Alesis 03D Manual De Usuario
Phantom Power (input channels 1–8)
37
03D—Owner’s Manual
Phantom Power (input channels 1–8)
Input channels 1 to 8 feature switchable +48 V phantom powering for use
with condenser-type microphones. Phantom powering is supplied to the
balanced XLR-3-31-type connector, and can be switched individually for
each channel. Phantom power should be turned on only when a con-
denser-type microphone is connected.
with condenser-type microphones. Phantom powering is supplied to the
balanced XLR-3-31-type connector, and can be switched individually for
each channel. Phantom power should be turned on only when a con-
denser-type microphone is connected.
Pad (input channels 1–8)
Input channels 1 to 8 feature 26 dB pad switches. Input pads attenuate the
input signal by 26 dB, allowing the input preamp to work with high-level
signals. You may need to use a pad with “hot” signals from bass or snare
drum microphones, or “hot” line-level signals. PAD switch settings are not
stored in scene memories or channel programs, and cannot be controlled
using automix.
input signal by 26 dB, allowing the input preamp to work with high-level
signals. You may need to use a pad with “hot” signals from bass or snare
drum microphones, or “hot” line-level signals. PAD switch settings are not
stored in scene memories or channel programs, and cannot be controlled
using automix.
Gain
GAIN controls adjust the gain of the input preamps. They are used to optimize the
input signal level for the best signal-to-noise performance, and should be set in con-
junction with the level meters. Ideally, the GAIN control should be set so that the signal
level is relatively high, and it’s okay for it to reach PEAK occasionally. If PEAK is reached
often, however, back off the GAIN control a little, otherwise, signal distortion may
occur. The GAIN control should be set with care. If it’s set too low, the signal-to-noise
performance will suffer. If it’s set too high, unpleasant signal clipping and distortion
may occur.
input signal level for the best signal-to-noise performance, and should be set in con-
junction with the level meters. Ideally, the GAIN control should be set so that the signal
level is relatively high, and it’s okay for it to reach PEAK occasionally. If PEAK is reached
often, however, back off the GAIN control a little, otherwise, signal distortion may
occur. The GAIN control should be set with care. If it’s set too low, the signal-to-noise
performance will suffer. If it’s set too high, unpleasant signal clipping and distortion
may occur.
The GAIN controls on input channels 1 to 8 are designed for use with
microphone signals, and have an input sensitivity of –16 dB to –60 dB.
Used in conjunction with the 26 dB PAD switches, however, these chan-
nels can also be used with line-level signals and “hot” microphone sig-
nals. With the pad switch on, the input sensitivity is +10 to –34 dB.
microphone signals, and have an input sensitivity of –16 dB to –60 dB.
Used in conjunction with the 26 dB PAD switches, however, these chan-
nels can also be used with line-level signals and “hot” microphone sig-
nals. With the pad switch on, the input sensitivity is +10 to –34 dB.
The GAIN controls on input channels 9 to 16 and the stereo input (ST
IN) are designed for use with line-level signals, and have a gain range of
–10 dB to 20 dB.
IN) are designed for use with line-level signals, and have a gain range of
–10 dB to 20 dB.
GAIN control settings are not stored in scene memories or channel programs, and can-
not be controlled using automix. GAIN controls are, however, detented for accurate
repeat setting. The stereo input channel’s GAIN control is not detented.
not be controlled using automix. GAIN controls are, however, detented for accurate
repeat setting. The stereo input channel’s GAIN control is not detented.
Metering
Signal levels can be metered on the Meter pages. See Metering on page 79 for more
information.
information.
Insert (input channels 1 & 2)
Input channels 1 and 2 feature post-gain, pre-A/D-conversion insert points
via TRS phone jacks. These allow you to patch in your favorite external sig-
nal processors for exclusive use with input channels 1 and 2. Typically, com-
pressors, limiters, and noise gates are connected to this type of connection.
The insert jacks are wired: sleeve–ground, ring–return, tip–send. A wiring
diagram for an insert cable is provided on page 17.
via TRS phone jacks. These allow you to patch in your favorite external sig-
nal processors for exclusive use with input channels 1 and 2. Typically, com-
pressors, limiters, and noise gates are connected to this type of connection.
The insert jacks are wired: sleeve–ground, ring–return, tip–send. A wiring
diagram for an insert cable is provided on page 17.
PHANTOM
ON OFF
(+48V)
26dB
+10
–34
–60
–16
GAIN
+10
–20
+10
GAIN
OUT IN
INSERT