Alesis ADAT-LX20 Reference Manual
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Alesis ADAT-LX20 Reference Manual

20-bit digital audio recorder
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ADAT LX20
Reference Manual

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Summary of Contents for Alesis ADAT-LX20

  • Page 1 ALESIS ADAT LX20 Reference Manual...

  • Page 2: Table Of Contents

    Introduction How To Use This Manual Conventions ETTING P AND AKING Unpacking and Inspection Operating Environment Thermal Considerations in Rack Mounting Mounting on a Shelf or Non-Rack Enclosure Avoiding Electromagnetic Interference AC Power Hookup Avoiding Ground Loops Line Conditioners and Protectors Analog Audio Connections About Audio Cables Rear Panel Input and Output Layout...
  • Page 3 Contents What is Tape Formatting? OWER P AND Power-up and Tape Insertion Setting Tape Length How to Format Tapes About Type I and Type II Formats Defeating The Write Protect Tab General Formatting Procedure Recording While Formatting Re-Formatting a Previously Formatted Tape Notes About Formatting Recording a “Benchmark”...
  • Page 4 Manual Punching Options Transport Controls Record Enable Buttons Footswitch Automated Recording Looped Recording Rehearsing Adjusting Punch Crossfade Time ITCH ONTROL BOUT IGITAL UDIO ADAT Optical Interface Basics About 16-bit and 20-bit signal transfers Selecting The Digital Output Mode Type II (20-bit) to Type II (20-bit) Type II (20-bit) to Type I (16-bit) LX20 LRC R SING THE...
  • Page 5 Contents Live/Long-Term Recording Locking to Video: Code-Only Master Libraries and Archives Modular Recording Computer Control and MIDI MIDI Systems: Virtual Tracking MIDI Systems: Automated Mixdown MIDI Systems: Virtual Tracks and Automated Mixdown MIDI Machine Control: Virtual Remote Control The ADAT Optical Interface and Hard Disk Recording Digital Audio Transfer Options Typical applications The ADAT-PCR Computer Interface...

  • Page 6: Introduction

    NTRODUCTION Thank you for purchasing the Alesis ADAT-LX20 20-Bit Digital Audio Recorder. To take full advantage of the LX20’s functions, and to enjoy long and trouble-free use, please read this manual carefully. Here are some of the LX20’s most significant features: •...

  • Page 7: How To Use This Manual

    Introduction Though we recommend you read through the entire manual once, those having general knowledge about multitrack recorders should use the table of contents and index to reference specific functions while using the LX20. Here’s how the manual is organized: Chapter 1: Setting Up and Making Connections.

  • Page 8: Ettingp And Aking Connections

    Blank S-VHS ST-120 cassette • Alesis warranty card Register your purchase so that you may be informed of upgrades. If you have not already filled out your warranty card and mailed it back to Alesis, please do so now. PERATING NVIRONMENT...

  • Page 9: Mounting On A Shelf Or Non-Rack Enclosure

    Setting Up and Making Connections - Chapter 1 OUNTING ON A To mount the LX20 on a shelf or other flat surface, Alesis recommends attaching stick-on rubber feet to avoid scratching the shelf’s surface with the deck’s bottom. Please observe the general comments on thermal considerations given under “Thermal Considerations in Rack Mounting”...

  • Page 10: Avoiding Ground Loops

    VOIDING ROUND In today’s studio, there are many opportunities for ground loop problems to occur. These show up as hums, buzzes, or sometimes radio reception, and can occur if a piece of equipment “sees” two or more different paths to ground, as shown below. Device A One path goes from device A to ground via the ground terminal of the three- conductor AC power cord, but A also sees a path to ground through the shielded...

  • Page 11: Line Conditioners And Protectors

    Setting Up and Making Connections - Chapter 1 ONDITIONERS AND Although the LX20 can tolerate typical voltage variations, the AC line voltage may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascending order of cost and complexity: •...

  • Page 12: Analog Audio Connections

    NALOG UDIO BOUT UDIO The connections between the LX20 and your studio are your music’s lifeline, so use only high quality cables. These should be low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference.

  • Page 13: Typical Input Jack Hookups

    You typically patch the following into the inputs: • Console direct tape outs. With many mixing consoles, such as the Alesis Studio 24, each mixer channel has a direct output. These can patch a channel directly to tape, bypassing most mixer circuitry. You would normally patch the direct out from channel 1 into LX20 input 1, channel 2 into LX20 input 2, etc.

  • Page 14: Outputs

    Chapter 1 - Setting Up and Making Connections UTPUTS The -10 dBV outputs use phono jacks, and carry signals at a nominal -10 dBV level. These connect to your mixer’s channel tape returns or line inputs. You would normally connect output 1 to mixer line input 1 or tape return 1, output 2 to mixer line input 2 or tape return 2, etc.

  • Page 15: Sync In/Out

    Synchronization requires a male-to-male, 9-pin D connector cable for each additional machine in the chain. These cables are available in various lengths from Alesis or your dealer and should be Alesis-approved; improper cables (such as those used for computers) may not function correctly.

  • Page 16: Digital Audio Connections

    (or any other ADAT-compatible product). Additional cables are available from Alesis or your dealer in various lengths up to 16 feet. You can make this connection while power is on or off, and the machines do not need to be turned on in any particular order.

  • Page 17: Footswitches

    Setting Up and Making Connections - Chapter 1 For each additional machine, connect one end of an additional fiber optic cable to the second machine’s DIGITAL OUT jack, and the other end to the third machine’s DIGITAL IN jack. Its DIGITAL OUT jack then connects to the fourth machine’s DIGITAL IN jack, and so on.
  • Page 18 Chapter 1 - Setting Up and Making Connections ADAT LX20 Reference Manual...
  • Page 19 Setting Up and Making Connections - Chapter 1 There are three ways to use this jack. • Footswitch only. Plug a momentary, single-pole/single-throw footswitch (either normally open or normally closed) halfway into the jack so that the footswitch plug tip connects to the jack ring connection. In other word, plug in only until the tip reaches the first detent.
  • Page 20 Chapter 1 - Setting Up and Making Connections ADAT LX20 Reference Manual...

  • Page 21: Lx20 Essentials

    LX20 Essentials - Chapter 2 LX20 E BOUT ISPLAY The LX20’s display shows the current level of each of the eight audio tracks, the tape position (in hours, minutes, seconds, and 100ths of seconds or frames), and the current modes of the many available parameters. It also provides a “window” for various editable parameters.

  • Page 22: Blocks

    LOCKS There are three ”blocks” located in the lower right-hand corner: Clock, Input Mon, and Input. Each block shows the selected option for the block’s parameter. TATUS NDICATORS These are individual status indicators. For example, to the left of the Input Mon block, there are status indicators that show whether the tape being played is in 16- bit or 20-bit format.

  • Page 23: Input Select Buttons

    LX20 Essentials - Chapter 2 NPUT ELECT These determine how signals, both analog and digital, are routed to the LX20. ITCH ONTROL These increase or slow down the playback and record speeds to change pitch. OCATION UTTONS The LX20 can find particular places on tape. Example: You might want to shuttle rapidly between a chorus and verse while overdubbing;...

  • Page 24: Differences Compared To Analog Recording

    With digital recording, signals remain undistorted up to the 0 (clipping) point, at which point distortion increases dramatically. Alesis recommends never exceeding 0, and recording at an average level of around -15 to -10 dB. With the exceptional dynamic range made possible with 20-bit recording, there is no need to “slam”...

  • Page 25: Choosing The Right S-Vhs Cassette Tape

    We cannot overemphasize the importance of using only premium quality, name brand S-VHS cassettes such as Quantegy 489 DM Digital Mastering Audio Tape, or Alesis ADAT Mastering Audio Cassettes. Other acceptable brands include Maxell XR-S Black, JVC XZ, Sony DASV, BASF Digital Master 938, Apogee AA-40, HHB ADAT45, and TDK SP Super Pro.
  • Page 26 Chapter 2 - LX20 Essentials ADAT LX20 Reference Manual...

  • Page 27: Power -U P And Tape Formatting

    Power-Up and Tape Formatting - Chapter 3 OWER ORMATTING OWER UP AND Patch the LX20’s power cord between the rear panel, three-prong power socket and a properly-wired AC outlet receptacle. Please take account of the grounding considerations mentioned in Chapter 1. The LX20 can produce a transient audio signal during power up and power down.

  • Page 28: Setting Tape Length

    ETTING The LX20 can use tapes longer than the standard ST-120 length (an ST-180 tape gives over one hour of recording time, an ST-160 gives 53 minutes). The LX20 automatically recognizes ST-60 tapes and adjusts itself accordingly, but cannot tell apart ST-120, ST-160 or ST-180 tapes.

  • Page 29: How To Format Tapes

    Power-Up and Tape Formatting - Chapter 3 OW TO ORMAT What it does: Formatting an LX20 tape “time-stamps” the tape every 1/48,000 of a second (at a 48 kHz sample rate), and stores reference information about the tape in a data header at the tape’s beginning. Caution: Formatting a tape erases audio on all eight tracks.

  • Page 30: General Formatting Procedure

    20-bit gives the best fidelity. 16-bit is compatible with older, Type I-only ADAT or ADAT-XT. Alesis recommends 20 bit resolution unless you are certain that the tape will play back only on a Type I machine. If you need a 16-bit tape, you can always copy the 20-bit version to a 16-bit format.
  • Page 31 Power-Up and Tape Formatting - Chapter 3 ADAT LX20 Reference Manual...

  • Page 32: Recording While Formatting

    “B ECORDING A Alesis recommends that during the first week of operation, you format and record a new tape with any signal, such as a test tone, in a single pass with no overdubs. Store this tape in a safe, dry location and don’t use it for any other purpose. Such a “benchmark”...
  • Page 33 Power-Up and Tape Formatting - Chapter 3 ADAT LX20 Reference Manual...

  • Page 34: Record And Playback Basics

    You can change the display’s last two digits to show Frames Per Second (FPS; one frame is 1/30th of a second) instead of 100ths of a second. This is useful for matching the display on the Alesis BRC. To change the display format: Press and hold the SET LOCATE button.

  • Page 35: Choose Analog Or Digital Input

    Record and Playback Basics - Chapter 4 The reason for these three modes is to take equal advantage of 2, 4 and 8 bus mixing consoles. To select the appropriate Input Mode, hold the ANALOG INPUT button and press one of the RECORD ENABLE buttons (1–8). The blue INPUT indicators, located along the bottom of the display below the VU meters, will illuminate to indicate the selected Input Mode.

  • Page 36: Select Track(S) For Recording

    ELECT RACK A track can be in one of 3 states: Safe The track RECORD indicator (the red bar located right below the meter) is off. Record-ready The track RECORD indicator flashes Recording The track RECORD indicator is lit solid Here’s how to enable a track for recording, as well as place it in “safe”...

  • Page 37: Play

    Record and Playback Basics - Chapter 4 Press to start playback from the current tape location. The PLAY button also has special functions in Record and Autolocation modes, as described in Chapter 5. The following chart summarizes all possible Play button options. If the tape is…...

  • Page 38: Step-By-Step Procedures

    To end a Cue or Review operation, press PLAY, STOP, REWIND, or FFWD. The following sections describe in detail how to record, play back, cue, and review. Note: When recording for the first time, be sure the Auto Input function is off. When recording over previous material (also known as punching), turn the Auto Input function on.

  • Page 39: Reviewing And Cueing

    Record and Playback Basics - Chapter 4 EVIEWING AND The review and cue modes make it easy to locate a particular section of a recording. Review mode lets you play the tape in reverse 3 times faster than normal play, while hearing “fragments”...

  • Page 40: All Input

    Record-enabled tracks monitor the… Non-record-enabled tracks monitor the… NPUT Selecting All Input causes all 8 tracks to monitor their inputs regardless of the record-ready/auto-input status (section QQ). This is useful for live recording when you’re more concerned with what’s going into the recorder than what’s recorded on it.
  • Page 41 Record and Playback Basics - Chapter 4 ADAT LX20 Reference Manual...

  • Page 42: Autolocation And Loop Functions

    UTOLOCATION AND The LX20 lets you concentrate on making music by automating several common processes, including location, recording, and playback. UTOLOCATION Autolocation is the process of having the tape transport search for a point on the tape that was previously marked as an autolocation point. After finding the specified autolocation point, the tape “parks”...

  • Page 43: Auto Play

    Autolocation and Loop Functions - Chapter 5 To edit a Locate Point: Operation Initiate Locate Point editing Select a Locate Point to edit Change Locate Point value Exit Locate Point edit mode Selecting Auto Play (press AUTO PLAY until Auto appears in the Input Monitor block) causes the LX20 to enter play mode as soon as it completes a locate function.

  • Page 44: Looped Playback

    To enable Auto Return: Operation Store the tape position to which the LX20 should return into LOCATE 1. Store the tape position to which the LX20 should return into LOCATE 4. Enable Auto Return Disable Auto Return OOPED LAYBACK Selecting both Auto Return and Auto Play causes the tape to rewind back to the Locate 1 position upon reaching the Locate 4 position (either in play or record mode), then go into play.

  • Page 45: Loop Limit

    SET LOCATE button and press AUTO RETURN. Pressing STOP restores the 100 loop limit. Alesis strongly recommends leaving loop limit enabled. While the LX20 is Auto Looping, you can check how many loops have elapsed by holding SET LOCATE and pressing AUTO PLAY.

  • Page 46: Punching And Automated Recording

    UNCHING AND UTOMATED Punching is the process of recording over a section of tape (for example, to replace a bad note in an otherwise good performance). Punch-in is where recording begins, and punch-out is where it ends. There are several ways to punch into and out of recording, either manually or automatically.

  • Page 47: Footswitch

    Punching and Automated Recording - Chapter 6 OOTSWITCH Pressing the punch footswitch is equivalent to pressing RECORD and PLAY. If the LX20 is already recording, pressing the punch footswitch exits Record mode but the transport continues to play. Note: Footswitch-controlled recording also works in conjunction with Rehearse mode and Auto Record mode.

  • Page 48: Looped Recording

    If Locate 2’s position is later than Locate 3’s position, the TIME counter will temporarily read “invALid”. Initiating record past Locate 2’s position but before Locate 3’s position starts recording immediately. Initiating record after Locate 3’s position has no effect, and the transport remains in play mode.

  • Page 49: Adjusting Punch Crossfade Time

    Punching and Automated Recording - Chapter 6 DJUSTING UNCH Whenever recording begins or ends, the XT20 provides a smooth transition between the audio on tape and the audio being recorded. This prevents gaps and/or noises when punching in and out of record. The Record Crossfade Time sets how long it takes for the audio to completely transition from the previous audio to the current audio when recording (crossfading always begins at the punch point).

  • Page 50: Pitch Control

    ITCH The Pitch function controls the tape’s speed, which changes the pitch of the audio recorded on tape. The LX20’s Pitch control range covers -300 to +100 cents with a 48kHz sample rate, and -200 to +200 cents at 44.1kHz. When adjusting pitch, the TIME counter immediately displays the current amount of Pitch change as both a percentage (%) and as cents.
  • Page 51 Punching and Automated Recording - Chapter 6 ADAT LX20 Reference Manual...

  • Page 52: About Digital Audio I N /Out

    BIT AND The ADAT Optical Interface is designed for the future, and can transfer digital data with up to 24-bit resolution. Current Alesis products use 20-bit resolution, a quantum improvement over earlier 16-bit designs. At the receiving end, ADAT Type I machines (the original ADAT “classic” and XT) convert any incoming signal to 16 bits.

  • Page 53: Selecting The Digital Output Mode

    About Digital Audio In/Out - Chapter 8 ELECTING Many applications involve sending the LX20’s digital output to another device, such as another ADAT for backup, or the ADAT-PCR card for digital editing. The type of transfer will require a particular digital output mode, as set with the DIGITAL OUT button.

  • Page 54: Ulx20 Lrc R

    SING THE The hand-held LRC remote provides the following functions: • Transport functions: Rewind, Fast Forward, Stop, Play and Record. • Autolocation functions: Locate 1, Locate 2, Locate 3, Locate 4, Set Locate, and Auto Loop • Track functions: Auto Record and Rehearse. All buttons work the same as the front panel controls.

  • Page 55: Using The Lx20 Lrc Remote

    Using the LX20 LRC Remote - Chapter 9 ADAT LX20 Reference Manual...

  • Page 56: Mlx20/Adat O

    YNCHRONIZING Each slave to be synchronized requires a dual male, 9-pin D connector cable. Use only Alesis cables, which are available in three different lengths: 8", 30", and 30'. Other cables may cause erratic sync performance. To connect the bus (power must be off), patch one 9-pin D connector cable from the master SYNC OUT to the slave SYNC IN.

  • Page 57: Automatic Renumbering

    Applications - Chapter 11 ALESIS CORPORATION, LOS ANGELES U.S. Patents 5,297,181 5,321,561 5,541,781 THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

  • Page 58: Master/Slave Interaction

    ASTER LAVE Pressing any of the transport buttons (PLAY, STOP, etc.), or AUTO REC, PITCH , LOCATE 0 – LOCATE 4, ALL INPUT, or AUTO INPUT will automatically trigger the same functions on the slave machine(s). As slaves can operate independently, to minimize confusion initiate all operations from the master, including transport control functions.

  • Page 59: Recording Digital Audio

    Applications - Chapter 11 To properly extend a format, the master and slaves should be locked before punching into format record. Format Master Slave Mode format format ind. ind. Complete Complete Complete Complete Extend Extend Extend Extend Extend ECORDING IGITAL OUNCING RACKS Use the ADAT Optical Interface to bounce between machines in a multiple ADAT...

  • Page 60: Reassigning Channels To Different Tracks

    track 1 going to input 1, track 2 going to input 2, etc. (however, tracks can be re- assigned to different inputs; see next section). To create an exact (sample-accurate) digital copy from a master to a slave, both master and slave machines must have their DIGITAL INPUT buttons enabled. When bouncing audio from a master LX20 to a slave LX20, the slave does not need to have its Clock set to DIG as it is already receiving accurate clock information (shown by EXT in its display) from the master via the 9-pin cable.

  • Page 61: Making Digital Backups

    You can (and should!) back up LX20 tapes by copying all eight tracks to another LX20 (or ADAT-compatible machine) via the digital bus. Alesis urges you to back up whenever you have material you don’t want to lose. This is not yet a perfect world.

  • Page 62: Making A 16-Bit Copy From A 20-Bit Master

    Recording digital audio onto the LX20 from a source other than an ADAT- compatible device requires a digital audio interface, like the Otari UFC-24 or Kurzweil DMTi. These convert other digital audio formats to the Alesis Optical format. The ADAT-PCR card can also output audio recorded into a hard disk editing program as ADAT Optical Interface data.

  • Page 63: Digital Clock Considerations

    Applications - Chapter 11 IGITAL LOCK Switching between the LX20’s two internal clock sample rates (48 kHz and 44.1 kHz) changes the reference used for computing tape location. Therefore, the same tape location will appear to have two different time addresses depending on the selected sample rate.

  • Page 64: Input Monitoring

    Chapter 10 - Multiple LX20/ADAT Operation NPUT ONITORING The ADAT LX20 monitors the input signals through the A/D and D/A converters at all times. This lets you hear eactly what the audio will sound like when it’s played back from tape. However, there’s a minuscule delay as the digital audio passes through the converters’...

  • Page 65: Connections

    Applications - Chapter 11 Here are some possible solutions: • Use a phase switch on your mixer (if your mixing board provides this) to invert the phase of a “problem track” to compensate. • Wire your patchbay to reverse the input and output polarity of the LX20s in the system, but use standard cables on the ADATs in the system.

  • Page 66: Applications

    PPLICATIONS VERVIEW This chapter describes some typical LX20 applications. These are overviews that do not include step-by-step instructions. Therefore, you may need to refer to other sections of this manual for details on how to set up the LX20 for a particular application.

  • Page 67: Live/Long-Term Recording

    Of course, the audio signals to be recorded would need to be split and connected to both sets of inputs. Using an Alesis BRC with a multiple ADAT system allows for a feature called continuous recording. By splitting the system into two (or into two sets of machines), you can offset the second set by a specific amount of time.

  • Page 68: Libraries And Archives

    Synchronizing the LX20 and sequencer requires a time code interface, such as the Alesis BRC, Steinberg ACI, or JLCooper DataSync 2, allof which can convert the LX20’s SYNC OUT to SMPTE or MIDI Time Code (the most common time references for MIDI sequencers).

  • Page 69: Midi Systems: Automated Mixdown

    Applications - Chapter 11 Doing a premix of virtual tracks to two or more tape tracks can solve these and other problems. Many times this premix will have that kind of special energy that exists only during the early process of constructing a song, and will be preferable to a more laboriously-done premix during the final mixing stage.

  • Page 70: The Adat Optical Interface And Hard Disk Recording

    To set up a system for MMC control, first lock the sequencer to the LX20’s time code; the transport commands you issue from the sequencer act like a remote control. Here’s the basic hookup: Make sure your sequencer is receiving MTC from the LX20. Connect your computer’s MIDI interface’s MIDI OUT to the time code interface’s MIDI IN Connect the time code interface’s SYNC OUT to the LX20 SYNC IN (in a...

  • Page 71: Typical Applications

    ADAT-PCR C If your computer (Macintosh or Windows-compatible) includes a PCI slot, consider using the Alesis ADAT-PCR to control your LX20 directly from a computer, as well as transfer audio to and from hard-disk editing software. The ADAT-PCR is treated as “another ADAT” in the chain since it has ADAT Sync and ADAT Optical In and Out connections;...

  • Page 72: A Real-World Example

    8 tracks ended up in the proper timing relative to the first group of 8 tracks. However, this transfer will not be sample-accurate unless the ADAT 9-pin sync connection is used as well as the ADAT Optical Interface (the Alesis, E-mu Darwin, Digidesign, Sonorus, and Korg 1212 interfaces can provide this signal).

  • Page 73: Pre-Mastering With The Lx20

    Applications - Chapter 11 ASTERING WITH THE Mastering has typically been the weak link in the project studio. Sure, you can mix down to DAT—but how about assembling those mixes into a smooth, well- integrated recording? The following summarizes how to do pre-mastering with a DAT, hard disk editing program with digital audio interface capable of “talking to”...

  • Page 74: Appendixa Digital Recording Concepts

    IGITAL NALOG ECORDING Digital recording works very differently from analog recording. With analog recording, tape containing millions of tiny magnetizable particles move past a record head. The magnetic field around this head fluctuates according to the audio signal present at the tape recorder’s input. These fluctuations permanently rearrange the particles on the tape to form a pattern that is analogous to the original audio signal.

  • Page 75: The Advantages Of 20-Bit Recording

    If your application is extremely critical, it is possible to record at 24-bit resolution on your ADAT-LX20 using external adapters (i.e., the Rane PAQRAT or the Yamaha 02R). This method takes the “extra” bits and records them on higher tracks, so you won’t get eight tracks without using more recorders and adapters.

  • Page 76: Why S-Vhs

    S-VHS? S-VHS recording technology offers more than enough bandwidth to record eight tracks of digital audio. S-VHS tapes are built to higher standards than standard VHS tapes, and can take the tape shuttling required by professional audio applications. S-VHS tape cassettes are also inexpensive compared to reel-to-reel tape, readily available, compact, and easy to transport and store.

  • Page 77: Appendix

    Troubleshooting - Appendix B ROUBLESHOOTING NITIALIZING If your unit behaves erratically or “freezes,” do not assume you need to clean the heads or perform any type of servicing. This situation can sometimes occur due to line voltage spikes, temporary brownouts, and other problems related to AC power. To fix the problem: Eject the Tape.
  • Page 78 ROUBLESHOOTING If you experience problems while operating the LX20, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance. Symptom The display does not light when the POWER switch is turned on.

  • Page 79: Error Rate Display

    Troubleshooting - Appendix B RROR ISPLAY The TIME counter has a secondary mode which, when selected, will display only the minutes and seconds of the tape position, and the error rate while the transport is engaged in play or record. This error rate is viewed as a count of the number of sync block errors per 14 drum revolutions (every 280ms), up to a theoretical maximum of 6720 errors.

  • Page 80: Adat Head Life

    ADAT H The expected head life for each ADAT varies according to a number of factors. Properly cared for, your heads should last for thousands of hours. If abused, they will wear out dramatically sooner. You should not subject your ADAT to environmental extremes, humidity or moisture of any kind, dust, dirt, extreme temperatures, extreme temperature fluctuations or any kind of physical abuse (drops, shocks).
  • Page 81 Troubleshooting - Appendix B ADAT H The heads of each ADAT are pre-aligned at Alesis. No user adjustment is necessary. Eventually, depending on the quality of the tapes used and the environmental conditions where the ADAT and its tapes are stored, head cleaning may become necessary.

  • Page 82: Tape Care And Maintenance

    ARE AND ADAT tapes are no different than any standard tape: they must be treated with care. Never expose ADAT tapes to temperature extremes, strong magnetic fields (such as speakers), high humidity, dust and so on. You should always practice SAFE TAPE: •...

  • Page 83: Maintenance/Service

    Troubleshooting - Appendix B AINTENANCE LEANING Disconnect the AC cord, then use a damp cloth to clean the LX-20’s metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409 or Fantastik. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS! Spray onto a cloth, then use the cloth to clean the unit.

  • Page 84: Obtaining Repair Service

    Tape a note to the top of the unit describing the problem, include your name and a phone number where Alesis can contact you if necessary, as well as instructions on where you want the product returned. Alesis will pay for standard one-way shipping back to you on any repair covered under the terms of this warranty.

  • Page 85: Appendixc Error Codes

    The edges of the tape have become damaged. If only one tape is found to cause this problem, don't use it. If the problem is seen with several tapes, the machine should be taken in for service. Contact Alesis for service.
  • Page 86 Er 7 Clean Heads: If this error message is seen, it may indicate that the heads are in need of cleaning. See ADAT Head Maintenance for information about cleaning your heads. Er 8 Sync Lost: Error message 8 normally occurs when the tape reaches the end while formatting or recording.

  • Page 87: Automatic Brake Calibration Procedure

    Error Codes - Appendix C UTOMATIC If the "CAL brAc" error message appears, the internal braking system of the LX20 may need to be adjusted. The intelligent transport software is capable of calibrating the LX20’s brakes automatically in a self-test procedure. You may perform this procedure as a regular maintenance procedure every 250 hours of head drum operation (to see the hours on your unit, hold SET LOCATE and press STOP).

  • Page 88: Steps To Take Before Calling For Help

    LX20 or ADAT. At this point, you should call Alesis Product Support. If the problem does not occur, and the tape works fine, then we need to look at your LX20. Call Alesis Product Support.

  • Page 89: A D S

    Specifications PECIFICATIONS Transport Recording Format: Tape Format: Heads: Approximate Recording Times: ST-60: ST-120/SE-180: ST-160/SE-240: ST-180/SE-260: Fast Wind Rate: Audio Number of Audio Channels: Audio Conversion: Record (A/D): Playback (D/A): Sample Rate: Vari Speed Range: Frequency Response: Dynamic Range: Distortion: Channel Crosstalk: Wow and Flutter: Reference Level: Analog Inputs/Outputs...
  • Page 90 Digital Inputs/Outputs Connectors: Communications Protocol: General Power Requirements: Power Consumption: Operating Temperature: Operating Humidity: Dimensions (H x W x D): Weight: ADAT LX20 Reference Manual Two EIAJ fiber optical jacks (1 in, 1 out) 8-Channel Serial Communication 90V–250V AC, 50/60 Hz 10–40°...

  • Page 91: Glossary

    Glossary A/D or Analog-to-Digital Converter The device that converts an analog audio signal to digital audio. Once encoded, all audio is stored or processed as a series of numbers rather than as the audio itself. AES/EBU Interface A two-channel, digital audio hardware/software standard. The AES/EBU interface allows for data communication between professionally-oriented digital devices (such as digital signal processors, hard disk recording systems, synthesizers with AES/EBU outputs, digital audio workstations, etc.).
  • Page 92 Glossary called the Auto Return End point. The point that is returned to is called the Auto Return Start point. ADAT LX20 Reference Manual...
  • Page 93 Glossary Balanced Audio Signals Signals that are carried on three-conductor cables, with two of the conductors carrying the same signal 180° out of phase and third as ground. Balanced connections usually cost more than unbalanced connections, but are less susceptible to picking up hum and interference with low-level signals.
  • Page 94 Digital Audio Tape. This term has come to mean specific digital audio tape recorders that use cartridges smaller than those of a standard cassette, and which record two tracks of digital audio (and sometimes timecode). Digital I/O Input and output connections where signals passed from one stage to another remain in the digital domain.
  • Page 95 Glossary ADAT LX20 Reference Manual...
  • Page 96 MIDI Musical Instrument Digital Interface (MIDI). A protocol whereby various MIDI- compatible products can communicate various musical and non-musical messages (such as notes, controls, etc.). M M C MIDI Machine Control (MMC). A subset of MIDI messages which correspond to tape machine’s transport controls and other functions.

  • Page 97: Sample Rate Conversion

    Glossary Record-Ready A track mode, often called “armed.” When you want to record on a track, you “ready” or “arm” the track. When you push the record button, all tracks that are ready or armed will go into record mode. Rotary Head A type of tape head, as used in the XT20, that spins at a high rate of speed in order to create the same effect as having the tape moving by at rates not physically...
  • Page 98 Similar to the AES/EBU interface, but created by Sony and Philips with consumer applications in mind. The optional AI-1 from Alesis offers both the consumer S/PDIF interface and professional AES/EBU format for use with the XT20. S-VHS Acronym for Super Video Home System, an improved version of VHS with greater resolution and dubbing capabilities, as well as improved sound.

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