User manual ALESIS 1622

[. . . ] ALESIS 1622 Mixer Reference Manual TABLE OF CONTENTS INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 WHAT IS A MIXING CONSOLE?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 FEATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 SECTION 1 DESCRIPTION OF CONTROLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] 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. 5) The SUB MASTER Fader will now control the level going to tape. For cleanest recording, the SUB MASTER Fader should be adjusted so that the level going to tape should reach 0 VU on peaks on the meters of the Multitrack Tape Deck. The exception to this would be for percussive instruments with lots of high 20 frequency information, such as cymbals, which should be recorded at -10 or -15 VU to prevent unwanted peaks which the meters won't indicate. 6) Be sure that the SUB ASSIGN switch (the one above the SUB MASTER Fader) is in the "Off" position. Otherwise, the signal will be assigned twice to the Master buss and may cause the signal to be too loud in the Monitor Mix. 7) To monitor (listen to) the track through the Multitrack Tape Deck, place the desired track of the tape machine into "source" or "input" and raise the Channel Fader of the 1622 MIXER where the tape return from the Multitrack is connected; i. e Track 1 to Channel 9, Track 2 to Channel 10, etc. (See Section 2, INTERFACING, and HOW TO ADJUST LEVELS). Follow instructions for playback. 2 OR MORE SOURCES TO 2 TRACKS 1) With microphones or instruments connected to the input channels, set the input levels correctly. See Section 2, INTERFACING, and HOW TO ADJUST LEVELS. 2) Assign the channels to a SUB MASTER by switching the SUB switch to the "On" position on the desired channel. 3) Since the tracks are to be recorded in stereo (you will have to record simultaneously on 2 tracks of the tape recorder), pan SUBMASTER 1 hard left, pan 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. 5) The SUB MASTER Faders will now control the level going to tape. For cleanest recording, the SUB MASTER Faders should be adjusted so that the level going to tape should reach 0 VU on peaks on the meters of the Multitrack Tape Deck. The exception to this would be for percussive instruments with lots of high frequency information, such as cymbals, which should be recorded at 10 or -15 VU to prevent unwanted peaks which the meters won't indicate. 6) Be sure that the SUB ASSIGN switch (the one above the SUB MASTER Fader) is in the "Off" position. Otherwise, the signal will be assigned twice to the Master buss and may cause the signal to be too loud in the Monitor Mix. 7) To monitor (listen to) the track through the Multitrack Tape Deck, place the desired track of the tape machine into "source" or "input" and raise the Channel Fader of the 1622 where the tape return from the Multitrack is connected; i. e Track 1 to Channel 9, Track 2 to Channel 10, etc. (See Section 2, INTERFACING, and HOW TO ADJUST LEVELS). Follow instructions for playback. CAUTION: BE SURE OF THE FOLLOWING WHEN RECORDING! A) Be sure that the SUB ASSIGN is NOT switched to the "On" position on the Tape Return Channels. [. . . ] There is a Trim control on each Input Channel on the 1622 MIXER . TRS - A stereo phone plug is also commonly known as a TRS plug because of the arrangement of construction; i. e. T stands for tip, R for ring, and S for sleeve. Unbalanced Line - A circuit that uses a single wire to carry the signal voltage. [. . . ]