Preface

This document is intended to assist the service technician in the operation, maintenance and repair of the QS Series 64 Voice Synthesizer/Controller Keyboards. Together with the User Reference Manuals, this document provides a complete description of the functionality and serviceability of the QS Series. Any comments or suggestions you may have pertaining to the document are welcome and encouraged.

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In addition to any purchase price that Alesis may charge as consideration for Alesis selling or otherwise transferring this service manual (Manual) to you, if you are not a service and repair facility (Service Center) authorized by Alesis in writing to be an authorized Service Center, Alesis sells or transfers the Manual to you on the following terms and conditions:
Only Service Centers authorized by Alesis in writing are authorized to perform service and repairs covered by an Alesis warranty (if any), and transfer of the Manual to you does not authorize you to be an authorized Service Center. Therefore, if you perform, or if the Manual is used to perform, any service or repairs on any Alesis product or part thereof, any and all warranties of Alesis as to that product and any service contract with Alesis for that product shall be voided and shall no longer apply for such product, even if your services or repairs were done in accordance with the Manual. All service or repairs done by you or with reference to the Manual shall be solely your responsibility, and Alesis shall have no liability for any such repairs or service work. All such service or repairs are performed at the sole risk of the person performing the service or repairs. You agree that all such work will be performed in a competent, professional and safe manner at all times and to indemnify and fully hold Alesis and its successors and assigns harmless in the event of any failure to so perform. Your purchase of the Manual shall be for your own ultimate use and shall not be for purposes of resale or other transfer. As the owner of the copyright to the Manual, Alesis does not give you the right to copy the Manual, and you agree not to copy the Manual without the written authorization of Alesis. Alesis has no obligation to provide to you any correction of, or supplement to, the Manual, or any new or superseding version thereof. Alesis shall have the right to refuse to sell or otherwise transfer repair parts or materials to you in its sole discretion. You shall not use, sell or otherwise transfer spare or replacement parts supplied by Alesis to you (i) to repair or be used in products manufactured for or by third parties or (ii) to any third parties for any purpose. You shall not make any warranties or guarantees with respect to the products of Alesis or the use thereof on behalf of Alesis or in your own name. The foregoing describes the entire understanding related to sale or transfer of the Manual to you, and no other terms shall apply unless in a writing signed by an authorized representative of Alesis. All Trademarks are property of their respective companies.
Alesis QS Series Keyboards Service Manual V1.00

11/19/06

Warnings
TO REDUCE THE RISK OF ELECTRIC SHOCK OR FIRE, DO NOT EXPOSE THIS PRODUCT TO WATER OR MOISTURE.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN The arrowhead symbol on a lightning flash inside a triangle is intended to alert the user to the presence of un-insulated "dangerous voltage" within the enclosed product which may be of sufficient magnitude to constitute a risk of electric shock to persons.

6.00 Appendix A Updates And Corrections..32

6.10 QS6... 32

6.11 QS6 Main Revision B... 32 6.12 QS6 Main Revision C... 33 6.13 QS6 Main Revision D... 33 6.14 QS6 Main Revision E... 33 6.15 QS6 Main Revision F... 34

6.20 QS7/8.... 35

6.21 QS7/8 Main Revision B... 35 6.22 QS7/8 Main Revision C... 36 6.23 QS7/8 Main Revision D... 36 6.24 QS7/8 Main Revision E... 37 6.25 QS7/8 Main Revision F... 37 6.25 Changes To QS7/QS8 VCO Circuit (All Main PCB Revisions). 38

6.30 QSR.... 38

7.00 Appendix B Software Histories...39
7.10 QS6... 39 7.20 QS7/QS8.... 40 7.40 QSR.... 40
8.00 Appendix C Sys-Ex Implementations...42
8.10 S6 Sys-Ex... 42 8.20 QS7/QS8//QSR Sys-Ex.... 67
9.00 Appendix D Service Parts Lists...68
9.10 QS6 Service Parts List... 68 9.20 QS7 Service Parts List... 72 9.30 QSR Service Parts List... 76 9.40 QS8 Service Parts List... 79
10.00 Appendix E Dictionary Of Selected Terms...83 11.00 INDEX....85 12.00 Schematics...88

List Of Figures

Figure 1 - QS6 Simplified Block Diagram...2 Figure 2 - QS7/QS8 Simplified Block Diagram...4 Figure 3 - QSR Simplified Block Diagram...6 Figure 4 - Keyboard Velocity Reponse...13 Figure 5 - QS8 Key Construction....15 Figure 6 - Alesis Serial Port Pinout....17 Figure 7 - Examples of Switch Self Test Key Press Order...21 Figure 8 - 48KHz Test.....22 Figure 9 - Keyboard Casetop Removal....23 Figure 10 - S6 Case Screw Locations....24 Figure 11 - QS7QS8 Case Screw Locations...24 Figure 12 - QSR Case Screw Locations...25 Figure 13 - QS6 Key Release Location....26 Figure 14 - Key Release Catch Location...26 Figure 15 - SG ASIC Pinout....28 Figure 16 - FX ASIC Pinout....28 Figure 17 - Keyscan ASIC Pinout...29 Figure 18 - H8 Processor Pinout....29 Figure 19 - FX SRAM Pinout...30 Figure 20 - EPROM Pinout....30 Figure 21- Sound ROM Pinout....30 Figure 22 - GAL Pinout....31 Figure 23 - DAC Pinout....31

List Of Tables

Table 1 - Pin to Pin Connections for 9 Pin PC Serial to QS... 17 Table 2 - Pin to Pin Connections for 25 Pin PC Serial to QS.. 18 Table 3 - Pin to Pin Connections for MAC Serial to QS.. 18 Table 4 - QS6 Main PCB Revision B Changes... 32 Table 5 - QS6 Main PCB Revision C Changes... 33 Table 6 - QS6 Main PCB Revision D Changes... 33 Table 7 - QS6 Main PCB Revision E Changes... 33 Table 8 - QS6 Main PCB Revision F Changes... 34 Table 9 - QS7/8 Main PCB Revision B Changes.. 35 Table 10 - QS7/8 Main PCB Revision C Changes... 36 Table 11 - QS7/8 Main PCB Revision D Changes... 36 Table 12 - QS7/8 Main PCB Revision E Changes... 37 Table 13 - QS7/8 Main PCB Revision F Changes... 37 Table 14 - Schematic Set... 88
1.00 General Descriptions
The QS series of 64 voice, keyboard and rack mount digital synthesizers represent the current state of the art in high end digital synthesizers. It is certainly recommended that technicians be thoroughly familiar with the operation of the units according to the Users Reference Manuals before attempting any repair. As is often the case when machines present the user with so many options, many repairs can be made simply through education in the correct way to use the product. The software histories in Appendix B of this manual may also prove to be an excellent aid in troubleshooting User difficulties. Several of these units utilize the same PCBs. For example, the QS7 and QS8 have identical main PCBs, and all three keyboards (QS6, QS7, and QS8) use the same keypad PCB. However, some PCBs may be different between individual units while performing similar functions. In order to minimize confusion between reference designators for the different unit types, the following conventions will be used throughout this manual: QS6 Reference Designators are BOLD (e.g. R6, C9) QS7 Reference Designators are Italicized (e.g. R6, C9) QS8 Reference Designators are Underlined (e.g. R6, C9) QSR Reference Designators are Plain (e.g. R6, C9) Combinations are allowed (i.e. Italicized and underlined indicate both QS7 and QS8 references) (e.g. R6, C9)

1.10 QS6 With the release of the original S5 (later updated to S5+ A.K.A. S9) QuadraSynth keyboard and the S4 (later S4+ or S8), Alesis jumped to the forefront of a field in which it had no previous experience. Since then, we have learned a great deal about the construction of keyboards, as well as the needs of keyboard players in general. This inevitably led to the release of the QS6. Smaller, lighter, and with improved sound quality, the QS6 was an instant success. Still minor improvements have been made through the lifetime of this which have resulted in several main PCB revisions. Each revision incorporates previous changes as well as any new improvements made. These changes are outlined in Appendix A. This manual references the following schematics and component I.D.s unless otherwise noted: PCB Main Slider Keypad Schematic Revision S6 B S6 B QS6/7/8 C
Refer to Figure 1 for a simplified view of the QS6s electronic systems.
Figure 1 - QS6 Simplified Block Diagram
1.20 QS7 The QS7 further expanded and improved the system used in the QS6. The larger QS7 is heavier and therefore less portable, but its expanded keyboard enhances its use as a master keyboard controller for the studio. Refer to Figure 2 for a simplified view of the QS7s electronic systems. Note that the QS7 is electrically similar to the QS8 (same Main and Xformer PCBs) and only vary in the number of keys used. PCB Main Slider Keypad XFormer Schematic Revision QS7/QS8 F QS7/QS8 A QS6/7/8 C QS7/QS8 C
1.30 QS8 In listening to the needs of keyboard players around the world, what came up consistently was our need to improve the keys themselves. While the weighted keys of previous units would suffice for most purposes, many high end players still preferred the feel of real piano keys. In answer to this need, Alesis designed the QSkey, piano weighted keyboard. The keys were specifically designed to simulate the same feel that acoustic piano keys have when the hammer strikes the piano strings. Incorporating the same basic sound engine as its predecessors, the QS8 is sure to rank highly among players and composers alike. (Minor improvements have be made through the lifetime of this product. This has resulted in several main PCB revisions. Each revision incorporates previous changes as well as any new improvements made. These changes are outlined in Appendix A. This manual references the following schematics and component I.D.s unless otherwise noted: Refer to Figure 2 for a simplified view of the QS8s electronic systems.) PCB Main Slider Keypad XFormer Schematic Revision QS7/QS8 F QS7/QS8 A QS6/7/8 C QS7/QS8 C
Figure 2 - QS7/QS8 Simplified Block Diagram
1.40 QSR Many current keyboard players already have their favorite controller keyboard, but still desire the great sound provided by the Alesis QS Series. Since multiple keyboards can take up excessive space, the obvious solution is a rack mount sound engine without keys. The QSR is just that solution. Whether used for the road or in the studio, the QSR is a powerful addition to any MIDI setup. Minor improvements have been made through the pre production lifetime of this product. This has resulted in several main PCB revisions. Each one incorporates previous changes as well as any new improvements made. These changes are outlined in Appendix A. This manual references the following schematics and component I.D.s unless otherwise noted: PCB Main Front Panel Schematic Revision A X2

2.31B The GAL and Memory Mapped I/O
While the H8 has been optimized as a controller device, it is none the less somewhat limited in the number of direct input and output lines available. Memory mapping is the simplest method of allowing software designers the ability to manipulate the large number of hardware registers directly from the microprocessor with a minimum of external hardware. The idea is to fool the microprocessor into thinking that hardware register locations (latches) are actually memory locations. The process begins when the H8 sets up the address buss. The GAL (U12 U13 U9) checks this address to see if it is in the range of hardware registers. If the H8 address is within the confines of normal memory, the RAM or ROM signal is asserted and memory is accessed normally. However if the address is in the hardware range, the GAL decodes the address and strobes the chip select line of the appropriate device. Each device must interpret the state of the microprocessor ReaD and WRite lines and send or receive data appropriately. It is left up to the software to know which devices are written to as opposed to read from.
2.31C Other Processor I/O
All other outside world communication of the processor not handled via memory mapped I/O (See Previous Section) is sent and received via the H8s built in I/O ports. These are automatically configured by the software at power up. These lines all have internal pullup resistors. These outside world devices include pedals, front panel key switches. and pitch, mod, and data wheel inputs.

2.31D MIDI

MIDI input is opto isolated (U4 U7 U14) from the MIDI Input Jack (J7 J12 J8). R2 R35 R49 current limits the incoming signal while D3 D7 D6 serves to protect the opto isolator from reverse bias currents. R42 R40 R51 serves to set the internal threshold level of the opto isolator while R22 R41 R50 augments the internal pullup of the H8s input port. MIDI output is initiated from the H8s output port. Two elements of a Schmidt Trigger inverter (U7C and U7D U9B and U9E U19E and U19B) are used to buffer the outgoing signal. This signal is current limited (R1 R45 R53) before being sent to the MIDI Output Jack (J8 J13 J9). In addition, the QS7, QS8, and QSR incorporate a similarly designed MIDI THRU (U9A and U9F U19C and U19D, R45 R55, J14 J10).
For further information about MIDI, consult MIDI SPEC available from the International MIDI Association.

2.31E PC Serial Connector
While technically a part of standard H8 I/O, Computer Serial I/O is complex enough to warrant its own section (See Section 2.50). 2.32 The SG ASIC In order for the unit to play a sound sample, the H8 P (See Section 2.31B) must receive a command via the keyboard (via the Keyscan ASIC) or through MIDI. The Microprocessor then tells the SG ASIC three things: 1. The note value (e.g., C3, D#4, A6,.). 2. The velocity of the note value. 3. The type of sound to be played (dependent on PROGRAM, MIX, MIDI Channel, etc.). The SG ASIC then retrieves the correct 16-bit sound information from the SOUND ROM according to the instructions sent by the H8. In addition, the SG ASIC performs the duties necessary to create the envelope of the voice (e.g., Attack, Decay, Sustain and Release) as well as other audio functions such as changing filters. SG ASIC instructions are passed to it by the H8 P through memory mapped I/O (See Section 2.31B). There is one clock signal for the SG ASIC. It is received at pin 19. The clock is generated from crystal M2 via U18A. The clock signal is also frequency halved , and output via pin 12. This 12.288MHz clock is used in the QS6 by the 74HC390 (U17) {to derive other system clock signals (1MHz, 614.4MHz)}. System signals in the QS7, QS8 and QSR are derived slightly differently providing for better software control (See Section 2.54). Note also that the QS7, QS8 and QSR all utilize a digital VCO (U11 U7) to provide extremely stable clocks to the sound generation system. The SG ASIC can send sound information to the FX ASIC by two possible ways. The first is the 8 bit data buss. The second is via optical information from EOPTOUT (pin 3), to the FX ASIC. Currently, the optical buss is used for all communication.

2.32A Sound Generation

Sound is generated with the use of Sample ROM playback. The playback is accomplished by the SG ASIC while the sounds themselves are contained either in the MASK ROMs (2 Megabytes each) or in a PCMCIA CARD attached to the system. As far as sound generation is concerned, the only distinguishable difference between the two is their relative location in the SG ASICs memory map, and as such will be referred to simply as Sound ROM. Besides actual sonic data, Sound ROM also contains data about the samples Start, End, and Loop points, start and end volumes, sample rate, and data smoothing coefficients. When the H8 receives a command to play a sample (keyboard, MIDI, or PC Serial) it notifies the SG ASIC what note value and velocity have been requested. The SG ASIC then retrieves data for 2 samples. The first sample is the requested sample. The second is the sample at the next higher address. This is necessary because current technology does not allow for a sample to be taken at possible note value (the amount of necessary memory jumps prohibitively when this is attempted). Instead, a number of key samples are provided and the SG ASICs DSP is called upon to interpolate for the correct note pitch value. The notes that each individual sample is responsible for is called a Keygroup. Note that the pitch interpolation also takes into account any variations in pitch that may occur due to modulation (i.e. pitch wheel or LFO Modulation).

3.13 Differences In QSR Self Tests Because it is a rack mount unit and its buttons are different from the keyboard versions, the self test routines for the QSR are slightly different. The manual self test (there is no automated version) is initiated by holding MIDI CH and. Use Cursor or to select the test to run. Pressing STORE initiates the test. Pressing either cursor button exits the test. Note that pressing Cursor and shows the current software version, but only if the unit is in MIX or PROGRAM Play modes (i.e. the unit is not in EDIT or SELF TEST). The tests are: 0. 1. 2. 3. 4. 5. 6. 7. Test EPROM - Same as the keyboard test. Test SRAM - Same as the keyboard test. Test MIDI I/O - Same as the keyboard test. Test PC I/O - Same as the keyboard test. Test F/X DRAM - Same as the keyboard test. Test Sound ROM - Same as the keyboard test. Test Switches - Same as the keyboard test. Test Encoder/LED - Once initiated, front panel LEDs (under the buttons) will cycle according to the direction the data wheel is turned. Press STORE to exit this test. 8. Test Display - This test simply turns on all of the display elements in the LCD. 9. Test Audio - This test simply sends audio through all outputs. This is extremely useful when troubleshooting analog circuit problems.
3.20 Further Testing Naturally it is a good idea to actually play the keyboard. Be sure to check that pitch and velocity scaling sound normal. Its also important to check the Aftertouch to ensure its function. Note that in the QS8 it is important to check the Aftertouch of white and black keys separately as each of these key sets has its own Aftertouch cable. While the self test will pick up most circuit errors, MIDI should still be tested in both send and receive. This can be done 3 ways: Record and playback from a MIDI Sequencer Save and load Sys-ex data from a MIDI Librarian or DataDisk. Use a second keyboard to send trigger notes to the unit under test. Also test that key presses from the unit under test trigger notes on the other keyboard or an extra module. If at all possible, the PC/MAC Serial connector should be tested similarly, as well as all other I/O type circuitry such as 48KHz, PCMCIA, and optical (with the use of an ADAT Multitrack). 3.21 Testing 48KHz Obtain an ADAT-XT or a classic ADAT and a BRC. Connect the sync cable from the ADAT to the BRC. Connect a BNC cable from the BRC's 48K OUT to the QS's 48K IN. Connect a fiber optic cable from the QS's OPTICAL OUT to the ADAT's OPTICAL IN. Finally connect the ADAT's analog outputs 1 and 2 to an amplifier and speakers or headphones as shown in Figure 8. Make sure the BRC syncs to the ADAT. Press the DIG IN and ALL INPUT MONITOR on the ADAT-XT or BRC. Turn on the QS under test's 48K IN ON (under Global button). Change the Pitch control on the ADAT-XT or BRC from 000 to -300. Play the QS and

6.23 QS7/8 Main Revision D
Table 11 - QS7/8 Main PCB Revision D Changes PART NUMBER: 9-40-1241 CHANGES FROM REV: C TO REV: D DATE: 6-13-96 CHANGE: Change all text from Rev C to D Add 2200uF cap in parallel with C8 Change R37 into 1.2K 1206 5% Separate Aftertouch lines into U24 Pin 4 & 5 Change R25, R24, R28, R27, R6, R7, R9, R10 into 15K "U-connect" all tight pitch pads on uP and DACs Lower R64 silk screen Use New & Improved Fiducials Connect all mounting holes to GND (on the Fly command)
6.24 QS7/8 Main Revision E
Table 12 - QS7/8 Main PCB Revision E Changes PART NUMBER: 9-40-1241 CHANGES FROM REV: D TO REV: E DATE: 7-1-96 CHANGE: Change all text from Rev D to E Change R25, R24, R28, R27, R6, R7, R9, R10 into 12K Reroute and GND isolate MIDI IN connects Add assy file
6.25 QS7/8 Main Revision F
Table 13 - QS7/8 Main PCB Revision F Changes PART NUMBER: 9-40-1241 CHANGES FROM REV: E TO REV: F DATE: 7-22-96 Borders added to PCB at production's request. Now, many back panel parts become waveable. Because of new waving technology, the audio jacks can be waved without harm or corrosion. Rev.E and Rev.F are electrically the same. CHANGE: Change all text from Rev E to F Move via from beneath the BNC jack Straighten trace into headphone jack Straighten trace above M3 Remove SMK from heatsink Lower MIDI THRU text Add.4" border with breakaway tabs on jack side of PCB Add.15" border with breakaway tabs on keyboard side of PCB Add fiducials on breakaway borders Shrink optojack mounting holes to original size Move the extra hole center to the same level as the bottom right mounting hole
6.25 Changes To QS7/QS8 VCO Circuit (All Main PCB Revisions) It was found that the Digital VCO could lock up if a slight negative voltage was present on the +5V line prior to power up. While this sounds unusual, it happens! Unfortunately, it wasnt our first guess. Originally it was thought that reducing the amount of negative voltage at the control voltage input was enough. This was done by soldering a 120K bleeder resistor in parallel with C43. While this seemed to be the fix for a while, it ultimately failed to fix all keyboards, and a further investigation was conducted. All units exhibiting this fault should be checked that they not only have the smaller supply capacitor, but this resistor has not been installed previously. If it found, it should be removed. The drain on the +5V rail is sufficient to lower the charge across raw supply filter capacitor very rapidly, but the -5V rail powers very few components, and consequently, the its raw supply filter capacitor holds a significant charge. Once the +5V supply is fully discharged the conditions are perfect for the negative rail to leak to the positive rail via all of the devices common to both rails. Eventually this charge will leak to ground too, and if power is cycled quickly it can be significant enough to stop the VCO. The solution is to reduce the size of the negative raw supply filter capacitor from 2200F to 1000F, hence reducing the amount of charge it can retain on power down. 6.30 QSR There are currently no changes this product.

<data> is in the same format as described in 06.
09-MIDI Edit Effects Dump Request F00 0E 0E 09 <edit#> F7 <edit#> = 0=program mode effect edit; 1=mix mode effect edit
When received, the QS6 will respond to this message with a MIDI edit effects dump (08) of the edit effect selected.
0A-MIDI Global Data Dump F00 0E 0E 0A 00 <data> F7 <data> is in the same format as described in 00, but with a different number of bytes due to the difference in the global parameter size. The total number of data bytes sent for a global data dump is 23, which corresponds to 20 bytes of global data. With the header, the total number of bytes transmitted with a program dump is 31. Note that with version prior to 2.00, the last three bytes of the global data will not be transmitted, since they did not exist in previous versions.
0B-MIDI Global Data Dump Request F00 0E 0E 0B F7 When received, the QS6 will respond to this message with a MIDI global data dump (0A).
0C-MIDI All Dump Request F00 0E 0E 0C F7 When received, the QS6 will respond to this message with a 128 MIDI User Program dumps (00), 100 MIDI New User Mix dumps (0E), and 128 User Effects dumps (06), and a Global data dump (0A), for a total of 79,478 MIDI bytes. A delay of 4.25 milliseconds will be placed between each dump, resulting in a total transfer time of about 27 seconds. When receiving a complete dump, the QS6 does not require any delay between dumps.
0D-MIDI Mode Select F00 0E 0E 0D <mode> F7 <mode> = 0 = Program mode; 1 = Mix mode When received, the QS6 will change to the mode that was selected. The settings will be retained from the last time that mode was exited.
0E-MIDI New User Mix Dump F00 0E 0E 0E <mix#> <data> F7 <mix#> = 0.99 selects individual user mixes; 100=mix edit buffer
<data> is in the same format as described in 00, but with a different number of bytes due to the difference in the mix parameters. This command (and the following one) exists only in QSs with software versions 2.00 and above. The total number of data bytes sent for a single mix dump is 158, which corresponds to 138 bytes of mix data. With the header, the total number of bytes transmitted with a program dump is 166. When loading a mix into the mix edit buffer, none of the 16 program edit buffers or the effect buffer will be changed, even if the new mix buffer contains program numbers different than what is currently selected.
0F-MIDI New Mix Dump Request F00 0E 0E 0F <mix#> F7 <mix#> = 0.99 selects individual user mixes; 100=mix edit buffer

Send Func Page Pot Offset -99

Limit 198

bit address 31:0-30:6 31:7-31:1 32:0 32:7-32:1 33:6-33:0 34:5-33:7 32:0-31:1 32:7-32:1 33:6-33:0 34:5-33:7 31:7-31:1 32:0 32:7-32:1 33:6-33:0 34:5-33:7
34:7-34:6 35:7-35:0 36:6-36:0 37:2-36:7 38:0-37:3 38:4-38:1 39:3-38:5 40:2-39:4 41:1-40:3 36:6-36:0 37:2-36:7 38:0-37:3 38:4-38:1 39:3-38:5 40:2-39:4 41:1-40:3 36:6-36:0 37:2-36:7 38:0-37:3 38:4-38:1 39:3-38:5 40:2-39:4 41:1-40:3

198 99

41:2 41:4-41:3 42:4-41:5 43:3-42:5
Send Func Page Pot Offset 60

bit address 11/19/06

61. Send 3 pitch type If 61 = 0 or 1 (chorus and flange): 62. Send 3 pitch speed 63. Send 3 pitch shape 64. Send 3 pitch depth 65. Send 3 pitch feedback 66. Send3 pitch mix If 61 = 2 (resonator): 62. Send 3 resonator tuning 63. Spare 64. Send 3 resonator decay 65. Spare 66. Send 3 pitch mix DELAY SEND 3: 67. Send 3 delay input 68. Send 3 delay 10ms 69. Send 3 delay 1ms 70. Send 3 delay feedback 71. Send 3 delay mix REVERB SEND 3: 72. Send 3 reverb input 1 73. Send 3 reverb input 2 74. Send 3 reverb balance 75. Send 3 reverb input level DELAY SEND 4: 76. Send 4 delay 10ms 77. Send 4 delay 1ms 78. Send 4 delay feedback 79. Send 4 delay mix REVERB SEND 4: 80. Send 4 reverb balance 81. Send 4 reverb input level MODULATION: 82. MIDImod source 1 83. MIDImod destination 1 84. MIDImod level 1 85. MIDImod source 2 86. MIDImod destination 2 87. MIDImod level 2 88. Spare
43:5-43:4 44:4-43:6 44:5 45:4-44:6 46:3-45:5 47:2-46:4 44:4-43:6 44:5 45:4-44:6 46:3-45:5 47:2-46:4
48:2-47:3 49:1-48:3 49:5-49:2 50:4-49:6 51:3-50:5
51:4 51:6-51:5 52:6-51:7 53:5-52:7
54:4-53:6 55:0-54:5 55:7-55:1 56:6-56:0

57:6-56:7 58:5-57:7

x x x x x x

-0 -99

36 198
59:1-58:6 59:7-59:2 60:7-60:0 61:3-61:0 62:1-61:4 63:1-62:2 63:7-63:2
Configuration 1 (4-sends, 2 reverb):
# Parameter name DELAY SEND 1: 11. Send 1 delay 10ms 12. Send 1 delay 1ms 13. Send 1 delay feedback 14. Send 1 delay mix PITCH SEND 1: 15. Pitch input level 16. Send 1 pitch type 17. Send 1 pitch speed 18. Send 1 pitch shape 19. Send 1 pitch depth 20. Send 1 pitch mix REVERB SEND 1: 21. Reverb type 22. Send 1 reverb input level 23. Send 1 reverb prdly 10ms 24. Send 1 reverb prdly 1ms 25. Send 1 reverb inut premix 26. Send 1 reverb input filter 27. Send 1 reverb decay 28. Send 1 reverb diffusion 29. Send 1 reverb density 30. Send 1 reverb low decay 31. Send 1 reverb high decay 32. Send 1 reverb mix REVERB SEND 2: 33. Send 2 reverb input level PITCH SEND 3: 34. Send 2 pitch speed 35. Send 2 pitch shape 36. Send 2 pitch depth REVERB SEND 3: 37. Reverb type 38. Send 3 reverb input level 39. Send 3 reverb prdly 10ms 40. Send 3 reverb prdly 1ms 41. Send 3 reverb inut premix 42. Send 3 reverb input filter 43. Send 3 reverb decay 44. Send 3 reverb diffusion 45. Send 3 reverb density 46. Send 3 reverb low decay 47. Send 3 reverb high decay 48. Send 3 reverb mix REVERB SEND 4: 49. Send 4 reverb input level 50. Spare Send Func Page Pot Offset Limit bits bit address 10:0-9:2 10:4-10:1 11:3-10:5 12:2-11:4

# Parameter name PITCH SEND 1: 11. Send 1 pitch type 12. Spare 13. Send 1 pitch input 2 14. Send 1 pitch input balance If 11= 0 thru 1 (chorus and flange): 13. Send 1 pitch speed 14. Send 1 pitch shape 15. Send 1 pitch depth 16. Send 1 pitch feedback 17. Send 1 pitch mix If 11= 2 (resonator): 13. Send 1 resonator tuning 14. Spare 15. Send 1 resonator decay 16. Spare 17. Send 1 pitch mix LEZLIE SEND 1: 18. Send 1 lezlie input 1 19. Send 1 lezlie input 2 20. Send 1 lezlie input balance 21. Send 1 lezlie speed 22. Send 1 lezlie motor 23. Send 1 lezlie horn 24. Send 1 lezlie mix Send Func Page Pot Offset Limit -0 -1 6* 99 bits 7 bit address 9:3-9:2 9:4 20:4-20:3 35:7-35:0 10:3-9:5 10:4 11:3-10:5 12:2-11:4 13:1-12:3 10:2-9:5 10:4-10:3 11:3-10:5 12:2-11:4 13:1-12:3 41:3 40:6-40:3 42:4-41:5 38:5 41:2 40:2-39:4 31:7-31:1
DELAY SEND 1: # Parameter name 25. Send 1 delay type 26. Send 1 delay input balance 27. Send 1 delay input 2 If 25=0 (mono delay): 28. Send 1 delay 10ms 29. Send 1 delay 1ms 30. Spare 31. Spare 32. Send 1 delay feedback 33. Spare 34. Send 1 delay mix If 25=1 (stereo delay): 28. Send 1 left delay 10ms 29. Send 1 left delay 1ms 30. Send 1 right delay 10ms 31. Send 1 right delay 1ms 32. Send 1 left delay feedback 33. Send 1 right delay feedback 34. Send 1 delay mix If 25=2 (ping-pong delay): 28. Send 1 delay 10ms 29. Send 1 delay 1ms 30. Spare 31. Spare 32. Send 1 delay feedback 33. Spare 34. Send 1 delay mix REVERB SEND 1: 35. Reverb type 36. Send 1 reverb input 1 37. Send 1 reverb input 2 38. Send 1 reverb balance 39. Send 1 reverb input level 40. Send 1 reverb prdly 10ms 41. Send 1 reverb prdly 1ms 42. Send 1 reverb inut premix 43. Send 1 reverb input filter 44. Send 1 reverb decay 45. Send 1 reverb diffusion 46. Send 1 reverb density 47. Send 1 reverb low decay 48. Send 1 reverb high decay 49. Send 1 reverb mix OVERDRIVE SEND 1: 50. Send 1 overdrive type 52. Send 1 overdrive balance 63. Send 1 overdrive threshold 64. Send 1 overdrive brightness 65. Send 1 overdrive mix

Send Func Page Pot 1 2

Offset Limit -79 9
bit address 13:3-13:2 14:3-13:4 36:2-36:0 15:2-14:4 15:6-15:3 16:4-15:7 17:0-16:5 17:7-17:1 18:6-18:0 19:5-18:7 15:2-14:4 15:6-15:3 16:4-15:7 16:8-16:5 17:7-17:1 18:6-18:0 19:5-18:7 15:2-14:4 15:6-15:3 16:4-15:7 17:0-16:5 17:7-17:1 18:6-18:0 19:5-18:7
20:1-19:6 20:2 31:0-30:6 21:4-20:5 22:3-21:5 23:0-22:4 23:4-23:1 24:4-23:5 25:3-24:5 26:2-25:4 27:1-26:3 28:0-27:2 28:7-28:1 29:6-29:0 30:5-29:7

TOP ASSY

CAB 4-18-0616 CAB CAB CAB CAB CAB CAB CAP CAP CAP CON CON DIO DIO HDR HDR HDR HDR HDR HDR HDR HDR HDW HDW HDW HDW HDW HDW HDW HDW IC IC IC IC Grp 4-18-0650 4-18-1020 4-18-1514 4-19-0002 4-19-1401 4-19-1402 1-08-0101 1-08-2200 1-11-0407 4-10-0009 7-10-0026 2-01-5400 2-02-5231 4-14-0014 4-14-0020 4-14-0020 4-14-2116 4-15-0004 4-15-1006 4-15-2106 4-15-2106 5-00-0016 5-00-0016 5-00-0023 5-00-1011 5-00-1020 5-00-1632 5-02-6320 5-04-1007 2-11-7805 2-11-7905 2-24-0138 2-27-0021 AlPartNo
MAIN MAIN Main MAIN MAIN Main Main MAIN EDIT/SEL MAIN MAIN MAIN MAIN SLIDER Main
PLUG ON HEADER C21,24,26,27,29,35,36,49 C3,9,25 C30 J9 J17 D1,2 D6 J14 FOR KEYPAD PCB J16 J12, J13 J15 J11
(2) WHEEL BRACKET, (1) WHEEL BEZEL Main MAIN MAIN MAIN MAIN PCB U9 U10 U4 U13 Ref.Designator Comments
IC IC JAC JAC JAC JAC LCD LIT LIT LIT LIT ME ME ME ME MIS MIS MTL MTL MTL MTL MTL MTL MTL MTL MTL OEM OEM PLS PLS PLS PLS PLS PLS PLS PLS PLS PLS PLS PLS POT POT POT REP REP REP Grp REP REP
2-27-0022 2-31-0048 4-00-0001 4-00-0004 4-02-0001 4-03-0001 9-44-1602 7-51-1091 7-51-1092 7-51-1173 7-51-1174 7-01-0005 7-01-0007 7-01-0017 7-05-0003 7-13-0084 7-51-1216 9-01-1039 9-01-1040 9-03-1126 9-03-1127 9-03-1128 9-03-1132 9-03-1133 9-03-1134 9-06-0008 7-10-0021 7-10-0022 9-15-0076 9-15-1150 9-15-1151 9-15-1152 9-15-1152 9-15-1154 9-15-1155 9-15-1157 9-15-1185 9-15-1199 9-15-1200 9-15-1206 0-09-1034 0-09-1106 0-09-1124 8-20-0087 8-20-0088 8-20-0089 AlPartNo 8-20-0090 8-20-0091
ASIC DSP1 DIG-FX 84-PIN 1 IC SOFTWARE EPROM S6 (V1.10) 1 JACK 5-PIN DIN (MIDI) 2 JACK 4-PIN DIN (P4) 1 JACK 1/4 MONO CLIFF 4 JACK 1/4 STEREO 1 DISP LCD MODULE GRN STN GLASS SCHART QUICK SET-UP SMANUAL REFERENCE SCHART PROGRAM SCHART MIX SCRYSTAL 20 mHz KDS 1 CRYSTAL 24 MHZ (SMALL CAN) 0 CRYSTAL 24.576 MHZ 1 BATTERY 3V LITHIUM PANASONIC 1 ADHESIVE DIE-CUT (LCD/SIDES) S1 COMPACT-DISC SOFTWARE MIDI/PATCH S6/Q7/Q8/QSR PANEL BOTTOM EXTRUDED SPANEL TOP/REAR EXTRUDED SBRACKET PITCH SBRACKET MODULATION WHEEL SBRACKET RETAINER PCB SHEATSINK CD/S4/S6/S8/Q2/Q7/Q8/QR 1 COVER PANEL LEFT SCOVER PANEL RIGHT SSPRING TORSION PITCH SPEDAL SUSTAIN S5 (W/BOX) 1 KEYBOARD, FATAR S6 (TP/9S+AT) 1 FOOT ROUND 4 BEZEL CARD SBEZEL WHEEL SWHEEL PITCH & MOD SWHEEL PITCH & MOD SBRACKET RETAINER LCD SPANEL LEFT SPANEL RIGHT SBEZEL SLIDER SSWITCH CAP, POWER, SBEZEL DISPLAY SCAP FADER BLACK (W/ WHITE STRIPE) 2 POT 1KA STEREO SLIDE 45mm 1 POT 10KB SINGLE CONTROL EYELT 18mm-SHFT 1 POT 10KB DUAL CONTROL EYELET 1 KEY WEIGHTED C LOW END WHITE S6/SKEY WEIGHTED B WHITE S6/SKEY WEIGHTED D WHITE S6/SDescription Qnty KEY WEIGHTED A WHITE S6/SKEY WEIGHTED G WHITE S6/S9 1

6 Qnty

J1 (POT), J3 (VOL) (4) MAIN PCB, (4) TRANSFORMER PCB (U6) (5) KEYPAD PCB, (2) LCD PCB, (2) SLIDER BEZEL, (2) SLIDER PCB, (2) SIDE PANELS, (5) REAR PANEL, (4) BOTTOM PANEL, (16) MOUNTS KEYBOARD TO BOT.PNL (3) EMI FILTER (2) SIDE BRACKETS (6) SIDE COVERS Ref.Designator

Comment

HDW HDW HDW HDW HDW HDW IC IC IC IC IC IC JAC JAC JAC LCD LIT LIT LIT LIT ME ME ME ME ME ME MIS MIS MIS MIS MIS MIS MIS MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL OEM OEM OEM PLS Grp PLS PLS
5-00-1632 5-02-6320 5-02-6320 5-04-1007 5-05-1001 5-10-1004 2-11-7805 2-11-7905 2-24-0138 2-27-0021 2-27-0022 2-31-0069 4-00-0001 4-02-0001 4-03-0001 9-44-1602 7-51-1198 7-52-0009 7-52-0010 7-52-0011 4-09-0006 7-01-0005 7-01-0020 7-01-0021 7-05-0003 7-40-2700 7-07-0017 7-13-0001 7-13-0084 7-50-0074 7-51-1216 7-53-0018 7-53-0090 9-03-1036 9-03-1126 9-03-1127 9-03-1128 9-03-1132 9-03-1133 9-03-1134 9-03-1173 9-03-1174 9-06-0008 7-10-0007 7-10-0021 7-10-0137 9-10-0015 AlPartNo 9-15-0076 9-15-1151
SCREW 6-32 x 5/16 PPB W/LOCTITE NUT KEP 6-32 NUT KEP 6-32 FASTENER SNAP RIVET CLIP FUSE TIE WRAP 4in LOCKING WHITE REG 7805 +5V TO220 NATIONA REG 7905 -5V TO220 NATIONA IC 6N138 OPTO ISO HEWLETT ASIC KEY-SCAN 68-PIN PLCC ASIC DSP1 DIG-FX 84-PIN IC SOFTWARE EPROM (v1.02) Q7 JACK 5-PIN DIN (MIDI) JACK 1/4 MONO CLIFF JACK 1/4 STEREO DISP LCD MODULE GRN STN GLASS S6 MANUAL REFERENCE Q7/Q8 CHART QUICK SET-UP Q7/Q8 CHART PROGRAM Q7/Q8 CHART MIX Q7/Q8 FILTER EMI-DELTA CRYSTAL 20 mHz KDS CRYSTAL 7.056 MHZ CRYSTAL 14.7456 MHZ BATTERY 3V LITHIUM PANASONIC TRANSFORMER 115/230V 18VAC 15W S5 INSULATOR SHEET Q7/Q8 TUBE HEATSHRINK.25D x 1.0L ADHESIVE DIE-CUT (LCD/SIDES) S6 BARCODE S/N Q7 COMPACT-DISC SOFTWARE MIDI/PATCH S6/Q7/Q8/QSR STICKER QC W/ MFR DATE (UL APPROVED) LABEL GND-TERM SYMBOL Q7/Q8/QSR LUG SOLDER PCB MNT BRACKET PITCH S6 BRACKET MODULATION WHEEL S6 BRACKET RETAINER PCB S6 HEATSINK CD/S4/S6/S8/Q2/Q7/Q8/QR COVER PANEL LEFT S6 COVER PANEL RIGHT S6 CASE BOTTOM Q7 EXTRUSION TOP Q7 SPRING TORSION PITCH S6 KEYBOARD 76 KEYS FATAR S9 WEIGHTED PEDAL SUSTAIN S5 (W/BOX) GUIDE CARD PCMCIA Q7/Q8/QSR BEZEL SLIDER Q7 Description FOOT ROUND BEZEL WHEEL S6

1 Qnty 4 1

MAIN P/S MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN
(2) WHEEL BRACKET, (1) WHEEL BEZEL (3) EMI FILTER (U6)
BUNDLES ALL SIX WIRES FOR PITCH & MOD WHEELS U6 U4 U7 U32 U10 U18 J12-J14 J3, J5, J8-9, J15-16, J18 J1

MAIN MAIN MAIN MAIN P/S

EMI FILTER M2 M1 M3 B1 BETWEEN XFMR AND BOTTOM PNL. EMI FILTER
(J1, J3, J5, J8-9, J15-16, J18) PITCH WHEEL MOD WHEEL
MAIN PCB Ref.Designator Comment
PLS PLS PLS PLS PLS PLS PLS POT POT POT REP REP REP REP REP REP REP REP REP REP RES RES RUB RUB SMC SMC SMC SMC SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI Grp SMI SMI SMI SMI

Alesis QS Synthesizers

UNOFFICIAL REPAIR GUIDE
GENERAL DISCLAIMER: THIS DOCUMENT IS MADE BY USERS FOR USERS AND IS NOT ENDORSED BY ALESIS. THE AUTHORS MAKES EVERY EFFORT TO ENSURE, BUT CANNOT AND DO NOT GUARANTEE, AND MAKE NO WARRANTIES OF ANY KIND, EITHER EXPRESS OR IMPLIED AS TO, THE ACCURACY, INTEGRITY AND TIMELINESS OF THIS INFORMATION. THE AUTHORS ASSUME NO LIABILITY OR RESPONSIBILITY OF ANY KIND FOR ANY ERRORS OR OMISSIONS IN THE CONTENT OF THIS DOCUMENT AND FURTHER DISCLAIMS ANY LIABILITY OF ANY NATURE FOR ANY LOSS HOWSOEVER CAUSED IN CONNECTION WITH USING THIS INFORMATION. BOTTOM LINE: IF YOU DONT KNOW HOW TO USE A SOLDER IRON, QUIT READING THIS DOCUMENT AND CONTACT ALESIS AUTHORIZED REPAIR CENTER. ;^)

ALESIS QS SYNTHESIZERS

REPAIR A BROKEN PITCH BEND WHEEL
So youve been using your pitch bend wheel for vibrato too much and now it doesnt return to its center position? Here is a quick fix. Before I go into these instructions I must inform you that I am not an authorized tech so take all your precautions before you attempt this repair. Tools required: Wire cutter Big safety pin Screw driver Slotted or Phillips What size the safety pin should you use? Very large safety pins will have more resistance and it will return to its center position faster, I suggest avoiding small types. This is the size I used this time.
I guess I should explain how to open a QS synth before i continue. No biggy actually, no pics necessary. You need to remove 5 screws from the back and 4 (one in each corner) from the bottom side, there are a few more lined up but dont touch these as they are holding the keybed. Make sure to put the screws in a safe place, they are all the same size so dont worry about mixing them up. Now once youve removed these last 4 screws very carefully turn over the keyboard. Now this is the tricky part, (the keys should be are facing towards you) grab the side panels and lift the whole front panel until you feel a bump, now pull towards you and you should see the front metal lip that holds the panel with the bottom, once it has cleared the keys you can move the whole panel away from you like a car hood, but not too far, be careful with the cables running from under the front panel to the motherboard.
Now you should see something like this.
This is what we are looking for (the wheels), there are 3 screws, you only need to remove the left one which is the one holding the pitchbend wheel.
Once you removed it you need to separate the rubber wheel from the pot, just carefully pull it away and again careful with the wires. You should see the broken spring, remove it and keep the rubber sleeves. The safety pin loop should be wide enough to fit over the pot, you can use a screw driver for this.
Make sure the pin is NOT wide open, avoid anything like this:
This is the way to go, it should be as close as possible:
If you prefer you can use something like a criss-cross:
Now, how long should the spring wires be? Use the original to measure or place back the rubber wheel and see:
Now mark the size or cut it as needed. Make sure to insert the little rubber sleeves. Try out the wheel and make sure it centers correctly, if it doesnt, remove the spring and close it a bit more or you might need a larger safety pin. Now make sure all wires are connected and nothing looks loose, and dont forget anything inside. Replace all screws (I wrap them with teflon tape to tighten them up as they become loose from time to time) and you are done. Hope this helps, any comments or questions are welcome. The images are a little fuzzy because I never photographed small objects but i guess they serve their purpose.
DAVID CARRILLO mantarkus@yahoo.com
AUDIO OUT NOISE REPAIR SYMPTOM
Low signal level, noisy or humming main audio outputs. Both or only one (left or right) can be affected. Phone output working fine.
CAUSE Malfunctioning FET transistor in the mute circuit. These transistors (one for each output) are responsible for muting the sound during power on transition thus avoiding short high level transients that could damage follow on equipment, e.g., mixer, signal processor or amp.

SOLUTION Transistor replacement: 1) Go to the closest electronic components shop and buy one FET model J111 for each bad output. If left and right are damaged you will need two transistors. 2) To open the unit remove the two screws that are close to each side and the other four in the back panel. Lift the front panel with sides carefully, some wires are short and can be broken. Note: take care not to remove the screws that fix the keybed, keybed will not be removed.
3) With the QS open it is easy to find the power supply board and lying by its side, the main board, with the audio output connectors. It is not necessary to remove this board; the repair can be done from over the board.
4) Notice that behind the right channel connector you will find the two J111 right one for the right channel and left one for left channel. Remove the dead one or both if you have both outputs with problem.
5) With the solder iron, replace the transistor with the new one.
6) Close the unit, replace the screws, turn on the synth and check if you can hear its sound loud and clear. Now enjoy your QS again!

ARNALDO CORTEGA

REPAIR A BROKEN KEY 4.00 TROUBLESHOOTING AND REPAIR
With the release of the original QuadraSynth keyboard, Alesis engineers and technicians began a heavy learning curve into what works and what doesnt in keyboard design. Because of this experience, its descendants are not only extremely stable designs but also very easy to troubleshoot and repair. Once the keyboard clamshell is open, the technician has instant access to all of the units essential components. The QSR of course uses all of the experience Alesis has gained over the years in making quality rack mount cases.
4.10 QS6/QS7/QS8 DISASSEMBLY/REASSEMBLY
All of the keyboards use the same clamshell type of casetop. The top and sides are one piece and are removed together. Figure 9 shows the only way to correctly remove the top panel. It should be noted here that extreme caution is required when opening and closing the unit due to the delicate nature of the aftertouch cable(s). Damaging these cables might easily result in having to change the entire keyboard, which can be expensive and time consuming. Figure 10 shows the casetop and keyboard screw locations for the QS6. Figure 11 does the same for the QS7 and QS8 (while the QS8 is physically larger, it has the same screw footprint as the QS7).
FIGURE 9 - KEYBOARD CASETOP REMOVAL
FIGURE 10 - S6 CASE SCREW LOCATIONS
FIGURE 11 - QS7QS8 CASE SCREW LOCATIONS
4.40 REPLACING INDIVIDUAL KEYS
Broken keys are an unfortunate consequence of the tough life that most professional keyboards are required to undergo. So easy key replacement was a design requirement. Figures 13 and 14 show the location of the key clip. A flat blade screwdriver inserted into the slot in the key and then rotated will release the key. Note that it may be necessary to loosen (but not necessarily remove) the keyboard assembly from the case bottom.

4.51 REPLACING QS6 AND QS7 KEYS
FIGURE 13 - QS6 KEY RELEASE LOCATION
Figure 13 shows the location of the spring which must be removed before removing the key itself. It also shows the location of the key clip release catch. Insert a flat blade screwdriver into the slot. While turning the screwdriver to release the catch, lift carefully at the rear of the key. DO NOT force the key off or its possible to break the key clip itself, and ruining the entire keyboard. Once the back end on the key is loose, slide it towards the front on the keyboard (range of motion stops are built into the key and encircle part of the frame). Putting the new key in is essentially the reverse process with one small exception. Instead of using a screwdriver when putting the rear end of the key back, just push the rear end of the key down until it snaps into place.

2.34 THE KEYSCAN ASIC

While the task of polling the keyboard may seem difficult at first (up to 88 Keys with velocity), the Keyscan ASIC takes care of this task and passes the information back to the H8 processor. The main signals of the Keyscan ASIC are: DD0-DD7 A0 RD WR KEY KEYINT KEYCLK ROW0-7 COL0-21 VSS1-4 VDD1-4 Data Buss bits 0 to 7. Correspond to the upper 8 data bits of the H8. H8 Address Buss bit 0 H8 ReaD enable H8 WRite enable Chip select line from GAL (Mapped I/O) Output to H8 interrupt line Clock input from H8 Row input from keyboard switch matrix Column input from keyboard switch matrix Source Supply (GND) Drain Supply (+5V)

2.34A READING VELOCITY

Velocity response is measured through the time differential between two switch closures and works like this:
FIGURE 4 - KEYBOARD VELOCITY REPONSE
The harder a key is pressed, the faster it moves.
Since Rate = Distance/Time knowing the time it takes to move the key through a specific distance tells us how fast its moving and thus the force acting on it. This is accomplished by using 2 switch contacts mounted at different distances from each other. The rubber in the keypad acts as a spring, both absorbing the compression of switch 1, as well as pushing the carbon contacts away from the PCB contact points when the key is release. The Keyscan ASIC counts up the time it takes between switch 1 closing and switch 2 closing. Since distance (between the switches) is preset in the design, time difference is taken as a direct measure of velocity. REP REP REP REP REP REP REP REP REP REP NARFMAN96 8-20-0087 8-20-0088 8-20-0089 8-20-0090 8-20-0091 8-20-0092 8-20-0093 8-20-0094 8-20-0095 8-20-0096 KEY WEIGHTED C LOW END WHITE S6/S9 KEY WEIGHTED B WHITE S6/S9 KEY WEIGHTED D WHITE S6/S9 KEY WEIGHTED A WHITE S6/S9 KEY WEIGHTED G WHITE S6/S9 KEY WEIGHTED B WHITE S6/S9 KEY WEIGHTED F WHITE S6/S9 KEY WEIGHTED BLACK S6/S9 KEY WEIGHTED E HIGH END WHITE S6/S9 KEY WEIGHTED G WHITE S6/S1