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The MidiVerb™ 4 is the perfect effects processor for professional project studios and musicians who require an affordable solution for fully-programmable, high-fidelity effects. Its excellent effects algorithms produce dense, natural reverb, rich chorus, flange, delay, pitch effects and up to three simultaneous multieffects. The MidiVerb 4 offers 18 bit A/D and D/A converters and 24 bit internal processing for a 20Hz-20kHz bandwidth and 90dB dynamic range, making it ideal for digital recording. Plus, its valuable Auto Level Sensing™ feature can instantly set the optimum input levels...a great time-saver. MidiVerb 4's thirty-two effects algorithms give you a complete arsenal of fully programmable effects, many using true stereo parallel processing. You can take advantage of the 256 powerful programs with 128 spaces for user-created effects. With its easy-to-use graphic interface, programming your own effects is a snap. And by using MidiVerb 4's MIDI controller routing and assignable footswitch input, you'll have complete creative control over every aspect of your sound.

Since its introduction, the 3630 Compressor™ has become the most popular dynamics processor ever made. The reason is easy to understand: it provides two independent full-featured compressor/ limiters in one rack space while offering excellent sonic quality for any application from studio recording to live sound or broadcast. The 3630 offers Ratio, Threshold, Attack and Decay controls to customize its compression response for even the toughest signals. You can also choose between RMS and Peak compression styles, plus Hard and Soft Knee dynamic curves for every application from subtle gain control to in-your-face punch. As an independent dual-channel compressor, the 3630 offers separate controls for two different source signals. Plus, two fully independent gates with threshold and rate controls allow you to easily and efficiently stifle unwanted ambient noise. Other advanced dynamics processing features such as precise signal metering, a sidechain for keying or ducking effects and stereo linkable operation make the 3630 the most powerful compressor in its class.

A great choice for recording, mixdown, instrument rigs, and sound reinforcement, the Alesis 3630 Compressor provides two independent full-featured compressor/ limiters in one rack space while offering excellent sonic quality for any application from studio recording to live sound or broadcast. As an independent dual-channel compressor, the 3630 offers separate controls for two different source signals. Plus, two fully independent gates with threshold and rate controls allow you to easily and efficiently stifle unwanted ambient noise. The Alesis 3630 Compressor (see larger image). The 3630 offers Ratio, Threshold, Attack and Decay controls to customize its compression response for even the toughest signals. You can also choose between RMS and Peak compression styles, plus Hard and Soft Knee dynamic curves for every application from subtle gain control to in-your-face punch. Other advanced dynamics processing features include precise signal metering, a sidechain for keying or ducking effects, and stereo linkable operation. Specifications Threshold (dB): -40 to +20 dB Ratio: 1:1 to inf:1 Attack Times: 0.1 to 200 ms/prog dependent Release Times: 50 ms to 3 seconds Gain Control: Output Bypass Switch: Yes Number of Channels/Stereo Link: 2/Yes Meter Type (VU, LED, etc.): 12-segment LED Main I/O Types (XLR, 1/4-inch, etc.): 1/4-inch Sidechain I/O Types (XLR, 1/4-inch, etc.): 1/4-inch TRS Dimensions: 19 x 1.7 x 4.5 inches (WxHxD) The Channel A controls. The Channel B controls. About Compression, Limiting, and Noise Gating Compression and limiting both affect a signal's dynamic range, although in slightly different ways. This type of signal processing can be used as an effect (e.g., increase a guitar or cymbal's sustain) or for more practical applications, such as avoiding tape saturation or restricting the dynamic range of program material for broadcast applications. Limiting A limiter does not affect the signal going through it until that signal reaches a particular threshold. Above this threshold point, the limiter prevents the signal from becoming any louder by providing as much attenuation as is needed to keep the signal from exceeding the threshold. If the signal drops below the threshold, then the limiter "goes back to sleep" and leaves the signal alone unless it exceeds the threshold again. Hard knee response (above) and soft knee response (below). If the limiter's clamping action occurs abruptly--in other words, the limiter goes from no limiting to full limiting at the threshold point--the sound's output level will not increase despite changes in input level. This is called a hard knee response and is often used to eliminate loudspeaker or amplifier clipping. With a soft knee response, the limiting action becomes progressively greater past a certain point until it eventually flattens out and clamps the signal fully, just like a hard-knee limiter. This tends to produce a smoother limiting sound that helps smooth out an instrument's dynamic range. The speed with which a limiter responds to the input signal is also important. If the limiter tries to follow every little nuance of music, the sound can be overly "choppy." Often, you'll want the limiter to affect dynamic range over a somewhat longer period of time. The Release control sets this time period. Compression Compression is similar to limiting, but rather than clamp all signals to a constant threshold, the output changes at a lesser rate than the input. For example, with a 4:1 compression ratio (as set with the ratio control), a 4 dB input level change produces a 1 dB output level change; an 8 dB input level change produces a 2 dB output level change. Noise Gating To understand a gate's principle of operation, consider a "manual noise gate." Suppose you're listening to an audio signal being processed by a relatively noisy effect. As long as the audio signal is present, its level will generally be higher than the noise, thus masking it. However, when the audio signal goes away, the noise is no longer masked and can be heard. If you connected a volume control after the noisy effect, you could eliminate the noise by turning down the volume whenever there was no audio signal. Then, as soon as the audio signal (which masks noise) returned, you could turn the volume up again. A noise gate performs a similar function, but automatically. You set a particular noise gate threshold, and the gate compares the input signal level to that threshold. If the input signal exceeds the threshold, the gate acts like a volume control that's all the way up, and lets the signal through. If the input signal is lower than the threshold, the gate acts like a volume control that's all the way down, and blocks the input from reaching the output. If the threshold is set just above the residual noise level, then the gate will be closed whenever there is hiss, thus giving a quieter signal.

The MicroVerb4™ is designed to provide a wide variety of great-sounding, easy-to-use effects for small studios, engineers and performing musicians. The key to MicroVerb 4's power is in its simplicity. It offers 200 programs that include everything from high-quality reverb, delay, chorus and flange to exciting multieffects and more. To customize your programs, two front panel knobs allow for quick, easy, user-storable edits, or use its MIDI inputs for control over program changes and modulation. You can then save your edited programs in the 100-space user program bank. Even though it's affordable and easy to use, the MicroVerb 4 offers the superb audio quality that you should expect from every Alesis processor.

The NanoVerb™ gives you sixteen of Alesis' best preset effects algorithms in a compact, easy-to-use and incredibly affordable package. You'll enjoy its lush hall, plate and room reverbs, rich true stereo chorus, flange, delay, rotary speaker emulation and useful multieffects. Plus, NanoVerb's 18 bit digital converters ensure the sonic quality that allows you to use it for any effects application from guitar rigs to studio recording. The front panel adjust knob allows you to tweak NanoVerb's great-sounding programs until they're just right for your music, while the Input/Output levels and Mix controls ensure proper effect levels for a wide variety of applications. Plus, with its amazing low cost, you can afford to put two or three NanoVerbs in your rack for dedicating to multiple sources.

Enjoy lush hall, plate and room reverbs, rich true stereo chorus, rotary speaker emulation and useful multi-effects with the 16 preset effects algorithms packed into the Alesis NanoVerb digital effects processor. The NanoVerb's 18-bit digital converters ensure sonic quality for use with any effects application--from guitar rigs to studio recording. The front panel adjust knob allows you to tweak NanoVerb's great-sounding programs until they're just right for your music, while the Input/Output levels and Mix controls ensure proper effect levels for a wide variety of applications. The compact Alesis NanoVerb digital effects processor (see larger image). Effects Overview Concert Hall (3 Programs) This is a simulation of a large concert hall. Halls tend to be large rooms with lots of reflective surfaces, where sounds can swim around, changing timbre over time. This is a classic reverb that sounds good on just about anything. Try it on vocals, drums, acoustic, electric, or orchestral instruments. Hall 1: A large bright hall program--works well for almost anything, try it on drums, guitars or vocals. Hall 2: A warmer hall program--especially adds depth and character to acoustic guitars and pianos with it's decay set long. Hall 3: A medium hall with 12ms of predelay before the reverb starts. It sounds great on big rock snares, but try it on vocals and electric guitar, too. Real Room (3 Programs) This algorithm gives you the sound of a medium size studio room. This algorithm uses a lot of processing power for a rich sound and smooth decay. It has a punchier, bigger sound than a hall reverb, which makes it good for rock and dance music. The attack is also more reflective. It sounds good on drums, keyboards and guitars. Room 1: A hardwood studio room with a lot of early reflection slap for big drum sounds; also works well for acoustic instruments, especially with the decay turned up. Room 2: Perfect for adding a little ambiance to a dry track. Try it on antiseptic synth sounds or on dry, unplugged mixes with the decay set short. Room 3: Ideal for acoustic guitars and classical instruments, this program emulates a warmer studio room. Plate Reverb (3 Programs) This is a simulation of a classic echo plate, a 4' by 8' suspended sheet of metal with transducers at either end used to produce reverb. Popular in the 1970's, it is still prized for its transparent sound, particularly on vocals and guitars. It works well for a lush lead vocal, piano, or guitar, especially when looking for a classic rock and roll sound. Plate 1: A classic bright vocal plate for pristine lead and background vocals. Plate 2: A warmer variation of the previous program, great for adding sustain on acoustic guitar and strings. Plate 3: A more realistic simulation of a vintage tube plate reverb. It has very little bottom end, which makes it great for snappy snares and skinny guitars. Nonlinear (1 Program) In the mid '80s, a certain British producer/engineer (who shall remain anonymous) discovered a clever way of creating a huge drum sound. He would place the drum set in a large, reverberant room, mic the room and chop off the end of the reverb tail with a noise gate. When this sound caught on, digital reverbs began to be released with a "Nonlinear" program, which simulated this effect. In the end their simulation became more widely used than the effect it was trying to emulate, and the non linear reverb earned it's place in effects history. Nonlinear: A classic example of the mid-80's "Nonlin" gate program, most commonly used on snares and toms, but can also spice up brass stabs and percussion. Reverb Parameter Adjust -- Decay The reverb decay determines how long the reverb will sound before it dies away. Turning up the reverb decay will have the effect of increasing the room's size. Generally, classical, jazz, and ballad styles will use longer decay times than uptempo rock or dance music. Pitch Based Effects (5 Programs) Pitch based effects alter the pitch and delay of a signal in various ways to produce "layered" timbres that are more complex than the original signal. Some of these effects are achieved by splitting the signal into at least two parts, effecting the pitch of one of the parts, then mixing them back together. This eventual mixing is essential since the overall sound of the effect is achieved by the difference between the dry, uneffected signal and the effects signal. Chorus: Achieved by splitting the signal into four parts with a dry signal and a separate detuning section for both left and right channels. The detuning is further effected by being modulated by an LFO (low frequency oscillator), which causes the detuning to vary. The NanoVerb's chorus has individual LFOs controlling the left and right sides, set at different rates. This effect, called true stereo chorus, often has a wider stereo image than regular stereo chorus effects. Flange: First used in the 1960s, "flanging" was achieved by the use of two tape recorders that would record and play back the same program in synchronization. By slowing down one tape machine, and then letting it catch up with the other, different phase cancellations would occur at different frequencies. Rotary: The Rotary effect emulates a rotating speaker. This effect was extremely popular during the 1960s and was achieved by mechanically rotating the speakers to produce complex timbral changes. The lezlie speaker system is most often used with tone-wheel organs, but is occasionally used for guitar amplification as well. When changing the speed between fast and slow, the effect will slowly ramp to the new speed rather than change abruptly, just as the original would do. Chorus/Room 1: A layered true stereo chorus and large room reverb. It works great on guitars, synths and electric pianos. Chorus/Room 2: Adds a delay to the chorus/room sound for a different flavor. It works well for slow, funky guitars or big ballad solos. Delay (1 Program) Delay is a discrete echo repeat, unlike the rapid wash of repeats that create reverb effects. It is useful for adding depth to a track or performance if reverb is adding too much coloration to the sound. Delay: This program provides a delay of up to 1270 ms. The delay time can be adjusted in 10 millisecond increments. This is a useful utility program which can add space to vocals or instruments without "muddying up" a mix. Specifications Presets (Factory/User): 16/0 Digital Effects (reverb, delay, chorus, etc.): Rvrb; chrs; dly; flng; rtry Simultaneous Effects: 3 Programmable Wet/Dry/Mix: Yes Compare/Bypass: N/Y Maximum Delay Time: 1,300 ms Discrete Programming Channels: 1 ADC/DAC Overload Warning: Clip light Inputs: (2) 1/4-inch Outputs: (2) 1/4-inch Frequency Response: ±1dB from 20Hz to 20 kHz Dynamic Range: >90dB "A" wtg., 20 Hz-22kHz Distortion:

The Alesis Vocal Zapper is a stereo vocal reducer in an ultra-compact and affordable 1/4-space rackmount chassis. With the ability to precisely reduce vocals from any CD or stereo music source, the Vocal Zapper features 16 unique algorithms that allow optimal reduction of different types of vocals in various types of mixes. There are two 1/4” inputs and two 1/4” outputs operating at 24-bit conversion and 48kHz sample rate. Internal processing runs at 28-bit.