Alesis DJ Equipment 7 51 0121 A User Manual

Reference Manual  
 
Table of Contents  
Introduction....................................................................3  
Welcome! .........................................................................................................3  
About the Smashup.......................................................................4  
Important features of your Smashup .........................................................4  
Smashup Key Features..................................................................................5  
How to Use This Manual.............................................................6  
Safety Instructions/Notices.....................................7  
Important Safety Instructions (English)............................7  
CE Declaration Of Conformity................................................9  
FCC Compliance Statement......................................................9  
Instructions de Sécurité Importantes (French).........................................10  
Lesen Sie bitte die folgende Sicherheitshinweise  
(German) ..................................................................................................12  
Quick Start Guide........................................................15  
If you can’t wait to get started......................................................................15  
Hook it up to a synthesizer...........................................................................15  
A quick overview of the controls ...........................................16  
Rear Panel........................................................................................................16  
Connections ....................................................................17  
Unpacking and Inspection............................................................................17  
Installing in a Rack.........................................................................................17  
Power................................................................................................................17  
Connecting to the Channel Inserts of a mixing console: ........................19  
Connecting to the Main Outputs of a mixing console: ...........................20  
Connecting to the inserts on an instrument amplifier:............................20  
Connecting to equipment with XLR inputs and outputs:.......................21  
About audio cables.........................................................................................21  
Using the ModLink........................................................................22  
Using the Smashup......................................................23  
What is a compressor?.................................................................23  
What the controls do.....................................................................................24  
How the Smashup goes beyond “just compression...............................25  
Operational advice........................................................................26  
Gain structure.................................................................................................26  
Description of Controls...............................................................27  
Threshold.........................................................................................................27  
Attack................................................................................................................28  
Look Ahead.....................................................................................................28  
Release..............................................................................................................28  
Output..............................................................................................................29  
Sizzle.................................................................................................................29  
Type Select Switch..........................................................................................30  
Bypass...............................................................................................................32  
Using the Foot Switch...................................................................................32  
Sample Settings.............................................................33  
Blank Settings Templates..............................................................................36  
Troubleshooting............................................................37  
Troubleshooting Index................................................................37  
Avoiding ground loop noise.........................................................................39  
 
1
Table Of Contents  
Line conditioners and spike protectors......................................................40  
Care and Maintenance................................................................41  
Cleaning............................................................................................................41  
Refer all servicing to Alesis...........................................................................41  
Obtaining repair service ................................................................................42  
Specifications.................................................................43  
Audio Input.....................................................................................................43  
Audio Output..................................................................................................43  
Audio Performance........................................................................................43  
Mechanical.......................................................................................................43  
Index...................................................................................45  
Warranty/Contact Alesis...........................................46  
Alesis Limited Warranty................................................................................46  
Alesis Contact Information ..........................................................................47  
 
2
Introduction  
Welcome!  
Thank you for making the Alesis Smashup a part of your studio.  
Since 1984, we've been designing and building creative tools for  
the audio community. We believe in our products, because we've  
heard the results that creative people like you have achieved with  
them. One of Alesis' goals is to make high-quality studio  
equipment available to everyone, and this Reference Manual is an  
important part of that. After all, there's no point in making  
equipment with all kinds of capabilities if no one explains how to  
use them. So, we try to write our manuals as carefully as we build  
our products.  
For more effective  
service and product  
update notices, please  
register your Smashup  
online at:  
ort/warranty.htm  
The goal of this manual is to get you the information you need as  
quickly as possible, with a minimum of hassle. We hope we've  
achieved that. If not, please drop us an email and give us your  
suggestions on how we could improve future editions of this  
manual.  
We hope your investment will bring you many years of creative  
enjoyment and help you achieve your goals.  
Sincerely,  
The people of Alesis  
 
3
Introduction  
About the Smashup  
Your new Smashup is a member of the Alesis ModFX family of  
performance effects boxes. This particular ModFX unit is a deluxe  
compressor with the ability to model several different types of  
compression.  
Each ModFX unit provides a different set of sound effects and  
signal processing, and they are easy to arrange and connect to each  
other. With a uniform, friendly, uncomplicated user interface and  
high-resolution digital processing, the ModFX products are perfect  
for keyboardists, guitarists, and any other studio or live  
performance artists.  
Important features of your Smashup  
High resolution processing  
The Smashup internally uses 28-bit stereo digital signal processing.  
The digital-to-analog and analog-to-digital conversion is sampled  
at 48kHz with 24 bits of resolution. That means you can get the  
effect you want, without adding unwanted noise and distortion.  
ModLink  
If you’re using multiple ModFX boxes to make your own unique  
effects chain, ModLink makes it easy to hookup without needing  
patch cords between units in a chain. The nine-pin connectors  
built into each side of the case enable a ModFX box to transfer  
digital audio and word clock directly to another. Any number of  
units can be connected together.  
Selectable compression types  
Capitalizing on the unique capabilities of Alesis’s digital signal  
processing techniques, the Smashup is able to sound like several  
different types of classic analog compressors. Adjustable attack  
and release controls, plus unique “look ahead” and “sizzle”  
features, make this compressor uniquely suited to the needs of  
guitarists, bassists, remix engineers, and producers.  
 
4
Introduction  
Smashup Key Features  
Digital emulation of six different kinds of analog  
compression  
Adjustable threshold, attack, release, and output level  
Look Ahead feature anticipates upcoming peaks for  
compression before they’re processed  
Sizzle feature keeps clarity and punch even with extreme  
compression settings  
Uniform, friendly, uncomplicated user interface—no fiddling  
with complicated menus or “hidden” knobs  
Stereo processing via four 1/4” unbalanced connectors  
ModLink port, a cable-free connection that transfers digital  
audio and word clock to other boxes in the ModFX family  
Footswitch connection to control the bypass function  
Ability to mount 3 ModFX boxes in the optional ModFX  
rack adapter  
Input trim control to adjust input level  
Internal 28-bit digital processing  
24-bit D/A and A/D conversion at 48kHz sampling rate for  
quiet, distortion-free effects  
External 9VAC power supply included  
 
5
Introduction  
How to Use This Manual  
A little technical knowledge will help you get the most out of your  
gear...it’s really pretty simple. This manual is divided into the  
following sections describing the various functions and  
applications for the Smashup. While it's a good idea to read  
through the entire manual once carefully, those having general  
knowledge about effect devices should use the table of contents to  
look up specific functions.  
Helpful tips and advice are  
highlighted in a shaded box  
like this  
Chapter 1: Quick Start. If you're already experienced with effect  
boxes, this will get you started using the Smashup right away. It's a  
short guide to the essential elements of hooking it up and using it  
for the first time. A brief tour of the front and rear panels also  
directs you to the chapters focused on individual features.  
Chapter 2: Connections gives detailed instructions for connecting the  
Smashup to a variety of typical audio systems. It also discusses the  
process of linking the Smashup with other ModFX devices.  
Chapter 3: Using the Smashup explains the controls of the Smashup  
and their functions.  
Chapter 4: Sample Settings provides a selection of sound charts  
created by the sound designers at Alesis for you to try.  
Near the end of the manual are troubleshooting tips,  
specifications, and an index to help you find what you're looking  
for.  
When something important  
appears in the manual, an  
exclamation mark (like the  
one shown at left) will appear  
with some explanatory text.  
This symbol indicates that  
this information is vital when  
operating the Smashup.  
 
6
Safety Instructions/Notices  
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.  
Continued next page  
 
7
Important Safety Instructions  
11. Use only attachments or accessories specified by the  
manufacturer.  
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.  
 
8
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.  
 
9
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.  
Suite de la page suivante  
 
10  
Important Safety Instructions  
11. N’utilisez que des accessoires spécifiés par le constructeur.  
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.  
 
11  
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.  
Fortsetzung auf nächster Seite  
 
12  
Important Safety Instructions  
11. Benutzen Sie nur das vom Hersteller empfohlene Zubehör.  
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.  
 
13  
Important Safety Instructions  
This page intentionally left blank.  
 
14  
1 Quick Start Guide  
If you can’t wait to get started  
The Alesis Smashup is a unique product, but its basic hookup and  
operation is similar to other in-line signal processors (like EQs and  
compressors) in most respects. If you're experienced with signal  
processors, this chapter is a "shorthand" guide for those who want  
to start using the Smashup right away. If you have questions about  
any of the features, don’t worry – later chapters will unveil the  
mysteries of the Smashup's special features.  
If you're new to signal  
processing...  
start with the more detailed  
instructions for hookup and  
operation starting in the next  
chapter.  
Hook it up to a synthesizer  
1. First, make sure the power is off to all the components  
you’re connecting: amp, mixer, and instruments.  
2. Pull the Smashup and its power supply out of the  
package.  
3. Using a pair of 1/4” instrument cables, plug the outputs  
of the synthesizer into the INPUTS on the back of the  
Smashup.  
4. Connect the OUTPUTS of the Smashup to the inputs  
of a mixer, powered speakers, or instrument amplifier.  
5. Insert the power jack of the Smashup’s power adapter  
into the POWER 9VAC input on the rear panel of the  
Smashup and plug the power adapter into an AC outlet  
(preferably on a power strip with its switch off).  
The Smashup doesn’t have a POWER switch of its own. The  
moment you plug in the power, its top panel LEDs will come on.  
6. Turn the power on to the system: the keyboard, then  
the Smashup’s power strip (if it’s not already on), then  
the mixer, then the amp.  
7. Turn the INPUT TRIM knob on the back of the  
Smashup while playing the keyboard to adjust the input  
level. The SIGNAL LED on the top panel will light  
green, not red, when the level is correct.  
8. Experiment with the knob and button settings on the  
Smashup to create different sounds.  
For more detailed information on connecting the Smashup, see  
chapter 2: Connections.  
 
15  
Quick Start Guide  
1
A quick overview of the controls  
Sizzle  
Look Ahead  
Type selects the kind of  
compression the Smashup  
will emulate. Several  
different analog compression  
types are modeled. See page  
30.  
Adds “punch” and “air” to  
the signal, especially useful  
for bass sounds. It puts a  
high-pass filter before the  
compressor’s detector, and  
adds a bit of HF EQ on the  
output.  
Looks at the digital signal  
several milliseconds before it  
is processed, to anticipate  
peaks. Reduces the attack  
time to less than zero.  
Release  
determines  
how quickly  
the  
compressor  
will “let go”  
of the signal  
after levels  
have fallen  
below the  
threshold.  
Turn counter-  
clockwise for  
faster releases.  
Output  
increases the  
Threshold sets  
the level where  
output level.  
the compressor starts  
working on the signal. At the  
“5 o’clock” setting, the  
threshold is high and there’s  
no compression; turn  
counter-clockwise f o r m o r e  
compression (and less  
output).  
Use this to increase the signal  
to normal levels after it has  
been compressed.  
Attack sets how much time  
will pass after a peak is  
detected before the signal is  
compressed. Turn clockwise  
to let more attack through,  
counter-clockwise to  
Signal LED  
When this lights green, the  
Smashup is getting an input  
signal. When it’s red, it’s  
seeing too much level...so  
turn down the instrument...  
compress all peaks.  
BYPASS lets signal pass  
through without any  
compression.  
Rear Panel  
Plug the power adapter in  
here.  
The FOOT SWITCH may be  
connected to any momentary  
pedal, to engage the BYPASS  
function.  
...or the TRIM control here  
on the back panel.  
The ModLink connectors let  
you arrange several ModFX  
units in a chain, without  
having to use input and  
output cables inside the  
chain.  
INPUTS and OUTPUTS are  
standard 1/4” line-level  
jacks.  
If you’re using a ModLink  
chain, you only need to  
connect to the first unit’s  
input, and the last unit’s  
output.  
 
16  
2 Connections  
Unpacking and Inspection  
Your Smashup was packed carefully at the factory. The shipping  
carton was designed to protect the unit during shipping. Please  
retain this container in the highly unlikely event that you need to  
return the Smashup for servicing.  
The shipping carton should contain the following items:  
Smashup with the same serial number as shown on the  
shipping carton  
Power Adapter  
This instruction manual  
To register your purchase, go to the Alesis website at  
Installing in a Rack  
The Smashup is designed for tabletop use, but can also be installed  
in a standard 19" audio equipment rack. For rack mounting,  
contact your Alesis dealer for the ModFX Rack. This rack shelf  
holds three ModFX units in a 3-space high 19” rack.  
Power  
Make sure you read the  
initial Important Safety  
In s t r u c t i o n s c h a p t e r a t t h e  
front of this manual.  
The Smashup comes with an AC power adapter that transforms  
the voltage from a standard outlet into 9 volts AC (830 mA).  
Plug the small end of the power adapter cord into the Smashup’s  
POWER INPUT socket and then plug the adapter itself into a  
good quality, noise-free AC power source of the proper rating.  
The supplied AC line adapter is designed only for the destination  
to which the unit is shipped. To use the Smashup in another  
country, contact your Alesis dealer for an Alesis P3 adapter  
suitable for the electrical system in the country you are traveling  
to.  
Avoid “popping”:  
Don’t plug the power adapter  
into the Smashup until all  
other audio cables have been  
hooked up. Make sure your  
amplifier or pow e r e d  
speakers are switched off  
when plugging in the  
Smashup to avoid damage.  
 
17  
Connections  
2
Connecting audio  
The Smashup will work in many different applications, whether  
you are connecting an instrument directly into it, or connecting it  
through a mixing console. But since the Smashup is a stereo  
effect unit, it’s important to know whether the source will be  
stereo or mono.  
When connecting audio  
cables and/or turning power  
on and off, make sure that all  
devices in your system are  
turned off and the volume  
controls are turned down.  
In-line connection  
If you’re connecting a keyboard, guitar or bass directly to the  
Smashup, hook it up this way:  
1. Connect a 1/4" phone cord to the [LEFT/MONO] INPUT  
of the Smashup from the instrument.  
Turn up the trim...  
2. Connect another 1/4" phone cord from the LEFT OUTPUT  
of the Smashup to an amplification system or mixer input.  
Most guitars and basses have  
relatively low output levels.  
For the quietest effect, turn  
up the volume on the guitar to  
full, then crank up the  
3. If the instrument and amp or mixer is stereo, connect a  
second pair of 1/4" phone cords from the instrument to the  
RIGHT INPUT of the Smashup, and connect the RIGHT  
OUTPUT of the Smashup to the other input of the stereo  
amplification system, or the next mixer input.  
[TRIM] control on the back  
of the Smashup until the  
SIGNAL LED on its top panel  
flashes red while you play,  
then back it off a bit.  
4. If you’re connecting directly to a stereo mixer, pan the two  
channels hard left and hard right to get the maximum effect.  
 
18  
Connections  
2
Connecting to the Channel Inserts of a  
mixing console:  
Most recording consoles have a jack in each channel near the mic  
and line inputs labeled "Insert". This is typically a TRS jack with  
the send and return on the same jack. To use the Smashup as a  
channel insert, you will need an insert cable (not included).  
Ring:  
Insert SEND:  
Insert return  
To ModFX INPUT  
Tip:  
Insert send  
Sleeve:  
Insert RETURN:  
Insert Ground  
From ModFX OUTPUT  
This cable splits the TRS insert jack into two unbalanced mono  
connectors. Usually, the tip is connected to the INPUT of the  
Smashup and the ring is connected to the OUTPUT of the  
Smashup. However, this may be reversed on some recording  
consoles. Check your mixer’s Reference Manual to be sure or just  
try it both ways – this won’t damage the Smashup.  
For stereo operation, you would use two insert cables, inserted  
into two adjacent channels of the mixer. One would send and  
receive signal to the left channel of the Smashup, and the pan pot  
of that mixer channel would normally be panned to the left. Pan  
the next mixer channel, for the right side of the Smashup, to the  
right.  
 
19  
Connections  
2
Connecting to the Main Outputs of a mixing  
console:  
In addition to channel inserts, most mixing consoles have main  
insert jacks near the main outputs. You can use insert cables to  
connect the Smashup to the main L/R bus the same way you  
connect it to a pair of channels. Simply connect one insert cable  
to the left main insert of the mixer, and connect the two mono  
jacks to the left INPUT and OUTPUT of the Smashup. Use  
another insert cable to connect the right main insert to the right  
INPUT and OUTPUT of the Smashup.  
Don’t connect the  
Smashup into an  
effect send/return loop  
Unlike most effects,  
compression i s N O T d e s i g n e d  
to be “added” to a signal—it  
acts on the entire level going  
through it.  
Alternatively, you could plug the mixing console’s main outputs  
directly into the Smashup’s inputs, then feed the Smashup’s  
outputs to your monitor amps or mixdown recorder. However,  
with this method if you fade down the volume at the end of the  
song, the sound quality will change as you fade, since the signal  
will fall below the threshold setting. That’s why it’s better to use  
insert jacks, if they’re available.  
Connecting to the inserts on an instrument  
amplifier:  
The insert send on a guitar or bass amp is usually labeled "effects  
send and return" or "insert send and return". This allows you  
to preamplify your instrument before compressing it and  
sending it to the power amp.  
Never connect the  
Smashup between the  
power amp and the  
speaker!  
The high power levels created  
by the power amp will  
destroy the circuitry of the  
Smashup.  
Most guitar amps are single channel, so connect a single insert  
cable from the amp to the LEFT INPUT and LEFT OUTPUT of  
the Smashup. Some amps have separate “effect send” and “effect  
return” jacks; for these, use standard cables. Check the manual of  
your amplifier for details.  
If you are using a dedicated rack-mount preamplifier, another  
method would be to insert the Smashup between the preamp and  
the input(s) of the power amp.  
 
20  
Connections  
2
Connecting to equipment with XLR inputs  
and outputs:  
Don't use line  
transformers:  
If you are connecting the Smashup to a product with XLR  
balanced inputs and outputs, you will need to convert this signal to  
a 1/4” unbalanced connector. Make sure that Pin 2 of the XLR  
connector is connected to the Tip of the 1/4” adapter or cable.  
Many XLR-to-1/4" adapters  
sold at electronics stores are  
NOT adapters, but  
transformers (and very low  
quality transformers at that).  
Do n 't u s e t h e s e on the output  
of the Smashup—they're  
Watch out for high levels, however: some XLR sources put out  
levels close to the maximum the Smashup can accept (about +12  
dBu) even when its trim is at minimum. Lower the level of the  
source if the [SIGNAL] LED flashes red.  
unnecessary and generally  
sound awful because they  
don't have the headroom to  
handle the Smashup's output.  
Get a hard-wired adapter or  
cable from your professional  
audio dealer, or make one  
yo u r s e l f f r o m c o m p o n e n t s .  
About audio cables  
The connections between the Smashup and your studio are your  
music’s lifeline, so use only high quality cables. These should be  
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 to the Smashup correctly by observing the following  
precautions:  
Do not bundle audio cables with AC power cords.  
Avoid running audio cables near sources of  
electromagnetic interference such as transformers,  
monitors, computers, etc.  
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.  
Never unplug a cable by pulling on the wire itself.  
Always unplug by firmly grasping the body of the plug  
and pulling directly outward.  
 
21  
Connections  
2
Using the ModLink  
The Smashup can be connected to other effect boxes in the  
ModFX family via the ModLink. The ModLink is a cable-free  
connection between two ModFX units that transfers digital audio  
and word clock. The 9-pin male connector on the left side of the  
unit is the ModLink IN port. The 9-pin female connector on the  
right side is the ModLink OUT port. By directly connecting two  
ModFX units via the ModLink, audio will pass from the left-most  
unit to the right-most unit.  
What about the input  
and output jacks on  
the slave units?  
Inputs  
AC adapter  
Outputs  
When a unit is a slave to  
another unit, its audio input  
jacks are disabled; it will get  
its audio input digitally from  
its ModLink port. The output  
jacks, however, are always  
active; so an audio output  
can be tapped from any  
linked unit, without  
interrupting the flow to the  
rest of the chain.  
Master  
First Slave  
Audio Flow  
Second Slave  
The audio signal flows from left to right. The Master will send its  
digital audio output to the First Slave, and the First Slave will, in  
turn, send its output to the Second Slave.  
 
22  
3 Using the Smashup  
This section defines compression, and explains the functions of  
the Smashup’s controls in greater detail.  
What is a compressor?  
Most types of signal processors, such as reverbs, phaser/flangers,  
and equalizers, make an obvious change in the sound. But a  
compressor's action is much more subtle; when used properly,  
many listeners won't be aware that signal processing is being used.  
Yet, compressors are essential in modern audio work to make  
instruments hold their place in the mix, and add sustain and body.  
Almost every lead vocal on a pop record is compressed during  
tracking or mixdown. Often the entire stereo mix is compressed  
or limited during the mastering process.  
A compressor/limiter like the Smashup is essentially an automatic  
volume control. Imagine an engineer with his hand on a fader and  
his eyes on an input level meter. As long as the meter stays below  
a certain point (the threshold), he leaves the fader up and the gain  
is unchanged. But the instant the sound gets louder, the engineer  
pulls down the fader by a certain amount. After the sound gets  
soft again, the engineer will push the fader back up. That's what  
the Smashup is doing, except much faster and more accurately  
than humanly possible.  
Paradoxically, by cutting the peak levels, the Smashup allows you  
to raise the average level of a sound using the [OUTPUT] control  
and make the overall sound louder. By coordinating the  
[THRESHOLD] and [OUTPUT] controls, you can set a stable  
sound that will hold its position in the mix regardless of the  
dynamics of the instrument or vocal. Compression is the tool to  
use when you want a lead vocal to go from a scream to a whisper  
and not get buried behind the instruments.  
 
23  
Using the Smashup  
3
What the controls do  
Let's go back to the "engineer with his hand on a fader and eyes  
on the meter" analogy. The top panel controls simply tell the  
"engineer" what rules he should follow. [THRESHOLD] tells him  
how high the input level can rise before he has to start pulling  
down the fader: if it's turned full clockwise, he won't pull down  
his fader at all; if it's turned full counter-clockwise, he'll have his  
hand on the fader even for very faint sounds.  
How far does he pull the level down? That depends on the  
[TYPE] setting, as will be explained later. For example, in Classic  
mode, Smashup acts as a compressor/limiter with a ratio of 4:1.  
That means that if the input rises above the threshold by 8  
decibels, the output will only be allowed to rise 2 decibels. In  
Transparent mode, the compression ratio is a gentler 2:1, so an  
input 8 dB above the threshold will be allowed to rise 4 dB. In  
most modes, the detector of the Smashup looks at peak levels, not  
the average level of the signal. In addition, each compressor has  
its own “knee” characteristic (hard or soft). Soft-knee  
compressors allow signal levels near the threshold to be  
compressed more gradually.  
The [ATTACK] and [RELEASE] controls involve the speed of the  
engineer's response, as does the [LOOK AHEAD] switch. Short  
attack times may order the engineer to pull down the fader  
1/10,000th of a second after he sees a too-loud signal; long attack  
times tell him to let transients less than about 1/5th of a second  
pass. [RELEASE] tells the engineer how quickly he should push  
the fader back up again after a loud signal has stopped; when it's  
turned counter-clockwise, he pushes the fader back up instantly,  
and when it's full clockwise, he may take take a few hundred  
milliseconds to push his fader back up to unity gain.  
Attack/Release times  
vary by Type  
In fact, each Type has its own  
Attack/Release behavior and  
time ranges.  
The [OUTPUT] control is simply a gain control located after our  
"automatic engineer in the box". Since the engineer will pull the  
fader down when he “sees” levels above the [THRESHOLD]  
setting, it’s up to you to compensate for that action by raising the  
output level, if that’s necessary to restore the average level after the  
peaks have been removed.  
The most important controls are the [THRESHOLD] and  
[OUTPUT] knobs. They both interact to get the effect you want,  
and that requires some experimenting.  
 
24  
Using the Smashup  
3
How the Smashup goes beyond “just  
compression”  
Having explained what the controls are designed to do, you should  
be aware that the Smashup’s digital compression algorithms do  
much more than just control levels. Just as a tube guitar amp  
sounds different from a solid-state power amp, the most popular  
compressors sound notably different from each other, even when  
their attack, threshold, ratio and release controls are set exactly the  
same. And, like guitar amps, there’s no single “best”  
compressor...good studios often have 6 or 7 different brands of  
compressor in the rack because some are better on rock vocals,  
others are best on bass, still others offer a unique drum sound.  
Alesis analyzed the behavior of many compressors, and the  
Smashup’s different [TYPE] settings are the result. You really get  
six different-sounding compressors in a single, compact ModFX  
box.  
There’s no way to describe the complete behavior of each control  
in each mode. Just be aware that a particular [ATTACK] setting  
will have a totally different result when the [TYPE] is set to  
OPTO, as compared to FAT. Experiment with all the settings on  
different instruments and vocals, and you’ll find some really great-  
sounding combinations.  
 
25  
Using the Smashup  
3
Operational advice  
Gain structure  
Extreme settings will lead to extreme results. If you turn the  
threshold down all the way, the Smashup will do what it's being  
told to do: turn the level way down. If you then try to  
compensate by cranking the [OUTPUT] control to its maximum,  
you'll amplify the noise of your source and the Smashup itself.  
The noise will fade itself in whenever the input signal stops,  
resulting in the classic "pumping" and "breathing" problems.  
Noise is present in every system, and improper use of any  
compressor will amplify it to an obnoxious level.  
For low noise operation, make sure your mixer, Smashup,  
and amplifier settings are set properly. As a general rule, you  
want as much gain as possible in the front of the system (at the  
instrument or microphone preamp), so that a good line-level signal  
is travelling through the whole signal path. If you have a weak  
signal to start with, and then amplify it at the end of the signal path  
(by turning the main outputs of the mixer all the way up, for  
example) it will be excessively noisy.  
When using a compressor on a live P.A. system, improper settings  
can cause feedback. Make sure that a channel is well below the  
feedback point when there is no gain reduction active. If you hear  
feedback every time the music stops, you must lower the overall  
level of the system.  
Setting Levels  
Proper setting of the output levels is crucial in order to achieve the  
maximum signal-to-noise ratio. As a good rule of thumb, it is  
usually best to first set the [OUTPUT] level control at 12 o’clock  
or 50%. Then, press the [BYPASS] button in and out while  
listening to signal through the unit. Turn the [OUTPUT] level up  
or down so that the output level is roughly the same whether the  
unit is bypassed or compressing.  
About stereo compression  
The Smashup is, in fact, two separate compressor channels joined  
by one set of controls. The detectors of the two channels are  
linked. This means that if the left channel's signal rises above the  
threshold, the right channel's gain will be reduced by the same  
amount as the left channel, and vice versa. This keeps the stereo  
image from wandering from left to right when compressing a  
stereo mix.  
 
26  
Using the Smashup  
3
Description of Controls  
Threshold  
The [THRESHOLD] knob sets the level where compression will  
begin. As long as the input signal level is below the Threshold  
level, the Smashup will do nothing to the signal. Once the input  
signal crosses the Threshold, the Smashup will begin compressing  
(turning down the level).  
Graph of input level  
This shows t h e l e vel of an  
Threshold  
input to the Smashup. The  
dotted line represents the  
[THRESHOLD] level.  
Graph of compression  
This shows t h e S m a s h u p ’ s  
internal gain setting, with the  
solid line meaning “no  
reduction” for most of the  
graph above. (This assumes  
the [ATTACK] and  
0 dB  
[RELEASE] knobs are set  
fast enough to track the input  
this closely).  
Graph of output level  
This is what the output will  
sound like—the third peak in  
the signal has been  
Threshold  
“smashed” from its original  
level.  
 
27  
Using the Smashup  
3
Attack  
The [ATTACK] knob controls the amount of time before  
compression starts. The range of this control is generally in the  
range from 0.1 (full counter-clockwise) to 300 milliseconds; but  
this may vary depending on the [TYPE] setting. [ATTACK] has  
no effect when the [LOOK AHEAD] switch is engaged.  
Pumping and  
Breathing  
When a compressor is  
making large changes to the  
input signal (10 to 12 dB or  
more) the noise floor will also  
rise and fall with the signal  
level. When this noise signal  
rises and falls drastically  
between signals, such as a  
heavily compressed, noisy  
drum track, you might hear  
the noise level “breathing”  
between drum h i t s . O n e  
solution to this breathing  
pr o b l e m i s t o turn up the  
release time. This way, the  
noise floor won’t have time to  
rise between drum hits.  
Long attacks are useful for keeping the initial transients of  
percussive sounds like drums, lead guitar, and bass. Short attacks  
are good for melodic parts like vocals and strings. Experiment  
with different short attack times on snare drums to get more or  
less of the “stick” attack.  
Look Ahead  
When the [LOOK AHEAD] switch is turned on, a very small  
amount of delay (under 3 milliseconds, about the time sound takes  
to travel 3 feet) is introduced in the signal. The detector of the  
compressor looks at the peak levels in this delay, so it can “pre-  
attack” or lower its gain even before the peak arrives for  
processing.  
However, if the Release time  
is too long, lower level  
signals after the peak will be  
lost as the compressor slowly  
stops reducing gain. This is  
called “pumping” as the  
lower level sign a l s ( n o i s e  
included) slowly fade back up  
to their normal signal level.  
The secret to avoiding these  
pr o b l e m s i s to achieve a  
balanced release time on the  
input signal.  
For obvious reasons, when [LOOK AHEAD] is on, the  
[ATTACK] knob has no effect.  
Release  
The [RELEASE] knob controls the amount of time the  
compressor takes to stop compressing after the signal crosses  
under the threshold. The range of this control is very different  
from type to type, but in every case the longest release time is at  
the full clockwise rotation.  
The PUMP mode of the  
Smashup is set up  
Short release times are good for percussive, punchy sounds; longer  
release times can make compression less obvious on vocals.  
Adjusting the release time may be necessary when using extreme  
compression and “pumping” or “breathing” is audible, or if lower-  
level signals are getting lost after peaks.  
intentionally to use pumping  
as a creative tool.  
 
28  
Using the Smashup  
3
Output  
The [OUTPUT] knob controls the level of the Smashup’s output.  
The Output control is useful for making up level that was lost  
during compression, or matching the input level of a mixer or  
recorder. The unity gain setting of the [OUTPUT] knob (the level  
where input level = output level when [THRESHOLD] is set to  
the maximum) is around the “12 o’clock” position.  
Intentional clipping: The  
output drivers of some classic  
analog compressors have  
unique “soft clip”  
characteristics that enhance  
the tone of the signal.  
Certain TYPE settings  
emulate this output  
Set the output low enough to avoid clipping the output (unless  
that’s the sound you’re going for), and high enough so there’s a  
good signal-to-noise ratio.  
overdriving when you  
deliberately raise the  
[OUTPUT] control above  
unity gain. Try it!  
This control is disabled if the [BYPASS] button is pressed. If you  
get approximately the same level when Bypass is on as when it is  
off, that’s generally a good place for the [OUTPUT] knob to sit.  
Sizzle  
This button adds brightness and punch to the signal, avoiding the  
“dull” sound that compression sometimes brings. [SIZZLE] is  
especially good for electric bass and drums. Technically speaking,  
[SIZZLE] does two things: adds a little high frequency EQ on the  
output to brighten things up, and puts a 120 Hz high-pass filter  
before the compressor’s detector so strong bass notes won’t be  
compressed.  
FAT mode and Sizzle  
The FAT mode starts out  
“pre-sizzled”, and pressing  
[SIZZLE] adds even more  
bottom and high end.  
 
29  
Using the Smashup  
3
Type Select Switch  
The up/down [TYPE] rocker switch on the right side of the unit  
selects the type of compression used by the Smashup. The LEDs  
next to the switch light up to indicate the current Type.  
The Smashup contains six different compression styles. Some are  
modeled after the operation of classic analog compressor/limiters,  
and others are totally unique. Each Type has its own unique sound  
and effect on the other controls, though the differences may be  
subtle at first.  
Each Type has its own compression ratio (the amount of gain  
reduction applied when a signal rises above the threshold), hard  
knee/soft knee setting, detector characteristics, attack and release  
curves, and distortion characteristics. These have been carefully  
developed to give you the most useful compressor sounds, without  
having to set eight different controls.  
There’s no way to adequately describe all the characteristics of the  
complex digital compression algorithms developed by Alesis  
engineers, so after you’ve read the following descriptions be sure  
to try each one with several different audio sources:  
Classic  
This is the standard VCA-style compressor sound, as found in  
classic units like the dbx™ 160. The compression ratio is 4:1, but  
it has a very soft knee setting and a slightly nonlinear release.  
Classic mode is great for taking the peaks out of vocals with a fast  
attack, or to get a clean sustain on guitar or bass while still  
preserving some dynamics.  
Opto  
The first compressors regulated the audio level by using an optical  
system. A light got brighter at higher input levels, and this light  
shone on a photoresistor that reduced the output level. The most  
famous of these devices, the Tektronix™ LA-2A, is still a prized  
possession of many studios. Optical compressors have a very  
particular sound to them. Because the lamp filament takes a  
moment to get to full brightness, they naturally have a slower  
attack than other compressors. In OPTO mode, the Smashup  
emulates the sound of these units. In particular, the attack time is  
not as quick as in other types, even at the minimum setting. The  
ratio is 6:1 with a soft knee setting; it is useful for classic vocals  
and drum sounds.  
Transparent  
When you want compression without any side effects, use  
TRANSPARENT mode. In this mode, the compression ratio is a  
more subtle 2:1 with a soft knee, and it emulates a clean, solid-state  
output driver circuit with no coloration. Even at extremely low  
settings of [THRESHOLD], gain isn’t reduced as much as it is in  
other types.  
 
30  
Using the Smashup  
3
De-Ess  
In m a n y standard  
De-essing is commonly used to process voices where the “s”  
compressors, a “detector  
sound and other sibilants are too loud and distracting. By telling  
the compressor to be extra sensitive to a certain range of  
frequencies, the “s” sound can be almost completely removed  
from a voice. The ratio is 8:1 with a soft knee, but because the  
detector is listening most closely to 4.5 kHz, the resulting sound is  
still relatively transparent.  
loop” is included. By placing  
an equalizer in this loop with  
a boost at around 4 kHz, the  
detector will be more  
sensitive to the “s” sounds in  
that range. Note that the tone  
of the signal doesn’t  
change—it will just compress  
the signal when the high  
frequency content rises above  
the threshold.  
Pump  
On the other hand, PUMP is designed to emulate a limiter  
deliberately overdriven to provide creative processing. With a  
100:1 compression ratio and a hard knee, the [THRESHOLD] sets  
a wall that the input signal can’t rise above. The PUMP type has  
some secret ingredients that are especially suited for extreme guitar  
and drum processing. On drums, adjust the [ATTACK] and  
[RELEASE] controls properly, and you’ll make a polyrhythm out  
of the resulting pumping sound. Note that even at full counter-  
clockwise, the [RELEASE] setting is still relatively short; though  
the release times will vary according to the [THRESHOLD] setting  
automatically.  
Fat  
FAT is a close relative of PUMP, but designed for extra bottom  
end. This is another heavy compression type with an infinite ratio,  
but has a softer knee than PUMP. The most important  
characteristic of FAT is that it won’t compress the bottom end as  
much, and adds a little high end EQ for brightness. Pressing  
[SIZZLE] doubles this effect.  
 
31  
Using the Smashup  
3
Bypass  
This button sends the signal directly from the input to the output  
without any compression. Press [BYPASS] to check the sound of  
the source without any effect from the Smashup. When the red  
BYPASS LED is lit, the compressor is off. The Bypass function  
can also be activated by the foot switch.  
Since the Smashup is a digital effect, signal always passes through  
the digital A/D–D/A conversion process, so that digital signal will  
flow through to other effects in a ModLink chain even when  
[BYPASS] is on. So, unlike old analog effects, this is not a  
“hardwire” bypass switch—the Smashup must be powered on to  
pass signal through, even in bypass mode. Similarly, the [TRIM]  
control is always active, since it’s an analog control regulating the  
level feeding the analog-to-digital converters.  
Using the Foot Switch  
If you need to bypass the effect totally but your hands aren’t free,  
simply connect any momentary footswitch (such as those used for  
keyboard sustain pedals, either NC normally closed or NO  
normally open) to the [FOOT SWITCH] jack on the rear panel.  
The footswitch will turn the BYPASS LED on and off.  
 
32  
4 Sample Settings  
While there’s nothing like discovering new sounds for yourself, we  
thought it would be a good idea to provide some sample settings  
of the Smashup to help get you started. Simply set the knobs on  
your Smashup so they’re at the positions shown, and press the  
rocker switches so each effect is in the mode shown by the LEDs.  
Feel free to modify these any way you want to suit your particular  
playing style.  
Threshold and Output settings may need  
changing  
Since we don’t know how loud your instrument is, the settings of  
[THRESHOLD] can only be a starting point. (They’re shown for  
a typical –10 dBV signal with an average crest factor.)  
Classic  
A good all-around setting;  
the slow attack lets a little  
“bite” through on  
instruments.  
De-Ess  
If t h e r e ’ s t o o m u c h s i b i l a n c e  
in a vocal track, try this  
setting.  
 
33  
Sample Settings  
4
Fat  
Try this on any instrument  
that needs a strong low end,  
especially basses and kick  
drums.  
Opto  
This duplicates the sound of  
optical compressors used in  
classic recordings (and  
today). This is equally useful  
on vocals and instruments.  
Pump  
When you want compre s s i o n  
taken to its extreme, try this  
setting It’s comp r e s s i o n a s  
an effect, not a technique.  
 
34  
Sample Settings  
4
Transparent  
This setting will provide  
consistent compression  
without calling attention to  
itself. Note that [ATTACK]  
has no effect, since [LOOK  
AHEAD] is on.  
Blank  
Fill in your own favorite  
settings here. Photocopy the  
next page if you need more  
space.  
 
35  
Sample Settings  
4
Blank Settings Templates  
 
36  
5 Troubleshooting  
Troubleshooting Index  
If you experience problems while operating your Smashup, please  
use the following table to locate possible causes and solutions  
before contacting Alesis Product Support for assistance.  
Symptoms  
No audio outputs.  
Cause  
Solution  
Test with a known good  
input.  
No input audio (SIGNAL  
LED doesn’t flash).  
Bad cables.  
Replace the cables.  
Destination is turned  
down.  
Check the connections  
and the level of the mixer  
or amp that the Smashup  
is connected to.  
Input Trim knob is turned  
down  
Adjust the knob to the  
proper level.  
Input cables are connected  
to a linked unit  
Connect the input cables  
to the Master of the link  
chain  
Power is not connected  
Go take a walk  
[THRESHOLD] or  
[OUTPUT] set low  
Set [THRESHOLD] wide  
open, and [OUTPUT] to  
12 o’clock to start  
ModLinked units are not  
working properly  
Power dropout to one of  
the units in the chain  
Plug in a power supply to  
every unit in a chain.  
Distorted sound  
Input level too high  
(SIGNAL LED on front  
panel flashes red)  
Turn down the source, or  
the Smashup’s TRIM  
control  
[OUTPUT] is set high  
Turn it down, or choose a  
different [TYPE] setting  
(Transparent or De-Ess)  
Buzz or hum from  
outputs  
Audio cables are crossing a  
power cable or a power  
adapter.  
Make sure that the  
Smashup and its audio  
cables are kept away from  
power cables and wall  
warts.  
Don’t wrap cable in tight  
bundles.  
Bad cables  
Problem with the source  
Replace the cables  
Try bypassing the  
Smashup by connecting  
the input cables to the  
output cables and see if  
the problem remains.  
 
37  
Troubleshooting  
5
Symptoms  
AC hum  
Cause  
Ground loop  
Solution  
Place all equipment in the  
studio on a common  
ground (see next page)  
 
38  
Troubleshooting  
5
Avoiding ground loop noise  
In today’s studio, where it seems every piece of equipment has its  
own computer chip inside, 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. While  
there are methods to virtually eliminate ground loops and stray  
radio frequency interference, most of the professional methods are  
expensive and involve installing a separate power source just for  
the sound system. Alternatively, here are some helpful hints that  
professional studio installers use to keep those stray hums and  
buzzes to a minimum.  
KEEP ALL ELECTRONICS OF THE SOUND  
SYSTEM ON THE SAME AC ELECTRICAL  
CIRCUIT.  
Most stray hums and buzzes happen as a result of different parts  
of the sound system being 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. Since  
most electronic devices of a sound system don’t require a lot of  
current (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 AWAYFROM AC  
WIRING AS POSSIBLE.  
Many hums come from audio cabling being too near AC wiring.  
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 in some instances, make sure that the audio wires  
don’t run parallel to any AC wire (they should only cross at right  
angles, if possible).  
TO ELIMINATE HUM IF THE ABOVE HAS FAILED:  
1. Disconnect the power from all outboard devices and  
tape machines except for the Smashup, the mixer and  
control room monitor power amp.  
2. Plug in each tape machine and outboard effects 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.  
3. 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!!  
 
39  
Troubleshooting  
5
4. Keep all cables as short as possible, especially in  
unbalanced circuits.  
If the basic experiments don’t uncover the source of the problem,  
consult your dealer or 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.  
Line conditioners and spike protectors  
Although the Smashup is designed to tolerate typical voltage  
variations, in today’s world the voltage coming from the AC line  
may contain spikes or transients. These can cause audible noises,  
and they can stress your gear and, over time, possibly cause a  
failure. There are three main ways to protect against this, listed in  
ascending order of cost and complexity:  
Line spike/surge protectors. Relatively inexpensive,  
these are designed to protect against strong surges and  
spikes, acting somewhat like fuses in that they need to  
be replaced if they’ve been hit by an extremely strong  
spike.  
Line filters. These generally combine spike/surge  
protection with filters that remove some line noise  
(dimmer hash, transients from other appliances, etc.). A  
good example is the Isobar™ series from Tripp Lite.  
Uninterruptible power supply (UPS). This is the  
most sophisticated option. A UPS provides power even  
if the AC power line fails completely. Intended for  
computer applications, a UPS allows you to complete an  
orderly shutdown of a computer system in the event of a  
power outage. In addition, the isolation it provides  
from the power line minimizes all forms of  
interference—spikes, noise, etc.  
 
40  
Troubleshooting  
5
Care and Maintenance  
Cleaning  
Disconnect the AC cord, then use a damp cloth to clean the  
Smashup’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.  
Refer all servicing to Alesis  
We believe that the Smashup is one of the best signal processors  
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 unless you have training  
and experience. Service on this product should be performed only  
by qualified technicians. NO USER-SERVICEABLE PARTS  
INSIDE.  
 
41  
Troubleshooting  
5
Obtaining repair service  
Before contacting Alesis, check over all your connections, and  
make sure you’ve read the manual.  
Customers in the USA and Canada:  
If the problem persists, contact Alesis and request the Product  
Support department. Make sure you have the unit’s serial number  
with you. Talk the problem over with one of our technicians; if  
necessary, you will be given a return order (RO) number and  
instructions on how to return the unit. All units must be shipped  
prepaid and COD shipments will not be accepted.  
For prompt service, indicate the RO number on the shipping label.  
Units without an RO will not be accepted. If you do not have  
the original packing, ship the unit in a sturdy carton, with shock-  
absorbing materials such as Styrofoam pellets (the kind without  
CFCs, please) or "bubble-pack" surrounding the unit. Shipping  
damage caused by inadequate packing is not covered by the Alesis  
warranty.  
Tape a note to the top of the unit describing the problem, include  
your name and a phone number where Alesis can contact you if  
necessary, as well as instructions on where you want the product  
returned. Alesis will pay for standard one-way shipping back to  
you on any repair covered under the terms of this warranty. Field  
repairs are not authorized during the warranty period, and repair  
attempts by unqualified personnel may invalidate the warranty.  
Customers outside the USA and Canada:  
Contact your local Alesis distributor for any warranty assistance.  
The Alesis Limited Warranty applies only to products sold to users  
in the USA and Canada. Customers outside of the USA and  
Canada are not covered by this Limited Warranty and may or may  
not be covered by an independent distributor warranty in the  
country of sale. Do not return products to the factory unless you  
have been given specific instructions to do so.  
 
42  
Specifications  
Audio Input  
Input Connectors:  
2 unbalanced 1/4” jacks  
All measurements done over  
a 22Hz – 22kHz range with a  
1kHz sine wave at -1dBFS  
input. Impedances are  
Maximum Input Level:  
Nominal Level:  
+10 dBV  
-10 dBV  
measured at 1kHz.  
Input Impedance:  
470k  
Input Converter Resolution:  
24-bit, 48 kHz sampling  
Audio Output  
Output Connectors:  
2 unbalanced 1/4” jacks  
+9 dBV  
Maximum Output Level:  
Output Impedance:  
500Ω  
Output Converter Resolution:  
24-bit, 48 kHz sampling  
Audio Performance  
(Analog In to Analog Out)  
Signal To Noise Ratio:  
THD+N:  
>100 dB A-weighted  
< 0.005%  
Frequency Response:  
Internal DSP Resolution:  
Power Consumption:  
± 1dB from 22Hz to 22kHz  
28-bit  
7 Watts max (9VAC Alesis P3)  
Mechanical  
Size:  
2.1” H x 5.8” W x 3.9” D  
(53mm H x 148mm W x  
98mm D)  
Weight:  
12.6oz. (357 g)  
 
43  
Specifications  
6
This page intentionally left blank.  
 
44  
Index  
amplifier, 20  
mixing console  
hookup, 20  
ModFX, 4, 22  
ModLink, 4, 16, 22  
and Bypass, 32  
Attack, 16, 24, 28  
BYPASS, 16, 32  
with foot switch, 32  
cables, 21  
Classic, 24, 30  
clipping, 29  
noise, 26  
Opto, 30  
compression  
Output, 23  
defined, 23  
knob, 16  
compression ratio, 30  
defined, 24  
knob, 24, 29  
OUTPUTS, 15  
De-Ess, 31  
on ModLink slave units, 22  
power adapter, 17  
Power cable, 7  
digital converters, 32, 43  
digital signal processing, 4  
DSP, 43  
Pump, 31  
Fat, 31  
feedback, 26  
FOOT SWITCH, 16, 32  
Ground Loop, 39  
grounding, 7  
pumping and breathing, 26, 28  
Rack mounting, 17  
Release, 16, 24, 28  
Safety, 7  
SIGNAL LED, 15, 16, 18, 21  
Sizzle, 16, 29  
guitar, 18  
hard knee/soft knee, 30  
Hums and buzzes, 39  
INPUTS, 15  
INPUTS and OUTPUTS,  
16  
Insert Cables, 19  
knee, 24  
levels, 21, 26  
stereo, 18, 19, 26  
Threshold, 16, 23, 24, 27  
transformers, 21  
Transparent, 24, 30  
TRIM, 15, 16, 18  
active in bypass mode, 32  
Type, 16, 24, 25  
Type Select Switch, 30  
XLR, 21  
Look Ahead, 16, 24, 28  
 
45  
Warranty / Contact Alesis  
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 forpartsand fora 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 Smashup  
online at:  
ort/warranty.htm  
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.  
 
46  
Warranty/Contact Information  
Alesis Contact Information  
Alesis Studio Electronics  
Los Angeles, CA USA  
E-mail:  
Website:  
Alesis Smashup Reference Manual  
Revision 1.0 by Dan Tinen  
Copyright 2002, Alesis. All rights reserved  
Reproduction in whole or in part is prohibited.  
Specifications subject to change without notice.  
All trademarks are the property of their respective holders.  
7-51-0121-A  
8/2002  
 
47  

ADTRAN Telephone 604 User Manual
Agri Fab Spreader 45 03881 User Manual
Alesis Music Mixer 6FX User Manual
ALK Technologies GPS Receiver CoPilot Live Smartphone User Manual
AltiGen comm Network Card Advanced Call RouterTM User Manual
American Standard Indoor Furnishings M968663 User Manual
Audiovox Automobile Electronics AS9233ST User Manual
Audiovox Remote Starter APS 787N User Manual
Baldor Portable Generator MN2410 User Manual
BC Speakers Speaker 12 PH 32 User Manual