Using high speed complementary-metal-oxide-semiconductor (CMOS) silicon processing, the Alesis Microverb chip replaces several circuit cards of components. while consuming very little power. The reverb programs were developed on our interactive room simulation and development system.
Philosophically the objective of reverberation is to enhance a dramatic performance: adding space, power. depth. Natural spaces tend to sound more pleasing than the simulated reverb types such as springs and plates, and for this reason: we use room terminology in describing our programs. The programs cover a wide range of sizes and qualities and include such unnatural concepts as gated and reverse types.
Guitars, Keyboards
The Alesis Microverb has high impedance inputs ideally suited for use with instrument pickups. Further, if the left input only is used, the input signal will appear as mono (present in both channels) at the dry side of the mix control. Adjust the input level for the level indicator flashing to red on occasional transients. A green condition of the indicator shows that the signal is sufficient for good signal to noise ratios.
Mixing Consoles
The Alesis Microverb handles mono, or stereo sends at all system levels The input circuitry of the Alesis Microverb can easily handle +4 levels (+ 20 dB peaks). while having enough input gain to interface with the extremely low signal levels of budget recording systems. As with instruments: it the left input alone is used with a mono source, it will appear in both channels of the dry output, leaving the reverb output in full stereo. In professional applications. it is suggested that the output control be set at maximum. where the Alesis Microverb will best drive maximum levels at low impedances. When using with the sends and receives of a console, the mix control should be set to full reverb.
Mounting
The Alesis Microverb as a part of the Alesis Micro Series, is mountable in the Micro-Rack Adapter. where three such devices fit perfectly. Assembly is quick and simple; a single screw secures each device in place. The unique design of the Micro Series case allows the devices to lock together to form a solid rack package, or to stand alone as single units.
Power
The Alesis Microverb is powered by a remote supply providing 9 volts AC through a 3.5 mm plug- This power supply approach keeps stray magnetic fields from interfering with low level signals, allows easy conversion to alternate power sources (220V), and further reduces the unit’s physical size and valuable panel space. Although many Micro Series devices could be powered by a single supply this is not advisable, as ground loops would be set up between units. leading to excessive hum and noise in the system.
The Programs
The programs available in the Alesis Microverb were selected to offer a complete range of contemporary reverb types, spanning the entire range of music production. Divided into large, small and special effect types. the programs are all very different and specific, but likewise very useful for certain specific music types.
Small Programs
Small reverberant spaces have shorter decay times and are characterised by their smooth. exponential decay. An impulse begins decaying immediately, without excessive initial sound, Plates and chambers have this basic quality- Especially suitable for general purpose percussion the small programs add little character to the original program material! but obviously do not convey a feeling of open spaciousness. At longer decay times, the small programs may seem restrictive and tonal for such smooth material as instruments and vocals. The programs are organised in order of increasing decay time from 1 to 6.
Large Programs
Large reverberant spaces return initial echoes for a period of time from the onset of an impulse. where the period is a function of the room size. This initial period is uneven before the smooth exponential decay begins. The large programs of the Alesis Microverb are similar to halls. Such a reverb sound has more character than the blander small room sound and lends a beautiful, open spaciousness to vocals and instruments.
The large programs are not intended to be perfectly smooth and should be used with caution on percussive material- For large percussion sounds. the gated programs should be tried. The large programs are organised by size and decay time numbered from 1 to 7.
Gated and Reverse
The reverse program is offered as a special effect where drums. instruments, and even vocals can be usable program material. given appropriate mixing levels. For a full backward effect, the dry signal should be eliminated completely from the mix. Gate 1 and Gate 2 differ in the duration of the sound and the rate of decay of the tail of the gated sound. Especially popular with snare drums, the effect can be varied considerably with the mix control.
