Chapter 1 - Setting Up
Audio Connections
The connections between the Q20 and your studio are your musicÕs lifeline, so use only high quality cables. These should be
¥Do not bundle audio cables with AC power cords.
¥Avoid running audio cables near sources of electromagnetic interference such as transformers, monitors, computers, etc.
¥Use balanced cables whenever possible.
¥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 cableÕs reliability.
¥Avoid twisting the cable or having it make sharp, right angle turns.
¥Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward.
¥Although Alesis does not endorse any specific product, chemicals such as Tweek and Cramolin, when applied to electrical connectors, are claimed to improve the electrical contact between connectors.
Typical Applications
The analog audio inputs and outputs are typically used in one of three ways:
¥from one or two effect/aux send outputs of a mixer, and out to the effect return inputs of the mixer; or,
¥from a
¥from the stereo buss outputs of a mixer to a
When used with a mono source, the Q20 is placed between the source and the mixer/amplifier. Although the source may be mono, both the [LEFT] and [RIGHT] outputs can be connected to the inputs of a mixer/amplifier if stereo processing effects are desired. Alternatively, you could use the INSERTS on your mixer to Òpatch inÓ only the left or right channel of the Q20. If using the effect sends of a mixer, you have the advantage of sending any of the mixerÕs input channels to the Q20Õs input(s), and have control over the level of each channel being sent.
There are other combinations of input and outputs possible when you begin using the Alesis optical digital input and output. See the ÒDigital ConnectionsÓ section later in this Chapter. For more information on interfacing with other digital audio equipment, see Chapter 7.
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