Alesis Studio 32 Reference Manual
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Alesis Studio 32 Reference Manual

Alesis Studio 32 Reference Manual

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Summary of Contents for Alesis Studio 32

  • Page 1 ALESIS Studio 32 Reference Manual...

  • Page 2: Table Of Contents

    How to use this manual ...7 For beginners...7 For the experienced: a quick overview ...9 About the Studio 32 ...10 Basic Principles of Mixing & Multitrack Recording...11 The stages of multitrack recording ...12 The different mixes and what they’re needed for ...14 Multitrack Mix ...14...
  • Page 3 EQ IN Switch ...70 HIGH and LOW...70 MID EQ controls: LEVEL, FREQ, and Q...70 Auxiliary Send Section...72 AUX 3(5) SOURCE Switch...72 AUX 3(5) and AUX 4(6) Sends...72 TO 5/6 Switch (Aux Assign Switch)...72 MONITOR 1/2 SOURCE switch ...72 Studio 32 Reference Manual Contents...
  • Page 4 Main Outs...82 Main Inserts ...82 Group Outputs...82 Stereo Aux Return Input Jacks...82 Auxiliary Outputs (including Mon 1/2)...82 Channel Input/Output Jacks (16)...82 Direct Out...82 Tape In ...83 Insert jack ...83 Line In jack...83 Mic In jack...83 Studio 32 Reference Manual Contents...
  • Page 5 Troubleshooting Index ...85 Maintenance/Service ...86 Specifications... 89 Frequency Response ...89 Connectors...89 Levels...89 Impedance ...90 Noise performance (typical)...90 Distortion (THD+N)...90 Power ...90 Mounting dimensions ...90 Dimensional Drawings:...92 Gain Diagram ... 93 Block Diagram ... 94 Index... 96 Studio 32 Reference Manual Contents...

  • Page 6: Introduction

    In either case, the Studio 32 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 7 Conventions The buttons, knobs, and rear panel connectors are referred to in this manual just as their names appear on the Studio 32, using all capital letters (Example: TRIM control, PAN knob, MIC IN jack, etc.). When something important appears in the manual, an icon (like the one on the left) will appear in the left margin.

  • Page 8: For The Experienced: A Quick Overview

    Chapter 5 “Description of Controls” gives a knob-by-knob definition of each feature of the Studio 32, so if you know what the “Q” 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 after you get started that this manual contains information that will help you get the highest level of performance from your Studio 32.

  • Page 9: About The Studio 32

    1/4” output jacks. This flexible design allows full mix control of 32 sources, plus 8 aux returns, for a total of 40 sources at mixdown. For this reason, the Studio 32 is perfectly suited for professional project studios with a large number of MIDI sequencer-controlled sources that are synchronized with 16 tracks of ADAT.

  • Page 10: Basic Principles Of Mixing & Multitrack Recording

    Recording Source select, level control, and destination assignment When it’s being used in a recording studio, the Studio 32’s job is to control the volume, tone, pan and effects for many different inputs such as microphones, electronic instruments, and tape machines. You could think of this as the “where from”...

  • Page 11: 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 32 will let you get almost any sound mix you want.
  • Page 12 Introduction Studio 32 Reference Manual...

  • Page 13: 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 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. Studio 32 Reference Manual Introduction Here are the mixes that you...
  • Page 14 75 HZ HIGH FREQ EQ IN FADER MUTE GRP 1/2 GRP 3/4 Studio 32 Reference Manual Multitrack Recorder Mix TAPE (Groups and L/R) (to MON 1/2 SOURCE) (Post-EQ to MON 1/2 SOURCE when MIC/LINE is selected at both) DIRECT GROUP OUTPUTS...

  • Page 15: Monitor (Control Room) Mix

    During overdubbing, this mix is typically controlled by the Studio 32’s MONITOR 1/2 section, and sometimes by the L/R mix. In the monitor mix, the goal is to set the controls so the performer gets whatever mix they need so they can perform their overdubs as well as possible.
  • Page 16 MIC/LN) SOURCE LEVEL 1/2 MASTER MON PAN (Channel details on previous page) Channel fader Channel SOLO Studio 32 Reference Manual CONTROL ROOM SELECT SWITCHES MONITOR (from AUX, GROUP, L/R masters (Master 2 TRK inputs) takeover SIP/PFL...

  • Page 17: Aux Sends And Returns: Effects

    The rows of blue knobs running across the center of the Studio 32 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 18: Guided Tour

    UIDED Recorder Mix/Monitor Mix System The Studio 32 is designed to accommodate the two-way signal flow required in a recording console. This is where signals are mixed, EQ’d and routed to the Aux sends, Groups and Left and Right Master outs. Each channel provides a Mic and Line Input plus a Tape In connector, where signals return from the multitrack recorder.

  • Page 19: The Equalizer

    PAN knob, SOLO and MUTE buttons, PEAK and -20 LEDs, and a set of buttons that let you determine the channel routing, i.e., where it’ll go to. The assignment switches can route the channel’s signal to any of the four Groups and to the L/R Master. Studio 32 Reference Manual Guided Tour...

  • Page 20: Monitor 1/2 Section

    Group output usually is connected to the inputs of a multitrack recorder, such as the Alesis ADAT. But in live performance applications, the Group Out jacks may be used to feed other amplifiers, broadcast feeds or even other mixers.

  • Page 21: 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. Studio 32 Reference Manual Guided Tour...

  • Page 22: 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 32. 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 23: Meters

    There’s also a master solo LED that shows you when the solo system is active. Like all mixes in the Studio 32, the solo system has its own MASTER control, which is used to adjust the level feeding the Control Room knob. Right below that is the SIP/PFL switch, which is a source-select switch for the entire solo system.

  • Page 24: Hooking It Up

    Alesis, please take the time to do so now. Installing in a Rack The Studio 32 may be simply set on a table, or installed in a standard 19” audio equipment rack. To rack mount the Studio 32, simply attach the provided rack ears to each side using the screws provided.

  • Page 25: Power

    To connect power to the Studio 32: Attach the female end of the AC power cord to the Studio 32’s back panel and the male end to a good quality, noise-free AC power source of the proper rating.

  • Page 26: Avoiding Ground Loop Noise

    In some cases, a “star grounding” scheme must be used, with the Studio 32 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 27: Channel Inputs And Outputs

    Channel Inputs and Outputs Each of the 16 channel modules on the Studio 32 contains an XLR balanced MIC IN connector, a 1/4" TRS balanced LINE IN jack, a 1/4" TRS balanced TAPE IN jack, a balanced 1/4" TRS DIRECT OUT jack, and a 1/4" TRS INSERT jack. Here are more detailed descriptions of each of these, and what they should be connected to.

  • Page 28: Tape Inputs

    (The other option is to connect the Group Out jacks to the recorder, as explained on page 31.) Studio 32 Reference Manual...

  • Page 29: Insert

    (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 Error! Bookmark not defined.. Studio 32 Reference Manual...

  • Page 30: Master Inputs And Outputs

    Master Inputs and Outputs Along the top of the back panel above the master section of the Studio 32 you’ll find most of the connectors that provide the outputs of the console: two 1/4” MAIN OUT connectors (plus two MAIN INSERT jacks), and four 1/4" GROUP OUT connectors.

  • Page 31: Stereo Aux Returns

    1/4" jacks which can drive most headphones. The signal level is controlled by the PHONES knob. The wiring scheme is shown below; most headphones label which side is left and right. Headphones Left Signal Right Signal Ground Studio 32 Reference Manual Ring Sleeve Sleeve Ring Hooking It Up Ring...

  • Page 32: Chart Of Connections

    Chart of Connections The Studio 32 may be easily interfaced with most other professional recording and audio equipment. All inputs and outputs, with the exception of the microphone inputs, use 1/4" jacks, and may be used with balanced or unbalanced circuits. The microphone inputs are standard balanced XLR type jacks.

  • Page 33: Studio 32 Reference Manual

    Connect the tape machine’s outputs to the TAPE IN jacks of the same-numbered channels of the Studio 32. Whenever you want to hear the playback of the machine, track 1 will appear at the FADER SOURCE and MONITOR SOURCE switches of channel 1, track 2 will appear at channel 2, and so on.

  • Page 34: Connecting To A Professional +4 Dbu Multitrack Recorder

    Also, depending on the characteristics of the deck, metering levels may not match between the deck and the Studio 32. You may need to increase the Studio 32’s fader level in order to get enough level on the multitrack’s meters. Some multitracks have high/low level input switches;...

  • Page 35: Connecting To A 2-Track Mixdown Deck

    (or a rough mix of a work in progress). A special pair of inputs of the Studio 32 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 36: Connecting To A Control Room Amplifier

    Hooking It Up Connecting to a Control Room amplifier Connect the Studio 32’s Control Room L & R Outs to the inputs of the amplifier used for the control room monitor speakers. The CONTROL ROOM knob on the Studio 32 controls the level of the control room monitor speakers.
  • Page 37 Hooking It Up Studio 32 Reference Manual...

  • Page 38: Effects And Signal Processing

    (like the Alesis QuadraVerb 2 or Midiverb 4). See the next page for more information about using stereo inputs (or not). Connect the Outputs of these effects devices back into the Studio 32’s dedicated inputs, called STEREO AUX RETURNS. There are eight 1/4" STEREO AUX RETURN connectors (labeled in pairs as A, B, C, D as on the front panel), enough for 4 stereo, 8 mono, or any combination of mono and stereo devices.

  • Page 39: 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 QuadraVerb 2) should be connected to two different sends to take advantage of the dual processing capability.

  • Page 40: Using Effects

    Selecting an Aux Send: First, you must decide which Auxiliary Sends to use. There are four post-fader sends from the Studio 32, labeled Aux 3 through Aux 6 because MON 1/2 is considered a special type of auxiliary send. •...
  • Page 41 SIP (solo in place) mode (green solo master LED). You will be hearing the output of the effects device only, without any “dry” signal coming from the channel. Studio 32 Reference Manual Effects and Signal Processing...
  • Page 42 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. Studio 32 Reference Manual Effects and Signal Processing...

  • Page 43: Connecting Signal Processors To Insert Jacks

    All INSERT jacks on the Studio 32 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 44: Multitrack Recording Applications

    Studio 32 itself, but throughout the entire audio system. Here are some procedures to follow when you’re operating the Studio 32 to achieve a gain structure (the signal level within each part of the system) that will give you professional results.
  • Page 45 As a good rule of thumb, try to run most volume level controls of other equipment receiving signal from the Studio 32 (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 46: 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 32 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 45, Setting Levels).

  • Page 47: Recording Multiple Sources To One Track

    GROUP FADER to its maximum position. To check the level of the group on the Studio 32’s meter, press the GRP 1/2 switch in the control room section. Be sure that the Group’s TO L/R switch is in the “Off” position (up).

  • Page 48: Recording Multiple Sources To Two Tracks (Stereo)

    Be sure the L/R buttons are in the “Off” position (up) for the Channels being recorded. Otherwise, this will cause the monitoring to be false since the signals will be heard from two sources: the Channels and the Tape Monitors. Studio 32 Reference Manual Recording...

  • Page 49: Recording Tips

    (called 0 dBfs, for full scale). Note that “0 dB” on the Studio 32’s meters means that the output of the Studio 32 is at “nominal” level (either +4 dBu balanced or -2 dBu unbalanced, depending on the connector), as opposed to “0 dB”...

  • Page 50: Overdubbing

    L/R. Play the tape and raise the MONITOR 1/2 MASTER until the peaks of the signal briefly light the yellow LEDs in the meters. Studio 32 Reference Manual Recording...

  • Page 51: Using The Channel Faders To Monitor The Multitrack

    Raise the Channel FADERS being used for the tape tracks you wish to listen to. Raise the L/R MASTER FADER, make sure all CONTROL ROOM SOURCE switches are UP (L/R) and adjust the CONTROL ROOM settings, as in the previous section. Studio 32 Reference Manual Recording...
  • Page 52 The cue mix is created using MONITOR 1/2 on the Studio 32, because it is a pre-fader mix that is independent from all other mixes. Follow the instructions in the previous pages to get a monitor mix if you have not already done so.
  • Page 53 Option: You may use a standard “stereo splitter” cable with the TRS 3-conductor end plugged into the Headphone output jack and connect it to an amplifier, with the headphone level set to about 12 o’clock. Studio 32 Reference Manual...

  • Page 54: 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. Studio 32 Reference Manual Recording...

  • Page 55: Bouncing Tracks

    This will allow you to hear Group 1 in the left Control Room monitor, and bring it up in the Studio 32’s meter. If you wish, you may press the MONO switch so it’s in both speakers.
  • Page 56 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. Studio 32 Reference Manual Recording...

  • Page 57: Playback/Mixdown

    Once you have established a satisfactory mix, it’s time to get it over to the tape deck. This involves connecting the L/R MAIN OUT jacks to the mixdown tape deck’s left and right inputs. For more information on connecting the Studio 32 to a two-track mixdown deck, see page Error! Bookmark not defined..

  • Page 58: Guidelines For A Rough Mix

    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 Studio 32 Reference Manual Recording...
  • Page 59 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. Studio 32 Reference Manual Recording...

  • Page 60: Sound Reinforcement Applications

    OUND PPLICATIONS Though the Studio 32 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 61: Stage Monitor Mix

    Usually, a 1/3 octave graphic equalizer is patched into the line to notch out feedback frequencies. The Alesis M-EQ 230 is a perfect unit for this application. Route the two speaker outputs of the amplifier to two different sets of stage monitors.

  • Page 62: 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 32 as if it were a separate mixer being fed by the same microphone, a whole set of possibilities open up.

  • Page 63: Using Monitor 1/2 As The Pa Mix During Multitrack Recording

    Use MON 1/2 as the PA feed, with only 3 channels used (one for vocal, and two effect returns). Use Group 1/2 as a stereo drum mix, Group 3/4 as a keyboard mix, the L/R master as a guitar mix (there were acoustic and electric guitars, both in stereo). Studio 32 Refererence Manual Sound Reinforcement...

  • Page 64: 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 32 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 65 Sound Reinforcement Studio 32 Refererence Manual...

  • Page 66: Description Of Controls

    ESCRIPTION OF Channel Input Controls Trim The TRIM knob adjusts the sensitivity of both the Mic and Line inputs. Proper setting of this control is essential for low-noise, distortion-free operation. In most cases, microphones require from 30 to 60 dB of preamplification, while line sources need much less or none at all.

  • Page 67: Equalizer Section

    80 Hz to about 1 kHz. MID EQ controls: LEVEL, FREQ, and Q The Studio 32 features a “fully parametric midrange”, which means that you can control several parameters or aspects of the midrange, besides just cutting and boosting a predetermined frequency range.
  • Page 68 Description of Controls The MID GAIN knob controls how much boost or cut is applied to the band chosen. At the center detent position, there is no effect (flat response). Turning to the right amplifies the band, to a maximum of 15 dB. Turning to the left cuts the band, to a maximum cut of -15 dB.

  • Page 69: Auxiliary Send Section

    Auxiliary Send Section AUX 3(5) SOURCE Switch The AUX SOURCE switch selects the input for the Aux 3(5) Send control directly below it, and only for that one control. When this switch is up, Aux 3(5) is a post-fader send from the Channel fader. When this switch is down, Aux 3(5) is a post-fader send from the Monitor LEVEL control.

  • Page 70: Monitor 1/2 Level, Monitor 1/2 Pan

    When this switch is UP, the TAPE IN jack is the source of the Monitor send. When this switch is DOWN, the LINE IN/MIC IN jack (having already passed through the TRIM control) is the source of the monitor send. Whether the MIC/LINE signal is pre- or post-EQ is set by the position of the CHANNEL SOURCE switch: if the channel and monitor are both set to MIC/LINE, it will be post-EQ.

  • Page 71: Solo

    Description of Controls SOLO The SOLO button sends the channel’s signal (and only that Channel’s signal, if no other SOLO buttons are pressed) directly to the Control Room monitors, cutting off any other signals to the Control Room. It allows the engineer to focus on one signal without disturbing any other mixes.

  • Page 72: Master Section

    MASTER SECTION On the right hand side of the console are controls that affect the outputs of the mixer. Power and Phantom indicators The switches for these indicators are located on the back panel. The PHANTOM LED indicates that 48 volt phantom power is being applied to all 16 XLR jacks Headphones Level and Source The LEVEL knob sets the overall level of the two headphone output jacks next to it.

  • Page 73: L/R Assign Switch

    Description of Controls L/R Assign Switch This switch routes the signal from the Stereo Aux Return jacks to the Master L/R FADER, with the left input going to the left and right going to right. If no plug is inserted into the Right input, the left signal will be connected to both sides, appearing in the center of the stereo image.

  • Page 74: Aux Master Controls

    LINK switch, described below. LINK TO L/R switch This is a powerful switch that allows you to turn the Studio 32 into a 32-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 75: Control Room/Solo Section

    The Control Room section does not affect any other mix of the Studio 32–it just eavesdrops on them. The Solo controls are a special part of the Control Room mix, “taking it over” anytime any SOLO switch is pressed anywhere on the console, allowing you to hear only the soloed source instantly.

  • Page 76: Mono

    Control Room. AUX 3/4, AUX 5/6, GRP 1/2, and GRP 3/4 may also be selected. 2 TRACK corresponds to the 2 TRACK INPUT jacks on the rear of the Studio 32. These can be used to listen to the output of a mixdown tape recorder, or CD player.

  • Page 77: Group Master Controls

    GRP Control Room switches, and the TO L/R switches explained above. Note: The GROUP FADER of the Studio 32, 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 78: Back Panel

    Back panel POWER switch This is the master power switch for the Studio 32. When it’s ON, the red LED on the front panel will light. Power cable An industry-standard removable power cable is shipped with your Studio 32. If you lose it, or need a longer or shorter length, compatible cables are available from electronics and computer stores.

  • Page 79: Main Outs

    Main Outs Connect these jacks to your primary destination: the PA system’s inputs, or the 2- track mixdown recorder. Signal comes here from the L/R MASTER FADER, and passes through the Main Inserts. This output is a true, 3-wire balanced differential output with a maximum output level of +28 dBu.

  • Page 80: Tape In

    (such as the output of a synthesizer or effect device) may be connected to these inputs, so you could use the Studio 32 as a 32-input line mixer, by running the “tape inputs” through the MONITOR 1/2 section, linked to the L/R Master.
  • Page 81 Description of Controls Description of Controls...
  • Page 82 ROUBLESHOOTING Troubleshooting Index If you are experience problems while operating the Studio 32, 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 83: Warranty Information

    • Periodically check the AC cord for signs of fraying or damage. • Unplug the Studio 32’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 84: Refer All Servicing To Alesis

    Troubleshooting Refer All Servicing to Alesis We believe that the Studio 32 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 85 Troubleshooting Studio 32 Reference Manual...
  • Page 86 Group Outputs, 14, 20, 31, 48, 80 GRP 1/2 in channels, 72 in Stereo Aux Returns, 18, 41, 74 headphone, 73 Headphones, 16, 23, 32, 53, 73 amplifier, 37 HEADPHONES SOURCE, 53 headroom, 77 High EQ, 68 high-pass filter, 20...

  • Page 87: Auxiliary Masters

    61 source, 11 stage monitoring, 20, 62 Stereo Aux Return Input Jacks, 80 STEREO AUX RETURNS, 18, 22, 32, 39, 73 Subgrouping, 21, 61 TAPE IN, 16, 19, 21, 29, 34, 81 TO L/R switches, 48, 61, 78 tracking, 12...

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