. much emphasison this range Too makesthe musicsoundmuddy. 2. T h e b a s s b etw e e n 6 0 a n d 2 S O Hz contains the fundamental notes of the rhythmsection,so Eeing this rangecan changethe musicalbalance,makingit fat or thin.Too much boost in this rangecan make the music soundboomy. 3. The midrange between 250 and 2000 Hz contains lowthe order harmonics most musicalinstruments of and can introduce telephone-like qualityto musicif boosted a too much. Boostingthe 500 to 1000 Hz octave makesthe instruments soundhorn-like, whileboosting 1 to 2kHz the octave makes them sound tinny. Excessoutput in this rangecan causelistening fatigue. 4. The uppermidrange between2 and 4kHz can mask the i m p o r t a n ts pe e ch re co g n i ti o nso unds if boosted, introducing lispingqualityinto a voice and making a soundsformedwith the lips such as "m", "b", and "v"

39

MICRO EQ ant'd
i n d i s t i n g u i s h a b l e .o o m u c h b o o s t i n t h i s r a n g e , T especially 3kHz, can also cause listening at fatigue. Dipping 3kHzrangeon instrumental the backgrounds and peaking3kHz on vocalscan make the vocals slightly withouthavingto decrease instrumental audible level the in mixes wherethevoicewouldotherwise seemburied. 5 . The presence rangebetween and 6kHzis responsible 4 for the clarityand definition voices and instruments. of Boosting this rangecan makethe musicseem closerto the listener. Adding6dB of boost at SkHzmakesa mix soundas if the overalllevelhas been increased 3 db. by As a result of this effect, many recordcompaniesand mastering engineers makea practice of addinga few db of boost at SkHzto make their productsound louder. Reducing SkHzcontentof a mix makesthe sound the moredistantandtransparent. 6 . The 6 to 16kHzrangecontrols brilliance the and clarityot Too muchemphasis this range,however, sounds. in can produce sibilance vocals. on Application Sincethe MICROEQ can be usedwith any electricinstrument or microphone requiring tonal alteration, here are some generic s u g g e s t i o n a s t o se tu p .S i n ce e a ch i nstr ument sound s will different to the uniqueness the instrument due itself,the typeof of musicbeingplayed, arrangement, the touchof the player, the and you must use your ears (and the abovechart)to ultimately find the correct settings. MICROEQ with Rockmanru The Rockmanru become stapleof homerecording has a studios thanksto its ease of use and great sounds.When connected directlyinto a console,however, soundof the Rockmanru the hearin the headphones to doesdifferfromwhatyou normally due
40

MICRO

EQ cont'd

pr t he t on a l c o l o r a t i o n a t th e su p p l i e d e adphones ovide. h th Therefore, EQ ScholzR&Dsuggest that you makethe following whengoingdirect. adjustments +3 to +6 at 4kHz +3 to +6 at 500H2 -4 to -6 at 200H2 The MICROEQ provides perfectaccompaniment the for the RockmanrM, restoring losttonalqualities you are usedto. the that Use2 MICRO EQb tor stereo. FIGURE23 - MICRO EO WITH ROCKMANTM
FROM GUITAR

ROCKMANTM

AtEts.s

'@;*@rffiH@'hl5
MICROEQ Gonnected a RecordingConsole to Generally speaking, is bestto usethe insert it jacksof a console when you want to use the MlcRo Ee on an instrument. This allowsfor the individual control the signalof just one vocalor of instrument without usingan aux send,whichcan be betterused f o r s e n d i n gs i g n a lt o e i t h e ra M r c R o v E R B l l o r M l c R o ENHANCER.
41

lyHl}GllDriaFRa

+-lsnrsda |lrolu

MICRO EQ cont'd
TO FIGURE24 - MICROEO CONNECTED RECORDING CONSOLE
SEND INSERT --l
atersl622 m N T
I

RETURN INSERT

ll MICROEQ With ReverbsSuch As MIGROVERB bright. that is artificially Manytimesa reverbsoundis required that any coloration mightbe The MICROEQ can easilyprovide yourmix.Connect follows: as to required enhance FIGURE25 . MICRO EQ WITH REVERB
OR FROMMIXER INSTRUMENT
rrh4rrEDeol?

Es

o ourl

'@;=-@='W-,
T-l

|IACqOEA

rao-t-.w,rue ll,oou. @

---lfOR TOCONSOLE AMPLIFIER 42

low

MICRO EQ contd
MICROEQ In-LineWith Other Effects To restorea loss of high end, whichis sometimes by-product a of effectspedals,the MlcRo Ee should be connectedfirst in series beforeany other etfects.This will ensurethat only the instrument signalis EQedand not any noisefromthe pedals. The exception this is when both a MlcRo LlMlrER and a to MlcRo EQ are used at the same time. In this case, the limiter shouldbe firstin linein orderto keepthe signalconstant all the to etfects. FIGURE 26 A. MICROEO USEDWITHEFFECTS PEDALS
FROMINSTRUMENT TOAMPLIFIER

-l^

EFFECT PEDAL

EFFECTS PEDAL

B. MICRO ANDMICRO EQ LIMITER USEDWTH EFFECTS PEDALS

t N
FROM INSTRUMENT

TO AMPLIFIER

PEDAL

EFFECTS PEDAL

MICROENHANCER'

FRONT
R IiFI't L

r ' ' v ( (r
ryrc \-/

a)

) (
\__/
-

)
El=!c3 iloeuu se

\_-/
rcEIS@CffiEW EFSSmTTOUEO $rcEffiI

\_-/

^LSS|S aarooaD.rtu LoSANGELES,cA.

BACK

Description is out The Alesis MICROENHANCER a stereoin/stereo device (high end) to program information that adds high frequency material a different in way thana normalhighfrequency equalizer. which boost noise as well as the Unlikemost other equalizers, signal,the MlcRo ENHANCER only booststreble information thus addingthe when it alreadyexists in the programmaterial, hig h e n d s p a r k l ew ith o u tb o o sti n g o i se.Also, the MICRO n ENHANCER differsfrom, and is superiorto, other types of psychoacoustic enhancers on the marketsince others use a process whichis ultimately distortion objectionable. semiThe MIGRO ENHANGER be thought as a dynamic of can parametric is capableof in equalizer, a boost only mode, as it performing manyof the functions a parametric.By varying of the a balance between Threshold,Mix, and Bandwidthcontrols, the wide varietyof trebleboostetfectsmay be achieved, without all with equalizers, or the addition any noisenormally of associated with psychoacoustic distortion elementsnormally associated enhancers. Controls The Threshold control,in conjunction with the multicolored
44

MICRO ENHANCER@,O't,A
LEDs, determines slope, the way the MICROENHANCER the or willworkon highand midfrequencies. The Mix control determines muchhighfrequency how information is added the signal going to through unit. the The Bandwidth control determines muchtreble mid-range how or is added to the signal. With the Bandwidth control (all counterclockwise the way to the left),only the very high frequencies added; with the Bandwidthcontrolat maximum are (all the way to the right)upperand lower midrange frequencies are addedas well. A n I n / O u t s w i t c h a l l o w st h e u s e r t o b y p a s st h e M I C R O ENHANCER comparison purposes, so desired. for if Operation Afterconnecting your MICROENHANCER (referto the section on installation), beginby turning Threshold the control the right to (clockwise) untilthe red LED lights.Make sure that the In/Out switchhas beenpressed the "in" position the LEDs will not to or fire. This unit'sLEDs are not your typicalinputlevelindicators, but indicate slope,or the way the MICROENHANCER the will workon highand midfrequencies. means This thatthe sound will differif the threshold set so that the first greenLED is lit from is the sound whenthe red LEDis lit.Thisis dueto thefactthatmore highfrequency energyis triggered more LEDs are triggered as (theslopeis altered). Seetigure 27N278 FIGURE27A FIGURE 278
BANDWIDTH ControlFullLeft BANDWIDTH Control Rioht Full

) uJ
uJ

tr

FREQUENCY

45

MICRO ENHANCER@"o,t'a
until Now beginto turn the Mix controlto the right (clockwise) is achieved.Youcan boost the desiredamountof highfrequency as control, this is the one as thinkof the Mix control an amount boostdesiredto the that will add the amountof high frequency . ENHANCER (or that signal signals) yousendto the MICRO of Now turn the Bandwidthcontroluntilthe desiredbalance all is Startwiththiscontrol the way highsand midrange achieved. and or to the right(clockwise) at full bandwidth, adjustit untilthe reachesthe point of greatestclarity. instrument microphone or Be careful to avoid adding excessive midrange which will make OR vocal sound harsh.See the next sectionfor an instrument morespecific applications. sound, soundto the original the In orderto compare enhanced the depress ln/Out button. with different settingsof the Threshold You shouldexperiment as controland LED indicators the soundwill vary dramatically of varioussettings the Threshold,Mix, and Bandwidth between Also,don'tbe afraidto drivethe unit hardso as to keep controls. the red LED on all the time as this is whenthe MICRO is at ENHANCER operating its maximum. Application versatile deviceand is The MICROENHANCER an extremely or Duringrecording may be used in a varietyof applications. playing can live,theMICROENHANCER be usedas the ultimate, and and quietest trebleboosteron guitars,keyboards, vocaland mics. instrument and helpfulhints. Please Here are just a few possibilities uponthe will vary depending remember the control that settings played,and the used,the styleof musicbeing actualequipment playingstyleof the musician. settings nominally particular The are 'correct good starting however, and shouldserveas a reasonably point.

MICRO ENHANCER@cont'd
MICRO ENHANCER Guitar on FIGURE 28
FROM INSTRUMENT MIXING OR CONSOLE
TOAMPLIFIEF MIXER OR

MICRO ENHANCER Electric on Bass FIGURE 29

FROMII.ISTRUMENT MIXING OR CONSOLE TOAMPLIFIEB MIXER OR

MICRO ENHANCER AcousticPiano on FIGURE 30

FROMMIXING CONSOLE TO MIXER

MICRO ENHANCER Vocals on FIGURE 31

FROMMICROPHONE MIXER OR TOAMPLIFIER MIXER OR

47

MICRO ENHANCER',onra
MICRO ENHANCER Guitarthrougha RockmanrM on The MICRO ENHANCER restores highendthatis lostwhen the plu g g i n gh e R o c kma n rMi re ctl y n to a n a m plifier mixing t d i or Thisis because console. thereis a certain amount trebleboost of provided the headphones by with supplied the RockmanrM is that missing whenthe headphones not used.Now you can hear are yourguitar/RockmanrM its glorywiththe helpof the MICRO in all ENHANCER. See figure 32
FIGURE 32 ToAMPLTFTER oRMrxER
LEFTOUTPUT RIGHTOUTPUT I I

L E F TI N P U TI I R I G H T N P U T I

MICRO ENHANCER during mixdown The MICROENHANCER be usedto add highend sparkle can and presence when mixing. This is particularly usefulin home recording formats wherelimitedbandwidth distortion the and in process recording robsimportant highfrequency information that givespresence, crispness, punch homerecording and to efforts. Connect leftand rightoutputs the mixing the of console directly to the inputs the MICROENHANCER, plugthe outputs of then of the MICROENHANCER into the mixdown directly tape deck. *e figure 33 FIGURE33

48

MICRO CUE AMP

FRONT

o,eooooo.
R INPUT1 L STEREOUNEOUT F I}IPUT2 L

o\lss:91?9l{loN
LVO AI\UELE>, UA

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O SEAVCT IFSO\TI.

MADE IN U S A

Description T h e Al e s i s M I G ROC U E A MP i s a h ea dphone amplifier equipped with 2 separateheadphone channels and designed to accept up to 2 stereo low level signalsand boost them to a comfortable listening level.These2 separate stereoinputsare c omp l e t e i t h t h e i r o w n l e ve l co n tro l s n each headphone w o channel and give you the ability mix 2 sources for to together a widerange applications. of The MIGROCUE AMP also allowsthe userto chainmultiple unitstogether expandthe headphone to monitoring capabilities of any recording setup. Gontrols The Input 1 controldetermines amountof amplification the that the signalappliedto the input 1 jack on the back panelwill receive. The left-hand Input 1 controldetermines levelfor the the jack.The right-hand Out t headphone Input 1 control determines jack. the levelforthe Out 2 headphone The Input 2 controldetermines amountof amplification the that the signal appliedto the input 2 jack on the back panel will
49

MICRO CUE AMP cont'd

the determines levelfor the Input 2 control The receive. left-hand jack. Out t headphone the determines levelfor the Out 2 tnput 2 control The right-hand jack. headphone output headphone 2 The MICROCUE AMP features separate jacks,eachwith independent overinputs1 and2. levelcontrol by controlled withthe volume output headphone Out 1 is a stereo the leftInput 1 andInput2 controls. by outputwiththe volumecontrolled Out 2 is a stereoheadphone 2 controls. the rightInput 1 andInput that ThegreenLEDindicates the unitis on. The Input 1 Jacks on the backpanelare a stereoiackwhichcan auxiliary sendsof a mixing to beusedfor connection the stereo suchas guitaror or usedas an inputfor an instrument console, practicing. for keyboard private jackwhichcan The lnput 2 Jackson the backpanelare a stereo sendsof a mixing auxiliary to be used for connection the stereo suchas guitaror or console, usedas an inputfor an instrument . k e y b o a r df o r p r i vatep ra cti ci n gT h e In p ut 2 Jack is also additional paralleled the StereoLine Out Jack for chaining with MICRO CUEAMPStogether. MICROCUE additional Stereo Line Out is usedfor chaining to applied Input2 is AMP unitstogether. Only the signal at available the StereoLine Out. Operation on to your CUEAMP (refer the section Afterconnecting MICRO into simplyinsertyour headphones eitherOut 1 or installation), 2 on the front panel,and turn the Input 1 and/orInput 2 Out volumeis reached.MICRO headphone untilthe desired control low either driveanyset of headphones, CUEAMPwilladequately (8 ohms)or high(600ohms)impedance.
50

MICRO CUE AMP contd

Please Note: lf you are connecting just one source to your MrcnO CUE AMP, make sure that the unused input control is turnedcounterclockwise the left, or off). This wiil preventany (to unwanted, stray noisesfrombeingheard. Application The Alesis MICROCUEAMP is a convenient inexpensive and time saver, suitable numerous for applications. litilebox will This come in handywherever extraset of headphones need,so an is don'tlimityourself to theseexamples. only MICROCUEAMP Used For Additional Headphone Outputs T h e M I C R O C U E A MP i s p e rfe ctfo r adding additional headphone outputsto a system.Beloware severalmethodsto accomplish this. Femember:The MICROCUE AMp hasstereo input jacks. Therefore, sends I and 2 or main outs must terminatein a stereoplug. FIGURE - MICRO 34 CUEAMP/CONSOLE INTERFACE
A. USINGTHEAUXSENDS
AUXSEND1 TO OTHER MICRO CUEAMPS

o
v

F*O

I
neaopHoues

B. USINGTHE MAIN OUTPUTS

MAINOUTLEFT

STEREO LINEOUT

g,@@g
HEADPHONES

51

MICRO CUE AMP cont'd

GhainingMICROCUEAMPSTogether Several MICROCUEAMPSmay be connected in together order to add an unlimited numberof headphone outputsto a system. Remember: The Stereo Line Out jack is paralleled with lnput 2, so lnput 2 must always be used as the main input when being used in this application. FIGURE35. CHAININGMICROCUE AMPS

FROMMIXING CONSOLE

-t

STEREO LINE OUT

INPUT 2

-7-t '

I|NPUT2

\ . l t-----.---.----

TOOTHER M|CRO cUEAMPS

.48

lrccxD

aE

@@9.@e9"
I ,roor*o*r,
HEADPHONES

MI CR O C U E AM P U se d F o r Qu i e t P r a cticing W ith An Instrument MICROCUE AMP makesthe perfectprivaterehearsal monitor page,turn up the system.Simplyconnectas shownon the next volume, go for it! and

52

MICRO CUE AMP cont'd

FIGURE MICRO 36. CUEAMPWITHELECTRIC INSTRUMENTS
FROMTAPEDECK, DRUM MACHINE, ETC. INPUT 2

FROM GUITAR OR KEYBOARD

rNPUr 1
At.Cs.s lu!c'?fD

I
M,

t@@.: -ffiffii oq
-p-pourz
HEADPHONES

AE

MI CR OC U E AM P Use d F o r S ta n d -A l on eDr um Machine Programming Manytimesin the middle a hot session, of newdrummachine partsare required. lnstead usingup valuable of studiotimefor programming, MICRO the CUEAMP can be pressed service into for a privateprogramming session whileyour expensive studio timeis better usedon otherrecording. FIGURE37

ALESIS HR-16/HR.168

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OUT 2

MICRO CUE AMP cont'd

M I C R O C U E A M P U s e d F o r S t a n d - A l o n eS y n t h e s i z e r Programming As in the aboveexample, MICROCUE AMP is the perfect the programming companion for device synthesizer Add a situations. M I C R O V E R Bl a n d y o u h a v e a s t u d i oq u a l i t ym o n i t o r i n g l environment makeyourprogrammingsnap. to a

FIGURE MICRO 39. CUEAMPFORKEYBOARD PROGRAMMING

FROM KEYBOARD

At.Ets FllrCHDArcltaDEgt

lnr

I
\

",@.@-@%o)ru
/ \ / \ / . 6 _ r l

on*-. --..

ot@
HEADPHONES

54

SYSTEM SET-UPS
FIGURE - GUITAR KEYBOARDS. 40 OR A (MICRO LIMITER MICRO to GATE MICRO to ENHANCER)
GUITAR

55

SET.UPS SYSTEM
41 OR FIGURE . GUITAR KEYBOARDSB (MICRO EQ GATE) LIMITER MICRO to MICRO to

GUITAR

56

SYSTEM SET-UPS
FIGURE GUITAR KEYBOARDS. 42. OR C (MlcRoLIM|TER MTCRO ro MTCRO to EQ GATE MtcRo to ENHANCER)

LEFTINPUT

LEFTOTJTPUT
TO AMPLIFIER MIXING OR COT,ISOLE

57

SYSTEMSET-UPS
FIGURE . GUITAR KEYBOARDS. 43 OR D ( M I C R O L I M I T E Rt o M I C R O E Q t o M I C R O G A T E MICROVERB MICRO llto ENHANCER)

-t

GUTTAR LEFTNPUT

o .\__/- f ' ) - f' ) !l ,---@ f ')' \/ a \J ,tV ^*,

INPIT AELEISE OU|PUI

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Lerrorrnn I I urrrurur

Mts

-J.15.1tu8 A=,oi F!E|C3ID ClAr Frc

a :\g_,y4_.y4 ' R;l-CaA:A

. MN -

o
usr

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aos l\ v

!,,,o'

lerrourrur I LEFTNPUT
o

urrourrur I LEFTI.IPUT T

58

SYSTEM SET.UPS
FIGURE GUITAR KEYBOARDS. 44. OR E ( M I C R O L I M I T E Rt o M T C R OE Q t o M T C R OG A T E t o MICROVERBto MICRO ll ENHANCER MTCRO to CUEAMp)
-1
GUTlrAR
' LEFT INRJT

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[*r*

LEFrqnpur
I LEFTNRJT

I LEFrourpur I r-errrrunrr

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r-erra,rrnrr
[,"r-r r*rntopE oEcK cor{solE oR

59

SET-UPS SYSTEM
45 FIGURE - with RockmanrM A ENHANCER) (MICRO to GATE MICRO LIMITER MICRO to
ROCKMAN

INPUT RIGHT

,'ts's I;GBO !.s!!EP

g@..@@@@@O
f1 ,r,our
INPUTIEIEL

LEFT OUTPUT

RIGHT OUTPUT

LEFT INPUT

INPUT RIGHT

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LEFT OUTPUT RIGHT OUTPUT

AS'=;ICFOG4trE

INPUT LEFT

INPUT RIGHT

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LFITEL

o
OUTPUT RIGHTOUTPUT

@
V,r,ou,
CONSOLE TOAMPLIFIER MIXING OR

60

SYSTEM SET-UPS
FIGURE - with Rockmanru- B 46 (MICRO LIMITER MTCRO to MTCRO to Ee GATE MTCRO to ENHANCER)

a :&xf. n.
h d t . - " '

61

SET.UPS SYSTEM
47 FIGURE - with RockmanrM C to (MICRO GATE EQ LIMITER MICRO to MICRO to ll) MICRO ENHANCER MICROVERB to

RIGHTOUIPUT reHTFPUT

THTOUIPI'T

62

SYSTEM SET.UPS
FIGURE GATED 48. REVERB (MICROVERBto MICRO ll LIMITER MTCRO to GATE MTCRO to ENHANCER)
FROM MIXING CONSOTE

LEFTINPUT

RIGHTINPUT

LEFT OUTPUT LEFT INPUT

RIGHT OUTPUT RIGHT INPUT

LEFT OUTPUT LEFT INPUT

RIGHT OUTPUT RIGHT INPUT

o ;' o A-.A:i6;" o
t=t 'n ' ou' THRES/./oI-D DELAY RAIE

a'E== ;llGgoclE

"t*t o

LEFT OUTPUT LEFT INPUT

RIGHT OUTPUT RIGHT INPUT

,zx-Esrs lleFOEf;|afGEF

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LANEL

V,ntow LEFT OUTPUT RIGHT OUTPUT

@
TO MIXINGCONSOLE

63

SYSTEM SET-UPS
FIGURE 49. DURING RECORDING LIVEPERFORMANCE OR (MICRO LIMITER MICRO llto to GATE MICROVERB MICRO to ENHANCER)
FROMINSTRUMENT MIXING CONSOLE OR LEFTINPUT RIGHTINPUT

As=#eBO

lJlllEP

6 @.@ @ @ @ @ @

INPUT

NELEASE

OUTPIIf

INPU| LA/EL

LEFT OUTPUT LEFT INPUT

RIGHT OUTPUT

RIGHTINPUT

e-(t-(t-o.; -\-1"\7'-\-1'
LEFT OUTPUT INPUT LEFT

A-es|s+lcPoctr,

,t9,

o
cl.osE /A

v f1 ,*,our

RIGHT OUTPUT RIGHT INPUT

LEFT OUTPUT LEFT INPUT

RIGHTOUTPUT RIGHTINPUT

RIGHT OUTPUT

TOAMPLIFIER MIXING OR CONSOLE

For best performance with the least systemnoise,this is the recommended order for connecting of the units of the llicro all Seriestogether. settings up to you. The are

SPECIFICATIONS
MICROENHANCER
FREOUENCY RESPONS92OHz 20kHz to DYNAMIC RANGE/1OOdB DISTORTION/<.1% at lkHz OdB THD SIGNAL LEVELS/-10 to +4 dB nominal DB INPUT IMPEDANCE/IMeg eachchannel Ohm jackoutputs, phone CONNECTIONS/2x114" jackinputs, phone 2x114" 1x1/8" jackinput power POWER/9 voltsA.C.5 VoltAmperes externallransformer BANDWIDTH ENHANCED OF SlGNAUmin l2kHzto 20kHzmax2kHzto 20kHz

MICROGATE
FREOUENCY RESPONSE/2OHz to 2OKHz DYNAMIC RANGE/1OOdB ilSTORnONt<.zYo THDat lkHz OdB SIGNAL LEVELS/-10 to +4 dB nominal DB INPUT IMPEDANC9IMeg Ohmeachchannel phonejack inputs, CONNECflONS/2x114' 2x1t4-phonejack outputs, 1x1/4" jacktrigger, jackinput phone power 1x1/8" POWER/9 voltsA.C.5 VoltAmperes external transformer ATTACKTIM9Ims OPENING TIME/Sms DELAY TIME/min <2ms,max1.5sec. CLOSING TIME/min <2ms,max2 sec. RELEASEmin 20ms,max2.5 sec.

MICRO LIMITER
FREOUENCY RESPONSS20Hz 2okHzr 1 dB ro DYNAMIC RANGUlnput 100d8, output dependent Ratio on DfSTORnONk.2Y"THD lkHz OdB at SIGNAL LEVELS/-10d8 +4 dB nominal to phonejack inputs, CONNECflONS/2x1|4" 2xll4 phonejack outputs, 1x1/8" powerjack input POWER/9 vohsA.C.5 VoltAmperes external translormer TIME/Program ATTACK dependent 150ms 0.5ms to RELEASE TlMBmin10ms, max500ms RATIO/I:1 infinity to

65

MICRO EQ
to RESPONSE/20H2 ZokHz FREOUENCY to Freq RANGESTLow -- ZoHzto 1kHz,Mkl Freq- 25OHz 6kHz' FREOUENCY t15dB bands to HighFreq- 1.5kHz 2OkHz-All at lkHz OdB DfSTORTIONI<.1"/"THD RANGE/1OOdB DYNAMIC phone iack input, lxll4 phonejack oulput, 'lx'l18 CONNECTIONS/Ix1/4' poweriack input externaltransformer voltsA.C.5 VoltAmperes POWER/9 dB SIGNAL LEVELSF10 to +4 dB nominal Meg IMPEDANCFJI Ohm INPUT

MICROCUE AMP
to RESPONS92OHz 2okHz FREOUENCY at lkHz DfSTORTION/<.2Y"THD 0dB /1OOdB RATIO SIGNAL NOISE TO phone 1x1l8" 2x1/4'phone CONNECflONS/2x114" jack inputs, iackoulputs, jackinpul,2x114' power outputs ring-tip-sleeve slereo transformer exlernal POWER/9 vohsA.C.5 VoltAmperes into into oUTPUTPOWER/s1omW 600oHMS,260mW 30 oHMS,95mWinto sOHMS IMPEDANCE/1Meg eachchannel Ohm INPUT

MICROVERBII
(Dry), (Reverb) 2dB i RESPONSE/2OkHz 15kHz FREOUENCY DYNAMIC RANGE/9OdB picall DlSTORTION1% (Ty t. -10 SIGNAL LEVELS/lnput: to +20dBV Peak, Output: +8.5dBVPeak(Reverb), Output: dBVPeak(Dry) +20 channel, 500kOHM, Monolnput INPUT IMPEDANC9IMEGOHMeach SCHEMBI6BitLinear PCM CONVERSION MEMORYR2 Kibbytes PROCESSING SPEED/3 MillionOper./Sec. PROCESSOR Matrixed Stereo, lmaged Full Stereo FORMAT/lnput: (notsupplied) SPST DEFEAT/External, Switch Red: Power indication, Green: Signal Present, LEVELINUCAnON/Orange: Overload OulpulLevel, Program CONTROLS/lnpul MixRatio, Gain, PROGRAMS/16 Defeal: lnputs: /4' Phone, 1 Stereo Outpuls: Phone, 1/4' CONNECnONS/Stereo Phone Power:3.5mm 1/4"Phone, POWEF/ AC,SVoh-Amperes 9V
66

ALES'S LIMITEDWARRANTY
ALEsls OORPORATIONCALESIS') wanants this p.oduct to b fr ot dtec'ts in matefiat and wofimanship for a period ol 90 days lrom the dats ot original retail purchase. rnis wananty ii enrorceaure only by the ofuinal retail purciasor. . . . Io b Protected by th:iswananty, the puichaser must.complete and rtum the endosd wananty card within 14 days of purchase. Duringths wananty psriod ALESISshall, at its sole and absoluteoption,eithsr repairor replace . . free of charge any prcduct that proves to b dtectiv on inspection by AIESS or its autrJrizeo servir:e representative. To obtainwananty srvice,th purchasermust tirst call or write ALESISat the addressand telephonenumbrprintedbelowto obtain a ReturnAuthorization Numberand instructions concerning whero lo retum the unit for service. Atl inqukies must be accompanied by a dscription ol th6 problem. All authorized retums must b sent to ALESIS or an authorized ALESIS repair tacility postage prepaid, insured and proptly packaged. Proof ol purchas must be prosented in the form ot a bitt oi sateicancitted ched< or som olher form of positiveproot that the productis withinthe warrantyperiod.ALESISrasorvesth right lo update any unit returnd for repair. ALESIS reserves the right to change or improve design ot the prodr,i at any time without prior notice. This wananty dos not cover claims for damage du to abuse, nglecl, alteration or attmptod . repah by unauthorized prsonn|, and is limitdto lailuies arisingduring noimal use that ar due to defects in materialor workmanshipin ths product. ANY IMPLIEDWARRANTIES, INCLUDINGIMPLIEDWARRANTIES MERCHANTABILITY OF AND FITNESSFOR A PARTICULAR PURPOSE,ARE LIMITEDIN DURATION THE LENGTHOF THIS TO LIMITEDWARRANTY. Som statesdo not allow limitations how long an impliedwarrantylasts,so the on abov limitationmay not apply to you. IN NO OTHER EVENTWILL ALESISBE LIABLEFOF INCIDENTAL, CONSEQUENTIAL OR OTHER OAMAGESHESULTING FROM THE BREACHOF ANY EXPRESSOR IMPLIEDWARRANW, INCLUDING, AMONGOTHER THINGS,OAMAGETO PROPERTY, DAMAGEBASEDON INCONVENIENCE ON LOSS OF USE OF THE PRODUCT, OR AND, TO THE EXTENTPERMITTEDBY LAW DAMAGESFOR PERSONALINJURY. Some states do not allow the exclusionor timitation of incidental or consquential damages, so the above limitation or exclusion may not apply to you. This warrantygives you speciliclegal rights,and you may also nave-otner rilnis wirich vary from . state to stale. This warranty applies only to products sold and used in th United States of America. For wananty informalion in all other countries please reter to your local distriburor.

ALESIS 3630 HoldregAvenu Los Angeles,Calitornia90016 (213) &|6-7924

Your warranty wlll be In effect and you wlll recelve waranty informailon ONLY !F YOU SEND IN YOUR WARRANTYCARD

AICAIS COi?OnAnOX. tOS ANGELES: 36itr Hot(hdgsAy..riro, Loc Angd.q CA mrG$l point. Letchworth. LONDON: AlesisCorporation, Letchworth 15 Henlordshire SG6 tND
rerq 4022