Alesis Studio 24 Reference Manual
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Alesis Studio 24 Reference Manual

Alesis Studio 24 Reference Manual

Analog signal processor
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Summary of Contents for Alesis Studio 24

  • Page 1 ALESIS Studio 24 Reference Manual...

  • Page 2: Table Of Contents

    The different mixes and what they’re needed for ... 20 Multitrack Mix... 20 Monitor (Control Room) Mix... 22 Aux Sends and Returns: Effects ... 24 Guided Tour ... 25 Recorder Mix/Monitor Mix System... 25 Starting at the source: input and trim ... 25 The equalizer ...
  • Page 3 MONITOR 1/2 LEVEL and PAN (Channels 1 - 8)... 79 MONITOR 1/2 LEVEL and BAL ... 79 (Stereo Channels 9 - 16)... 79 Channel Output Section ... 80 Channel PAN (Channels 1 - 8) ... 80 Channel BALance (Stereo Channels) ... 80 24 R TUDIO EFERENCE ANUAL...
  • Page 4 Line In jacks (Stereo Channels) ... 92 Mic In jack (Channels 1 - 8 only)... 92 Troubleshooting... 93 Troubleshooting Index... 93 Maintenance/Service ... 94 Specifications ... 97 Frequency Response... 97 Connectors... 97 Levels ... 97 24 R TUDIO EFERENCE ANUAL Contents...
  • Page 5 Contents Impedance ... 98 Noise performance (typical) ... 98 Distortion (THD+N)... 98 Power ... 98 Dimensional Drawings: ... 100 Gain Diagram ... 101 Block Diagram... 102 Index ... 103 24 R TUDIO EFERENCE ANUAL...

  • Page 6: Important Safety Instructions

    7. Install in accordance with the manufacturer's instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 24 R TUDIO EFERENCE ANUAL Important Safety Instructions...
  • Page 7 Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 24 R TUDIO EFERENCE...

  • Page 8: Instructions De Sécurité Importantes (French)

    10. Evitez de marcher sur le cordon secteur ou de le pincer, en particulier au niveau de la prise, et aux endroits où il sor de l’appareil. 11. N’utilisez que des accessoires spécifiés par le constructeur. 24 R TUDIO EFERENCE...
  • Page 9 Ne l’utilisez pas pendant longtemps à un niveau sonore élevé ou à un niveau non confortable. Si vous remarquez une perte de l’ouïe ou un bourdonnement dans les oreilles, consultez un spécialiste. 24 R TUDIO EFERENCE ANUAL...

  • Page 10: Beim Benutzen Dieses Produktes Beachten Sie Bitte Die Folgenden Sicherheitshinweise: (German)

    Betreiben Sie es nicht über längere Zeit mit hoher Lautstärke oder einem Pegel, der Ihnen unangenehm is. Wenn Sie ein Nachlassen des Gehörs oder ein Klingeln in den Ohren feststellen, sollten Sie einen Ohrenarzt aufsuchen. 24 R TUDIO EFERENCE...

  • Page 11: Ce Declaration Of Conformity

    European Contact: March, 1999 ONFORMITY Alesis Corporation 1633 26th Street Santa Monica, CA 90404 Studio 24 Analog Signal Processor EN 55022:1988 Class B; EN50082-1:1992; IEC 801-2:1984 2nd Edition, 4kV direct, 8kV air; IEC 801-3:1984 2; 3V/m 150MHz-1GHz, IEC 801- 4:1988 1st Edition 2; 1kV, 0.5kV (all tests were performed with fully-shielded cabling.)

  • Page 12: Introduction

    In either case, the Studio 24 packs a lot of power into a small package, and we wrote this manual so that no matter what your background is, you can get the most out of it.
  • Page 13 ONVENTIONS The buttons, knobs, and top and back panel connectors are referred to in this manual just as their names appear on the Studio 24, using all capital letters (Example: TRIM control, PAN knob, MIC IN jack, etc.). ✪...

  • Page 14: For The Experienced: A Quick Overview

    OR THE EXPERIENCED If you're already familiar with mixing consoles, here are some important points you need to know about the Alesis Studio 24 Recording Console. The Studio 24 follows commonly-accepted traditions for signal levels and routing. Channel Input Jacks: All 1/4” inputs and outputs are balanced except the INSERT jacks and Stereo Aux Returns.
  • Page 15 Chapter 7 “Description of Controls” gives a knob-by-knob definition of each feature of the Studio 24, so if you know what the “EQ” controls do, but you need more information on “LINK TO L/R”, this is where you can look it up. In any case, please remember that after you get started, this manual contains information that will help you get the highest level of performance from your Studio 24.

  • Page 16: About The Studio 24

    Channels 1 - 8 for an additional 8 “virtual tracks”. This flexible design allows full mix control of 24 sources (8 tape returns plus 16 line inputs for MIDI virtual tracks), plus 4 aux returns, for a total of 28 sources at mixdown.
  • Page 17 Either Auxiliary mix may be previewed in the control room while leaving the rest of the signal path undisturbed. A built-in headphone jack allows you to hear either the control room source or the monitor mix. 24 R TUDIO EFERENCE...

  • Page 18: Basic Principles Of Mixing & Multitrack Recording

    ECORDING Source select, level control, and destination assignment When it’s being used in a recording studio, the Studio 24’s job is to control the volume, tone, pan and effects for many different inputs such as microphones, electronic instruments and digital recorders. You could think of this as the “where from”...

  • Page 19: The Stages Of Multitrack Recording

    During overdubbing, it’s easy to get confused, since there may be three or more separate mixes happening at the same time. As long as you keep them separate in your mind, and keep track of what’s going where, the Studio 24 will let you get almost any sound mix you want.
  • Page 20 Introduction 24 R TUDIO EFERENCE ANUAL...

  • Page 21: The Different Mixes And What They're Needed For

    Please note a key concept: you can go from any channel input to any of the group, direct outs or main outputs. Inputs and tracks are independent of each other. You can plug a mic into channel 1, and record it on track 4 without repatching. TUDIO ’ 24 R EFERENCE ANUAL...
  • Page 22 LINE TRIM CHAN/MON REVERSE INSERT jack 75 Hz HIGH FREQ FADER MUTE GRP 1/2 24 R TUDIO EFERENCE ANUAL Multitrack Recorder Mix TAPE (Groups, Directs and L/R) (to MON 1/2) DIRECT (to AUX sends) DIRECT OUT SOURCE Switch (from GRP 2 on Even Channels)

  • Page 23: Monitor (Control Room) Mix

    In either case, the Studio 24 allows you to adjust the monitor and control room mix (change levels, pan position, or solo individual channels) without disturbing the signals being recorded to the multitrack.
  • Page 24 Monitor/Control Room/Solo System LINE TAPE TRIM CHAN/MON REVERSE MON 1/2 LEVEL MONITOR PAN (Channel details on previous page) Channel Fader MUTE Channel PAN SOLO 24 R TUDIO EFERENCE ANUAL MONITOR CONTROL ROOM 1/2 MASTER SELECT SWITCHES (from AUX, GROUP, L/R masters...

  • Page 25: Aux Sends And Returns: Effects

    The rows of blue knobs running across the center of the Studio 24 may be thought of as secondary submixers, with a little less independence from the other mixes, because they follow them in the signal path.

  • Page 26: Guided Tour

    This allows you to mix an input and monitor a tape signal simultaneously. Counting the Stereo Aux Returns, the Studio 24 has a total of 28 inputs to the main mix. These can all be mixed down to a master tape deck via the L/R Main outs.

  • Page 27: The Equalizer

    MIC or LINE properly, since high levels could lead to distortion and levels set too low will cause noise (see Setting Levels). The audio from recorded tracks on your multitrack connect to the Studio 24 at the TAPE IN jacks of Channels 1 - 8.

  • Page 28: Fader And Assignment Section

    In the studio, the Group output usually is connected to the inputs of a multitrack recorder, such as the Alesis ADAT. A very useful application of the Group feature is to assign the output of the Groups to the Direct Outs by pressing the DIRECT OUT SOURCE switch at the top of the Channel that corresponds to the Direct Outs you want to use.

  • Page 29: Monitor 1/2 Section

    The MONITOR 1/2 mix has its own MASTER LEVEL control and may be heard in several different ways: • From its own output jacks on the Studio 24’s back panel connected to an external headphone amplifier • the HEADPHONE jack of the Studio 24 with the MON 1/2 switch down in the CONTROL ROOM section •...

  • Page 30: Aux Send/Return System

    Stereo Aux Returns as additional line inputs. This is especially useful for keyboards that provide their own on-board signal processing, and therefore do not need to be routed to the other Aux Sends. 24 R TUDIO EFERENCE...

  • Page 31: Control Room System

    The SOLO switches in each channel, along with the Control Room switches and Headphone section, make up the Control Room system of the Studio 24. This is the engineer’s mix. It allows you to audition the different mixes that are going on at any given time and to hear individual inputs when needed, all without disturbing the other mixes that are going to the musicians, the PA system or recorder.

  • Page 32: Solo

    Note that the SOLO switches of the Studio 24 are “nondestructive”, meaning that they never affect any mix other than the Control Room mix.
  • Page 33 Guided Tour 24 R TUDIO EFERENCE ANUAL...

  • Page 34: Hooking It Up

    NPACKING AND Your Studio 24 was packed carefully at the factory, and the box was designed to protect the unit during shipping. Please retain this box in the highly unlikely event that you need to return the Studio 24 for servicing.

  • Page 35: Power

    VAC and Hz, a professional power conditioner should be used. To connect power to the Studio 24: Attach the female end of the AC power cord to the Studio 24’s back panel and the male end to a good quality, noise-free AC power source of the proper rating.

  • Page 36: Avoiding Ground Loop Noise

    In some cases, a “star grounding” scheme must be used, with the Studio 24 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.

  • Page 37: Channel Inputs And Outputs

    HANNEL NPUTS AND Each of the first 8 channel modules on the Studio 24 contains an XLR balanced MIC IN connector, a 1/4" TRS balanced LINE IN jack, an RCA unbalanced RCA TAPE IN jack, an unbalanced RCA DIRECT OUT jack and a 1/4" TRS INSERT jack.

  • Page 38: Line Inputs

    Tip: If you don’t have an 8-track studio, you may use extra TAPE IN jacks to connect to the outputs of any line-level unit such as synthesizers or effects devices. Simply use a 1/4” to phono cable or adapter. 24 R TUDIO EFERENCE...

  • Page 39: Direct Outputs

    (such as a compressor, EQ, or chorus) directly into the signal path of only one channel: the channel it is connected to (as opposed to the Aux system, which combines many different channels into an effect). For details on this, see page 49. 24 R TUDIO EFERENCE ANUAL...

  • Page 40: Master Inputs And Outputs

    ASTER NPUTS AND Top panel: at the upper right-hand corner of the top panel of the Studio 24 you’ll find most of the connectors that provide the outputs of the console: two 1/4” MAIN OUTs (plus two MAIN INSERT jacks), and two 1/4" GROUP OUT connectors (plus two GROUP INSERT jacks).

  • Page 41: Group Inserts

    1/4" jack which can drive most headphones. The signal level is controlled by the HEADPHONE LEVEL knob in the CONTROL ROOM section. The wiring scheme is shown below; most headphones label which side is left and right. UTPUTS ETURNS AUX SENDS 3/4 TUDIO 24 R EFERENCE ANUAL...

  • Page 42: Chart Of Connections

    HART OF ONNECTIONS The Studio 24 may be easily interfaced with most other professional recording and audio equipment. Most inputs and outputs use 1/4" jacks (and may be used with balanced or unbalanced circuits) and some use unbalanced RCA phono jacks. The microphone inputs are standard balanced XLR type jacks.

  • Page 43: Connecting To An Unbalanced -10 Dbv Multitrack Recorder

    ECORDER Interfacing the Studio 24 with a typical multitrack recorder using semiprofessional unbalanced phono or 1/4" phone jacks is a simple process. The Studio 24 is not designed to be used with the balanced inputs and outputs of the ELCO-type connector on the ADAT.

  • Page 44: Connecting To A 2-Track Mixdown Deck

    (or a rough mix of a work in progress). A special pair of inputs of the Studio 24 are provided to hear the mixdown deck in the Control Room mix only. If you connect the mixdown deck to regular line inputs, you run the risk of feedback by accidentally recording the output of the 2-track to itself.

  • Page 45: Connecting To A Control Room Amplifier

    Studio 24, the multitrack tape machine, and all of the outboard equipment. This is much more convenient, but a more expensive method than described in the last section, and is not absolutely necessary for operation.

  • Page 46: Effects And Signal Processing

    To connect the Aux Sends and Stereo Aux Returns to outboard effects: Connect the Aux Sends AUX 3 and AUX 4 to the input or inputs of your outboard effects devices (like the Alesis Wedge or Midiverb 4). See the next page for more information about using stereo inputs (or not).

  • Page 47: Should You Use One Or Two Inputs To Effects

    Check the manual for your effect device for more information. On the other hand, true dual-channel effects processors (such as the Alesis Wedge and Q20) should be connected to two different sends to take advantage of the dual processing capability.

  • Page 48: Using Effects

    SEND Adjust the send level from the Studio 24 to the effect device using the blue Channel AUX SENDs and the input controls of the effect device itself. This level should be as strong as possible without clipping the effect device, and without extreme settings on either the mixer or the effect.
  • Page 49 To record effects onto the mixdown deck: This procedure is the same as for hearing effects in the control room monitors described earlier: assign the STEREO AUX RETURNS to L/R and adjust the LEVEL controls. 24 R TUDIO EFERENCE ANUAL...

  • Page 50: Connecting Signal Processors To Insert Jacks

    MAIN INSERT jacks. This is desirable when either a group of instruments, or the entire mix, needs to be processed. All INSERT jacks on the Studio 24 are TRS jacks containing both an output (send) and an input (return). The tip of the plug is the Send and will be connected to the Input of the effects device or processor, and the ring of the plug is the Return and will be connected to the Output of the effects device or processor.
  • Page 51 Effects and Signal Processing 24 R TUDIO EFERENCE ANUAL...

  • Page 52: Multitrack Recording Applications

    (overloading) the electronics. To do this, it’s important to set proper levels not only within the Studio 24 itself, but throughout the rest of your audio system. Here are some procedures to follow when you’re operating the Studio 24 to achieve a gain structure (the signal level within each part of the system) that will give you professional results.
  • Page 53 As a good rule of thumb, try to run most volume level controls of other equipment receiving signal from the Studio 24 (amplifiers, effect devices) at 3/4 or 75% of full, as well. This will decrease the possibility of overload distortion and keep the amount of background noise to a minimum.

  • Page 54: How To Record A Single Source To One Track

    When recording a single source appearing on one Channel onto a single tape track, it is usually best to use the DIRECT OUT of the Channel. This provides the most direct connection between the Studio 24 Mixer and the multitrack. To record a single source to a single track: With a microphone or instrument connected to the desired input channel, set the TRIM and fader level correctly (see page 51, Setting Levels).

  • Page 55: Recording Multiple Sources To One Track

    The appropriate GROUP FADER will now control the level going to tape. Raise the GROUP FADER to its maximum position. To check the level of the Group on the Studio 24’s meter, press the GRP 1/2 switch in the CONTROL ROOM section.

  • Page 56: Recording Multiple Sources To Two Tracks (Stereo)

    When using this method, note that the overall level of Channels panned left is controlled by the GRP 1 FADER; the overall level of Channels panned right is controlled by the GRP 2 FADER. To monitor the tracks through the multitrack tape machine, place the tape 24 R TUDIO EFERENCE ANUAL...
  • Page 57 Be sure the L/R buttons are in the “Off” position (up) for the ✪ Channels being recorded. Otherwise, this may cause the monitoring to be false if the signals can be heard from two sources: the Channels and the Tape Monitors. 24 R TUDIO EFERENCE ANUAL...

  • Page 58: Recording Tips

    (called 0 dBfs, for full scale). Note that “0 dB” on the Studio 24’s meters means that the output of the Studio 24 is at “nominal” level (+4 dBu balanced, -2 dBu unbalanced or -10 dBV unbalanced, depending on the connector), as opposed to “0 dB”...

  • Page 59: Overdubbing

    Play the tape and raise the MONITOR 1/2 MASTER until the peaks of the signal briefly light the yellow LEDs in the meters. Turn the CONTROL ROOM control knob up to the desired listening level. ONITOR THE ULTITRACK 24 R TUDIO EFERENCE ANUAL...

  • Page 60: Using The Channel Faders To Monitor The Multitrack

    On the multitrack, set the tracks you want to monitor into playback mode (Record switched OFF). On the Studio 24, make sure the GRP switches of the tracks you want to hear are all UP (off). Press the CHAN/MON REVERSE switch at the top of the Channel (below TRIM) down for all tape tracks you want to hear.
  • Page 61 Recording Tape Returns 24 R TUDIO EFERENCE ANUAL...

  • Page 62: Getting The Mix To The Headphones

    The simplest solution for headphone monitoring is to simply plug into the headphone jack at the upper right hand side of the Studio 24. You may run a stereo extension cable from this jack; it will power most standard headphones. (If the phones aren’t loud enough, consider trying some more efficient headphones with a...

  • Page 63: Monitoring Midi Virtual Tracks

    Set the MONITOR 1/2 MASTER LEVEL control to its nominal position (about “2 o’clock”). Adjust all other levels to taste. If you want to turn all the virtual tracks up or down in the mix simultaneously, use the MONITOR 1/2 MASTER LEVEL control. IRTUAL RACKS 24 R TUDIO EFERENCE ANUAL...

  • Page 64: Bouncing Tracks

    This will allow you to hear Group 1 in the left Control Room monitor, and bring it up in the Studio 24’s meter. Adjust each Channel FADER to achieve a desirable mix. If necessary, you may need to adjust the Group Fader down to avoid clipping the tape track.
  • Page 65 Adjust each Channel’s PAN knob and FADER to achieve a desirable mix. Rewind the tape, and record onto tracks 5 and 6 those portions you wish to bounce. Tracks 1-4 are now available for recording new parts. 24 R TUDIO EFERENCE ANUAL...

  • Page 66: Playback/Mixdown

    This involves connecting the L/R MAIN OUT jacks to the left and right inputs of a cassette deck, DAT deck, CD recorder or hard disc recorder. For more information on connecting the Studio 24 to a two-track mixdown deck, see page 43.

  • Page 67: Guidelines For A Rough Mix

    Channels. 10 Raise the Channel faders with the keyboard pads, strings and/or organ so that the LED meters read “-24 .” Mute these Channels. 11 Raise the Channel faders with the melody and solo instruments (such as lead vocal, solo guitar, etc.) so that the LED meters read “-6.” Mute these Channels.
  • Page 68 Usually, it is done at least twice when “getting up” a mix. The first time is without effects or EQ to see what (if anything) the mix needs. The second time is after all the effects and EQ have been added. 24 R TUDIO EFERENCE...
  • Page 69 Recording 24 R TUDIO EFERENCE ANUAL...

  • Page 70: Sound Reinforcement Applications

    OUND Though the Studio 24 has been designed as a recording console, it makes an excellent console for live PA applications. It has just as much (if not more) headroom as a PA console, is more flexible, and has a much more powerful EQ than the typical stereo PA console.

  • Page 71: Stage Monitor Mix

    Mic or Line inputs going to both the Channel faders as well as the Monitor section. Since the Studio 24 is fundamentally a recording mixer, it does not route Channel inputs 1 - 8 (MIC or LINE) to MON 1/2 and the Channel faders at the same time.

  • Page 72: Alternate Uses For The Monitor 1/2 Section: Stereo Recording During A Live Concert

    If you can afford several consoles and an expensive 2-way splitter box, good for you. But if you think of the monitor section of your Studio 24 as if it were a separate mixer 24 R...

  • Page 73: Using Monitor 1/2 To Feed A Cassette Deck

    SING ONITOR Since the Studio 24 has a true stereo mixer independent of the main console, it can be used to create a stereo reference mix of a live concert, while the main faders set the PA mix. This technique is popular especially with artists who want to hear a tape to evaluate each performance.

  • Page 74: Using Monitor 1/2 As The Pa Mix During Multitrack Recording

    Voila, an 6-track digital recording that is easy to manage, and a happy audience and vocalist. The point of all these techniques is: don’t limit yourself in how you use the different sections of the Studio 24. What works in one situation will require a different solution in another. 24 R...

  • Page 75: Video Production And Post-Production

    Video deck outputs may be patched to either the LINE IN or TAPE IN jacks in most cases. To feed the output of the Studio 24 into a video deck, set the input of the video deck to “line level” or “+4”, and connect either the GROUP or MAIN L/R OUTPUTS to the video deck using appropriate adapter cables (usually 1/4”...

  • Page 76: Description Of Controls

    Channel faders will be getting signal from their respective Tape Returns. This would be a typical mixdown patch. By releasing the CHAN/MON REVERSE switch, the Channel faders will get signal from the Mic/Line inputs, which is the typical patch for recording & overdubbing. 24 R TUDIO EFERENCE ANUAL...

  • Page 77: Direct Out Source Switch

    Channel is sent back to its own direct out jack. On the Studio 24, that’s exactly what happens when this switch is in its up position. If a microphone or instrument is plugged into, say, Channel 5, that signal is present at DIRECT OUT 5 (post-fader, post-EQ).

  • Page 78: High And Low

    +/- 15 dB at a fixed frequency of 80 Hz. This means that frequencies below 80 Hz will be boosted or cut by the same amount, and frequency response will gradually rise or fall from 80 Hz to about 1 kHz. 24 R TUDIO EFERENCE...

  • Page 79: Mid Eq Controls: Level And Freq

    MID EQ CONTROLS For Channels 1 - 8, the Studio 24 features a “semi-parametric midrange”, which means that you can control some of the parameters or aspects of the midrange, besides just cutting and boosting a predetermined frequency range. Combined with the HIGH and LOW EQ controls, these make up a 3-band equalizer that can create the vast majority of tones you may need.

  • Page 80: Auxiliary Send Section

    MONITOR 1/2 LEVEL MONITOR 1/2 is a pre-fader, pre-mute stereo send typically used for control room monitors and headphone feeds, or the stage monitors when the Studio 24 is used in a live PA application. Signal source: The MON 1/2 input comes from either the LINE IN/MIC IN jacks, or the TAPE IN jack, as determined by the CHAN/MON REVERSE switch (see page 75).

  • Page 81: Channel Output Section

    TRIM knob (or the EQ, or the gain of any device at the INSERT jack) until it stops flashing. The PEAK LED will come on solid when the MUTE key above it is pressed. ECTION 1 - 8) HANNELS ANCE TEREO HANNELS TUDIO 24 R EFERENCE ANUAL...

  • Page 82: Db (Signal Present) Led

    Channel is panned hard left, no signal will go to GRP 2. Tip:Remember that the signals sent to GRP 1 and 2 with this switch can also appear at the Studio 24’s DIRECT OUT jacks, if the DIRECT OUT SOURCE switch (see p. 76) is in the down position.

  • Page 83: Channel Fader

    Phantom power should be turned off if there are no phantom- powered microphones connected, or if any MIC IN jack is connected to any line-level source (such as the output of a VCR) or any unbalanced source. ECTION WITCHES HANTOM INDICATORS TUDIO 24 R EFERENCE ANUAL...

  • Page 84: Headphone Level

    LINK TO L/R This is a powerful switch that allows you to turn the Studio 24 into a 28-input stereo mixer, instead of a 16-input mixer with an in-line monitor section. The LINK TO L/R switch routes the MONITOR 1/2 MASTER signal to the Master L/R FADER.
  • Page 85 Master L/R stereo output, leave the LINK TO L/R switch off (up). Tip: If monitors are not being used as extra inputs during mixdown, turn the LINK switch off for the best signal-to-noise ratio. 24 R TUDIO EFERENCE ANUAL...

  • Page 86: Control Room/Solo Section

    Control Room as the entire mix does, allowing you to focus. The type of Solo used in the Studio 24 is called “SIP” (Solo In Place). This permits you to hear instruments in their post-fader, post-pan arrangement. This is particularly useful when mixing down, so you can adjust the levels of a stereo track, etc.

  • Page 87: Meters

    But you still have 5 to 6 dB of headroom before the summing amps distort (although, depending on your settings, you may be clipping some other part of the mixer in order to get level). ADER ONTROLS SWITCH TUDIO 24 R EFERENCE ANUAL...

  • Page 88: Mono Switch

    DIRECT OUT SOURCE switches in Channels 1 - 8. Tip: The GROUP FADER of the Studio 24, like the L/R Master, is at unity gain (“0 dB”) when all the way up, not at 2/3 travel as with some other consoles. This allows you a greater range of control on fadeouts, and makes it easier to “dial in”...

  • Page 89: Top Panel Inputs And Outputs

    1/4” TRS 3-conductor “splitter” cable (“tip” connector to the input of the device, and “ring” to the return), same as for the channel insert jacks. See page 49. UTPUTS 24 R TUDIO EFERENCE ANUAL...

  • Page 90: Back Panel

    ACK PANEL POWER SWITCH This is the master power switch for the Studio 24. When it’s ON, the green LED on the front panel will light. OWER CABLE An industry-standard removable power cable is shipped with your Studio 24. If you lose it, or need a longer or shorter length, compatible cables are available from electronics and computer stores.

  • Page 91: Track Tape In

    -10dBV unbalanced signal. A common use for these outputs is connecting the Studio 24 to a consumer cassette recorder or similar device. Also note that the output from these jacks are affected by an effect device plugged into the top panel MAIN INSERTS.

  • Page 92: Channel Input/Output Jacks (8)

    (such as the output of a synthesizer or effect device) may be connected to these inputs, so you could use the Studio 24 as a 24-input line mixer, by running the “tape inputs” through the MONITOR 1/2 section, linked to the L/R Master.

  • Page 93: Line In Jacks (Stereo Channels)

    LINE IN jack using an XLR-to-1/4” TRS adapter or cable. Never connect an electronic line input to the MIC IN jack if phantom power will be turned on. Doing this could damage the equipment and the Studio 24. TEREO HANNELS...

  • Page 94: Troubleshooting

    ROUBLESHOOTING ROUBLESHOOTING If you are experience problems while operating the Studio 24, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance. Symptom The POWER LED does not light when the ON/OFF switch is turned on.

  • Page 95: Maintenance/Service

    • Periodically check the AC cord for signs of fraying or damage. • Unplug the Studio 24’s power supply when not in use for extended periods of time. • Place a dust cover over the console when it is not in use.
  • Page 96 ERVICING TO LESIS We believe that the Studio 24 is one of the most reliable mixing consoles that can be made using current technology, and should provide years of trouble-free use. However, should problems occur, DO NOT attempt to service the unit yourself.
  • Page 97 Troubleshooting 24 R TUDIO EFERENCE ANUAL...

  • Page 98: Specifications

    -42 dBu to +8 dBu nominal, maximum level +31 dBu (balanced) -10 dBV nominal, +13 dBV (+15.2dBu) maximum +4 dBu (1.24 volts) into a balanced load -2 dBu into an unbalanced load -10dBV (.316 volts) +21 dBu unbalanced, +27 dBu balanced (5 dB above "PK"...

  • Page 99: Impedance

    +85 dB, MIC IN to MONITOR OUT, balanced. 6 dB below channel clipping Peak type -24 dB to PK (+18 dB over reference at L/R OUT, 5 dB before output clipping) Unity gain Maximum level +18 dBu 50-150 ohm nominal source impedance (presents 3.8 k ohm load impedance)
  • Page 100 Group Outs L/R Main Outputs (balanced) Back Panel: Tape Inputs Direct Outputs Control Room and Monitor 1-2 Outputs 2-Track Inputs L/R Main Outputs (unbalanced) Dimensions: Studio 24 Console Weight: Studio 24 Console Total Shipping Weight: 24 R TUDIO EFERENCE ANUAL Specifications XLR (8) 1/4"...

  • Page 101: Dimensional Drawings

    Specifications IMENSIONAL RAWINGS 1 0 0 24 R TUDIO EFERENCE ANUAL...

  • Page 102: Gain Diagram

    + 8 dBu LINE input -10 dBV TAPE input -12 dBu MIC input Hi/mid/low + /- 15 dB -42 dBu LINE input -62 dBu MIC input 24 R TUDIO EFERENCE ANUAL IAGRAM Max. internal level + 22 dBu + 10 db gain at max Chan.

  • Page 103: Block Diagram

    Specifications LOCK IAGRAM 1 0 2 24 R TUDIO EFERENCE ANUAL...

  • Page 104: Index

    Ground Loops, 35 grounding, 6, 34 Group Master Faders, 87 Group Outputs, 20, 27, 39, 54 GRP 1/2 in Stereo Aux Returns, 24, 47 headphone, 83 Headphones, 30, 40, 61, 83 amplifier, 44 headroom, 86 high-pass filter, 27 Impedance, 37, 98...
  • Page 105 85 SOLO IN PLACE, 31, 83 sound reinforcement, 69 source, 17 stage monitoring, 70 STEREO AUX RETURNS, 24, 29, 40, 45, 82 Subgrouping, 27, 69 TAPE IN, 22, 26, 28, 37, 42, 91 TO L/R switches, 54, 69 tracking, 18...

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