User manual ALESIS MODFX METAVOX

[. . . ] Reference Manual This page intentionally left blank 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Copyright 2002, Alesis. 7-51-0117-A 8/2002 Table of Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Welcome!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 About the Metavox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Important features of your Metavox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Metavox Key Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 How to Use This Manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Safety Instructions/Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Important Safety Instructions (English). . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 CE Declaration Of Conformity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 FCC Compliance Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Instructions de Sécurité Importantes (French) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Lesen Sie bitte die folgende Sicherheitshinweise (German) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Quick Start Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 If you can't wait to get started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Hookup for voice modulation of a synthesizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 A quick overview of the controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Unpacking and Inspection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Installing in a Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Power. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Connecting to the Channel Inserts of a mixing console: . . . . . . . . . . . . . . . . . . . . . . . . 20 Connecting to the Group Sends or Aux Send/Return of a mixing console:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Connecting to the inserts on an instrument amplifier: . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Connecting to equipment with XLR inputs and outputs:. . . . . . . . . . . . . . . . . . . . . . . 23 About audio cables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Using the ModLink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Using the Metavox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 About Vocoding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 What is Tempo Sync?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 To turn Tempo Sync off:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Description of Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Synthesis Input Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Phreeq. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Siblance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Modulation switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Reset Mod. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Tap Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Bypass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using the Foot Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 1 Table Of Contents Sample Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Blank Settings Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Troubleshooting Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Avoiding ground loop noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Line conditioners and spike protectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Care and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Cleaning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Refer all servicing to Alesis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Obtaining repair service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Audio Performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Mechanical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Warranty/Contact Alesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Alesis Limited Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Alesis Contact Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 2 Introduction Welcome! Thank you for making the Alesis Metavox a part of your studio. [. . . ] Use two separate cables to connect the [LEFT OUTPUT] and [RIGHT OUTPUT] of the Metavox to the left and right inputs of a Stereo Effect Return, or to two adjacent mixer channels panned to left and right. From GROUP OUT #2 (instruments) From GROUP OUT #1 (microphones) If you use mixer channels for the returns from the Metavox, be sure the Group Sends for those channels are turned off to avoid feedback. In this example, any microphone anywhere in the console assigned to Group 1 can be a vocoder control source. Any sound mixed to Group 2 will be vocoded by that microphone and sent to the output of the Metavox. To returns 21 2 Connections Connecting to the inserts on an instrument amplifier: Use this method only if you occasionally use the Metavox to provide synthesizer sounds and noises under control of your guitar. This method won't let any guitar sound through unless BYPASS is pressed. The insert send on a guitar or bass amp is usually labeled "effects send and return" or "insert send and return". This allows you to preamplify your instrument before vocoding it and sending it to the power amp. Most guitar amps are single channel, so connect a single insert cable from the amp to the LEFT INPUT and LEFT OUTPUT of the Metavox. Some amps have separate "effect send" and "effect return" jacks; for these, use standard cables. Check the manual of your amplifier for details. Never connect the Metavox between the power amp and the speaker!The high power levels created by the power amp will destroy the circuitry of the Metavox. If you are using a dedicated rack-mount preamplifier, another method would be to insert the Metavox between the preamp and the input(s) of the power amp. 22 Connections Connecting to equipment with XLR inputs and outputs: If you are connecting the Metavox to a product with XLR balanced inputs and outputs, you will need to convert this signal to a 1/4" unbalanced connector. Make sure that Pin 2 of the XLR connector is connected to the Tip of the 1/4" adapter or cable. Watch out for high levels, however: some XLR sources put out levels close to the maximum the Metavox can accept (about +12 dBu) even when its trim is at minimum. Lower the level of the source if the [SIGNAL] LED flashes red. 2 Don't use line transformers: Many XLR-to-1/4" adapters sold at electronics stores are NOT adapters, but transformers (and very low quality transformers at that). Don't use these on the output of the Metavox--they're unnecessary and generally sound awful because they don't have the headroom to handle the Metavox's output. Get a hard-wired adapter or cable from your professional audio dealer, or make one yourself from components. However, a mic-to-line transformer might work to provide a vocoding input to the Metavox. About audio cables The connections between the Metavox 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. Route cables to the Metavox 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. 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. Always unplug by firmly grasping the body of the plug and pulling directly outward. · · · 23 2 Connections Using the ModLink The Metavox 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 Alesis Limited Warranty applies only to products sold to users in the USA and Canada. Customers outside of the USA and Canada are not covered by this Limited Warranty and may or may not be covered by an independent distributor warranty in the country of sale. Do not return products to the factory unless you have been given specific instructions to do so. 44 Specifications Audio Input Input Connectors: Maximum Input Level: Nominal Level: Input Impedance: Input Converter Resolution: 2 unbalanced 1/4" jacks +10 dBV -10 dBV (adjustable, left input) -20 dBV (right input) 470k 24-bit, 48 kHz sampling All measurements done over a 22Hz ­ 22kHz range with a 1kHz sine wave at -1dBFS input. Impedances are measured at 1kHz. Audio Output Output Connectors: Maximum Output Level: Output Impedance: Output Converter Resolution: 2 unbalanced 1/4" jacks +9 dBV 500 24-bit, 48 kHz sampling Audio Performance (Analog In to Analog Out) Signal To Noise Ratio: THD+N: Frequency Response: Internal DSP Resolution: Power Consumption: >100 dB A-weighted < 0. 005% ± 1dB from 22Hz to 22kHz 28-bit 7 Watts max (9VAC Alesis P3) Mechanical Size: 2. 1" H x 5. 8" W x 3. 9" D (53mm H x 148mm W x 98mm D) 12. 6oz. [. . . ]