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ALESIS QS7 and QS8
Thank you for purchasing the Alesis QS7/QSVoice Expandable Synthesizer. To take full advantage of the QSs 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 QS. To get the most out of your QS, 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 QS. This section provides a brief tour of the QS, shows you how to audition the various sounds of the QS, 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 QS, 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.
The buttons, knobs, and rear panel connectors and switches are referred to in this manual just as their names appear on the QS, using all capital letters and in brackets (Example: [PROGRAM] button, [ PAGE] and [PAGE ] buttons, CONTROLLER [D] 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 QS.
Mac and Macintosh are registered trademarks of Apple Corporation.
QS7/QS8 Reference Manual
Table of Contents
1: SETTING UP.... 7
Unpacking and Inspection....7 AC Power....7 Line Conditioners and Protectors...8 About Audio Cables...9 Basic Audio Hookup...9
2: YOUR FIRST SESSION... 11
Powering Up....11 Playing the Demo Sequences...11 Whats a Program?....11 Whats a Mix?....12 What's a Bank?....12 About Sound Groups....12 Playing the QS Keyboard....13 Program Mode and Mix Mode...13 Selecting the MIDI Channel in Program Mode..14 Auditioning Internal Programs...14 Selecting Program Banks....14 Realtime Performance Functions...15 The Controller AD Sliders...15 Auditioning Mix Play Mode...16 Selecting Mix Banks...16 Choosing Programs in a Mix....17 Storing an Edited Mix...18 Enabling General MIDI Mode....18 Using the PCMCIA Expansion Card Slots...19 A Word About the QS CD-ROM...20 Sound Bridge ....20
3: CONNECTIONS... 21
Basic MIDI Hookup....21 Using an External Sequencer...22 About the Keyboard Mode...22 Using a Computer....23 IBM PCs and compatibles...23 Macintosh ...24 Master Controller for Live Use....24 Pedal and Footswitch Hookup....24 Digital Audio/Optical Hookup....25 Recording Digital Audio...KHz In....26
4: OVERVIEW.... 27
Basic Architecture....27 QS Polyphony....27 Modes....28 Program Play Mode...28 Mix Play Mode...28 Program Edit Mode...28 Mix Edit Mode....29 Effects Edit Mode....29 Global Edit Mode....29 Store Mode...29 Compare Mode....29
The Level function (press ) allows you to control the volume, pan position, output assignment and effects send level for each sound layer. With up to four sounds per program, this allows for a wide variety of stereo effects and level balances between the sounds.
This sets the overall volume for a sound. Higher numbers give higher levels.
Pan (<3 to 3>)
There are 7 available pan locations in the stereo (two-channel) field: Far left (-3), mid left, near left, center (0), near right, mid right, and far right (+3). The pan value is maintained, even if the Output value is changed (see below).
Output (Main, Aux, or Off)
The Output parameter has three settings: Main, Aux, or Off. To send the sounds output to the Main outputs, select Main. To send the sounds output to the Aux outputs, select Aux. To turn off the sounds output, set this parameter to Off. (Note, however, that the sound may still feed an Effect Send). sound use Output TIP: To send aPanningtoaan individual output,selecting the in conjunction with Pan. the Example: sound full left and Aux outputs means that sound will appear at only the left Aux output.
Effect Level (00 to 99)
The QS isnt just a synthesizer; it also has a built-in effects system and mixer, with four effect buses and sends. This section lets you feed the sound to one of the effect buses for processing (see Chapter 7 for more information on editing Effects). The Effect Level parameter determines how much of the sound feeds the chosen effect bus (see below). Higher values mean that the sound will be more effected.
Effect Bus (1 to 4)
Selects which of the four buses the sound will feed, thereby determining which effect(s) will process the sound. Each Program has its own unique arrangement of effects. Example: In Program #12, bus 1 may be a Chorus/Delay/Reverb, while in Program #27, bus 1 may just be a Flanger.
The Pitch function (press ) lets you control the pitch aspects of each sound layer.
Semitone (-24 to +24 semitones)
Sets the oscillator pitch in semitone steps, from -24 (transposed down two octaves) to +24 (transposed up two octaves).
Detune (-99 to +99 cents)
Sets the oscillator pitch in cents, from -99 (transposed down 99/100 of a semitone) to +99 (transposed up 99/100 of a semitone).
Detune Type (Normal or Equal)
With Normal selected, the percentage of detuning remains the same over the entire range of the keyboard, so the effects of detuning sound the same no matter which key you play. With Equal selected, the absolute amount of detuning remains the same over the entire keyboard, so any detuning seems less pronounced as you play higher up on the keyboard.
Pitch Wheel Range (0 to 12 semitones)
Determines the maximum amount of pitch bend when the [PITCH] wheel is full forward. Example: When set to 12, the pitch wheel will bend 1 octave (12 semitones).
Aftertouch Depth (-99 to +99)
At +00, aftertouch has no effect on pitch. Applying aftertouch (by pressing harder on the keyboard, or via MIDI messages) with this parameter set to a positive value raises the pitch; conversely, applying aftertouch through a negative value lowers the pitch. The higher the number (either positive or negative), the greater the amount of pitch change for a given amount of aftertouch.
Pitch LFO Depth (-99 to +99)
At +00, the pitch LFO has no effect. Higher positive values increase the amount of Pitch LFO modulation. Negative values give the same apparent effect, but with reversed LFO phase (i.e., if the pitch would normally be increasing with depth set to a positive number, the pitch would instead be decreasing at that same moment had the depth been set to a negative number). Pitch LFO parameters (such as speed and wave shape) are programmed within the Pitch LFO Function (see page 72).
Pitch Envelope Depth (-99 to +99)
At +00, the Pitch Envelope has no effect. Positive values raise the pitch from the baseline according to the envelope shape, while negative values similarly lower the pitch (see illustration below). The higher the number (negative or positive), the greater the effect. Pitch Envelope parameters (such as attack and decay time) are programmed within the Pitch Envelope Function (see page 61).
Portamento (Exponential, Linear, 1 Speed)
This provides the sweeps curve.
With an exponential curve, the pitch change seems to happen more rapidly at first, then slows down as it approaches the ending pitch. A linear curve produces a constant pitch change throughout the glide. Normally, the greater the interval (the pitch difference between the two notes), the longer the glide. For example, a glide between two notes a whole step apart would take much less time than a glide between two notes an octave apart. The 1 Speed curve maintains a constant glide rate regardless of the pitch difference between notes.
Quantize Mode (Off or On)
The Quantize Mode function is only available in modulation routings 4 through 6. When Quantize Mode is on, the modulation effect will be stepped. When off, the effect will be smooth, or linear. Example: If you were to route the Modulation Wheel to Pitch with an amplitude of +99, moving the Mod Wheel while the Quantize parameter was off would cause the pitch of a held note to slide up, much the same way it does when the Pitch Bend Wheel is used. However, moving the Mod Wheel while the Quantize parameter was on would cause the pitch of a held note to rise in half-step increments.
The Pitch LFO function (press ) is most often used to apply vibrato to a sound.
The following Pitch LFO variables will make a difference in the sound only if the PITCH LFO DEPTH (on Page 6 of the PITCH function) is set to a value other than 0, or, if the Pitch LFO is a source in the MOD function.
Wave (8 choices)
The waveform determines the shape of the LFO. Select either Sine, Triangle, Square, Up Saw, Down Saw, Random+-, Noise or Random+. Note that the two Sawtooth waves and the Random+ wave are unipolar and the rest are bipolar:
SINE TRIANGLE SQUARE UP SA W
Speed (00 to 99)
Controls the speed or rate of the LFO. For fast modulation, increase this value. For slower modulation, decrease this value.
This is the amount of time that is to occur before the LFO fades in. Sometimes, it is desirable to have modulation come in a moment or two after a note has been played, rather than starting instantly. The higher the value, the slower the LFO fades in.
Trigger (Mono, Poly, Key Mono, or Key Poly)
The Trigger parameter determines how the LFO should be triggered, or started. There are four possible settings: Mono, Poly, Key Mono and Key Poly. When playing multiple voices in a single sound, each voice has its own LFO. However, the LFO Trigger parameter determines whether or not they should be in sync, and whether or not they can be retriggered independent from one another. Mono. All voices LFOs are in sync with each other. If you hold a chord and then play new notes on top of the chord, all voices LFOs will be moving in the same direction and at the same speed. Because of this, modulating the LFO Speed using a voicespecific source (such as velocity or one of the envelopes, for example) will have no effect (you will be allowed to do this, but you wont hear any difference). This is because these modulation sources are meant for polyphonic purposes. These include: Note Number, Velocity, Release Velocity, Pitch/Filter/Amp LFO, Pitch/Filter/Amp Envelope, Random, Trig Rate and Tracking Generator. However, modulation sources which are not voice-specific will still have an effect while the LFO Trigger is set to MONO. These include: Aftertouch, Mod Wheel, Pitch Wheel, MIDI Volume, Sustain Pedal, Pedal 1, Pedal 2, and Controllers AD. Poly. Each voices LFO is independent. If you hold a chord, some voices LFOs will be moving in one direction while others move in the other direction. If the LFO Speed is being modulated (by one of the envelopes, for example), the LFOs of each voice may be running at different speeds. Key Mono. This is identical to MONO, but whenever a new note is played, the LFO is retriggered, instead of continuing from wherever it may be in its cycle. Key Poly. This is almost identical to POLY, but whenever a new note is played, the LFO is retriggered, instead of continuing from wherever it may be in its cycle.
COPYING EFFECT PATCHES
When you want a Program to use the Effects from a different Program, you must copy that other Programs Effects into the Program you are working on. This is done within Store Mode using the Copy Effect function. First, select the Program which contains the Effects you wish to copy. And, of course, you can only copy Effects to Programs that are in the User Bank or on a RAM Sound Card Bank. For more about copying effects, see page 36.
A Configuration is essentially the starting point of any Effects Patch. You must select the Configuration you are going to use before making any other edits, since all routings and parameters change to their default settings each time you change the configuration. Each Configuration is a unique arrangement of multiple effect blocks, distributed across the four effect sends. Some effect sends may have three different effects (pitch, delay and reverb) on them. Configurations also determine where the signal to a block comes from, and where the output of each block goes to -- the main outputs, the next effect in line, or even to an effect block belonging to another effect send. The Configuration diagrams on the next six pages provide a crucial road map youll need to guide you through the many paths that are possible in each configuration. Refer to them as you program the effect. The five Effect Configurations are: Configuration #1: 1 Reverb Configuration #2: 2 Reverbs Configuration #3: Lezlie and Reverb Configuration #4: Reverb and EQ Configuration #5: Overdrive and Lezlie
The Configuration function is used to select the Configuration for the Effects Patch you are editing. While in Effects Edit Mode, press the  button to select the Configuration function. The display should look like this (from Mix Edit Mode): ED:MIX EFFECTS CONFIG: 1 REVERB Use the [s VALUE] and [VALUE t] buttons or the [EDIT VALUE] slider to select the Configuration. As you scroll through the various Configurations, each ones name will appear in the lower right section of the display. The following is a run-down of the various Configurations:
CONFIGURATION #1: 1 REVERB
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 Pitch 3 Resonator
Delay 1 Mono delay Stereo delay Ping-pong delay
Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 2 Balance and level to Reverb 1
Delay 2 Mono delay Stereo delay Ping-pong delay
Delay 3 Mono delay Delay 4 Mono delay
Reverb 3 Balance and level to Reverb 1 Reverb 4 Send/delay mix and level to Reverb 1
Think of the diagram as a road map showing all possible paths from the starting points (FX SEND 1 through 4) to the ultimate destinations (LEFT and RIGHT outputs at the top of the page). The dotted lines indicate the divisions between different functional blocks, and the solid lines indicate signal paths between the blocks and controls. The diagram is similar to a block diagram for a mixer, with signal moving generally from the left to the right. The number next to each function name represents one of the four effect sends. For example, Delay 2 refers to the Delay effect on effect send 2. This Configuration #1 provides three Pitch effects, four Delay effects and one Reverb effect. The Pitch effects are found on effect sends 1, 2 and 3, but while the Pitch effects on sends 1 and 2 are stereo and their types are selectable (Mono Chorus, Mono Flange or Resonator), the Pitch effect on send 3 is mono and can only be used as a Resonator. Effect send 4 has no Pitch effect. Each of the four sends has its own Delay effect, but while the Delay effects on sends 1 and 2 are stereo, the Delay effects on sends 3 and 4 are mono. Each effect send can be routed through the Reverb. Since there is only one Reverb effect, it is found in the first effect send (see next section on Reverb). Reverb parameters that set the sound of the reverb itself (such as high and low decay, reverb type, predelay, etc.) are found only when SND1 is displayed. However, each of the 4 effect sends has controls for how much dry signal and how much effected signal are sent to the Reverb effect. Example: The Reverb 2 block allows you to send signal to the reverb from four different points in the second effects chain: a) the send input itself, b) the output of Pitch 2, c) the input of Delay 2, or d) the output of Delay 2. You can even send a combination of these to the reverb. But to change any other reverb parameters, you must return to editing Reverb 1. Each Pitch, Delay and Reverb module has its own independent Mix output level (i.e., how much of their output is routed directly to the Main Left and Right outputs). The Mix function is where you determine how the effects will actually be heard. Mix 1, for example, is where you can control the outputs of Pitch 1, Delay 1, and Reverb 1 to the main outputs. The Mix parameter controls how much an effect block feeds directly to the main outputs, but doesn't control how much it feeds to any other blocks that may follow it. For example, when Pitch 1s Mix control is set to 0, it is still available as an input to Delay 1 and Reverb 1. Think of the Mix function in the QSs effects section as being similar to the effect return control on a mixing console. For example, if Effect Send 1s Mix Reverb Output parameter is set to 0, you won't be able to hear reverb regardless of how much input you feed it from any of the effect buses.
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.
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.
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
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
If the selected Configuration has a particular effect on more than one effect send (for example, Config. #1 has a delay on each send), then some Mod Destination parameters will be listed more than once. For example, the Delay Time parameter will appear four times (D1 Time, D2 Time, D3 Time, and D4 Time). In the case of Pitch, where you can choose from various pitch effects, different parameters are available depending on the effect chosen. However, the Mod Destinations retain their names. Example: If the Resonator is the Pitch effect, the Pitch Speed Modulation Destination controls the first parameter in the Resonator (Tuning).
CONTROLLERS A D A SSIGNMENT
Page 8 11
The QS allows you to assign up to four general purpose MIDI controllers. These controllers are assigned a letter, AD. These are directly linked to the CONTROLLER [A], [B], [C] and [D] sliders on the QSs front panel. They are also linked to specific MIDI controllers which can be received from another synth or sequencer. 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.
2 A SSIGNMENT
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 QSs 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 or 2 to a controller which may already be used by another control (like MIDI Volume/controller 7, or Mod Wheel/controller 1).
CONTROL V OLUME
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.
R ECEIVING /T RANSMITTING B ANK CHANGE MESSAGES
The QS will respond to MIDI Bank Select messages. Bank Select messages are transmitted via MIDI Controller 0. The value of Controller 0 determines which bank (User, Preset 13, GenMIDI, Card 111) is to be recalled. Example: If a Bank Select (controller 0) message 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 recall the same Banks. Example: A Controller 0 message with a value of 39 will recall the User Bank.
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. If the MIDI Program Select parameter is On and a new Bank is selected using the [ BANK] and [BANK ] buttons, a Bank Change message will be transmitted from the MIDI [OUTPUT] connector.
MIDI Transfer and Storage Operations: Chapter 9
MIDI TRANSFER AND STORAGE OPERATIONS
USING PCMCIA EXPANSION CARDS
The QS provides two PCMCIA EXPANSION CARD slots, [A] or [B], which are found on the rear panel. These accomodate Alesis QCard RAM cards. The QCard 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. 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.
SAVING THE USER BANK TO A PCMCIA CARD
The entire contents of the QSs User memory (100 Mixes and 128 Programs) can be stored to an Alesis QCard PCMCIA RAM card inserted into either PCMCIA EXPANSION CARD slot [A] or [B] on the QS. Depending on the amount of RAM a particular card has, up to 8 complete banks can be stored onto it.
Insert a card into the Sound Card slot on the back of the QS.
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)
Use the CONTROLLER [D] slider to select a bank location on the card to store to
(111). If the card contains a ROM bank, it will be bank 1. Therefore, you will only be able to save into bank locations 211.
Press [STORE] to transfer the user bank data from the QS 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.
Chapter 9: MIDI Transfer and Storage Operations
LOADING A BANK FROM AN EXTERNAL CARD
The QS can read data directly from a card by using the [ BANK] and [BANK buttons. To overwrite the User bank with a Card bank, use this procedure: ]
Insert the card into the card slot on the back panel.
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 [D] slider to select the bank on the card you wish to load
Press [STORE] to transfer the data from the card into the QS.
General MIDI is an extension of the MIDI standard designed to meet the demands of the ever-growing multimedia industry, and to make simple the act of playing commercially produced MIDI sequences. The General MIDI standard utilizes all 16 channels available in MIDI. The QS is a perfect General MIDI companion, since its Mix Mode uses 16 channels. Although many channels are commonly used for specific types of instruments (Example: Channel 1 is usually piano, channel 2 is usually bass, etc.), channel 10 is always used for drums. General MIDI also standardizes the placement of sound types in a sound devices memory bank. The QSs GenMIDI Bank is designed specifically for General MIDI, and organizes it sounds according to the General MIDI specification. This means, when a sequencer sends a MIDI program change message that is supposed to call up a particular sound, the correct sound on the QS will be called up, even if the composer of the sequence used a different sound device. The Programs in the GenMIDI Bank use the General MIDI names (in some cases abreviated) with the letters GM added to indicate their are designed specifically for use in General MIDI mode.
There are three MIDI registered parameters which the QS will recognize in Mix Play Mode when General MIDI Mode is enabled. These are: MIDI Registered Parameter 0 (Pitch Bend Sensitivity): This will directly effect the Pitch Wheel Range parameter of all four Sounds of the Program on the received MIDI Channel of the Mix. If the Channel is selected using the [ PAGE] and [PAGE ] buttons, the * symbol will appear between the Mode name and the Bank name in the upper part of the display if this parameter is received. However, if you are viewing the Pitch Wheel Range parameter in the display (Program Edit Mode, Pitch Function, Page 4), the display will not be updated to reflect the new setting. If you go to another Page or Function and then return to it, the display will now reflect the updated setting. MIDI Registered Parameter 1 (Fine Tune): This will directly effect the Detune Amount parameter of all four Sounds of the Program on the received MIDI Channel of the Mix. If this MIDI registered parameter is received, the QS will automatically make sure that all four Sounds of the Program have their Detune Type parameter set to Normal (Program Edit Mode, Pitch Function, Page 3). If the Channel is selected using the [ PAGE] and [PAGE ] buttons, the * symbol will appear between the Mode name and the Bank name in the upper part of the display if this parameter is received. However, if you are viewing the Detune Amount parameter in the display (Program Edit Mode, Pitch Function, Page 2), the display will not be updated to reflect the new setting. If you go to another Page or Function and then return to it, the display will now reflect the updated setting. MIDI Registered Parameter 2 (Coarse Tune):This will directly effect the Tune Semitone parameter of all four Sounds of the Program on the received MIDI Channel of the Mix. If the Channel is selected using the [ PAGE] and [PAGE ] buttons, tthe * symbol will appear between the Mode name and the Bank name in the upper part of the display if this parameter is received. However, if you are viewing the Tune Semitone parameter in the display (Program Edit Mode, Pitch Function, Page 1), the display will not be updated to reflect the new setting. If you go to another Page or Function and then return to it, the display will now reflect the new setting.
(Portions of this appendix are abridged versions of material from Power Sequencing with Master Tracks Pro/Pro 4 and The Complete Guide to the Alesis HR-16 and MMT-8, copyright 1990 and 1989 respectively by AMSCO Publications, and is adapted with permission.)
MIDI Implementation Chart
MIDI IMPLEMENTATION CHART
Basic Channel Mode Note Number Velocity Default Changed Default Messages Altered True Voice Note On Note Off Keys Chs
each Mode 3 X 0 127
each Mode 3 X O O O O O O O127 O X X X X X O2 O X O2 O
After Touch Pitch Bender Control Change Prog Change True # System Exclusive System Song Pos Common Song Sel Tune System Clock Realtime Commands Aux Local On/Off Messages All Notes Off Active Sense Reset GM On Notes
O O X O O O O127 O X X X X X X X X X X
1 O, X is selectable 2Recognized as ALL NOTES OFF
Mode 1: OMNI ON, POLY Mode 1: OMNI ON, MONO
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO
O : Yes X : No
QS6 Reference Manual
Parameters Index: Appendix C
PROGRAM EDIT PARAMETERS
Aftertouch Depth: Amp Aftertouch Depth: ALFO Aftertouch Depth: Filter Aftertouch Depth: FLFO Aftertouch Depth: Pitch Aftertouch Depth: PLFO Amp ENV Level Amp ENV Trigger Amp LFO Delay Amp LFO Depth Amp LFO Level Amp LFO Mod. Wheel Depth Amp LFO Speed Amp LFO Trigger Amp LFO Waveform Attack: Amp Attack: Filter Attack: Pitch Decay: Amp Decay: Filter Decay: Pitch Effect Bus Effect Level Filter ENV Depth Filter ENV Level Filter ENV Trigger Filter ENV Velocity Depth Filter Frequency Filter Keyboard Tracking Filter LFO Delay Filter LFO Depth Filter LFO Level Filter LFO Mod. Wheel Level Filter LFO Speed Filter LFO Trigger Filter LFO Waveform Keyboard Mode Mod. Wheel Depth: Amp LFO Mod. Wheel Depth: Filter Mod. Wheel Depth: Filter LFO Modulation Destination
Amp/Range Amp LFO Filter Filter LFO Pitch Pitch LFO Amp ENV Amp ENV Amp LFO Amp/Range Amp LFO Amp LFO Amp LFO Amp LFO Amp LFO Amp ENV Filter ENV Pitch ENV Amp ENV Filter ENV Pitch ENV Level Level Filter Filter ENV Filter ENV Filter ENV Filter Filter Filter LFO Filter Filter LFO Filter LFO Filter LFO Filter LFO Filter LFO Pitch Amp LFO Filter Filter LFO Mod 1 6
All buttons, knobs, and switches on the QS are referred to in bracketed capital letters that match the instruments actual markings. Here are some examples: [PROGRAM] means the button to the right of the LCD that says PROGRAM on it. [ PAGE] and [PAGE ] refer to the two buttons on the left of the LCD that have left-and-right cursors on them. [CONTROLLER D] is the slider on the right side of the slider grouping, with D printed underneath. [00 PIANO] refers to the leftmost button in the top row of numbered buttons. Sometimes this will be shorthanded as , depending on whats being discussed. [PITCH] is the control wheel at the left side of the instrument. And [SUS PEDAL] is the rear panel jack youd plug your sustain pedal into.
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
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
Setup & Connections: Part 1
SETUP & CONNECTIONS
Your QS7.1/QS8.1 is set to work with the voltage of the country to which it was shipped (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 QS is turned off. Plug the female (jack) end of the power cable into the QSs power socket. Plug the male (plug) end into a source of AC power. Its good practice not to turn the QS on until all other cables are hooked up.
The IEC-spec power cable included with your QS 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 QSs 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 QS into an ungrounded outlet can be hazardous. The same goes for lifting the unit off ground by using a three-to-two plug adapter. Dont do it! Alesis cannot be responsible for any problems that might be caused by using the QS 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 QS 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.
Part 1: Setup & Connections
Line filters. These cost more than simple spike/surge protectors, but may be worth it depending on your situation. Along with surge protection they offer circuits that can remove some line noise things like dimmer hash, transients from other appliances, etc. An Uninterruptible Power Supply (UPS). This is the most expensive way to go, but it is also the best. Your typical UPS offers complete line protection/filtering and throws in emergency battery power that will come on instantly if there is a power outage. This will prevent anything in RAM-only memory from getting lost, and enable you to take the time to shut down everything properly. That last step is very important. You should always turn everything in your rig p h y s i c a l l y off when the power goes out otherwise you risk serious gear and/or speaker damage from the current surge that takes place when power is finally restored.
BASIC MIDI HOOKUP
MIDI is the standard data communication protocol for electronic musical instruments. If you arent familiar with MIDI, see Part 5: MIDI and Part 10: Appendices to learn more about how it works. Meanwhile, heres all you need to know to get wired up. The QS has three MIDI connectors: MIDI IN. This port is for receiving MIDI information (notes, program changes, etc.) from another source, such as another MIDI keyboard, an alternate controller, or a computer. MIDI OUT. This port is for sending MIDI information to another MIDI keyboard, sound module, or computer. MIDI THRU. This port is for passing on MIDI information received by the MIDI IN port. In simple MIDI setups, the THRU port is used to connect additional devices that will all be listening to the same source.
Here are four typical MIDI setups for your QS, and the appropriate cable connections for each of them: As Slave. To play your QS 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 QSs [MIDI IN] jack.
Part 1: Setup & Connections As Controller. To play other MIDI devices from your QS, run a MIDI cable from the QSs [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 QS 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 QS; and then attach the other from the QSs [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 QS, 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 QS; and then attach the other from the QSs [MIDI OUT] jack to the interfaces MIDI IN.
DIRECT C OMPUTER L INK
The QS 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 QS. 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 QS 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.
PCMCIA EXPANSION CARDS
Your QS7.1/QS8.1 is an expandable system. If you want access to more Sounds, Programs, Mixes, Effects, and Sequences, all you have to do is pop the appropriate memory card into one of the two [PCMCIA EXPANSION CARD] slots on the back panel. Using both slots you can add up to 16 megabytes of memory, effectively doubling the power of your instrument. There are three different kinds of memory card that will work. All of them should be available through your Alesis dealer (if not, call us). They are: SRAM cards. Alesis offers a 512K SRAM card through our dealers that provides an additional eight banks of Programs and Mixes. You can use and edit these as you wish, or use the card as storage for your own creations. You can also order a blank version of this card from us (part # 7-10-1203). QCards. This is a series of ROM cards developed by us here at Alesis. Each is a self-contained universe of new samples, plus Programs and Mixes designed to take full advantage of them. Some of the cards available right now include Classical, Sanctuary, Vintage Keyboards, Vintage Synthesizers, HipHop, and EuroDance, with more coming out all the time. FlashRAM cards. These are the cards youll need if you want to burn your own custom sample cards. FlashRAM cards are available in 2MB, 4MB, and 8MB sizes. Using Alesiss Sound Bridge software (see Part 9: Extras) you can organize all the necessary data on your PC or Mac and temporarily turn your QS into a RAMburner when you are ready to make your own card.
Note: See the section entitled Using PCMCIA Expansion Cards in Part 9: Extras for exact card specifications.
First Session: Part 3
P ART 3
P OWERING U P
Once your QS7.1/QS8.1 is connected to an audio system of some kind, you are ready to play. Heres how to begin. 1) Make sure that all connections have been made correctly, and that the volume controls in your amplification system and QS are set to zero. 2) Throw the QSs rear-panel [ON/OFF] switch to ON (the up position). The display should light up and look something like this:
HOW 1 REVERB IS ARRANGED
This Configuration provides three Pitch effects, four Delay effects, and one Reverb effect, arranged as follows: 1) Sends 1 and 2 can be stereo and have a selectable Pitch effect (Chorus, Flange, Pitch Detune, or Resonator) followed by a mono or stereo Delay effect. 1) Send 3 offers three possible Pitch effects (Mono Chorus, Mono Flange, or Resonator) followed by a mono Delay effect. 2) Send 4 is a mono Delay effect only. 3) The single Reverb effect is selected and set in Send 1. Reverb parameters that set the sound of the reverb itself (such as high and low decay, reverb type, predelay, etc.) are found only when Send1 is displayed. Within this limitation, however, there is still tremendous flexibility of Reverb routing and control on a per-Send basis: for example, each of the four Sends has its own controls for dry/wet ratio, and specific input point. (In Sends 1 through 3 you can take Reverb inputs from the Send input itself, the output of any Pitch effect, and the input or output of Delay effect, either individually or in any combination. In Send 4, the two possible inputs are the input and output of Delay 4.) 4) Each Pitch, Delay and Reverb module has its own independent Mix output level which controls how much signal is routed directly to the [LEFT MAIN] and [RIGHT MAIN] outputs. This Mix function is what you use to determine how much of each Effect component will be heard. Mix 1, for example, is where you control the outputs of Pitch 1, Delay 1, and Reverb 1 to the main outputs. The Mix parameter controls how much each Effect block feeds directly to the main outputs. It does not, however, control how much each block feeds to the blocks that follow it. For example, when Pitch 1s Mix control is set to 0, it is still fully available as an input to Delay 1 and Reverb 1.
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
Range of Settings: Slow/Fast Page 2 Page 5 Config. 3 Config. 5
This determines the speed at which the rotating effect spins when the Program is called up. When you switch between the two speeds, the effect will ramp up and down just like the real deal, so any Program which uses Fast as the initial setting will start ramping up when you first select it. And if you want to be able to control
Part 6: Editing Effects the Lezlie speed when Fast is the default, youll have to route something negatively in the Effects Mod function (see note in previous section).
Part 6: Editing Effects Note: If you want to know how to control the speed of the Lezlie from the Mod Wheel or some other controller, learn about the Effects Mod function (button ). Also, see the note at the top of the Lezlie section regarding controlling Lezlie speed in the various Configurations.
Range of Settings: -6 to +6 dB Page 3 Page 6 Config. 3 Config. 5
This parameter provides a way to cut or boost the high frequencies in the Lezlie effect, allowing you to darken or brighten the tone to suit your music. It works in 1dB increments, over a 12 dB range.
Range of Settings: Reverb/Delay Page 1 Config. 5
In Configuration #5, as noted, the Lezlie has two possible input sources. This is one of them. It is limited to one of two settings: Reverb Output or Delay Output.
Range of Settings: (see list below) Page 2 Config. 5
This parameter selects the second input to the Lezlie in Configuration #5. It has a wider selection of possible settings than Input 1. They are: Sends Overdrive Output Pitch Input Pitch Output Delay Input Reverb Input
Range of Settings: <99 to <0> to 99> Page 3 Config. 5 only
This controls the relative level of Input 1 and Input 2 signals going into the Lezlie. When set to <99, only Input 1 is being routed to the Lezlie. When set to 99>, all that goes through is Input 2. When set dead-center to <0>, an even mix of both signals is passed on.
This function controls all Effect settings related to pitch. It has many different parameters, and not all of them are available in every Configuration (or even in each Pitch subfunction: Resonator and Stereo Chorus, for example, have completely different structures). Because of this, nearly all of the following parameters show up on different page numbers occasionally. It can be easy to lose your place when you arent familiar with the different Pitch function settings. Pay close attention to the Configuration maps in this manual as we go through these parameters and youll be fine. Note: For the sake of simplicity, we have chosen the most frequently used page numbers for each parameter when discussing them. So if youre looking for one of these parameters and cant find it, use the [PAGE] buttons to step one or two pages in either direction and itll probably be there.
 EFFECT MIX
Not to be confused with an actual Mix or Mix mode, the Effects Mix function is where you can mix the various signal levels of all the effects to the Main Left and Right outputs of the QS. Each Effect send has a separate Mix page for any effect module that feeds the main outputs. If an Effect send has no effect modules due to the Configuration, or if a particular Effect module isnt available on that Send, youll see the message NOT IN CONFIG. Note that the Mix page doesnt control how much the individual effect modules feed to each other; only how much they feed to the Main outputs.
This is what youll see on page 1 of the Mix function for Send 1 in Configurations 1 and 4. Depending on the selected Configuration and Send, you may see something different on page 1. This is because the order and availability of the effects differs from one Configuration to the next. For example: for Send 1 in Configuration #1, the order reads Pitch, Delay, Reverb; but in Configuration #2, the order of effects for Send 1 is Delay, Pitch, Reverb.
Range of Settings: 00 to 99 Page 1 Page 2 Config. 1 and 4 Config. 2 and 5
Adjusting this value will cause the Pitch Output Level for that Send to increase or decrease. Even if this parameter is set to 00, the output of the Pitch section can still feed other Effect modules (depending on the Configuration).
Range of Settings: 00 to 99 Page 2 Page 1 Page 3 Config. 1, 3, 4 Config. 2 Config. 5
Adjusting this value will cause the Delay Output Level for that Send to increase or decrease. Even if this parameter is set to 00, the output of the Delay section can still feed other Effect modules (depending on the Configuration).
Range of Settings: 00 to 99 Page 3 Config. 1, 3, 4 Page 3 (Send 1)Config. 2 Page 1 (Send 3)Config. 2 Page 4 Config. 5
Adjusting this value will cause the overall Reverb Output Level to increase or decrease. Note: If you pull this parameter down, you will be taking down the reverb for all of the sends at once (except for Configuration #2, which contains two separate Reverb effects). This means you wont be able to hear Reverb regardless of how much input you feed it from any of the effect buses. So if you want to pull down the Reverb level for Send 1 without affecting the other sends, press the Reverb button  and use the [PAGE] buttons to find the RvbIn Level parameter (page 4 in most Configurations). This controls the amount of Send 1 which gets fed to the Reverb (and its quicker than going back to Program Edit mode or Mix Edit mode and editing the Effect Send levels of however many Sounds or Programs may be feeding Send 1). This is also the function you would use to set each of the other Sends levels to the Reverb. See pages 91 and 92 for further discussion regarding setting the Reverb Input Level for Sends 2 through 4.
Range of Settings: 00 to 99 Page 1 Page 5 Config. 3 Config. 5
This parameter is only available in Configurations 3 and 5. Adjusting this value will cause the Lezlie Output Level to increase or decrease. Note: In Configuration #3 if this parameter is set to 00, the output of the Lezlie effect can still feed the Delay and Reverb modules.
Range of Settings: 00 to 99 Page 1 (Config. 5 only)
Adjusting this value will cause the Overdrive Output Level to increase or decrease. Even if this parameter is set to 00, the output of the Overdrive can still feed other Effect modules in this Configuration.
Editing Mixes: Chapter 5
Mix Mode is one of the most powerful features of the QS7.1/QS8.1. Although in Program Mode you can play only one Program at a time, in Mix Mode you can play up to 16 Programs at once, either from the keyboard (as layers or splits) or from an external sequencer (via 16 MIDI channels) or a combination of both. With Mix Mode, you can do the following: Combine (stack or layer) different Programs so they can be played simultaneously from the keyboard. For example, stack a piano on top of a brass sound and a string sound, adjusting the volume of each for a desirable mix. (Note that the stacking of Programs in Mix Play Mode will impact polyphony according to the total number of Sounds that may be stacked in the four sound layers of each Program.) Split the keyboard into different zones--for example, the classic bass guitar on the left-hand side of the keyboard, and synth or piano on the right. You can split the keyboard into as many as 16 zones, which may overlap. Use the QS as a master MIDI keyboard. It can transmit on as many as 16 different MIDI channels simultaneously, and send MIDI volume and panning information to each channel. Receive up to 16 MIDI channels from an external sequencer, with each channel representing a different instrument--piano on Ch. 1, bass on Ch. 2, drums on Ch. 10, trumpet on Ch. 16. Mix Play Mode is the multitimbral mode of the QS. Set the level, panning, transpositions and effect send of each MIDI channel.
MIX PLAY M ODE
The QS has 64-voice polyphony. In Mix Play Mode, if you have all 16 MIDI channels assigned to the same keyboard range, and each channels Program has only one active Program Sound, youll have 4-note polyphony as you play the keyboard (but a really thick layer.). This is extreme, of course, but should tell you what you can expect when you really pile on the layers from the keyboard. And of course, polyphony will be reduced in this example if one or more of the Programs uses more than one Sound each.
PROGRAM A SSIGN
Once a Mix is recalled, you will likely want to choose different Programs than the ones the Mix has stored with it. This does not require that you be in Mix Edit Mode. Assigning Programs to the 16 channels of a Mix is done by first using the [ PAGE] and [PAGE ] buttons (which are also labeled [MIX CHANNEL PROGRAM SELECT]) to select a channel and then using the   and   buttons to select a Program. If desired, you can use the [ BANK] and [BANK ] buttons to select a Program from any of the internal or card banks.
TIP: button push trick! This is where you push both of the [VALUE] buttons or both of the [PAGE] buttons at the same time as a shortcut. See Part 4: Basic Operation on page 35.
Now that were about to cover the various parameters in Mix Edit mode, dont forget the Double-
The Level function (press ) of Mix Edit is used to control several parameters that deal with the audio output of the selected channel. Parameters in the Level Functions group include: Volume, Pan, Output, Effects Send Level, Effects Bus and Program Enable.
Enable (On or Off)
This determines whether the selected channel is enabled or disabled. When disabled, no sound will be heard. The Channel indicator in the display for a disabled channel will not appear.
When you start to setup a MIX, it may be confusing if many of the channels have their Keyboard parameter turned off. In order to hear anything on a particular channel, enable Keyboard control and set the Range so that the low note and high note values are set beyond where you want to play (see pages 38 & 40).
Volume (00 to 99)
This sets the overall volume for a channel. Higher numbers give higher levels.
Pan (<3 to 3>, or PROG )
This determines the pan position of the selected channel. When set to PROG, the Pan setting will be that stored with the Program assigned to the selected channel (which can be different for each Sound within the Program). However, you can override this setting by selecting a different value, which forces all four Sounds within the Program to be in the same position in the stereo field.
Output (Main, Aux, Off, or PROG)
This determines the audio output assignment for the selected channel. When set to PROG, the channel will use the Output assignments of each Sound within the Program. However, you can override these assignments by setting this parameter to something different. To send the output of all four Sounds to the Main outputs, select MAIN. To send the Programs dry signal to the Aux Outputs, select AUX. When set to OFF, the channel will not be sent to any of the outputs (but can still feed an effect bus). For information on setting up four discreet Outputs, see the Tip on page 119.
Effect Level (00 to 99, or PROG)
This determines the amount of signal from the selected channel that will be sent to the effects, using one of the four effects buses as determined by the Effect Bus parameter (see below). When set to PROG, the effect level will be that stored by the channels Program as it was set for each Sound. Any other setting will send each Sound in the Program to its bus at that level.
Effect Bus (1, 2, 3, 4, or PROG)
This determines which effect bus the selected channel will be routed to. When set to PROG, the effect bus assignment will be that stored by the channels Program. 1, 2, 3 or 4 overrides the Programs bus assignment, sending all sound layers of the Program to the chosen bus.
The Controllers function (press ) 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 QS). 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.
The Range function (press ) 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).
Lower Limit (MIDI note 000 to 127/ C-2 to G8)
Specifies the lowest note of the Program's range. You can set the lower limit when you're on this page by holding the  button and tapping one of the keys.
High Limit (MIDI note 000 to 127/ C-2 to G8)
Specifies the highest note of the Program's range. You can set the high limit when you're on this page by holding the  button and tapping one of the keys.
QS8.1 Keyboard Range
Program Sound Range
Each voice/filter combination is followed by an amplifier whose level can be controlled by a variety of modulation sources. This allows for creating sounds with percussive or slow attacks, particular types of decays, tremolo, etc. Filter and amp settings can interact. If the filter cutoff is extremely low, then no signal will get through, no matter how the amp is set. Similarly, setting the amp for a short decay wont let you hear any filtering set for a longer decay. This is because the volume will reach zero before the filter decay finishes.
In this manual, the word "modulation" means "to modify some aspect of a sound over time". Since oscillators make static sounds (unlike acoustic instruments, whose timbre and dynamics changeoften radicallyover the duration of a note), modulation is the key to making rich and expressive sounds. The vibrato of a flute, the expression pedal of an organ, a wah-wah pedal on a guitar--all of these are examples of modulation. You're probably familiar with the mod wheel of a synthesizer, which typically adds vibrato to a Program as it is raised. But in synthesizer programming, modulation is used to control even the basic characteristics of a voice: its attack, decay, and release times, for example. Every box in the signal diagram on page 109 pointing towards the Voice, Filter, or Amp boxes is a modulation source. The amount of modulation, the time it takes place, and what controls (such as key velocity, footpedals, aftertouch, mod wheel etc.) affect it are important parameters in every Program. The QS provides the modulation flexibility of patch cord-based instruments, but with the convenience and ease of use of digital technology. With some parameters, the modulation amount can be positive or negative. A positive control signal increases the value of the parameter being controlled. A negative control signal decreases the value of the parameter being controlled. Setting modulation to 00 turns off the modulation source. Example: Keyboard velocity can either make a Sound brighter the harder you play (positive modulation), make it less bright (negative modulation), or have no effect on the Filter at all. You have the freedom to set modulation any way you want, even in ways that are the opposite of what they would be on an acoustic instrument. If a baseline setting exists for a parameter, modulation amounts add or subtract values from the existing setting. However, modulation cannot force a value beyond its maximum range. For example, if the Amp is already at its minimum value (lowest level), you could apply positive modulation to raise the level. But applying negative modulation will not affect the Amp level, since it's already at its lowest value and cannot go any lower. The QS lets you assign several modulation sources to one modulation target parameter, which allows for interaction between two modulation signals. Example: If the Amp parameter responds to both the envelope generator and a pedal, the amplitude will follow the general envelope shape but will also be influenced by the pedal.
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.
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, 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.
This selects the LOAD FROM CARD option. The display will look like this:
Use the [CONTROLLER D] slider or the [VALUE] buttons to select the bank on
the card you wish to load (A1A4, etc.).
Press [STORE] to transfer the data from the card into the QS.
STORING AN INDIVIDUAL PROGRAM OR MIX
You also have the option of storing a Mix or Program directly to a specific location in a RAM Sound Card Bank (instead of transferring the entire Bank) and vice versa. However, the Sound Card you are storing to must be of the current QS Bank format. A Sound Card is formatted whenever an entire QS Bank is stored onto it. If you are using an older QuadraSynth Sound Card that does not use the current Bank format, you will not be able to store individual Mixes or Programs onto it until you store an entire QS Bank onto it first.
Insert a card into PCMCIA Card slot A on the back of the QS. Alesis recommends
e Select the Program or Mix you wish to transfer to the card. x Press [STORE]. Use the [BANK] buttons to select a bank location on the card to store to (A1A4).
If the card contains a ROM bank, it will show as Bank 1 and you will be unable to store to it.
Use the   and   buttons to select a location in the selected card
Bank to save to (000127 if storing a Program; 0099 if storing a Mix).
Press [STORE] to transfer the data from the QS onto the card.
If the card is write-protected, or not inserted, or not of the current Bank format, the display will indicate the situation with an error message. If the card is not of the current Bank format, use the Save To Card command first (see previous page) to save the entire User Bank to the card. This however will erase all Programs and Mixes in the selected card Bank. If these are important to you, first load them into the User Bank in the QS, and then save them back onto the card in order to re-format the card using the new format.
LOADING AN INDIVIDUAL P ROGRAM OR MIX
You can load a single Mix or Program from a Sound Card into the User Bank, instead of having to load the entire Bank from the Sound Card. To do this, select the Mix or Program in the Sound Card Bank that you wish to copy, then use the Store Function (as described above) to designate a location you wish to store to in the User Bank. Note: When storing a Mix from a Sound Card into the User Bank, the individual Programs used by the Mix will not be moved into the User Program Bank. Once you store a Mix from a Sound Card into the User Bank, it will still look for its Programs in the Sound Card Bank, if that is where it was programmed to look for them in the first place (which is frequently the case). Note: If the Mix or Program you wish to transfer uses samples that reside on a ROM card in slot A or B, you must have the ROM card in that same slot after the transfer in order for that portion of the Program or Mix to sound the same (or at all).
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