User manual ALESIS MODFX AMPLITON

[. . . ] Reference Manual This page intentionally left blank 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Copyright 2002, Alesis. All rights reserved Reproduction in whole or in part is prohibited. Specifications subject to change without notice. All trademarks are the property of their respective holders. [. . . ] Although quality cables cost more, they do make a difference. Route cables to the Ampliton correctly by observing the following precautions: · · Do not bundle audio cables with AC power cords. Avoid running audio cables near sources of electromagnetic interference such as transformers, monitors, computers, etc. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance) or reduce the cable's reliability. Avoid twisting the cable or having it make sharp, right angle turns. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward. · · · 22 Connections Using the ModLink The Ampliton can be connected to other effect boxes in the ModFX family via the ModLink. The ModLink is a cable-free connection between two ModFX units that transfers digital audio and word clock. The 9-pin male connector on the left side of the unit is the ModLink IN port. The 9-pin female connector on the right side is the ModLink OUT port. By directly connecting two ModFX units via the ModLink, audio will pass from the left-most unit to the right-most unit. Inputs AC adapter Outputs 2 What about the 1/4" jacks on the slave units? When a unit is a slave to another unit, its audio input jacks are disabled; it will get its audio input digitally from its ModLink port. The output jacks, however, are always active; so an audio output can be tapped from any linked unit, without interrupting the flow to the rest of the chain. Master First Slave Audio Flow Second Slave The audio signal flows from left to right. The Master will send its digital audio output to the First Slave, and the First Slave will, in turn, send its output to the Second Slave. 23 2 Connections This page intentionally left blank. 24 3 Using the Ampliton This section defines tremolo and autopan, and explains the functions of the Ampliton's controls in greater detail. The two sides of the Ampliton The basic operation of the Ampliton couldn't be simpler. It gives you access to two different kinds of amplitude-based effects: on the left side is tremolo, which feeds the autopan on the right side. Each side is independent of the other, so they can be used alone or together. The particular type of tremolo is chosen by the switch on the left, with the rate and depth of tremolo set by the two knobs on the left. The switch and two knobs on the right control the Autopan effects. Down the center of the Ampliton are controls that affect both sides: RESET MOD, TAP TEMPO, the SIGNAL LED, and the BYPASS switch. What is Tremolo? Tremolo is an effect that rapidly changes the volume of a signal up and down. If you have ever grabbed the volume knob on your radio and moved it up and down as fast as you could, that was tremolo. Tremolo first became a common effect on surf guitar in the 50s and 60s. It also sounds good on electric piano. A more technical term for tremolo is amplitude modulation--you can achieve it on a synthesizer by routing a low-frequency oscillator (LFO) to the final amplifier stage (VCA). [. . . ] This warranty is enforceable only by the original retail purchaser and cannot be transferred or assigned. For the most effective service, the purchaser should register the purchase on the ALESIS website at http://www. alesis. com/support/warranty. htm. During the warranty period ALESIS shall, at its sole and absolute option, either repair or replace free of charge any product that proves to be defective on inspection by ALESIS or its authorized service representative. In all cases disputes concerning this warranty shall be resolved as prescribed by law. [. . . ]