If you ever get lost while programming the QS, press either the [PROGRAM] button or the [MIX] button to get back to their respective Play Mode. Press the [PROGRAM] button to select Program Play Mode. In Program Play Mode, the QS plays a single Program. The display looks like this: Play Mode Bank Program Number PROG PRESET1 TrueStereo Ch01 Program Name MIDI Channel The current mode (PROG) is displayed in the top-left corner, followed by the current Bank (PRESET1) and the current Program number (). The Programs name (GrandPiano) appears on the lower line of the display and the current MIDI channel appears to its right. Press the [MIX] button to select Mix Play Mode. In Mix Play Mode, the QS can combine up to 16 Programs for stacking sounds together, splitting the keyboard into different regions, or working with a MIDI sequencer. The display will look something like this: Play Mode Bank Mix Number MIX PRESET1 ShimmerGrd Mix Name Active MIDI Channels The current mode (MIX) is displayed in the top-left corner, followed by the current Bank (PRESET1) and the current Mix number (00). The Mixs name (Piano&Pad) appears on the lower line of the display and the Active MIDI Channels (1 and 2) are shown at the bottom right. In a Mix that uses all 16 MIDI channels (such as the Mixes found in the General MIDI Bank), the display would look something like this: MIX GenMIDI GM Multi Active MIDI Channels
SELECTING THE MIDI CHANNEL IN PROGRAM MODE
While in Program Play Mode (press [PROGRAM]), the QS can transmit and receive information on any single MIDI channel of the 16 available channels. The currently selected channel appears in the bottom-right corner of the display. PROG PRESET1 GrandPiano Ch01 Current MIDI Channel

Use the [

PAGE] and [PAGE ] buttons to select a MIDI channel from 1 16. The display will change to indicate the currently selected MIDI channel.
AUDITIONING INTERNAL PROGRAMS
Press the [PROGRAM] button to select Program Play Mode.
You can now play the QS keyboard; the Program will be whatever was selected when last in Program mode (Program number 00 127).

Select a Program using either of these methods: Use the [00] [120] buttons to select a Sound Group, then use the [0] [9] buttons to select a Program within the Sound Group. The selected Sound Group determines the tens digit of the selected Programs number. Example: Selecting the [60] Sound Group lets you select Programs 60 through 69. The [100] Sound Group lets you select Programs 100 through 109. Use the [s VALUE] and [VALUE t] buttons to step forwards and backwards through all the Programs one at a time.
When in Program Play Mode and the [120] Group is selected, the [8] and [9] buttons will not function, since Programs only go from 00 to 127.

SELECTING PROGRAM BANKS

The QS provides five internal Banks containing 128 Programs in each (and 100 Mixes each, but well get to Mixes in a moment). The currently selected Bank will be shown in the upper line of the display, just above the currently selected Programs name. Current Bank PROG PRESET1 GrandPiano Ch01 Use the [ BANK] and [BANK ] buttons to select a Bank (User, Preset 1 3, GenMIDI). User and Preset Banks are described in detail in Chapter 4.
REALTIME PERFORMANCE FUNCTIONS
The QS provides various ways to control the sound as you are playing. Try out some of these functions while playing the keyboard. The sound of the effects can also change by using these controllers. The effect of these realtime controllers varies from Program to Program; in some they may not be active, and in others they may have a dramatic effect. Velocity. The volume and tonal quality of the sound will change according to how hard you play the keyboard. Aftertouch. The action of pressing a key down after playing it is called aftertouch (it is also sometimes referred to as Pressure since it corresponds to the amount of pressure being applied to the keyboard). Pitch, tone and volume (among other things) can be changed using aftertouch. Pitch Bend Wheel. While playing a note, you can move the PITCH BEND WHEEL up to raise the pitch, or down to lower the pitch. The amount of pitch bend available can be different for each Program. Modulation Wheel. By raising the MODULATION WHEEL, you can add expressive modulation effects (such as vibrato or tremolo) while you play. The type of modulation effect can be different for each Program. Controller AD Sliders. This is described below.
Further expressive control is available with a pedal switch (included) or expression pedal (optional, see page 25). By connecting a pedal switch to the [SUSTAIN] jack on the rear panel, you can have the sound sustain even after you release the keys. By connecting an expression pedal to the [PEDAL 1] jack, you can use the pedal to change the volume or tone (or some other quality such as reverb depth or vibrato speed) of the sound, if the Program is edited to use the pedal(s).

Press [STORE].

This selects Store Mode. The display will look like this: SaveMix? (STORE) to USER 12 (Mix Bank) (Mix Number) The Mix Number will be the identical to the last Mix number selected.
Optional: If a Sound Card is inserted, Use the [s VALUE] button to select a Bank on the Sound Card.
Use the [0] [9] and [00] [120] buttons to select a Mix location (00 99) within
the selected Bank. The selected Bank and Mix number location will appear in the display.
Press [STORE] to save the Mix into the selected location.
The Mix has now been stored, and the display will revert back to whatever was shown before [STORE] was pressed the first time.
ENABLING GENERAL MIDI MODE
If you are using a General MIDI sequencer, and/or playing a sequence that is programmed to take advantage of General MIDI, turn the General MIDI function in the QS on.
Press [EDIT SELECT], then press [GLOBAL].
The display will now be in Global Edit Mode.
Press [PAGE ] 6 times to advance to page 7. This selects the General MIDI parameter in the display. This turns on General MIDI mode, and automatically puts you into Mix Play Mode with Mix 00 of Preset Bank 4 selected. This display should look like this: MIX GenMIDI GM Multi
Press the [s VALUE] button.
For more information about General MIDI, refer to the MIDI Supplement in Appendix B.
USING THE PCMCIA EXPANSION CARD SLOTS
18 QS7/QS8 Reference Manual
Your QS is an expandable system using the two PCMCIA EXPANSION CARD slots on the back panel. There are three different kinds of Sound Cards available through your Alesis dealer or directly from Alesis: SRAM cards: The Alesis Virtual Composer card provides an additional four banks of Program/Mix memory. All banks can be stored to by the user, and it comes with additional Programs and Mixes pre-stored. QCards: These read-only memory cards provide actual samples, plus the Programs and Mixes that use them in a single card bank. Available QCards include a Stereo Grand Piano card, a Pop Rock card that includes high-quality guitar, drum, bass, and keyboard sounds, a World/Ethnic card and a Rap/Techno/Dance card. Flash RAM cards: If you want to burn your own custom sample cards, Flash RAM cards are available in 2 MB, 4 MB, and 8MB sizes. Alesis Sound Bridge software (see next section) will translate from Sample Cell format to Alesis QS Composite Synthesis format, and then you can write your own custom Programs and Mixes that use these samples.

Select a function (level, pitch, etc.). by pressing one of the [0] [9] or [00] [120] buttons, depending on which Edit Mode you are in. If a function has multiple pages, use the [ PAGE] and [PAGE ] buttons to select the appropriate page.
The upper-right section of the display will indicate the currently selected page number. Each page provides a different parameter. The parameters name will appear in the bottom section of the display. Press the [PAGE ] button to select the next higher-numbered page, and [ PAGE] to select the next lowernumbered page. Press both [ PAGE] and [PAGE ] simultaneously to get back to the first page of the selected function.
Change the parameter value.
You can edit the value either by moving the [CONTROLLER D] slider (for large value changes) or pressing the [s VALUE] and [VALUE t] buttons (for smaller changes).
SELECTING FUNCTIONS AND PARAMETERS
When editing a Mix, a Program or a Programs Effects, the 23 buttons located on the right side of the front panel provide direct selection of edit Functions, the 4 Sounds within a Program (in Program Edit Mode) and the 16 Channels within a Mix (in Mix Edit Mode). This means you can quickly get to the Function/Sound/Channel you want to edit. The Functions available for direct selection are printed on the front panel adjacent to each button. Many Functions provide more than one parameter, and so have multiple pages available. Use the [ PAGE] and [PAGE ] buttons to move forwards and backwards through the available pages. The number of available pages will change depending on which Function you have selected. The Direct Select Functions are shown in the table below. Button 20 Program Edit (Sound) MOD 1 MOD 2 MOD 3 MOD 4 MOD 5 MOD 6 PITCH LFO FILTER LFO AMP LFO Program Edit (Drum) DRUM 1 DRUM 2 DRUM 3 DRUM 4 DRUM 5 DRUM 6 DRUM 7 DRUM 8 DRUM 9 Mix Edit SELECT CHANNEL 1 SELECT CHANNEL 2 SELECT CHANNEL 3 SELECT CHANNEL 4 SELECT CHANNEL 5 SELECT CHANNEL 6 SELECT CHANNEL 7 SELECT CHANNEL 8 SELECT CHANNEL 9 SELECT CHANNEL 10 SELECT CHANNEL 11 SELECT CHANNEL 12 SELECT CHANNEL 13 Effects Edit ----------------------------------------SELECT SEND 1 SELECT SEND 2 SELECT SEND 3
TRACKING DRUM 10 GENERATOR SELECT SOUND SELECT SOUND SELECT SOUND SELECT SOUND SELECT SOUND SELECT SOUND 3 3

110 120

SELECT SOUND SELECT SOUND VOICE VOICE LEVEL PITCH FILTER AMP/RANGE PITCH ENVELOPE FILTER ENVELOPE AMP ENVELOPE NAME LEVEL PITCH FILTER AMP/RANGE --------DECAY NAME
SELECT SELECT SEND CHANNEL SELECT CONFIGURATIO CHANNEL 15 N SELECT EQ CHANNEL 16 LEVEL MOD PITCH LEZLIE EFFECT PITCH KEYBOARD/MID DELAY I CONTROLLERS REVERB RANGE NAME OVERDRIVE MIX
COMPARING EDITED AND STORED VERSIONS
When you edit a Program or Mix, you are actually editing a copy which is in a temporary edit buffer. Therefore, to retain the results of your edit, you must save it to a particular memory location (see the next section on Storing). If you change memory locations before saving, the buffer will be replaced and your edits lost. Because the original Program/Mix remains undisturbed, you can compare the edited version to the original by using the Compare function. You can only select Compare mode when either Mix Edit, Program Edit or Effects Edit is selected, and the * symbol appears in the display next to the Mix/Programs name whil in either Mix Play Mode or Program Play Mode. Indicates Program or Mix has been edited PROG*PRESET1 GrandPianoCh01

MIDI Out (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 respond to the keyboard, pitch-bend and mod wheels, foot pedals and sustain pedal of the QS itself.

CONTROLLERS

The Controllers function (press [100]) lets you turn on and off the various MIDI controllers that can effect 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 MIDI parameters set (see page 38).
Pitch-bend and Modulation Wheels (On or Off)
This determines whether or not the selected channel will transmit and receive pitchbend 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 Pedals (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 transmit and receive MIDI controller information which the Controllers AD and Pedals 1 & 2 are assigned to (these are assigned to MIDI controllers in Global Mode, Page 3 and 5).
TRANSMITTING MIDI VOLUME AND PANNING
Each Channel in a Mix can transmit its volume and panning settings via MIDI, if the MIDI Program Select parameter is set to ON (Global Edit Mode, Page 14). Volume level is sent as MIDI controller #7, and panning is sent as controller #10. If the MIDI Program Select Global parameter is set to ON: whenever a Mix is recalled (via the front panel or via MIDI), volume and panning information will be transmitted; whenever a Channels Level parameter is edited, volume information will be transmitted as controller #7 on that Channel; whenever a Channels Pan parameter is edited, panning information will be transmitted as controller #10 on that Channel (except when set to PROG).
Note: Panning information will not be transmitted if the Channels Pan parameter is set to PROG (using the selected Programs stored Pan setting).

Use the [

] buttons to hear each channel in turn.
OUT 1 OUT 16. The QS will generate MIDI messages from the keyboard, regardless of the Range settings for that channel in the Mix, but it will not play the internal sound. Use this mode if you're using a MIDI sequencer with an ECHO feature--the sound will be activated by messages appearing at the MIDI IN connector after its made the round trip through the sequencer. This is the QSs equivalent to LOCAL OFF.
USING KEYBOARD MODE WITH THE SERIAL JACK
The Serial jack follows the MIDI ins and outs in the Keyboard Mode settings above. If you are connected to a computer using the Serial jack, be sure to check the setting of the Keyboard Mode. In most cases, a setting of "OUT 1" should be used with a MIDI sequencer. See page 117 for more information about the Serial jack.
Editing Programs: Chapter 6

CHAPTER 6

EDITING PROGRAMS
Synthesizer programming is the art and science of shaping sounds in a particular way by altering the parameters of various modules. Like music itself, learning synth programming is an ongoing process. Although this manual presents information about synthesizer programming, no manual can offer a complete course in programming (at least for a price that customers would be willing to pay!). If youre new to synthesizer programming, the best way to learn is to adjust different parameters as you play to discover how different parameter values affect the sound. Also, become familiar with the signal and modulation flow within the QS (as shown in the various block diagrams included in this manual) so that you can understand the many ways in which you can process a signal as it works its way from oscillator to output.
THE NORMALIZED SYNTH VOICE
The first synthesizers were comprised of various hardware modules, some of which generated signals, and some of which processed those signals. These were designed to be general-purpose devices since nobody was quite sure how they would be applied; some engineers used them as signal processors, while keyboard players treated them as musical instruments. Therefore, patch cords connected the inputs and outputs of the various signal generating and processing modules (which is why particular synth sounds were called patches). Changing a patch involved manually repositioning patch cords and adjusting knobs and switches; recreating a patch required writing down all the patch settings on paper so they could be duplicated later. Even then, due to the imprecision of analog electronics, the patch might not sound exactly the same. Over the years, certain combinations of modules seemed to work better than others, and since patch cords were troublesome to deal with, eventually these modules were wired together in a normalized configuration. Synthesizers such as the MiniMoog, Prophet-5, and others eliminated the need for patch cords by containing a normalized collection of sound modules (including oscillators, filter, envelopes, LFOs, etc.). The QS offers the best of both worlds. The most commonly-used, normalized configurations are built-in to every program for ease of programming. In addition, the QS Modulation Matrix gives back much of the flexibility of a modular synthesizer, allowing you to map various modulation sources to multiple destinations for special needs. If youre a beginner, all of the normalized pathways are easy to find; as you gain experience you can explore more advanced features.

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 FUNCTIONS

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 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 SND1 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.

Sound Type

This determines whether a Sound layer is going to be in Keyboard Mode or Drum Mode. Drum Mode allows you to assign individual drum sounds to individual keys. To Program a sound in Drum Mode, refer to the next section Programming Drum Sounds on page 78.

Sound Group (17 options)

CONFIGURATION #2: 2 REVERBS

Delay 1 Mono delay

Pitch 1 Mono chorus Stereo chorus

Pitch 3 Mono chorus

Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 2 Level to Reverb 1 Reverb 3 Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 4 Reverb 4 Level to Reverb 3
This Configuration differs from Configuration #1 in many ways. In this Configuration, there is only one Delay effect, two Pitch effects and two Reverb effects. Effect send 1 is routed through the mono Delay, then a stereo Pitch effect, and finally a stereo Reverb effect. Send 2 has no effects of its own, but can be routed to the same Reverb effect as send 1. Send 3 is routed through a mono Pitch effect, and then a stereo Reverb effect. Send 4 has no effects of its own, but can be routed to the same Reverb effect as send 3. Effect send 1s Delay, Pitch, and Reverb can feed the Mix output directly. Unlike the first configuration, however, Pitch 3 can be routed to the Mix only after passing through Reverb 3.
CONFIGURATION #3: LEZLIE AND REVERB

Pitch 1 Lezlie

Pitch 2 Mono chorus Stereo chorus Mono flange Stereo flange Pitch detune Resonator Pitch 3 Resonator
Reverb 1 Plate 1 Plate 2 Hall Room Hall Large Gate Reverse Reverb 2 Balance and level to Reverb 1
Reverb 3 Balance and level to Reverb 1 Reverb 4 Mix and level to Reverb 1
This Configuration is similar to Configuration 1, except it provides a stereo Lezlie effect on send 1, which emulates a rotating speaker effect commonly heard with organ sounds. This is followed by a Delay effect before going to the single stereo Reverb effect. Sends 2 and 3 have Pitch modules preceding Delay modules, which are then routed to Reverb 1. Send 4 has only a Mono Delay effect, which may also be routed to Reverb 1.
CONFIGURATION #4: REVERB AND EQ
Pitch 1 Mono chorus Stereo chorus Mono flange Stereo flange Pitch detune Resonator Pitch 2 Mono chorus Stereo chorus Mono flange Stereo flange Pitch detune Resonator
Delay 1 Mono delay Stereo delay Ping-Pong delay
Delay 2 Mono delay Stereo delay Ping-Pong delay
In this Configuration, note that Sends 1 and 2 are identical to that of Configuration #1. However, Sends 3 and 4 have been removed. In their place, we have added a shelving EQ module to the main outputs. This means you have bass and treble boost controls for all sounds coming out of the main outputs (not just the sounds routed to the Effects Sends).

If you are using Configuration #4, routing any of the Programs Sounds to Sends 3 or 4 will have no effect. In other words, its as if you routed channels of your mixing console to effects sends that aren't connected to anything.
CONFIGURATION #5: OVERDRIVE AND LEZLIE
Pitch 1 Mono chorus Mono flange Resonator
Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse
This is an all-for-one Configuration. You get six effects all at once, and they are all found in the Send 1 section. Send 1 feeds the Overdrive effect which provides classic distortion. The Overdrive output then feeds the Pitch effect. The Pitch effect has a second input which can come from either Sends 1, 2, 3 or 4. These two inputs can be mixed together. The Delay effect has two inputs which can be mixed together. The first input comes from the Pitch effects output. The second input can come from either Sends 1, 2, 3 or 4, or the Overdrive effects output, or Pitch effects input. The Reverb effect has two inputs which can be mixed together. The first input can come from the Pitch effects output or the Delay effects output. The second input can come from either Sends 1, 2, 3 or 4, or the Overdrive effects output, or the Delay effects input. The Lezlie effect has two inputs which can be mixed together. The first input can come from the Delay effects output or the Reverb effects output. The second input can come from either Sends 1, 2, 3 or 4, or the Overdrive effects output, or the Pitch effects input or output, or the Delay effects input, or the Reverb effects input. The outputs of all these effects are routed back to the Outputs, and sent through the shelving EQ effect.
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 QS (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 Controllers AD

Mod Destination

Page 2 (Mod 1) & Page 5 (Mod 2)
The Mod Destination is the parameter that will be controlled by the selected Mod Source. Pages 2 and 5 let you select the Mod Destination for Mod 1 and 2, respectively. The possible Destination parameters are: Pitch Speed Pitch Balance Delay Level Reverb Decay Reverb Diffusion Overdrive Bright Lezlie Balance Lezlie Motor Pitch Depth Delay Time Reverb Balance Reverb Low Decay Reverb Level Overdrive Balance Lezlie Level Pitch Level Delay Feedback Reverb Input Reverb High Decay Overdrive Threshold Overdrive Level Lezlie Speed

INPUT LEVELS

Input 1 Page 1 (Config 1, 3, 4 and 5)
In Configurations 1 and 3, there are two inputs to the Reverb. Both Inputs 1 and 2 can select a signal from several locations in the signal chain. You can select either the Pitch output or the Delay output as Input 1. If the signal is taken from the Pitch output, the Reverb will be chorused, flanged, detuned or resonating, depending upon which Pitch type is selected. (Note that the delay signal may already have passed through the Pitch module, depending on the Input settings of the Delay module.)

Input 2

Page 2 (Config 1, 3, 4 and 5)
Input 2 can have as its source either the Pitch output, the Delay output, or the dry effect send signal. If the signal is taken from the Delay output, the Reverb will be delayed by the amount of delay time set for the Delay. If the signal is taken from the Pitch output, the Reverb will be chorused, flanged, detuned or resonating, depending upon which Pitch type is selected. If the signal is taken from the effect send, the Reverb will receive direct, uneffected signal.
Page 3 (Config 1, 3, 4 and 5)
This allows you to control the balance between Reverb Inputs 1 and 2 and therefore control the blend between the various input sources. This makes it possible to have the signal from the Pitch or Delay sections, or the direct effect send in any combination or amount.

Input level (00 to 99)

Page 4 (Config 1 and 3)
This controls the overall Input Level going into the Reverb.
Chorus Input Level (00 to 99)

Page 1 (Config 2 Only)

If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of the Reverb function will look like this: ED:MIX FX SND1 RVB CHRin LEV:08 The Configuration has two Reverbs, one on send 1 (which send 2 can share), the other on send 3 (which send 4 can share). There is only one parameter in this page: Chorus Input Level. This lets you adjust the level of the signal coming from the Pitch output going into the Reverb, otherwise the signal comes purely from the Pitch input. The other parameters and pages in the Reverb function are identical, regardless of which Configuration is being used. Only page 1 is different, because of the fewer input choices the Reverb has in this Configuration.
Send Input Levels (<99 to <0> to 99>) Page 1 (Sends 2 through 4)
If Configuration #1 is selected and you press [10] to select effect send 2, the display will now show you the parameters that represent the signal levels on send 2 going into the Reverb. Note that there is now only 1 page available, since the other reverb parameters are found back on effect send 1. Press [20] to select send 3, and the display will still look the same, but now the parameters adjust the signal levels on send 3 going into the Reverb. If you press [30] to select send 4, the display will look like this: ED:MIX FX SND4 RVB-IN:SN4<35DEL There are only two parameters: Balance and Input Level. This is because in Configuration #1, effect send 4 only has a Delay effect, and not a Pitch effect like the other effect sends do. Page 1 controls the Balance between the Delay output and the dry effect send signal, while page 2 controls the overall input level to the Reverb. If Configuration #2 is selected and you press [10] to select effect send 2 while the Reverb function is selected, the display will look like this: ED:MIX FX SND2 RVB-IN SEND2: 99 This lets you adjust the level of the signal coming from effect send 2 going into the Reverb. Send 2 in this Configuration has no effects of its own. Therefore, there are no input or input mix controls in this page, since there is only one possible signal choice. Send 2 is intended to be used for signals that you want to send to Reverb 1, but bypass Delay and Pitch 1. In Configuration #2, send 4 is similar to send 2, in that it has no effects of its own but serves as a bypass going directly to Reverb 3.

When recording into a MIDI sequencer, be careful not to accidentally assign either Pedal 1 or 2 to a controller which may already be used by another control (like MIDI Volume/controller 7, or Mod Wheel/controller 1).

U SING

CONTROL V OLUME

MODULATION

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).
Likewise, if either Pedal is assigned to Controller 1, then they will automatically function like the Modulation Wheel for any Sound in Program Play Mode, and in Mix Play Mode, Sounds that are controlled by the Keyboard and have Pedals turned on. This is in addition to the fact that the pedals will be sending out MIDI information. The default settings are: Pedal 1 = 7; Pedal 2 = 4.
Page 14 of Global Edit mode lets you determine the MIDI Mode (Off, On, Channel 1 16). When this is set to Off, the QS will not respond to incoming MIDI Program Change messages, nor will it transmit Program Changes. When set to On, the QS will respond to incoming Program Change messages. Likewise, when a Program or Mix is recalled from the front panel, its respective program change message will be sent out. However, the QS will respond differently to incoming Program Change messages depending on whether Program Mode or Mix Mode is selected.
In Program Play Mode, the [ PAGE] and [PAGE ] buttons determine which MIDI channel the QS will receive MIDI Program Change messages on (as well as other messages like notes, controllers, etc.). The Program recalled will be the same number as the Program Change message that is received, from whichever bank (Preset or User) is currently selected. When a Program is recalled from the front panel, the QS will transmit the equivalent Program Change message on this same MIDI channel. In Mix Play Mode, when MIDI Program select is set to On, Program Changes received on any of the 16 MIDI channels will be received by the same numbered MIDI channels in the current Mix. The Mix itself will not respond to Program Changes on any MIDI channel. When set to Channel 1 16, the QS will change Mixes in response to Program Change messages received on the same MIDI channel as selected by this parameter, from whichever bank (Preset or User) is currently selected. Program Change messages received on any other channel (other than the one selected by this parameter) will change the individual Programs in the Mix on the same channels the messages are received on. Note: When General MIDI Mode is enabled (see page 115), Channel 10 of the selected Mix will be used exclusively for drums. If a program change is received on Channel 10, a new drum kit will be recalled. These drum kits are used exclusively in General MIDI mode, and adhere to the General MIDI specification.

SAVING PROGRAMS VIA MIDI SYS EX
As an alternative to storing data to a card, the QS lets you transmit internal data via MIDI System Exclusive messages. This data can be sent to a storage device, or recorded into a MIDI sequencer, or sent to another QS or S4. You have a choice of sending any single Program in the User bank (00 to 127), or what is in the current Program Edit buffer, or what is in any of the 16 Mix Edit Program buffers, or the entire User bank (100 Mixes, 128 Programs, 128 Effects Patches) plus Global data. In the case of sending data to another QS, you can send any individual Program to the same location or any other location in the receiving QS, including any of its 17 Program Edit buffers. To send the entire User bank via MIDI:
Connect a MIDI cable from the QSs MIDI Out to the MIDI In of a device capable
of receiving the data (a MIDI sequencer, another QS, etc.).
Press [STORE]. ] four times to select Page 3 of the Store function. The display will look like this: SEND ALL DATA TO MIDI? (STORE)
Press [STORE] to transmit the data out the MIDI Out connector.
While transmitting the data, the display will temporarily read SENDING OUT MIDI DATA. To send a single Program via MIDI:
Follow steps and in the instructions above.
Press [PAGE ]five times to select Page 4 of the Store function. The display will look like this: MIDI PRG 000 TO PRG 000? (STORE)
Use the CONTROLLER [D] slider to select a Program to transmit. You may
select any Program in the User bank (000 to 127) or the Program Edit buffer (EDIT) or any of the 16 Mix Edit buffers (Em01 to Em16). As this value is changed, the second parameter (destination) will be linked. This is because most often you will want to transmit a Program to the same Program location. The only time to do otherwise is when sending to another QS (see below).
To send a single Program via MIDI to a different Program number:
Follow steps through in the instructions above.
Press [PAGE ] to advance the cursor to the lower section of the display.
Use the CONTROLLER [D] slider to select a Program number to send the

Program to.

The procedure is similar for sending Mixes. Page 5 of the Store function allows you to send any one of the Mixes. In the case of storing a Mix, you may want to store each of the Programs used in the Mix. The SEND ALL TO MIDI command in Store mode is an easy shortcut to this (see above).
Troubleshooting: Appendix A

APPENDIX A

Unpacking and Inspection

The shipping carton for your QS should contain the following items: QS (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 Digital Audio/Optical Hookup...kHz Input....17 Part 2: OVERVIEW...19 A Quick Tour Of The Front Panel....19 Programs, Mixes, And Banks...24 The Performance Controls....26 PCMCIA Expansion Cards...28 Part 3: FIRST SESSION...29 Powering Up....29 Playing the Demo Sequences...29 Playing Programs....30 Playing Mixes....31 The Performance Controls, Pt. II...33 Transposing The Keyboard...33 Performance Transposition Chart...34 Part 4: BASIC OPERATION...35 Recap....35 The Double-Button Press Trick...35 Copying Existing Programs And Mixes To A New Location In The User Bank.36 Or To A New Location On A Card Bank...36 Changing The Programs In A Mix...37 Storing Altered Mixes To The User Bank (Or To A Card)..37 Storing Altered Programs To The User Bank (Or To A Card)..37 Changing The Name Of A Program Or Mix..38 Compare Mode...38 Playing Sequences From A Card...39 The Global Settings (And How To Change Them)..40 Part 5: MIDI...49 The Power of Mix Mode...49 Using an External Sequencer...50 Program Assign for each MIDI Channel..52 Sending and Receiving Bank Select Messages...52 Using the QS6.1 as a Master Keyboard...54 Saving Programs via MIDI Sys Ex...58 Editing Programs via MIDI Sys Ex...59 Part 6: EDITING EFFECTS...61 Basic Info....61 Entering Effects Edit Mode From Program Mode..62 Entering Effects Edit Mode From Mix Mode..62 Navigating In Effects Edit Mode....63 Selecting From Among The Available Effects Patches In A Mix..63 The FX Program Change via MIDI function...64 How The Display Changes When You Alter An Effect..65 QS7.1/QS8.1 Reference Manual 5
Table of Contents Storing Effect Patches In Program Mode...65 Storing Effect Patches in Mix Mode...65 Copying Effects From One Program To Another...66 Keeping Track: The Interaction Of Effects, Programs, And Mixes..67 Picking An Effect Configuration...67 Configuration #1: 1 REVERB...68 Configuration #2: 2 REVERBS...70 Configuration #3: LEZLIE+REVERB...72 Configuration #4: 1 REVERB+EQ...73 Configuration #5: OVERDRIVE+LEZLIE...74 Routing Sounds or Programs Through The Effects Only..75 Setting Effect Send Levels...76 If The Send Inputs Clip...76 [00] to [30] Effect Sends 1 - 4...76 EQ....77 Mod....78 Lezlie....81 Pitch....83 Delay....89 Reverb....90 Overdrive....96 Effect Mix....97 Part 7: Editing Mixes..99 What is a Mix?....99 Polyphony in Mix Play Mode....99 Program Assign for each MIDI Channel..99 Mix Edit Mode...100 Understanding the Edit Buffers...101 Level Setting for Each Program...102 Pitch....103 Effect....103 Keyboard/MIDI....104 Controllers....105 Setting the Range....106 Naming a Mix....106 Part 8: Editing Programs.107 Overview....107 The Normalized Synth Voice...107 How the QS6.1 Generates Sound....108 Program Sound Layers....108 QS6.1 Signal Flow...109 About Modulation...111 About Signal Processing...112 Drum Mode...113 Storing Your Edited Programs...114 Program Edit Functions...115 Voice....116 Muting and Unmuting Sounds...116 Level....119 Pitch....120 Filter....123 Amp/Range....126 Pitch Envelope...130 Filter Envelope...133 Amp Envelope....QS7.1/QS8.1 Reference Manual

Setup & Connections: Part 1 Note: When using ADAT-XTs without the BRC, it is not necessary to connect the 48 kHz Clock. If set up properly, the XTs will slave to the QSs Digital Output.

Overview: Part 2

PART 2

OVERVIEW

A Q UICK T OUR OF T HE FRONT PANEL

THE WHEELS

At the far left of the front panel you will find two powerful controllers: The [PITCH] wheel. Move this control up or down to expressively bend the pitch of the synth. The [MODULATION] wheel. Move this control to cause interesting sonic changes in the current Program or Mix. Sometimes you wont hear anything happen when you use the [MODULATION] wheel. In these cases, either (A) the current Program or Mix isnt programmed to respond to modulation, or (B) modulation is tied to a function that is currently off. Heres an example of the latter: if the [MODULATION] wheel is programmed to control chorus speed, but chorus d e p t h is currently set at zero, then moving the [MODULATION] wheel wont do anything audible.

THE SLIDERS

Moving to the right, you will see 5 different sliders: The [VOLUME] slider. This fader raises and lowers the QS7.1/QS8.1s audio output level. [CONTROLLERS A, B, C, and D]. These faders are programmable and can be used to give you hands-on control of many different parameters. What they do will vary depending on how the Program or Mix has been designed. As you move them, the LCD gives you visual feedback in the form of small vertical bargraphs. Please note: this only happens if a control function is assigned to the slider being moved. That means the quickest way to find out which sliders are working in a given Program is to push all four sliders up while watching the display. During editing, the [CONTROLLER D] slider serves as a data entry control.

Part 2: Overview

THE EDIT MODE BUTTONS
There are 6 buttons grouped together at the immediate left of the display:
[v VALUE]. When you are editing, this button increments the selected value. At all other times it steps you forward through the available Programs or Mixes, depending on which mode youve selected. [VALUE w]. Same as [v VALUE], except that it decrements values and steps backward through Programs and Mixes. [EDIT SELECT]. This button takes you into Edit Mode. To get back out, press either [MIX] or [PROGRAM]. [STORE]. A true multi-purpose control. It is involved in making MIDI sys-ex transfers, in saving and loading both User and Card Banks, in copying Effects patches, and when initializing individual Sounds within a Program. When editing, this is the button youd press to store an altered Program or Mix to a selected location in the QSs memory. In normal performance it gives you a quick way to copy the current Program or Mix to a new location. [ PAGE]. When editing, this button cycles you backward through the available pages for the current parameter (theres an indicator in the upper right of the LCD that tells you what page you are on). In Program Mode, this button changes your QSs basic MIDI channel. In Mix Mode, it is used to display the Programs assigned to different MIDI channels, so that you can change these assignments on the fly. [PAGE ]. Same as just above, except that it cycles you forward instead of backward.

T HE PERFORMANCE C ONTROLS
There are a number of expressive ways to control the sound of your QS while you are playing. They are: Velocity. This refers to how slow or fast you strike the keys. In most Programs, faster means louder. Velocity can also cause tonal changes in the sound, trigger new Sound layers in a Program, or do other things entirely. It all depends on what parameters are set to respond to it, and how. Aftertouch. Strike a key, hold it downand then push it down a little harder. Thats aftertouch. (Youll also see it referred to as Pressure in some instruments and software.) Common uses include triggering changes in the pitch, tone, or volume of notes. Pitch Bend Wheel. Push the [PITCH BEND] wheel up and the pitch of your QS goes up. Push the wheel down, and it goes down. Let the wheel go and it springs back to center. A no-brainer, right? There have been pitch bend wheels on synths since the early days, so this function is properly familiar to you. Familiar or not, however, the simple fact is that bending pitch is a blast. Do it well and you can achieve incredible levels of emotional expression. One thing to remember: the amount of available pitch bend may vary from Program to Program.
Part 2: Overview Modulation Wheel. The [MODULATION] wheel has also been around pretty much forever in synth design. It got its name because it is typically used to add varying levels of modulation (such as vibrato or tremolo) while you play. But it isnt limited to that. It can also be used to create filter-opening effects, to raise and lower volume, to pan signals from left to right (by crossfading between two separately hard-panned Sounds), to select between layers, to lengthen a reverb time, and lots more. It all depends on the individual Program settings. Controller Sliders A-D. These sliders can control any parameter that has been assigned to them (which may change from Program to Program). They are particularly useful when you want to have several related controls close at hand, for quick adjustment. Sustain Footswitch. If you connect a footswitch to the [SUS PEDAL] jack on your QSs back panel, you can use it to hold down notes after your lift your finger from the keyboard. In some Programs piano and acoustic guitar sounds, for example such held notes will naturally decay within a time set by the Programs parameters. In other Programs like organs, woodwinds, and many synth sounds theyll sound for as long as you keep the footswitch depressed. Expression Pedal. Think of this as a Modulation Wheel for your feet. All you have to do is connect a volume-type pedal to the [PEDAL 1] or [PEDAL 2] jacks on the QSs back panel, and you can use foot action to control pretty much any Program or Effect parameter that you want. Some obvious uses include changing volume, raising and lowering vibrato rates, increasing reverb depth or delay repeats, etc. But thats hardly the limit, so we invite you to see what you can come up with by experimenting for yourself.

PAGE 9 CONTROLLER B #

Part 4: Basic Operation The same as Global Edit Page 8, above, but for Controller B. The factory default is Controller 013.

PAGE 10 CONTROLLER C #

The same as Global Edit Page 8, above, but for Controller C. The factory default is Controller 091.

PAGE 11 CONTROLLER D #

The same as Global Edit Page 8, above, but for Controller D. The factory default is Controller 093.
PAGE 12 PEDAL 1 CONTROL #
Just like MIDI Controllers AD, your QSs [PEDAL 1] jack can be assigned to a MIDI controller. In fact, it already is. The factory default is Controller 007 (Main Volume), which explains why a pedal plugged into the back panels Pedal 1 jack will automatically control volume. It doesnt have to be limited to that, however. You can use this parameter to change it to any Controller from 0 to 120. (Please note that if you do, a footpedal plugged into your [PEDAL 1] jack wont work as a volume control anymore!) In short, then, this setting determines what MIDI data is sent out when you step on a properly-connected footpedal. And since PEDAL 1 is also an available setting for modulating Programs or Effects, your choice here will determine exactly what incoming MIDI Controller data will modulate those Programs, Effects and (by extension) Mixes that have been set up to respond to PEDAL 1. Something to be aware of: Unless you deliberately mean to, dont assign the same Controller Number to two different physical controllers. Their interaction could get very confusing! Its even possible that they could fool you into thinking that something in your QS is either broken or not working properly, since youd be moving a controller and not getting the exact response you expect.
PAGE 13 PEDAL 2 CONTROL #
This setting works exactly like Pedal 1, just above. If you dont have a second pedal, you can still use this function in a very powerful way. This Global page gives you one more assignable continuous controller to which the QS can respond. Also, when you get to Part 8: Editing Programs, you will see that PEDAL 2 is one of the available Program modulation sources. So you can plug in a second pedal and control any number of Program or Effects modulation destinations, or you can simply allow the MIDI controller of your choice to do it for you. The factory default for this setting is 004 (Foot Controller).
PAGE 14 MIDI PROGRAM SELECT MODE
This parameter determines how your QS deals with MIDI Program Change Commands. There are three possible settings: OFF turns all Program Changes off. With this choice selected, your QS will neither send Program Changes nor respond to them. ON makes the QS respond to incoming MIDI Program Changes, and send them out whenever you change Programs from its front panel. In Program Mode it will send and receive Program Changes over the currently selected MIDI channel. In Mix Mode, Program Changes are received over all active MIDI channels, but sent only from those displayed channels that have had MIDI OUT enabled. Please Note: With this setting, incoming Program Changes will only affect the Programs associated with each specific channel, not the entire Mix. MIDI MIX SELECTION: CHANNEL 1 through CHANNEL 16 are identical to ON as far as Program Mode is concerned. In Mix mode they work quite differently, however, allowing you to change entire Mixes in response to Program Change commands. Select CHANNEL 4, for example, and a Program Change 22 command coming in over MIDI Channel 4 would automatically select Mix 22 in the current Bank. The same is true of Bank Select messages which come in on Channel 4 in this scenario; theyll call up a Mix in another Bank. (Program Changes coming in over other MIDI channels would continue to work as before, changing any Programs associated with those channels within the current Mix.) Any time you turn General MIDI Mode (Global Page #7) to ON, the MIDI Program Change setting will automatically default to ON as well. Theres a good reason for this: if MIDI MIX SELECTION were left in place here, then an incoming Program Change could call up some other Mix than the standard GM Multi Mixand thered be no telling what the GM sequence you were playing might wind up sounding like! For an in-depth discussion of how these settings impact Bank Select transmission and response, see Part 5: MIDI.

Part 6: Editing Effects PITCH DETUNE As its name implies, Pitch Detune takes a part of the signal and detunes it either sharp or flat. When mixed back with the original dry signal, the popular 12 string guitar effect is produced, thickening the sound.
RESONATOR This can be thought of as a highly resonant filter or a filter that is tuned to a specific frequency with a lot of emphasis which causes the frequency at which the resonator is set to be highly accentuated. This is useful for creating a brighter, buzzier, edgier sound. Note: when you want to control the Resonators output level on the Mix button [120], adjust the Pitch effect level for that Send.

DELAY INPUT LEVEL

Range of Settings: <99 to <0> to 99> Page 2 (Config. 2 only)
This parameter is only available on Send 1 in Configuration #2. It adjusts the level of the signal running from the Delay output to the Pitch Input. If the chosen Pitch type is Mono Chorus, Stereo Chorus, Mono Flange, or Stereo Flange, then Page 2 through Page 5 of the Pitch function will contain the following four parameters:

WAVEFORM SHAPE

Range of Settings: Sine/Square Page 2
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.
Range of Settings: 00 to 99 Page 3
This parameter adjusts the LFO Speed of all Pitch types, with the exception of Pitch Detune and Resonator.
Range of Settings: 00 to 99 Page 4
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

Range of Settings: 00 to 99 Page 5
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 three parameters only appear if the Pitch type is set to Pitch Detune or Resonator, respectively.

DETUNE

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.

If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of Send 1s Reverb function will look like this:
There is a unique parameter on this page: Chorus Input Level. It lets you adjust the level of the signal coming from the Pitch output going into the Reverb; otherwise the signal comes purely from the Pitch input. (Note that the signal which reaches the Chorus may already have passed through the Delay module, depending on the Input settings of the Chorus.) The only difference for Send 3 is that it has no Delay ahead of the Chorus. Otherwise it functions exactly the same as Send 1 in Configuration #2.
The rest of these parameters are common to all Reverbs in all Configurations (except as noted):

REVERB PARAMETERS

Use the [PAGE ] button to advance the display through the remaining pages of the Reverb function. But dont forget that you must also have the correct Effect send selected in order to get at the Reverb parameters. Just a reminder: in Config. #1, they are found only on Effect send 1; in Config. #2, they are found on Sends 1 and 3 (since there are two separate Reverbs). Here are the parameters you will find on these pages:

REVERB TYPE

Range of Settings: (see below) Page 5
The QS has seven different reverb types, all stereo, each of which simulates a different space or produces a different ambient effect. The different Reverb types are: Plate 1 & 2. The two Plate reverb types simulate an artificial device known as a Plate. In the early days of recording, Plates were extremely popular because they were almost the only way to provide any sort of artificial ambiance to a recording. The sound of a well-tuned Plate has become quite popular over the years, especially when used on vocal or drum sounds. The tonal characteristics of these two Plate reverbs differ subtly in ways similar to different manufacturers plate reverbs.
Part 6: Editing Effects Room. The Room reverb type simulates not only rooms of different sizes, but rooms with different surface materials. A room with soft surfaces such as carpet will produce a reverberant sound with much less high end (treble) than a room with hard surfaces. This reverb type can easily simulate both examples and many, many more. Hall. Much larger than a room, Halls are characterized by their high ceilings, irregular shapes, and generally uniform density of reflections. Large. Much larger than a hall, this reverb type emulates the large ambient spaces found in amphitheaters, gymnasiums, etc. Gate. Gated Reverb is a very popular effect on drums first found on English records in the early 1980s. This reverb type can simulate applying a noise gate (a device that automatically decreases the volume once the signal falls below a certain level) across the output of the reverb thereby causing the initial attack of the reverb to sound very big, but the tail of the reverb to be cut off very quickly. Although this effect is not found in nature, it works great for modern drums, percussion, and any quickly repeated, transient source. Reverse. The Reverse Reverb type is an inverted reverb in which the volume envelope is reversed. This means that the signal begins softly but grows louder until it is cut off, rather than loud to soft as normal.

Use Mix Play Mode: When you want to layer more than four voices. In Mix Play Mode, it is possible (though not advisable) to stack all 64 voices onto a single key. When each sound is likely to be used by itself by other setups. For example, if you are programming three different keyboard splits, each of which uses the same left-hand bass patch, it makes sense to use Mix Play Mode. When you want different sounds to respond to different MIDI channels.

QS SIGNAL FLOW

THE FOUR SOUNDS OF A PROGRAM
Each Program is made up of at least one to four Sounds. A Sound is made up of several components including a voice (the original sound material) which passes through a low-pass filter and an amplifier. The voice, filter and amp modules each have direct modifiers (Low Frequency Oscillators [LFOs] and Envelopes) which affect how each will function in the Program. You can layer these Sounds together, or divide them into regions of the keyboard, or a combination of these things. The following diagram illustrates the signal flow within each QS Program.
When editing a Program, use the [00] - [30] buttons to select the Sound layer you want to edit. Lets look at each modules function in detail.

THE VOICE

This digitally-based oscillator provides the actual raw sounds from the 16 megabyte library of on-board samples. These "raw sounds" can take the form of a simple synth wave, a multi-sample of a grand piano, an orchestra, or even a full drumkit! The oscillators pitch can be tuned to a fixed frequency or modulated. Modulation is the process of varying a parameter dynamically over time; the oscillator pitch can be modulated by an envelope, velocity, pressure, pedal, LFO, and other control sources (described later). In this manual we frequently refer to the "Sound", which is a combination of the Voice, the Filter, the Amplitude section, and the various ways of modulating them. In their raw forms (such as you would hear after re-initializing the QS) the samples on the QS have a constant sustaining amplitude, like an organ. In order to shape the sound so it fades, you would use an envelope or two (keep reading!).

LOWPASS FILTER

Portamento Rate (0 to 99)

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. one Sound for TIP: With a feedback guitar patch that uses one Sound for the guitar andinsures that your the feedback, setting the feedback sound to Mono Keyboard Mode 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 QS 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 unrealistic. Imagine a fluteplayer 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. If the QS's Keyboard Mode is set to Mono and you're striving for this sort of realistic articulation, we recommend an envelope Trigger mode of "Normal". This is because the three envelopes (Pitch Envelope, Filter Envelope and Amp Envelope) will retrigger with every note you play when their Trigger Modes are set to Reset or Reset-Freerun. For more information on the various Envelope Trigger modes, see pages 131 and 134.

FILTER

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. Note: This parameter interacts with several others. If you hear no change when you raise the Filter Frequency amount, try lowering the Filter Envelope Depth on the FILTER function's page 7 (push [ PAGE] once to find it). most the filter. A TIP: Signals with complex harmonic structures arewill notaffected bysignificantExamples:as sine wave has virtually no harmonics so you hear any changes 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.

You can create your own custom velocity curves using the Tracking Generator and the Mod section. It's easier to do this if you select the MINIMUM curve. Then select an available Mod (say Mod 1, or button [0]), and on page 1 select TRACKGEN as your source. On page 2 select Amplitude as your destination, and then set the level to +99 on page 3. On button [9], page 1, select Velocity as your Input and then experiment with the ways different numbers affect the velocity response as you input values for Points 0-10. See pages 139-142, 149 and 150 for more information.
At +00, aftertouch has no effect on the amplitude. Applying aftertouch with this parameter set to a positive value raises the amplitude; conversely, applying aftertouch with a negative value will make the sound softer the harder you press. The higher the number (either positive or negative), the greater the effect for a given amount of aftertouch. swell of string horn parts. But please note: TIP: Use aftertouchattomaximumthe amplitude probably and have the "headroom" available Notes played velocity will not for a positive-going amplitude swell. Try playing some soft, medium, and loud notes while experimenting with this parameter.
Amp LFO Depth (-99 to +99)
At +00, the Amp LFO has no effect. Higher positive values increase the amount of LFO modulation. Negative values give the same apparent effect, but with reversed LFO phase (i.e., if the amplitude would normally be increasing with depth set to a positive number, the amplitude would instead be decreasing at that same moment had the depth been set to a negative number). Amp LFO parameters (such as speed and wave shape) are programmed within the Amp LFO Function on button [8] (see pages 147-148). Note: If you hear no change when you alter this parameter, spend some time experimenting with the Amp LFO Functions on button [8]. Another note: If your Amplitude LFO is using the Square, Up Saw, Down Saw, or Random+ waveshapes, you may get a more pronounced effect if you use a negative setting for Amp LFO Depth. See page 144 for more information about the various LFO waveshapes.
TIP: Amp LFO set to a triangle wave gives tremolo effects.
Each Sound can be restricted to a specific range of the keyboard. This is ideal for creating splits (e.g., bass on the lower keys, piano in the middle, and strings in the upper octave). The Lower Limit specifies the lowest note of the Sounds keyboard range. You can set the lower limit when you're on this page by holding [80] and tapping a key on the keyboard.

Delay (00 to 99, Hold)

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 Pitch 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.

Sustain Decay (00 to 99)

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. When set to 0, the envelopes level will immediately jump down to 0 upon reaching the sustain stage.
Trigger (Normal, Freerun, Reset, Reset-Freerun)
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 Pitch Envelope will only retrigger when playing legato if the Trigger Mode is set to either Reset or Reset-Freerun.
Time Tracking (On or Off)
This determines whether or not keyboard position will affect the cycle speed of the envelope. When turned on, playing toward the higher end of the keyboard will result in a faster envelope cycle; playing toward the lower end of the keyboard will result in a slower envelope cycle. However, this does not affect the attack time, but only the decay, sustain decay and release segments. This feature will result in only a subtle change. The envelopes timing doubles or halves over a range of two octaves.

This determines whether or not the Sustain Pedal will have an effect on the envelope. When turned on, holding down the Sustain Pedal while playing short notes is virtually the equivalent to holding down those notes on the keyboard with some subtle but important differences. If the Delay and Attack are set to 0 and either the Decay is 0 or the Sustain is 99, the envelope will immediately jump to the sustain decay stage (if not already there) when the note is released and the sustain pedal is held down. If a long attack is set, and the envelope has not reached the end of the attack segment when the note is released, the envelope will jump immediately to the Sustain Decay segment. If a long delay is set, and the envelope has not reached the attack segment before the note is released, the envelope will remain at 0. However, if Freerun is turned on, the envelope will continue through the delay, attack, decay and sustain segments and remain at the sustain decay segment. This is exactly the same as holding down the note on the keyboard. When the Sustain Pedal parameter is turned off, the Sustain Pedal will have no effect on the envelope.

Level (00 to 99)

This is the overall output level of the envelope. If this is set to 00, the Pitch Envelope will have no output and will have no effect, while at 99 it will have a maximum effect on whatever it is being routed to. Pitch a modulation set the Pitch TIP: When selectingto 00 ifEnvelope Level asLevel is above 0destination, Pitch Envelope Envelope level the Modulation (or, set the level to 99 if the Modulation Amount is below 0).
Velocity Modulation (00 to 99)

Page 11

This parameter is called VEL>PLevel in the display. It determines how keyboard dynamics will affect the envelope level. When set to 99, note velocity controls the envelopes output; notes played hard will deliver a higher envelope output than notes played soft. When set to 0, note velocity will have no effect on the envelopes output level. Note: If the Penv Level is at 99, a positive value of any sort for VEL>PLevel will have no effect. Likewise, if VEL>PLevel is at 99 and Penv Level is at 00, only low velocity notes will allow a difference to be heard when you change the Penv Level value. This is because the Pitch Envelope cannot reach an output level higher than 99. You must add the Penv Level and VEL>PLevel values together to know if you are trying to exceed that limit. So, if you have a Penv Level value of 40, you have enough headroom in the Pitch Envelope to set VEL>PLevel to 59. But if the Penv Level is set to 70 and VEL>PLevel is at 45, you're trying to get the Pitch Envelope to give an output of 115 (which it can't do). In this scenario, you should scale back one or the other (or both) until their combined values do not exceed 99.

FILTER E NVELOPE

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. Note: Be sure to read the TIP in the Filter Envelope Trigger Mode section on page 134. It deals with getting the most natural interaction between the Sustain Pedal and the Filter Envelope. Envelope the Amplitude Envelope Sustain TIP: For the most effective Filtercontrol thesweeps,ofleaveSound entirely with the Filter level at maximum (99) and shape the envelope (especially the Decay rate and Sustain level). 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.

Index external sequencer setting Keyboard Mode..51 tutorial..50 using with serial port..50 General MIDI.172 turning GM on/off..44 General MIDI sound bank, defined.26 global control Clock Source/Clock Rate.48 CONTROLLER A-D sliders assigning MIDI control numbers..44 reset..47 selecting the Global Mode.47 Input/Output mode.46 MIDI Out mode..47 Pedals 1 and 2 settings.45 Program Select mode.46 set A-D sliders mode.47 GM Registered Parameter Numbers.173 list of Controller Numbers.171 MIDI Channel, changing.30 MIDI defined..169 MIDI features in Mix Mode.49 MIDI hardware..169 MIDI messages Channel Messages.170 System Common Messages..172 MIDI ports, defined..12 Program assign for each Channel.52 QS Implementation Chart.174 System Exclusive editing Programs via SysEx.59 saving Programs via SysEx..58 MIX changing Programs within a Mix.37 copying..36 Effect Buss/Level.102 identifying Programs in a Mix.32 MIDI features overview..49 MIX button..22 Mix Edit functions..100 Controllers..105 Effect..103 Keyboard/MIDI..104 Level..102 Name..106 Pitch...103 understanding edit buffers..101 Mix Mode, defined..24, 99 Mix Play Mode MIDI Channel program assign..99 QS polyphony issues.99 playing Mixes..31 selecting a Mix Bank..31 QS7.1/QS8.1 Reference Manual selecting an individual Mix..31 storing a Mix to a card..37 storing a Mix to the User Bank.37 using BANK buttons in Mix Mode.22 Modulation Matrix..13943 chart of hardwired mods..139 MODULATION wheel..19 defined..27 Mute Groups (Drum Mode).116 muting/unmuting Sounds.155 N Name function chart of characters..106, 138 naming a Mix..38, 106 naming a Program..38, 138 O Output jacks..10 Overdrive effect.96 P PAGE buttons...20 PC/MAC switch..14 PCMCIA.. see Expansion cards Pedals 1 and 2..16, 45 PITCH wheel...19 defined..26 Play Mode Buttons BANK buttons.22 MIX button..22 PROGRAM button.22 PROGRAMS changing the MIDI Channel.30 copying..36 defined..24 Drums..see DRUM Mode Effect Buss/Level.119 Modulation overview..11112 playing Programs..30 PROGRAM button.22 Program Edit functions Amp envelope..13638 Amp LFO..14748 Amp/Range.12629 Filter..12325 Filter envelope.13335 Filter LFO..14647 Introduction.115 Level..119 Modulation Matrix..13943 chart of hardwired mods.139 Name..138