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Alesis Midi-Verb 4

B

Bored Op

Hi,

One of my client stations (oldies) just picked up the above mentioned unit and would like to use it for a touch of reverb in the air chain. Has anyone had any luck getting it 'just right'? Thanks in advance.
 
We use one. It is not the greatest box to use for what you want to do. The dry/wet settings are not "fine" enough. Even at 1%, we found that it is still too "wet." The various programs all sound good, though. Of course the harder you drive it, the more 'verb you are going to get.
 
I've only had luck with Eventide's. More expensive, and a good sounding unit.

I would never dream passing my main program audio feed through something bearing the name "Alesis."

I suppose your Alesis is ok on the mic chain only, perhaps.
 
It's a great unit, very versatile. I wouldn't put it 'in line' with my airchain, though. It would be fine if you could sidechain it in, say an aux send/return loop. Perhaps a small mixing console with balanced in/out, inline with your chain (AFTER the processing, and BEFORE the STL) and the effects processor on one of the aux busses. That will keep it clean and give you immaculate control over the amount of reverb you inject into the signal, as well as allowing you to bypass the internal mixing of the MV4. You just run it completely wet and do your injection level on the small console.

It will also allow you to tweak the settings of the reverb program (decay, pre-delay, etc.) OFF the air by monitoring the return channel in your headphones, then when you have it where you want it, you pot up the return fader and presto! your 'verb is on the air. As an added bonus, it would allow you a finer, final level control into your STL, without having to screw around with a bunch of digital menus.

-A
 
Damned time limits....

Here is the last modification... shame I have to do it this way...

A couple of added bonuses:

1) It would allow you a finer, final level control into your STL, without having to screw around with a bunch of digital menus in your processor or STL.

2) It would allow you an injection point for emergency situations (such as a studio console failure). Say you have a small Mackie 1202 (12 channels) Just put a backup mic on channel 1, DAT machine on channel 2, a CD player on channel 3, and your reverb on channel 4... You'd be totally set, with room to spare. Then if you have a studio catastrophe, you have a source or two to feed your transmitter until the problem upstream can be resolved.

-A
 
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