QS62 QS82 Manual
QS62 QS82 Manual
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Table Of Contents
Introduction ........................................................5
Important Safety Instructions ........................7
Chapter 1: Connections.....................................11
Chapter 2: First Session....................................13
Playing the Demos .................................................................................13
Playing Programs....................................................................................13
Finding Programs...................................................................................13
Playing Split and Layered Programs (Mixes)......................................14
Changing the Programs in a Mix .........................................................14
Selecting Banks .......................................................................................15
Using the Performance Controls .........................................................15
Transposing the Keyboard....................................................................15
Storing and Copying ..............................................................................16
Table Of Contents
Setting the Behavior of the MIDI Out Port......................................32
Resetting the A-D Controllers..............................................................32
Setting the A-D Controller MIDI Mode ............................................32
Chapter 8: Modulations.....................................49
Selecting a Mod Route [0-5 MOD] .....................................................50
The Pitch LFO Function [6 PITCH LFO] ........................................52
The Filter LFO Function [7 FILTER LFO]......................................52
The Amplitude LFO Function [8 AMP LFO] ..................................52
Scaling Modulation Sources [9 TRACK GEN].................................54
Table of Contents
Configuration 2: 2 REVERBS..............................................................73
Configuration 3: LEZLIE+REVERB...............................................74
Configuration 4: 1 REVERB+EQ ......................................................75
Configuration 5: OVERDRIVE+LEZLIE .......................................75
Selecting a Send to Edit [00-30 SEND]..............................................76
The EQ Function [50 EQ] ...................................................................76
The Mod Function [60 MOD].............................................................77
The Lezlie Function [70 LEZLIE]......................................................78
The Pitch Function [80 PITCH]..........................................................79
The Delay Function [90 DELAY] .......................................................82
The Reverb Function [100 REVERB] ................................................83
The Overdrive Function [110 OVERDRIVE]..................................87
Setting the Effects Output Levels [120 MIX]....................................88
Specifications ......................................................99
Index......................................................................101
Warranty/Contact Alesis...................................103
Introduction
Welcome!
Congratulations on your purchase of an Alesis QS6.2/QS8.2 64-Voice
Expandable Synthesizer! Its a powerful instrument and were sure you
will find it exciting to use!
Those of you who are familiar with the enormously-popular QS-line of
synthesizers may be wondering, "What has changed in the new QS6.2
and QS8.2?".
Well, we've kept the same great sound engine but totally redesigned the
output section. We replaced the 18-bit D/A (digital-to-analog)
converters with vastly superior Alesis 24-bit audio converters, resulting in
a tremendous improvement in sound quality (much higher signal-to-noise
ratio, and much lower distortion). You can hear the difference in the
crystal-clear sounds. Go ahead - turn up the volume... We also refined
the look of the keyboards and rearranged the front panel controls to
make them more intuitive and improve ergonomics.
In addition, we improved the little, but important, things. The User Bank
Programs have been completely updated. The rear-panel jacks have been
moved to make the QS6.2 fit on certain kinds of stands better. We even
re-wrote the manual and added a FAQ with the questions we've received
the most over the years.
And don't forget, like their predecessors, the QS6.2 and QS8.2 are
expandable. With an Alesis Q-Card ROM expansion, you get 8MB of
additional professional-quality samples to add to your palette, in whatever
genre of music you're into. Ask your music dealer about Alesis Q-Cards.
Be sure to register your QS synthesizer on the Alesis website,
www.alesis.com. Here, you will find some cool items to go with your QS
synthesizer, like additional sound Banks and Sound Bridge software.
We hope your investment will bring you many years of creative
enjoyment and help you achieve your goals.
Sincerely,
The people of Alesis
Introduction
QS synthesizer
Sustain pedal
AC power cable
This instruction manual
Important Safety
Instructions
Important Safety Instructions (English)
This symbol warns the user of uninsulated voltage within the unit that can cause dangerous
electric shocks.
This symbol warns the user that output connectors contain voltages that can cause dangerous
electrical shock.
10.
11.
12.
13.
14.
15.
16.
17.
18.
Dieses Symbol alarmiert den Benutzer, da es wichtige Funktionieren und Wartung Anweisungen in
der Literatur gibt, die diese Maeinheit begleitet.
Dieses Symbol warnt den Benutzer der nicht isolierten Spannung innerhalb der Maeinheit, die
gefhrliche elektrische Schlge verursachen kann.
Dieses Symbol warnt den Benutzer, dem Ausgabestecker Spannungen enthalten, die gefhrlichen
elektrischen Schlag verursachen knnen.
10
1 Connections
Connecting AC Power
Before making any power connections, make sure the QSs power switch
is turned off.
1. Plug the female end of the power cable into the QSs power socket.
2. Plug the male (plug) end into a properly grounded power outlet.
11
Connections
Connection Diagram
12
2 First Session
Playing the Demos
The QS has five built-in demo sequences. To play a demo, hold down
[MIX] and press a number button from [0] through [4]. Playback will
start with the specified demo and continue through the remaining demos.
To stop the demo, press [MIX].
Demos:
0. Jinx by James Reynolds
1. Bang! by Taiho Yamada
2. Dreamcurrents by Erik Norlander
3. Iron Man by Keith Emerson
4. Camera Obscura by David Bryce
Playing Programs
The sounds in your QS are called Programs. Programs contain all of
the parameters that are needed to define a sound. For example, True
Stereo is a grand piano Program.
To select a Program, press the [PROGRAM] button. The display should
look something like this:
Finding Programs
To make Programs easier to find, weve organized them into eleven
categories marked on the tens buttons:
00-09 Pianos
10-19: Chromatic
30-39 Guitar
40-49 Bass
60-69: Brass
70-79 Winds
110-119: Rhythm/FX
20-29: Organ
50-59: Strings
80-109 Synth
120-127: Drums/Percussion
13
First Session
Playing Split and Layered Programs (Mixes)
A Mix is a combination of up to 16 Programs, allowing you to play more
than one sound at the same time. The Programs may be split or layered
across the keyboard, or distributed among MIDI channels for
multitimbral sequencing.
Press the [MIX] button. The display should look something like this:
Use the [BANK], [VALUE] or the numbered buttons to call up the Mix
of your choice (the same way you select Programs).
The numbers at the bottom of the display show which Mix Channels are
enabled in this Mix. Each Mix Channel contains a Program.
To see what Programs the Mix uses, use the [PAGE >] button to step
through the Mix Channels. The selected Mix Channel will blink at the
bottom of the screen and the name of the Program on that channel will
be displayed.
2)
Press the [PAGE >] button to select the Mix Channel containing
the Program you want to change. The selected Mix Channel should
be flashing at the bottom of the display.
3)
14
First Session
Selecting Banks
A Bank is a collection of 128 Programs and 100 Mixes. There are five
internal Banks available in the QS, and more can be accessed if you put a
card into the [PCMCIA EXPANSION CARD] slot.
The internal Banks are:
USER
PRESET1
PRESET2
PRESET3
GenMIDI
To explore different Banks, use the [< BANK] and [BANK >] buttons.
2)
Tap the key that represents the interval youd like to shift by relative
to Middle C. For example, if you want to shift up a semitone, tap
the C-sharp key.
3)
15
First Session
Storing and Copying
It is easy to store and copy Programs and Mixes. To do this:
16
1)
2)
3)
4)
3 Overview
The Front Panel Controls
17
Overview
The Play Modes
Weve already introduced you to these modes in the last chapter. This is
where youll normally be when youre playing your QS.
Program Mode
In this mode, you can play the QSs various Programs one at a time.
Youll probably be in this mode most of the time. The QS contains 512
Preset and 128 User Programs. To get into Program Mode, press the
[PROGRAM] button.
Mix Mode
In this mode, you can play up to 16 Programs at the same time. You can
use this mode to create keyboard splits or keyboard layers, or for
multitimbral sequencing. The QS contains 400 Preset Mixes and 100
User Mixes. To get into Mix Mode, press the [MIX] button.
18
Overview
19
Overview
Global and Store Modes
Global Mode
In this mode, you can set various aspects of the QS that dont change
whenever a new Program or Mix is selected (for example, the keyboard
sensitivity). Press the [EDIT] button, then the [BANK >] button (with
[GLOBAL] written under it) to get into this mode.
Store Mode
This mode is for storing, copying and transmitting data. You can store
or copy whole Banks, individual Mixes, individual Programs, and Effects
settings, among other things. Press the [STORE] button to get into this
mode.
Compare
In any Edit mode, the [< BANK] button performs the [COMPARE]
function (see the label under the button).
If you press [COMPARE] from any Edit mode, the original Program or
Mix will be temporarily recalled and EDIT will flash in the display.
Pressing [COMPARE] again switches to your edited version.
20
4 Expansion Cards
PCMCIA Expansion Cards
If you want more Sounds (samples), Programs, Mixes, or Sequences, all
you have to do is insert the appropriate card into the QSs [PCMCIA
EXPANSION SLOT].
There are three kinds of expansion cards that you can use:
QCards are a series of excellent ROM (read-only memory) cards
developed by Alesis. Each contains 8MB of professional
uncompressed PCM samples plus Programs and Mixes designed to
take full advantage of them. The cards available are Classical,
Sanctuary, Vintage Keyboards, Vintage Synthesizers, HipHop,
EuroDance, Latin, Stereo Classical Piano, and Stereo Jazz Piano. You
can get these at your Alesis dealer.
21
Expansion Cards
To play back a card sequence:
1)
2)
Press the [SEQ SELECT] button. The display will look like this:
3) Use the [00] through [40] buttons to pick the tens digit of the
sequence number.
4)
Finally, use the [0] through [9] buttons to play a specific sequence.
To stop a sequence while its playing, you can press the [SEQUENCE],
[PROGRAM] or [MIX] button.
22
Expansion Cards
23
5 MIDI
What is MIDI?
MIDI stands for Music Instrument Digital Interface. It allows music
instruments to communicate with each other. You can use MIDI to:
Record what you play on your QS synthesizer into a sequencer or
computer.
Play back sequences from a sequencer or computer on your QS.
Store and recall Programs and Mixes on a computer.
Use a computer to edit your QSs sounds.
Use your QS to control another synthesizer or sound module.
Use another keyboard to play your QSs sounds.
Some examples of MIDI devices besides your QS synthesizer include
keyboard controllers, sound modules, drum machines, sequencers, and
computers with MIDI interfaces.
MIDI Connections
The QS has three MIDI connectors:
[MIDI IN] is for receiving MIDI information from another MIDI
device.
[MIDI OUT] is for sending MIDI information to another device.
Depending on your settings, the data from this port can originate from
the QS itself or simply be echoed from the [MIDI IN] port.
[MIDI THRU] echoes whatever is received on the [MIDI IN] port.
Here are four typical MIDI setups for your QS, and the appropriate
connections for each of them:
Controller. With this setup, you can use your QS to play another
MIDI instrument (synthesizer, sound module, drum machine etc.).
Connect a MIDI cable from the QSs [MIDI OUT] jack to the MIDI
IN of the device you want to control.
OUT
IN
Sound Module
25
MIDI
Slave. With this setup, you can use another keyboard to play the
sounds on your QS. Connect a MIDI cable from the controllers
MIDI OUT jack to the QSs [MIDI IN] jack.
OUT
IN
Slave
Master
IN THRU
IN
Sound Module
OUT
Computer
OUT
IN
26
MIDI
To send the entire User Bank (Programs and Mixes) via MIDI:
1 ) Connect a MIDI cable from the QSs [MIDI OUT] jack to the
MIDI In of a device capable of receiving the data (a computer,
sequencer, another QS, etc.).
2 ) Press [STORE].
3 ) Press [PAGE >] six times to select the proper page of the Store
function. The display will look like this:
27
MIDI
4 ) Set up your receiving device to accept a MIDI sysex dump.
5.) Press [STORE] to transmit the data from the QS. While
transmitting the data, the display will read SENDING OUT
MIDI DATA......
To send a single Program via MIDI:
1 ) Follow steps 1 and 2 in the instructions above.
2 ) Press [PAGE >]seven times to select the proper page of the Store
function. The display will look like this:
28
6 Global Parameters
What are the Global Parameters?
Certain basic parameters affect your entire QS. Because they affect
everything, they are called the Global Parameters.
Press [EDIT].
2)
Press the [BANK >] button (with [GLOBAL] written beneath it).
The display will look like this:
Fine Tuning
Button:
[EDIT] [GLOBAL]
Page:
2
Parameter:
Master Tun (-99 to 99 cents)
This setting is like Master Pitch, but on a much finer scale. Its main use
will be to tune your QS to match other instruments. 99 to 99 cents is
equivalent to down or up one half-step (in hundredths of a semitone).
29
Global Parameters
WEIGHT gives the keyboard the widest possible dynamic velocity range
for weighted keyboards (like the QS8.2s).
PLASTC has a narrower dynamic velocity range associated with synth
keyboards (like the QS6.2s). Notes played gently will be louder than they
would be if you had selected WEIGHT.
MAXMUM means that every note played on the keyboard is given the
maximum MIDI velocity, which is 127. In this mode, your QSs keyboard
is no longer velocity-sensitive.
30
Global Parameters
MIDI devices. Youll need to set your sequencer to echo back the MIDI
data that is being recorded.
31
Global Parameters
ON makes the QS send and respond to MIDI Program Changes. In
Program Mode it will send and receive Program Changes over the
currently selected MIDI channel. In Mix Mode, Program Changes are
received over all active MIDI channels, but sent only from those
displayed channels that have had MIDI OUT enabled. With this setting,
incoming Program Changes will only affect the Programs, not the entire
Mix.
32
7 Editing Programs
QS Composite Synthesis
The QS generates sound through the use of QS Composite Synthesis.
The basis of this technology is the playback and processing of audio
samples. A sample is a digital recording of a sound. The sound could
be a sine wave, a grand piano, or even a full orchestra.
The QS processes these samples by applying filters, envelopes and
modulations, and then mixing them with other processed samples. In
this way, the QS can create a universe of sounds.
The Voice
The part of the QS that plays back a sample is called a Voice. The QS
has 64 Voices, so it can play 64 sounds at the same time.
Lowpass Filter
The output of the Voice feeds into a lowpass filter, which dampens
high frequencies and allows low frequencies to pass through. The
frequency at which the dampening begins is called the filter frequency.
The lower the filter frequency, the more muted the sound.
Filter Frequency
Amplitude
Frequency
Amplifier
Each voice/filter combination is followed by an amplifier whose level
can be controlled by a variety of sources. This allows for creating sounds
with either percussive or slow attacks, or particular types of decays, or
tremolo, etc.
33
Editing Programs
The following diagram shows the signal flow for each Sound:
LFO
LFO
LFO
Voice
Filter
Amp
Envelope
Envelope
Envelope
Range
Pan
Effects Sends
Sound 1
Sound 2
Sound 3
Sound 4
Modulation
In synthesizer programming, modulation refers to modifying some
aspect of a sound over time. Modulation is the key to making rich and
expressive sounds. The vibrato of a flute, the expression pedal of an
organ, and the wah pedal on a guitar are all examples of modulation.
Modulation can be used to control basic characteristics of a voice,
including pitch, filter frequency, volume, and envelope.
With some parameters, the modulation amount can be positive or
negative. With positive modulation for example, keyboard velocity can be
used to make a Sound brighter the harder you play. This is how many
acoustic instruments behave. With negative modulation, you also have
the ability to make the Sound more muted the harder you play. Setting
modulation to 00 turns off the modulation source.
Envelopes
An envelope is a modulation source that varies over time, starting from
when you strike a key. There are three independent envelope generators
(for pitch, filter, and amplitude) in each Sound layer.
34
Editing Programs
Each envelope generator has the standard attack, decay, sustain, and
release parameters found on most synthesizers, along with delay, sustain
decay, and different triggering options. More on this later.
Editing a Program
From Program Mode, press the [EDIT] button once.
NOTE: As soon as you change a value, the
word "EDIT" will change to "EDITED" in
the lower left part of the display.
35
Editing Programs
The Voice Function [40 VOICE]
Hit the [40] button to choose the sample that forms the basis of your
Sound. Use the [PAGE] buttons to select parameters within this
function to edit.
Selecting a Sample
Button:
[EDIT] [40 VOICE]
Page
4
Parameter:
Snd (see chart)
This selects the actual sample that will be the basis of the Sound. Heres
a chart listing the various samples in their respective groups.
36
Editing Programs
Group
Sample
37
Editing Programs
Percus
SndFX
Rhythm
Agogo, Bongo, Cabasa, Castanet, Chimes 1, Chimes 2, Chimes 3, Clap Rap, Clap Tek, Clave 1,
Clave 2, Conga Hit1, Conga Hit2, CongaSlap1, CongaSlap2, Rap Conga, Rap Rim, Cowbell,
RapCowbell, Cuica, Djembe Hi, Djembe Low, Drumstix, FingerSnap, GuiroLong1,
GuiroLong2, GuiroShort, Maracas, SmbaWhstl1, SmbaWhstl2, ShortWhstl, Shaker Hi, Shaker
Low, Sleighbel1, Sleighbel2, Tabla Ga, Tabla Ka, Tabla Ka 2, Tabla Na, Tabla Te, Tabla Te 2,
Tabla Tin, Taiko Drum, Taiko Rim, Talk Down, Talk Up, Tambourine, Timbale, Timpani,
Null/Timp, Triangle 1, Triangle 2, TrianglSf1, TrianglSf2, Udu Hi, Udu Mid, Udu Low, Udu
Slap, Vibrasmak1, Vibrasmak2, Wood Block
Rain 1, Rain 2, Bird Tweet, Bird Loop, Telephone, Jungle 1, Jungle 2, Jungle 3, Jungle 4,
GoatsNails, ScrtchPul1, ScrtchPul2, ScrtchPsh1, ScrtchPsh2, ScratchLp1, ScratchLp2,
ScrtchPLp1, ScrtchPLp2, ScrtchPLp3, ScrtchPLp4, Orch Hit, Null/Orch, Dance Hit,
Null/Dance, Rez Zip, RezAttack1, RezAttack2, RezAttkVel, Zap Attk 1, Zap Attk 2, Zap Attk
3, Fret Noise, Sci Loop 1, Sci Loop 2, Sci Loop 3, Bit Field1, Bit Field2, Bit Field3, Bit Field4, Bit
Field5, Bit Field6, WavLoop1.0, WavLoop1.1, WavLoop1.2, WavLoop1.3, WavLoop1.4,
WavLoop1.5, WavLoop1.6, WavLoop1.7, WavLoop1.8, WavLoop2.0, WavLoop2.1,
WavLoop2.2, WavLoop2.3, WavLoop2.4, WavLoop2.5, WavLoop2.6, WavLoop2.7,
WavLoop2.8, WavLoop3.0, WavLoop3.1, WavLoop3.2, WavLoop3.3, WavLoop3.4,
WavLoop3.5, WavLoop4.0, WavLoop4.1, WavLoop4.2, WavLoop4.3, WavLoop4.4,
WavLoop4.5, D-Scrape, D-ScrapeLp
Psi Beat 1, Psi Beat 2, Psi Beat 3, Psi Beat 4, Psi Beat 5, Psi Beat 6, Psi Beat 7, Psi Beat 8, Psi Beat
9, Psi Beat10, Psi Beat11, Psi Beat12, Kick Loop1, Kick Loop2, Kick Loop3, Kick Loop4, Kick
Loop5, Kick Loop6, Kick Loop7, Kick Loop8, Kick Loop9, KickLoop10, KickLoop11, Snare Lp
1, Snare Lp 2, Snare Lp 3, Snare Lp 4, Snare Lp 5, Snare Lp 6, Snare Lp 7, Snare Lp 8, Snare Lp
9, SnareBeat1, SnareBeat2, SnareBeat3, SnareBeat4, SnareBeat5, Back Beat1, Back Beat2, Back
Beat3, Back Beat4, Hat1 Clsd1, Hat1 Clsd2, Hat1 Foot, Hat1 Open1, Hat1 Open2, Hat2 Clsd1,
Hat2 Clsd2, Hat2 Foot, Hat2 Open1, Hat2 Open2, Hat3 Clsd1, Hat3 Clsd2, Hat3 Open1, Hat3
Open2, Hat Beat 1, Hat Beat 2, Hat Beat 3, Hat Beat 4, Hat Beat 5, Hat Beat 6, Hat Beat 7, Hat
Beat 8, Hat Beat 9, Hat Beat10, Agogo Loop, Bongo Loop, CabasaLoop, CastanetLp,
CongaLoop1, Shaker Lp1, Shaker Lp2, SleighLoop, Tabla Ga Lp, Tabla Ka Lp, Tabla Na Lp,
Tabla Te Lp, TablaTin Lp, Taiko Loop, PercBeat1, PercBeat2, PercBeat3, PercBeat4,
VoiceLoop1, VoiceLoop2, PhonicLoop, SpinalLoop, Tr Loop 1, Tri Loop 2, Orch Loop
38
Editing Programs
In the QS8.2, selecting MAIN routes the Sound to the main outputs;
OFF shuts off the path. A setting of AUX will also shut off the path.
(This is provided for backward compatibility with older QS8 models).
39
Editing Programs
With EQU selected, the absolute amount of detuning remains the same
over the entire keyboard, so any detuning seems less pronounced as you
play higher up on the keyboard.
40
Editing Programs
Button:
[EDIT] [60 PITCH]
Page:
10
Parameter:
KeyMde (MONO, POLY, 1-PITCH or 1-PMONO)
In MONO mode, you can play only one note at a time. Portamento
behavior is most predictable in this mode.
POLY mode allows you to play multiple notes at the same time.
In 1-PITCH mode, the program Sound layer will play a single pitch (the
sample used for note C3) throughout the entire keyboard range.
41
Editing Programs
positive modulation wont have any affect, since the filter is already
maxed-out.
Button:
[EDIT] [70 FILTER]
Page:
4
Parameter:
MODWH>FILT (-99 to +99)
This sets how much the modulation wheel affects filter frequency. At
positive settings, moving the modulation wheel up raises the filter
frequency. At negative settings, moving the wheel up lowers the filter
frequency.
42
Editing Programs
43
Editing Programs
Setting the Amplitude LFO Amount
Button:
[EDIT] [80 AMP/RANGE]
Page:
3
Parameter:
A-LFO>AMP (-99 to +99)
This sets how much the Amplitude LFO affects the level. Higher values
increase the amount of amplitude LFO modulation. Negative values flip
the LFO phase.
44
Editing Programs
[EDIT] [90]-[110]
4
Release (00 to 99, HOLD - Pitch Envelope only)
45
Editing Programs
This sets the amount of time the envelope will take to get from its
current level to zero after the note is released. The higher the value, the
longer it will take.
When set to HOLD, the Pitch Envelope will remain where it is after the
note is released.
46
Editing Programs
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Editing Programs
Copying Sound Layers [STORE]
While editing a Program, it is helpful to be able to copy a Sound layer to
another Sound in either the same Program or a different Program,
especially if you are building a split or layered Program. Heres how:
1 ) From Program Edit mode, press [STORE].
2 ) Press [PAGE >] once to select the Copy Sound function.
3 ) Use the [VALUE] buttons to select the source for the copy. You
can choose either a Sound in the current Program, or different
Program. (If you choose a different Program, the Sound layer to be
copied will be determined by your destination choice).
4 ) Press [PAGE >] again to advance the cursor to the lower line of the
display.
5 ) Use the [VALUE] buttons to choose a destination. Depending on
the choice you made in step 3, you will be able to choose either a
Sound layer, or a Program number.
If you selected a Program number in the top line, youll only be able
to select Sounds 1-4 as the destination Sound. Keep in mind that
your choice here will also determine which Sound will be copied
from the Program number you chose in the top line.
If you selected one of the current Programs four Sounds in the top
line, youll be able to select any of the other three Sounds in the
current Program or one of the Programs in the User Bank (000127). The Sound number in the top line determines the target
Sound within the User Program you chose.
6 ) Press [STORE] to copy the Sound.
48
8 Modulations
The Mod Routes
As we mentioned in the previous chapter, modulation refers to
modifying some aspect of a sound. For example, sound volume is
shaped (or modulated) by the Amplitude Envelope. A Mod Route
refers to a modulation source and the destination that it is modulating.
In the previous chapter, weve already covered some of the hard wired
mod routes. One example is the Pitch LFO, which can always be used to
modulate pitch. In addition however, there are six general-purpose mod
routes that have many more possible mod sources and destinations.
Using these, you can:
Use a slider to control brightness, effect level, LFO speed, etc.
Use velocity to increase the attack speed of an envelope, so playing
softly makes the sound fade in, while playing hard causes an immediate
attack.
Use release velocity to decrease the release time of an envelope, so
quick releases of the keys cut off the end of the sound, while slow key
releases allow the sound to fade away gradually.
Amplitude LFO
Filter Envelope
Filter LFO
Mod Wheel
Note Number
Pitch Envelope
Pitch LFO
Pitch Wheel
Velocity
Destination
Amplitude
Amplitude LFO Depth
Filter Frequency
Filter LFO Depth
Pitch
Pitch LFO Depth
Amplitude
Filter Frequency
Filter Frequency
Amplitude LFO Depth
Filter Frequency
Filter LFO Depth
Pitch LFO Depth
Envelope Time Tracking
Filter Frequency
Pitch
Pitch
Pitch
Filter Envelope Level
Filter Frequency
Pitch Envelope Level
Button
[80 AMP/RANGE]
[8 AMP LFO]
[70 FILTER]
[7 FILTER LFO]
[60 PITCH]
[6 PITCH LFO]
[8 AMP LFO]
[100 FILTER ENV]
[7 FILTER FREQ]
[8 AMP LFO]
[70 FILTER]
[7 FILTER LFO]
[6 PITCH LFO]
[90-110 P/F/AENV]
[70 FILTER]
[90 PITCH ENV]
[6 PITCH LFO]
[60 PITCH]
[100 FILTER ENV]
[70 FILTER]
[90 PITCH ENV]
Page
2
7
5
7
5
7
5
10
5
6
4
6
6
8
2
10
5
4
11
3
11
49
Modulations
Editing the Mod Routes
The Mod Routes are part of each Program, just like any other program
parameter (like Filter Frequency for example). Hit [EDIT] from
Program mode to begin editing.
50
Modulations
PEDAL 2: Although there is no Pedal 2 jack on the QS, it is available
as a modulation source via MIDI controller messages. The Pedal 2
modulation source defaults to MIDI Controller #4 (Standard Foot
Controller). It is possible to assign it to a different controller number
if you wish on Global Mode, page 13.
PLFO/FLFO/ALFO: You can select the Pitch, Filter and
Amplitude LFOs as modulation sources, even if they aren't being used
to affect the Sound in their usual ways.
PENV/FENV/AENV: The Pitch, Filter and Amplitude envelopes
can also be selected as modulation sources. Try routing them to LFO
speeds or the Effect Send Level of a Sound.
RANDOM: This provides a different modulation value every time
you hit a key. Example: With vintage analog synth patches, use pitch as
the destination and apply a very slight amount of random modulation.
Each note will have a slightly different pitch, which simulates the
natural tuning instability of analog circuits.
TRIGATE: This is the Trigger Rate Follower, which monitors how
fast notes are being played on the keyboard. For example, if routed to
the Effect send of a Program, you could automatically have more
effect when playing quickly, and less effect when playing slowly.
CNTRL (A, B, C, D): These are the four [CONTROLLER] sliders
on the front panel. Since these sliders also have MIDI controller
numbers assigned to them, they can be remotely controlled via MIDI.
The MIDI controller numbers are assigned in Global page 8-11.
TRACKGEN: This is the output of a signal processed by the
Tracking Generator module.
STEPTRAK: This is the output of a signal processed by the
Tracking Generator module in stepped mode.
Buttons:
[EDIT] [0-5 MOD]
Page:
2
NOTE: When Portamento Rate is chosen as
Parameter:
Dst (see below)
a destination, you will hear no change in
that parameter unless it is at least set to 01.
Here, you can select from the following modulation destinations. You
can find out more about these parameters and how they affect the sound
in their respective sections:
Pitch
Filter LFO Speed
Amp Envelope Delay
Filter Frequency
Filter LFO Amp
Amp Envelope Attack
Amplitude
Filter LFO Delay
Amp Envelope Decay
Effect Send
Filter Envelope Delay
Amp Envelope Sus. Decay
Pitch LFO Speed
Filter Envelope Attack
Amp Envelope Release
Pitch LFO Amp
Filter Envelope Decay
Amp Envelope Amp
Pitch LFO Delay
Filter Envelope Sus. Decay
Portamento Rate
Pitch Envelope Delay
Filter Envelope Release
Pitch Envelope Attack
Filter Envelope Amp
Pitch Envelope Decay
Amp LFO Speed
Pitch Envelope Sus. Decay
Amp LFO Amp
Pitch Envelope Release
Amp LFO Delay
Pitch Envelope Amp
51
Modulations
Setting the Mod Level
Buttons:
[EDIT] [0-5 MOD]
Page:
3
Parameter:
Level (-99 to +99)
This sets the modulation level. At zero, the modulation source has no
effect on the destination (it is disabled). Higher positive values increase
the amount of modulation in the positive direction. Negative values
increase the amount of modulation in the negative direction.
In other words, if you choose Controller A as your source and Pitch as
your destination, a value here of +99 will cause the pitch to rise as slider
A moves up. A value of -99 will lower the pitch as slider A moves up.
Turning On Quantization
Buttons:
[EDIT] [0-5 MOD]
Page:
4 (Mods 4-6 only)
Parameter:
Quant (ON or OFF)
This determines whether the modulator will modulate in a smooth
fashion, or a stepped (quantized) fashion. When it is ON, the
modulation effect will be stepped. When OFF, the effect will be smooth.
This function is only available in mod routes 4 through 6.
52
Modulations
TRIANGLE
SINE
DOWN SAW
DOWN SA
TRIANGLE
RANDOM+-
RANDOM+-
SQUARE
SQUARE
NOISE
NOISE
UP SAW
UP SA
RANDOM+
RANDOM+
53
Modulations
MONO. All voices LFOs will be in sync with each other.
POLY. Each voices LFO is independent. If you hold a chord, some
voices LFOs will be moving in one direction while others move in the
other direction. If the LFO Speed is being modulated (by one of the
envelopes, for example), the LFOs of each voice may be running at
different speeds.
KEYMONO. This is identical to MONO, but whenever a new note is
played, the LFO is re-triggered, instead of continuing from wherever it
may be in its cycle.
KEYPOLY. This is identical to POLY, but whenever a new note is
played, the LFO is re-triggered, instead of continuing from wherever it
may be in its cycle.
54
Modulations
100
POINTS:
10
10
10
NON-LINEAR TRACKGEN
NON-LINEAR
100
POINTS:
NON-LINEAR STEPTRACK
NON-LINEAR STEPPED
100
POINTS:
55
Modulations
Selecting the Tracking Generator Input
Button:
[EDIT] [9 TRACK GEN]
Page:
1
Parameter:
Input (see below)
Select the input of the Tracking Generator from the following sources:
Note Number
Velocity
Release Velocity
Aftertouch
Poly Pressure
Mod Wheel
Pitch Wheel
MIDI Volume
Sustain Pedal
Pedal 1
Pedal 2
Pitch LFO
Filter LFO
Amp LFO
Pitch Envelope
Filter Envelope
Amp Envelope
Random
Trig Rate
Controllers AD
56
57
Group
Kick
Snare
Toms
Cymbal
Percus
Snd FX
Wave
Rhythm
58
Voice
59
60
Button:
[EDIT] [80 AMP/RANGE]
Page:
3
Parameter:
Note Range (0 to +3)
This sets the range of notes above the root note that will trigger the
Drum sound. A setting of +3 assigns the Drum to a total of 4
consecutive keys.
61
10 Editing Mixes
What is a Mix?
Mix Mode allows you to play up to 16 different Programs at once from
the keyboard or an external sequencer. With Mix Mode, you can do the
following:
Layer different Programs so they can be played simultaneously from
the keyboard. For example, you can stack a piano on top of a string
sound.
Split the keyboard into different zones--for example, the classic bass
guitar on the left-hand side of the keyboard, and synth or piano on the
right.
Use the QS as a master MIDI keyboard. It can transmit on as many as
16 different MIDI channels simultaneously.
Receive up to 16 MIDI channels from an external sequencer, with
each channel representing a different instrument.
Set the level, panning, transpositions and effect send of each MIDI
channel.
Mix Editing
2)
Press the [PAGE >] button to select the Mix channel containing the
Program you want to change. The selected Mix channel should be
flashing at the bottom of the display.
3)
63
10
Editing Mixes
Once in Mix Edit Mode, use the [0] - [9] and [00] - [50] buttons to select
a Mix channel to edit. Use the [60] [120] buttons to select an Edit
Function (Level, Pitch, Effect, etc.)
The Mix Edit functions and channels are written in blue above or below
each numbered button, on the line labeled [MIX].
If a Function Group has more than one parameter, use the [PAGE]
buttons to navigate.
64
Editing Mixes
10
65
10
Editing Mixes
When set to ON, any Program Change message coming in over the
MIDI channel selected for Effects will select a new Program and its
associated Effect.
When set to OFF, Program Change messages will select new Programs
but not change the current Effect setting. This is the default setting.
MIDI controller data for the Effects Modulators will be accepted over
this channel.
66
Editing Mixes
10
67
10
Editing Mixes
Setting the Lower Keyboard Limit (Split Point)
Button:
[EDIT] [110 RANGE]
Page:
1
Parameter:
LoLim (000 C2 to 127 G8)
Sets the lowest note of the Mix Channels keyboard range.
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68
11 Editing Effects
QS Parallel Matrix Effects
The QS synthesizer has a powerful built-in digital signal processor
capable of generating a variety of effects, including reverb, delay, chorus,
flanging and overdrive.
The effects processor has four paths called effect Sends. Each Send has
its own group of effects arranged in a particular way. The four Sends are
arranged in parallel and can be active simultaneously.
In a Program, each Sound can be assigned to one of the four effect
Sends. The send levels are set in Program Edit Mode and Mix Edit
Mode.
In Mix Mode, only one Programs effects are active, and they apply to all
Programs in the Mix. The Mix Channel containing the Program whose
effects are active is called the Effects Channel. The Effects Channel is
set within Mix Mode.
Editing Effects
To enter Effects Edit Mode from Mix Mode, press the [EDIT] button
three times. You will automatically jump to the Mix Channel whose
effects are being used by the Mix.
69
11
Editing Effects
The display will look like this:
Copying Effects
You can copy one Programs Effects settings into another by using the
Copy Effect function within Store Mode. Heres how its done:
1)
Select the Program that contains the Effect you wish to copy.
2)
Press [STORE].
3)
Press the [PAGE >] key three times and you will see the following
display:
4)
Press the [PAGE >] key one more time so the cursor is under the
P in PROG.
5)
6)
Press [STORE].
You can also copy another Programs effects into the Edit buffer by
adjusting the first parameter (the source) on this page.
70
Editing Effects
11
2)
3)
4)
1 REVERB
2.
2 REVERBS
3.
LEZLIE+REVERB
4.
1 REVERB + EQ
5.
OVERDRIVE+LZLY
To pick a Configuration, enter Effects Edit Mode and then press [40], the
button that has CONFIGURATION printed above it. The display will
look like this:
Use the [VALUE] buttons or the [EDIT VALUE] slider to select one of
the five Configurations.
71
11
Editing Effects
Configuration 1: 1 REVERB
1 REVERB is a general-purpose configuration with four Sends, each
with a variety of effects which all feed into a single Reverb.
NOTE: Each Pitch, Delay and Reverb
module has its own independent mix output
level which controls how much signal is
routed directly to the main outputs.
Sends 1 and 2 have a Pitch effect followed by a stereo Delay. Send 3 has
a mono Pitch effect followed by a mono Delay. Send 4 has a mono
Delay.
The output of all of these paths are mixed and sent into a single Reverb.
The Reverb parameters are in Send 1.
MAIN LEFT
MAIN RIGHT
MAIN LEFT
MAIN RIGHT
MAIN LEFT
MAIN LEFT
MAIN RIGHT
MAIN RIGHT
MIX
DelSND/PCH
BAL.
FX SEND 1
SEND1
DELAY1
PITCH1
LEZLIE
DELA
Y1
RvbIN1/IN2
RvbInLevel
1
BAL.
REVERB
REVERB
AMP
PITCH 1
DELA
REVERB 1
DelSND/PCH
BAL.
FX SEND 2
SEND2
PITCH2
RvbIN1/IN2
1
DELAY2
PITCH 2
DELA
Y2
BAL.
AMP
PITCH 2
DELA
REVERB 2
DelSND/PCH
BAL.
FX SEND 3
SEND3
PITCH3
DELAY3
PITCH 3
DELA
RvbIN1/IN2
1
Y3
BAL.
AMP
PITCH 3
DELA
REVERB 3
RvbIN1/IN2
1
BAL.
FX SEND 4
SEND4
DELAY4
DELA
Y4
2
2
DELA
72
REVERB 4
AMP
Editing Effects
11
Configuration 2: 2 REVERBS
This Configuration should be used when two different reverbs are
needed. For example, you might need a gated reverb for drums and a
regular reverb for everything else.
Send 1 is routed through a mono Delay, then a Chorus, then to the first
Reverb. Send 2 is routed directly to the first Reverb.
Send 3 is routed through a mono Chorus, then to the second Reverb.
Send 4 is routed directly to the second Reverb.
MAIN LEFT
MAIN RIGHT
MAIN LEFT
MAIN RIGHT
MIX1 SECTION
DelayIn Lev
SEND1
DELAY1
MIX3
Chrs In Lev
PITCH1
REVERB1
RvbIn Send2
SEND2
Chrs In Lev
SEND3
PITCH3
REVERB3
RvbIn Send4
SEND4
73
11
Editing Effects
Configuration 3: LEZLIE+REVERB
This Configuration is structurally similar to Configuration 1 (1
REVERB). The difference here is that the Pitch effect on Send 1 is a
custom-designed stereo rotating speaker effect, and it is followed by a
mono Delay. This is useful for organ sounds.
MAIN LEFT
MAIN RIGHT
MAIN LEFT
MAIN RIGHT
MAIN LEFT
MAIN LEFT
MAIN RIGHT
MAIN RIGHT
DelSND/PCH
BAL.
FX SEND 1
SEND1
LEZLIE
RvbIN1/IN2
RvbInLevel
1
DELAY1
LEZLIE
DELA
Y1
BAL.
REVERB
REVERB
AMP
PITCH 1
DELA
REVERB 1
DelSND/PCH
BAL.
FX SEND 2
SEND2
PITCH2
RvbIN1/IN2
1
DELAY2
PITCH 2
DELA
Y2
BAL.
AMP
PITCH 2
DELA
REVERB 2
DelSND/PCH
BAL.
FX SEND 3
SEND3
PITCH3
DELAY3
PITCH 3
DELA
RvbIN1/IN2
1
Y3
BAL.
AMP
PITCH 3
DELA
REVERB 3
RvbIN1/IN2
1
BAL.
FX SEND 4
SEND4
DELAY4
DELA
Y4
2
2
DELA
74
REVERB 4
AMP
Editing Effects
11
Configuration 4: 1 REVERB+EQ
This is another general-purpose Configuration with the bonus of having
a shelving EQ at the output.
This Configuration is similar to Configuration 1 (1 REVERB), except
that sends 3 and 4 have been removed, and there is a shelving EQ at the
main outputs. This EQ affects all sounds coming out of the QS outputs,
not just the effects output.
MAIN LEFT
MAIN RIGHT
MAIN LEFT
MAIN RIGHT
EQ
OUTPUT MIX SECTION
DelSND/PCH
SEND1
RvbIN1/IN2
RvbInLevel
DELAY1
PITCH1
REVERB
DelSND/PCH
PITCH2
SEND2
RvbIN1/IN2
DELAY2
Configuration 5: OVERDRIVE+LEZLIE
This Configuration has a classic Overdrive distortion with Lezlie, useful
for guitar and organ sounds.
Send 1 has the Overdrive distortion, followed by a mono Pitch effect, a
Delay, a Reverb, then a Lezlie. This is summed with the main outputs
and sent through a shelving EQ.
Sends 2 through 4 have no effects of their own, but can feed the effects
of Send 1 at various points.
MAIN LEFT
MAIN RIGHT
EQ
MAIN LEFT
MAIN LEFT
EQ
MAIN RIGHT
MAIN RIGHT
SEND1
FX SEND 1
OVERDRIVE
OVERDRIVE
PchOVD/IN2
PITCH
BAL.
PITCH 1
DelPCH/IN2
DELAY
BAL.
DELA
MIX
RvbIN1/IN2
BAL.
1
1
REVERB
LEZLIE
REVERB 1
PITCH 1
LEZLIE
AMP
2
2
MISC. 1
LezIN1/IN2
BAL.
MISC. 1
DELAY 1
REVERB 1
PITCH 1
SEND2
FX SEND 2
SEND3
FX SEND 3
SEND4
FX SEND 4
75
11
Editing Effects
Selecting a Send to Edit [00-30 SEND]
After you choose a Configuration, the next step in editing is to pick one
of the four Sends to work on. The [00]-[30] buttons select which effects
Send (1-4) you are editing.
You can change what Send you are editing any time from most of the
Effects Edit pages by pressing these buttons. Notice how the Send
number changes in the upper left part of the display.
Not all effects are available in each Configuration or Send. If you try to
select an effect that doesnt exist in the Configuration or Send, youll see
the message:
76
Editing Effects
11
Aftertouch
Mod Wheel
Pitch Wheel
MIDI Volume
Sustain Pedal
Pedal 1
Pedal 2
Controllers A-D
Pitch Speed
Pitch Depth
Pitch Level
Pitch Balance
Delay Balance
Delay Time
Delay Feedback
Delay Level
Reverb Balance
Reverb Input
Reverb Decay
Reverb Low Decay
77
11
Editing Effects
Setting the Mod Level
Button:
[EDIT] [EDIT] [60 MOD]
Pages:
3, 6
Parameter:
Mod1 Level, Mod2 Level (-99 to 99)
This determines the degree to which the Mod Destination will be
modulated by the Source.
78
Editing Effects
Turning On the Lezlie Motor
Button:
[EDIT] [EDIT] [70 LEZLIE]
Page:
1 or 4
Parameter:
Motor (ON or OFF)
This determines whether the Lezlie is operating or not. When turned
ON, the rotating speaker effect starts up slowly, just like the real thing.
When turned OFF, the effect dies down slowly until it reaches a
complete stop.
11
79
11
Editing Effects
The Chorus effect is achieved by mixing a signal with a slightly delayed
and detuned version of itself. This detuning is modulated by an LFO
(Low Frequency Oscillator).
STEREO CHORUS. In a Stereo Chorus, the signal is split into three
parts: a dry signal and separate left and right detunings. When the left
channel is detuned sharp, the right channel is automatically detuned flat,
and vice versa. This causes the effect to become more dramatic while
keeping it in tune to the ear.
MONO FLANGE. Flanging is achieved by mixing a signal with a
variable time-delayed version of itself. This is similar to Chorusing,
except here we use the LFO to modulate delay time instead of pitch. The
delayed signal is then mixed back with the original sound to produce that
well-known swooshing or jet plane sound.
The speed and depth of the LFO can be varied, and part of the signal
can be fed back into itself to make the effect stronger. This feedback
setting can be either Normal or Inverted. Try using Inverted for a
more dramatic flange.
STEREO FLANGE. In a Stereo Flange, the signal is split into three
parts: a dry signal and separate left and right signals, each with its own
delay. While one channel flanges up the other channel automatically
flanges down, making the effect more pronounced.
PITCH DETUNE. This effect takes a signal and detunes it either
sharp or flat. When mixed back with the original signal, the popular 12
string guitar effect can be produced, thickening the sound.
RESONATOR. The Resonator is a very fast delay that causes a combfiltering effect. This results in a pitched buzzy sound when applied to
percussive sounds like drums.
Button:
[EDIT] [EDIT] [80 PITCH]
Page:
2 (Config 2 only)
Parameter:
DelayIn Lev (<99 to 99>)
This adjusts the level of the signal going from the Delay output to the
Pitch Input. This parameter is only available on Send 1 in Configuration
2 (2 REVERBS).
80
Editing Effects
Setting the Flanger Feedback Type
Button:
[EDIT] [EDIT] [80 PITCH]
Page:
2 (Flanger only)
Parameter:
FlngShp (NORMAL or INVERT)
This determines the phase of the Flanger feedback signal. A setting of
INVERT will result in a more dramatic effect.
11
81
11
Editing Effects
Setting the Resonator Decay Time
Button:
[EDIT] [EDIT] [80 PITCH]
Page:
2, 3 or 5 (Resonator only)
Parameter:
Resntr Decy (00 to 99)
This adjusts the Resonator Decay time. 00 is a fast decay and 99 is a
longer decay.
82
Editing Effects
11
83
11
Editing Effects
Selecting the Reverb Input 1 Source
Button:
[EDIT] [EDIT] [100 REVERB]
Page:
1
Parameter:
In1 (PITCHout or DELAYout)
This selects the first input of the Reverb, the output from either the pitch
or delay effect. This parameter is not available in Config 2 (2
REVERBS).
84
Editing Effects
11
Reverb Parameters
These pages determine the characteristics of the reverb itself. Here are
the parameters you will find on these pages.
The QS has seven different reverb types, all stereo, each of which
simulates a different space or produces a different ambient effect. The
different reverb types are:
PLATE 1 & 2. These are recreations of vintage plate reverbs, especially
useful on vocal and drum sounds.
ROOM. This reverb type simulates rooms of different sizes and surface
materials. A room with soft surfaces such as carpet will produce a
reverberant sound with much less high end (treble) than a room with
hard surfaces.
HALL. Halls are characterized by their high ceilings, irregular shapes,
and generally uniform density of reflections.
LARGE. This reverb simulates the large ambient spaces found in
amphitheaters, gymnasiums, etc.
GATE. In this reverb, the reverb sound is abruptly cut off (or gated)
as it decays. When applied to drums, it sounds like a large volume of
85
11
Editing Effects
air is being moved when the drum is hit. This effect works great for
drums, percussion, and any transient source.
REVERSE. The Reverse Reverb type is an inverted reverb in which the
signal begins softly and grows louder until it is cut off, rather than loud
to soft as normal.
86
Editing Effects
11
TIME
DIFFUSION OF 99
TIME
Fewer reflections
More reflections
87
11
Editing Effects
Setting the Overdrive Brightness
Button:
[EDIT] [EDIT] [110 OVERDRIVE]
Page:
3
Parameter:
Ovrd Bright (00 to 99)
This parameter sets the tone of the Overdrive effect. Higher numbers
result in a brighter sounding overdrive.
These pages set the Effect Mix into the main outputs. Depending on the
Configuration, you can set the output mix of the Pitch Effect, Delay,
Reverb, Overdrive and Lezlie.
88
89
90
B Sound Bridge
Using Sound Bridge to Create Your Own
Sound Cards
The Alesis website (www.alesis.com) contains a free program called
Sound Bridge for the Mac and PC. Sound Bridge allows you to
download your own sequences, Program Banks, and samples into a Flash
card plugged into the QS. All you need is a Flash card and a computer
with a MIDI interface.
Sound Bridge will also work with SRAM cards, but Flash cards are
cheaper for storing large amounts of sample data.
Sound Bridge accepts sound files in .AIF, .AIFF, .SD, and .WAV formats.
Many commercially available samples are available in these formats. Or,
you can use your computer to create your own samples!
You can also use Sound Bridge to download sequences into your Flash
card. Sound Bridge accepts standard MIDI file sequences in .MID,
.MIDI, and .SMF formats. You can use your own sequences, or use
commercially available General MIDI files from the internet and other
sources.
91
C MIDI Supplement
Sending and Receiving Bank Select Messages
The QS will send and respond to MIDI Bank Select messages in the
form of MIDI Controller 0. The value of Controller 0 determines which
bank is to be recalled (User, Preset 13, GenMIDI, Card). The way the
QS handles Bank Select messages depends on the MIDI Program Select
mode (set in Global Mode):
MIDI PrgSl: OFF
The QS will neither transmit nor receive Bank Select messages or
Program change commands with this setting.
MIDI PrgSl: ON
Reception: Program Mode. If a Bank Select (controller 0) message with a
value of 0 is received, it will cause the User Bank to be recalled. If a
Bank Select message of 1 is received, Preset Bank 1 will be recalled.
Additionally, if a Sound Card is inserted, the Card Banks can be selected
using Controller 0 values between 5 and 15.
Reception: Mix Mode. Same as above, except the Mix itself will not
change Banks. The word EDITED will appear in Mix Play mode
screen, because the Mix has been altered to point to another bank on one
of its MIDI channels. But you have to look inside the Mix to see that the
Bank change occurred.
Transmission: Program Mode. If a new Bank is selected using the
[BANK] buttons, a Bank Change message will be transmitted. See
Reception: Program Mode for a description of which values will be sent
for each Bank as it is selected.
Transmission: Mix Mode. If a new Bank is selected and any of the
channels within the Mix have their MIDI Out parameters set to ON (Mix
Edit Mode, Keyboard/MIDI function, Page 2), a Bank Select message
(followed by a Program change) will be transmitted for each of those
MIDI channels.
In Mix Program Select Mode (where you choose the Programs within
the Mix), any channel which has its MIDI Out set to ON will transmit
Bank and Program changes from within the Mix, just like in Program
Mode.
MIDI MixSl: CH 1-16
Reception: Program Mode. Same as with MIDI PrgSl: ON (see above).
Reception: Mix Mode. In this mode, when a Bank select message is
received on the channel specified by this parameter, the Mix itself will
change Banks. Any Program change command on this same channel will
call up an entire Mix as if it were a Program. All other channels within
the Mix will behave the same way they do when MIDI PrgSl: ON is
selected (i.e., they receive Bank and Program changes normally).
93
MIDI Supplement
parameter. Selection of another Mix in the same bank will send a
Program change command which matches the Mix number.
In Mix Program Select Mode (where you choose the Programs within
the Mix), changing the Bank of any Program within the Mix will not
send a Bank Select command. Selecting a new Program within the Mix
will not send a Program change command.
CC#10 value
3>
2>
1>
<>
<1
<2
<3
127
107
85
64
43
21
0
94
CC#10 value
Placement
0-20
21-42
43-63
64-84
85-106
107-126
127
<3
<2
<1
<>
1>
2>
3>
hard left
mid left
soft left
center
soft right
mid right
hard right
MIDI Supplement
Function
Bank Select (0-127)
Modulation Wheel (0-127)
Breath Controller (0-127)
Early DX7 Aftertouch (0-127)
Foot Controller (0-127)
Portamento Time (0-127)
Data Slider (0-127)
Main Volume (0-127)
Balance (0-127)
Pan (0-127)
Expression (0-127)
General Purpose #1 (0-127)
General Purpose #2 (0-127)
General Purpose #3 (0-127)
General Purpose #4 (0-127)
Least Significant Bits (LSB), Controllers 0-31 (0-127)
Sustain Pedal (0 or 127)
Portamento On/Off (0 or 127)
Sostenuto Pedal (0 or 127)
Soft Pedal (0 or 127)
Hold 2 (0 or 127)
General Purpose #5 (0 or 127)
General Purpose #6 (0 or 127)
General Purpose #7 (0 or 127)
General Purpose #8 (0 or 127)
Reverb Depth (0-127)
Tremolo Depth (0-127)
Chorus Depth (0-127)
Celeste Depth (0-127)
Phase Depth (0-127)
Data Increment (0 or 127)
Data Decrement (0 or 127)
Non-Registered Parameter MSB (0-127)
Non-Registered Parameter LSB (0-127)
Registered Parameter MSB (0-127)
Registered Parameter LSB (0-127)
Reset All Controllers (0)
Local Control On/Off (0 or 127)
All Notes Off (0)
Omni Off (0)
Omni On (0)
Mono On (0-16; 0=Omni Off)
Poly On (0)
95
MIDI Supplement
MIDI Implementation Chart
Function
Basic
Channel
Mode
Note
Number
Velocity
Transmitted
Default
Changed
Default
Messages
Altered
True Voice
Note On
Note Off
Keys
Chs
1 16
1 16 each
Mode 3
X
0 127
0 127
0 127
O
O
O
O
O
O
********
********
O
O
X
O
O
0 120 O
After
Touch
Pitch Bender
Control
Change
Prog
Change
True #
System Exclusive
System
Song Pos
Common
Song Sel
Tune
System
Clock
Realtime
Commands
Aux
Local On/Off
Messages
All Notes Off
Active Sense
Reset
GM On
Notes
Recognized
1 16
1 16 each
Mode 3
X
O1 0 127
********
Memorized
O1 0 127
0 127
O
X
X
X
X
X
O2
O
X
O2
O
O
X
X
X
X
X
X
X
X
X
X
1O, X is selectable
2Recognized as ALL NOTES OFF
General MIDI
There are three MIDI registered parameter numbers (RPNs) which the
QS will recognize in Mix Mode when General MIDI is enabled. These
are:
MIDI Registered Parameter 0 (Pitch Bend Sensitivity): This will
affect the Pitch Wheel Range parameter of all four Sounds of the
Program on the received MIDI Channel of the Mix.
MIDI Registered Parameter 1 (Fine Tune): This will affect the Pitch
Detune parameter of all four Sounds of the Program on the received
MIDI Channel of the Mix. Also, when this RPN is received, the QS
will automatically make sure that all four Sounds of the Program have
their Detune Type parameter set to Normal (Program Edit Mode,
Pitch Function, Page 3).
MIDI Registered Parameter 2 (Coarse Tune):This will affect the
Pitch Semitone parameter of all four Sounds of the Program on the
received MIDI Channel of the Mix.
96
Remarks
O
X
: Yes
: No
D Troubleshooting
If you experience problems while operating your QS, please use the
following table to check for possible causes and solutions before
contacting Alesis customer service for assistance.
Symptoms
Cause
Solution
No power.
No sound.
Bad Connections.
97
Troubleshooting
Recovering from a Crash
If your QS behaves erratically or freezes on you, the first thing to try is
to switch between Mix and Program modes once. If that doesnt do
anything, turn it off, wait for a moment, and then turn it on again. Make
sure you turn off any amplification first!
If your instrument still isnt working after that, then disconnect the
[MIDI IN] cable and repeat the power on/off trick. This ought to work
if your problem is being caused by strange MIDI data coming from an
external MIDI device.
If neither of these work, you will have to re-initialize the instrument.
Re-Initializing
Re-initializing will reset all Global parameters to their factory default
settings and empty out the edit buffers. The Programs and Mixes in the
User Bank will be preserved, though. Heres how to do it:
1)
Turn down the volume on your QS, your mixer, and your amplifier.
2)
3)
4)
Turn on your QS while holding down buttons [0] and [3]. Youll
know you were successful if there is no name in the LCD display on
the top line.
5)
Remember to go back into Global Mode and set up things the way
you had them (things like the Keyboard Mode, Transposition, the
A-D MIDI controller number assignments, etc.).
Cleaning Your QS
Before doing cleaning of any kind, always disconnect the AC cord.
For simple dusting and removal of minor dirt, wipe the instrument
down with a slightly damp cloth.
For heavy dirt, use a non-abrasive household cleaner such as Formula
409 or Fantastik. Spray the cleanser onto a cloth, then use the cloth to
clean the unit.
98
Specifications
Sound Generation Method:
QS Composite Synthesis 16 Bit Linear 48kHz Sample ROM with
lowpass filter
Polyphonic Voices:
64, each with sweepable lowpass filter, 3 envelope generators, 3 LFOs,
programmable effects send and QS Modulation Matrix, dynamic voice
allocation; 16-part multitimbral
Audio Section:
Alesis 24-bit Stereo DAC with 128x oversampling delta-sigma converter
Keyboard:
QS6.2: 61 synth-action keys (velocity, release velocity, aftertouch)
QS8.2: 88 hammer-action weighted keys (velocity, release velocity)
Waveform Memory:
16MB, expandable to 24 MB via PCMCIA Expansion Card
Program Memory:
Program Mode (512 Preset, 128 User)
Mix Mode (400 Preset, 100 User)
Effects:
QS Parallel Matrix Effects (4 independent stereo multieffect
processing busses)
Multitimbral Mode:
QS Mix Mode (64-part multitimbral across 16 MIDI channels)
Controllers:
4 control sliders, programmable pitch and modulation wheels, foot
pedals, aftertouch (in QS6.2 only)
Expansion Slot:
Type I PCMCIA (PC Card) slot, compatible with QCards, SRAM and
Flash cards (up to 8MB) with 120ns access time or faster.
Pedal Jacks:
Assignable Aux pedal, Sustain pedal
MIDI Connections:
MIDI In, Out, Thru
Audio Outputs:
Main L/R (1/4), Headphone (1/4 TRS)
Power:
Internal Transformer
Dimensions (WxHxD):
QS6.2: 36.0 x 3.5 x 11.25 (915mm x 89mm x 286mm)
QS8.2: 50.5 x 4.3 x 13.5 (1283mm x 110mm x 343mm)
Weight:
QS6.2: 18.5 lbs. (8.4 kg)
QS8.2: 48.0 lbs. (21.8 kg)
99
Index
1 Pitch keyboard mode, 41
1 Reverb configuration, 72
2 Reverbs configuration, 73
aftertouch, 15
filter depth, 42
LFO depth, 54
pitch bend amount, 40
volume increase, 43
amp LFO function, 52
amp/env function, 61
amp/range function, 43
amplifier, 33
amplitude
LFO amount, 44
velocity curve, drum, 60
amplitude envelope function, 45
auditioning Programs, 48
Banks, 15
bass boost, 76
card
playing sequences, 21
playing sounds, 21
chorus effect, 80
cleaning, 98
Compare button, 20
Configuration, 71
connections, 11
controllers function, 67
copying, 16
Sound layers, 48
crash, 98
delay effect, 82
time, 83
demo sequences, 13
detune effect, 80, 81
double-button press trick, 20
Drum Mode, 36, 57
amplitude, 60
base note, 61
decay time, 61
editing, 57
effects send, 59
mute groups, 61
note range, 61
pitch, 60
selecting a drum Sound, 57
volume, 59
Edit, 19
buttons, 19
Mix, 63
Program, 35
effects, 35, 69
chorus, 80
clipping, 71
configuration, 71
copying, 70
delay, 82
detune, 81
editing, 69
EQ, 76
flanger, 81
gated reverb, 85
Lezlie, 78
Mix, 65
modulating, 77
output mix, 88
overdrive, 87
pitch effects, 79
resonator, 81
reverb, 83
selecting a Send to edit, 76
send levels, 69
storing, 70
envelope, 34
parameters, 45
trigger type, 46
EQ, 76
filter
envelope amount, 43
frequency, 41
function, 41
LFO amount, 42
velocity curve, drum, 60
velocity tracking, 42
filter envelope function, 44
filter LFO function, 52
fine tune, 29
flanger, 80
flash card, 21, 90
foot pedals, 11
freerun envelope mode, 46
FX send
Mix, 65
Program, 39
General MIDI, 31, 89
registered parameters, 96
Global, 29
grounding, 7
key tracking, 46, 47
keyboard
mode, 30
splits, 44
keyboard/MIDI function, 66
Keymono, 54
Keypoly, 54
layering sounds, 89
level function, 38
Mix, 64
Lezlie, 78
Lezlie+Reverb configuration, 74
LFO, 34
delay, 53
level, 54
speed, 53
waveforms, 53
lowpass filter, 33
master pitch, 29
MIDI, 25
bank select messages, 93
changing channels, 27
connections, 25
controller numbers, 31, 95
101
Index
out port behavior, 32
pass-through, 26
sequencing, 26
slave, 26
storing via, 27, 28
volume and panning, 94
mix function, 88
Mixes, 14, 63
changing Programs in, 14, 63
controllers, 67
edit buffers, 68
edit mode, 63
effects, 65
effects selection, 66
enabling a channel, 64
level, 64
naming, 68
playing, 18
setting channel volume, 64
split point, 68
mod function
effects, 77
mod routes
destinations, 51
editing, 50
effects, 77
gate, 52
hard-wired, 49
level, 52
sources, 50
mod wheel, 15
filter depth, 42
LFO depth, 54
modulation, 34, 49
monophonic, 41
mute groups, 61
name
Mix, 68
Program, 47
overdrive effect, 87
Overdrive+Lezlie configuration, 75
Page buttons, 18
pan
drum, 59
Mix, 64
Program, 38
PCMCIA expansion cards, 21
pitch
detune, 39
drum, 60
effects, 79
function, 39
Mixes, 65
Program, 39
pitch envelope
amount, 40
function, 44
pitch LFO function, 52
102
pitch wheel, 15
bend amount, 40
plate reverb, 85
polyphonic, 41
polyphony, 33
portamento
mode, 41
power cable, 7
power connections, 11
Programs
playing, 13, 18
Q Cards, 21, 90
quantization
mod route, 52
range function, 67
re-initializing, 98
resetting parameter values, 20
resonator effect, 80, 81
reverb, 83
decay time, 86
diffusion, 87
plate, 85
predelay, 86
types, 85
Reverb+EQ configuration, 75
safety, 7
samples, 33
loading your own, 90
selection, 36
sequence, 89
sequencer, 27
sliders, 15, 90
software version, 98
Sound, 33, 35
enabling, 36
volume, 38
Sound Bridge, 91
sound overlap, 44
specifications, 99
splitting the keyboard, 68, 89
SRAM cards, 21
formatting, 22
loading from, 22
saving, 22
storing, 16
sustain pedal, 11, 47
Tracking Generator, 54
transposing, 15, 30
Mixes, 65
troubleshooting, 97
Value buttons, 18
velocity, 15
curve, 29, 43
scaling, 30
voice, 33
Voice function, 36
website, 10
[email protected]
http://www.alesis.com
103