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Alesis S4 Plus

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Comments to date: 6. Page 1 of 1. Average Rating:
User0 2:13am on Wednesday, October 27th, 2010 
OK, the S4 for the price with the 10x zoom 6mp, & large 2.5 screen is a super value if you want to take long distances. Construction: Good. v.good plastic, the camera is well designed. We just took our new S4 to Bali and were very impressed with it.
JimboTN 12:39am on Friday, August 20th, 2010 
When my Nikon Coolpix 950 finally died I was heartbroken because there was no comparable camera. I love this camera when i saw it. because i have wanted to buy a camera with such a superb zoom. But i still have not bought it. Work well excellent fide Won't stay in ears
4g1vn 9:20pm on Sunday, July 4th, 2010 
Good ear buds, but need Comply tips to really get the best sound. I have been using these earbuds for about 6 months now. Too bassy, so not as good as Etymotic ER-6, but comfortable I own 3 sets of in-ear, isolating headphones: Etymotic ER-4P, Etymotic ER-6 (original.
Nitin 7:18pm on Friday, April 30th, 2010 
These are great headphones. I have tried out several different brands trying to find a pair that was everything I wanted. Now I've found them!
skidhmor 10:59pm on Thursday, April 1st, 2010 
um, this is quite a decent camera, though I have only shot maybe 60 shots from it, from late this afternoon to this evening. After my Sony DSC-P10 5mp/3x opt. I was after a camera with more opticla zoom. The only minor comment is that, for very small ear canals, a smaller bud would be handy but they are comfortable as is.
Frankvk 5:35am on Friday, March 12th, 2010 
I had to return the first pair Only one of the ear buds worked and I had to send it back. I cannot tell if the noise reduction is working. Overall. Expensive but great! I had an amazon gift card and I needed some new headphones.

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Documents

doc1

Playing Specific Sections of the Demo
The demo sequence is currently comprised of four sections. Any of these sections can be played directly, without listening to the sections preceding it. This can be done by holding [GLOBAL] and pressing one of the Quad Buttons [1] [4] buttons which corresponds to the section you would like to hear.
Enabling General MIDI Mode
If you are using a General MIDI sequencer, and/or playing a sequence that is programmed to take advantage of General MIDI, turn the General MIDI function in the QuadraSynth on. To turn the General MIDI function on: Press [GLOBAL]. The display will now be in Global Edit Mode.
Press Quad Button [2]. This selects the General MIDI parameter in the display. Press the VALUE [] button. This turns on General MIDI mode, and automatically puts you into Mix Play Mode with Mix 00 of Preset Bank 4 selected.
For more information about General MIDI, refer to the the MIDI Supplement in Appendix B.
Playing the QuadraSynth Plus
Program Mode and Mix Mode
The QuadraSynth Plus is shipped from the factory with 5 Banks of 128 Preset Programs (sounds) each. Additionally, there are 100 Mixes in each of the 5 Banks.
The QuadraSynth Plus is always in one of two modes: Program Mode or Mix Mode. When selecting Programs, you will be in Program Play Mode. When editing a Program, you will use Program Edit Mode. When auditioning Mixes, you will be in Mix Play Mode. When editing a Mix, you will use Mix Edit Mode.
If you ever get lost while programming the QuadraSynth Plus, press either the [PROGRAM] button or the [MIX] button to get back to their respective play modes. Press the [PROGRAM] button to select Program Play Mode.
In Program Play Mode, the QuadraSynth Plus plays a single Program. The display will look like this:
The current PROGram number is displayed, and the Programs name appears in the top-right. The current Bank is shown to the left of the Program name. The current MIDI channel is shown in the top left corner left. Press the [MIX] button to select Mix Play Mode.
In Mix Play Mode, the QuadraSynth Plus can combine up to 16 Programs for stacking sounds together, splitting the keyboard into different regions, or working with a MIDI sequencer. The display will look like this:

E F F E C TT E F F E C

All MIDI channels that are active in the current Mix are shown at the top left, to indicate multitimbral operation. The current MIX and EFFECT numbers are displayed, along with the current Bank and Mixs name. The PROGram number display shows the program assigned to the underlined MIDI channel.
Auditioning Internal Programs

The QuadraSynth Plus is always in one of two main modes: Program Mode or Mix Mode. Pressing [PROGRAM] selects Program Play Mode, while pressing [MIX] selects Mix Play Mode. While in Program Play Mode, you can press [SELECT] to access Program Edit Mode and Effects Edit Mode. While in Mix Play Mode, pressing [SELECT] alternates between Mix Edit Mode, Program Edit Mode and Effects Edit Mode. Pressing [GLOBAL] accesses Global Edit Mode, pressing [COMPARE] accesses Compare Mode, and pressing [STORE] accesses Store Mode. Here are descriptions of these modes:

Program Play Mode

Program Play Mode lets you play the QuadraSynth Pluss various Programs one at a time. The QuadraSynth Plus contains 512 Preset and 128 User Programs (i.e., the sounds of various instruments, effects, ensembles, etc.) that show off just how cool this instrument really is. Initially, the 4 Preset Banks and the User Bank contain data loaded in at the factory. The User Programs can be edited or replaced with your own Programs. However, you cannot replace the Preset Programs, because these are stored in ROM (permanent memory). In Program Play Mode, the QuadraSynth Plus responds to or generates messages on a single MIDI channel.

Mix Play Mode

Mix Play Mode lets you audition the QuadraSynth Pluss various Mixes, and use it as a MIDI master controller. The QuadraSynth Plus contains 400 Preset Mixes and 100 User Mixes. A Mix can combine up to 16 different Programs, and the keyboard can generate up to 16 channels of MIDI data at once. Therefore, much thicker and richly textured sounds can be created. In Mix Play Mode, the QuadraSynth Plus can be used in a wide range of applications. It can be used for live performance, in which sounds are layered or assigned to sections of the keyboard. It can also be used as a multitimbral sound source for desktop music and home studio applications. A Mix can use the Effects Patch associated with one of its Programs. Although there may be 16 Programs in a Mix, there can only be one Effects Patch per Mix. In Mix Mode, the QuadraSynth Plus can respond to messages on up to 16 MIDI channels simul-taneously; different channels are available depending on which Mix is selected.

Program Edit Mode

In Program Edit Mode, you can change the various settings which determine the sound of an individual Program, or create an entirely new Program from scratch. Each Program is made up of four Sound layers, which you can edit individually, or simultaneously. In Program Edit mode you can: select which sample waveform from the 24 megabytes of onboard sample ROM will be used, in each of the 4 sounds; change the tone, level, attack and decay characteristics, modulation inputs, and pitch of each layer;

set modulation routings so any parameter can be controlled via MIDI; set the effect level for each Sound layer, and set which of the four effect sends each Sound layer will use for signal processing (such as reverb, delay, and chorusor any combination of these).

Mix Edit Mode

Mix Edit Mode lets you change the parameters of an existing Mix. Up to 16 Programs can be active in each Mix, and Mix Edit mode sets up how each will be played. Mix Edit Mode allows you to: select which Programs will be played by the different MIDI channels and by the keyboard in multiple layers or splits; Mix; set the output level, effects level, and pan of each Program in the select which Programs Effects Patch will be used by the Mix.

Effects Edit Mode

Effects Edit Mode is used for setting up the Digital Signal Processing effects. Each Effect Patch has 4 effect bus inputs, and an internal configuration of multiple effects such as reverb, delay, and pitch-related effects (chorus, flange, etc.). You can determine what kinds of effects are used on each bus (this is called a Configuration), change each effects parameters (such as reverb decay time or chorus speed), set modulation routings (such as having the modulation wheel change the decay time), and set the effects mix (how much reverb, delay and chorus on the output of each effect bus).

Global Edit Mode

Use Global Edit Mode to set various parameters which effect the entire instrument, such as overall master tuning, display contrast, MIDI controller settings, keyboard sensitivity, and how the unit will respond to or generate messages in Mix Mode.

Store Mode

Store Mode is used for storing changes of Programs, Mixes and/or Effects into the User Bank or onto a QuadraCard PCMCIA memory card accessory. It is also used for transmitting the QuadraSynth Pluss parameters over MIDI for data storage purposes, copying sounds or effects from one Program to another, and for transferring entire Banks to or from a Sound Card.

Compare Mode

Once a Program has been edited in Program Edit Mode, or a Mix has been edited in Mix Edit Mode, the word EDITED will appear in the display next to the Mix/Program number. If [COMPARE] is pressed, the word COMPARE will appear in the display, and you will temporarily

Overview: Chapter 4 be hearing (and seeing) the original version of the Mix/Program. If you are editing a Mix and press [COMPARE], the original unedited MIX is temporarily recalled. Likewise, if you are editing a Program or its Effects Patch and press [COMPARE], the original Program will be temporarily recalled. Pressing [COMPARE] again switches back to the edited version, and the word COMPARE disappears from the display.
The User Interface: Display, Functions, Pages, and Parameters
The key to the QuadraSynth Plus user interface is the combination of the Display and four Quad Knobs/Buttons [1] [4] located toward the right of the front panel. The Display constantly informs you of the QuadraSynth Pluss status.

About the Display

Editing Status Curr ent Mix, Pr ogram and Ef fect Strip MIDI Channel Cursor Quad Knob/Button Label Strip MIDI Monitor/Selection Strip Mix/Pr ogram/Ef fect/Parameter Name Strip

EDITED

Page Number Strip

Page Cursor

Quad Knob bar-graph meters

Function List

Compar

e indicator

Quad Knob Cursor
Clip indicator Function Cursor Global indicator
Note: This illustration shows all display flags turned on at once. Actual displays show only some of these at any time. The display has eight main sections: MIDI monitor and selection strip. Selects different MIDI channels for the programs in Mix Play Mode (a thick underline indicates the selected channel), monitors keyboard and incoming MIDI activity (thick lines above active channel numbers indicates activity either from the keyboard or MIDI In), and chooses the basic MIDI channel in Program Play Mode. Current Mix, Program and Effect strip. Shows the currently selected Mix and/or Program and its associated Effect. Editing Status. Indicates what you are editing (either Mix Edit, Program Edit, or Effects Edit), after pressing [SELECT]. indicates which Sound (14) is selected for editing when in Program Edit mode; or, which effect send (14) is selected for editing when in Effects Edit mode. Press [EDIT 1] to cycle through the four Sounds/sends. When Edit 4 mode is selected (press [EDIT 4]), all four numbers appear, to indicate that all four Sounds are available for simultaneous editing (Edit 4 mode is available in Program Edit mode only). Functions list. Displays the various editing functions available in a particular editing mode. Use the FUNCTION [] and [] buttons to select a function, as indicated by the small line (cursor) underneath one of the words in the list. When a function is chosen, the page number strip

Filter

Filter (Page 1) Frequency (00 to 99)
This sets the filter's initial cutoff frequency. Lower values give a duller sound since this removes more harmonics; higher values let through more harmonics, which gives a brighter sound. Tip: Signals with complex harmonic structures are most affected by the filter. Examples: A sine wave has virtually no harmonics so you will not hear any significant changes as long as the filter cutoff is higher than the note pitch. If the filter cutoff is lower than the note pitch, you will either not hear the note, or it will be very soft. A harmonically-rich sample (such as brass or white noise) will be greatly affected by the filter. If the Filter Frequency is set to maximum, in most cases all other variables in the Filter function will have no effect. Most other filter functions raise the filter frequency, and it can't be greater than 99. So if you want to use filter effects, proper setting of this initial cutoff frequency is crucial. This is the "baseline" from which all other filter parameters will raise or lower (open or close) the filter. If the Filter Frequency is set to 00, and no other parameters are set to raise it dynamically, no sound will pass through the filter at all--there will be silence. If the Amp settings are wide open and you can't hear anything, check the Filter Frequency setting. Since the waveforms in ROM are recorded at the brightest possible setting, in many cases dynamic filtering is crucial to making a program sound natural.
Keyboard Track (On or Off)
When off, the filter cutoff remains constant across the keyboard. Higher notes will be more affected than lower notes, since the filter cutoff is comparatively lower for higher notes than lower ones.
When on, the filter frequency tracks the keyboard pitch. Therefore, if using the filter creates a particular harmonic structure when you play one key, playing a different key will shift the filter frequency to maintain the same harmonic structure.

Velocity (-99 to +99)

At +00, velocity has no effect on the filter cutoff. With positive values, playing harder increases the filter cutoff. More positive values drive the cutoff frequency higher for a given amount of velocity. More negative values drive the cutoff frequency lower for a given amount of velocity. Tip: Many acoustic instruments, such as acoustic guitars, sound brighter when you play them more forcefully. Adding a little

Filter Envelope (Page 3) Time Tracking (On or Off)
QuadraSynth Plus Piano Reference Manual 111
Editing Programs: Chapter 6 This determines whether or not keyboard position will affect the cycle speed of the envelope. When turned on, playing toward the higher end of the keyboard will result in a faster envelope cycle; playing toward the lower end of the keyboard will result in a slower envelope cycle. However, this does not effect the attack time, but only the decay, sustain, sustain decay and release segments. This feature will result in only a subtle change. The envelopes timing doubles or halves over a range of two octaves.
This determines whether or not the Sustain Pedal will have an effect on the envelope. When turned on, holding down the Sustain Pedal while playing short notes is virtually the equivalent to holding down those notes on the keyboard with some subtle but important differences. If the Delay and Attack are set to 0 and either the Decay is 0 or the Sustain is 99, the envelope will immediately jump to the release stage (if not already there) when the note is released and the sustain pedal is held down. If a long attack is set, and the envelope does not reach the end of the attack segment when the note is released, it will be skipped and the envelope will jump immediately to the sustain decay segment. If a long delay is set, and the envelope has not reached the attack segment before the note is released, the envelope will remain at 0. However, if Freerun is turned on, the envelope will continue through the delay, attack, decay and sustain segments and remain at the sustain decay segment. This is exactly the same as holding down the note on the keyboard. When the Sustain Pedal parameter is turned off, the Sustain Pedal will have no effect on the envelope.
This is the overall output level of the envelope. If this is set to 00, the FENV will have no output and will have no effect, while at 99 it will have a maximum effect on whatever it is being routed to. Tip: When selecting FENV Level as a modulation destination, set the FENV level to 00 if the Modulation Level is above 0 (or, set the FENV level to 99 if the Modulation Amount is below 0).

Amp Envelope

Amp Envelope (Page 1)
The Amp Envelope is crucial for all sounds because it sets the basic characteristics of the note--whether it attacks quickly or slowly, sustains or decays. Some Programs may leave the Amp Envelope in a sustaining mode, and provide attack and decay using the Filter Envelope; the effect is slightly different. Unlike Pitch and Filter Envelope, the Amp Envelope is always fully active (there is no second-page to the AMP function adjusting how much envelope is applied to the amp).
This is the amount of time the envelope will take until it reaches its maximum output level. Setting the Attack to 0 will give a sharp edge to the sound (if the Delay is also set to 0 in AENV 113

Only one drum can be assigned to a single note within a single Program sound layer. If more than one drum in a single sound is assigned to the same note number, only the higher number drum will sound.

Range (0 to +3)

Each drum can be assigned a range of notes (up to 3) above the root note which will trigger the drum sound when played. Quad Knob [2] specifies the note range of the selected drum (0 to +3). The pitch of the drum will remain the same no matter which key is played.
Decay (0 to 99, Gate00 to Gate99)
Quad Knob [1] in the Amp Envelope (AENV) Function lets you adjust the Decay time of the selected drum (00 to 99, Gate00 to Gate99). If this is set to 0, only the very beginning of the drum sample is played; setting this to 99 will cause the entire drum sample to play. When set above 99, the Decay uses a gated mode. The Decay can still be set between 0 and 99, but in 5-step
Editing Programs: Chapter 6 increments (e.g., Gate00 = Decay setting of 0 with gating, Gate05 = Decay setting of 5 with gating, etc.). Gating means that the drum sound will continue to be played as long as the key is held. This is useful for longer sounds, like cymbals, when you wish to hear a short crash by playing a short note but can still hear a longer crash by keeping the note held down.
Mute Group (Off, 1, 2, or 3)
This is an important feature when using multiple sounds of the same instrument. Mute Groups allow multiple drums to share a single voice. For example, if you have assigned a Closed Hat and an Open Hat to two different notes, playing either note should cut-off the other (if it had recently been played). This creates a more realistic sound, since an actual Hi Hat is only capable of making one sound at a time. In the Amp Envelope function, Quad Knob [2] is used to assign the selected drum to one of the three Mute Groups. In our example above, both Hi Hat drums would be assigned to the same Mute Group. The additional Mute Groups can be used by other sounds that you wish to cut-off each other, but do not want to interfere with the Hi Hat sounds. Use Quad Knob [4] to select the drum (110) you wish to edit.

Copying Sounds

While editing a Program, it is helpful to be able to copy a sound to another sound in either the same Program or a different Program, especially if you are building a split or layered Program. This can be done very easily from within the Store function. To copy a sound to another sound in the same Program, or to the same sound in a different Program:
From Program Edit mode, press [STORE]. Press PAGE [] to select Page 2 of the Store function.
Use Quad Knob [1] to select which sound (14) in the currently selected Program to copy from. Use Quad Knob [2] to select which sound (14) in the currently selected Program to copy to; or to select which Program (0127) to copy to. The selected sound will be copied into the same sound location in the selected Program. If you select to copy sound 2 to Program 45, the sound will be copied into sound 2 of Program 45.

Press [STORE] to copy the sound.

Copying Effects

While editing a Program, it is helpful to be able to copy the Effects Patch from a different Program. This can be done very easily from within the Store function.
Be sure to save your changes to the edited Program before going to a new Program. Otherwise, all your changes will be lost. To copy the Effects Patch from a Program to another Program: Recall the Program which contains the Effects Patch you wish to copy, using the methods described on page 14.
Press [STORE]. Press PAGE [] to select Page 2 of the Store function.
Use Quad Knob [1] to select EFFECT, which is the Effects Patch in the currently selected Program to copy from. Use Quad Knob [2] to select which Program (0127) in the User Bank to copy to. The selected sound will be copied into the same sound location in the selected Program. If you select to copy sound 2 to Program 45, the sound will be copied into sound 2 of Program 45.

Initializing Programs

If you want to start programming from scratch, you can easily reset all parameters to their default settings by re-initializing the software. Make sure your mod wheel is all the way down before re-initializing, otherwise the "zero" position of the mod wheel will be incorrect. To re-initialize the QuadraSynth Plus:
Press [PROGRAM] to enter Program mode. Turn the unit off. While holding down both Quad Buttons [1] and [4], turn on the power.
The QuadraSynth Plus will come on showing Program 00, with the EDITED flag showing in the display. This is the Program Mode edit buffer, set to the default settings. Re-initializing will also reset all Global parameters to their default settings, and will initialize all edit buffers so that all Mix and Program parameters are reset to their default settings. However, none of the Programs or Mixes are changed when re-initializing the unit. You can proceed to edit, then [STORE] at any Program location you like.
Editing Effects: Chapter 7

CHAPTER 7

EDITING EFFECTS
The built-in effects processor of the QuadraSynth Plus is similar to that of the Alesis QuadraVerb 2, capable of generating multiple, fully digital effects simultaneously. The QuadraSynth Plus effects processor has four inputs, called effect sends. You might think of these as the typical post-fader sends found on a mixing console. In a Program, each of the four Sounds can be assigned to one of the four effect sends. In a Mix, each Program can use its own effects level and bus routing or you may override these by assigning the entire Program (all 4 sounds) to one of the four effect sends and all at the same level. Once you assign a Sound (in Program Edit Mode) or a Program (in Mix Edit Mode) to an effect send, you can adjust the Sounds/Programs Effect Send Level.
To route a Sound/Program only to an effect send, and not the Main or Aux outputs, assign the Output parameter of the Sound/Program to OFF, assign its Effect Bus to one of the four effect sends, and adjust the Effects Level.

Reverb can be thought of as a great number of distinct echoes, called reflections, that occur so fast that our ear hears them blurred together as one. In nature, different sized spaces give distinctly different sounding reverbs, depending on the size and shape of the space, and the texture of surfaces that the reflections bounce off of. The various parameters in the effects processor make it possible to simulate nearly any natural reverberant space that can be imagined, and a few artificial ones as well.

Reverb (Page 1)

MIDI 1 CHAN PROG PROG
The Reverb function is used to edit Reverb parameters. In all configurations, page 1 of the Reverb function selects what the reverb is hearing (i.e., where the input of the reverb is coming from). The source can come directly from the Effect bus, the output of other effects in the chain before it, or a mix of several of them. Example: In Configuration #1, page 1 of the Reverb function (shown above) allows you to select either one or two sources to be routed to the reverbs input. You can choose from the Delay output, the Delay input, the Pitch output and the uneffected send input (dry signal). You can then adjust a balance between these and set an overall input level.

Input 1

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

Input 2

By using Quad Knob [2], Input 2 can have as its source either the Pitch output, the Delay output, or the dry effect send signal. If the signal is taken from the Delay output, the Reverb will be delayed by the amount of delay time set for the Delay. If the signal is taken from the Pitch output, the Reverb will be chorused, flanged, detuned or resonating, depending upon
Editing Effects: Chapter 7 which Pitch type is selected. If the signal is taken from the effect send, the Reverb will receive direct, uneffected signal.

Input Balance

Quad Knob [3] allows you to control the balance between Reverb Inputs 1 and 2 and therefore control the blend between the various input sources. This makes it possible to have the signal from the Pitch or Delay sections, or the direct effect send in any combination or amount.

Input level

Quad Knob [4] controls the overall Input Level going into the Reverb.

Chorus Input Level

If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of the Reverb function will look like this:
The Configuration has two Reverbs, one on send 1 (which send 2 can share), the other on send 3 (which send 4 can share). There is only one parameter in this page: Chorus Input Level. Quad Knob [1] lets you adjust the level of the signal coming from the Pitch output going into the Reverb, otherwise the signal comes purely from the Pitch input. The other parameters and pages in the Reverb function are identical, regardless of which Configuration is being used. Only page 1 is different, because of the fewer input choices the Reverb has in this Configuration.

Send Input Levels

If Configuration #1 is selected and you press [EDIT 1] to advance to effect send 2, the display will now show you the parameters that represent the signal levels on send 2 going into the Reverb. Note that there is now only 1 page available, since the other reverb parameters are found back on effect send 1. Press [EDIT 1] again to advance to send 3, and the display will still look the same, but now the parameters adjust the signal levels on send 3 going into the Reverb. If you press [EDIT 1] again and advance to send 4, the display will look like this:
There are only two parameters: Balance and Input Level. This is because in Configuration #1, effect send 4 only has a Delay effect, and not a Pitch effect like the other effect sends do. Quad Knob [1] controls the Balance between the Delay output and the dry effect send signal, while Quad Knob [3] controls the overall input level to the Reverb.
Editing Effects: Chapter 7 If Configuration #2 is selected and you press [EDIT 1] to advance to effect send 2 while the Reverb function is selected, the display will look like this:
Quad Knob [1] lets you adjust the level of the signal coming from effect send 2 going into the Reverb. Send 2 in this Configuration has no effects of its own. Therefore, there are no input or input mix controls in this page, since there is only one possible signal choice. Send 2 is intended to be used for signals that you want to send to Reverb 1, but bypass Delay and Pitch 1. In Configuration #2, send 4 is similar to send 2, in that it has no effects of its own but serves as a bypass going directly to Reverb 3.

Reverb (Page 2)

Pressing the PAGE [] button will advance the display to Page 2 of the Reverb function. However, you must have the correct effect send selected (14) in order to get at the Reverb parameters (in Config. #1, 3, 4, and 5, the Reverb parameters are found only on effect send 1; in Config. #2, they are found on sends 1 and 3 since there are two separate Reverbs). Here you will find parameters for selecting the Reverb type, adjusting Pre-Delay Time and Pre-Delay Mix.

Pedal 1 and 2 Assignment

Like the MIDI Controllers AD, the two footpedal controls (Pedal 1 and Pedal 2) can be assigned to a MIDI controller. In Page 5 of Global Edit mode, you can assign which MIDI controllers (0 to 120) that Pedal 1 and Pedal 2 will be transmitted as over MIDI Out. Simultaneously, if the same MIDI controller is received it will control any modulations that use either Pedal 1 or Pedal 2. Quad Knob [1] selects the controller for Pedal 1, while Quad Knob [3] selects the controller for Pedal 2.
When recording into a MIDI sequencer, be careful not to accidentally assign either Pedal 1 or Pedal 2 to a controller which may already be used by another control (like MIDI Volume/controller 7, or Mod Wheel/controller 1).
Using Pedals to Control Volume or Modulation
If either Pedal 1 or Pedal 2 is assigned to Controller 7 (Global Edit Mode, Page 4), then they will automatically control the volume of: any Sounds in a Program, and;
in Mix Mode, any Sounds that are controlled by the Keyboard (Mix Edit Mode, Range, Page 2) and have Pedals turned on (Mix Edit Mode, Range, Page 3). Likewise, if either Pedal is assigned to Controller 1, then they will automatically function like the Modulation Wheel for any Sound in Program Play Mode, and in Mix Play Mode, Sounds that are controlled by the Keyboard and have Pedals turned on. This is in addition to the fact that the pedals will be sending out MIDI information. The default settings are: Pedal 1 = 7; Pedal 2 = 4.

MIDI Program Select

Global Settings: Chapter 8 In Page 6 of Global Edit mode, Quad Knob [1] determines the MIDI Program Select mode (Off, On, Mix Select Channel 1 16). When this is set to Off, the QuadraSynth Plus will not respond to incoming MIDI Program Change messages, nor will it transmit Program Changes. When set to On, the QuadraSynth Plus will respond to incoming Program Change messages. Likewise, when a Program or Mix is recalled from the front panel, its respective program change message will be sent out. However, the QuadraSynth Plus will respond differently to incoming Program Change messages depending on whether Program Mode or Mix Mode is selected. In Program Mode, the MIDI [] and [] buttons determine on which MIDI channel the QuadraSynth Plus will receive MIDI Program Change messages (as well as other messages, like notes, controllers, etc.). The Program recalled will be the same number as the MIDI Program Change message that is received, from whichever bank (Preset or User) is currently selected. When a Program is recalled from the front panel, the QuadraSynth Plus will transmit the equivalent Program Change message on this same MIDI channel. In Mix Mode, when MIDI Program select is on, Program Changes received on any of the 16 MIDI channels will be received by the same numbered MIDI channels in the current Mix. The Mix itself will not respond to Program Changes. When set to Mix Select Channel 1 16, the QuadraSynth Plus will change Mixes in response to Program Change messages received on the same MIDI channel as selected by this parameter, from whichever bank (Preset or User) is currently selected. Program Change messages received on any other channel (other than the one selected by this parameter) will change the individual Programs in the Mix on the same channels the messages are received on. Note: When General MIDI Mode is enabled (see page 115), Channel 10 of the selected Mix will be used exclusively for drums. If a program change is received on Channel 10, a new drum kit will be recalled. These drum kits are used exclusively in General MIDI mode, and adhere to the General MIDI specification.

MIDI Transfer and Storage Operations: Chapter 9

CHAPTER 9

MIDI TRANSFER AND STORAGE OPERATIONS
Saving the User Bank to an External Card
The entire contents of the QuadraSynth Pluss User memory (100 Mixes, 128 Programs, 128 Effects Patches) can be stored to an Alesis QuadraCard RAM card inserted into the Sound Card slot on the QuadraSynth Plus. Depending on the amount of RAM a particular card has, up to 8 complete banks can be stored onto it. The QuadraCard is a type of PCMCIA SRAM or FlashRAM card; it has 256K of memory and will store 4 complete banks. A 512K PCMCIA card can store 8 banks. When saving data to a card that contains a ROM (READ-ONLY) bank, it will be in bank 1; this means you cannot save anything into bank 1.
Insert a card into the Sound Card slot on the back of the QuadraSynth Press [STORE].
Use either PAGE [] or [] to select Page 6 of the Store function. This selects the SAVE TO CARD option. Use Quad Knob [1] to select a bank location on the card to store to (18). If the card contains a ROM bank, it will be bank 1. Therefore, you will only be able to save into bank locations 28.
Press [STORE] to transfer the data from the QuadraSynth Plus onto the
If the display reads "CARD IS WRITE PROTECTED", switch the write-protect switch on the card to off and repeat the procedure.
Loading a Bank from an External Card
Insert the card into the card slot on the back panel. Press [STORE].
Use either PAGE [] or [] to select Page 7 of the Store function. This selects the LOAD FROM CARD option. Use Quad Knob [1] to select the bank on the card you wish to load (18).
Press [STORE] to transfer the data from the card into the QuadraSynth
Storing an Individual Program or Mix to an External Card
You also have the option of storing a Mix or Program directly to a specific location in a RAM Sound Card Bank (instead of transferring the entire Bank) and vice versa. However, the Sound Card you are storing to must be of the current QuadraSynth Plus Bank format. A Sound Card is formatted whenever an entire QuadraSynth Plus Bank is stored onto it. If you are using an older Sound Card that does not use the current Bank format, you will not be able to store individual Mixes or Programs onto until you store an entire QuadraSynth Bank onto it first.

Insert a card into the Sound Card slot on the back of the QuadraSynth Select the Program or Mix you wish to transfer to the card. Press [STORE].
Use Quad Knob [1] to select a bank location on the card to store to (18). If the card contains a ROM bank, it will be bank 1. Therefore, you will only be able to save into bank locations 28. Use Quad Knob [2] to select a location in the selected card Bank to save to (00127 if storing a Program; 0099 if storing a Mix).
If the card is write-protected, or not inserted, or not of the current Bank format, the display will indicate the situation with an error message. If the card is not of the current Bank format, use the Save To Card command first (Store Mode, Page 5) to save the entire User Bank to the card. This however will erase all Programs and Mixes in the selected card Bank. If these are important to you, first load them into the User Bank in the QuadraSynth, and then save them back onto the card in order to re-format the card using the new format.
Loading an Individual Program or Mix from an External Card
You can load a single Mix or Program from a Sound Card into the User Bank, instead of having to load the entire Bank from the Sound Card. To do this, select the Mix or Program in the Sound Card Bank that you wish to copy, then use the Store Function (as described above) to designate a location you wish to store to in the User Bank. Note: When storing a Mix from a Sound Card into the User Bank, the individual Programs used by the Mix will not be moved into the User Program Bank. Once you store a Mix from a Sound Card into the User Bank, it will still look for its Programs in the Sound Card Bank, if that is where it was programmed to look for them in the first place (which is almost always the case).
Card Storage RAMifications
Whenever you transfer an internal Bank to a RAM card, the result is that all Mixes in the transferred Bank are changed so that they now access the Programs on the card bank to which the User bank was saved (since they reside there, now), instead of the Programs from the original internal Bank. And, when a Card Bank is transferred to an internal Bank location, the opposite happens all Programs within a Mix which had previously accessed card bank 1 (the ROM card) now point to the User bank. However, a problem can arise when you have one or more Mixes in the Bank you are transferring which use Programs already on the Card. Example: Let's say Mix 00 in the User Bank uses a Program thats located in Card Bank 1. If the User Bank is transferred to the Card Bank 1, the result will be that Mix 00 in Card Bank 1 now uses only Programs from Card Bank 1. If later you transfer the entire Bank back into the QuadraSynth Plus, you will find that Mix 00 no longer uses the Program on the Card as it was originally programmed to. Heres a few ways to avoid this problem. First, always transfer to a Card Bank that does not include any Programs used by the Mixes in the Bank you are transferring from. In other words, if we transferred the Bank into Card Bank 2, we would not have a problem, since the Mix would still be using the Program in Card Bank 1. When this Bank is transferred back to the QuadraSynth, the Mix will still use the Program in Card Bank 1. Another way to avoid this problem is to transfer the Bank to a Card Bank, and then immediately store the individual Mix onto the Card by itself. When a Mix is stored individually to a Card, it is not modified in any way ; i.e. if it used Programs in the internal Banks, it will still use them even though the Mix and its Programs are in two different locations (the Mix is on the Card but the Programs it uses are stored in the internal Banks). Finally, you could avoid this situation by always making sure your Mixes use only Programs located in the same Bank it is stored in. This could mean individually storing some Programs from a RAM Card into one of the internal Banks. Although this is very limiting, it makes things much simpler in the long run.

 

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