Alesis studio24 Manual De Usuario
Recording
6 2 S
TUDIO
24 R
EFERENCE
M
ANUAL
M
ONITORING
MIDI V
IRTUAL
T
RACKS
If you are using a MIDI sequencer, the tracks being played “live” from synthesizers,
sound modules and drum machines in synchronization with the tape are effectively
the same as additional tracks on tape –– which is why they are called “virtual tracks.”
sound modules and drum machines in synchronization with the tape are effectively
the same as additional tracks on tape –– which is why they are called “virtual tracks.”
Stereo Channels 9 through 12 are particularly useful for virtual tracks. These four
Channels use inputs 9 through 16 that are arranged on the top panel as stereo pairs.
Note that the Left jacks are mono inputs that can be panned from the Channel in the
stereo mix like Channels 1 - 8 if the other jack of the pair is not plugged in. Extra
synthesizers and drum machines may be plugged into the LINE IN jacks of the
channels, and can be monitored on the Channel FADER or MONITOR 1/2, using the
procedures on pages 58 and 59. Since the point of virtual tracks is not to use up a
track of tape, just make sure that when the synthesizer is on the Channel FADER, its
Group Assign switches are OFF so it doesn’t get recorded until the final 2-track
mixdown. Assign virtual tracks to L/R only.
Channels use inputs 9 through 16 that are arranged on the top panel as stereo pairs.
Note that the Left jacks are mono inputs that can be panned from the Channel in the
stereo mix like Channels 1 - 8 if the other jack of the pair is not plugged in. Extra
synthesizers and drum machines may be plugged into the LINE IN jacks of the
channels, and can be monitored on the Channel FADER or MONITOR 1/2, using the
procedures on pages 58 and 59. Since the point of virtual tracks is not to use up a
track of tape, just make sure that when the synthesizer is on the Channel FADER, its
Group Assign switches are OFF so it doesn’t get recorded until the final 2-track
mixdown. Assign virtual tracks to L/R only.
But, if you really need to record the instruments on these Channels, assign them to a
Group and connect the GROUP OUTPUTS directly to the recorder’s track inputs.
Alternately, you can assign Channels 9 through 12 to the DIRECT OUTs: press the
DIRECT OUT SOURCE switch on the Channel that corresponds to the track number
you want to record on and the Channel(s) assigned to GRP will be routed to the
DIRECT OUT.
Group and connect the GROUP OUTPUTS directly to the recorder’s track inputs.
Alternately, you can assign Channels 9 through 12 to the DIRECT OUTs: press the
DIRECT OUT SOURCE switch on the Channel that corresponds to the track number
you want to record on and the Channel(s) assigned to GRP will be routed to the
DIRECT OUT.
Tip
: If you are using Monitors and Channels simultaneously for tape return and
virtual track monitoring, the L/R mix should be used for the performers’
headphone mix, not MON 1/2.
headphone mix, not MON 1/2.
1
Set the Control Room source to L/R (all CONTROL ROOM Select buttons up).
2
Press the LINK TO L/R switch in the MONITOR 1/2 MASTER section. This
mixes the MON 1/2 mix onto the L/R buss.
mixes the MON 1/2 mix onto the L/R buss.
3
Use the MON 1/2 LEVEL knob on each Channel that has a virtual track to adjust
your mix of virtual instruments.
your mix of virtual instruments.
4
Press the CHAN/MON REVERSE buttons down on each Channel that has a tape
track. Use the FADER on each of these Channels to adjust your mix.
track. Use the FADER on each of these Channels to adjust your mix.
5
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.
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.