ALESIS MULTIMIX 12 FIREWIRE MANUAL PDF

Manuals Brands Alesis Manuals Mixer 12, 16 Reference manual Alesis 12, 16 Reference Manual Alesis reference manual musical instrument multimix 12 firewire, multimix 16 firewire. Quick Links. Download this manual. Reference Manual. Table of Contents.

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Photo: Mike Cameron. It may look like just another mixer, but this new entry-level model from Alesis also packs in a hefty input, stereo-output Firewire audio interface. Too good to be true? At first glance, the Alesis Multimix Firewire mixers could be mistaken for any other affordable general-purpose analogue designs, but the inclusion of Firewire interfacing enables them to double as multi-channel computer audio interfaces, placing them in a very different league. When Mackie came up with their Onyx Firewire mixer, there were complaints that its excellent EQ was bypassed while recording, so Alesis have obviously learned from this feedback and placed their direct outputs after the EQ.

While I wouldn't pretend that the mixer section of the Multimix Firewire 16 is as sophisticated as the significantly more costly Mackie Onyx, it does have the benefit of being extremely inexpensive, and its functionality should suit a good many computer audio applications, especially where it is necessary to record multiple sources at the same time.

If you have a computer and want to record a band, this is a great solution. My first port of call is usually the manufacturer's spec sheet, as this at least gives me some idea what to expect in terms of quality, but oddly the spec for this mixer misses out many important and informative details, such as noise figures, crosstalk, distortion, and frequency response.

Instead, it concentrates on telling you what level the various outputs emerge at and at what frequencies the EQ operates. While this is helpful to the user, it does little to back up the technical performance credentials of the unit. However, in my practical tests there seemed little to be ashamed of given the mixer's low cost. The manual is also somewhat unclear as to which inputs and outputs are balanced or unbalanced, though I managed to piece some of this information together from the block diagram.

Photo: Mike Cameron The Multimix series comprising eight-, , and channel models is based around the DICE II Firewire chip set, which here handles the audio interfacing at bit resolution and at sample rates of A copy of Steinberg's Cubase LE recording software is also provided for those who haven't yet chosen their sequencing software.

By default this runs at The high and low shelving frequencies are set at 12kHz and 80Hz. The EQ turns out to sound nicely musical, with the anticipated exception of the mid-band if used to apply heavy boost. The strategy seems to have been to tune the mid-band to the frequency range responsible for harshness, so that it can be cut when needed, and in this role it works just fine, though a swept mid-band is always more flexible.

It may also be routed to the main mix for setting up a separate subgroup when mixing. The smaller models in the Multimix range are the eight-channel Multimix Firewire 8 left and the channel Multimix Firewire 12 right. Photo: Mike Cameron Physically, the mixer is neatly designed, with a tough sheet-metal chassis and moulded plastic end cheeks. All the audio connections are on the top panel, with a locking connector for the included PSU on the rear panel, along with rocker switches for power and phantom power.

Metal jack sockets are used, which inspires confidence. As mixers go, this one is very straightforward, with a balanced XLR mic input and a balanced quarter-inch jack input on each of the mono channels. A maximum mic preamp gain of 60dB is available, with a further 10dB of gain provided by the channel fader in its maximum-gain position. These channels also have 75Hz low-cut switches and input gain trim pots, but no insert points. Given that this mixer is likely to be used with a computer audio system that runs plug-in effects and processors, the lack of insert points probably isn't a serious limitation.

This dual-purpose arrangement was first seen in some of Mackie's earlier mixers, and is a very practical way of adding flexibility without adding excessive cost. Each of the four stereo quarter-inch jack channels has the same EQ, aux, and fader arrangements as the mono channels, except that the pan controls are now balance controls, and there's no input gain trim or low-cut filter. There's little unusual in the master section except that the familiar RCA phono two-track inputs and outputs work in tandem with the stereo Firewire input in such a way that the analogue tape return and stereo DAW mix are summed for monitoring purposes.

I can't immediately see why you might want to hear both at once, but doing it this way saves the cost of a switch. Other than the two-track RCA phonos, all the audio inputs and outputs in the master section are on quarter-inch jacks. Only one of the two Firewire ports on the rear panel of the Multimix Firewire 16 is required for connection to your computer. However, a second is provided to allow you to connect to other computer peripherals as required.

Photo: Mike Cameron At the top of the master section is the effects processor control panel, where a two-digit LED display shows the effects numbers from zero to A 'turn and press' knob selects the effects, which have their categories and numerical ranges printed just above the display.

There are 40 reverb presets and, in most cases, these will be the most commonly used effects. The second aux send feeds the effects normally, but if the send is being used for an external effect, then the second set of Aux Return inputs take the place of the internal effects. Separate level controls are provided for adjusting how much of each of the two Aux Returns is fed into the main stereo mix, and a monitor control knob adjusts both the monitor output level and the headphones level.

All this adds up to a simple mixer that can also double as an audio interface, providing up to 18 simultaneous computer audio feeds. Given the low cost, this is remarkable in itself. If the mic preamps are competent and the mixer circuitry reasonably quiet, then I don't see how it can fail to be a winner, especially if you need to record several musicians at once. So let's see how it works out in the studio!

Checked as an analogue mixer, the Multimix Firewire 16 turned in the kind of performance I'd expect from a well-designed entry-level mixer, insomuch as it was free from hum and hiss, other than when using the mic preamps at high gain settings. It isn't esoteric, but it's not in any way bad either. My feeling is that the mic preamps are a touch noisier than those you'd expect on a premium mixer, but not unacceptably so.

The EQ sounds fine, as long as you don't use the mid-band for boosting unless you really want a harsh, invasive sound — better to use it to cut such sounds. There's a good choice of effects, even though some of these sound to my ears a little less sophisticated than I'd expect from an entry-level Alesis hardware reverb such as the Picoverb.

The inability to make any effect adjustment specifically delay time was also frustrating on the delay presets, though there was enough reverb variety to fit most applications. If you have a good software reverb which probably costs more than this mixer!

My initial experiences running the Firewire side of the mixer under Mac OS v After evicting the old one and installing the new one, everything worked happily. After restarting the computer, I could get down to buffer sizes of or even 64 samples without any sign of glitching. Problem solved! Given its low UK price, the Multimix Firewire 16 offers extraordinary value for money, and is ideally suited to the musician on a budget who wants to record an entire band at once, while keeping all the tracks separate for later mixing.

Although the mixer's facilities are pretty basic, it turns in a very acceptable audio performance, and the mic preamps behave well enough to make good, clean recordings, provided that you use either sensitive capacitor microphones or use dynamic mics fairly close to the sound source. The effects are generally OK, though some of the brighter reverbs can be a touch on the 'ringy' side, and not being able to adjust even one parameter can be frustrating.

Most of these effects would be fine for live use, but for recording check your plug-ins and see which sounds best. The medium-length reverbs are probably the most useful effects when recording or mixing a finished track, and fortunately there are several sensible presets from which to choose in this section. As to my initial Max OS X problems, the new driver solved all the glitching and everything worked quite painlessly.

The ability to route so many individual feeds to a DAW should appeal to anyone who wants to record multiple sound sources at once, but who prefers to mix within the DAW. The post-EQ direct feeds mean you can tweak the sounds prior to recording them, and if you want to add effects as you record you only need to record the effected track or tracks via the main stereo output with suitable effects applied. The Multimix may be built to a price, with competent rather than esoteric audio performance, but the strategy has clearly paid off.

After all, where else can you buy a multi-channel mixer, an input audio interface, and a digital effects processor for such a small outlay? Alesis have managed to combine a basic but practical analogue mixer with an in, stereo-out Firewire interface at an unprecedentedly low price.

Pros Inexpensive. Up to 18 simultaneous inputs for recording. Integral effects. No parameter adjustment for the effects. Summary Alesis have managed to combine a basic but practical analogue mixer with an in, stereo-out Firewire interface at an unprecedentedly low price. Next article. New forum posts Re: Where is Administration soundonsound. Recent topics Where is Administration soundonsound. The analogue-summing '3D' effect: what actually is it? Equipment ID help! Does DSP have latency?

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Alesis MultiMix 12 FireWire

Photo: Mike Cameron. It may look like just another mixer, but this new entry-level model from Alesis also packs in a hefty input, stereo-output Firewire audio interface. Too good to be true? At first glance, the Alesis Multimix Firewire mixers could be mistaken for any other affordable general-purpose analogue designs, but the inclusion of Firewire interfacing enables them to double as multi-channel computer audio interfaces, placing them in a very different league. When Mackie came up with their Onyx Firewire mixer, there were complaints that its excellent EQ was bypassed while recording, so Alesis have obviously learned from this feedback and placed their direct outputs after the EQ. While I wouldn't pretend that the mixer section of the Multimix Firewire 16 is as sophisticated as the significantly more costly Mackie Onyx, it does have the benefit of being extremely inexpensive, and its functionality should suit a good many computer audio applications, especially where it is necessary to record multiple sources at the same time.

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Alesis 12, 16 Reference Manual

Manual zz. The installer program should automatically launch after a few moments. If it does not open automatically, perform the following: a. Double-click the My Computer icon on your desktop.

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