Resonator Output Level...88 Delay Output Level...88 Reverb Output Level...88

CHAPTER 5 SAMPLING...89

5.1 SELECTING THE SAMPLING CONFIGURATION..89 5.2 RECORDING A SAMPLE...89 Recording By Audio Trigger..90 Recording from the Front Panel..90 Playing Back a Sample..91 Front Panel Playback...92 Audio Trigger Playback...92 MIDI Playback....93 Select MIDI Trigger Mode...93 Select the MIDI Trigger Note...94 Adjusting the Sample Playback Length..95 Adjusting the Sample Mix Parameters..96
CHAPTER 6 THE MIDI BUTTON..97
6.1 SELECT MIDI MODE...97 6.2 PROGRAM CHANGE ENABLE...98 6.3 EDIT THE PROGRAM CHANGE TABLE..99 6.4 MIDI THRU/OUT SELECTION..100 6.5 SYSTEM EXCLUSIVE DATA ENABLE..100 6.6 SEND PROGRAM DATA (SYS EX) OVER MIDI..100 6.7 PROGRAM ADVANCE FOOTSWITCH RANGE..103
CHAPTER 7 MIDI MODULATION (NAME/MOD BUTTON)..104
7.1 ABOUT MOD SOURCES AND TARGETS..104 7.2 PROGRAMMING MOD SOURCES AND TARGETS.105 7.3 TARGET PARAMETER LISTING...107 Configuration 1 Target Parameters..107 Configuration 2 Target Parameters..108 Configuration 3 Target Parameters..109 Configuration 4 Target Parameters..109 Configuration 5 Target Parameters..110 Configuration 6 Target Parameters..111 Configuration 7 Target Parameters..111 7.4 PARAMETER DEFAULT VALUE CHART...113
CHAPTER 8 MIDI SUPPLEMENT..116

8.1 MIDI BASICS...116

8.2 MIDI HARDWARE....116 8.3 MIDI MESSAGE BASICS...117 8.4 CHANNEL MESSAGES...117 8.4A Voice Messages...117 8.4B Mode Messages...119 8.5 SYSTEM COMMON MESSAGES...120 8.6 BOOKS ON MIDI...121 8.7 VIDEOS ON MIDI...121
CHAPTER 1 GETTING STARTED

1.1 INTRODUCTION

What It Is
The Alesis QuadraVerb GT is a stereo effects unit that is ideal for guitar. It combines analog and digital electronics to provide the best of both worlds. Analog effects include: Compression Distortion Flat/Presence/Brightness Control Bass Boost Speaker Cabinet Simulator (ideal for use with headphones or recording direct; can be bypassed when feeding a guitar amp) Noise Gate Programmable Effects Loop for inserting other effects (can also provide a signal send from the analog outputs, and receive a return signal into the digital processor) The digital effects are the same ones that have made the QuadraVerb Plus a favorite in studios and live equipment racks world-wide: Reverb Delay (stereo or mono) Pitch Change (chorus, flange, detune, phaser, etc.) Equalization (graphic or parametric) Panning and Tremolo Ring Modulation Tunable Resonators (a very resonant filtering effect) Sampling (up to 1.5 seconds of sound can be captured and replayed) The order of the analog effects are preset in their optimum positions; the routing of the digital effects is flexible and programmable. All effects parameters are editable. 100 edited programs can be saved in memory, and called up by front panel switches or MIDI program change commands. The QuadraVerb GT is also MIDI controllable. Settings need not be staticyou can control them in real time with Continuous Controller foot pedals, or with sequencers or keyboards.

There are five main reverb types, as described later. Furthermore, any reverb type can be gated, which is the process of abruptly cutting off the reverbs decay for a more choppy sound.
Delay provides a discrete repetition of a signal. By adding feedback within the effect, the delayed signal can repeat many times, with each successive decay softer than its predecessor. The QuadraVerb GT offers four types of delay: Ping-Pong Delay In stereo, the delayed signal bounces back and forth between channels, with the speed determined by the delay time parameter. Maximum delay is 375 milliseconds in QuadMode, 400ms in the Lezlie and Ring Modulation configurations, 750 ms in the Graphic > Delay configuration, 705ms in the 5 Band EQ > Pitch > Delay configuration, and 320ms in the Resonator configuration. Stereo Delay This has two individual delays, one for each channel. Setting them to different delay times allows for polyrhythmic delays. Maximum delay specs are the same as for ping-pong delay. Mono Delay Because this is a single delay line, it has twice the maximum delay time of the stereo delay (up to 1500 ms). Multitap Delay Available only in the 5 BAND EQ > PITCH > DELAY configuration, this delay includes 8 taps with variable delay time, volume, panning, and feedback amount for each tap. The total delay time of all eight delays cannot exceed 1470 ms.

Pitch Change

This module alters the pitch of a signal in various ways to produce animated timbres that are more complex than the original signal. The various pitch change options are: Chorus This combines a delayed (typically 10-25 ms), detuned version of the original signal with the straight signal. Modulating the delayed version creates phase, amplitude, and time differences that sound like two instruments playing together. Mono and stereo functions are available; stereo modulates two delayed signals instead
of just one. Flanging Flanging is similar to chorusing, but modulates the delayed signal over a much shorter delay range (typically 0-12 ms). This produces a jet airplane-like sound. Mono and stereo flanging is available, and the flange modulation sweep can be triggered in order to sync up with the rhythm of your playing. Detune Shifts the pitch by a fixed amount. This creates a thickening effect similar to the difference between a 12-string and 6-string guitar. Phase Shifter This effect is similar to flanging, but covers a narrower delay range and has a more diffused timbral quality. Lezlie Speaker Simulator With the Lezlie configuration selected, the pitch change module becomes a rotating speaker simulator. Rotating speakers, which involved mechanically rotating one or two speakers to produce complex timbral changes, were extremely popular during the 1960s.

#1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb

Configuration 1

Pitch Input INPUT Delay Input 1 Delay Input Mix Reverb Input 1

Mono Stereo

Reverb Input Mix

PREAMP

EQ REVERB

Preamp Pre/Post EQ

Reverb Input 2 Effects Output
EQ Output Pitch Output Delay Output

PANNING & TREMOLO

Reverb Output

OUTPUT

Pre-Amp Signal

Direct Output

QuadMode is a complex configuration that offers comprehensive switching and mixing possibilities. Its excellent for creating larger-thanlife, animated sounds. The Pitch module can switch its input between the preamp or EQ signals. The Delay modules Delay Input Mix control chooses a blend between the output of the Pitch module, or the preamp or EQ signal (as selected by the Delay Input 1 switch). The Reverb modules Reverb Input Mix control chooses a blend between two input options. Reverb Input 1 switches between preamp, EQ, preDelay, or post-Pitch signals; Reverb Input 2 switches between the postDelay or post-Pitch signal. Panning and Tremolo are available in this configuration, and are in series with the preamp or EQ signal line. The Preamp Signal Pre/Post EQ switch chooses whether the Preamp Output comes from preamp or EQ.
#2 Preamp > Lezlie > Delay > Reverb

Configuration 2

Delay Input Mix Reverb Input 1

REVERB PREAMP LEZLIE

Reverb Input 2
Lezlie Output Delay Output

Effects Output

OUTPUT Direct Output
This is similar to the QuadMode configuration, but replaces the EQ and Pitch modules with a Lezlie (rotating speaker simulator) module and does not have a Preamp level control. The Lezlie module simulates the common two-speaker system with two different speeds. The switching and mixing options are similar to those used in QuadMode. This configuration produces complex frequency and amplitude modulation effects and works very well with rhythm guitar.
#3 Preamp > Graphic EQ > Delay

Configuration 3

Ouput Shift Mix Up INPUT Delay Input Mix

Reverb Input 1

REVERB PREAMP RING MOD
Down Delay & Reverb Shift Mix
Reverb Input 2 Reverb Output Delay Output Effects Output

Ring Modulator Output

This configuration features the Ring Modulation in conjunction with Delay and Reverb. The Ring Modulator is not available in other configurations. The Ring Modulator produces two outputs, both of which are mathematically derived (sum and difference frequencies) from the input signal. The Ring Modulator output can pan between these two output signals, as can the Delay & Reverb Shift Mix control, which chooses a blend of both outputs to send to the Delay and Reverb inputs.
#7 Preamp > Resonators > Delay > Reverb

Configuration 7

Reverb Input 1 Delay Input Mix

RESON 1

RESON 2 PREAMP RESON 3 RESON 4 RESON 5
Resonator Output Reverb Input 2

REVERB

Reverb Output Delay Output Effects Output
This configuration features the Resonators in conjunction with Delay and Reverb.

#8 Preamp > Sampling

Configuration 8
Trigger Audio Trigger MIDI Note Looping On-Off Start

Length

Trigger In

Pitch In

Sampling Output

SAMPLING

Pre-Amp Signal OUTPUT
In this configuration, you can record sounds (processed by the Preamp if desired) into the QuadraVerb GT and play them back in a variety of ways.
CHAPTER 3 - BASIC EDITING TECHNIQUES
Editing is the key to using the QuadraVerb GT to its fullest potential. If you like a sound but want more reverb, less treble, more distortion, or whatever, editing is the answer. Make sure that if you develop a custom set of programs, that you save your data to some form of MIDI system exclusive storage device, like the Alesis DataDisk (see sections 5.5-5.6).

3.1 HOW EDITING WORKS

The QuadraVerb GT contains five Effects Groups, each with its own corresponding front panel selection button: Reverb, Delay, Pitch, Equalization (EQ), and Guitar Preamp (Pre-Amp). These all contain editable parameters. Four other editable functions (with front panel buttons) are also available: MIDI, Name/Mod, Mix, and Configuration. The basic editing procedure is the same for whatever you want to edit; well get into specifics later.
1. Select What You Want to Edit
Push the button associated with the Effect Group (Reverb, Delay, Pitch, EQ, Preamp) or function (MIDI, Config, Mix, Mod) you want to edit. The LED in the middle of the button will light.
2. Select the Page with the Parameter to be Edited
Each effect/function includes several pages. Each page shows the name and value of one (or sometimes more) parameters, and each parameter controls some particular aspect of the QuadraVerb GTs sound or operation. Most effects or functions require multiple pages to show all available parameters. The page's upper display line shows the parameter name, and the lower line, the parameter value. Press the PAGE UP and DOWN buttons to select a page containing a parameter to be edited. The harder you press the PAGE button, the faster the pages will scroll. NOTE: The NAME/MOD button is the exception to this rule,as it

3.3 SAVING (STORING) EDITED PROGRAMS
1. To save an edited program, press the STORE button. The LED in the middle of the button will light. The display says: STORE PROGRAM AT LOCATION: XX where XX is the original program number. 2. To save to a different program number, press the appropriate VALUE button to select the desired program location. Warning! This edited program will overwrite the program stored in this location. Before saving, make sure the program to be overwritten is expendable. 3. Press the STORE button a second time to save the program. The display will say PROGRAM STORED.

3.4 RENAMING PROGRAMS

You may want to give your edited program a distinctive name. 1. Press the NAME/MOD button. The LED in the middle of the button will light and the display says: EDIT NAME: (Name of Song) 2. Use the PAGE buttons to select the character to be changed. Characters available (in addition to a blank space, Yen symbol, and left and right arrows) are: ! ( / 6 = D K R Y a h o v } ) > E L S Z b i p w # * ? F M T [ c j q x $ + @ G N U ] d k r y % , 3 : A H O V ^ e l s z & 4 ; B I P W _ f m t { . 5 < C J Q X ` g n u |
3. Use the VALUE buttons to select the desired character. To enter a space, press both VALUE buttons simultaneously (or press the DOWN VALUE button and scroll to the last character of the character list, which is a blank space). 4. Repeat steps 2 and 3 until the program is named. 6. To store the name, press the STORE button twice. 7. Press any button other than PAGE or VALUE to exit the Name page.
3.5 RECALLING INDIVIDUAL FACTORY PROGRAMS
1. Press STORE. The LED in the middle of the button will light. 2. Press the PAGE UP button to select the Recall page. The display says:
RECALL ALESIS PROG YY INTO XX 3. Press either VALUE button to select the program to be recalled (the first parameter). 4. Press the PAGE UP button again to move the cursor under the second parameter. 5. The factory program will be recalled into the program selected as the second parameter. Press either VALUE button to select this program number. 6. Press STORE to complete the recalling operation.
3.6 RECALLING ALL FACTORY PROGRAMS
1. Press STORE. The LED in the middle of the button will light. 2. Press the PAGE UP button three times. The display says: RECALL ALL 90 ALESIS PROGRAMS 3. Press STORE and all the program locations will be occupied by factory programs. Any other data will be overwritten.
CHAPTER 4 EDITING CONFIGURATION PARAMETERS
In this section, well describe how to select a configuration, then how to edit the parameters for each configuration. Please refer to the configuration block diagrams in section 2.2 for details on how particular mixing and switching parameters work with a particular configuration. Remember that after selecting a configuration, the PAGE buttons select the various pages with different parameters. If a page has more than one parameter, the PAGE buttons also move between those parameters. Once a parameter is selected, as indicated by a cursor (small underline), use the VALUE buttons to change the parameter value. Sampling is such a different type of application that it has its own chapter. All sampling parameters are covered in that chapter. Important! In many of the following sections, a diagram will show what you can expect to see when you call up a particular page. The parameter value shown for each page will usually be representative, but when you actually call up the page on the QuadraVerb GT, a different parameter value from the one shown in the manual may appear.

Reverb Decay (configs 1, 2, 5, 6, 7)
The display shows: REVERB DECAY: 40 This determines how long it takes for the reverb to fade out, on a scale of 00 (shorter) to 99 (longer).
Reverb Diffusion Amount (configs 1, 2, 5, 6, 7)
The display shows: REVERB DIFFUSION AMOUNT: 1 Diffusion determines the thickness of the reverb sound by altering the time that occurs between reverberant reflections. With lower diffusion settings, you may be able to actually hear the individual echoes that make up the overall reverb sound. With higher diffusion settings, the echoes increase in number and blend together. Greater diffusion works better with percussive sounds, whereas less amounts of diffusion work well with vocals and other sustained sounds. This parameter is variable from 1 to 9.
Reverb Density (configs 1, 2, 5, 6, 7)
The display shows: REVERB DENSITY: 4
Usually, in natural acoustic spaces, some time elapses between the first reflection and all other reflections that make up the reverb sound. If you listen to only the reverb with Density set to 1, you will hear the source sound repeat (the first reflection), a short bit of silence, then the onset of the rest of the reverb. Increasing the Density shortens the time between the first reflection and the remaining reverb reflections. At the maximum setting of 9, the reverb will seem to explode since the first reflection will no longer be perceived as a separate echo. This parameter is very useful with percussive sounds, since an isolated first reflection may sound like an additional percussive hit. It is available in all of the reverbs except for Hall 1 and Hall 2.
Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7)
The display shows: LOW FREQUENCY DECAY: -40
Separating the decay times for the high and low frequencies changes the timbral quality of the reverb over time. The value is always a negative number since this parameter shortens the time of reverb with low frequency content compared to the master reverb decay time parameter.
Reverb High Frequency Decay (configs 1, 2, 5, 6, 7)
The display shows: HIGH FREQUENCY DECAY: -40 Separating the decay times for the high and low frequencies changes the timbral quality of the reverb over time. The value is always a negative number since this parameter shortens the time of reverb with high frequency content compared to the master reverb decay time parameter.

This page appears only if Stereo is selected as the delay type, and says: DELAY FEEDBACK RIGHT: 33% Increasing the feedback increases the number of successive echoes; each echo will be softer than its predecessor.
Multi Tap Number (config 4 only)
The display says: TAP NUMBER: 8 This parameter selects the tap to be edited on subsequent pages. IMPORTANT: When the Delay Time, Volume, Panning, or Feedback pages are selected, you can select the next higher-numbered tap by pressing the DELAY button. Going past 8 returns you to 1.
Multi Tap Delay Time (config 4 only)
The display says: TAP X DELAY TIME 0125 millisecs X is the number of the tap selected for editing. Note that each taps delay is cumulative. Example: If tap 1 is 150 ms and you want tap 2 to be 300 ms and tap 3 to be 400 ms, set tap 2s delay time to 150 ms (150+150=300) and tap 3s delay time to 100 (150+150+100=400). If you change a taps delay time, all higher numbered taps will be offset by the same amount that you changed the taps delay time.
Multi Tap Volume (config 4 only)
The display says: TAP X VOLUME: 50 X is the number of the tap selected for editing. This sets the volume of the selected tap.
Multi Tap Panning (config 4 only)
The display says: TAP X PANNING: LEFT 00 RIGHT X is the number of the tap selected for editing. This pans the tap output anywhere in the stereo field between full left (99) and full right (99). Center is 00.
Multi Tap Feedback (config 4 only)
The display says: TAP X FEEDBACK: 00% X is the number of the tap selected for editing. Increasing the feedback increases the number of successive echoes this tap will produce; each echo will be softer than its predecessor.
Multi Tap Master Feedback (config 4 only)
The display says: MASTER FEEDBACK: 00% This scales all feedback parameters simultaneously if you want to increase or decrease feedback without having to readjust each taps feedback parameter.
4.6 EDITING PITCH PARAMETERS
Configurations 1, 2, 4, 5, and 6 can access the pitch parameters. However, the pitch parameters are quite different for these configurations. Parameters are covered in the following order: Configurations 1 and 4 use pitch parameters in a relatively traditional manner (chorus, flange, pitch detune, and phase shifter). Configuration 2 uses the pitch module to access Lezlie effects. Configuration 5 uses the pitch module to access Reverb Chorus effects. Configuration 6 uses the pitch module to access Ring Modulator effects.
Pitch Mode (configs 1, 4)
Mono Chorus Splits the signal into two lines: one is unprocessed, while the other has its pitch changed in a cyclical manner. Mixing these two together produces frequency response and amplitude variations that create the sound of multiple instruments playing en ensemble. Stereo Chorus This is similar to mono chorus, but splits the signal into two pairs of two lines (one pair per channel). As the delay time in one channel is increasing, the other channels delay is decreasing and vice-versa. Mono Flange Similar to mono chorus, but with parameters optimized for flanging. This effect imparts a whooshing, jet airplane sound to the signal being processed. Stereo Flange Similar to stereo chorus, but with parameters optimized for flanging. Pitch Detune Detunes a signal slightly sharp or slightly flat. This is often used to obtain 12-string effects from a six-string guitar. Phase Shifter The Phase Shifter shifts the phase of certain frequencies to produce a comb filter effect. This produces a sound that is similar to flanging, but more subtle. IMPORTANT! For the deepest pitch effects, the dry and processed signal levels (found in the Mix section) should be equal (50% dry and 50% effect).

Low Mid EQ Bandwidth (5 Band EQ mode only)
The display says: LO MID EQ WIDTH 1.00 OCTAVES Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQs boost and cut values. Example: A bandwidth of one octave boosts a wider range of frequencies than a bandwidth of 0.2 octaves.
Low Mid EQ Amplitude (5 Band EQ mode only)
The display says: LOW MID EQ AMP + 00.00dB This sets the amount of boost (positive numbers) or cut (negative numbers) at the lower midrange frequency set on the Low Mid EQ Frequency page.
The display says: MID EQ FREQUENCY 2000Hz All three midrange filters are parametric types. This parameter sets the midrange frequency at which signals will be boosted or cut.
Hi Mid EQ Frequency (5 Band EQ mode only)
The display says: HIGH MID EQ FREQ 05000Hz All three midrange filters are parametric types. This parameter sets the high midrange frequency at which signals will be boosted or cut.
Hi Mid EQ Bandwidth (5 Band EQ mode only)
The display says: HIGH MID EQ WDTH 1.00 OCTAVES Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQs boost and cut values. Example: A bandwidth of one octave boosts a wider range of frequencies than a bandwidth of 0.2 octaves.
Hi Mid EQ Amplitude (5 Band EQ mode only)
The display says: HIGH MID EQ AMP + 00.00dB This sets the amount of boost (positive numbers) or cut (negative numbers) at the high midrange frequency set on the High Mid EQ Frequency page.

High EQ Frequency

High EQ Amplitude
Resonator Number (5 Resonator/3 EQ mode only)
The display says: RESONATOR NUMB: 1 This selects a resonator to be edited. There are 5 resonators in 5 Resonator/3 EQ mode. NOTE: While in the Resonator Tune, Resonator Decay, or Resonator Amplitude pages, pressing the EQ button repeatedly will step through the five resonators.
Resonator Tune (5 Resonator/3 EQ mode only)
The display says: RESONATOR 1 TUNE + 00 SEMI TONE The VALUE buttons tune the resonators in semitones over a five-octave range, from -24 semitones to +36 semitones.

CHAPTER 6 THE MIDI BUTTON
This Chapter describes how to set up the QuadraVerb GT for MIDI operation. The next Chapter covers how to modulate different parameters via MIDI continuous controllers. Please note that the MIDI button selects global settings that apply to all programs. Only the MIDI modulation options are stored with each program. All operations begin by pressing the MIDI button. The LED in the middle of the button will light. Use the PAGE buttons to select the following pages, and the VALUE buttons to select the parameter value for each page.

6.1 SELECT MIDI MODE

The display says: MIDI CHANNEL: OMNI There are two options. Omni In this mode, the QuadraVerb GT will respond to any data coming in from any MIDI channel. If youre using the QuadraVerb GT only with something like a MIDI Program Change Footswitch or Continuous Controller pedal, this is a hassle-free setting. If there are several devices connected to the MIDI line, you will need to assign each one to its own channel number, described next. 01-16 This selects a MIDI channel from 1 to 16. The QuadraVerb GT will respond only to information appearing on the selected channel. Example: If you want to control two independent QuadraVerb GTs from the same MIDI line, set each one to a different channel, such as 1 and 2, 5 and 10, 11 and 16, etc.
6.2 PROGRAM CHANGE ENABLE
The display says: MIDI PROGRAM CHANGE: ON There are three options. Off When off, the QuadraVerb GT will ignore any incoming program changes. On When on, the QuadraVerb GT will respond to incoming program change commands. There is a one-to-one correspondence between program change numbers and QuadraVerb GT programs (i.e., MIDI program 0 calls up QuadraVerb GT program 0, MIDI program 1 calls up QuadraVerb GT program 1, MIDI program 43 calls up QuadraVerb GT program 43, etc.). MIDI programs 100-127 will call up QuadraVerb GT programs 00-27 MIDI Weirdness Consumer Alert! Not all program changegenerating devices number their programs from 000-127; some number their programs from 001 to 128 (which would offset all program numbers by one), others group programs as banks of 8 or 16 programs, and so on. To figure out whats going on, set the QuadraVerbs MIDI Program Change parameter to on, select various programs on your program change-generating device, and see which programs are called up on the QuadraVerb GT. Table This enables a program change table (see next section) that lets you assign any QuadraVerb GT program number to any incoming program change number. Example: You can have MIDI program change 23 select QuadraVerb GT program 75. With Table selected, it is not necessary to have a one-to-one correspondence between QuadraVerb GT program numbers and incoming program change commands.

6.3 EDIT THE PROGRAM CHANGE TABLE
The display says: PROGRAM TABLE: 000 = 00 The lower left, three-digit number represents the incoming program change number. The lower right, two-digit number represents the QuadraVerb GT program that will be selected in response to the displayed program change number. In a new QuadraVerb GT, the two numbers should be equal up to MIDI program change number 100. At that point, the QuadraVerb GT program numbers start over again (i.e., 100=00, 101=01, 102=02, etc.). While this screen is showing, the PAGE UP button moves the cursor underneath the QuadraVerb GT program number. The PAGE DOWN button moves the cursor back under the MIDI program change number. The VALUE buttons change the selected parameter. To edit the program change table: 1. Select the incoming MIDI program change number with the VALUE buttons. 2. Press the PAGE UP button to move the cursor under the corresponding QuadraVerb GT program number. 3. Use the VALUE buttons to select the desired QuadraVerb GT program number. 4. To do more edits, press the PAGE DOWN button to return the cursor to the incoming MIDI program change parameter. 5. Repeat steps 1-4 until the table is completely edited.
6.4 MIDI THRU/OUT SELECTION
The display says: MIDI THRU OFF When OFF, the rear panel MIDI Out/Thru jack works as a MIDI Out jack that can transmit data generated by the QuadraVerb GT (see sections 5.5 and 5.6). When ON, the rear panel MIDI Out/Thru jack serves as a MIDI Thru jack that carries a duplicate of the data appearing at the QuadraVerb GTs MIDI In. Even when the MIDI Thru function is enabled, the MIDI Thru/Out jack will continue to function as a MIDI Out.
6.5 SYSTEM EXCLUSIVE DATA ENABLE
The display says: SYSEX ENABLE: ON When ON, the QuadraVerb GT can send and receive System Exclusive data over its MIDI Out jack. When OFF, the QuadraVerb GT will not be able to send or receive System Exclusive data.
6.6 SEND PROGRAM DATA (SYS EX) OVER MIDI
The display says: SEND MIDI PROG: 00 TO 00 The QuadraVerb GT can convert its patch data into a format compatible with the MIDI spec. This is a type of System Exclusive data, meaning that it is not defined as part of the general MIDI spec, but represents data that is only understood by gear that has been trained to receive information

QuadraVerb GTs internal battery goes dead, the unit gets abused and needs to be repaired, etc.), you can reload your programs back into the QuadraVerb GT and be right back in business with your own favorite patches. REMEMBER: The System Exclusive page must be set to ON for any of this stuff to work at all.
6.7 PROGRAM ADVANCE FOOTSWITCH RANGE
The display says: FOOTSWITCH RANGE 00 THROUGH 99 The advance footswitch jack on the rear panel lets you increment or decrement through a range of programs (as set on this page) one program at a time. Enter the range by alternating between the two numbers with the PAGE buttons, and change the numbers with the VALUE buttons. If the first number is higher than the second one, each footswitch press will decrement the program number by one. If the first number is lower than the second one, each footswitch press will increment the program number by one. Examples: If the first number is set to 76 and the second to 70, then pressing the footswitch will cycle through the programs in the following order: 76, 75, 74, 73, 72, 71, 70, 76, 75, 74, 73, 72, 71, 70, 76, etc. If the first number is set to 00 and the second to 10, then pressing the footswitch will cycle through the programs in the following order: 00, 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 00, 01, 02, 03, 04, 05, etc.
CHAPTER 7 MIDI MODULATION (NAME/MOD BUTTON)
Now were getting into the part for the hardcore MIDI fanatic; if youre
new to MIDI, it may take you some time to figure out how to work modulation into your sound. The good news is that MIDI control can add a tremendous amount of control to your setup (both live and in the studio), so once you learn to use MIDI modulation, youll be able to produce some absolutely mind-boggling effects. Weve already mentioned using a continuous controller footpedal to vary parameters in real time with a pedal (section 1.8). Another application is to use a MIDI sequencer to change parameters (and programs, if desired) in real time as you play. If youd just like to play instead of hit footswitches and move pedals, this is the answer. While it may not always be feasible to use a sequencer live, this technique can always work in the studio. It is possible to control up to eight parameters simultaneously from one to eight MIDI controllers. All mod assignments are stored with their programs, so a pedal could vary delay feedback in one program, equalization in another program, etc.

Now, step on the pedal until it is all the way forward. Set the Mod Amplitude level to its maximum value (+99). This sets the amount of Reverb Output level you will hear when the pedal is completely forward. By assigning these two values to the extreme positions of your controller's range, you have defined the range within your target parameter that you will be able to modulate with the controller.
7.3 TARGET PARAMETER LISTING
Here is a listing of available target parameters for all configurations except Configuration 8 (sampling), which has no target parameters. Some of the target parameters are dependent on a previously selected page. For example, the Reverb Decay parameter in configuration 1 becomes Reverb Reverse Time when the Reverb Type page has been set to Reverse (see below). The indented bold headings signify which parameter or mode must be selected to yield the target parameters that follow it.
Configuration 1 Target Parameters
Reverb Input Mix Reverb Predelay Reverb Predelay Mix Reverb Type: Reverse Reverb Reverse Time Reverb Type: All Others Reverb Decay
Reverb Diffusion Reverb Density (not available for Reverb Type: Hall 1) Reverb Low Decay Reverb Hi Decay Delay Input Mix Delay Type: Mono Delay Delay Time Delay Feedback Pitch Mode: Pitch Detune Detune Amount Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback Pitch Mode: All Others LFO Speed LFO Depth Pitch Feedback
EQ Mode: 3 Band EQ Lo EQ Frequency Lo EQ Amplitude Mid EQ Frequency Mid EQ Bandwidth Mid EQ Amplitude Hi EQ Frequency Hi EQ Amplitude Direct Mix Level Preamp or EQ Mix Level Effect Mix Level Pitch Mix Level Delay Mix Level Reverb Mix Level Preamp Out Level
EQ Mode: Resonators + EQ Res 1 Decay Res 1 Amplitude Res 2 Decay Res 2 Amplitude Mid EQ Frequency Mid EQ Bandwidth Mid EQ Amplitude
Configuration 2 Target Parameters
Reverb Diffusion Reverb Density (not available for Reverb Type: Hall 1) Reverb Low Decay Reverb Hi Decay Delay Type: Mono Delay Delay Time Delay Feedback Lezlie Stereo Lezlie Motor Lezlie Speed Lezlie Hi Level Direct Mix Level Effect Mix Level Lezlie Mix Level Delay Mix Level Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback
Reverb Mix Level Preamp Out Level
Configuration 3 Target Parameters
Delay Type: Mono Delay Delay Time Delay Feedback Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback
Each Graphic EQ Band Boost/Cut (11 target parameters total) Direct Mix Level Effect Mix Level EQ Mix Level Delay Mix Level Preamp Out Level
Configuration 4 Target Parameters
Delay Input Mix Delay Type: Mono Delay Delay Time Delay Feedback Pitch Mode: Pitch Detune Detune Amount Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback Pitch Mode: All Others LFO Speed LFO Depth Pitch Feedback EQ Mode: Resonators + EQ Res 1 Decay Res 1 Amplitude Res 2 Decay Res 2 Amplitude Res 3 Decay Res 3 Amplitude Res 4 Decay Res 4 Amplitude Res 5 Decay Res 5 Amplitude Low EQ Frequency Low EQ Amplitude

By using individual channel inserts, you can dedicate the QuadraVerb 2 to a specific channel (or pair of channels) on the mixer. The Insert connections on the back of the mixer provide a way of inserting external processing equipment into the signal path. The insert occurs after the input amplifier, and before the main fader; essentially it is the same as connecting the source (instrument or microphone) into the QuadraVerb 2 before the mixers channel input. However, some mixing consoles inserts come after the EQ section, and may therefore be different from the original signal.
Usually, insert connections require a special, stereo-splitting Y-cord to be connected (one stereo plug provides both send and return while two mono plugs connect separately to an input and output). These are known as TRS connectors (tip-ringsleeve). The tip of the stereo plug typically carries the send or output of the insert jack, while the ring carries back the return. The sleeve represents a common ground for both signals. Check the manual of your mixer because some are wired differently (for example, having two separate jacks for send and receive). Mono. This involves connecting a 1/4" TRS (tip-ring-sleeve) to the Insert jack of a single channel on a mixing console. The other end of the cable (which splits into two, 1/4" mono connectors) are connected to the [R] INPUT and [R] OUTPUT, respectively. If you do not hear any audio after making these connections, swap the input and output cables at the QuadraVerb 2, as these may be wired backwards. If the cable is color-coded, usually the red jack represents the send (which connects to the QuadraVerb 2s INPUT) and black is the return (which connects to the OUTPUT).

Insert

Stereo. In the case where a stereo instrument, such as a keyboard or sampler, is connected to two separate channels of a mixing console, you will need two 1/4" TRS cables, one for each channel. The connection is made in a similar fashion as described above.

Left Master Insert

Right Master Insert

Using Main Outputs

When you want to effect everything on the mixer, you can connect the QuadraVerb 2 between the mixers outputs and the amplifiers or tape machines inputs. This is done by using two 1/4" cables to connect the Left and Right Main Outputs of the mixing console to the [L] and [R] INPUTs of the QuadraVerb 2. The [L] and [R] OUTPUTs of the QuadraVerb 2 are then connected to a stereo amplifier, or two input channels of another mixing console (for sub-mixing applications).
Left Output Left Master Out Right Master Out

Left Input Stereo Amp

If your mixers outputs use XLR balanced connectors, use the illustration below as a guide for wiring cables to connect to the QuadraVerb 2s inputs.

Setting the Routing Levels
Each time you add a patch cord to a Program, the QuadraVerb 2s display automatically prompts you to set its level. This is done by adjusting the attenuation level between -48dB and +0dB, or OFF. When set at +0dB, the signal is allowed to pass through at full volume, with no attenuation. When set to OFF, the signal is fully attenuated and will not be heard at the patch cords destination. The default level for a newly added patch cord is -6dB. This provides you with ample headroom for most applications. The ideal level, however, should be as high as possible without causing distortion. There are basically three places in the QuadraVerb 2 that can distort: at the input A/D converter, within the blocks, and at the output. The routing levels within a well-designed program are set so that none of these three will distort before the other ones do. If the input is clipping, it doesn't matter if you've attenuated levels feeding from the input to a block--it will still distort. Input clipping is controlled by the front panel INPUT LEVEL controls. Block clipping can be caused by routing levels to the block that are too high, or by processing within the block itself (for example, a boost in EQ, resonance in a chorus, or feedback in a delay). Output clipping can be controlled using the Master Effects Level parameter in the [MIX] function. The OUTPUT LEVEL control is analog, and cannot lower the distortion caused when the output of multiple blocks are too loud for the output D/A converter to handle. Keep in mind when setting routing levels that each time you double the number of sources, the output rises 6 dB. If there are four blocks feeding another block, those routes may all need to be set to -12 dB to avoid clipping. On the other hand, if a program consists of a single delay or reverb block, input and output routings may be set to 0 dB without distortion. It is also important to note that each patch cord in a Program uses 1% of the total DSP power available. However, if the signal is attenuated (by setting the level below +0dB), 2% of DSP is used. The following section discusses how the QuadraVerb reacts when DSP is nearly fully taxed. One way to free up more DSP power when you need it is to set some or all of your patch cord levels to +0dB.

The LR IN

These appear on the far left side of the Block section in the display. They are not selectable with the [< BLOCK >] buttons. This is because we are always routing from the LR IN and, in keeping with our convention, all routing is done from the destination Block, not from the source.
Reaching the Outputs - LR OUT
The L OUT and R OUT are separately selectable (like Blocks) for routing purposes. Whichever Block is determined to be the final effect in the chain (whether your Program has one or multiple Blocks), it needs to be routed to the LR OUT in order for you to hear it. This can be done in mono (if just one channel is needed) by routing one or more Block outputs to either the L OUT or R OUT, or in stereo by routing to both the L and R OUT.

Press [PAGE >] twice to advance to Type Page 3. The display will look like this:
MOVE BLOCK: 1 INTO BLOCK 2
The right half of the display will flash.
Use the [VALUE/ENTER] knob to select which Block you want to move (18). Press [PAGE >] to advance the cursor to the next field. MOVE BLOCK: 1 INTO BLOCK 2 Turn the [VALUE/ENTER] knob to select where you want to move it to (18).
Press [VALUE/ENTER] to execute the move. If the selected destination is already occupied by a defined Block, the Blocks will slide into the now-vacant positions.

Changing Effect Types

If you already have defined a Block and assigned its routings, you can still change its Function and Effect Type. Usually, this doesnt disturb anything else. However, if the Block was defined as a mono effect and you change it to a stereo effect, the QuadraVerb 2 will make the necessary changes in routings, and vice-versa. Heres an example: Lets say you have a Mono Delay Block that has its mono output (M) routed to the R OUT. Now you go into Type mode and change it to a Stereo Delay. As soon as you press the [VALUE/ENTER] button and make the change, the display momentarily reads:
CONVERTING MONO ROUTES TO STEREO
Now, the Block has three outputs: L (left), R (right), and M (mono). In this case, the QuadraVerb 2 automatically assigned the R output of the Delay to the R OUT. Since the M output of the Delay Block had originally gone to the R OUT, the QuadraVerb 2 assumed you wanted to continue having the Block go to this output. So, logically, it routed the Blocks new R output to the R OUT. Lets say we did the opposite; i.e., change a stereo effect into mono. The exact opposite would happen. Once we changed the stereo effect into a mono effect type, the display would momentarily read:
CONVERTING STEREO ROUTES TO MONO
In this case, if only one of the effects outputs had been routed to one of the QuadraVerb 2s OUTS, it would be rerouted to come from the new mono Blocks M output. If both the Left and Right outputs of the stereo Block were connected to the LR OUT, then the mono effects M out would now be connected to both the L OUT and R OUT.

DIG CH IN: L=1,R=2 OUT: L=1,R=2
Page 7: Digital Output Mode. This determines how the DIGITAL [OUT] connector will function. When set to NORMAL, the QuadraVerb 2s LR OUT is routed to the DIGITAL [OUT] connector. When set to THRU, whatever is received at the DIGITAL [IN] connector is passed on to the DIGITAL [OUT] connector without any processing occurring on the digital signal within the QuadraVerb 2. Use this mode when you are connected between to Alesis Optical devices (such as ADAT) between which you wish to bounce digital audio.
DIGITAL OUTPUT MODE: NORMAL
Page 8: Tap Tempo Footswitch. This lets you choose which footswitch jack (either [ADVANCE] or [BYPASS]) will be used to provide a tap tempo source for setting delay time, provided the selected Program uses one of the two available tap tempo delay types. This requires that you have defined an Effect Block as one of the two Tap Tempo delay types, and that the desired footswitch jack has been selected for controlling tap tempo. Page 9: Global Direct Signal. The purpose of this feature is to satisfy the conditions of a recording studio environment. When connecting the QuadraVerb 2 to a mixing consoles aux sends and returns, it is generally desirable to remove the direct signal feed from the outputs of the QuadraVerb 2. Since most QuadraVerb 2 Programs route the LR IN signal to the LR OUT, you will need to remove this connection from the Programs routing when connecting to a mixers aux sends and returns. However, this can be done globally for all Programs using this function. If it is set to ON, the inputs will be heard at the outputs, if the are routed this way in the current Program. By setting this function to MUTE, you can remove this connection for all Programs without having to delete the patch cords in each that route the inputs to the outputs.

GLOBAL DIRECT SIGNAL: ON

When set to MUTE, recalling a Program which has the LR IN routed to the LR OUT will not display those patch cords so as to avoid confusion. You can, however, still add or delete these connections, as well as adjust the Direct Signal Level in Mix mode, and these changes will be remembered when you store the edited Program. However, as long as the Global Direct Signal function is set to MUTE, you will not hear the effect of any of these edit.

MOD 1 TO:DLY 1-DELAY TIME
The second field of page 1 lets you choose a Block in the current Program. The Block Type will be shown as an abbreviation (EQ, PCH, DLY, REV) along with its location number (i.e. DLY-1 means Block 1 which is a Delay type). The third field is where you choose a particular parameter to be modulated. The list of available parameters depends on the selected Blocks type.

MOD 1 SOURCE: PITCH BEND

The second field of page 2 lets you select a Source to modulate the chosen Target. The second field of page 3 lets you adjust the amount of modulation (Amplitude), either positively or negatively, from -99 to +99.

MOD 1 AMPLITUDE: +0

Pages 4 through 9 allow you to define the two Internal Generators. These can be used as an alternative to external MIDI control, allowing the audio signal at the QuadraVerb 2s inputs to control the effect parameters in realtime.
GEN 1 TYPE: INPUT ENVELOPE
Page 4 lets you choose what type each of the two Input Generators should be. There are two types to choose from: Input Envelope and Peak Follower. The first field lets you select which Input Generator you wish to edit. The remaining pages are used to setup the parameters for the Input Generators. For more information about the Input Generators, see chapter 6.
The [POWER] switch turns the AC power to the unit ON (in) or OFF (out).

Rear Panel

This is a 4 pin DIN plug which connects to Alesis AC09-25D Power Supply (supplied). The power supply is then connected to an AC outlet delivering a nominal 120VAC
(North American versions). The correct power supply must be used AT ALL TIMES. Any other power supply might create a fire risk and/or permanently damage your unit. This damage would NOT be covered under your warranty.

MIDI In

This is a 5 pin DIN standard MIDI plug which connects to any MIDI compatible equipment such as a MIDI sequencer that will send program changes and controller information to the unit.

MIDI Thru/Out

This is a 5 pin DIN standard MIDI plug which connects to any MIDI compatible equipment such as a keyboard or another effects device. Provided for sending system exclusive commands for storing programs. It also relays all messages received on the MIDI IN if MIDI THRU is enabled.

The [MIDI] LED will light.
Press [PAGE >] to access MIDI Page 2. The display will read:
MIDI PROGRAM CHANGE: ON Turn the [VALUE/ENTER] knob to the right to set the MIDI Program Change

parameter to TABLE.

MIDI PROGRAM CHANGE: TABLE Press [PAGE >] to access MIDI Page 3.
You can edit the program change table, which can substitute alternate Programs (Preset 00-99 and User 00-99) for each of the 128 MIDI program change messages.
PROGRAM TABLE: 000 = 00 User Turn the [VALUE/ENTER] knob to select a program change number from 000

127 to be re-mapped.

Press [PAGE >] to advance the cursor to the second field in the display.
PROGRAM TABLE: 000 = 00 User D Use the [VALUE/ENTER] knob to select a QuadraVerb 2 Program for the
selected MIDI program change message to be re-mapped to (Preset 0099 or User 0099).

SysEx Storage

To send and receive program information via SysEx dumps using a computer, or some other SysEx storage device (such as the Alesis DataDisk), or another QuadraVerb 2:
Connect the other devices MIDI OUT to the QuadraVerb 2s [MIDI IN].
Connect the QuadraVerb 2s [MIDI OUT] to the other devices MIDI IN. This provides two-way communication between the devices.
Press [< PAGE] to select MIDI Page 6.
SEND MIDI PROGRAM: 00 TO 00 Use the [VALUE/ENTER] knob to select a User Program from 00-99, or the
current Program being used (EDIT), or ALL User Programs. To send all User Programs, turn the [VALUE/ENTER] knob all the way to the right to select ALL. Optionally, when sending a single Program to another QuadraVerb 2, you can choose to send it to a different location. When you select a Program to be sent, the second field (which represents the destination location) is linked and moves along with it. To select a different location number to send this Program to:
Press [PAGE >] and use the [VALUE/ENTER] knob to select a destination location (0099 or EDIT). If you chose to send ALL User Programs, the second field will disappear.
D Set the receiving MIDI device to receive or record the MIDI information about to be
sent from the QuadraVerb 2.
Press the [VALUE/ENTER] button to transmit.
If sending ALL User Programs, during the dump the display will read:
MIDI PROGRAM DUMP IN PROGRESS.
If sending a single Program, the display will not change when the [VALUE/ENTER] button is pressed, since this effectively takes no time at all.
When you send a SysEx dump back to the QuadraVerb 2, it will automatically go
into receive mode (you do not have to do anything special). When this occurs, the display will momentarily read:

RECEIVING MIDI DATA.

If you dont want the Q2 to receive SysEx dumps, go to MIDI Page 5, and set System Exclusive Receive to OFF.

MIDI Thru

QuadraVerb 2 Reference Manual 77
In order to pass on MIDI information from a control device thru the QuadraVerb 2 to another MIDI device:
Connect the control devices MIDI OUT to the QuadraVerb 2s [MIDI IN].
Connect the QuadraVerb 2s [MIDI OUT] to the MIDI IN of the other device you wish to control.
Press [PAGE >] four times to advance to MIDI Page 4.
MIDI THRU: OFF Turn the [VALUE/ENTER] knob to the right to turn MIDI Thru ON. MIDI THRU: ON
Realtime Modulation Functions
You can use various MIDI messages (such as note number, velocity, aftertouch, or pitch-bend, etc.) to control parameters in the QuadraVerb 2, such as delay time, room size, etc. This is accomplished by way of the QuadraVerb 2s MIDI Modulation Matrix. Modulation parameters are stored in the Program, and therefore can be setup differently for each of the Programs in memory. Use the [MODULATION] button to program which MIDI messages control which parameters in each Program, and by how much. This is done by following three steps:
Select a Modulator (or modulation patch), of which there are 8 per Program;
Choose the Target; i.e. what is to be modulated;
Choose the Source; i.e. what is doing the modulating; and, Set the Amplitude, or amount, of modulation.
Keep in mind that a target may be modulated by more than one source. Likewise, a single source can modulate as many as 8 different targets. It is this kind of flexibility that matrix modulation affords.
Modulation sources must be received on the same MIDI channel the QuadraVerb 2 is set to in order for the Modulators to function properly.

Selecting the Modulator

Once you press the [MODULATION] button, you can turn the [VALUE/ENTER] knob to select one of the eight Modulators. Think of each Modulator as a modulation patch which routes a Source to a Target using a particular amplitude.

Press [MODULATION].

The [MODULATION] buttons LED will light, and the display will read:
MOD 1 TO:DLY 1-TAP 1 DELAY TIME
The cursor appears beneath the Modulator number. This is Modulation Page 1, which allows you to choose a Target (see below).
Turn the [VALUE/ENTER] knob to select a Modulator (18).
At any time you can move between the 8 Modulators by first moving the cursor back to the far left of the display (using the [< PAGE >] buttons), and then turning the [VALUE/ENTER] knob to select a different Modulator.

Choosing a Target

Once you have selected a Modulator, you must then select the Target to be modulated. The Target is broken down into two parts: first, you choose one of the active Blocks in the current Program, then you choose a parameter within the Block.
With [MODULATION] selected (its LED should be lit), press [PAGE >].
The cursor will advance to the second field in the display:
The cursor appears beneath the Modulator Target Block.
Turn the [VALUE/ENTER] knob to select a Block. The display will look different depending on each Blocks defined type. In the display example above, the first Block is a Delay (DLY). The number (1) tells us this is Block #1. If you turn the [VALUE/ENTER] knob, you will see other options defining the Blocks type and number (example: PCH 2, EQ 3, RVB 4, etc.).
Press [PAGE >] to advance the cursor to the next field in the display. MOD 1 TO:DLY 1-TAP 1 DELAY TIME
The cursor appears beneath the Modulator Target Parameter.
Turn the [VALUE/ENTER] knob to select a Parameter to be modulated in the
selected Block. The parameters available will of course depend on the selected Blocks type. Here is a list of possible Target Parameters, listed with each effect type:

Type EQ

Effect Lowpass Filter Bandpass Filter Highpass Filter Lowpass Shelf Highpass Shelf 1 Band Low/High Parametric 2 Band Sweep Shelf 3 Band Parametric EQ

4 Band Parametric EQ

5 Band Graphic EQ Resonator Mono/Stereo Tremolo Stereo Simulator Mono Chorus Stereo Chorus Quad Chorus Mono Flanging Stereo Flanging Phasor Mono Lezlie Stereo Lezlie Pitch Shifter Pitch Detune Ring Modulator Mono Delay Stereo Delay Ping Pong Delay Multi Tap Delay Tap Tempo Mono Delay Tap Tempo Ping Pong
Target Frequency Bandpass Frequency, Bandpass Width Frequency Frequency, Gain Frequency, Gain Bandpass Gain Bandpass Width Lowpass Frequency, Lowpass Gain Highpass Frequency, Highpass Gain Lowpass Frequency, Low pass Gain Bandpass Frequency, Bandpass Gain Bandpass Width Highpass Frequency, Highpass Gain Lowpass Frequency, Lowpass Gain Low BP Frequency, Low BP Gain Low BP Bandwidth High BP Frequency, High BP Gain High BP Bandwidth Highpass Frequency, Highpass Gain 63 Hz Band Gain, 250 Hz Band Gain 1KHz Band Gain, 4KHz Band Gain 16KHz Band Gain Tuning, Decay Speed, Depth, Shape Stereo Spread Speed, Depth, Feedback Speed, Depth, Feedback Speed, Depth, Feedback Speed, Depth, Feedback Speed, Depth, Feedback Speed, Depth Speed, Depth, Motor On/Off Speed Slow/Fast, High Rotor Level Speed, Depth, Motor On/Off Speed Slow/Fast, High Rotor Level Stereo Separation Pitch Fine, Pitch Coarse Pitch Detune Spectrum Shift Delay Time, Feedback Left Feedback, Left Delay Time Delay Time, Feedback Tap 15 Delay Time, Tap 15 Level Tap 15 Panning, Tap 15 Feedback Master Feedback Delay Time Feedback

The QuadraVerb 2 is equipped with two Local Generators which can be used as Modulation Sources. Each Local Generator can be set to either one of two types: Input Envelope or Peak Follower. Both allow different ways of having the audio signal at the QuadraVerb 2s inputs modulate the parameters of a Program. Both Local Generators may be triggered by either the Left Input or Right Input, or both Left and Right Inputs. They may also be triggered by the Digital Input, if Optical Data is selected as the Input Audio Source (on Global Page 4). Input Envelope. This uses an envelope, similar to the type found in most synthesizers, which is triggered once the audio signal at the QuadraVerb 2s input(s) exceeds the Attack Threshold you have chosen (-32 to 0dB). Once this happens, the envelope opens up at a rate determined by the Attack Time (which can be set from 0.0010.00 seconds). Once the input level has dipped down below the Release Threshold (-50 to 0dB), the envelope closes at a rate determined by the Release Time (0.0010.00 seconds).
ON THRESHOLD AUDIO PEAK INPUT
(Left or right Channel or higher of left and right)

OFF THRESHOLD

MAX MODULATION ENVELOPE OUTPUT 0

ATTACK TIME DECAY TIME

Peak Follower. The peak follower will follow the audio input to its loudest point and, as the input level drops, the peak follower drops at a constant rate determined by the Decay time (0.2010.00 seconds). Once the input level exceeds the Peak Followers level, the Peak Follower is raised to accommodate the higher level, and then (as the input signal again falls) proceeds to fall again using the same Decay time. Since the input levels may be too low at times for the Peak Follower to have ample effect, its Gain may be set to multiply the inputs level from x1 to x99.
Peak Follower 1 and 2 have identical features and work as shown below:
SLOPE IS SET BY DECAY TIME

PEAK FOLLOWER OUTPUT

AUDIO PEAK INPUT
Modulation Page 4 allows you to select the type of each Input Generator. The remaining pages in Modulation Mode will appear differently in the display depending on which type of Input Generators you have selected. This may be confusing at times, since both generators could be set to Input Envelope type, or you could have Input Generator 1 set to an Input Envelope type while Input Generator 2 is set to a Peak Follower type. Once you are in Modulation Pages 4 through 7, you can select which of the two Input Generators you want to edit (much the same way you would select a Modulator in Modulation Pages 1 through 3). To select the Input Generators types and edit their parameters:

The [MODULATION] buttons LED will light.
Press [PAGE >] seven times (or until Modulation Page 4 is underlined). The display should look like this:
The cursor appears beneath the Generator, indicating that you may now turn the [VALUE/ENTER] knob and select either Input Generator 1 or 2, depending on which you want to define. In the display example above, Input Generator 1 is defined to be an Input Envelope.
Press the [PAGE >] button to advance the cursor to the next field. Turn the [VALUE/ENTER] knob to select either Input Envelope or Peak Follower
to be the selected Input Generators type.
Press the [PAGE >] button to advance to Modulation Page 5.
If the Generators type is Input Envelope, the display will look like this:
GEN 1 ENV TRIGGER SOURCE: LEFT
If the Generators type is Peak Follower, the display will look like this:
GEN 1 PEAK FOLLOWER SOURCE: LEFT
The cursor appears beneath the Generator, indicating that you may now turn the [VALUE/ENTER] knob and select either Input Generator 1 or 2, depending on which one you want to edit. You may now select what the trigger source of the selected Input Generator will be.
Press [PAGE >] to advance the cursor to the next field, and turn the [VALUE/ENTER] knob to set the selected Input Generators trigger source to either LEFT, RIGHT or L&R (both inputs).
D Press [PAGE >] to advance to Modulation Page 6.
If the selected Input Generators type is Input Envelope, the display will look like this:
GEN 1 ENV ATK. THRESHOLD: +0dB
If the selected Input Generators type is Peak Follower, the display will look like this:
GEN 1 PEAK FOLLOWER GAIN: x 1
The cursor appears beneath the Generator, indicating that you may now turn the [VALUE/ENTER] knob and select either Input Generator 1 or 2, depending on which one you want to edit.
Press [PAGE >] to advance the cursor to the next field, and turn the
[VALUE/ENTER] knob to adjust either the Envelope Attack Threshold (-32 to +0dB) or the Peak Followers Gain (x1 to x99).
Press [PAGE >] to advance to page 7.
GEN 1 ENV REL. THRESHOLD: +0dB
GEN 1 PEAK FOLW. DECAY: 0.20Sec
Again the cursor appears beneath the Generator, indicating that you may now turn the [VALUE/ENTER] knob and select either Input Generator 1 or 2, depending on which one you want to edit. Press [PAGE >] to advance the cursor to the next field, and turn the [VALUE/ENTER] knob to adjust either the Envelope Release Threshold (-50 to +0dB) or the Peak Followers Decay Time (from 0.20 to 10.00 seconds).

In order for Bypass mode to function correctly, make sure the LR Inputs are routed to the LR Outputs, and the Global Direct Signal Mute function is turned off. If the inputs are not routed directly to the outputs, the [BYPASS] button acts more like a mute since nothing will be heard when it is enabled.
Controlling Delay Time via Tap Tempo
When using either of the two Delay types which allow for tap tempo adjustments of delay time, either of the two footswitch jacks may be assigned to provide tap tempo control. This is an alternative way of setting the delay time of a tap tempo type delay rather than tapping the [VALUE/ENTER] knob. This can be a great utility for live applications, where the delay time can be adjusted to match your playing tempo simply by tapping your footswitch to the beat of the music. To select either the [BYPASS] or [ADVANCE] footswitch to control tap tempo:
Press [PAGE <] twice to move to Global Page 8. The display will read:
footswitch jack, depending on which one you wish to use to control tap tempo. When either BYPASS or ADVANCE is selected, that footswitch will not perform its normal function until the Tap Tempo Footswitch parameter is set to the other footswitch jack or to NONE.
Alesis Optical Interface - Chapter 7

CHAPTER 7

ALESIS OPTICAL INTERFACE

Overview

The Alesis optical digital interface provides the means to communicate with other digital audio devices, such as the Alesis ADAT Multitrack Recorder. The Alesis optical interface uses a proprietary 8 channel buss, from which the QuadraVerb 2 can provide processing for 2 channels. This means you can come into the QuadraVerb 2s digital input from one or two tracks of an ADAT, and go out of the QuadraVerb 2s digital out to one or two ADAT tracks. Alternatively, you may wish to use the QuadraVerb 2s analog inputs to process an instrument and record digitally direct to ADAT. This is possible because while the QuadraVerb 2s inputs are set to either analog or digital, both its analog and digital outputs are always active. However, you must determine which 2 channels (of the digital buss 8 channels) to assign the QuadraVerb 2s digital outputs to. Going digital is the preferred method of recording if you use the QuadraVerb 2 with an ADAT. Since the DSP effects are created in the digital realm, why not let them remain there while being transferred to a tape medium? Also, if you connect the QuadraVerb 2s digital output to an Alesis AI-1, you can route the digital audio to other devices using either the AES/EBU or S/PDIF standards. This chapter is designed to illustrate the precise ways of connecting the QuadraVerb 2 to various digital audio peripherals, and how to manipulate the QuadraVerb 2s digital routings. It is divided into two parts. The first half of this chapter details the connections to various digital audio sources and destinations. The second half talks about the routing possibilities that are available on the QuadraVerb 2 for processing digital audio sources and transmitting to digital audio recorders.

Digital Clock Synchronization
Digital signals are self-clocking; they carry a word clock along with them. Usually the receiving unit automatically adjusts its sample clock to follow the rate of the incoming digital signal. When the receiving unit must synchronize to another clock--for example, an ADAT synchronized to SMPTE time code--a conflict may occur between the clocks that will result in audible "clicks" in the signal. For this reason, in more complex setups, the QuadraVerb 2 features a 48 kHz IN jack. This is to synchronize the sample clock of the QuadraVerb 2's analog-to-digital converter to the BRC or AI-2. If you're using the QuadraVerb 2 only to process signals that come via the optical input from the ADATs, this connection is not necessary because the optical clock coming in is already indirectly synchronized by the BRC. The 48 kHz connection IS necessary if the QuadraVerb 2 is the originator of the optical for the rest of the system, from its analog inputs, while the rest of the system is seeing the BRC as the master. A complete diagram of every single possible setup with every possible input would be needlessly complex. Just remember that there can only be one master clock. If the BRC is the master, the QuadraVerb 2 must be synchronized to its clock via the optical or the 48 kHz in. If you have a single ADAT with no BRC, the QuadraVerb 2 becomes the master clock source whenever the ADAT is set to DIGITAL IN and the QuadraVerb 2's Input Audio Source is set to ANALOG.
Chapter 7 - Alesis Optical Interface
Note: If you experience problems (clicks, etc.) with an ADAT system set to digital input, it may be that the ADATs clock source is set to internal, even though its Digital In is pressed. (This will only happen if youve set it this way for making tape copies) Hold SET LOCATE and press DIGITAL IN to toggle the clock to digital.
Note that the front panel level controls have no effect on a digital signal. The [INPUT LEVEL] controls will affect an analog input being converted to digital, and the [OUTPUT LEVEL] control affects the analog outputs only. If you need to change the levels in all-digital mode, you must do so by editing the program using page 2 of the Routing function. When the input is set to Digital, the meters will show only the level of the signals on Channels 1 and 2 of the ADAT Optical interface, regardless of which channels are selected by the QuadraVerb 2. However, internal clipping within a program will still be shown by the Clip LEDs.

MIDI Program Changes are off by 1.
Transmitter doesn't display true MIDI Program Change numbers.
Change the transmitter to display 0-127, or setup a Program Table in the Q2.

Error Messages

Although the digital signal processing power in the QuadraVerb 2 is powerful and features plenty of memory, the programmability of the unit makes it possible to come across various error messages when exceeding its limitations. This is the QuadraVerb 2s limit handling software kicking in. Depending on the message you get, you may have to modify your Program by altering or removing unnecessary Blocks in order to complete the task. The error message will vary depending on what limitations you are attempting to exceed. If you are using two reverb Blocks and you try to create a third, the following message will appear:

DSP IS FULL

This means there is not enough processing power available to create the additional effect. But there may be enough available to add an EQ, two pitch effects and two delays (or some other combination). If you have created four pitch Blocks and you try to create a fifth, the following message will appear:

OUT OF LFOS

This means that there are no more available LFOs (low frequency oscillators), which are required by all pitch effects. However, the larger reverb effects (Plate 2, Room 2, Chamber 2 and Hall 2) use 1 LFO each. This means if you had three Pitch Blocks and a reverb Block using one of the larger reverbs, you would not be able to add a fourth Pitch Block. Also, the Pitch type Mono Lezlie uses two LFOs, which means that when using it you will only have two LFOs available. While the QuadraVerb 2 has a custom DSP chip that processes all the effects, some of the effects available require that the main microprocessor assist in handling some of this responsibility. On occasion, you may be using enough effects simultaneously that no more processing power is available from the main microprocessor; example: when you try to create more than three Multi Tap Delays in a Program. In these cases, the following message will appear: