Alesis 1622 Reference Manual
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Alesis 1622 Reference Manual

Monolithic/integrated surface audio console
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1622 Mixer
Reference Manual

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Summary of Contents for Alesis 1622

  • Page 1 ALESIS 1622 Mixer Reference Manual...

  • Page 2: Table Of Contents

    INTERFACING THE 1622 MIXER TO THE MIXDOWN DECK... 14 INTERFACING THE 1622 MIXER TO THE CONTROL ROOM MONITOR SPEAKERS... 15 INTERFACING THE 1622 MIXER TO A HEADPHONE AMP ... 15 INTERFACING THE SENDS AND RETURNS OF THE 1622 MIXER TO EFFECTS ... 15 INSERT INTERFACING...
  • Page 3 RECORDING ... 18 MONITORING ... 19 MIXDOWN ... 19 THE 1622 MIXER AND A 4 OR 8 TRACK TAPE DECK... 19 USING THE 1622 MIXER TO RECORD A SINGLE SOURCE TO 1 TRACK ... 20 TWO OR MORE SOURCES TO 1 TRACK... 20 2 OR MORE SOURCES TO 2 TRACKS...
  • Page 4 Alesis 1622 Monolithic/Integrated Surface™ Audio Console USER'S MANUAL...

  • Page 5: Introduction

    Thus the 1622 MIXER can be used as an additional "Musical Tool" . Because of the built-in flexibility of the 1622 MIXER, the unit is at home in any application, be it recording, sound reinforcement, post-production, or as a dedicated keyboard mixer.

  • Page 7: Description Of Controls

    (headphone) mix for musicians headphones during recording and overdubbing. There are two different types of SENDS included in the 1622. These are: PRE-FADER SENDS SENDS 1 and 2 are derived from the signal path before the Channel Fader.

  • Page 8: Post-Fader Sends

    Post-Fader sends are normally used to send to outboard effects devices such as reverbs. Unlike most other mixers which may have only 1 or 2 Post-Fader Sends, the 1622 MIXER has a total of 4 Post-Fader Sends. See Figure 3A and 3B FIGURE 3A...

  • Page 9: Master Assign Switch

    INSTRUMENT/MIC CHANNEL FADER POST-FADER SEND FIGURE 3B POST-FADER SEND LEVEL FROM THE 1622 FADER DOWN INSTRUMENT/MIC CHANNEL FADER POST-FADER SEND MASTER ASSIGN SWITCH Routes the channel signal directly to the MASTER Stereo Buss. SUB MASTER ASSIGN SWITCH Routes the channel signal directly to the SUB MASTER.

  • Page 10: Pan Pot

    The MONITOR VOLUME Control adjusts the volume level of the control room monitor speakers only. When the 1622 is used as a recording console, it is necessary to be able to control the level of the control room monitor speakers and the MASTER Fader output levels independently.

  • Page 11: Sub Master To Master Assign Switch

    The SUB MASTER Faders can serve several different functions, depending upon the application. In sound reinforcement or in recording during mixdown, the SUB MASTER Faders will act as a group master for a number of input channels. For instance, if Input Channels 1 through 8 contained drum mics, and you wanted to control the overall level of the drums with just one fader, this could be achieved by assigning input channels 1 through 8 to the SUB MASTER ASSIGN, and then panning each channel either hard left or hard right (for mono).

  • Page 12: Sends

    MAIN OUTPUTS. SUB INSERT A ring-tip-sleeve jack that allows insertion of an outboard effects device, such as a compressor like the Alesis MICRO LIMITER or reverb like a MICROVERB II, into the signal path of the SUB MASTER. MAIN OUT The outputs of the MAIN OUT are available for connection to the inputs of a Mixdown Tape Machine, sound system, or amplifier.

  • Page 13: On/Off Switch

    ON/OFF SWITCH Turns power on or off to the 1622. This should always be the first device turned on in the system and the last device turned off. SIGNAL FLOW IN THE 1622 To help you better understand the way that the 1622 operates, the following is a Signal Flow Diagram of the complete signal path of the 1622.
  • Page 14 Left/Right Pan Control Submaster Assign Switch (Channel) Sub Outs 1 -2 Submaster to Master Assign Switch From Mixdown Deck Tape/Line Monitor Switch Control Room Monitor Volume Headphone Monitor Jack Outputs (L - R) Now, using the above Signal Flow Diagram, let's see what happens to a vocal as it goes from the input of a channel all the way to tape.
  • Page 15 channels 1-8 will defeat the XLR jack for that channel). The signal is then boosted by the Input Trim to a level that the board can deal with easily. Now, you can adjust the tone of the singer's voice with the EQ Section, perhaps boosting the presence range a bit, or rolling off the low end to compensate for close miking.

  • Page 16: Setting Up The 1622

    SETTING UP THE 1622 CONNECTIONS TO THE MIXER The 1622 Mixer easily interfaces to most other audio equipment. All input and output jacks, with the exception of the dedicated microphone inputs, are 1/4" phone jacks. The microphone inputs are standard balanced XLR type jacks. See Figure 5.

  • Page 17: Interfacing To The Multitrack Tape Recorder Via Apatchbay

    It is also possible to access the Multitrack Tape Recorder by the use of a Patchbay, which is several rows of jacks that are permanently connected to both the inputs and outputs of the 1622 MIXER, Multitrack Tape Deck, and all of the outboard equipment.

  • Page 18: Interfacing The 1622 Mixer To The Mixdown Deck

    With a Patchbay, it is also easier to make use of the DIRECT OUTPUTS of the 1622. DIRECT OUT is used when only one signal is going to be recorded on tape at a time. Using the DIRECT OUT has the advantage of a cleaner and quieter signal since there are fewer electronic stages in the signal path.

  • Page 19: Interfacing The Sends And Returns Of The 1622 Mixer To Effects

    There are two different sets of Sends on the 1622 MIXER. Sends 1 and 2, which are derived before the Channel Fader, are used primarily for setting up a separate Cue mix for musicians to overdub to, since any changes in the Channel Fader level will not affect the signal level of these Pre-Fader Sends.

  • Page 20: How To Adjust Levels

    In order to ensure the cleanest signal with the least amount of background noise (hiss and hum), it is extremely important for the proper levels to be maintained not only within the 1622 MIXER itself, but throughout the entire audio system. Therefore, it's best to observe the following guidelines when initially setting up your 1622 MIXER, and during daily use.

  • Page 21: Applications

    FADER SECTION 3 APPLICATIONS MULTITRACK RECORDING Before we talk about the specifics of using the 1622 MIXER for recording, a brief discussion of multitrack recording is in order. Once again, it may be necessary to CHANNEL, SUB MASTER, AND MASTER INSERTS...

  • Page 22: Introduction To Multitrack Recording

    INTRODUCTION TO MULTITRACK RECORDING The function of the 1622 MIXER, or any recording console for that matter, is to provide control of volume, tone, and spatial positioning of signals from microphones, electronic instruments, and tape machines, then to route these signals to a monitor system and tape recorder so they can be heard and recorded.

  • Page 23: Mixdown

    SUB MASTER 1 (the left). If the panning is fully to the right, then you will be using SUB MASTER 2. 4) Connect the output of the SUB MASTER of the 1622 MIXER to the input of the track to be recorded on the Multitrack Tape Deck.

  • Page 24: Or More Sources To 2 Tracks

    SUMBASTER 2 hard right, then pan the channels to the desired position in the stereo spectrum using the channel pan controls. 4) Connect the output of the SUB MASTERS of the 1622 MIXER to the inputs of the 2 tracks to be recorded on the Multitrack Tape Deck.

  • Page 25: Recording Tips

    HOW TO SET UP A CUE MIX The Cue mix will be created using SENDS 1 & 2 on the 1622 because the signals from these sends are derived Pre-Fader (See Section 1). SENDS 1 and 2 will have to be connected to a...

  • Page 26: Mixdown

    PLEASE NOTE: For quietest operation with the greatest headroom, it's best to run the individual channel SENDS at about the 3/4 level and the SEND MASTERS at about half or less. MIXDOWN BASICS Below is a simplified step by step way to establish a mix. For a more complex (but better sounding) method, see the following "How to Create a Great Mix".
  • Page 27 A BIT OF MIXING THEORY Any mix can be separated into 5 parts or "Elements". It is the balance between these elements that is responsible for the mix balance. The five mix Elements can be broken down as follows: ELEMENT 1 - RHYTHM The Rhythm is usually just the bass guitar and drums but really can be any instruments that keeps steady time.

  • Page 28: How To Group Several Channels Together When Mixing

    10) Bring up the Bass Guitar Channel Fader. Set so that the meters read "-6". 11) Mute the Bass 12) Raise the Channel Faders with the Motion instruments. Set so that the meters read "-10 " unless percussion instruments such as cowbell, triangle, or shaker are involved in, which case the meters should read "-15".

  • Page 29: How To Playback A Mix From The Mixdown Tape Deck

    FADERS HOW TO PLAYBACK A MIX FROM THE MIXDOWN TAPE DECK Place the TAPE/MON switch of the 1622 MIXER to the TAPE position. See Section 1, TAPE/MON SWITCH, and Section 2 Turn the rotary MONITOR VOLUME pot to the desired volume level. See Section 1, MON VOLUME •...

  • Page 30: Sound Reinforcement Applications In Mono

    Also, a stereo sound system is much more difficult to mix, especially if you don't have a sound man. There are two ways to configure the 1622 MIXER in order to achieve a mono mix. METHOD A 1) Pan all of the input channels all the way to the left (or all the way to the right).

  • Page 31: Using The Sub Masters

    FIGURE 14 MONO OUTPUT FROM THE 1622 RETURNS SUB OUT MAIN OUT "Y" LEFT AND RIGHT TOGETHER FOR MONO HOUSE SPKR AMP USING THE SUB MASTERS The SUB MASTERS are extremely useful in sound reinforcement work. A SUB MASTER can be very useful in controlling the level of several channels with the movement of only one fader.

  • Page 32: Line Inputs Used As Additional Mic Inputs

    LINE INPUTS USED AS ADDITIONAL MIC INPUTS The 1622 MIXER is not limited to only 8 microphone inputs. Besides the XLR connections on Input Channels 1 through 8, Channels 9 through 16 may also be used as additional microphone inputs.

  • Page 33: Stage Monitor Mix From The Pre-Fader Sends

    DEDICATED MIDI KEYBOARD MIXER The use of the 1622 as a dedicated mixer in a MIDI keyboard setup is very similar to a sound reinforcement application except that the MAIN OUTputs will usually be in stereo rather than mono. See Figure 16.
  • Page 34 SOUND SYSTEM VIDEO POST-PRODUCTION The 1622 MIXER can easily be used in editing bays or video post-production facilities. The availability of separate output jacks on the SUB MASTERS make the unit ideal for making simultaneous mix-minus feeds. A mix-minus feed, which is used for international versions of a film or video, is a separate mix containing all music and effects, but no dialog (which is usually dubbed in later).

  • Page 35: Troubleshooting

    FIGURE 17 USING THE 1622 MIXER FOR A MIX MINUS OUTPUT MIX-MINUS SUB OUT MAIN OUT TAPE MONITOR SPKR AMP SECTION 4 TROUBLESHOOTING NO SOUND NO SOUND WHEN CHANNEL IS SOLOED 1) Plug is inserted into LINE input, which has priority over MIC input.

  • Page 36: Distortion At Mixdown Machine Or Sound System

    Since this is far from practical in the majority of situations that the 1622 MIXER will be used in, here are some easy helpful hints that a professional studio installer might use to keep those stray hums and buzzes to a minimum.
  • Page 37 diminished. If the power amp has a grounded type plug (3 pin), use a 3 to 2 pin adapter (ground lift) instead of flipping the plug. C) Plug in each tape machine and outboard effects device one at a time. Either use a ground lifter or flip the polarity until the quietest position is found.

  • Page 38: Specifications

    SECTION 6 SPECIFICATIONS ELECTRICAL CHARACTERISTICS FREQUENCY RESPONSE HARMONIC DISTORTION CROSSTALK SIGNAL TO NOISE RATIO INPUTS GAIN MAXIMUM LEVEL IMPEDANCE OUTPUTS MAXIMUM LEVEL IMPEDANCE FRONT PANEL CONTROLS Trim x 16 Lo EQ x 16 Post Fader Sends 3 - 6 x 16 Channel Fader x 16 Send Masters 1 through 6 Return Level 1 - 8...

  • Page 39: Glossary

    The power line on the pole is a buss line. The 1622 MIXER has 4 busses; the MASTER Left and Right, and the SUB GROUP Left and Right. See Figure 18.
  • Page 40 "cue" off of. The 1622 MIXER is capable of supplying either 2 mono or 1 stereo Cue Mix. dBV - Decibels per Volt. This is a unit of measurement normally applied when measuring the inputs and outputs of most modern sound equipment.
  • Page 41 Headroom - The amount of available operating level before a circuit is overloaded and begins to distort. For example, the nominal operating level of the 1622 MIXER is +4dBV and the maximum output level is +20dBV which means that there is 16dB of headroom available. If the nominal operating level is -10dBV and the maximum output level is +20dBV, then there is 30dB of headroom available.
  • Page 42 Thus, if an overload occurs , the engineer can easily tell at what point in the signal path. The 1622 MIXER uses a Pre-Fader Listen scheme in that the Fader position has no bearing on the volume of the soloed channel because the Solo signal is taken from before the Channel Fader in the signal path.
  • Page 43 The 1622 MIXER has Shelving type EQ. See Figure 1. Solo - Solo on a mixing console stops the normal Master Stereo signal feed to the monitor speakers and replaces it with the signal present in the input fader of the channel.
  • Page 44 Sub Master - A Sub Master (sometimes called a "SubGroup" or "Group") is used to control the level of several channels with the movement of only one fader. The 1622 MIXER has 2 Sub Masters. Tape Returns - Inputs on a console specifically dedicated to receiving the signal from a tape deck.

  • Page 45: Appendix

    APPENDIX There may be situations that arise that the 1/4" type outputs of the 1622 MIXER must be interfaced to a balanced XLR type input. This is fairly easy to do and will have no effect on the performance of the unit. There are two methods to accomplish this since there is currently no adhered to international standard.

  • Page 47: Index

    Aux Returns, 13 Aux Send Master, 13 Aux Sends, 8, 13, 25, 32 Auxiliary Sends, 6, 7, 48 Balanced, 15, 16, 40 Buss, 7, 10, 13, 28, 40 Channel Fader, 7, 8, 19, 25, 27, 31, 32, 34, 35, 42, 47 Compressor, 12, 13, 14, 26, 40, 44 Cue mix, 6, 25, 41, 48 Cue, 21...
  • Page 48 Phone Plug, 46, 49 Phono Plug (RCA), 14, 46 Post-fader, 7, 13, 25, 46 Power LED, 11 Pre-Fader, 7, 13, 25, 32, 47 Punching In, 20, 47 1/4 " plug, 31, 40 1/4" phone jack 11, 14, 15 Returns, 8, 17, 25, 26, 29, 30, 35, 36, 47 Reverb, 6, 9, 13, 14, 25, 26, 42, 44, 47 Send Master, 8, 28, 32, 35, 36 Send, 7, 17, 26, 48...

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