W HY THERES NO INDEX

Indexes are useful in really big books. They are also useful when you already know what you are looking for. Otherwise, though,they are kind of frustrating: It says here that there are references to The Thing I Am Interested In on pages 16, 23, 28-31, 47, 57-62, and 113. But which one of those has the bit Im looking for? We think having a really great Table Of Contents works much better. If you need to find something, go to the ToC and see for yourself its clear, directive headings tell you whats in every section and subsection, making it easy for you to find your way. And since the information is all in context, youll learn that much more about your QS6.1 every time you look.

UNPACKING AND INSPECTION

The shipping carton for your QS6.1 should contain the following items: QS6.1 (with the same serial number as shown on the shipping carton) Sustain pedal AC Power Cable Computer CD-ROM containing software This instruction manual, plus Mix and Program lists and a Quick Start guide Alesis warranty card If you havent filled out your warranty card and mailed it back to us, please take the time to do so. This will help us give you the best support we possibly can.

Table of Contents

CONTENTS
Part 1: SETUP & CONNECTIONS...9 AC Power....9 Audio....10 MIDI....12 Direct Computer Link...14 Pedal and Footswitch Hookup...16 Part 2: OVERVIEW....17 A Quick Tour Of The Front Panel....17 Programs, Mixes, And Banks...22 The Performance Controls....24 PCMCIA Expansion Cards...26 Part 3: FIRST SESSION...Powering Up....27 Playing the Demo Sequences...27 Playing Programs....28 Playing Mixes....29 The Performance Controls, Pt. II...31 Transposing The Keyboard...31 Performance Transposition Chart...32 Part 4: BASIC OPERATION...33 Recap....33 The Double-Button Press Trick...33 Copying Existing Programs And Mixes To A New Location In The User Bank.34 Or To A New Location On A Card Bank...34 Changing The Programs In A Mix...35 Storing Altered Mixes To The User Bank (Or To A Card)..35 Storing Altered Programs To The User Bank (Or To A Card)..35 Changing The Name Of A Program Or Mix..36 Compare Mode...36 Playing Sequences From A Card...37 The Global Settings (And How To Change Them)..38 Part 5: MIDI...The Power of Mix Mode...47 Using an External Sequencer...48 Program Assign for each MIDI Channel..50 Sending and Receiving Bank Select Messages...50 Using the QS6.1 as a Master Keyboard...52 Saving Programs via MIDI Sys Ex...56 Editing Programs via MIDI Sys Ex...57 Part 6: EDITING EFFECTS..59 Basic Info....59 Entering Effects Edit Mode From Program Mode..60 Entering Effects Edit Mode From Mix Mode..60 Navigating In Effects Edit Mode....61 Selecting From Among The Available Effects Patches In A Mix..61 The FX Program Change via MIDI function...62 How The Display Changes When You Alter An Effect..63 Storing Effect Patches In Program Mode...63 Storing Effect Patches in Mix Mode...63 Copying Effects From One Program To Another...64 QS6.1 Reference Manual 5

Setup & Connections: Part 1

PART 1

SETUP & CONNECTIONS

AC POWER

HOOKUP
Your QS6.1 is set to work with the voltage of the country it was shipped to (either 110 or 220V, 50 or 60 Hz) and comes equipped with the appropriate power cable. Hooking that cable up is simple. Make sure your QS6.1 is turned off. Plug the female (jack) end of the power cable into the QS6.1s power socket. Plug the male (plug) end into a source of AC power. Its good practice not to turn the QS6.1 on until all other cables are hooked up.
The IEC-spec power cable included with your QS6.1 is designed to connect to an outlet with three holes, the third of which the round one is the ground connection. This connection is an important safety feature: it keeps the QS6.1s chassis at ground potential, preventing accidental shocks. Unfortunately, not all three-hole sockets are properly grounded. We recommend that you use an AC line tester to check the ground connection on any socket you may use, just to be on the safe side. If you find an ungrounded outlet, consult with a licensed electrician about getting the problem fixed.
Avoid using ungrounded outlets. Plugging the QS6.1 into an ungrounded outlet can be hazardous. The same goes for lifting the unit off ground by using a three-totwo plug adapter. Dont do it! Alesis cannot be responsible for any problems that might be caused by using the QS6.1 with improper AC wiring.
LINE CONDITIONERS AND PROTECTORS
The power coming through some AC lines contains voltage surges, spikes, or transients that can stress your gear, causing failure or malfunctions. Although the QS6.1 is designed to tolerate typical voltage variations, it isnt invulnerable. So if the power in your area is particularly bad (or if you are out playing live gigs) you will probably want to take precautions. You have three basic options: Line spike/surge protectors. These relatively inexpensive devices are designed to protect against strong surges and spikes. They act somewhat like fuses and will have to be either replaced or reset (depending on the unit) if theyve been hit by an extremely strong spike.

Here are four typical MIDI setups for your QS6.1, and the appropriate cable connections for each of them: As Slave. To play your QS6.1 from any other MIDI device (keyboard, drum pad, guitar or bass controller, sequencer, etc.), just run a standard 5-pin MIDI cable from the control devices MIDI OUT to the QS6.1s [MIDI IN] jack.
Setup & Connections: Part 1
As Controller. To play other MIDI devices from your QS6.1, run a MIDI cable from the QS6.1s [MIDI OUT] jack to the MIDI IN of the device you want to control.
As a Link in a daisy chain. If you are using the QS6.1 in the middle of the MIDI chain (example: as the second unit of a three device chain), youll need two MIDI cables. Attach one from the MIDI OUT of the chains first device to the [MIDI IN] jack of the QS6.1; and then attach the other from the QS6.1s [MIDI THRU] jack to the MIDI IN of the chains third device.
As part of a computer-based MIDI Network. If you are using a computer for sequencing and/or programming, youll want to be able to play data into your computer from your QS6.1, and receive data back as well. This will take two MIDI cables. Attach one from the MIDI OUT of the computers MIDI interface to the [MIDI IN] jack of the QS6.1; and then attach the other from the QS6.1s [MIDI OUT] jack to the interfaces MIDI IN.

DIRECT C OMPUTER LINK

The QS6.1 can communicate directly with Mac or PC computers via its [SERIAL PORT] connector. Using this connection eliminates the need for a MIDI cables and a separate MIDI interface.
Heres how it works: 1) Run a single serial cable from your computers serial port to the [SERIAL PORT] connector on your QS6.1. 2) Set the rear panel [ PC / MAC ] switch to either PC or MAC, depending on what kind of computer you are using. 3) Set your QS6.1 to listen to data over this direct serial connection, instead of MIDI. To do this, press [EDIT SELECT] to begin editing; then press [BANK ] to access Global Edit Mode; then press [ PAGE] until the lower line of the LCD reads I/O. (If you overshoot, just press the [PAGE ] button to get back.) Once there, use the [VALUE] buttons to change the setting from MIDI to whatever best matches your computer. There are three options: PC 38.4Kbd. Use this setting if your computer is a PC and its serial port runs at 38.4 kilobaud. PC 31.25Kbd. Use this setting if your computer is a PC and its serial port runs at 31.25 kilobaud. MAC 1MHz. Use this setting if your computer is a Macintosh.

PLAYING THE DEMO S EQUENCES
The QS6.1 has five built-in sequences designed to demonstrate its rich variety of sounds and signal-processing effects. To hear these at their best, make sure to run your QS6.1 in stereo (or else listen on headphones). Please note: Your QS6.1 doesnt send out MIDI messages during demo playback. In addition, the keyboard is disabled. You can listen to the demos, but you cant play along with them. To play all five sequences in order, hold down the [MIX] button and press [0]. When all five have played, your QS6.1 will exit DEMO mode on its own. To stop the demos at any point during playback, press [MIX] again. To play a specific demo, hold down [MIX] and press any of the five number buttons from [0] through [4]. After a brief pause playback will start with the demo youve selected, then continue through the remaining demos until done.
Note: After any of the demos stop playing, the QS6.1 will automatically return itself to Program Mode. The next time you enter Mix Mode you will probably see the name of the demo which was last played. This is because the Mix which was used for the demo sequence remained in the Mix Mode edit buffers, which is normal. To clear this, call up another Mix.

Part 3: First Session

PLAYING PROGRAMS
The mode in which your QS6.1 plays Programs is called, logically enough, Program Mode. To enter it at any time, just press the [PROGRAM] button on the front panel. Once there, all you have to do is play. To explore different Programs in the current Bank, use the [SELECTION] and [VALUE] buttons. Experiment with them until you have a feel for how they work. Remember that the [VALUE] buttons move through the available Programs one at a time, while the [SELECTION] buttons enable you to jump around at will to get Program 27 you would push [20] and then [7], to get Program 99 you would press [90] and then [9], and so forth. Please note: In MIDI there are no Program numbers above 127, so pressing [8 ] or [9 ] after pressing [120 ] wont do anything; and pressing [120] from any Program number ending in 8 or 9 will wall out your Program choice at Program #127. To explore Programs in a different Bank, use the [BANK] buttons. You can also get to a new Bank by using the [VALUE] buttons to scroll from the end of one Bank to the beginning of another, or vice-versa. (This means that if you are at Program 127 in the Preset1 Bank, and press [v VALUE], you will jump to Program 00 in the Preset 2 Bank.) The number, name, and Bank of the current Program will be visible in the LCD display, which should look something like this:
The big numerals on the left show you the number of the current Program. The upper line spells out the current Programs name. The middle line identifies the current Bank. The PROG beneath the Program Number shows you are in Program Mode. The small number underneath the Bank listing shows the current MIDI channel. It is also a MIDI activity indicator, flashing a small circle whenever MIDI data is sent or received over this channel. (To see this for yourself, hit any key.)

MIDI: Part 5

PART 5

WHAT WE LL COVER HERE.

Sequencing with the QS6.1 via MIDI or the serial port. Using the QS6.1 as a master MIDI keyboard for a live rig, along with a little more info about controlling external MIDI devices from a Card sequence. Sys-ex transfers. How to go about transferring single Programs, Mixes or an entire User bank via Sys-ex to a computer or another QS series synth.

AND WHAT WE WON T

(BUT WHERE YOU CAN FIND IT ).
How to create a Mix. We will go over selecting Programs within a Mix (the very top level of Mix editing), but for information on things like setting levels or selecting the Effects Patch within the Mix, see Part 7: Editing Mixes. Our main focus here will be on interfacing the QS6.1 with the outside world. General MIDI (GM) will only receive a brief amount of coverage here, because its covered pretty well in the discussion about Global Edit Modes page 7 (Part 4: Basic Operation). Theres even more in-depth coverage of it in Part 10: Appendices (Appendix B: MIDI Supplement). Basic MIDI concepts. If youre a novice to the world of MIDI, you should make it a point to read the MIDI Supplement in Appendix B soon. Itll help things make a lot more sense a lot sooner if you want to get a good handle on MIDI sequencing.

THE POWER OF MIX MODE

In Program Mode, the QS6.1 sends and receives MIDI information on only one MIDI channel at a time. In Mix Mode, however, the QS6.1 can send and receive on as many as 16 MIDI channels at once, each with its own keyboard range and a whole lot of other parameters you can customize. Mix Mode allows a single QS6.1 to play back full song arrangements at one time, with full control over the levels and stereo placement of the various Programs, complete with the Effects necessary to make the music shine. But we also said it cansend (and how!). A QS6.1 in Mix Mode gives you the potential to control a whole lot of other MIDI devices at one time. When the next song calls for you to layer strings from that box with the brass from this box along with a couple of internal Programs, mixed just so, while calling up the DMPro kit for the drummer, setting the Q20 Reverb patch for the singer, and changing the setup on your lighting controller, selecting a single Mix on the QS6.1 can do all of that. Itll set up your whole rig instantly, right before the next song is to begin (even if your band changes its collective mind at the last second and starts a tune that wasnt on the song list!). Well dig into the MIDI controller aspects of the QS6.1 later in this chapter. For now, lets start talking about

PROGRAM ASSIGN FOR EACH MIDI C HANNEL
Assign Programs to the 16 channels of the Mix by using the [ PAGE] and [ PAGE ] buttons to select a channel (the silkscreening also identifies those as the [MIX CHANNEL PROGRAM SELECT] buttons). Then use the [0] [ 9] and [ 00] [ 120] buttons to select a Program for that channel. If desired, you can use the [ BANK] and [ BANK ] buttons to select a Program from any of the internal or card banks.
SENDING AND R ECEIVING BANK SELECT MESSAGES
The QS6.1 will send and respond to MIDI Bank Select messages in the form of MIDI Controller 0. The value of Controller 0 determines which bank is to be recalled (User, Preset 13, GenMIDI, CardA, Card B). A total of 11 banks are accessible between the cards. The way the QS6.1 handles Bank Select messages depends on the MIDI Program Select mode (Global Edit Mode, page 14):

MIDI PrgSl: OFF

The QS6.1 will neither transmit nor receive Bank Select messages or Program change commands with this setting.

MIDI PrgSl: ON

Reception: Program Mode. If a Bank Select (controller 0) message with a value of 0 is received, it will cause the User Bank to be recalled. If a Bank Select message of 1 is received, Preset Bank 1 will be recalled. Additionally, if a Sound Card is inserted, the Card Banks can be selected using Controller 0 values between 5 and 15. Values higher than 15 are wrapped around and will start through the Banks order again. This means that a Controller 0 message with a value of 16 or 32 will recall the User Bank, while a value of 17 or 33 will call up Preset Bank 1. Reception: Mix Mode. Same as above, except the Mix itself will not change Banks. The word EDITED will appear in Mix Play mode screen, because the Mix has been altered to point to another bank on one of its MIDI channels. But you have to look inside the Mix to see that the Bank change occurred. Transmission: Program Mode. If a new Bank is selected using the [BANK] buttons, a Bank Change message will be transmitted. See Reception: Program Mode for a description of which values will be sent for each Bank as it is selected. Transmission: Mix Mode. If a new Bank is selected and any of the channels within the Mix have their MIDI Out parameters set to ON (Mix Edit Mode, Keyboard/MIDI function, Page 2), a Bank Select message (followed by a Program change) will be transmitted for each of those MIDI channels. In Mix Program Select Mode (where you choose the Programs within the Mix), any channel which has its MIDI Out set to ON will transmit Bank and Program changes from within the Mix, just like in Program Mode.

MIDI MixSl: CH 1-16

Reception: Program Mode. Same as with MIDI PrgSl: ON (see above). Reception: Mix Mode. In this mode, when a Bank select message is received on the channel specified by this parameter, the Mix itself will change Banks. Any Program change command on this same channel will call up an entire Mix as if it were a Program. All other channels within the Mix will behave the same way they do when MIDI PrgSl: ON is selected (i.e., they receive Bank and Program changes normally). Transmission: Program Mode. Same as with MIDI PrgSl: ON (see above). Transmission: Mix Mode. If a new Bank is selected, the Bank number of the Mix itself will be transmitted on the channel specified by this parameter. Selection of another Mix in the same bank will send a Program change command which matches the Mix number. In Mix Program Select Mode (where you choose the Programs within the Mix), changing the Bank of any Program within the Mix will not send a Bank Select command. Selecting a new Program within the Mix will not send a Program change command. Note: Bank change messages will be ignored if General MIDI Mode is enabled, so that only Programs within the General MIDI Bank (GenMIDI) can be recalled via MIDI Program changes. The MIDI Program Select parameter will automatically be set to MIDI Prg: ON.

MONO CHORUS The Chorus effect is achieved by taking part of the signal and slightly delaying it, then slightly detuning it as well. This detuning is variable, not steady, because it is being modulated by an LFO (Low Frequency Oscillator). There are many possible adjustments in this algorithm. Some of the more interesting and useful ones include varying the LFO depth, varying the LFO speed, feeding a portion of the detuned signal back into its own input (thus increasing the effect), and changing the LFO waveform from a smooth triangle wave to a more abrupt square wave (causing the detuning to become more pronounced).

DELAY DRY SIGNAL

DETUNE CHORUSED OUTPUT

FEEDBACK DRY SIGNAL

STEREO CHORUS In a Stereo Chorus, the signal is split into three parts: a dry signal and separate left and right detunings. Whenever the left channel is detuned sharp, the right channel is automatically detuned flat, and vice versa. This causes the effect to become more pronounced and dramatic while keeping it in tune to the ear.

DRY SIGNAL FEEDBACK

LEFT CHORUSED OUTPUT

DETUNE

DRY SIGNAL
DETUNE RIGHT CHORUSED OUTPUT
MONO FLANGE First used in the 1960s, flanging was achieved by using two tape recorders to record and play back the same material at the same time. By alternately slowing down one tape machine, and then the other, an interesting phase cancellation could be generated. There is a much-repeated legend that this slowing down was done by pressing fingertips againsts the flanges of the tape supply reels, hence the effects name. But nobody actually knows for sure. Flanging is achieved by splitting a signal and giving one part of it a variable timedelay. (This is similar to Chorusing, except here we use the LFO to modulate delay time instead of pitch.) The delayed signal is then mixed back with the original sound to produce that well-known swooshing or doppler tunnel sound.
DELAY DRY SIGNAL FLANGED OUTPUT
As with Chorusing, the Flanging algorithm offers great things to play with. The speed and depth of the LFO can be varied, and part of the signal can be fed back into itself to make the effect stronger. This feedback setting can be either Normal or Inverted. Try using Inverted for a more dramatic flange.

The following three parameters only appear if the Pitch type is set to Pitch Detune or Resonator, respectively.
Range of Settings: -99 to +99 Page 2 (Pitch Detune only)
If the Pitch type is Pitch Detune, page 2 will have only this parameter. This adjusts the tuning of the Pitch Detune effect. This can be set between -99 and +99, in 1 cent increments.

RESONATOR TUNING

Range of Settings: 00 to 60 Page 2 (Resonator only)
If the Pitch type is Resonator, page 2 of the Pitch function will let you adjust the Resonator tuning. This can be tuned from 00 to 60. Note: This parameter shows up on Page 1 for Send 3 of Configuration #3, and Page 4 for Send 1 of Configuration #5.

RESONATOR DECAY

Range of Settings: 00 to 99 Page 3 (Resonator only)
If the Pitch type is Resonator, page 3 will let you adjust the Resonator Decay. This can be set 00 to 99, whereby 00 is a very fast decay and 99 is a very slow decay. Note: This parameter shows up on Page 2 for Send 3 of Configuration #3, and Page 5 for Send 1 of Configuration #5.
Range of Settings: Sends Page 2 (Config. 5 only)
This parameter selects the second input to the Resonator in Configuration #5. If you look closely at the Configuration diagram, youll see that Input 1 is hardwired to the Overdrive. The balance between the two Inputs is set by the Input Balance parameter (see below).
Range of Settings: OVR<99 to <0> to 99>IN2 Page 3
Take a deep breath! This shows up in the display as ->Pch: OVR <0> IN2. That seems cryptic, so lets work through it from left to right. The right-pointing arrow (->) stands for The Input To. (we can only cram so many characters in the display, so we had to get creative with this one). Pch stands for the Pitch Effect, which is what type of effect the Resonator is. Everything to the right of the colon (:) is a value. So the screen thus far would read, The Input To the Pitch Effect has a value of. The rest is easy: When set to <99 , only the Overdrive is being routed to the Resonator. When set to 99>, all that goes through is Input 2. When set deadcenter to <0>, an even mix of both signals is passed on. Now, that wasnt so bad, was it?

(Config. 5 only)

[90] D ELAY
The Delay function is used to edit Delay parameters. The QS6.1s effects processor has three different Delay types available. Note: Some Configurations only have a mono Delay on some Sends, and when this is the case the Delay Type parameter will be unavailable. Instead, the parameters normally found on page 2 of the Delay function are shown in page 1, and the other pages also drop by one number (please refer to next section for a description of those parameters). The exceptions to this are the Mono Delays on Send 4 of Configurations 1 and 3, and the Mono Delay on Send 1 of Configuration #2. These Delays have no Input Balance parameter (they dont need them), so all of their parameters are offset by 2 instead of by 1 (Delay Time is found on pages 1 and 2, instead of pages 3 and 4. Feedback is found on page 3, not page 5).

This determines whether the selected channel will respond to incoming MIDI messages.

MIDI Output (On or Off)

This determines whether or not the selected channel will transmit MIDI messages.

Keyboard (On or Off)

This determines whether or not the selected channel will be playable from the keyboardof the QS6.1 itself. These three parameters interact to turn your QS6.1 into a powerful MIDI controller. Weve already mentioned that it can transmit on 16 MIDI channels simultaneously from different zones of the keyboard (which can overlap, if you want). But theres more. A lot more. For example: You can send volume, panning, and transposition information to an external MIDI sound source if you set both MIDI Input and Keyboard to OFF for that channel. If this sounds like something you would like to learn more about, why not spend some time going through Part 5: MIDI? We've got the information laid out for you there.

CONTROLLERS

The Controllers function (press [100]) lets you turn on and off the various MIDI controllers that can affect the selected MIDI channel. The following four parameters determine whether or not specific types of MIDI information will be received or transmitted, and are set separately for each Channel in the Mix. These, however, are dependent on how each Channel has its KEYBOARD/MIDI parameters set (see the previous section).
Pitch-bend and Modulation Wheels (On or Off)
This determines whether or not the selected channel will transmit and receive pitch-bend and modulation (controller 1) MIDI information.

Aftertouch (On or Off)

This determines whether or not the selected channel will transmit and receive aftertouch MIDI information.
Sustain Pedal (On or Off)
This determines whether or not the selected channel will transmit and receive sustain pedal (controller 64) MIDI information.

Controllers (On or Off)

This determines whether or not the selected channel will allow Controllers AD and Pedals 1 & 2 to transmit and receive MIDI controller information (reception only for Pedal 2, since theres no Pedal 2 input on the QS6.1). You can assign which MIDI controller numbers they are linked to in Global Edit Mode, Pages 8 through 13. See Part 4 BASIC OPERATION for more information.

SETTING

The Range function (press [110]) allows you to specify the number of keys to which each MIDI channel will respond. This is ideal for creating splits (e.g., bass on the lower keys, piano in the middle, and strings in the upper octave).

Specifies the highest note of the Sounds keyboard range. You can set the high limit when you're on this page by holding [80] and tapping a key on the keyboard.
the middle TIP: By setting the lower limit above the high limit, you can create a hole inthe bottom of effect. This makes the Sound appear to have two zones. All notes from the keyboard to the high limit note will play, and all notes from the lower limit note to the top of the keyboard will play, but the notes between the high limit and the lower limit will not play. This can be further enhanced in Mix Mode by using the Range function in Mix Edit Mode to cap-off the low and high limits.

Sound Overlap (00 to 99)

This determines how many voices can overlap on the same pitch. Example: If you hold the sustain pedal down and play the same note over and over, Sound Overlap determines how many voices are available for that note, and thus how many voices will overlap (play simultaneously). In the old days, different brands of synthesizers offered different voice allocation schemes. One brand used a method called rotate mode in which each time a note was struck, a new voice was used. Another brand used a different method called reassign mode whereby if a note is played and then played again, the same voice is used both times. In other words, a new voice is used each time a new note of a different pitch is played. The Sound Overlap value lets you choose a comfortable setting between rotate mode and reassign mode. When the value equals 99, you are always in rotate mode, using up polyphony; if the value is 00, you are always in reassign mode, conserving voices. Set the value anywhere between 00 and 99 and you will get a combination of both, with partiality toward whichever mode the value is closest to. A piano sound requires some Sound Overlap, but not a lot; it isnt natural to hear too many voices on the same note. On the other hand, having only one voice per pitch isnt natural either; lets say you played a loud note with the sustain pedal held, followed by a soft note--the second note would abruptly cut off the first. On a real piano, the string would still be resonating from the first (loud) note when the second (soft) note was played; thus the two notes would overlap.
It is important to note that Sound Overlap can have a negative effect on polyphony. If you have Sound Overlap set to 99, hold the sustain pedal and play a series of notes, you will run through all 64 voices in no time. By adjusting the Sound Overlap to a lower value, you decrease the number of voices used by each new note, and thereby ensure there are voices available to play other sounds, if necessary.

Delay (00 to 99)

This is the amount of time that the envelope will wait before doing anything; very useful if you want to affect one element of a sound sometime after the sound starts. When the Delay is set to 0, the envelope begins its attack segment right away, without any delay. Play some notes while turning up the delay and see that the time between playing the note and hearing the effect of the Filter Envelope gets progressively longer as the Delay control is turned up. If the Delay is set above 99, the display will read Hold. This indicates that the Delay stage of the envelope will wait indefinitely until the key is released before continuing on to the remaining envelope stages (Attack, Decay, etc.). With a value of Hold, the Pitch Envelopes Trigger parameter is automatically set to Freerun in the software (see below). However, the displayed value of that parameter is not changed; only its behavior is.
This is the amount of time that the envelope will take during the sustain stage to bring the level down to 0. If this is set to 99, the envelope will remain at the Sustain level until the note is released. This is the normal setting for organ-type sounds. When set to 0, the envelopes level will immediately jump down to 0 upon reaching the sustain stage.
The Trigger mode determines how the envelope will function. You may select either Freerun or Reset, or both (Reset-Freerun) or neither (Normal). When set to Normal, the envelope will always start at its current level (i.e., if another note had been played which triggered the envelopes cycle, playing another note in the middle would not interrupt the cycle). Also in Normal mode, the envelope will immediately advance to its release stage upon releasing the note. When set to Freerun, the envelope will complete its entire cycle, even if the note is released in the middle. When set to Reset, the envelope starts at the beginning whenever a new note is played. When set to Reset-Freerun, the envelope will start at the beginning whenever a new note is played and will complete its entire cycle, even if the note is released in the middle. If a Sound layers Keyboard Mode parameter (found in the Pitch Function, Page 10) is set to Mono, the Filter Envelope will only retrigger when playing legato if the Trigger Mode is set to either Reset or Reset-Freerun. most natural-sounding Pedal reaction, TIP: To get theTrigger Mode is usuallySustainthe FREERUN orthe best setting for the Filter Envelope either the RESET-FREERUN mode. This allows the Filter to keep following its envelope shape even after the keys are lifted up.

USING PCMCIA EXPANSION CARDS
The QS6.1 provides two PCMCIA EXPANSION CARD slots, [ A] and [ B], which are found on the rear panel. These accommodate Alesis QCards and RAM cards. The RAM Card is a type of PCMCIA SRAM or FlashRAM card. We currently offer one which has 512K of memory and will store 8 complete banks. Larger Flash RAM cards can store up to 8MB of sample data using Alesis Sound Bridge software. Each PCMCIA Expansion Card slot can house a card with up to 8 Mb of RAM, for a total of 16 additional megabytes of sound storage. The QCards are ROM cards, which stands for Read-Only Memory. This means that you cant store (Write) to them. So the kind of card you need to use for that sort of operation is an SRAM or Flash RAM card. Note: The cards must be Type 1 PC cards (PCMCIA), and must be either AMD-C series or -D series FLASH cards (or fully compatible). Any SRAM card should work. Many different card sizes from 256K to 8 Megabytes are supported; just make sure they are 5-volt read/write only, and have an access time of 150 nanoseconds or faster.
SAVING THE USER B ANK TO A PCMCIA C ARD
The entire contents of the QS6.1s User memory (100 Mixes and 128 Programs) can be stored to an Alesis PCMCIA RAM card inserted into card slot [A] on the QS6.1. Depending on the amount of RAM a particular card has, up to 8 complete banks can be stored onto it.
Insert a card into Sound Card slot A on the back of the QS6.1. Alesis recommends
that you use card slot A for all RAM card storage operations.
Press [STORE]. Press [ PAGE] three times.
This selects the SAVE TO CARD option. The display will look like this:
Use the [ CONTROLLER D] slider or the [VALUE] buttons to select a bank
location on the card to store to (A14, etc.). If the card contains a ROM bank, it will show as Bank 1 and you will be unable to store to it.
Press [STORE ] to transfer the user bank data from the QS6.1 onto the card.
If the display reads CARD A IS WRITE PROTECTED., switch the writeprotect switch on the card to off and repeat the procedure.

OBTAINING REPAIR SERVICE

Before contacting Alesis, please double-check all your audio and MIDI connections, and make sure youve read the manual. U.S. Customers: If the problem persists, call Alesis USA at 1-800-525-3747 (1-800-5ALESIS) and request the Product Support department. Or you can e-mail Product Support at Support@alesis1.usa.com. Discuss the problem with one of our technicians; if necessary, you will be given a repair 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. If you do not have the original packing materials, ship the QS6.1 in a sturdy carton, with shockabsorbing materials surrounding the unit. Bubble-pack works well, as will any styrofoam pellets that dont contain CFCs. PROPER PACKAGING IS IMPORTANT: Shipping damage caused by inadequate packing is not covered by the Alesis warranty. Before sealing the box, tape a note containing the following items to the top of the defective unit: A description of the problem. Your name. Your phone number (and e-mail, if you have it). The address where you want the product returned. (Alesis will pay for standard one-way return shipping on any warranty repairs. Next day service is available for a surcharge.)
Field repairs are not normally authorized during the warranty period, and repair attempts by unqualified personnel may invalidate the warranty. Service address for customers in the USA: Alesis Service Department 12520 Wilkie Ave. Hawthorne, CA 90250
Customers outside the USA: Contact your local Alesis dealer for 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.
Appendix B MIDI Supplement

APPENDIX B

MIDI SUPPLEMENT

MIDI B ASICS

Most current electronic instruments and signal processors, including the QS6.1, contain an internal computer. Computers and music have been working together for decades, which is not surprising considering musics mathematical basis (consider frequencies, harmonics, vibrato rates, tunings, etc.). In the mid-70s, microcomputers became inexpensive enough to be built into consumer-priced musical instruments. They were used for everything from sound generation to storing parameters in memory for later recall. In 1983, the MIDI (Musical Instrument Digital Interface) specification was introduced to better exploit the computers inside these new musical instruments, primarily to ensure compatibility of equipment between manufacturers. MIDI expresses musical events (notes played, vibrato, dynamics, tempo, etc.) as a common language consisting of standardized digital data. This data can be understood by MIDIcompatible computers and computer-based musical instruments. Before electronics, music was expressed exclusively as written symbols. By translating musical parameters into digital data, MIDI can express not only the types of musical events written into sheet music, but other parameters as well (such as amount of pitch bend or degree of vibrato).

ALESIS QS6

Reference Manual

Introduction
Thank you for purchasing the Alesis QSVoice Expandable Synthesizer. To take full advantage of the QS6s functions, and to enjoy long and trouble-free use, please read this users manual carefully.

How To Use This Manual

This manual is divided into the following sections describing the various modes of the QS6. To get the most out of your QS6, read the entire manual once, then use the table of contents and index to reference specific functions while using the instrument. Chapter 1: Setting Up. Deals with the necessary preparation before playing, including connections to external devices. Chapter 2: Your First Session with the QS6. This section provides a brief tour of the QS6, shows you how to audition the various sounds of the QS6, and points out the various performance features. Chapter 3: Connections. Details rear panel connections (like MIDI, footpedals and the serial interface), proper hook-up procedures, plus application examples. Chapter 4: Overview. Covers the structure of sound sources within the QS6, how to read and navigate through the LCD display pages, how to edit parameters, and how to store edited Programs and Mixes. Chapter 5: Editing Mixes. Explains how to create and edit Mixes. Chapter 6: Editing Programs. How to create and edit Programs. Chapter 7: Editing Effects. How to create and edit Effects Patches. Chapter 8: Global Settings. Describes all global functions, such as Master Tuning, Keyboard Mode, Keyboard Scaling, and Program Change Mode. Chapter 9: MIDI Transfer and Storage Operations. Discusses MIDI functions and how to store sounds either to a MIDI device or to a RAM card. Appendices. MIDI basics, trouble-shooting, maintenance and service information, MIDI Implementation Chart and an Index.

Conventions

The buttons, knobs, and rear panel connectors and switches are referred to in this manual just as their names appear on the QS6, using all capital letters and in brackets ( Example: [PROGRAM] button, [ PAGE] and [PAGE ] buttons, [CONTROLLER A] slider, etc.).
When something important appears in the manual, an icon (like the one on the left) will appear in the left margin. This symbol indicates that this information is vital when operating the QS6.
Mac and Macintosh are registered trademarks of Apple Corporation.

QS6 Reference Manual

Table of Contents

CONTENTS

1: SETTING UP.... 7
Unpacking and Inspection.... 7 AC Power.... 7 Line Conditioners and Protectors... 7 About Audio Cables... 8 Basic Audio Hookup... 9
2: YOUR F IRST SESSION WITH THE QS6... 11
Powering Up.... 11 Playing the Demo Sequences... 11 Whats a Program?.... 12 Whats a Mix?.... 12 Whats a Bank?.... 12 About Sound Groups.... 13 Playing the QS6.... 13 Program Mode and Mix Mode... 13 Auditioning Internal Programs... 14 Selecting Program Banks....14 Selecting the MIDI Channel... 15 Realtime Performance Functions... 15 The Controller A Slider... 16 Auditioning Mix Play Mode... 17 Selecting Mix Banks... 17 Choosing Programs in a Mix.... 18 Storing an Edited Mix... 19 Enabling General MIDI Mode.... 19 Using the Sound Card Slot... 20 A Word About Sound Bridge... 20

3: CONNECTIONS... 21

Basic MIDI Hookup.... 21 Thru Mode..... 21 Example 1: Master Controller for Live Use... 22 Example 2: Using an External Sequencer... 23 About the Keyboard Mode... 23 Example 3: Using a Computer.... 24 Pedal and Footswitch Hookup.... 24

4: O VERVIEW.... 25

Basic Architecture.... 25 QS6 Polyphony.... 25 Modes.... 26 Program Play Mode...26 Mix Play Mode... 26 Program Edit Mode...26 Mix Edit Mode....27 Effects Edit Mode.... 27 Global Edit Mode.... 27 Store Mode... 27 Compare Mode.... 27 The User Interface: Display, Functions, Pages, and Parameters.. 28 About the Display.... 28 Page Buttons.... 30 Editing Values.... 30 Resetting a Parameter Value... 30
Parameter Editing Overview... 30 Selecting Functions and Parameters... 30 Comparing Edited and Stored Versions...32 Preset Memory and User Memory... 32 Storing.... 33 Store a Program or Mix... 33 Copying Sounds Between Programs... 34 Copying Effects Between Programs...34 To Audition Programs Before Storing... 36

5: EDITING MIXES.... 39

What is a Mix?.... 39 Program Assign for each MIDI Channel...39 Mix Edit Mode.... 39 Understanding the Edit Buffers... 40 Level Setting for Each Program... 41 Pitch....42 Effect.... 42 Keyboard/MIDI.... 42 Controllers..... 43 Transmitting MIDI Volume and Panning.. 43 Setting the Range and MIDI Switches... 44 Naming a Mix..... 44 Polyphony in Mix Play Mode... 45 Using the QS6 as a Master Keyboard... 45 Setting the MIDI Out Channels for a Mix in Global Mode... 45

APPENDIX A: TROUBLE-S HOOTING... 123
Trouble-Shooting Index... 123 Re-initializing.... 123 Checking Software Version.... 123
Maintenance/Service.... 124 Cleaning... 124 Maintenance.... 124 Obtaining Repair Service....124
APPENDIX B: MIDI SUPPLEMENT.. 127
MIDI Basics.... 127 MIDI Hardware.... 127 MIDI Message Basics....128 Channel Messages: Mode Messages... 128 Channel Messages: Voice Messages... 128 System Common Messages.... 130 General MIDI....130 MIDI Implementation Chart.... 132
APPENDIX C: PARAMETERS INDEX... 133
Program Edit Parameters.... 133 Mix Edit Parameters... 135

INDEX.... 137

Setting Up: Chapter 1

CHAPTER 1

SETTING UP

UNPACKING AND INSPECTION

Your QS6 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 QS6 for servicing. The shipping carton should contain the following items: QS6 with the same serial number as shown on shipping carton Sustain pedal AC Power Supply Adapter Computer CD-ROM containing software This instruction manual, plus lists of Mixes and Programs, and Quick Start guide Alesis warranty card
It is important to register your purchase; if you have not already filled out your warranty card and mailed it back to Alesis, please take the time to do so now.

AC POWER H OOKUP

The QS6 comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60 Hz). With the QS6 off, plug the small end of the power adapter cord into the QS6s [AC] socket and the male (plug) end into a source of AC power. Its good practice to not turn the QS6 on until all other cables are hooked up.
Alesis cannot be responsible for problems caused by using the QS6 or any associated equipment with improper AC wiring.
LINE CONDITIONERS AND PROTECTORS
Although the QS6 is designed to tolerate typical voltage variations, in todays world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and, over time, 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 theyve 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.). 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, and the isolation it provides from the power line minimizes all forms of interferencespikes, noise, etc.

EXAMPLE 3: USING A C OMPUTER
The QS6 can communicate directly with a computer via its [SERIAL PORT] connector. This eliminates both the need for an additional computer-MIDI interface, as well as the need to connect MIDI cables to it. The [SERIAL PORT] can be set to one of two modes, depending on the computer you are using. The mode is selected using the switch directly next to the [SERIAL PORT] connector. If using a Macintosh computer, set the switch to MAC. If using an IBM PC or compatible computer, set the switch to PC.

SERIAL PORT

Connect one end of a DIN-8 cable to the [SERIAL PORT] connector and the other end to the serial port of your computer. If your computer has more than one serial port, refer to the setup of your software to determine which port is being used for MIDI. If you already have a MIDI interface for your computer, then you will want to connect the QS6 to your interfaces MIDI in and out connectors using the method described in the previous section. Note: If you are already using the QS6s [SERIAL PORT] to connect to your computer, it is not necessary to connect the MIDI ports to the computer as well.
PEDAL AND FOOTSWITCH H OOKUP
The QS6 keyboard has a [ PEDAL 1] jack that accepts a Roland model EV-5 (or equivalent) volume control pedal, or a standard switch pedal. Normally, this acts as a volume pedal for the entire instrument, but this pedal can be assigned to modulation functions within a program. Example: The pedal could control Vibrato or Lezlie Speed. The [SUSTAIN] footswitch jack accepts a momentary footswitch unit, included with the unit (it is packed in the center of the end caps). This provides the same function as the sustain (or damper) pedal on a standard keyboard. You can use either a normally closed or normally open momentary contact footswitch. Plug it into the rear panel [SUSTAIN] footswitch jack before powering up the QS6; on power up, it will automatically sense the footswitch polarity and calibrate itself accordingly.
If your footswitch seems to respond backwards (notes sustain unless the footswitch is pressed), turn off the QS6, make sure the footswitch plug is fully inserted into the footswitch jack, then turn the power back on. Also, Make sure the footswitch is not held down when powering up the QS6.

Overview: Chapter 4

CHAPTER 4

OVERVIEW

BASIC ARCHITECTURE
The QS6 contains digitized acoustic and electronic samples, organized into 17 sound groups of different types. The groups are: Piano Chromatic Organ Guitar Bass String Brass Woodwind Synth Wave Noise Voice Ethnic Drums Percussion Sound FX Rhythm

Output

Amp Envelope

Drum 1 Drum 2 Drum 3

Drum 10
When Drum Mode is enabled, the sound will have fewer parameters for editing. Consequently, not all Function buttons will respond when pressed as when Drum Mode is turned off. Specifically, the LFOs and all Envelopes (with the exception of the Amp Envelope) are unavailable. In addition, the parameters in most other functions will differ.

PROGRAM EDIT F UNCTIONS

To edit a Program you must select Program Edit mode. This is done by pressing the [EDIT SELECT] once from Program Play Mode (each time you press [EDIT SELECT] in Program Mode, the display cycles between Program Edit and Effects Edit Modes). When editing a Program in Program Mode, the letters ED:PRG will appear in the displays edit status section (upper-left corner): ED:PRG SOUND1 p SOUND ENABLE:ON A Program may also be edited from within a Mix. This requires that you press the [EDIT SELECT] button twice from Mix Play Mode (each time you press [EDIT SELECT] in Mix Mode, the display cycles between Mix Edit, Program Edit and Effects Edit Modes). When editing a Program in Mix Mode, the letters ED:MX CH will appear in the displays edit status section (upper-left corner), with the channel number that is being edited immediately following: ED:MX CH SND1p SOUND ENABLE:ON
The Voice function (press [40]) is the most fundamental part of Program editing. It is where you choose the particular sample that forms the basis of a sound. To avoid scrolling through long lists of samples (remember, there are 8 megabytes of sounds in here!), sounds are divided into groups. After selecting the group, you then select the sound within the group.

Sound Enable

This is the master on/off switch for the selected sound (14) of the current Program. To avoid using up polyphony unnecessarily, set Sound Enable to OFF for any sounds that will not be used in a Program. Turning sounds off is also a convenient way to isolate a particular sound you are editing. When the sound being edited is disabled, the upper display will show the word sound in lowercase letters. When the sound being edited is enabled, the word SOUND will appear in uppercase letters. When editing a Program from Mix Mode, the words will letters will appear as SND when a sound is enabled, and snd when disabled. and off from anywhere within Program TIP: A quick way to turn a sound onbutton [00][30] and press [t VALUE] to Edit Mode is to hold the corresponding Sound disable or [VALUE s] to enable. Example: Holding [00] and pressing [t VALUE] will disable sound 1.

Page 9

Sets the glide duration. Higher numbers give longer glide times. The Rate value is affected by the Portamento value (see above).
Keyboard Mode (Mono, Poly, 1-Pitch or 1-PMono)

Page 10

In Mono mode, you can play only one note at a timejust like vintage monophonic synthesizers or wind instruments. Poly mode allows you to play polyphonically. Note that portamento behavior is more predictable in mono mode. patch that uses guitar and one sound TIP: With a feedback guitarfeedback sound toone sound for the Mode insures that yourfor the feedback, setting the Mono Keyboard feedback whistle will be monophonic, which more accurately mimics what happens when you play lead guitar. Use 1-PITCH mode when you want a program sound layer to play a single pitch polyphonically throughout the entire keyboard range. In 1-PITCH mode, the QS6 will play the sample used for note C3 for all notes in the range. 1-PITCH mode is often used for layering a noise or drum sound behind another sound that is pitched, for example, to fatten up a bass guitar sound with a hint of kick drum, or to have the same cymbal hit every time any note is played. Alternatively, 1-PMONO mode is a monophonic version of 1-PITCH. Sometimes when playing a monophonic instrument, you will not want the envelopes to retrigger when playing legato, as this would sound realistic. Imagine a flute-player beginning each note in a phrase with a sharp, breathy attack. In reality, the player would only attack the first note in the phrase this way. Therefore, if the Keyboard Mode is set to Mono, the three envelopes (Pitch Envelope, Filter Envelope and Amp Envelope) will only retrigger when playing legato if the envelopes Trigger Mode is set to either Reset or Reset-Freerun.

F ILTER

The Filter function (press [70]) lets you control the tone of each sound layer.
Filter Frequency (00 to 99)
This sets the filter's initial cutoff frequency. Lower values give a duller sound since this removes more harmonics; higher values let through more harmonics, which gives a brighter sound. are most the filter. Examples: TIP: Signals with complex harmonic structuresyou will notaffected bysignificant changes asA sine wave has virtually no harmonics so hear any long as the filter cutoff is higher than the note pitch. If the filter cutoff is lower than the note pitch, you will either not hear the note, or it will be very soft. A harmonically-rich sample (such as brass or white noise) will be greatly affected by the filter. If the Filter Frequency is set to maximum, in most cases all other variables in the Filter function will have no effect. Most other filter functions raise the filter frequency, and it can't be greater than 99. So if you want to use filter effects, proper setting of this initial cutoff frequency is crucial. This is the baseline from which all other filter parameters will raise or lower (open or close) the filter. If the Filter Frequency is set to 00, and no other parameters are set to raise it dynamically, no sound will pass through the filter at all--there will be silence. If the Amp settings are wide open and you can't hear anything, check the Filter Frequency setting. Since the waveforms in ROM are recorded at the brightest possible setting, in many cases dynamic filtering is crucial to making a program sound natural.

F ILTER ENVELOPE

The Filter Envelope function (press [100]) is crucial whenever you want the tonal quality of a note to change over time, differently from its overall level. Example: When you want the initial attack of a note to be bright, but want the sustaining part to be filtered.
The following Filter Envelope variables will have effect only if the FILTER ENVELOPE DEPTH (on Page 7 of the FILTER function) is set to a value other than 0, or, Filter Envelope is a source in the MOD function. Also note that the Filter Envelope may have no effect if some other modulation source, or the basic setting of the filter, has already pushed the filter cutoff frequency to its maximum.
This is the amount of time the envelope will take until it reaches its maximum output level. Setting the Attack to 0 will give a sharp edge to the sound (if the Delay is also set to 0 in Filter Envelope Page 5 -- see next page); a setting of 99 will result in a much slower attack, taking many seconds before the envelope gets to maximum.
As soon as the attack portion of the envelope finishes (when the level reaches maximum), the envelope will decay (decrease in level). The level it reaches is set by the Sustain control; how long it takes to get there is set by the Decay control. In the special case where the Sustain level is all the way up (99), then there is no decrease and the Decay time segment is bypassed. Whatever level the sustain is set to is the level that the decay section of the envelope will head for. Depending on the setting of the Sustain Decay control (see below), the envelope will either hold at the sustain level until you release the note on the keyboard, or decay to 0 at the Sustain Decay rate (which is on page 2 of the envelope). You can create a long plateau at the start of a note by setting the Sustain to 98 and the Decay to 99. This will cause the envelope to take the maximum amount of time to get from peak level to a level of 98, before the Sustain Release portion of the envelope begins.

The MOD functions give you the freedom to go beyond the standard modulation sources built-in to other functions.
Selecting the Modulator (1 to 6)
Use the [0] [5] buttons to select one of the six modulators (modulator 1 is [0], modulator 2 is [1], modulator 3 is [2], etc.). All modulators work in the same way, so only the pages of one will be described here.

Modulation Source

Select from the following modulation sources:
Note # provides a modulation signal that corresponds to the note played on the keyboard (higher keys give higher values). Example: Use this modulation source to obtain a different chorus sound in the upper and lower keyboard ranges. Velocity relates to how fast a key goes from the key up (note off) to the key down (note on) position, and therefore represents the dynamics of your playing. Release velocity relates to how fast a key goes from the key down (note on) to the key up (note off) position. Example: Use this to affect the rate of a sounds release based on how fast you remove your fingers from the keys.
Aftertouch Pressing on the keys after theyre down generates this control signal. Aftertouch is also called channel pressure, and represents an average of
all keys being pressed. This affects any keys that are held down. The harder you press on the keys, the greater the degree of modulation. Polyphonic Pressure This is similar to aftertouch, but each key can respond to individual pressure messages. Although the QS6 keyboard does not generate poly pressure, the sound generators can respond to poly pressure signals entering via the MIDI In. Example: Assign poly pressure to the sounds amplitude in a string ensemble patch. You can then increase the level of selected notes of a held chord to pull some notes out of the chord. Modulation Wheel The rightmost wheel, Modulation, is traditionally assigned to LFO amount (level) so that rotating the wheel away from you introduces vibrato. However it is also well-suited to controlling timbre, vibrato speed, and many other parameters. Pitch Wheel The two wheels to the left of the keyboard are modulation sources (see below). The leftmost wheel, Pitch, always controls the oscillator pitch but can be tied to other parameters as well. MIDI Volume MIDI can produce a variety of controller messages (see the MIDI supplement in the back of this manual). Of these, controller #7, which controls channel volume, is one of the most frequently used. Example: Assign the filter cutoff as the destination, and you can have the signal become less bright as it becomes lower in volume. Sustain Pedal The sustain switch plugged into the sustain pedal jack provides this modulation signal. Pedal 1 The pedal plugged into the Pedal 1 jack provides this modulation signal. The default setting assigns Pedal 1 to MIDI Controller 7 to act as a volume pedal. Pedal 2 The MIDI controller defined as Pedal 2 provides this modulation signal. Pedal 2 can be assigned to any MIDI controller from Global Edit Mode, page 12. Pitch LFO This is the same modulation signal provided by the Pitch LFO. The Frequency LFO and Amplitude LFO can also be selected as modulation sources. Pitch Envelope This is the same modulation signal provided by the Pitch Envelope. The Frequency Envelope and Amplitude Envelope can also be selected as modulation sources. Random This provides a different modulation value every time you hit a key. Example: With vintage analog synth patches, use pitch as the destination and apply a very slight amount of random modulation. Each note will have a slightly different pitch, which simulates the natural tuning instability of analog circuits. Trigrate This is a Trigger Rate Follower, which monitors how fast notes are being played on the keyboard. For example, if routed to the Effect send of a Program, you could automatically have more effect when playing slowly, and less effect when playing quickly.

The shelving EQ is only available in Configuration #s 4 and 5. It provides bass and treble boost, and effects the entire Main Output (not just the Effects Sends). Four EQ parameters are included: Low Frequency (range: 30Hz to 180Hz), Low Frequency Gain (0dB to +12dB), High Frequency (3kHz to 10kHz), High Frequency Boost (0dB to +9dB).
Lo EQ Frequency (30Hz to 180Hz)
This allows you to adjust the cutoff frequency of the Lo EQ. It can be set between 30Hz and 180Hz. If the Lo EQ Gain parameter is set above 0dB, all frequencies below and including the one selected by the Lo EQ Frequency parameter will be affected.
Lo EQ Gain (0dB to +12dB)
This controls how much boost will be applied to frequencies below and including the one selected by the Lo EQ Frequency. It can be set between 0dB and +12dB.
Hi EQ Frequency (3kHz to 10kHz)
This allows you to adjust the cutoff frequency of the Hi EQ. It can be set between 3kHz and 10kHz. If the Hi EQ Gain parameter is set above 0dB, all frequencies above and including the one selected by the Hi EQ Frequency parameter will be affected.

Hi EQ Gain (0dB to +9dB)

This controls how much boost will be applied to frequencies above and including the one selected by the Hi EQ Frequency. It can be set between 0dB and +9dB.
The Mod Function lets you control various effects parameters from the various controls on the QS6 (keyboard, after-touch, pitch-bender, etc.) or from the MIDI input. This is extremely useful when dynamic or real-time control is required in a live playing situation. It is possible to control up to 2 parameters simultaneously. The Modulation assignments are saved with the Effects Patch. Dont confuse this Mod Function with the Mod Function used by the Programs; they are independent destinations, though they can come from the same source. Note: Modulating any effect parameter (with the exception of chorus speed) while audio is passing through it can result in audio artifacts or noises due to discontinuities in the modulation source.

SELECTING THE MODULATOR

The are two Modulators. You can select between these by using the [ PAGE] and [PAGE ] buttons. Page 1 through 3 display the parameters of Modulator #1, while pages 4 through 6 display the parameters for Modulator #2.

Mod Source

Page 1 (Mod 1) & Page 4 (Mod 2)
The Mod Source parameter selects the MIDI controller which will remotely cause a change (modulate) in one or two of the parameters in the effects processor. Nearly every MIDI controller can become a Mod Source (using controllers A-D, set in Global mode, page 3), with the most common controllers appearing as a direct option in the display. Pages 1 and 4 let you select the Mod Source for Mod 1 and 2, respectively. The options for the Mod Source are: Aftertouch Sustain Pedal Mod Wheel Pedal 1 Pitch Wheel Pedal 2 MIDI Volume Controller AD

If the Pitch type is Mono Chorus, Stereo Chorus, Mono Flange or Stereo Flange, page 2 through 5 of the Pitch function contain the following four parameters:
Waveform Shape (Sine or Square)
This determines the LFOs waveform shape. This parameter only appears when the Mono or Stereo Chorus or Flange are selected. The Waveform Shape of the LFO can be changed from a sine waveform, which provides a smoother, more even sound, to a square waveform, which makes the Chorus or flange effect more pronounced.
This parameter adjusts the LFO Speed of all Pitch types, with the exception of Pitch Detune and Resonator.

Depth (00 to 99)

This parameter adjusts the LFO Depth of all Pitch types, with the exception of Pitch Detune and Resonator. The LFO Depth, which is the amount of pitch alteration, can be adjusted to produce the desired effect.

Feedback (00 to 99)

This parameter adjusts the LFO Feedback of all Pitch types, with the exception of Pitch Detune and Resonator. A portion of the output of the Pitch section can be fed back into the input in order to make the effect more tonal or pronounced.
The following two parameters only appear if the Pitch type is set to Pitch Detune or Resonator, respectively.

Detune (-99 to +99)

Page 2 (Pitch Detune only)
If the Pitch type is Pitch Detune, page 2 will have only this parameter. This adjusts the tuning of the Pitch Detune effect. This can be set between -99 and +99, in 1 cent increments.
Resonator Tuning (00 to 60)

Page 2 (Resonator only)

If the Pitch type is Resonator, page 2 of the Pitch function will let you adjust the Resonator tuning. This can be tuned from 00 to 60.
Resonator Decay (00 to 99)

Page 3 (Resonator only)

If the Pitch type is Resonator, page 3 will let you adjust the Resonator Decay. This can be set 00 to 99, whereby 00 is a very fast decay and 99 is a very slow decay.
The Delay function is used to edit Delay parameters. The QS6s effects processor has three different Delay types available.
Note: Some Configurations only feature a mono Delay, and therefore the Delay Type parameter will be unavailable. Instead the parameters normally found on page 2 of the Delay function are shown in page 1, and there are no other pages (please refer to next section for a description of those parameters).

Delay Type (3 types)

Ping-Pong. This is called a Ping Pong Delay because the output bounces from side to side (left to right) in stereo with the speed determined by the delay time. The maximum delay time is 399 milliseconds. Stereo Delay. The Stereo Delay is actually two separate delays, which can be individually varied. The maximum delay time for each delay is 399 ms. Mono. The Mono Delay has the advantage of twice the available delay time, or 799 ms in Configuration #1, 1199 ms in Configuration #2.

In Pages 2 through 5 of the Delay Function you will find the remaining parameters for the Delay function. If the Stereo Delay type is selected, you can use [PAGE ] to advance through pages 6 8. This is because the Stereo Delay type has parameters for both the Left and Right channels.
Input (<99 to <0> to 99>)
This parameter is used to balance the Delay Input between the signal coming from the Pitch effect output (if applicable in the selected Configuration) and the dry effect send.

Time (0 to 799ms total)

Pages 3 & 4 (and 6 & 7 in Stereo Delay)
This is the actual Delay time, which determines the amount of time the input signal will be delayed. The Mono and Ping Pong Delay types can have a delay time of up to 799ms. However, the Stereo Delay can have up to 399ms per channel. Use Page 3 to adjust the delay time in 10 ms intervals; use page 4 to adjust the delay time in 1 ms intervals. When using the Stereo Delay, pages 3 & 4 let you adjust the delay time of the left channel, while pages 6 & 7 let you adjust the same for the right channel.
Page 5 (and Page 8 in Stereo Delay)
This adjusts the Delay Feedback, which is a portion of the delay signal output being fed back into the input. This results in the delay repeating itself. The more feedback, the more repeats. When using the Stereo Delay, page 5 lets you adjust the feedback level of the left channel, while page 8 lets you adjust the same for the right channel.
Reverb can be thought of as a great number of distinct echoes, called reflections, that occur so fast that our ear hears them blurred together as one. In nature, different sized spaces give distinctly different sounding reverbs, depending on the size and shape of the space, and the texture of surfaces that the reflections bounce off of. The various parameters in the effects processor make it possible to simulate nearly any natural reverberant space that can be imagined, and a few artificial ones as well. ED:MIX FX SND1p RVB-IN1:PITCHout The Reverb function is used to edit Reverb input levels and other parameters. In all configurations, page 1 of the Reverb function selects what the reverb is hearing (i.e., where the input of the reverb is coming from). The source can come directly from the Effect bus, the output of other effects in the chain before it, or a mix of several of them. Example: In Configuration #1, page 1 of the Reverb function (shown above) allows you to select the first of two sources to be routed to the reverbs input. You can choose from the Delay output or the Pitch output. In page 2, you can choose the second input for the reverb to process, which can be the dry, send 1 signal, the Delay output or the Pitch output. You can then adjust a balance between these on page 3 and set an overall input level on page 4.

GENERAL MIDI M ODE

Page 7 of Global Edit Mode lets you enable and disable General MIDI Mode. If this parameter is turned on, you will immediately be taken out of Global Edit Mode and into Mix Mode, and Mix 00 of Preset Bank 4 will automatically be selected. For more information about General MIDI, refer to the MIDI Supplement in Appendix B.
ENABLING G ENERAL MIDI MODE VIA MIDI
The QS6 will respond to a universal MIDI Sysex message to turn General MIDI mode on or off. Some (but not all) General MIDI sequences will have a Sysex message at the beginning (bar 1) which tells the receiving device to go into its General MIDI mode. If this message is sent, no matter where you happen to be on the QS6, General MIDI mode will be enabled, and Mix 00 of Preset Bank 4 will automatically be selected.
CONTROLLERS A D ASSIGNMENT

Page 8 11

The QS6 allows you to assign up to four general purpose MIDI controllers. These controllers are assigned a letter, AD. Although all four of these controllers are linked to specific MIDI controllers which can be received from another synth or sequencer, Controller A is directly linked to the [CONTROLLER A] slider on the QS6s front panel. Page 8 through 11 of Global Edit mode lets you choose which MIDI controllers (0 to 120) to assign as Controllers A, B, C and D. For a listing of all MIDI controllers and their designations, see page 127 in the Appendix B: MIDI Supplement.
PEDALS 1 AND 2 ASSIGNMENT

Page 12 & 13

Like the MIDI Controllers AD, the two footpedal controls (Pedal 1 and Pedal 2) can be assigned to a MIDI controller. Although these two pedals are linked to specific MIDI controllers which can be received from another synth or sequencer, Pedal 1 is directly linked to the [PEDAL 1] jack on the QS6s rear panel. Pages 12 and 13 of Global Edit mode lets you assign which MIDI controllers (0 to 120) that Pedal 1 and Pedal 2 will be transmitted as over MIDI Out. Simultaneously, if the same MIDI controller is received it will control any modulations that use either Pedal 1 or Pedal 2. Page 12 lets you select the controller for Pedal 1, while page 13 lets you select the controller for Pedal 2.
When recording into a MIDI sequencer, be careful not to accidentally assign either Pedal 1 to a controller which may already be used by another control (like MIDI Volume/controller 7, or Mod Wheel/controller 1).
USING A PEDAL TO CONTROL VOLUME OR M ODULATION
If Pedal 1 is assigned to Controller 7 (Global Edit Mode, Page 4), then they will automatically control the volume of: any Sounds in a Program, and; in Mix Mode, any Sounds that are controlled by the Keyboard (Mix Edit Mode, Range, Page 2) and have Pedals turned on (Mix Edit Mode, Range, Page 3).

MIDI O UT

Page 16
The MIDI Out Mode determines whether the MIDI [OUTPUT] connector will transmit MIDI information originating from the QS6 (OUT), or will echo MIDI information that is received at the MIDI [INPUT] connector (THRU). If the I/O parameter (see above) is set to either Mac, PC 38.4kbaud or PC31.25kbaud, the MIDI Out parameter can only be set to OFF or THRU. This is
because unless the I/O parameter is set to MIDI, the MIDI [OUTPUT] connector may only function as a MIDI Thru connector for the connected computer, and can only be switched off.
MIDI Transfer and Storage Operations: Chapter 9

CHAPTER 9

MIDI TRANSFER AND STORAGE OPERATIONS
SAVING THE U SER BANK TO AN EXTERNAL CARD
The entire contents of the QS6s User memory (100 Mixes and 128 Programs) can be stored to an Alesis QuadraCard RAM card inserted into the Sound Card slot on the QS6. Depending on the amount of RAM a particular card has, up to 8 complete banks can be stored onto it. The QuadraCard is a type of PCMCIA SRAM or FlashRAM card; it has 256K of memory and will store 4 complete banks. A 512K PCMCIA card can store 8 banks. When saving data to a card that contains a ROM (READ-ONLY) bank, the ROM data is found in bank 1; this means you cannot save anything into bank 1.
Insert a card into the Sound Card slot on the back of the QS6.
Press [STORE]. PAGE] twice to select Page 6 of the Store function. This selects the SAVE TO CARD option. The display will look like this: SAVE TO CARD 1? (Press STORE)

Press [

Use the [CONTROLLER A] slider to select a bank location on the card to store to
(18). If the card contains a ROM bank, it will be bank 1. Therefore, you will only be able to save into bank locations 28.
Press [STORE] to transfer the user bank data from the QS6 onto the card.
If the display reads CARD IS WRITE PROTECTED., switch the write-protect switch on the card to off and repeat the procedure.
LOADING A BANK FROM AN EXTERNAL CARD
The QS6 can read data directly from a card by using the [ BANK overwrite the User bank with a Card bank, use this procedure: Insert the card into the card slot on the back panel.

] buttons.To

Press [STORE]. PAGE] once to select Page 7 of the Store function. This selects the LOAD FROM CARD option. The display will look like this: LOAD FRM CARD 1? (Press STORE)
Use the [CONTROLLER A] slider to select the bank on the card you wish to load
Chapter 9: MIDI Transfer and Storage Operations
Press [STORE] to transfer the data from the card into the QS6.

MIDI H ARDWARE

MIDI-compatible devices usually include both MIDI In and MIDI Out jacks, which terminate in 5-pin DIN-style connectors. The MIDI Out jack transmits MIDI data to another MIDI device. As you play a MIDI controller such as a keyboard, data corresponding to what you play exits the MIDI Out jack. Example: If you play middle C, the MIDI Out transmits a piece of data that says middle C is down. If you release that key, the MIDI Out transmits another piece of data that says middle C has been released. If the keyboard responds to the dynamics of your playing, the note data will include dynamics information too. Moving the modulation wheels and pedals attached to many synthesizers will also generate data associated with the wheel or pedal being used. The MIDI In jack receives data from another MIDI device. In addition to the type of performance data described above, rhythmically-oriented MIDI devices (e.g., drum machines) can often transmit and/or receive additional MIDI timing messages that keep other rhythmically-oriented units in a system synchronized with each other. An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In jack. This is handy if you want to route MIDI data appearing at one device to another device as well.
Appendix B: MIDI Supplement

MIDI M ESSAGE BASICS

The are two main types of MIDI messages. Channel messages, which are channelspecific, consist of Voice and Mode messages. System messages, which do not have a channel number and are received by all units in a system, include Common, Real Time, and Exclusive messages.
CHANNEL M ESSAGES: M ODE M ESSAGES
There are two messages that determine the MIDI mode (i.e., how a device will receive MIDI data). The Omni message determines how many channels will be recognized. Omni On means that data from all channels will be received; Omni Off limits the number of channels, usually to one. The Mono/Poly message deals with voice assignment within the synthesizer. In Mono mode, only one note at a time plays in response to voice messages; in Poly mode, as many voices can play notes as are available to play notes.
CHANNEL M ESSAGES: VOICE MESSAGES
A synthesizers voice is the most basic unit of sound generation. Usually, each voice plays one note at a time, so the number of notes you can play at one time will be limited by the available number of voices. MIDI messages that affect voices include: Note On. Corresponds to a key being pressed down; values range from 000 (lowest note) to 127 (highest note). Middle C is 60. Note Off. Corresponds to a key being released; values are the same as note on. Velocity. Corresponds to dynamics; values range from 001 (minimum velocity) to 127 (maximum velocity). A velocity of 000 is equivalent to a note-off message. Pressure. Indicates the pressure applied to a keyboard after pressing a key. Mono pressure (Aftertouch) represents the average amount of pressure applied by all keys. Poly Pressure produces individual pressure messages for each key. Program Change. Sending a Program Change command from a sequencer or other MIDI keyboard can change synth patches automatically. There are 128 Program Change command numbers. Also note that not all units number programs consistently. Some number them as 000-127, others as 001-128, and still others arrange programs in banks of 8 programs (such as A1-A8, B1-B8, C1-C8, etc.). Pitch Bend. This bends a note from its standard pitch. Continuous Controller. Footpedals, breath controllers, and modulation wheels can vary sounds as you play, thus adding expressiveness. MIDI allows for 64 continuous controllers (these act like potentiometers in that you can choose one of many different values) and 58 continuous/switch controllers (these can act like continuous controllers but some are assumed to choose between two possible states, such as on/off).