Alesis MASTERLINK ML-9600 User Manual download pdf (Page 2)

shapes include, linear fade, normal log, and inverse log.

Destructively, the Masterlink will truncate track start

and end points through the track crop feature. To facilitate

this process the Masterlink also provides auditioning tools

such as pre-roll/post-roll previewing and track scrubbing.

As a DSP device, the Masterlink provides a variety of

real-time DSP tools. Utilising some of the DSP power

provided by the on board 48-bit floating point SHARC

chip, the Masterlink provides four processing algorithms

invaluable for that final premaster tweak before burning.

Featuring a compressor, three-band parametric EQ, limiter

nd normaliser, Alesis are aiming to provide end users

with the ‘meat and potato’ premastering DSP tools.

Unfortunately, all signal processing is performed in a pre-

determined series – so you can’t choose to EQ before the

compression stage, for example.

The compressor itself is single-band. Adjustable para-

meters include: threshold, threshold detection (peak,

RMS), ratio, make-up gain, attack (0 to 9.9 seconds),

release (0 to 9.9 seconds), knee (five knee choices from

hard to soft), and some innovative metering options

including ‘In/Gain’ and ‘Out/Gain’ modes. These modes

display a mono level at the input or output of the com-

pressor block on the left channel display, and the level of

gain reduction being applied on the right channel display.

The parametric EQ provides three frequency selective

bands for manipulation. There is ±18dB of cut or boost

(0.25dB steps), with a selectable bandwidth between

20.22Hz to 22.22kHz. Q can be set for extremely narrow

notching applications to very wide subtle colourations. In

fact, if the Q is set to its minimum value, it’s transformed

to either a low or high shelving EQ – rather clever!

Following the compressor and the EQ, the signal

reaches a look-ahead peak limiter. Fundamentally, this is a

type of ‘loudness’ tool that limits track transients while

simultaneously applying auto ‘make-up’ gain as a function

of the threshold level. Basically, its like a level ‘maximiser’.

Adjustable parameters include: threshold (0dBFS to

-65dBFS in 0.5dB increments), output level (digital

ceiling), and a release parameter (0 to 9.9 seconds).

Finally, at the end of the DSP chain is the normaliser.

This real-time normaliser function scans a track for its

loudest peak value and determines the ratio between that

peak and digital full scale. That ratio is then applied to the

rest of the track, increasing its volume, and raising the

loudest peak value of the track to equal full-scale. If you’re

already boosting average level with the limiter, you might

find the normaliser bit of an overkill, no pun intended.

As a standalone CD-R recorder/player, the Masterlink

boasts an 8x read/4x write configuration. Unfortunately,

the third party company who supplied the CD-R device

couldn’t do so in black – it’s a little incongruous to see a

beige tray sliding out of an otherwise black unit. It’s also

interesting to note that the unit doesn’t support any

rewriteable protocols. Furthermore, it’s important to

understand that tracks cannot be burnt directly to CD in

any format without initially being recorded to the internal

hard drive. As a CD-R device, the Masterlink organises its

re-burnt tracks into playlists on its internal hard drive.

The Masterlink supports 16 independent playlists, each

containing up to 99 tracks. Think of a playlist as an inde-

pendent CD project – although 16 full length CDs will

require considerably more than the 3.2GB available. The

playlists are very flexible and can be easily auditioned as

a ‘virtual CD’. A playlist can include songs of different

sample rates and bit resolutions, and are easily modified.

While in Playlist Edit Mode, users can record new tracks,

playback previously recorded tracks, delete tracks, change

track ordering and spacing, adjust volumes, add DSP,

apply fades and or write protect tracks from accidental

erasure. It’s probably pertinent at this point to mention

that the Masterlink makes a distinction between tracks

and audio files. Fundamentally, tracks are ‘pointers’ to

where the audio files reside on the hard drive. In a similar

way in which ‘ghost’ copies and ‘real’ copies in Cubase

and Logic operate, it allows you to audition the same

track with many different DSP and editing configurations

without using additionally hard disk space – cool!

Once the playlists have been created, the Masterlink

provides users with two options for removable audio

archiving. Using a standard CD-R you can either burn to

the red book format (16-bit/44.1k) which will then play

back on any standard CD player. In this situation, the

Masterlink automatically sample rate converts and noise

shapes the higher definition material down to 16-

bit/44.1k. Alternatively, users can utilise Alesis’ propri-

etary CD24 high resolution format for storing 24-bit/96k

material as an AIFF audio file format on an ISO 9660

formatted CD-Rom. Unfortunately, at this present time,

you will require either a Masterlink or an appropriate

computer for playback of the CD24 disks – they will not

play back on a regular CD player.

Finally, without going into too much detail, the Master-

link also provides a few useful utility features. There is the

I was lucky enough to get the latest (v1.22) operating system just prior to the

review. It’s suprising at just how easy Alesis have made the process of

upgrading the machines OS. The new OS is installed via the unit’s CD drive,

therefore its certainly worth having access to another burner for future

upgrades. The process is rudimentary. After a simple download from the net,

burn the OS upgrade software to a CD, place it in the Masterlink, whereupon

the unit recognises that it contains an OS upgrade, asks if you want to install,

hit ‘yes’ and you’re away.

By the time this review hits the street, Alesis will have the v2.0 OS ready to

roll. There are significant new features in v2.0, however, I’ll only outline a

few of the more standout ones. The upgrade includes: a track split feature, a

track join feature, playlist save and restore option to and from discs, audio

file copy, a copy DSP settings function, a track loop mode, some additional

DSP parameter adjustments and finally, the one we have all been waiting for,

‘Move Entire CD to Playlist’ feature – no more track by track copying.

Standard red book CDs will be transferred as a whole and then broken into

tracks according to the CDs table of contents.

V2.0 review

1 2 3

Alesis Masterlink 1
V2.0 review 2

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