Multitrack Recording Applications; Recording; Setting Levels - Alesis Studio 24 Reference Manual

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ULTITRACK
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ECORDING
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ETTING
To get the maximum performance from your mixer, you must set all audio levels to
get the least amount of background noise (hiss or hum) while not distorting
(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.
Maintain Proper TRIM and Input Levels
To set proper input levels on either a mic or line level signal:
1 With the mic or line level signal flowing through the Channel, depress the
Channel's SOLO button (the SOLO MASTER LED will light). The SOLO button
should be the only button pressed on the Channel at this point. If there are any
volume controls on the instrument itself, they should be set to maximum.
2 Raise the Channel's fader to the 0dB mark.
3 Observe the level on the MASTER LED Meter. Adjust the TRIM knob until the
signal hits +3 or +6 (the first two yellow LEDs). It's OK if the top yellow (+10)
lights during the loudest peaks, but if you ever see the CHANNEL PEAK LED
flash, you are within 3 dB of signal overload. Turn down the TRIM knob until the
PEAK LED stops flashing.
Note: There is no TRIM control for the TAPE IN jack, because it is designed to handle
the full range of inputs generated by modern tape recorders.
Maintain Proper Fader Levels
In typical operation, the Channel, Group and Master FADERS should be run at about
the "0 dB" or "nominal" position. NOTE: that's about 2/3 of the way up the channel
fader travel, but all the way up on the Group and L/R faders. This position gives the
best balance between maintaining adequate headroom and lowest noise. It also
allows for any additional increase or decrease in level that might be required during
mixing. Ultimately, the channel fader levels are dependent on the requirements of
the mix; the nominal level is only a starting point.
If a large amount of EQ is used, it may become necessary to decrease either the TRIM
control, or the Channel FADER, or both. The EQ is capable of adding quite a bit of
gain and is a frequent cause of overload distortion problems.
S 24 R
TUDIO EFERENCE
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PPLICATIONS
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EVELS
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ANUAL
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ECORDING

Recording

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