Alesis MULTIMIX 12R User Manual

MIXER / MICROPHONE PREAMPLIFIER  
REFERENCE  
MANUAL  
2002  
Important Safety  
Instructions  
Important Safety Instructions  
(English)  
Safety symbols used in this product  
This symbol alerts the user that there are important  
operating and maintenance instructions in the literature  
accompanying this unit.  
This symbol warns the user of uninsulated voltage within  
the unit that can cause dangerous electric shocks.  
This symbol warns the user that output connectors contain  
voltages that can cause dangerous electrical shock.  
Please follow these precautions  
when using this product:  
1. Read these instructions.  
2. Keep these instructions.  
3. Heed all warnings.  
4. Follow all instructions.  
5. Do not use this apparatus near water.  
6. Clean only with a damp cloth. Do not spray any liquid cleaner  
onto the faceplate, as this may damage the front panel controls  
or cause a dangerous condition.  
7. Install in accordance with the manufacturer's instructions.  
8. Do not install near any heat sources such as radiators, heat  
registers, stoves, or other apparatus (including amplifiers) that  
produce heat.  
9. Do not defeat the safety purpose of the polarized or  
grounding-type plug. A polarized plug has two blades with  
one wider than the other. A grounding-type plug has two  
blades and a third grounding prong. The wide blade or the  
third prong are provided for your safety. When the provided  
plug does not fit into your outlet, consult an electrician for  
replacement of the obsolete outlet.  
10. Protect the power cord from being walked on or pinched,  
particularly at plugs, convenience receptacles, and the point  
where they exit from the apparatus.  
11. Use only attachments or accessories specified by the  
manufacturer.  
Important Safety Instructions  
12. Use only with a cart, stand, bracket, or table designed for use  
with professional audio or music equipment. In any  
installation, make sure that injury or damage will not result  
from cables pulling on the apparatus and its mounting. If a  
cart is used, use caution when moving the cart/apparatus  
combination to avoid injury from tip-over.  
13. Unplug this apparatus during lightning storms or when unused  
for long periods of time.  
14. Refer all servicing to qualified service personnel. Servicing is  
required when the apparatus has been damaged in any way,  
such as when the power-supply cord or plug is damaged, liquid  
has been spilled or objects have fallen into the apparatus, the  
apparatus has been exposed to rain or moisture, does not  
operate normally, or has been dropped.  
15. This unit produces heat when operated normally. Operate in a  
well-ventilated area with at least six inches of clearance from  
peripheral equipment.  
16. This product, in combination with an amplifier and  
headphones or speakers, may be capable of producing sound  
levels that could cause permanent hearing loss. Do not  
operate for a long period of time at a high volume level or at a  
level that is uncomfortable. If you experience any hearing loss  
or ringing in the ears, you should consult an audiologist.  
17. Do not expose the apparatus to dripping or splashing. Do not  
place objects filled with liquids (flower vases, soft drink cans,  
coffee cups) on the apparatus.  
18. WARNING: To reduce the risk of fire or electric shock, do  
not expose this apparatus to rain or moisture.  
Important Safety Instructions  
Instructions de Sécurité Importantes  
(French)  
Symboles utilisés dans ce produit  
Ce symbole alèrte l’utilisateur qu’il existe des instructions  
de fonctionnement et de maintenance dans la documentation  
jointe avec ce produit.  
Ce symbole avertit l’utilisateur de la présence d’une  
tension non isolée à l’intérieur de l’appareil pouvant engendrer des  
chocs électriques.  
Ce symbole prévient l'utilisateur de la présence de tensions  
sur les raccordements de sorties, représentant un risque  
d'électrocution.  
Veuillez suivre ces précautions  
lors de l’utilisation de  
l’appareil:  
1. Lisez ces instructions.  
2. Gardez ces instructions.  
3. Tenez compte de tous les avertissements.  
4. Suivez toutes les instructions.  
5. N’utilisez pas cet allareil à proximité de l’eau.  
6. Ne nettoyez qu’avec un chiffon humide. Il est potentiellement  
dangereux d'utiliser des pulvérisateurs ou nettoyants liquides  
sur cet appareil.  
7. Installez selon les recommandations du constructeur.  
8. Ne pas installer à proximilé de sources de chaleur comme  
radiateurs, cuisinière ou autre appareils (don’t les  
amplificateurs) produisant de la chaleur.  
9. Ne pas enlever la prise de terre du cordon secteur. Une prise  
murale avec terre deux broches et une troisièrme reliée à la  
terre. Cette dernière est présente pour votre sécurité. Si le  
cordon secteur ne rentre pas dans la prise de courant,  
demandez à un électricien qualifié de remplacer la prise.  
10. Evitez de marcher sur le cordon secteur ou de le pincer, en  
particulier au niveau de la prise, et aux endroits où il sor de  
l’appareil.  
11. N’utilisez que des accessoires spécifiés par le constructeur.  
Important Safety Instructions  
Suite de la page suivante  
12. N’utilisez qu’avec un stand, ou table conçus pour l’utilisation  
d’audio professionnel ou instruments de musique. Dans toute  
installation, veillez de ne rien endommager à cause de câbles  
qui tirent sur des appareils et leur support.  
13. Débranchez l’appareil lors d’un orage ou lorsqu’il n’est pas  
utilisé pendant longtemps.  
14. Faites réparer par un personnel qualifié. Une réparation est  
nécessaire lorsque l’appareil a été endommagé de quelque sorte  
que ce soit, par exemple losrque le cordon secteur ou la prise  
sont endommagés, si du liquide a coulé ou des objets se sont  
introduits dans l’appareil, si celui-ci a été exposé à la pluie ou à  
l’humidité, ne fonctionne pas normalement ou est tombé.  
15. Puisque son fonctionement normale génère de la chaleur,  
placez cet appareil au moins 15cm. des équipments  
péripheriques et assurez que l’emplacement permet la  
circulation de l’air.  
16. Ce produit, utilisé avec un amplificateur et un casque ou des  
enceintes, est capable de produite des niveaux sonores pouvant  
engendrer une perte permanente de l’ouïe. Ne l’utilisez pas  
pendant longtemps à un niveau sonore élevé ou à un niveau  
non confortable. Si vous remarquez une perte de l’ouïe ou un  
bourdonnement dans les oreilles, consultez un spécialiste.  
17. N'exposez pas l'appareil à l'égoutture ou à l'éclaboussement.  
Ne placez pas les objets remplis de liquides (vases à fleur,  
boîtes de boisson non alcoolique, tasses de café) sur l'appareil.  
18. AVERTISSEMENT: Pour réduire le risque du feu ou de  
décharge électrique, n'exposez pas cet appareil à la pluie ou à  
l'humidité.  
Important Safety Instructions  
Lesen Sie bitte die folgende Sicherheitshinweise  
(German)  
Sicherheit Symbole verwendet in  
diesem Produkt  
Dieses Symbol alarmiert den Benutzer, daß es wichtige  
Funktionieren und Wartung Anweisungen in der Literatur gibt, die  
diese Maßeinheit begleitet.  
Dieses Symbol warnt den Benutzer der nicht isolierten  
Spannung innerhalb der Maßeinheit, die gefährliche elektrische  
Schläge verursachen kann.  
Dieses Symbol warnt den Benutzer, dem Ausgabestecker  
Spannungen enthalten, die gefährlichen elektrischen Schlag  
verursachen können.  
Folgen Sie bitte diesen  
Vorkehrungen, wenn dieses Produkt  
verwendet wird:  
1. Lesen Sie die Hinweise.  
2. Halten Sie sich an die Anleitung.  
3. Beachten Sie alle Warnungen.  
4. Beachten Sie alle Hinweise.  
5. Bringen Sie das Gerät nie mit Wasser in Berührung.  
6. Verwenden Sie zur Reinigung nur ein weiches Tuch.  
Verwenden Sie keine flüssigen Reinigungsmittel. Dies kann  
gefährliche Folgen haben.  
7. Halten Sie sich beim Aufbau des Gerätes an die Angaben des  
Herstellers.  
8. Stellen Sie das Gerät nich in der Nähe von Heizkörpern,  
Heizungsklappen oder anderen Wärmequellen (einschließlich  
Verstärkern) auf.  
9. Verfehlen Sie nicht den Zweck des grounging Terminals auf  
dem Netzstecker. Dieses Terminal wird für Ihre Sicherheit zur  
Verfügung gestellt.  
10. Verlegen Sie das Netzkabel des Gerätes niemals so, daß man  
darüber stolpern kann oder daß es gequetscht wird.  
11. Benutzen Sie nur das vom Hersteller empfohlene Zubehör.  
Important Safety Instructions  
Fortsetzung auf nächster Seite  
12. Verwenden Sie ausschließlich Wagen, Ständer, oder Tische, die  
speziell für professionelle Audio- und Musikinstrumente  
geeignet sind. Achten Sie immer darauf, daß die jeweiligen  
Geräte sicher installiert sind, um Schäden und Verletzungen zu  
vermeiden. Wenn Sie einen Rollwagen benutzen, achten Sie  
darauf, das dieser nicht umkippt, um Verletzungen  
auszuschließen.  
13. Ziehen Sie während eines Gewitters oder wenn Sie das Gerät  
über einen längeren Zeitraum nicht benutzen den Netzstecher  
aus der Steckdose.  
14. Die Wartung sollte nur durch qualifiziertes Fachpersonal  
erfolgen. Die Wartung wird notwendig, wenn das Gerät  
beschädigt wurde oder aber das Stromkabel oder der Stecker,  
Gegenstände oder Flüssigkeit in das Gerät gelangt sind, das  
Gerät dem Regen oder Feuchtigkeit ausgesetzt war und  
deshalb nicht mehr normal arbeitet oder heruntergefallen ist.  
15. Dieses Gerät produziert auch im normalen Betrieb Wärme.  
Achten Sie deshalb auf ausreichende Lüftung mit mindestens  
15 cm Abstand von anderen Geräten.  
16. Dieses Produkt kann in Verbindung mit einem Verstärker und  
Kopfhörern oder Lautsprechern Lautstärkepegel erzeugen, die  
anhaltende Gehörschäden verursachen. Betreiben Sie es nicht  
über längere Zeit mit hoher Lautstärke oder einem Pegel, der  
Ihnen unangenehm is. Wenn Sie ein Nachlassen des Gehörs  
oder ein Klingeln in den Ohren feststellen, sollten Sie einen  
Ohrenarzt aufsuchen.  
17. Setzen Sie den Apparat nicht Bratenfett oder dem Spritzen  
aus. Plazieren Sie die Nachrichten, die mit Flüssigkeiten  
(gefüllt werden Blumevases, Getränkdosen, Kaffeetassen)  
nicht auf den Apparat.  
18. WARNING: um die Gefahr des Feuers oder des elektrischen  
Schlages zu verringern, setzen Sie diesen Apparat nicht Regen  
oder Feuchtigkeit aus.  
Important Safety Instructions  
CE Declaration Of Conformity  
See our website at:  
FCC Compliance Statement  
This device complies with Part 15 of the FCC rules. Operation is  
subject to the following two conditions: (1) This device may not  
cause harmful interference and (2) this device must accept any  
interference received, including interference that may cause  
undesired operation.  
NOTE: This equipment has been tested and found to comply with  
the limits for a Class B digital device, pursuant to Part 15 of the  
FCC Rules. These limits are designed to provide reasonable  
protection against harmful interference in a residential installation.  
This equipment generates, uses and can radiate radio frequency  
energy and, if not installed and used in accordance with the  
instructions, may cause harmful interference to radio  
communications. However, there is no guarantee that interference  
will not occur in a particular installation. If this equipment does  
cause harmful interference to radio or television reception, which  
can be determined by turning the equipment off and on, the user  
is encouraged to try to correct the interference by one or more of  
the following measures:  
-- Reorient or relocate the receiving antenna.  
-- Increase the separation between the equipment and receiver.  
-- Connect the equipment into an outlet on a circuit different from  
that to which the receiver is connected.  
-- Consult the dealer or an experienced radio/TV technician for  
help.  
Introduction  
TABLE OF CONTENTS  
Table of Contents ................................................................. 1  
Introduction.............................................................................3  
The Alesis Multimix 12R Microphone Preamplifier/Mixer........................3  
Using this manual.............................................................................................3  
Grounding Instructions...................................................................................4  
Installation...............................................................................5  
Unpacking .........................................................................................................5  
AC power..........................................................................................................5  
Grounding.............................................................................................5  
Use clean power ...................................................................................6  
Power switch.........................................................................................6  
Mounting...........................................................................................................6  
Connections .............................................................................7  
Inputs .................................................................................................................7  
Cable common sense...........................................................................7  
Microphone Inputs...............................................................................8  
Phantom power....................................................................................9  
Line-level devices (synthesizers, CD players, video)....................10  
TAPE IN jacks .....................................................................................12  
Phonograph turntables .....................................................................13  
Do not connect any of the following to any input of the  
Multimix 12R!......................................................................................13  
How to connect effect devices and signal processors...............................14  
Effects via Aux Send and Aux Return .............................................14  
In-line processing using the INSERT jacks (compressors &  
equalizers) ...........................................................................................15  
Outputs ............................................................................................................18  
To a stereo PA system or instrument amplifier ............................18  
To a mono system..............................................................................18  
To a stage monitor (foldback) system ............................................18  
To another mixer................................................................................19  
To a stereo tape recorder..................................................................19  
To an ADAT multitrack recorder.....................................................20  
Phones..................................................................................................23  
Monitor Out ........................................................................................23  
Operating Instructions......................................................25  
Before turning the mixer on, "zero out' the controls................................25  
Setting input trim levels ................................................................................26  
PEAK LED method ............................................................................26  
Metering/Unity Gain method..........................................................27  
Typical Fader and Control Levels................................................................28  
Proper gain staging of other equipment........................................29  
Multimix 12R Reference Manual  
1
Introduction  
AUX System: Effects Send/Receive............................................................30  
How to Set Aux Send and Return Levels .......................................30  
Using the meter..............................................................................................32  
Avoiding noise................................................................................................33  
System noise (ground loops, hum, induced noise).......................33  
Applications...........................................................................37  
Multitrack recording......................................................................................37  
Tracking/Overdubbing.....................................................................37  
Mixdown..............................................................................................38  
Using the HIGH and LOW EQ controls......................................................39  
Monitoring AUX 1 in the PHONES jack .....................................................40  
Troubleshooting...................................................................41  
Troubleshooting Index..................................................................................41  
Maintenance/Service.....................................................................................43  
Exterior cleaning.................................................................................43  
Specifications....................................................................... 45  
Frequency Response......................................................................................45  
Connectors......................................................................................................45  
Levels ...............................................................................................................46  
Impedance.......................................................................................................46  
Noise performance (typical).........................................................................47  
Distortion (THD+N).......................................................................................47  
Power...............................................................................................................47  
Mounting.........................................................................................................47  
Dimensional Drawing .......................................................48  
Block diagram .....................................................................49  
Level diagram.................................................................................................50  
Index........................................................................................ 51  
Introduction  
INTRODUCTION  
The Alesis Multimix 12R Microphone  
Preamplifier/Mixer  
The Alesis Multimix 12R is a high-quality, rack-mountable 12-input,  
stereo output audio mixer. It is designed to handle eight microphones,  
two stereo line inputs, and to route signal to and from external effect  
processing devices. As a basic, easy-to-understand mixer, it can be  
used in a wide variety of applications from sound reinforcement to  
multitrack recording. It may also be used as an accessory or submixer  
to a larger console.  
Using this manual  
To get the most out of your Multimix 12R, please read this manual.  
While the mixer is not complicated to operate, the manual contains  
information that will help you get the highest level of performance  
from it. We’ve included creative alternative techniques that aren't  
obvious at first glance.  
To find what you need quickly, refer to the index at the back of the  
manual, or the Table of Contents.  
Conventions  
The buttons, knobs, and rear panel connectors are referred to in this  
manual just as their names appear on the Multimix 12R, using all  
capital letters (Example: [TRIM] control, [PAN] knob, [PHONES] jack,  
etc.).  
When something important appears in the manual, an icon (like the one on the  
left) will appear in the left margin. This symbol indicates that this information  
is vital when operating the Multimix 12R.  
Multimix 12R Reference Manual  
3
Introduction  
Grounding Instructions  
This product must be grounded. If it should malfunction or break  
down, grounding provides a path of least resistance for electric current  
to reduce the risk of electric shock. This product is equipped with a  
cord having an equipment-grounding conductor and a grounding  
plug. The plug must be plugged into an appropriate outlet that is  
properly installed and grounded in accordance with all local rules and  
ordinances.  
DANGER - Improper connection of the equipment-grounding conductor  
can result in a risk of electric shock. Check with a qualified electrician or  
serviceman if you are in doubt as to whether the product is properly  
grounded. Do not modify the plug provided with the product; if it will not fit  
the outlet, have a proper outlet installed by a qualified electrician.  
Installation  
INSTALLATION  
Unpacking  
The Multimix 12R box should contain:  
1. The mixer itself  
2. A packet of literature along with this manual  
3. An AC power cable  
AC power  
READ ALL SAFETY WARNINGS IN THE PREVIOUS SECTION OF  
THIS MANUAL TO ENSURE SAFE OPERATION OF THIS UNIT.  
Connect the Multimix 12R to the specified power using the AC cable  
supplied with the unit. The AC cable is removable. If the distance to  
your AC outlet is longer or shorter than the supplied cable, you may  
substitute an approved standard NEMA-to-CEE power cable of the  
correct length, available from most electronics stores.  
Grounding  
CONNECT THE MULTIMIX 12R TO A PROPERLY GROUNDED  
OUTLET ONLY. DO NOT USE ADAPTERS WHICH REMOVE THE  
SAFETY GROUND PROTECTION OR CUT OFF THE GROUNDING  
PRONG ON THE POWER CORD. Proper grounding is essential for  
user safety and low noise. If you experience 60-cycle hum in your  
sound system as a result of different ground potentials between  
different units in your system, plug all units into the same AC circuit (if  
the total power load allows) and make sure other devices in the  
system are properly grounded themselves. The Multimix 12R features  
balanced inputs and outputs, so if it is properly connected to other  
balanced units, AC ground potentials will not affect the audio. If you  
cannot get rid of ground loops, consult a professional electrician  
familiar with sound system power designs.  
Multimix 12R Reference Manual  
5
Installation  
Use clean power  
The Multimix 12R's internal power supply is designed to filter out most  
AC line noise. However, it is still good practice to plug your sound  
equipment into an AC circuit that is not shared with lighting dimmers,  
refrigerators, air conditioning units, or other appliances that may  
induce noise into the power system.  
Power switch  
The POWER switch is located on the back panel. A power indicator is  
on the front panel next to the meter. Avoid turning the power switch  
on or off while the Multimix 12R is connected to a live amplifier.  
Mounting  
The Multimix 12R may be rack mounted in a standard EIA 19" rack,  
occupying three standard 1.75" rack spaces. Any angle of orientation is  
acceptable. Note that (as with most audio equipment) if it is mounted  
into metal rack rails, the chassis ground of all units in the rack will be  
connected together by the rail. In some cases this is desirable, but if  
hum is a problem in the system, you may need to install non-  
conductive rack screws and washers on the Multimix 12R or other  
equipment in the rack to isolate the chassis grounds from each other.  
The mixer may also be used on a table top. To avoid scratching a  
tabletop surface, apply rubber or felt feet to the bottom of the  
Multimix 12R.  
Connections  
CONNECTIONS  
Inputs  
Cable common sense  
Make all connections to the Multimix 12R with the power turned off  
wherever possible. If you must connect or disconnect inputs while  
power is on, make sure the channel fader and [TRIM] are turned all the  
way down to avoid sudden pops and clicks which may damage  
speakers or other equipment.  
Use good-quality cable: 99% of all mixer problems turn out to be  
cable or connector problems. Use the best quality cable you can, for  
highest reliability and lowest noise. If something goes wrong, check  
the cable and its connection to the mixer first. If the connectors are  
dirty or corroded, clean them with isopropyl alcohol or other  
approved electrical contact cleaner before inserting them into the  
Multimix 12R. High quality cables are low-capacitance shielded cables  
with a stranded (not solid) internal conductor and a low-resistance  
shield. Although quality cables cost more, they do make a difference.  
Route cables in your system correctly by observing the following  
precautions:  
Do not bundle audio cables with AC power cords.  
Avoid running audio cables, or placing the Multimix 12R itself,  
near sources of electromagnetic interference such as transformers,  
monitors, computers, etc.  
Never unplug a cable by pulling on the wire itself. Always unplug  
by firmly grasping the body of the plug and pulling directly  
outward.  
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.  
Multimix 12R Reference Manual  
7
Connections  
Microphone Inputs  
The Alesis Multimix 12R features eight studio-grade, low-noise hybrid  
microphone preamplifiers. These [MIC] jacks are designed to work  
with almost any low-impedance microphone using standard 3-  
conductor XLR connectors. The [MIC] jacks also feature 48 volt  
phantom power, which may be turned on and off by the [PHANTOM]  
switch on the back panel, for condenser microphones which require  
external powering.  
Balanced Mic Input  
2
1
Hot  
Ground  
3
Cold  
Socket (female)  
The MIC Input is designed to accept a wide range of balanced or  
unbalanced low impedance input signals, with up to 60 dB of  
amplification available (which is 10 to 20 dB more than many other  
rack-mount mixers). It is wired with "pin 2 hot" according to the  
accepted standard.  
Use only one input per channel. The LINE IN jack and the MIC IN  
jack of a channel can’t be used at the same time. If you turn up the  
level of a line source to hear it at the same time a microphone is  
connected, you may damage the microphone.  
Connections  
Phantom power  
Certain types of microphones (called condenser microphones) require  
a DC power supply from the mixer. “Phantom power” sends 48 volts  
of DC through the microphone cable. If any of your microphones  
need phantom power, turn on the [PHANTOM POWER] switch on the  
Multimix 12R’s back panel to connect all the XLR MIC IN jacks to the  
Multimix 12R’s internal 48 volt phantom power source. Since the  
power is applied equally to pins 2 and 3, phantom power should not  
affect dynamic microphones (which do not require phantom power).  
However, make sure that your microphone cables have no short  
circuits or intermittent connections to avoid damage to the system.  
Avoid connecting or disconnecting any microphones while  
[PHANTOM POWER] is turned on. Make all connections with the  
Multimix 12R powered off. If this is not possible, make sure the  
channel's fader and [TRIM] are down, make the connections, then turn  
on the [PHANTOM POWER] switch on the back panel before bringing  
the fader and [TRIM] back up. Many microphones make a loud "pop"  
when first powered, so make sure your faders are down to avoid  
damaging your speakers or hearing.  
Never connect the MIC jack to an UNBALANCED source or to a line-  
level device (such as a tape recorder or synthesizer) when phantom  
power is being used.  
If none of your microphones need phantom power, leave the  
phantom power switch off.  
Multimix 12R Reference Manual  
9
Connections  
Line-level devices (synthesizers, CD players,  
video)  
The Multimix 12R features line-level inputs on 1/4" phone jacks which  
accept standard unbalanced or balanced signals.  
Unbalanced Line Input  
Balanced Line Input  
Signal  
Tip  
Hot  
Tip  
Cold  
Ring  
Sleeve  
Ground  
Tip  
Sleeve  
Ground  
Tip  
Sleeve  
Sleeve  
Ring  
Unbalanced -10 dBV line level sources: Most synthesizers, drum  
machines, effect devices, cassette decks and CD players operate at this  
level. Their average signal level is about 1/3 of a volt. They have a 2-  
conductor output jack that is either a 1/4" phone or "RCA phono" type.  
These may be plugged directly into any of the Multimix 12R’s [LINE  
IN] jacks, with the [TRIM] level set at approximately the 1 o'clock  
position. Plug stereo sources such as synthesizers, CD players, and  
drum machine main outputs into the STEREO LINE channels (9/10  
and 11/12) if possible.  
Electric guitars and basses may be plugged directly into the [LINE IN]  
jacks, if you raise the [TRIM] level. The Multimix 12R has more than  
enough gain (up to 50 dB when the channel fader and trim are set to  
maximum) for guitars, although some pickups may sound better if  
they're plugged directly into a high-impedance preamp designed for  
guitar use. Plug the output of such preamps into any [LINE IN] jack.  
A reminder: do not plug a line input and a microphone input into the  
same channel. The inputs are not designed to handle two sources at  
the same time. If you crank up the line level input to extremes to  
compensate for the level loss, you may damage the microphone.  
Connections  
Balanced +4 dBu line level sources: Professional recording and  
processing equipment typically provides a balanced, 3-conductor  
signal output that is a higher voltage (1.24 volts nominal level) than  
most synthesizers and stereo equipment. The Multimix 12R’s [LINE  
IN] jacks are designed to handle these balanced inputs.  
Balanced sources often feature XLR outputs. However, they should  
NOT be connected to the XLR [MIC] inputs of the Multimix 12R unless  
absolutely necessary, because the higher gain of the MIC jacks gives  
you less headroom than the LINE IN jacks do (also, the source could  
be damaged by phantom power if it's turned on). Connect them to  
the [LINE IN] jacks using an XLR-to-1/4 inch phone TRS (tip-ring-  
sleeve) cable, as shown below:  
If the proper connector cable or adapter is not available, +4 dBu line  
level sources may be connected to the [MIC] jacks ONLY IF  
PHANTOM POWER WILL NOT BE USED!!  
Connecting a line-level output to a phantom-powered XLR input on the  
Alesis Multimix 12R may cause damage to the external unit. Alesis cannot  
be responsible for any damages caused by this kind of misuse.  
The nominal trim setting for a +4 dBu signal plugged into a line input is  
approximately 11 o'clock (12 o'clock on the stereo channels). This will  
give you plenty of headroom to start with.  
Maximum levels: The maximum level the [MIC] jack can receive with  
the [TRIM] control full counter-clockwise is +12 dBu before clipping, so  
there’s only 8 dB of headroom if you plug a +4 dBu line source into the  
mic jack. The [LINE IN] jack on channels 1-8 may receive levels up to  
+32 dBu without clipping, a headroom advantage of 20 dB. The stereo  
channels may receive a +22 dBu (balanced or unbalanced) maximum  
input.  
Multimix 12R Reference Manual  
11  
Connections  
TAPE IN jacks  
The [TAPE IN] jacks on the rear panel are designed for playback of a  
stereo tape deck (or any other -10 dBV level signal) through the  
[MONITOR OUT] and [PHONES] jacks only. A signal at the [TAPE IN]  
jacks cannot be heard from the [MAIN OUT] jacks.  
This allows you to use the Multimix 12R to monitor a mixdown to a 2-  
track deck through your headphones. (If you plugged your mixdown  
deck into the line inputs on the channels, it would cause feedback  
when you press “record”.) By placing the [PHONES/MONITOR]  
switch in the TAPE position, you will hear the mixer's output after it  
has been passed through the mixdown deck, so you can make sure  
that it is recording correctly.  
Another use for the [TAPE IN] jacks is to play a CD or tape into a PA  
system, automatically turning off all the microphones into the main PA  
system when the front panel MSTR/TAPE switch is set to the TAPE  
position. Note that in this application, the PA system must be fed from the  
MONITOR OUT instead of the MAIN OUT jacks, and will be affected by  
the level of the [PHONES/MONITOR] control as well as by the  
[MASTER] control fader.  
Connections  
Phonograph turntables  
If you're using a record turntable, you may not plug it directly into the  
line inputs of the Multimix 12R (well, you can, but it will sound very  
thin and noisy). Obtain a phono preamp from your dealer or an  
electronics specialty store.  
1. Plug the outputs of the phonograph pickup into the RIAA-  
equalized phono preamp.  
2. Plug the outputs of the preamp into the LINE IN 9-10 or 11-12  
inputs of the Multimix 12R.  
Do not connect any of the following to any  
input of the Multimix 12R!  
The speaker output of any power amplifier.  
Any source that is too loud for the input (no more than 3 volts RMS  
into a [MIC] jack or 13 volts RMS into a [LINE IN] jack).  
Any unshielded cable.  
Multimix 12R Reference Manual  
13  
Connections  
How to connect effect devices and signal  
processors  
Alesis and other companies make many different types of signal  
processors which may be connected to the Multimix 12R mixer. There  
are two ways to connect these units: using the AUX system or via the  
INSERT jacks.  
Effects via Aux Send and Aux Return  
If you want to add an effect such as reverb, chorus, or delay to several  
different inputs at once, you will use the AUX system.  
1. Connect the AUX 2 (POST) AUX SEND output of the 12R to the  
input of the effect device. If the effect has a stereo input, check the  
manual of the effect to see which jack is the mono jack. (In most  
cases, you won't need to connect anything to the other input jack  
of the device, but you will still get a stereo effect output).  
2. Connect the left and right outputs of the effect device to the  
[STEREO AUX RETURN] jacks of the Multimix 12R.  
Alternatively, you may connect the output of the effect device to either of  
the STEREO LINE channels ([9-10 or 11-12].) This will allow you to  
control the effect with a large fader, send the effects to the Aux 1 output  
for monitoring, and use EQ on the effect.  
About stereo effect devices  
If your effect unit has two inputs, in most cases you need to connect from  
only ONE Aux Send to the left (mono) input of the effect unit, but you will  
still connect both the left and right outputs of the effect to the STEREO AUX  
RETURN.  
Connections  
You don’t need to connect anything to the other input of the effect,  
because most effect units use the stereo inputs only to provide a path  
for the “dry” stereo signal when the effect is connected directly  
between an instrument and an amplifier. In mixing applications such  
as with the Multimix 12R, you will set the effect’s wet/dry balance all  
the way to “wet” (effects only, no direct signal). The effect device will  
generate an artificial stereo output from the signal input. Check the  
manual for your effect device for more information.  
On the other hand, true dual-channel effects processors (such as the  
Alesis QuadraVerb 2) may be connected to two different sends to take  
advantage of the dual processing capability. Dual-channel processors  
allow the left and right inputs to be used for different kinds of effects  
(for example, the left input to a stereo chorus while the right input is  
used for a stereo reverb).  
Using Aux 1 as an effects send  
Note that [AUX 1] may also be used as an extra effects send. Although  
Aux 1 is a pre-fader send, and normally used for stage monitoring or a  
separate headphone mix while recording, it may also be used as an  
effects send so you can add different effects to different channels. Just  
remember that the “PRE” under [AUX 1] means that when you move  
a fader up or down you won’t change the level going to an effect from  
Aux 1. If you change fader levels, you will need to adjust Aux 1 levels  
to maintain the same balance between dry and effected signal.  
In-line processing using the INSERT jacks  
(compressors & equalizers)  
Some signal processors are designed to be used on one signal at a  
time, with the entire signal being processed instead of a mix of effected  
and uneffected signal. The purpose of the INSERT jacks on channels 1-  
8 is to allow you to insert a compressor, equalizer, or other effect into  
the signal path of a single channel after its preamplifier and [TRIM]  
control, but before the Multimix 12R's own EQ, aux sends, and fader.  
The INSERT jacks may also be used as direct outputs to a recorder.  
The INSERT connector is a TRS (tip/ring/sleeve) 1/4" jack which  
consists of an insert send (the tip of the TRS plug) and an insert return  
Multimix 12R Reference Manual  
15  
Connections  
(the ring of a TRS plug). A special Y-cable consisting of a TRS 1/4" plug  
on one end and two mono 1/4" plugs on the other end is required.  
Insert Points  
Send  
Return  
Tip  
Ring  
Sleeve  
Ground  
Tip  
Sleeve  
Ring  
Note that you will not hear any signal through the Multimix 12R if  
the INSERT jack is plugged in and the signal is interrupted in that  
loop (by the other cables being disconnected, the processor being  
turned off, or the volume turned off in the processor).  
Connecting an in-line processor  
1. Obtain a "stereo splitter" insert cable from your dealer.  
2. Connect the stereo (TRS) end to the INSERT jack of the Multimix  
12R.  
3. Connect the mono plug from the tip connector to the input of the  
processor.  
4. Connect the mono plug from the ring connector to the output of  
the processor.  
If you're not sure which mono plug is from the tip and which is from  
the ring, check to see if the cable is labeled. If not, simply try it one  
way and if the signal doesn't pass through, swap the input and output  
plugs the other way.  
The [INSERT] jack may also be used as a direct output to a multitrack  
recorder such as the ADAT. The send from the insert jack is where the  
cleanest mic preamp signal may be obtained, without passing through the EQ  
or channel circuitry. Simply insert the plug to the first "click" (the ring  
connector) and it will not interrupt the flow through the mixer, while  
Connections  
providing a direct output. Or, put the recorder into INPUT mode and insert  
the plug all the way, connecting the input and output of each track of the  
recorder into each channel path of the mixer. This will allow playback  
monitoring of the recorder. See the Applications chapter for more  
information.  
For more information on using the AUX and INSERT systems, see the  
“Operating Instructions” chapter of this manual.  
Multimix 12R Reference Manual  
17  
Connections  
Outputs  
To a stereo PA system or instrument  
amplifier  
Balanced  
Check to see if your amplifier can accept balanced inputs. If so,  
connect the [MAIN OUT BALANCED] jacks of the Multimix 12R to the  
input of the amp using a 3-conductor cable, with a 1/4" TRS plug on  
one end, and the connector used by the amp (usually a 1/4" TRS  
connector; sometimes an XLR or terminal strip) on the other.  
You may also connect the [MONITOR OUT] jacks of the mixer to your  
amplifier. This will allow you to switch between hearing 2-track playback  
and the stereo output of the mixer, using the front panel monitor switch.  
Unbalanced  
If the amp is unbalanced, use a standard shielded "patch cord" with  
1/4" connectors.  
To a mono system  
If your PA system or amplifier isn't stereo, connect either the left or  
right MAIN OUT jacks to the input of the system. Make sure that all  
[PAN] controls are in the center or turned to the side you're using.  
To a stage monitor (foldback) system  
If your PA system has a separate amplifier and speaker system for  
monitors, connect a cable from the [AUX 1 PRE AUX SENDS] jack to  
the amp input, in the same manner as above. The Aux 1 system is a  
pre-fader, post-EQ send with a balanced/unbalanced output. In most  
stage monitor situations, we recommend connecting a third-octave  
graphic equalizer such as the Alesis MEQ-230 between the mixer and  
the amp to control feedback.  
The Aux 1 output may be connected in the same way for a number of  
different applications such as:  
Headphone cue feed for multitrack recording  
Separate broadcast mix from a PA system  
Zone feed for a separate region of a PA system  
Connections  
To another mixer  
The main or monitor outputs of the Multimix 12R may be connected to  
a larger mixing console. Consult the manual for the other mixer for  
more information. If the mixer has "SUB IN" jacks, connect to those.  
Alternatively, you may simply connect the MAIN OUT or MONITOR  
OUT jacks of the Multimix 12R to two line-level inputs on the other  
mixer. If you do, check to see what level those inputs are designed for.  
If the inputs of the other mixer can handle +4 dBu balanced or -2  
dBu unbalanced levels, simply connect the [MAIN OUT  
BALANCED] outputs to the other mixer's line inputs.  
If the inputs are designed for -10 dBV level inputs (such as most  
keyboard and guitar amplifiers, and consumer stereo amplifiers),  
connect the [MAIN OUT -10 dBV] outputs to the line inputs of the  
external mixer.  
If the connection is made properly, the Multimix 12R will not distort  
the input of the other mixer. You may need to adjust the input trim of  
the other mixer to get the best dynamic range.  
To a stereo tape recorder  
If you want to record the output of the mixer into a typical stereo  
cassette or DAT deck, connect the [MAIN OUT -10 dBV] phono jacks to  
the left and right inputs of the cassette deck using a standard stereo  
phono-to-phono (RCA) cable.  
If your recorder is a professional type with balanced +4 inputs, in most  
cases you should connect the [MAIN OUT BALANCED] jacks of the  
mixer to the inputs of the recorder.  
If you connect the [MONITOR OUT] jacks to the recorder, the level  
will be affected by the [PHONES/MONITOR] level control on the front  
panel. However, if you're using the [TAPE IN] jacks to monitor  
playback, you run the risk of feedback if you press the MSTR/TAPE  
switch while in record mode.  
Multimix 12R Reference Manual  
19  
Connections  
To an ADAT multitrack recorder  
The studio-grade microphone preamplifiers of the Multimix 12R are  
designed to rival or exceed the sound quality of external microphone  
preamps costing many times more. A basic 8-track digital recording  
system with an ADAT-XT and a Multimix 12R is portable, cost-  
effective, easy to use, and sonically transparent. There are two ways  
to use the Multimix 12R with ADAT: a single mixer with the ADAT  
patched into the [INSERT] jacks, or using two Multimix 12Rs, one for  
input and another for monitoring.  
In-line ADAT recording:  
In this hookup method, the ADAT is patched into the [INSERT] jacks  
of channels 1-8 as if each track of the recorder were a signal processor  
in each channel of the mixer. Since the ADAT is a unity-gain device, it  
will not affect the levels going through the mixer. The [TRIM] control  
is the only level control for the ADAT inputs; the channel faders, EQ,  
and aux sends of the Multimix 12R are used for monitoring and will  
not affect multitrack recording levels.  
This method is recommended by many audiophiles and engineers,  
since there is a minimum of circuitry between the original source and  
the recorder. Hooking a Multimix 12R to an ADAT via the [INSERT]  
jacks is effectively the same as connecting studio-quality microphone  
preamps directly to the input of the tape deck.  
NOTE: To hear the microphone or line input signal through the  
mixer, the ADAT track must be in RECORD READY or INPUT mode.  
See the ADAT manual for more details.  
1. Obtain eight "stereo splitter" insert cables from your dealer. These  
cables feature a three-conductor TRS ("stereo") 1/4" phone plug at  
one end, and split out to two "mono" plugs at the other, as shown  
below. If you have an ADAT, use 1/4" TRS to 1/4" mono cables. If  
you have an ADAT-XT, use 1/4" TRS to phono cables.  
Connections  
2. Connect the stereo/TRS end to the INSERT jack of channel 1 of the  
Multimix 12R.  
3. Connect the mono plug from the tip connector to the input of the  
ADAT. NOTE: the ADAT’s tracks are arranged from left to right on the  
back panel, and the mixer’s channels are from right to left, so the wires  
will have to cross over.  
4. Connect the mono plug from the ring connector to the output of  
the ADAT.  
If you're not sure which mono plug is from the tip and which is  
from the ring, check to see if the cable box has that information. If  
not, simply try it one way and play a prerecorded tape from the  
ADAT. If you can't hear output from the mixer with the faders and  
master up, swap the input and output plugs the other way.  
5. Plug in channels 2-8 of the mixer to tracks 2-8 of the ADAT in the  
same way.  
INPUT  
INPUT  
OUTPUT  
OUTPUT  
1
2
3
4
5
6
7
8
LOCATE/PLAY  
LRC REMOTE  
PUNCH  
IN/OUT  
DIGITAL  
SYNC  
IN  
OUT  
IN  
OUT  
Using two Multimix 12Rs for more flexibility:  
The in-line method may be used for recording one source to a track.  
But if you want to record a mix of microphones or other sources onto  
a pair of tracks, two Multimix 12Rs can do the job more quietly and in  
a smaller space than expensive dedicated recording consoles. One 12R  
is the "source" mixer which feeds the ADAT's inputs, and the other is  
the "monitor/mixdown" mixer which receives the ADAT's outputs.  
1. Plug the -10 dBV MAIN OUT jacks of the "source" 12R to track  
inputs 1 and 2 of the ADAT.  
Multimix 12R Reference Manual  
21  
Connections  
Because the ADAT has normalled inputs, the stereo output of the source  
mixer may be recorded on other tracks without repatching. The left  
output of the mixer will appear at the inputs of tracks 1, 3, 5 & 7; the right  
output will appear at track 2, 4, 6 & 8. On the ADAT-XT, press and hold  
[ANALOG INPUT] and the REC READY keys for track 1 or 2 to activate  
this "built-in patch bay" feature.  
2. Plug track outputs 1-8 of the ADAT to LINE IN 1-8 of the  
"monitor/mixdown" 12R. Note that output 1 is on the left of the  
ADAT, but on the right of the mixer, so the wires must cross over.  
3. To record more than two tracks at a time, plug a mono cable from  
the INSERT jack of any channels of the mixer to the input of any  
track. By plugging the cable all the way in the INSERT jack, and  
not returning the signal from the recorder, the individual channels  
will be removed from the stereo mix. This way, you can record a  
stereo mix of several inputs on any two tracks while  
simultaneously recording individual sources on other tracks.  
Connections  
Phones  
The [PHONES] jack on the front panel is designed for most stereo  
headphones. The internal headphone amplifier outputs the maximum  
power allowed by safety standards. The impedance and efficiency of  
the headphones will determine the maximum volume available. Eight-  
ohm headphones may be louder at a given setting than 150-ohm or  
600-ohm headphones; however, there should be enough gain to drive  
any dynamic headphone to reasonable levels, if the mixer is being run  
properly.  
Note that the PHONES/MONITOR level control on the front panel  
affects both the headphone jack on the front panel and the [MONITOR  
OUT] balanced jacks on the back panel.  
Monitor Out  
The [MONITOR OUT] jacks give you a signal that will be the same as  
the MAIN OUT, as long as the front panel [MSTR/TAPE] switch is in  
the "MSTR" position. The only difference is that the MONITOR OUT  
signal is after the front panel PHONES level control. When that  
control is up full, the MONITOR OUT jack will be 10 dB louder than the  
MAIN OUT. The PHONES control may be lowered to the point where  
the MONITOR OUT is almost at microphone level, low enough to be  
patched into the microphone-level inputs of a camcorder or house PA  
system. However, connect the monitor output to line level inputs  
wherever possible.  
Multimix 12R Reference Manual  
23  
Connections  
Operating Instructions  
OPERATING  
INSTRUCTIONS  
Before turning the mixer on, "zero out'  
the controls  
To avoid surprises while you're setting up a new system, set all  
controls to their "zeroed out" positions as follows before proceeding:  
1. Make all connections to the Multimix 12R, as described in the  
previous chapter.  
2. Bring all channel faders and the [MASTER] fader down to  
minimum.  
3. Set all [TRIM] controls to minimum (full counterclockwise).  
4. Set all [AUX 1], [AUX 2], STEREO AUX RETURN,  
[PHONES/MONITOR] controls to minimum (full  
counterclockwise).  
5. Set all [HIGH] and [LOW] EQ, [PAN], and [BAL] controls to "12  
o'clock".  
Multimix 12R Reference Manual  
25  
Operating Instructions  
Setting input trim levels  
Proper setting of the [TRIM] controls is crucial to low-noise, distortion-  
free operation. If the trim is set too high, there will be distortion even  
if the channel faders are low. If the trim is set too low and the channel  
faders are raised to get the signal loud enough, you will be amplifying  
the noise of the mixer.  
Instead of doing this, get as much gain as possible as close to the signal  
source as possible. If you've plugged a synthesizer or other line-level  
source into the Multimix 12R, set its output volume to maximum. If a  
microphone is the source, the Multimix 12R's [TRIM] control will  
determine the gain of the system.  
The goal is to get the signal as loud as possible as early as possible  
in the signal path, without causing clipping (distortion) anywhere in  
the path or in the sound system.  
PEAK LED method  
Each channel of the Multimix 12R has its own [PEAK] indicator, which  
will light when the signal level rises to within 6 dB of clipping. In  
situations where the maximum signal-to-noise ratio is required (such  
as digital recording), use the PEAK LED as a guide for setting the  
[TRIM] control.  
When the PEAK LED is flashing, it does NOT necessarily mean that  
distortion has occurred. There is usually some headroom left if the PEAK  
LED is flashing momentarily on the loudest peaks.  
1. With the sound source active, and the channel fader down to  
minimum, raise the [TRIM] control until the PEAK LED flashes  
occasionally on the loudest transients.  
2. If desired, lower the [TRIM] control slightly until the flashing stops.  
Note for extremely high level line inputs in stereo channels: If the  
[TRIM] setting is set below unity (12 o'clock position) on a stereo  
channel, it is possible for the first input stage to clip without the  
PEAK LED coming on. If distortion is still heard after lowering the  
trim to its minimum setting, it means the source is extremely high  
(+22 dBu or higher). In this case you must lower the output level of  
the source, use an external pad, or repatch to a LINE IN on  
channels 1-8 (which can take up to +32 dBu levels before clipping).  
Operating Instructions  
Metering/Unity Gain method  
This method gives you more headroom than the peak method, while  
maintaining a low noise floor which will be well below the noise of  
most PA or live recording environments.  
1. With the mic or line level signal flowing through the channel, set  
the TRIM to minimum.  
2. Set the CHANNEL FADER to 0 (about 2/3 up). Set all other  
channel faders to minimum (off).  
3. Set the MASTER fader to 0 dB (all the way up).  
4. Observe the Multimix 12R's LED Meter. Adjust the [TRIM]knob  
until the average signal level on the meter is about 0 dB (highest  
green LED), or peaks do not exceed the +10 dB LED (or whatever  
maximum your system is designed for). If you ever see the  
channel's PEAK LED flash, you are within 6 dB of signal overload.  
Turn down the TRIM knob until the PEAK LED stops flashing.  
Multimix 12R Reference Manual  
27  
Operating Instructions  
Typical Fader and Control Levels  
Ideally, after you have set the [TRIM] controls, both the Channel and  
Master faders should be run between the -10 dB and 0 dB position  
(about 1/2 to 3/4 of the way up the fader travel on the channels, and  
3/4 to full on the master) if possible. This position gives the greatest  
amount of headroom and low noise. It also allows for any additional  
increase or decrease in level that might be required during mixing.  
Ultimately, the fader levels are dependent on the requirements of the  
mix; these suggestions are only a starting point.  
Unity gain points  
Unlike many other mixers, the Multimix 12R's [MASTER] fader is  
designed for unity gain (0) when the fader is up full, not at 3/4 or 1/2  
of the travel. This allows you greater control to use the fader for  
smooth, gradual fade-outs. It also discourages inexperienced  
operators from using the mixer incorrectly.  
The channel faders' unity gain point is at the traditional 3/4 point, with  
10 dB of gain at the full-up position.  
Trim gain ranges  
The amount of gain in the TRIM circuit is shown on the front panel.  
On channels 1-8, the LINE input ranges from 10 dB attenuation to 40  
dB gain, a range that should cover almost any line signal. The MIC  
input ranges from +10 dB to +60 dB gain, since the very low output  
voltages of microphones need to be amplified a great deal. The stereo  
channels' TRIM controls can be set from -15 dB attenuation to +15 dB  
gain. See the Level Diagram near the end of this manual for a graphic  
display of the gain structure of the mixer.  
Aux Send levels  
The nominal or unity gain points of the Aux 1 and Aux 2 controls are  
at the “2 o’clock” position. At the full clockwise setting, they have 10  
dB of gain. However, in most applications you won’t need that gain, if  
the TRIM controls have been set properly. (See “How to Set Aux Send  
and Return Levels” later in this chapter for more information.)  
Operating Instructions  
Proper gain staging of other equipment  
The total noise performance of your system depends on proper gain  
control of all the elements. A "noisy mixer" is usually a quiet mixer in a  
system whose gain structure is incorrect. As a good starting point, set  
most volume level controls of other equipment at 3/4 or 75% of full.  
This will decrease the possibility of overload distortion and keep the  
amount of background noise to a minimum.  
Turn down amplifier levels: In particular, don't set the input controls  
of a power amplifier "wide open" if you have to run the faders of the  
mixer in the bottom half of the travel (and the meter of the Multimix  
12R well below the "0" mark) to keep the system from being too loud  
or feeding back. It's better to run the mixer at its normal level, and  
turn down the amplifier's controls for the desired level. By turning the  
amplifier's own volume controls down, you turn down the residual  
noise of everything that precedes it in the signal chain, resulting in a  
quieter, more controllable system.  
However, if the mixer output is too loud, and the input stage of the  
amplifier being used is an active circuit (instead of a passive voltage  
divider type), it is possible to clip the preamp stage of the amplifier and  
cause nasty distortion even if the amp level is low. Use good  
judgment and consult the manual for your amplifier for more  
information.  
Distortion caused by EQ: If a large amount of EQ is used, it may  
become necessary to decrease either the trim control, or the channel  
fader, or both. The EQ is capable of adding quite a bit of gain and is a  
frequent cause of overload distortion problems. The PEAK LEDs  
monitor the signal after the EQ circuit, both pre and post fader.  
Multimix 12R Reference Manual  
29  
Operating Instructions  
AUX System: Effects Send/Receive  
The AUX 2 buss of the Multimix 12R is a post-fader send. Usually, you  
will connect AUX 2 to the input of an effect device. Using a post-fader  
send means that when you fade a channel out, its effects will fade out  
also.  
Using the aux send allows each channel to have its own level control  
feeding the aux output (and eventually the input of the effect device).  
You can make a mix of any channels you want to go to the effects by  
using the individual channels’ aux send levels.  
But sending signal to the effect device is only half the story. To be  
heard, the output of the effect device must be returned to the mixer  
and turned up in the mix before you can hear it. You have two  
options for returning the effected signal to the mix:  
connecting to the STEREO AUX RETURN jack, or  
connecting to the channel LINE IN or STEREO LINE IN jacks.  
Connecting to channel inputs gives you the added bonus of panning  
and EQ on the effects, and the ability to send a “wet” or effected mix to  
AUX 1 for monitoring.  
Wet/dry mix: No matter where you connect the output of the effect  
unit into the mixer, you are in control of the “wet/dry” balance  
between the mixer’s channel inputs (the uneffected or “dry” signal),  
and the effect returns coming from the effect device (the “wet” signal).  
The output of the effect device should only contain effected signal, and  
not have any uneffected or "dry" signal mixed with it (since the dry  
signal is already at the mixer). Consult the manual for the effect  
device to find out how to set the effect so that only effected ("wet")  
signal is returned to the Multimix 12R.  
How to Set Aux Send and Return Levels  
You must set correct levels on the mixer's individual Aux Sends and  
STEREO AUX RETURN and the effect device's own controls to get  
good, clean, quiet results.  
Improper level setting is the most common cause of noise and distortion  
problems.  
Operating Instructions  
By having the correct level at every point in the send/return chain,  
you avoid distortion by overloading and avoid noise. The most common  
mistake with effect units is to have too low a level at the send or input, then  
crank up the output of the processor or the Aux return to get the effects level  
desired. This amplifies the noise and wastes headroom. Here is a  
procedure that will give good results with most standard equipment:  
1. Set your mixer's input levels correctly, following the instructions  
earlier in this chapter.  
2. Turn up the channels' [AUX 2] sends to the nominal level (marked  
by a heavy dot at the “2:00” position).  
3. Play the source.  
4. Turn up the input level control of the effect device until you see its  
meter or signal LED turn red on peaks; then reduce it slightly until  
the red doesn't flash. The ideal input level, for optimum noise  
performance, is just below clipping. But if other instruments will be  
added to the mix later, or levels are unpredictable (as in a live  
show), leave yourself additional headroom by turning the input  
level down a bit more.  
5. The output level of the effect device should be set at or near its  
maximum in most cases, unless distortion occurs.  
6. Turn up the [STEREO AUX RETURN] level until you get the desired  
level of effect in the mix. The one control in the chain that may  
need to be set to a low level is the Aux Return (or channel) on the  
mixer. Here is where you should increase or decrease the overall  
effect level in the mix, for best low-noise performance. If you want  
"just a hint" of reverb, don't turn down the Aux 2 send; turn down  
the Aux Return. Leave the input levels of the effect device where  
they were set in step 4, unless you see the device's overload  
indicator flash.  
Multimix 12R Reference Manual  
31  
Operating Instructions  
Using the meter  
The meter of the Multimix 12R is a fast peak type that reads in decibels,  
normally displaying the level of the [MAIN OUT] jacks. When the  
meter reads "0", the main outputs are at the nominal level: the phono  
jacks at -10 dBV (.316 volts) and the 1/4" jacks at +4 dBu (1.24 volts)  
balanced, or -2 dBu unbalanced.  
Use this reference level to calibrate your system. The input controls of  
analog recorders should be set so that “0” on the mixer's meters  
equals “0 VU” on the recorder's meters. Digital recorders use a  
different reference; for example, an ADAT connected to the Multimix  
12R's outputs will read "-15 dB" at nominal output, if you connect to  
the proper input jacks (balanced to balanced, or unbalanced to  
unbalanced).  
The meter follows the [MSTR/TAPE] switch, but not the  
PHONES/MONITOR level control. Whatever you hear in the  
headphone output, the master output (up position) or the 2-track tape  
input (down position) is what the meter is reading.  
Output distortion  
The Multimix 12R has plenty of headroom, but eventually every  
electronic device reaches its limit. At +18 dB over nominal level, the  
top LED of the meter labeled PK will light; at this point there is 6 dB of  
headroom before the master electronics will clip. Final clipping is  
reached at 24 dB over nominal "0" on the meter; this represents a level  
of +28 dBu at the MAIN OUT jacks if balanced, +22 dBu if unbalanced,  
and +14 dBV at the MAIN OUT -10 dBV phono jacks. Even if no  
channel PEAK LEDs are on, with extreme settings of the faders it may  
be possible to overdrive the output to this level.  
As long as the meter of the Multimix 12R is below its top LED, and the PEAK  
LEDs of all channels are off, the mixer should not be causing distortion. If  
you hear distortion, check other devices in the signal chain for overload, and  
make sure the STEREO channels' PEAK LEDs do not come on when their  
TRIM is set to 12 o'clock.  
Operating Instructions  
Avoiding noise  
If the Multimix 12R is being run as suggested above, the noise of the  
mixer itself will not be a significant factor in the noise level of your  
system, since the Multimix 12R generates much less noise than the  
typical source does. Noise is present in every system, analog or  
digital; as operator it's your job to run the system (and particularly the  
mixer) so that the noise isn't amplified unnecessarily. But the Multimix  
12R cannot remove noise that is already there. If a low-level source  
with a poor signal-to-noise ratio is amplified by the TRIM and channel  
fader, the noise will be amplified with the desired signal. A system is  
no quieter than its noisiest component.  
System noise (ground loops, hum, induced  
noise)  
In today’s studio, with dozens of different pieces of equipment and  
computers, there are many opportunities for ground loop problems to  
occur. These show up as hums, buzzes or sometimes radio reception  
and can occur if a piece of equipment “sees” two or more different  
paths to ground, with one of the paths going down a signal line. While  
there are methods that can virtually eliminate ground loops and stray  
radio frequency interference, such as installing a separate power  
source just for the sound system, most problems are easier to solve.  
Here are some basic techniques that you should use to keep stray  
hums and buzzes to a minimum.  
KEEP ALL ELECTRONICS OF THE SOUND SYSTEM ON THE  
SAME AC ELECTRICAL CIRCUIT. Most 60-cycle hums happen  
because different components of a sound system are plugged into  
outlets of different AC circuits. If any noise-generating devices  
such as air conditioners, refrigerators, neon lights, etc., are already  
plugged into one of these circuits, you then have a perfect  
condition for stray buzzes as well. Since most electronic devices of  
a sound system don’t require very much power (except for power  
amplifiers), it’s usually safe to run a multi-outlet box or two from a  
SINGLE wall outlet and plug in all of the components of your  
system there.  
KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS  
POSSIBLE. Many hums come from audio cabling being too near  
AC wiring or the power transformers ("wall warts") used by  
equipment requiring an external supply. If a hum occurs, try  
moving the audio wiring around to see if the hum ceases or  
diminishes. If it’s not possible to separate the audio and AC wiring,  
make sure that the audio wires don’t run parallel to any AC wire  
(they should only cross at right angles, if possible).  
Multimix 12R Reference Manual  
33  
Operating Instructions  
TO ELIMINATE HUM IF THE ABOVE HAS FAILED:  
A) Disconnect the power from all outboard devices and tape  
machines except for the mixer and control room monitor power  
amp.  
B) Plug in each tape machine and outboard effect device one at a  
time. If possible, flip the polarity of the plug of each device  
(turn it around in the socket) until the quietest position is found.  
C) Make sure that all of the audio cables are in good working  
order. Cables with a detached ground wire will cause a very  
loud hum!!  
D) Keep all cables as short as possible, especially in unbalanced  
circuits.  
If these basic experiments don’t uncover the source of the problem,  
consult your dealer or a technician trained in proper studio grounding  
techniques. In some cases, a “star grounding” scheme must be used,  
with the mixer at the center of the star providing the shield ground on  
telescoping shields, which do NOT connect to the chassis ground of  
other equipment in the system.  
Note that the Multimix 12R is grounded through its AC cable. Signal  
ground is connected to chassis ground, which in turn may be  
grounded again by the rack rails. But since almost all of the inputs and  
outputs of the Multimix 12R are balanced, the ground does not have to  
be made part of the signal path unless you are connecting to  
unbalanced equipment. If the Multimix 12R is mounted in a metal  
rack, the mixer shares a common ground with the other equipment in  
the same rack. In some cases (such as a star ground scheme), you may  
need to use nonconductive rack rails or rack isolators to avoid ground  
loops.  
To avoid the possibility of electric shock, never defeat the safety ground found  
on other equipment in the system. When in doubt about proper electrical  
grounding schemes or the power to your system, consult a qualified, licensed  
electrician.  
Telescoping shield: In fixed installations using balanced outputs  
where the amplifier is more than 20' from the mixer and on a different  
AC power panel, it may be advisable to disconnect (or "float") the  
shield at the amplifier end. This keeps the ground potential of the amp  
Operating Instructions  
rack from being conducted back to the mixer. Even though the mixer-  
to-amp connection is balanced, any unbalanced sources or effects  
plugged into the mixer may exhibit a hum when the amp's ground is  
carried back to the mixer.  
Multimix 12R Reference Manual  
35  
Operating Instructions  
Applications  
APPLICATIONS  
Multitrack recording  
See the "Connections" chapter for information on how to connect the  
Multimix 12R to an ADAT or other multitrack recorder.  
In the most common setup, the ADAT is patched into the INSERT  
points of each channel. It receives signal directly from the [TRIM]  
control; no other controls will affect the level being recorded to tape.  
Tracking/Overdubbing  
1. Put the desired tracks of the ADAT into record ready mode. Press  
"Auto Input Monitor" or "All Input Monitor" depending on your  
situation (see the ADAT manual for more information).  
2. With the signal source (microphone or line input) active, slowly  
increase the [TRIM] level of each input while watching the ADAT  
meter until the top red segment comes on. Then turn down the  
trim level so that the red LED does not light.  
3. Set the EQ, aux, and channel faders for the desired control room  
mix. Note that none of these settings will affect the signal going to  
the ADAT.  
4. For overdubbing, put the original tracks into safe mode. These  
tracks will play back through the same channels they were  
recorded on.  
5. If necessary, repatch the microphone or line inputs to the next  
channels you want to record. NOTE: the ADAT and ADAT-XT can  
automatically "normal" the input to track 1 to any odd-numbered  
track, and the input to track 2 to any even-numbered track. Check  
the manual of the ADAT or XT for more information.  
Multimix 12R Reference Manual  
37  
Applications  
Mixdown  
You may leave the ADAT connected to the INSERT jacks for mixdown;  
there's no need to repatch to the LINE IN jacks.  
Make the connections according to the procedure in the "Connections"  
chapter.  
1. Connect the MAIN OUTs (-10 dBV or +4 dBu, depending on the  
deck) to the inputs of the mixdown deck.  
2. Connect the outputs of the mixdown deck to the TAPE IN jacks.  
3. Connect the [MONITOR OUT] jacks to the inputs of your control  
room monitor amplifier.  
4. Press the [PHONES/MONITOR] switch down so it is in the TAPE  
position.  
5. Put the mixdown deck into record/pause mode, play the ADAT,  
and adjust the mix and level controls of the mixer for the desired  
level. Set the MASTER fader up to the maximum, and adjust the  
input controls of the mixdown deck until its meters give the desired  
reading. You will also be able to see the levels on the mixer itself;  
check to make sure the output of the mixdown deck is set to  
nominal (unity gain).  
By monitoring through the mixdown deck, you'll be able to hear if  
there is any distortion in that deck's electronics.  
Applications  
Using the HIGH and LOW EQ controls  
The Multimix 12R provides standard shelving EQ controls on each  
channel. The HIGH knob range is +/- 15 dB with a shelving frequency  
of 12 kHz. "Shelving" means that all frequencies above 12 kHz will be  
boost or cut by the same amount , and frequency response between 1  
kHz and 12 kHz will gradually rise or fall to the shelving point. The  
LOW knob range is +/- 15 dB at a shelving frequency of 80 Hz. This  
means that frequencies below 80 Hz will be boosted or cut by the  
same amount, and frequency response will gradually rise or fall from  
80 Hz to about 1 kHz. The frequency response range is shown in the  
curve below:  
+15 dB  
-15 dB  
20 Hz  
100 Hz  
1 kHz  
10k 20k  
The normal position for the EQ controls is "12 o'clock" or straight up. A  
"click" or detent will be felt at this position. At this position, the EQ does not  
affect the frequency response of the channel--it is "flat".  
Use only the amount of EQ necessary to achieve the desired effect.  
Excessive boost on either EQ section may cause clipping in the channel  
electronics, and will amplify noise.  
Multimix 12R Reference Manual  
39  
Applications  
Monitoring AUX 1 in the PHONES jack  
If you are using AUX 1 as a monitor feed, you may want to check that  
mix using the headphones. If you've connected the PA or recorder to  
the MAIN OUTPUTS, and are not using the TAPE IN jacks, use Y-cords  
to connect the AUX 1 SEND to the TAPE IN jack(s) at the same time it  
feeds the monitor amplifier. Use the front panel  
[PHONES/MONITOR] switch to select between the main and aux 1  
feeds.  
Specifications  
TROUBLESHOOTING  
Troubleshooting Index  
If you experience problems while operating the Multimix 12R, please  
use the following table to locate possible causes and solutions before  
contacting Alesis Product Support or your dealer for assistance.  
Symptom  
Cause  
Solution  
Check that the power  
cable is plugged in  
properly.  
The Power LED does No power.  
not light when the unit  
is powered on.  
Sound is distorted, red Input level is too  
Turn down the source  
volume, or turn down  
the TRIM control.  
Don’t plug line level  
signals into the MIC  
jacks.  
“PEAK” LED is lit.  
high.  
Sound is excessively  
Input level is too  
Turn up the TRIM  
noisy, faders must be low.  
raised to full to hear.  
control.  
Set the source(s) to a  
higher level.  
Sound from effect is  
noisy.  
AUX 2 send level is  
too low and Stereo  
Turn Output of effect  
device up and reduce  
Aux Return on mixer Aux Return level on  
is up full.  
mixer. Increase Aux  
Send levels.  
No audio is heard  
from PHONES or  
MONITOR output.  
No audio on an  
Monitor switch is set Set switch to "MSTR"  
to “TAPE”.  
INSERT jack is  
connected to a  
device that’s off.  
TRIM level is too  
low.  
Check insert jack  
cables and device.  
individual channel.  
Turn the TRIM control  
up.  
MIC IN and LINE IN Unplug one of the  
jacks being used on sources from the  
the same channel.  
channel.  
Microphone requires Turn PHANTOM  
phantom power.  
switch on (on rear  
panel next to POWER)  
Multimix 12R Reference Manual  
41  
Specifications  
Hum or noise from  
output.  
Ground loop,  
unshielded cables.  
Try plugging the unit  
into another power  
jack or different audio  
cables.  
No meter, although  
Monitor switch is set Set switch to "MSTR"  
audio is heard through to “TAPE”  
main outputs.  
Crackling sounds.  
Dirty or corroding  
Unplug and replug  
connections on back connectors several  
of mixer.  
times, clean plugs.  
A microphone cable Unplug the  
has a small short or microphone cables  
break.  
from the mixer until  
the noisy one is found,  
and replace it.  
Specifications  
Maintenance/Service  
Exterior cleaning  
Disconnect the AC cord, then use a damp cloth to clean the mixer’s  
metal and plastic surfaces. For heavy dirt, use a non-abrasive  
household cleaner such as Formula 409 or Fantastik. DO NOT SPRAY  
THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT  
MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND  
CONTROLS! Spray onto a cloth, then use cloth to clean the unit.  
Never spray any kind of cleaner into the faders, even if it claims to  
be safe for such use. Such electronic potentiometer cleaners may  
improve performance for a short time, but they cause the fader to  
wear out faster by attracting dirt.  
Refer All Servicing to Qualified Technicians  
We believe that the Multimix 12R is one of the most reliable mixers  
that can be made using current technology, and should provide years  
of trouble-free use. However, should problems occur, DO NOT  
attempt to service the unit yourself. Service on this product should be  
performed only by qualified technicians. NO USER-SERVICEABLE  
PARTS INSIDE.  
Multimix 12R Reference Manual  
43  
Specifications  
SPECIFICATIONS  
All measurements taken with an Audio Precision System One. All noise  
measurements taken with trim at minimum and faders at unity gain with 22  
Hz to 22 kHz bandwidth unless otherwise specified. All In & Out  
measurements made on balanced +4 dBu connectors. (+4 dBu into a line  
input with faders at unity and the meter reading “0” will yield +4 dBu into a  
balanced load or -2 dBu into an unbalanced load.)  
Frequency Response  
10 Hz – 65 kHz +0/-1 dB  
(any input to any output at  
nominal operating levels)  
125 kHz  
-3dB Point:  
Connectors  
MIC IN jacks:  
Female XLR  
(Pin 1 ground, Pin 2 +, Pin 3 -)  
LINE IN jacks:  
INSERT jacks:  
Female 1/4" 3-conductor phone  
(Tip = +, ring = -, sleeve =  
ground)  
Female 1/4" 3-conductor phone  
(Tip = send, ring = return, sleeve  
= ground)  
Inserting plug to first "click"  
allows direct output without  
breaking normal signal flow  
STEREO LINE IN and  
STEREO AUX RETURN jacks:  
Female 1/4" 3-conductor x 2  
MAIN OUT BALANCED,  
MONITOR OUT, and  
AUX SEND jacks:  
Female 1/4" 3-conductor phone  
(Tip = +, ring = -, sleeve =  
ground)  
MAIN OUT -10 dBV jacks:  
TAPE IN jacks:  
Female phono ("RCA") jacks  
Female phono ("RCA") jacks  
Multimix 12R Reference Manual  
45  
Specifications  
Levels  
MIC IN  
-60 dBu to -10 dBu nominal,  
maximum level +12 dBu  
-40 dBu to +10 dBu nominal,  
maximum level +32 dBu  
(balanced)  
LINE IN  
STEREO LINE IN  
MAXIMUM GAIN  
-15 dBu to +15 dBu nominal,  
maximum input level +22 dBu  
+76 dB, MIC IN to MAIN OUT,  
balanced  
+80 dB, MIC IN to MONITOR  
OUT, balanced or unbalanced  
6 dB below channel clipping  
Peak type  
CHANNEL PEAK LED ON:  
METER:  
-24 dB to PK (+18 dB over  
reference at MAIN OUT, 6 dB  
before output clipping)  
MAIN OUT LEVEL (1/4" phone jacks) (when meter is at 0 VU)  
+4 dBu (1.24 volts)  
into a balanced load  
-2 dBu into an unbalanced load  
MAIN OUT LEVEL (phono jacks)  
MAXIMUM OUTPUT LEVEL  
-10 dBV (.316 volts) unbalanced  
+22 dBu unbalanced, +28 dBu  
balanced (6 dB above "PK"  
segment of main meter)  
Same as above, but variable  
following MONITOR/PHONES  
control  
MONITOR OUT LEVEL  
INSERT/DIRECT OUT (tip)  
INSERT IN (ring)  
HEADROOM:  
Unity gain  
Maximum level +22 dBu  
23.5 dB above nominal output  
Impedance  
MIC IN  
50-150 nominal source  
impedance (presents 4 k Ω  
balanced load impedance)  
600 -2 k nominal  
LINE IN  
(>20 k load impedance)  
OUTPUTS (MAIN, AUX and  
MON):  
150 unbalanced,  
300 balanced  
1.1 k Ω  
at -10dBV MAIN OUTS  
Specifications  
Noise performance (typical)  
Measured at MAIN OUT +4 dBu jacks, unbalanced load, 22 Hz to 22 kHz, all  
channels panned to center.  
MIC IN to INSERT OUT:  
-128.5 dBu Equivalent Input  
Noise at maximum gain  
Residual output noise (MASTER fader at nominal, channel faders at  
minimum):  
<-88 dBu  
12 inputs, faders and trims at unity gain, inputs terminated 150:  
<-85 dBu unbalanced  
(+22 dB max unbalanced out =  
107 dB dynamic range)  
Distortion (THD+N)  
Measured with a 0 dBu signal coming into a MIC IN jack with trim set for a  
+15 dBu output from the insert jack.  
At INSERT jack:  
At MAIN OUT (+21 dBu balanced output level)  
Better than 0.0015%  
Better than 0.0010%  
Power  
U.S.A. model:  
120 VAC, 60 Hz, 40 watts power  
consumption maximum  
Mounting  
19" EIA rack mountable, 3 spaces  
Multimix 12R Reference Manual  
47  
Specifications  
DIMENSIONAL DRAWING  
Specifications  
BLOCK DIAGRAM  
Multimix 12R Reference Manual  
49  
Specifications  
Level diagram  
Index  
INDEX  
ADAT, 18, 22, 34, 39  
amplifier, 20, 31  
Aux 1, 17, 20  
PHONES, 25  
PHONES/MONITOR, 14, 34  
phonograph, 15  
post-fader, 32  
AUX 2, 16, 32  
AUX SEND, 16, 20  
balanced, 12, 20  
cable, 9  
pre-fader, 17  
rack, 8, 36  
reverbb, 16  
clipping, 13  
Service, 45  
compressor, 17  
direct output  
shield, 36  
Specifications, 47  
stage monitor, 20  
STEREO AUX RETURN, 16, 32  
STEREO LINE channels  
as Effect Return, 16, 32  
for CDs and synths, 12  
maximum input level, 13  
PEAK LED, 28  
using INSERT jack, 18  
distortion, 28, 31  
effect, 16  
EQ, 31  
Fader, 30  
feedback, 20, 21  
gain, 30  
TAPE IN, 14  
ground loop, 35  
isolating from rack, 8  
grounding, 6, 7  
guitars, 12  
as Aux 1 monitor, 42  
tape recorder, 21  
TRIM, 9, 13, 22, 28, 29, 30, 39  
TRS, 17, 20  
Headphone, 20, 25  
headroom, 13, 34, 48  
HIGH, 41  
Unity gain, 30  
wet/dry, 17, 32  
XLR, 10, 13  
Impedance, 10, 48  
INSERT cables, 22  
INSERT jack, 17, 24  
in 2-mixer system, 24  
Levels, 13, 28, 48  
diagram, 52  
LINE IN, 12  
LOW, 41  
MAIN OUT -10 dBV, 21  
MAIN OUT BALANCED, 20  
Master, 30  
maximum level, 13, 48  
meter, 34  
MIC IN, 10, 13  
Microphone, 10  
microphone preamps, 22  
MONITOR OUT, 14, 20, 25  
mono, 20  
MSTR/TAPE switch, 14, 21  
affects meter, 34  
noise, 7, 28, 35, 49  
nominal, 34  
PA system, 14, 20  
PEAK, 28, 34  
Phantom power, 13  
Multimix 12R Reference Manual  
51  
Warranty / Contact  
Alesis Limited Warranty  
ALESIS CORPORATION ("ALESIS") warrants this product to be free of defects  
in material and workmanship for a period of one (1) year for parts and for a period of  
one (1) year for labor from the date of original retail purchase. 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  
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.  
To obtain warranty service, the purchaser must first call or write ALESIS at the  
address and telephone number available on the Alesis Website to obtain a Return  
Authorization Number and instructions concerning where to return the unit for  
service. All inquiries must be accompanied by a description of the problem. All  
authorized returns must be sent to ALESIS or an authorized ALESIS repair facility  
postage prepaid, insured and properly packaged. Proof of purchase must be  
presented in the form of a bill of sale, canceled check or some other positive proof  
that the product is within the warranty period. ALESIS reserves the right to update  
any unit returned for repair. ALESIS reserves the right to change or improve design  
of the product at any time without prior notice.  
For more effective  
service and product  
update notices, please  
register your Multimix  
12R online at:  
This warranty does not cover claims for damage due to abuse, neglect, alteration or  
attempted repair by unauthorized personnel, and is limited to failures arising during  
normal use that are due to defects in material or workmanship in the product.  
THE ABOVE WARRANTIES ARE IN LIEU OF ANY OTHER  
WARRANTIES OR REPRESENTATIONS WHETHER EXPRESS OR  
IMPLIED OR OTHERWISE, WITH RESPECT TO THE PRODUCT, AND  
SPECIFICALLY EXCLUDE ANY IMPLIED WARRANTIES OF FITNESS  
FOR A PARTICULAR PURPOSE OR MERCHANTABILITY OR OTHER  
IMPLIED WARRANTIES. Some states do not allow limitations on how long an  
implied warranty lasts, so the above limitation may not apply to you.  
IN NO EVENT WILL ALESIS BE LIABLE FOR INCIDENTAL,  
CONSEQUENTIAL, INDIRECT OR OTHER DAMAGES RESULTING  
FROM THE BREACH OF ANY EXPRESS OR IMPLIED WARRANTY,  
INCLUDING, AMONG OTHER THINGS, DAMAGE TO PROPERTY,  
DAMAGE BASED ON INCONVENIENCE OR ON LOSS OF USE OF THE  
PRODUCT, AND, TO THE EXTENT PERMITTED BY LAW, DAMAGES  
FOR PERSONAL INJURY. Some states do not allow the exclusion or limitation of  
incidental or consequential damages, so the above limitation or exclusion may not  
apply to you.  
THIS CONTRACT SHALL BE GOVERNED BY THE INTERNAL LAWS OF  
THE STATE OF CALIFORNIA WITHOUT REFERENCE TO CONFLICTS  
OF LAWS. This warranty gives you specific legal rights, and you may also have other  
rights required by law which vary from state to state.  
This warranty only applies to products sold to purchasers in the United States of  
America or Canada. The terms of this warranty and any obligations of Alesis under  
this warranty shall apply only within the country of sale. Without limiting the  
foregoing, repairs under this warranty shall be made only by a duly authorized Alesis  
service representative in the country of sale. For warranty information in all other  
countries please refer to your local distributor.  
Alesis Contact Information  
Alesis Distribution, LLC  
Los Angeles, CA USA  
E-mail:  
Website:  
Alesis Multimix 12R Reference Manual  
Revision 1.0 by Brooks Bruner  
Copyright 2002, Alesis Distribution, LLC. All rights reserved  
Reproduction in whole or in part is prohibited. “Multimix 12R” is  
a trademark of Alesis Distribution, LLC. Specifications subject to  
change without notice.  
7-51-0135  
10/11/2002  

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