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Alesis QSR 64 User's Manual

1. Serial Port s ace See eee Serial Port Y ALESIS m O E To set to OSR s I O Mode D Press EDIT then press BANK SELECT UP also labeled as GLOBAL The display will now be in Global Edit Mode Q Turn the VALUE knob to select page 11 the page number appears in the upper right corner of the display 9 Press the CURSOR Pi button This selects the I O Mode parameter in the display Turn the VALUE knob to set the I O Mode Set the I O Mode to the OSR s MIDI Input and Output the QSR s Serial Port connected to an IBM PC or compatible computer with a 38 4 kbaud serial interface the QSR s Serial Port connected to an IBM PC or compatible computer with a 31 25 kbaud serial interface the QSR s Serial Port connected to a Macintosh computer with a 1 MHz serial interface If you already have a MIDI interface for your computer then you can use the OSR s MIDI connectors to connect the OSR to your computer interface s MIDI IN and OUT connectors using the method described in the previous section Note If you are already using the OSR s SERIAL PORT to connect to your computer it is not necessary to connect the MIDI ports to the computer as well OSR Reference Manual Chapter 3 Connections IBM PCS AND COMPATIBLES This connection will require
2. FX SEND 2 Mono chorus Mono delay Plate 1 Mono flange Stereo delay Plate 2 Resonator Ping Pong delay Room Hall Large Gate Reverse This is an all for one Configuration You get six effects all at once and they are all found in the Send 1 section Send 1 feeds the Overdrive effect which provides classic distortion The Overdrive output then feeds the Pitch effect The Pitch effect has a second input which can come from either Sends 1 2 3 or 4 These two inputs can be mixed together The Delay effect has two inputs which can be mixed together The first input comes from the Pitch effect s output The second input can come from either Sends 1 2 3 or 4 or the Overdrive effect s output or Pitch effects input The Reverb effect has two inputs which can be mixed together The first input can come from the Pitch effect s output or the Delay effect s output The second input can come from either Sends 1 2 3 or 4 or the Overdrive effect s output or the Delay effect s input The Lezlie effect has two inputs which can be mixed together The first input can come from the Delay effect s output or the Reverb effect s output The second input can come from either Sends 1 2 3 or 4 or the Overdrive effect s output or the Pitch effect s input or output or the Delay effect s input or the Reverb effect s input The outputs of all thes
3. o 3 4 The Effect Patch s Configuration determines the arrangement of effect functions of each effect send Imagine a Configuration as an arrangement of multiple effects processors patched together at the end of each effect send Example In one configuration effect send 3 has its own separate reverb while in another configuration it has its own delay and a level control feeding a reverb shared with send 1 When you re programming effects you will need to refer to the charts on pages 88 93 for the effect configuration you re using so you will know how the paths from different effect functions interact The Effect functions consist of Pitch Delay Reverb and in some cases Misc which provides access to special effects such as EQ and Overdrive Each function has several types to choose from For example the Pitch effect can be either a chorus a flange a resonator etc The Reverb can be a large hall plate gated etc The effect types available for each effect function depends on the Configuration you are using The parameters available for an effect function depend on the selected effect type Some effect types have very few parameters while others have many For example the stereo delay effect has about twice as many parameters as the mono delay effect since the stereo delay has two adjustments left and right for several parameters Consequently the more parameters an effect has additional pages become available f
4. QSR Reference Manual 7 Your First Session Chapter 2 STORING AN EDITED Milix Once you have made changes to a Mix you will need to store the Mix into the User Bank that is if you want to keep the changes you have made The User Bank is designed to hold up to 100 00 99 of your custom made Mixes Whenever you store an edited Mix the User Bank is automatically selected All you have to do is select a Program location 00 127 within the User Bank to store the edited Mix into However if an SRAM Sound Card is inserted into the Sound Card Slot on the rear panel of the OSR you may select any of the available Banks on the Sound Card to save the edited Mix into D Press STORE This selects Store Mode The STORE button will flash and the display will look like this MixBank Mix Number The Mix Number will be identical to the last Mix number selected Optional If a Sound Card is inserted Use the BANK SELECT UP button to select a Bank on the Sound Card 9 Use the VALUE knob to select a Mix location 00 99 within the selected Bank Press STORE to save the Mix into the selected location The Mix has now been stored and the display will revert back to whatever was shown before STORE was pressed the first time NOTE Pressing MIX before pressing STORE the second time step will cause the OSR to exit Store mode without saving changes to the edited Mix ENABLING GENERAL MIDI MoDE
5. OSR Reference Manual 13 Editing Mixes Chapter 5 CHAPTER 5 EDITING NIIXES WHAT Is A Mix Mix Mode is one of the most powerful features of the QSR Although in Program Mode you can play only one Program at a time in Mix Mode you can play up to 16 Programs at once either from the keyboard as layers or splits or from an external sequencer via 16 MIDI channels or a combination of both With Mix Mode you can do the following e Combine stack or layer different Programs so they can be played simultaneously from your keyboard For example stack a piano on top of a brass sound and a string sound adjusting the volume of each for a desirable mix Note that the stacking of Programs in Mix Play Mode is in addition to any sounds that may be stacked in the four sound layers of each Program e Split your controller into different zones for example the classic bass guitar on the left hand side of the keyboard and synth or piano on the right You can split the OSR into as many as 16 zones which may overlap e Receive up to 16 MIDI channels from an external sequencer with each channel representing a different instrument piano on Ch 1 bass on Ch 2 drums on Ch 10 trumpet on Ch 16 Mix Play Mode is the multitimbral mode of the OSR e Set the level panning transpositions and effect send of each MIDI channel PROGRAM ASSIGN FOR EACH MIDI CHANNEL Once a Mix is recalled you may want to choose different Programs th
6. Press the CURSOR gt button once to select the displayed parameter for editing Use the VALUE knob to adjust the selected Global parameter The following sections describe in detail each of the parameters found in the nineteen Global Edit Mode pages Master Pircu Page 1 Page 1 of Global Edit Mode lets you adjust the OSR s overall Master Pitch 12 to 12 up or down an octave Adjust this parameter when you wish to globally transpose all sounds This parameters have no effect on drum sounds or the Range settings Master Tune Page 2 Page 2 of Global Edit Mode lets you adjust the OSR s overall Master Tuning 99 to 99 up or down 1 2 step Adjust this parameter when tuning the OSR to other instruments This parameters have no effect on drum sounds the Range settings or MIDI Out GeneraL MIDI Mope Page 3 Page 3 of Global Edit Mode lets you enable and disable General MIDI Mode If this parameter is turned on you will immediately be taken out of Global Edit Mode and into Mix Mode and Mix 00 of Preset Bank 4 will automatically be selected For more information about General MIDI refer to the MIDI Supplement in Appendix B QSR Reference Manual Chapter 8 Global Settings ENABLING GENERAL MIDI MODE VIA MIDI The QSR will respond to a universal MIDI Sysex message to turn General MIDI mode on or off Some but not all General MIDI sequences will have a Sysex message at the beginning bar 1 which tells the receiving de
7. and then turning the VALUE knob to select the parameter The upper right section of the display will indicate the currently selected page number Each page provides a different parameter The parameter s name will appear in the middle section of the display Change the parameter value by first pressing the CURSOR gt button to advance the cursor in the display to the value field in the middle right section of the display and then turning the VALUE knob to select the value QSR Reference Manual 6 Overview Chapter 4 COMPARING EDITED AND STORED VERSIONS When you edit a Program or Mix you are actually editing a copy which is in a temporary edit buffer Therefore to retain the results of your edit you must save it to a particular memory location see the next section on Storing If you change memory locations before saving the buffer will be replaced and your edits lost Because the original Program Mix remains undisturbed you can compare the edited version to the original by using the Compare function You can only select Compare mode when either Mix Edit Program Edit or Effects Edit is selected and the word EDITED appears in the lower left section of the display next to the Mix or Program Mode indicator D While in an Edit Mode the word EDITED should appear in the lower left section of the display press COMPARE Both the EDIT button and the word EDIT in the display will flash Press COMPA
8. 0 to 99 Gate00 to Gate99 Page 1 OSR Reference Manual 38 Editing Programs Chapter 6 Page 1 in the Amp Envelope 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 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 OSR Reference Manual 39 Editing Programs Chapter 6 Mute Group Off 1 2 or 3 Page 2 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 Page 2 is used to assign the selected drum to one of the three Mute Groups In our example above both Hi Hat
9. For more about Mix Play Mode refer to Chapter 5 For more about connecting the QSR to a MIDI sequencer see Chapter 3 D Press the MIX button The MIX button and the MIX indicator in the display will light The Mix will be whatever was selected when last in Mix mode Mix number 00 99 Select a Mix using the VALUE knob The large number in the upper left section of the display will indicate the currently selected Mix number When you scroll past 99 the counter will roll over to Mix 00 of the following Bank Likewise if you scroll back before 00 it will roll back to Mix 99 of the preceeding Bank SELECTING Mix BANKS The OSR provides five internal Banks containing 100 Mixes in each The currently selected Bank will be shown in the display just below the name of the currently selected Mix s name e Use the BANK SELECT DOWN and UP buttons to select a Bank User Preset 1 8 GenMIDI or any Card Banks if present User and Preset Banks are described in detail in Chapter 4 QSR Reference Manual 6 Your First Session Chapter 2 CHOOSING PROGRAMS IN A Mix In this section we will choose Programs for the 16 channels in a Mix for playing back tracks from a MIDI sequencer There are many other aspects of a Mix we may wish to edit however Refer to Chapter 5 for more information about Mix editing You do not have to access Mix Edit Mode to select Programs for a Mix i e you don t have to press the EDIT SEL
10. 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 QSR on D Press EDIT then press BANK SELECT UP also labeled as GLOBAL The display will now be in Global Edit Mode Q Turn the VALUE knob to select page 3 the page number appears in the upper right corner of the display Press the CURSOR gt button This selects the General MIDI parameter in the display Turn the VALUE knob clockwise 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 MIDI Supplement in Appendix B QSR Reference Manual 8 Your First Session Chapter 2 USING THE PCMCIA EXPANSION CARD SLOTS Your QSR is an expandable system using the two PCMCIA EXPANSION CARD slots on the front panel There are three different kinds of Sound Cards available through your Alesis dealer or directly from Alesis e SRAM cards The Alesis Virtual Composer card provides an additional four banks of Program Mix memory All banks can be stored to by the user and it comes with additional Programs and Mixes pre stored e QCards These read only memory cards provide actual samples plus the Programs and Mixes that use them in a single card bank Available QCards include a Stereo Grand Piano card a Sanctuary card that includes high
11. etc from a source such as another QSR or MIDI keyboard controller or computer e MIDI OUT This port is for transmitting MIDI SYSEX information to another MIDI keyboard sound module or computer e MIDITHRU This port is for passing on echoing MIDI information received by the MIDI IN port In simple MIDI setups the THRU port is used to connect additional devices that will all be listening to the same source To play the QSR from a MIDI control device keyboard drum pad guitar or bass controller sequencer etc connect the control device s MIDI OUT to the OSR s MIDI IN The illustration below depicts a master QS8 connected to a slave QSR When both are set to a common MIDI channel see page 14 you can hear both when playing the master keyboard MIDI Out Aussi a HATE 65 anenconeg ase Oo O M If you are using the OSR in the middle of the MIDI chain example as the second unit of a three device chain connect the OSR s MIDI THRU to the third device s MIDI IN connector in order to route the first device s MIDI out information to the third device MIDI Out MIDI In i ne nM MTN e MIDI In N PET rum no gooonnnoon The OSR s MIDI OUT connector sends System Exclusive data see the MIDI supplement to a storage devi
12. iss ette totes tieniti iet etae been s ee urere quiera S eere ith 42 Conttollerst2 um mU m m m LU ee En NE M Mr e ae 43 Transmitting MIDI Volume and Panning esee 43 Setting the Range and MIDI Switches sssssssesseeeeeee eene 44 DEUDA 44 Polyphony in Mix Play Mode tnter trier i erede tn 45 Playing a Group of Channels in a Mix sess een ten nennen 45 6 Editing Programms Le eee Leere erre e narra nna n nnn an nan anna nns 2 QVerVie Wazsastecc isn Bec hcg ac e E TO D De eie PITePet cepe eru duhaderder deta even Rue ea ae MATRE epu 47 The Normalized Synth Voice eret ettet een rr tremere tentent 47 How the QSR Generates Sound ne tee ete ede dienes Sareea 48 Program Sound Tay ers eerte e er e RR TURRIS RURSUS SHEER 48 OSR Signal EloW eet tertii i Ee enr dete tete aet ust erbe ta tre iei oett 49 The Four Sounds of a Program sss eene 49 MOLCO den o cede een de E eiie ee HD ree eet ve eee EC AERE iO Ei 50 Lowpass Eiltetanansnazocaedendttetee tite aste pd usqadopdastde neatis 50 ATL cec aet een Gase cartel oie vede MAS ca tenia el pedea ied So pe eia Pedes 51 About Modulation bete Rer e b ee eer e E tbc rete ee m bete wits 51 LFO Low Frequency Oscillator eeeeeeeenneen nen nnne 52 BrveloOpessuccecteex tira ede reso edid oe dinem ueteri Quiecetetes seres qu ria epar eEe EIER 52 About Signal Processing tertie tert enirn r
13. 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 Page 2 Config 1 3 4 and 5 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 which Pitch type is selected If the signal is taken from the effect send the Reverb will receive direct uneffected signal Input Balance 99 to 0 to 99 gt Page 3 Config 1 3 4 and 5 This 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 00 to 99 Page 4 Config 1 and 3 This controls the overall Input Level going into the Reverb OSR Reference Manual 21 Editing Effects Chapter 7 Chorus Input Level 00 to 99 Page 1 Config 2 Only If Configuration 2 is selected refer to block diagram of Configurati
14. the greater the amount of pitch change for a given amount of aftertouch Pitch LFO Depth 99 to 99 Page 6 At 00 the pitch LFO has no effect Higher positive values increase the amount of Pitch LFO modulation Negative values give the same apparent effect but with reversed LFO phase i e if the pitch would normally be increasing with depth set to a positive number the pitch would instead be decreasing at that same moment had the depth been set to a negative number Pitch LFO parameters such as speed and wave shape are programmed within the Pitch LFO Function see page 72 Pitch Envelope Depth 99 to 99 Page 7 At 00 the Pitch Envelope has no effect Positive values raise the pitch from the baseline according to the envelope shape while negative values similarly lower the pitch see illustration below The higher the number negative or positive the greater the effect Pitch Envelope parameters such as attack and decay time are programmed within the Pitch Envelope Function see page 61 OSR Reference Manual 12 Editing Programs Chapter 6 Portamento Exponential Linear 1 Speed Page 8 This provides the sweep s curve e With an exponential curve the pitch change seems to happen more rapidly at first then slows down as it approaches the ending pitch e A linear curve produces a constant pitch change throughout the glide e Normally the greater the interval the pitch difference between the two notes
15. AC power cords e Avoid running audio cables near sources of electromagnetic interference such as transformers such as the OSR s Power Supply monitors computers etc e Do not place cables where they can be stepped on Stepping on a cable may not cause immediate damage but it can compress the insulation between the center conductor and shield degrading performance or reduce the cable s reliability e Avoid twisting the cable or having it make sharp right angle turns e Never unplug a cable by pulling on the wire itself Always unplug by firmly grasping the body of the plug and pulling directly outward OSR Reference Manual 9 Your First Session Chapter 2 CHAPTER 2 Your FIRST SESSION POWERING UP After making your connections turn on the system s power using this procedure D Before turning on the OSR s power check the following items e Have all connections been made correctly e Are the volume controls of the amplifier or mixer turned down e Is the volume of the QSR turned down Q Turn on the POWER switch on the QSR front panel Upon power up the QSR will display the last selected Program or Mix If this Program Mix has been edited the display will indicate this by showing an to the left of the name of the Program or Mix Press PROG to select Program Play Mode The display should look something like this Raise the QSR s master VOLUME knob to maximum The best signal to noise ra
16. Bank is broken down into 12 Sound Groups of 10 Programs each plus a 13th Sound Group with 8 Programs These group together similar sounding Programs such as pianos guitars bass and drums A Program may have from 1 to 4 different sounds which can be combined in a variety of ways to create the overall sound of the instrument the Program is intended to emulate These four sounds can be layered on top of one another or split up into different sections of the keyboard You can even have different sounds played depending on how hard you play the keyboard this is known as velocity WHAT S A Mix A Mix is a combination of 1 to 16 Programs These Programs can be combined in many ways The most common is multi timbral when connected to a MIDI sequencer which means that for each MIDI channel the OSR receives up to 16 a different Program may be selected thus creating anything from a small pop rock ensemble to a complete orchestra Another way of using a Mix is by layering two or more Programs together so that they play simultaneously from your MIDI controller You can also create a split where one Program is in the lower half of your keyboard while another is at the top half and these programs can even overlap in the middle WHAT S A BANK A Bank is a collection of 128 Programs and 100 Mixes There are five internal banks available at any time with more if a card is in the Sound Card slot The current bank is shown on the top line of the di
17. CONFIGURATION 2 2 REVERBS AUX LEFT AUX LEFT AUX RIGHT AUX RIGHT MAIN LEFT MAIN LEFT MAIN RIGHT C A MAIN RIGHT ESPERE EG oon MY E coe scc ok Seu MEAS FX SEND 1 e DELAY PITCH d REVERB AMP AMP DELAY 1 PITCH 1 REVERB 1 FX SEND 2 7 AMP 222 REVERB a FX SEND 3 PITCH i C REVERB AMP n LQPHeBS 0 00 0 REVERB3 FX SEND 4 Z AMP REVERB 4 Delay 1 Pitch 1 Reverb 1 Mono delay Mono chorus Plate 1 Stereo chorus Plate 2 Room Hall Large Gate Reverse Reverb 2 Level to Reverb 1 Mono chorus Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 4 Reverb 4 Level to Reverb 3 This Configuration differs from Configuration 1 in many ways In this Configuration there is only one Delay effect two Pitch effects and two Reverb effects Effect send 1 is routed through the mono Delay then a stereo Pitch effect and finally a stereo Reverb effect Send 2 has no effects of its own but can be routed to the same Reverb effect as send 1 Send 3 is routed through a mono Pitch effect and then a stereo Reverb effect Send 4 has no effects of its own but can be routed to the same Reverb effect as send 3 Effect send 1 s Delay Pitch and Reverb can feed the Mix output directly Unlike the first configuration however Pitch 3 can be routed to the Mix only after passing through Reverb 3 QSR Reference Manual 9 Editing E
18. Chapter 3 DiciTrAL Aupio OPricAL Hookup The QSR can output digital audio directly into an Alesis ADAT or ADAT compatible multitrack digital recorder via fiber optic cable The digital connector follows a proprietary Alesis format that carries all four audio outputs of the OSR Main and Aux Left and Right on a single fiber optic cable Either pair of outputs can be converted into standard AES EBU or S PDIF stereo digital audio format by using the Alesis AI 1 interface Fiber optic cables of various lengths are available from your Alesis dealer However the shorter the cable the better The model OC cable is 5 meters long and is the maximum length recommended To hook up the optical cable between the QSR and an ADAT or AI 1 D Remove the two pieces of clear plastic tubular sleeving if present that protect the tips of the optical cable plug Q Insert one cable end into the QSR DIGITAL OUT and the other end into the ADAT or AI 1 DIGITAL IN To test the cable and QSR digital output plug one cable end into the QSR The other end should emit a soft red light it is not dangerous to look directly at this light RECORDING DIGITAL AUDIO Once the fiber optic connection is made between the OSR and ADAT or an AI 1 the OSR will output audio on the first four channels of the digital bus the bus is capable of handling eight channels of digital audio The MAIN L and R outputs are routed to channels 1 and 2 while the AUX L and
19. Delay control is turned up If the Delay is set above 99 the display will read Hold This indicates that the Delay stage of the envelope will wait indefinitely until the key is released before continuing on to the remaining envelope stages Attack Decay etc This requires that the Filter Envelope s Trigger parameter see next page is set to Freerun However when the Delay is set to Hold Freerun mode is forced on regardless of the Trigger parameter s setting Sustain Decay 00 to 99 Page 6 This is the amount of time that the envelope will take during the sustain stage to bring the level down to 0 If this is set to 99 the envelope will remain at the Sustain level until the note is released This is the normal setting for organ type sounds When set to 0 the envelope s level will immediately jump down to 0 upon reaching the sustain stage Trigger Normal Freerun Reset Reset Freerun Page 7 The Trigger mode determines how the envelope will function You may select either Freerun or Reset or both Reset Freerun or neither Normal When set to Normal the envelope will always start at its current level i e if another note had been played which triggered the envelope s cycle playing another note in the middle would not interrupt the cycle Also in Normal mode the envelope will immediately advance to its release stage upon releasing the note When set to Freerun the envelope will complete its entire cycle even if the no
20. If the display reads Switch the write protect switch on the card to off ana ins the Pix com OSR Reference Manual Chapter 9 MIDI Transfer and Storage Operations Loapinc A Bank FROM AN EXTERNAL CARD The QSR can access Program and Mix data directly from a card by using the lt x BANK and BANK Pi buttons To overwrite the User bank with a Card bank D Insert the card into one of the card slots on the front panel Q Press STORE Press CURSOR twice to select Page 9 of the Store function Use the VALUE knob to select the bank on the card you wish to load 1 11 Press STORE to transfer the data from the card into the QSR STORING AN InpivinuAL PROGRAM on Mix You also have the option of storing a Mix or Program directly to a specific location in a RAM Sound Card Bank instead of transferring the entire Bank and vice versa However the Sound Card you are storing to must be of the current OSR Bank format A Sound Card is formatted whenever an entire QSR Bank is stored onto it If you are using an older QuadraSynth Sound Card that does not use the current Bank format you will not be able to store individual Mixes or Programs onto it until you store an entire QSR Bank onto it first D Insert a card into Sound Card slot A on the front of the QSR Alesis recommends that you use card slot A for all RAM card storage operations Select the Program or Mix you wish to transfer to the card Press
21. Poly A description of these settings is found in the Trigger section of the Pitch LFO description on page 77 Level 00 to 99 Page 5 This is the base output level of the Filter LFO If you want to have a constant value of tremolo to the filter even without using the Mod Wheel or Aftertouch set LEVEL above 00 The Mod Wheel and Aftertouch will add or subtract from this base level Example If Level is set to 10 and the Mod Wheel parameter is set to 10 there will always be some filter tremolo and raising the Mod Wheel will add more tremolo On the other hand if the Mod Wheel parameter is set to 10 raising the Mod Wheel to the top will cancel out all tremolo OSR Reference Manual 32 Editing Programs Chapter 6 Mod Wheel Depth 99 to 99 Page 6 This parameter sets how much the Mod Wheel will increase or decrease the Filter LFO s Level A positive value raises the level when the Mod Wheel is moved up and lowers the level when moved down Negative settings of this parameter will decrease the output level of the Filter LFO as the Mod Wheel is raised Since the output level of the Filter LFO cannot be less than zero a negative setting of the Mod Wheel parameter will have no effect unless either the Aftertouch or the Level is set to raise the Filter LFO output If both the Level and Aftertouch are set to 00 and the Mod Wheel parameter is set to 99 the Mod Wheel will have no effect on the tremolo from the Filter LFO Aftertouch De
22. The Name Function allows you to change the Program s name The Program name can be up to 10 characters long Use the V cursor P buttons to position the cursor The VALUE knob lets you change the character Here is a chart of available characters 1 i i98 amp J fe J Je fe 101112 3 4 5 6 7 18 9 lt gt Q A B C D E IF G HII J KIL MN OIP QR SITIUV WIX Y Z Y po a ib jc de f jg h ji j Jk imin jo p iq r is t ju v iw x yz iil OSR Reference Manual 26 Editing Programs Chapter 6 Mop 1 Mop 6 About General Purpose Modulation Although there are several dedicated modulators in the OSR e g the pitch can always be modulated by the pitch LFO and Pitch Envelope sophisticated synthesizer programming demands the ability to use as many modulation sources as possible to modulate as many modulation destinations as desired The OSR arranges its modulation source outputs and modulation destination inputs into a matrix so that any selected source can connect to any of several destinations There are six general purpose matrix modulators which allows you to control up to six parameters with any of several control sources Use the MOD functions to setup your own customized control of a program such as e Using the PEDAL 1 input or the Controller A Slider to control volume brightness filter cutoff ef
23. Volume Level 2 37 Range Lower limit Range 1 40 Range Upper Limit Range 2 40 Sustain Pedal Controllers 3 39 Tuning Octave Pitch 1 38 Tuning Semitone Pitch 2 38 13 Index Aftertouch 15 Amp 62 Filter 60 Pitch 58 Compare 29 34 Computer 23 117 Controllers 115 Copy Sound 85 Effects 85 Demo 11 Direct Select 33 Digital Output 25 Display 30 Drum Mode 53 Edit buffer 34 40 Effects Edit 29 89 Clip 88 Configuration 91 92 97 EQ 98 Mix 111 Mod 98 Modulation 98 Reverb 106 Footswitch 24 48kHz Input 26 Global Edit 29 113 Headphones 9 Input Output 117 Keyboard Curve 113 Mode 22 45 114 Scaling 114 Transpose 114 Local Off 46 Master Pitch 113 Master Tune 113 Memory Preset 34 User 34 MIDI 21 22 121 132 Channel 14 Controllers 133 I O 117 IN 21 OUT 21 45 118 Program Select 116 System Exclusive 21 124 Mix 28 138 INDEX Mix Edit 29 39 Effect Bus 42 Effect Level 41 FX Channel 42 FX Program Change 42 Keyboard 42 MIDI 42 43 Name 44 Output 41 Pan41 Pitch 42 Octave 42 Semitone 42 Range 44 Mix Mode 13 16 28 39 Modulation Wheel 15 Name Mix 44 Program 72 Outputs 9 PCMCIA 19 Pedals 24 115 Pitch Bend 15 Polyphony 27 45 64 Power 7 11 Preset Bank 27 Program 27 Program Edit 28 54 Amp 51 Aftertouch 62 Velocity Curve 62 Amp Envelope 70 Amp LFO 63 79 Amp Range 62 Drum Mode 53 82 Amp Envelope 84 Level 83 Pitch 83 Velocity 83 Effect Effect Bus 57 Envelope 52 Filter Aftertouch 61
24. X o GM On X O Notes 1 O X is selectable Recognized as ALL NOTES OFF Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLY O Yes Mode 1 OMNI ON MONO Mode 4 OMNI OFF MONO X No QuadraSynth User s Manual 10 Parameters Index Appendix C APPENDIX C PARAMETERS INDEX PROGRAM EDIT PARAMETERS Display Page in Parameter Function Page Manual Aftertouch Depth Amp Amp Range 2 58 Aftertouch Depth ALFO Amp LFO 7 76 Aftertouch Depth Filter Filter 5 57 Aftertouch Depth FLFO Filter LFO 7 75 Aftertouch Depth Pitch Pitch 5 54 Aftertouch Depth PLFO Pitch LFO 7 74 Amp ENV Level Amp ENV 10 68 Amp ENV Trigger Amp ENV 7 67 Amp LFO Delay Amp LFO 3 75 Amp LFO Depth Amp Range 3 59 Amp LFO Level Amp LFO 5 76 Amp LFO Mod Wheel Depth Amp LFO 6 76 Amp LFO Speed Amp LFO 2 75 Amp LFO Trigger Amp LFO 4 75 Amp LFO Waveform Amp LFO 1 75 Attack Amp Amp ENV 1 66 Attack Filter Filter ENV 1 64 Attack Pitch Pitch ENV 2 61 Decay Amp Amp ENV 2 66 Decay Filter Filter ENV 2 64 Decay Pitch Pitch ENV 2 61 Effect Bus Level 5 53 Effect Level Level 4 53 Filter ENV Depth Filter 7 61 Filter ENV Level Filter ENV 10 70 Filter ENV Trigger Filter ENV 7 69 Filter ENV Velocity Depth Filter ENV 11 70 Filter Frequency Filter 1 60 Filter Keyboard Tracking Filter 2 60 Filter LFO Delay Filter LFO 3 74 Filter LFO Depth Filter 6 57 Filter LFO Le
25. a special cable with a DIN8 connector on one end and either a DB9 or DB25 connector on the other end depending on the type of connector you are using on the PC You can purchase this cable in most computer retailers or through Alesis Product Support DIN8 to DB9 cable part number 15 00 0009 DIN8 to DB25 cable part number 15 00 0025 Some PCs will have both connectors available so you ll have to identify which connector is currently not in use Connect the DIN8 end of the cable to the OSR s SERIAL PORT connector and the other end to the serial port of your computer If your computer has more than one serial port refer to the setup of your MIDI software to determine which port it is using Alesis provides a MIDI serial driver that works with Windows 3 1 Windows NT and Windows 95 This can be found on the QSR CD ROM disk that came with your QSR package located in the ALESIS ASDWIN directory If you don t have a CD ROM drive connected to your computer you can call Alesis Product Support and order the Windows MIDI driver on a 3 1 2 inch floppy disk This driver is used to send and receive MIDI data from your OSR and the computer via a serial port connection Once the MIDI driver has been successfully installed you need to indicate to the driver which connector port the OSR is using WINDOWS 3 1 From your Windows 3 1 Control Panel open the Drivers applet Add an Unlisted or Updated driver and select or browse to the appropriate path
26. advance through pages 6 8 This is because the Stereo Delay type has parameters for both the Left and Right channels Input 99 to 0 to 99 gt Page 2 This parameter is used to balance the Delay Input between the signal coming from the Pitch effect output if applicable in the selected Configuration and the dry effect send Time 0 to 799ms total Pages 3 amp 4 and 6 amp 7 in Stereo Delay This is the actual Delay time which determines the amount of time the input signal will be delayed The Stereo and Ping Pong Delay types can have a delay time of up to 399ms However the Mono Delay can have up to 799ms per channel Use Page 3 to adjust the delay time in 10 ms intervals use page 4 to adjust the delay time in 1 ms intervals When using the Stereo Delay pages 3 amp 4 let you adjust the delay time of the left channel while pages 6 amp 7 let you adjust the same for the right channel Feedback 00 to 99 Page 5 and Page 8 in Stereo Delay This adjusts the Delay Feedback which is a portion of the delay signal output being fed back into the input This results in the delay repeating itself The more feedback the more repeats When using the Stereo Delay page 5 lets you adjust the feedback level of the left channel while page 8 lets you adjust the same for the right channel OSR Reference Manual 20 Editing Effects Chapter 7 REVERB Reverb can be thought of as a great number of distinct echoes called refle
27. be transmitted if the Channel s Pan parameter is set to PROG using the selected Program s stored Pan setting QSR Reference Manual 5 Editing Mixes Chapter 5 SETTING THE RANGE AND MIDI SWITCHES The Range function allows you to restrict each MIDI channel to a specific range of the keyboard This is ideal for creating splits e g bass in the lower octave and a half piano in the middle three octaves and strings in the upper octave In order to hear anything on a particular channel turn the MIDI In parameter on KBD MIDI function set the Range so that the low note and high note values are set beyond where you want to play Look at the bottom section of the display A circle will appear around any active MIDI channels as you play notes or send notes to the OSR from a sequencer on those channels Lower Limit MIDI note 000 to 127 C 2 to G8 Page 1 Specifies the lowest note of the sound s keyboard range While the Lower Limit parameter s value is selected in the display the cursor appears beneath it you can set the lower limit by tapping the key on the keyboard you want to set as the lowest note in the range High Limit MIDI note 000 to 127 C 2 to G8 Page 2 Specifies the highest note of the sound s keyboard range While the High Limit parameter s value is selected in the display the cursor appears beneath it you can set the lower limit by tapping the key on the keyboard you want to set as the highest note in the rang
28. bus 1 may just be a Flanger OSR Reference Manual 11 Editing Programs Chapter 6 PITCH The Pitch function lets you control the pitch aspects of each sound layer Semitone 24 to 24 semitones Page 1 Sets the oscillator pitch in semitone steps from 24 transposed down two octaves to 24 transposed up two octaves Detune 99 to 99 cents Page 2 Sets the oscillator pitch in cents from 99 transposed down 99 100 of a semitone to 99 transposed up 99 100 of a semitone Detune Type Normal or Equal Page 3 With Normal selected the percentage of detuning remains the same over the entire range of the keyboard so the effects of detuning sound the same no matter which key you play With Equal selected the absolute amount of detuning remains the same over the entire keyboard so any detuning seems less pronounced as you play higher up on the keyboard Pitch Wheel Range 0 to 12 semitones Page 4 Determines the maximum amount of pitch bend when your MIDI keyboard s pitch bend wheel is full forward Example When set to 12 the pitch wheel will bend 1 octave 12 semitones Aftertouch Depth 99 to 99 Page 5 At 00 aftertouch has no effect on pitch Applying aftertouch by pressing harder on the keyboard or via MIDI messages with this parameter set to a positive value raises the pitch conversely applying aftertouch through a negative value lowers the pitch The higher the number either positive or negative
29. channel field Far left 3 mid left near left center 0 near right mid right and far right 3 The pan value is maintained even if the Output value is changed see below Sound Output Main Aux or Off Page 3 The Output parameter has three settings Main Aux or Off To send the sound s output to the Main outputs select Main To send the sound s output to the Aux outputs select Aux To turn off the sound s output set this parameter to Off Note however that the sound may still feed an Effect Send To send a sound to an individual output use Output in conjunction with Pan TIP e Example Panning a sound full left and selecting the Aux outputs means that the sound will appear at only the left Aux output Effect Level 00 to 99 Page4 The OSR isn t just a synthesizer it also has a built in effects system and mixer with four effect buses and sends This section lets you feed the sound to one of the effect buses for processing see Chapter 7 for more information on editing Effects The Effect Level parameter determines how much of the sound feeds the chosen effect bus see below Higher values mean that the sound will be more effected Effect Bus 1 to 4 Page 5 Selects which of the four buses the sound will feed thereby determining which effect s will process the sound Each Program has its own unique arrangement of effects Example In Program 12 bus 1 may be a Chorus Delay Reverb while in Program 27
30. ese rini cesi uci ate er dus 11 Playing the Demo Sequences 4 ettet ttti temet redet ete adea 11 What s a Propran caaeconagacrente tutu dei Ee a da dedadiuteie a 11 Wall Sia MIX ec ctetetieeeceteie teet tee esce cete eee ductive ines ete ie Tee rer p e e ut 12 Mhatsa Bank exa etes io oti an c etm eria ote a tet entes 12 About Sound Groups tetti tede ive cedbn tan inmate fe ore PH Edo 13 Playing thie QOR incite nette adita erar Era dte epe rase rat eet leet rn E E r E aR 13 Program Mode and Mix Mode eene eene 13 Auditioning Internal Programs sese 14 Selecting Program Banks sse eene ten ten tenentes 14 Selecting the MIDI Channel in Program Mode sse 14 Realtime Performance Functions esee nennen nnne rne nri tns sitne nine 15 Auditioning Mix Play Mode sse een eene tenentes 16 Selecting MiX Banks srainnsear ener aE E 16 Choosing Programs in a Mix rererurieir iratsi iiaae eaea ia AA RA AAA 17 Storing an Edited MIX sette ee etie esent rebates 18 Enabling General MIDI Mode seen 18 Using the PCMCIA Expansion Card Slots sss 19 A Word About the QS CD ROM ccccccccccsssssescescescessesscsscscscsseceecsscsecsecsecsascsscssesecsessescneeaseasenes 20 Sound Bridge 20 3 Connections 5 5 21 Basic MIDI Hookup itte test
31. in sync with each other If you hold a chord and then play new notes on top of the chord all voices LFOs will be moving in the same direction and at the same speed Because of this modulating the LFO Speed using a voice specific source such as velocity or one of the envelopes for example will have no effect you will be allowed to do this but you won t hear any difference This is because these modulation sources are meant for polyphonic purposes These include Note Number Velocity Release Velocity Pitch Filter Amp LFO Pitch Filter Amp Envelope Random Trig Rate and Tracking Generator However modulation sources which are not voice specific will still have an effect while the LFO Trigger is set to MONO These include Aftertouch Mod Wheel Pitch Wheel MIDI Volume Sustain Pedal Pedal 1 Pedal 2 and Controllers A D Poly Each voice s 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 LFO s of each voice may be running at different speeds Key Mono This is identical to MONO but whenever a new note is played the LFO is retriggered instead of continuing from wherever it may be in its cycle Key Poly This is almost identical to POLY but whenever a new note is played the LFO is retriggered instead of continuing from wherever it may be in its cycle Level 00 to 99
32. level for the Reverb Section of the OSR s effects processor to the main outputs and should be set as desired Lezlie Level 00 to 99 Page 1 Config 3 Page 5 Config 5 This is only available in Configurations 3 and 5 Adjusting this value will cause the Lezlie Output Level to increase or decrease Even if this parameter is set to 00 the output of the Pitch section is still available depending on the bus and configuration to following Delay and Reverb sections Overdrive Level 00 to 99 Page 1 Config 5 Only This is only available in Configuration 5 Adjusting this value will cause the Overdrive Output Level to increase or decrease The Overdrive Output level is the level for the Overdrive Section of the OSR s effects processor to the main outputs and should be set as desired OSR Reference Manual 26 Editing Effects Chapter 7 OSR Reference Manual 27 Global Settings Chapter 8 CHAPTER 8 GLOBAL SETTINGS Global Edit Mode is where you will find several parameters which affect the entire instrument such as overall master tuning controller settings and keyboard mode Eprriuc GLOBAL PARAMETERS To select Global Edit Mode follow these steps D Press the EDIT SELECT button Q Press the BANK SELECT UP button also labeled GLOBAL The display will look like this Use the VALUE knob to scroll through the various pages of Global Edit Mode The page number is displayed in the upper right corner
33. moving between Program Mode and Mix Mode making it easy to search for a suitable location to store your newly created Program Example While in Program Edit mode go to Mix Mode and scroll through the Program list on one of the Channels while editing a Program from Mix Mode go to Program Mode to scroll through the Program list The way to tell the difference between a program edited in Program Mode and one edited from Mix Mode is by looking at the lower left corner of the display in Program Edit Mode the words PROG EDITED appear while in Mix Edit Mode the words MIX PROG EDITED appear Q You will lose your changes if you remain in the same mode and recall a different Mix Program by turning the VALUE knob To audition Programs before overwriting them with STORE When editing a Program in Program Mode D While in Program Edit mode press MIX This selects Mix Play Mode retaining your edits to the Program in an edit buffer Q Use the BANK SELECT DOWN and UP buttons select Preset Bank 1 then use the VALUE knob to select Mix 99 Press both MIDI CH gt buttons simultaneously to select Channel 1 Use the BANK SELECT DOWN and UP buttons select the User Bank Use the VALUE knob to go through the Programs in the User Bank until you find one you wish to overwrite with the new edited Program Take a note of the number Press PROG to enter Program Play Mode This recalls the edit buffer in Prog
34. of the Mix If the Channel is selected using the x MIDI CH Pi buttons the word EDITED will appear below the Mix number in the lower left section of the display if this parameter is received However if you are viewing the Tune Semitone parameter in the display Program Edit Mode Pitch Function Page 1 the display will not be updated to reflect the new setting If you go to another Page or Function and then return to it the display will now reflect the new setting Portions of this appendix are abridged versions of material from Power Sequencing with Master Tracks Pro Pro 4 and The Complete Guide to the Alesis HR 16 and MMT 8 copyright 1990 and 1989 respectively by AMSCO Publications and is adapted with permission QSR Reference Manual 9 MIDI Implementation Chart MIDI IMPLEMENTATION CHART Function Transmitted Recognized Remarks Basic Default X 1 16 Channel Changed X 1 16 each Memorized Default Mode 3 Mode 3 Mode Messages X Altered FECE Note X 0 127 Number True Voice X 0 127 Velocity Note On X O Note Off X O After Key s X O Touch Ch s X O Pitch Bender X O Control 0 120 X O Change Prog O 0 127 Ol 0 127 Change True TORO ee TE 0 127 System Exclusive O O System Song Pos X X Common Song Sel X X Tune X X System Clock X X Realtime Commands X X Aux Local On Off X o Messages All Notes Off X O Active Sense X X Reset
35. quality voice bell and organ sounds a World Ethnic card Rap Techno Dance cards Vintage Keyboards and many more e Flash RAM cards If you want to burn your own custom sample cards Flash RAM cards are available in 2 MB 4 MB and 8MB sizes Alesis Sound Bridge software see next section will translate from Sample Cell AIFF WAV and other formats to Alesis QSR Composite Synthesis format and then you can write your own custom Programs and Mixes that use these samples To use a sound card with the QSR D Hold the card with the front label facing up and insert the exposed contact end gently into either of the OSR s PCMCIA EXPANSION CARD slots A or B Q Push the card in until you the slot s eject button extends outward and the card will not go any further To remove the card press the eject button adjacent to the card slot and gently slide the card out of the slot The QSR s two PCMCIA EXPANSION CARD slots can accommodate any combination of these three card types You can combine QCards and Flash RAM cards that store up to 8 MB of samples each giving you a total of 16 Mb of sound ROM expansion and effectively doubling the internal 16 MB of sound ROM for a total of 32MB When storing Mix and Program Banks to external cards the maximum number of accessible card banks is 11 This is because the QSR s grand total of banks possible is 16 and 5 of them are already built into the OSR The 11 card banks can be split among
36. s bus assignment sending all sound layers of the Program to the chosen bus QSR Reference Manual 3 Editing Mixes Chapter 5 PITCH The Pitch function lets you transpose a channel s Program in either semitone or octave increments Tune Octave 2 to 2 octaves Page 1 This transposes the Program s pitch in octave 12 semitones steps from 2 transposed down 2 octaves to 2 transposed up two octaves Semitone 12 to 12 semitones Page 2 This transposes the Program s pitch in semitone steps from 12 transposed down one octave to 12 transposed up one octave EFFECT The Effect function is where you select what Effect Patch will be used by the Mix In Mix Mode you can have only one Effect Patch per Mix which will be the Effects Patch associated with one of the Programs used in the Mix FX Program Change On or Off Page 1 This determines whether the Effects settings will change along with its Program if a MIDI program change is received on the Effect Channel see next section If ON and a MIDI program change is received a new Program will be recalled along with its associated Effect Patch This however can change the way the other Programs in the Mix sound since they all share the same Effects Patch If you want to recall Programs via MIDI program changes but also want to continue using the same Effects Patch leave this parameter turned OFF FX MIDI Channel 1 to 16 Page2 The Effect Channel determ
37. same is true when a Program residing on the card in slot A uses a Sound stored on card B or vice versa C If an internal Mix uses one or more Programs that reside on a sound card the sound card must be inserted into the same PCMCIA EXPANSION CARD slot A or B as when the Mix was stored The same is true when a Mix residing on the card in slot A uses a Program stored on card B or vice versa A WoRD ABOUT THE QSR CD ROM Included with the OSR is a CD ROM containing various useful software programs to use with your QSR These include various Alesis and third party programs QSR sounds and samples sequences stored in the MIDI Song File SMF format plus demonstration software we thought you would find interesting Most of these programs are provided in both Macintosh and IBM PC formats SounD BRIDGE M Among the files contained on the CD ROM is a software program called Sound Bridge Sound Bridge is a sound development utility which compiles custom samples from a variety of sources into the QS Synthesis Voice format and downloads the compiled data to an Alesis PCMCIA Flash RAM Sound Card via MIDI Sysex to a QSR QS8 QS7 or QS6 Sound Bridge allows individuals and sound developers to make their own Sound Cards using whatever samples they want Sound Bridge makes this possible without having a PCMCIA card burner attached to your computer All you need is at least one QS series synth such as the QSR OS7 or QS8 Sound Bri
38. section of the display You can set levels effect levels and bus assignments pitch transposition keyboard ranges if making a split or layer and MIDI parameters for each individual channel A Mix also uses the Effect Patch associated with one of its 16 Programs Here is a simplified diagram of the signal path in Mix mode MIDI Out Pedals MIDI In un Range uh Pan Output c em un un Keyboard MIDI Keyboard Effects Processor reverb delay chorus etc Mode NORMAL Effects Effects level M Buss Channel 1 gt _ em Channel 2 _ Ul Pedals Channel 3 d 3 i UNDERSTANDING THE EDIT BUFFERS In Mix mode there are 16 edit buffers one for each channel plus another buffer for the Mix parameters Level Pitch Range etc and yet another buffer for the Effects Processor When you select a Mix from memory it is copied into the Mix Edit buffer the 16 Programs of that Mix are copied into the 16 edit buffers and the Effect from one of the 16 Programs is copied into the Effects buffer If you make changes to the Mix they are only temporarily kept in the edit buffer until a new Mix is selected from memory Therefore you MUST store your edited Mix if you want to keep it If in the course of making a Mix you enter Program Edit mode by pressing EDIT and edit one o
39. separate Delay section for both left and right channels with one channel flanging up while the other channel flanges down Once again this causes the effect to become more pronounced and dramatic DRY SIGNAL FEEDBACK LEFT FLANGED OUTPUT DRY SIGNAL RIGHT FLANGED FEEDBACK OUTPUT DRY SIGNAL Pitch Detune As the name implies Pitch Detune takes a part of the signal and detunes it either sharp or flat When mixed back with the original dry signal the popular 12 string guitar effect is produced DRY EFFEC TED SIGNAL SIGNAL DRY SIGNAL Resonator This can be thought of as a highly resonant filter or a filter that is tuned to a specific frequency with a lot of emphasis which will cause the frequency that the resonator is set at to be highly accentuated Delay Input 99 to 0 to 99 gt Page 2 Config 2 Only This parameter adjusts the level of the signal coming from the Delay output going into the Pitch Input The Delay Input parameter is only available when editing a effects bus which has the Delay effect ahead of the Pitch effect in the selected Configuration Example Configuration 2 effect send 1 OSR Reference Manual 18 Editing Effects Chapter 7 If the Pitch type is Mono Chorus Stereo Chorus Mono Flange or Stereo Flange page 2 through 5 of the Pitch function contain the following four parameters Waveform Shape Sine or Square Page 2 This determines the LFO s waveform shape Th
40. sounds of a Program But there are differences Use Program Layers e If you want multiple sounds to respond to a single MIDI channel For example if you need to play a layered synthesizer sound that was assembled in Mix Play Mode instead of Program Play Mode you must send 3 Note On messages from your sequencer one for each channel for every note a layered program would need only one Note On message e When layers of a Program are designed to be used together and the individual layers by themselves wouldn t be used alone for example the percussion layer of the organ sound Use Mix Play Mode QSR Reference Manual 2 Editing Programs Chapter 6 e When you want to layer more than four voices In Mix Play Mode it is possible though not advisable to stack all 64 voices onto a single key e When each sound is likely to be used by itself by other setups For example if you are programming three different keyboard splits each of which uses the same left hand bass patch it makes sense to use Mix Play Mode e When you want different sounds to respond to different MIDI channels QSR SiGNAL FLOW THE FOUR SOUNDS OF A PROGRAM Each Program is made up of at least one to four sounds A sound is made up of several components including a voice the original sound material which passes through a low pass filter and an amplifier The voice filter and amp modules each have direct modifiers Pitch LFO Filter LFO Amp Envelo
41. the Tracking Generator module see page 81 e Stepped Tracking Generator This accepts the output of a signal processed by the Tracking Generator module in stepped mode see page 81 Modulation Destination Page 2 Select from the following modulation destinations You can find out more about these parameters and how they affect the sound in their respective sections to learn how Pitch Envelope Attack affects the sound see page 74 on Pitch Envelopes Pitch Filter Cutoff Amplitude Effect Send Pitch LFO Speed Pitch LFO Amp Pitch LFO Delay Pitch Envelope Delay Pitch Envelope Attack Pitch Envelope Decay Pitch Envelope Sustain Decay Pitch Envelope Release Pitch Envelope Amp Filter LFO Speed Filter LFO Amp Filter LFO Delay Filter Envelope Delay Filter Envelope Attack Filter Envelope Decay Filter Envelope Sustain Decay Filter Envelope Release Filter Envelope Amp e Amp LFO Speed e Amp LFO Amp AmpLFO Delay Amp Envelope Delay Amp Envelope Attack e Amp Envelope Decay Amp Envelope Sustain Decay Amp Envelope Release e Amp Envelope Amp e Portamento Rate Modulation Level 99 to 99 Page 3 At 00 the modulation source has no effect on the destination Higher positive values increase the amount of modulation Negative values also increase the amount of modulation but with negative phase i e if the modulation would normally be increasing with depth set to a positive number the modulation wou
42. the General MIDI specification RECEIVING TRANSMITTING BANK CHANGE MESSAGES The OSR will respond to MIDI Bank Select messages Bank Select messages are transmitted via MIDI Controller 0 The value of Controller 0 determines which bank User Preset 1 3 GenMIDI Card 1 11 is to be recalled Example If a Bank Select controller 0 message of 0 is received it will cause the User Bank to be recalled If a Bank Select message of 1 is received Preset Bank 1 will be recalled Additionally if a Sound Card is inserted the Card Banks can be selected using Controller 0 values between 5 and 15 Values higher than 15 are wrapped around and will recall the same Banks Example A Controller 0 message with a value of 39 will recall the User Bank Note Bank change messages will be ignored if General MIDI Mode is enabled so that only Programs within the General MIDI Bank GenMIDI can be recalled via MIDI Program changes QSR Reference Manual Chapter 8 Global Settings If the MIDI Program Select parameter is On and a new Bank is selected using the BANK SELECT DOWN and UP buttons a Bank Change message followed by the appropriate Program Change message will be transmitted out the MIDI OUTPUT connector If additionally a new Bank is selected in Mix Play Mode and any of its Channel s MIDI Out parameters Mix Edit Mode Keyboard MIDI Function Page 2 are turned On a Bank Select message followed by the appropriate Program Ch
43. the longer the glide For example a glide between two notes a whole step apart would take much less time than a glide between two notes an octave apart The 1 Speed curve maintains a constant glide rate regardless of the pitch difference between notes About portamento When you play a key and then a second key normally the sound jumps instantly from one pitch to another Portamento provides a sweeping glide from one note to another over a variable amount of time A good example of this type of sound is a steel guitar where a note slides from one pitch to another Portamento Rate 0 to 99 Page 9 Sets the glide duration Higher numbers give longer glide times The Rate value is affected by the Portamento value see above Keyboard Mode Mono Poly 1 Pitch or 1 PMono Page 10 In Mono mode you can play only one note at a time just like vintage monophonic synthesizers or wind instruments Poly mode allows you to play polyphonically Note that portamento behavior is more predictable in mono mode With a feedback guitar patch that uses one sound for the guitar and one sound for TIP e the feedback setting the feedback sound to Mono Keyboard Mode insures that your feedback whistle will be monophonic which more accurately mimics what happens when you play lead guitar Use 1 PITCH mode when you want a program sound layer to play a single pitch polyphonically throughout the entire keyboard range In 1 PITCH mode the OSR will play t
44. the same Bank it is stored in This could mean individually 4 OSR Reference MIDI Transfer and Storage Operations Chapter 9 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 OSR Reference Manual Chapter 9 MIDI Transfer and Storage Operations Savinc Procrams via MIDI Sys Ex As an alternative to storing data to a card the QSR lets you transmit internal data via MIDI System Exclusive messages This data can be sent to a storage device or recorded into a MIDI sequencer or sent to another QSR or S4 You have a choice of sending any single Program in the User bank 00 to 127 or what is in the current Program Edit buffer or what is in any of the 16 Mix Edit Program buffers or the entire User bank 100 Mixes 128 Programs 128 Effects Patches plus Global data In the case of sending data to another QSR you can send any individual Program to the same location or any other location in the receiving QSR including any of its 17 Program Edit buffers To send the entire User bank via MIDI D Connect a MIDI cable from the QSR s MIDI OUT to the MIDI In of a device capable of receiving the data a MIDI sequencer another QSR etc Q Press STORE Press CURSOR gt six times to select Page 5 of the Store function The display will look like this Press STORE to transmit the data out the MIDI Out connec While transmi
45. underline cursor appears in the lower left line you can turn the VALUE knob to scroll through the selected Function s parameters pages In the example above the Sound Enable parameter on page 1 of the Voice function is currently selected e Setting The lower right section will display thesetting of the parameter which is currently selected You can adjust the parameter s setting by using the cursor DP buttons to move the underline cursor in the display to the parameter s value and turning the VALUE knob In the example above the Sound Enable parameter is turned on QSR Reference Manual 5 Overview Chapter 4 MIDI CH BUTTONS The V mpi cH DP buttons serve two purposes In Program Play Mode and Mix Play Mode they are used to select a MIDI channel from 1 to 16 In Program Play Mode they are used to select the basic MIDI channel the OSR will receive and transmit MIDI messages on In Mix Play Mode they are used to select one of the 16 possible Channels for viewing and editing For more information on MIDI and its uses see Chapters 8 and 9 and Appendix B EDITING VALUES Once an Edit Mode is selected a parameter is displayed and that parameter s value is selected by using the W cunson P buttons that parameter s setting can be adjusted by turning the VALUE knob Whenever either the x CURSOR Pi button is pressed the cursor an underline will move to either the next or previous parameter in the display PA
46. what kinds of effects are used on each bus called a Configuration change each effect s 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 and how the unit will respond to messages in Mix Mode STORE NIODE Store Mode is used for storing changes of Programs and or Mixes into the User Bank or onto a QCard PCMCIA memory card accessory It is also used for transmitting the OSR s 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 IVIODE Once a Program has been edited in Program Edit Mode or a Mix has been edited in Mix Edit Mode the symbol will appear in the display to the left of the Mix s Program s name while in either Mix Play Mode or Program Play Mode If BANK SELECT DOWN also labeled COMPARE is pressed while in an Edit Mode both the EDIT button and the word EDIT in the lower right part of the display will begin to flash on and off and you will temporarily be hearing and seeing the original version of the Mix Program If you are editing
47. 00 to 99 Page 2 This sets the level the signal feeding the Overdrive effect must be reach before the Overdrive effect will begin distorting It can be set between 00 and 99 If this number is very low the Overdrive effect will start to distort almost right away When set to a high number the distortion will not occur until the signal feeding the overdrive becomes louder than the Threshold setting Overdrive Brightness 00 to 99 Page3 This sets the tone of the Overdrive effect It can be set between 00 and 99 Higher numbers result in a brighter sounding overdrive Lower numbers result in a duller distortion sound Overdrive Balance 99 to 0 to 99 gt Page 4 This controls the OU mix of the Overdrive effect It can be set anywhere from 7E3 When set to 51 the Overdrive effect cannot be heard at all When set to 37 you ee an even mix belveen the original uneffected signal and the overdriven signal When set to Pu only the overdriven effect is heard mi 77 QSR Reference Manual 25 Editing Effects Chapter 7 Mix Not to be confused with an actual Mix or Mix mode the Effect s Mix function is where you can mix the various signal levels of all the effects to the Main Left and Right outputs of the OSR Only effect modules that have access to the Main outputs will appear on the Mix page There is a separate Mix page for each of the four effect busses whose effect modules feed the main output Note that
48. 00 to 99 Page 3 Resonator only If the Pitch type is Resonator page 3 will let you adjust the Resonator Decay This can be set 00 to 99 whereby 00 is a very fast decay and 99 is a very slow decay OSR Reference Manual 19 Editing Effects Chapter 7 DELAY The Delay function is used to edit Delay parameters The QSR s effects processor has three different Delay types available Note Some Configurations only feature a mono Delay and therefore the Delay Type parameter will be unavailable Instead the parameters normally found on page 2 of the Delay function are shown in page 1 and there are no other pages please refer to next section for a description of those parameters Delay Type 3 types Page 1 Ping Pong This is called a Ping Pong Delay because the output bounces from side to side left to right in stereo with the speed determined by the delay time The maximum delay time is 399 milliseconds Stereo Delay The Stereo Delay is actually two separate delays which can be individually varied The maximum delay time for each delay is 399 ms Mono The Mono Delay has the advantage of twice the available delay time or 799 ms in Configuration 1 1199 ms in Configuration 2 In Pages 2 through 5 of the Delay Function you will find the remaining parameters for the Delay function If the Stereo Delay type is selected and the cursor is beneath the parameter field in the lower line of the display you can use VALUE knob to
49. 2 to a controller which may already be used by another control like MIDI Volume controller 7 or Mod Wheel controller 1 USING A PEDAL TO CONTROL VOLUME OR MODULATION If Pedal 1 is assigned to Controller 7 Global Edit Mode Page 8 then they will automatically control the volume of e any Sounds in a Program and e 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 2 QSR Referenc Global Settings Chapter 8 MIDI Procram SELECT Page 10 Page 14 of Global Edit mode lets you determine the MIDI Program Select Mode Off On Channel 1 16 When this is set to Off the OSR will not respond to incoming MIDI Program Change messages nor will it transmit Program Changes When set to On the OSR 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 OSR will respond differently to incoming Program Change messages depending on wheth
50. 21 122 123 124 125 126 127 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 Controllers 0 31 0 127 Sustain Pedal 0 or 127 Portamento On Off 0 or 127 Sustenuto 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 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 02Omni Off Poly On 0 QSR Reference Manual 7 MIDI Supplement Appendix B SYSTEM Common MESSAGES Intended for all units in a system some of these MIDI messages are Song Position Pointer This indicates how many MIDI beats normally a 16th note have elapsed since a piece started up to 16 384 total beats It is primarily used to allow different sequencers and drum m
51. 3231 the QSR will not transmit any locally generated MIDI information to the MIDI OUTPUT connector but will only transmit this information to the connected computer via the SERIAL PORT If the computer program has its MIDI Thru parameter turned on this information will be echoed back from the computer to the QSR The MIDI information coming from the computer will also be transmitted out the QSR s MIDI OUTPUT connector QSR Referenc Global Settings Chapter 8 MIDI Our Page 12 Mx G The MIDI Out Mode determines whether the MIDI OUTPUT connector will transmit MIDI information originating from the QSR when set to ERIT or will echo MIDI information that is received at the MIDI INPUT connector when set to PC31 25kbaud the MIDI Out parameter can only be set to Wire or frill This is because unless the I O parameter is set to the MIDI OUTPUT connector may only function as a MIDI Thru connector for the connected computer and can only be switched off RouP CHANNEL Page 13 This determines which MIDI channel will play all those channels in the selected Mix whose Group parameter is set to On When in Mix Mode you have the option to transmit on several MIDI channels at once or to temporarily isolate certain channels within a Mix 1 16 When the Group Mix Channel parameter is set between 1 and 16 the number it is set to determines the single MIDI channel which when MIDI
52. 7 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 Openl 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 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 Phonic Loop SpinalLoop Tri Loop Tri Loop 2 Orch Loop LEVEL Each of the 10 drums in a sound can have its own level pan position and output assignment The Level function provides these controls Use page 1 to adjust the selected drum s level 00 to 99 page 2 to adjust pan position 3 to 32 page 3 to select the Output assignment Main Aux or Off Page 4 lets you adjust the Effect Send level 00 to 99 and page 5 lets you select the Effects Bus 1 2 3 or 4 To send a drum to an individual output use Output in conjunction with Pan TIP Example Panning a drum full left and selecting the Aux outputs means that the drum will appear at only the l
53. ALESIS QSR Reference Manual Introduction Thank you for purchasing the Alesis OSR 64 Voice Expandable Synthesizer Module To take full advantage of the OSR s functions and to enjoy long and trouble free use please read this user s manual carefully How To Use This Manual This manual is divided into the following sections describing the various modes of the OSR To get the most out of your OSR read the entire manual once then use the table of contents and index to reference specific functions while using the instrument Chapter 1 Setting Up Deals with the necessary preparation before playing including connections to external devices Chapter 2 Your First Session This section provides a brief tour of the OSR shows you how to audition the various sounds of the QSR and points out the various performance features Chapter 3 Connections Details rear panel connections like MIDI footpedals and the serial interface proper hook up procedures plus application examples Chapter 4 Overview Covers the structure of sound sources within the OSR how to read and navigate through the LCD display pages how to edit parameters and how to store edited Programs and Mixes Chapter 5 Editing Mixes Explains how to create and edit Mixes Chapter 6 Editing Programs How to create and edit Programs Chapter 7 Editing Effects How to create and edit Effects Patches Chapter 8 Global Settings Describes all global functions such as Ma
54. Cutoff frequency 50 Lowpass 50 Modulation Wheel 61 Velocity 60 Filter Envelope 61 68 Filter LFO 61 78 Keyboard Mode 59 LFO 52 Modulation 51 73 Name 72 Pan 57 Pitch Aftertouch 58 Pitch Wheel 58 Pitch LFO 58 76 Portamento 59 Sound 48 49 Sound Enable 54 Sound Overlap 64 Sound Type 54 Voice 49 54 Volume 57 Program Mode 13 28 Re initializing 86 127 Samples 27 Software Version 127 Sound 27 Sound Bridge 20 Sound Card 20 Sound Groups 27 Store 29 35 36 37 90 Sustain Footswitch 24 User Bank 27 Velocity 15 QSR Reference Manual
55. D RR VT UE LUE E te ie Leute 84 Copying qsei is 85 Copying Effects 142 amada ciet etae qe ratore E a tete ee Perte eb eese cap ri 85 7 Editing Effects Leere eee e e eerie ener nana naa naanaarnaa OF About Signal Processing tree tine rere Pete e rene pisei a 87 Selecting an Effects Patch in Mix Mode ssssssssssseeee een tenete nene nens 88 Setting Effects Send Levels aero unt ee ener en Pudet Pr reete irent 88 aD E E E A E EEEE 89 Editing Effects tinaasan s na bete tm etes R E 89 Naviga aoaia elai Path euch etch ott R ats AEE boca ETA AE AA 89 Storing Effect Patches In Program Mode sse eene nennen 90 Storing Effect Patches in Mix Mode sse eene tenens 90 Copying Effect Patches e o reat e mes e nate diea eite 90 ConfiguratiOnsu ote eres temen mtm ete Hee I PAPAE PORTTA AA Rave agde eaa ipe 91 EQ eer ee ER RE RARE RN v Fn Rte ere aen CR er ite teret Foie Eee inet ta 98 Mod sare cL m m e ET D M ES 98 lau mE EO 100 hus Cri 101 Delay iste tete titt fitta erede Hefte ast Ente sae Vo erecti tee eset TIER LS tu 105 ECE i o EEEE EE EEEE 106 ve AA AAE EEE ETETE EE EEE S 110 huc E 111 8 Global Settings Leer Le creer eer errare anna nannannaanaans 113 Editing Global Paramieters erret ero iieri eene 113 Master BIET E UU 113 ERI MBPS OPE ER RC EN m 113 Gene
56. ECT button Instead you simply use a two step process A Usethe MIDI gt buttons to select one of the 16 channels in the Mix B Use the VALUE knob to choose a Program for the selected channel Here s the process broken down into simpler steps D Press MIX and select Mix 01 from the Preset 1 Bank using the method described on page 16 Press MIDI al The display will look like this Mix Number Program Bank Name Program Name and Number 4 MIX PROG 123456789 10 11 12 13 14 15 16 Play Mode Active MIDI Channels Selected MIDI Channel flashing The MIDI gt buttons are used to select one of the 16 channels in the Mix The actual channel number will be whatever channel was last selected In the illustration above channel 1 is shown flashing If the channel 1 number in your display is not flashing Use the SJ movi buttons to select channel 1 S Use the BANK SELECT UP and DOWN buttons to select a Program Bank Use the VALUE knob to select a Program Press MIDI gt to select to the next channel up If channel 1 had been selected pressing MIDI gt will select channel 2 The channel 2 number will flash in the display Repeat steps as needed to select Programs for the remaining channels D Changes you make to a Mix are temporary and will be lost if another Mix is selected To make changes permanent you must store the Mix into the User bank see next page
57. MIDI HARDWARE MIDI compatible devices usually include both MIDI In and MIDI Out jacks which terminate in 5 pin DIN style connectors The MIDI Out jack transmits MIDI data to another MIDI device As you play a MIDI controller such as a keyboard data corresponding to what you play exits the MIDI Out jack Example If you play middle C the MIDI Out transmits a piece of data that says middle C is down If you release that key the MIDI Out transmits another piece of data that says middle C has been released If the keyboard responds to the dynamics of your playing the note data will include dynamics information too Moving the modulation wheels and pedals attached to many synthesizers will also generate data associated with the wheel or pedal being used The MIDI In jack receives data from another MIDI device In addition to the type of performance data described above rhythmically oriented MIDI devices e g drum machines can often transmit and or receive additional MIDI timing messages that keep other rhythmically oriented units in a system synchronized with each other An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In jack This is handy if you want to route MIDI data appearing at one device to another device as well QSR Reference Manual 5 MIDI Supplement Appendix B MIDI MESSAGE BAsics The are two main types of MIDI messages Channel messages which are channel specific consist of Voice a
58. Number in the User Bank you wish to copy the Effects to 000 127 or the EI of the currently selected Program Press STORE to complete the copy function OSR Reference Manual 41 Editing Effects Chapter 7 CHAPTER 7 EDITING EFFECTS ABOUT SIGNAL PROCESSING TIP The built in effects processor of the QSR is similar to that of the Alesis QuadraVerb 2 capable of generating multiple fully digital effects simultaneously The QSR 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 of its 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 Sound s Program s 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 its Effects Level Outputs Pan 9 Main Left Level i Aux Left 1 SOUND lol und 9 Main Right Aux Right Effect Sends e 1 2 Effect Level
59. Page 5 This is the base output level of the Pitch LFO If you want to have a constant value of vibrato even without using the Mod Wheel or Aftertouch set LEVEL above 00 The Mod Wheel and Aftertouch will add or subtract from this base level Example If Level is set to 10 and the Mod Wheel parameter is set to 10 there will always be some vibrato and raising the Mod Wheel will add more vibrato On the other hand if the Mod Wheel parameter is set to 10 raising the Mod Wheel to the top will cancel out all vibrato Mod Wheel Depth 99 to 99 Page 6 This is the modulation amount of the Mod Wheel over the Pitch LFO s Level A positive value raises the level when the Mod Wheel is moved up and lowers the level when moved down Negative settings of this parameter will decrease the output level of the Pitch LFO as the Mod Wheel is raised Since the output level of the Pitch LFO cannot be less than zero a negative setting of the Mod Wheel parameter will have no effect unless either the Aftertouch or the Level is set to raise the Pitch LFO output If both the Level and Aftertouch are set to 00 and the Mod Wheel parameter is set to 99 the Mod Wheel will have no effect on the vibrato from the Pitch LFO OSR Reference Manual 31 Editing Programs Chapter 6 Aftertouch Depth 99 to 99 Page7 This is the modulation amount of Aftertouch over the Pitch LFO s Level A positive value raises the level as more Aftertouch is applied A negative valu
60. R outputs are routed to channels 3 and 4 Note that the VOLUME knob controls the level of all analog output channels only and does not control digital output levels If your digital output is overloading try reducing the sound level in Program Edit Mode or the Program volume in Mix Edit Mode When recording to ADAT or some other digital audio recorder it will be slaving to the digital clock accompanying the digital audio emanating from the QSR This clock can be set to either 48kHz or 44 1kHz as determined by the Cloc function ound in o Edit Mode The Clock function has four settings and E H The default setting is rri which is suitable Ves the distal recorder is using the 48kHz sample rate However a the pede is using the 44 1kHz sample rate the Clock function should be set to i ta LE This ensures that the QSR will be in tune with previously recorded oa Sue page 118 in Chapter 8 for more information on the Clock parameter QSR Reference Manual Chapter 3 Connections 48 KHz In If your ADAT system has an Alesis BRC Remote Controller the QSR s digital clock must be synchronized to the clock coming from the BRC This requires that a connection be made providing the clock signal to the OSR and that the OSR s Clock undo pe set to either one of its two external settings i ik Connect a BNC to BNC cable such as the Alesis BN cable between the BRC s 48 RES CLOCK OUT and the QSR s 48 KHZ INI Set th
61. RAMETER EDITING OVERVIEW All parameter editing involves the same general procedure with minor variations D Select an Edit Mode with the EDIT button Example If PROG was lit the EDIT button switches between two Edit Modes one for editing the Program s Sound layers Program Edit Mode and the other for editing the Effects Effects Edit Mode If MIX was lit the EDIT button switches between three Edit Modes one for editing the Mix s parameters Mix Edit Mode one for editing the Programs themselves Program Edit Mode and the last for editing the Effects Effects Edit Mode Ifin Program Edit mode select a sound 1 through 4 by turning the VALUE knob If in Effects Edit mode select a send 1 through 4 by turning the VALUE knob If in Mix Edit mode use the Q MDI cH buttons to select a channel 1 through 16 the selected channel will flash on and off in the lower section of the display 9 Select a function voice level pitch etc by first pressing the CURSOR gt button to advance the cursor in the display to the function field if in Program Edit or Effects Edit mode in Mix Edit mode the function field is automatically selected upon pressing EDIT and then turning the VALUE knob to select the function Select the appropriate page for the parameter you want to edit by first pressing the CURSOR W button to advance the cursor in the display to the parameter field in the middle of the display
62. RE again to exit Compare mode and return to the edited version Both the EDIT button and the word EDIT in the display will stop flashing Pressing MIX PROG GLOBAL or STORE will also exit Compare mode However to return to Compare mode after pressing one of these buttons you must first press EDIT and then press COMPARE Q While Compare mode is selected you can move around to view the various functions and parameters but you will not be able to edit anything This is because you are seeing what is in memory not what is in the edit buffer PRESET MEMORY AND USER NIEMORY The QSR has three types of memory banks for Mixes and Programs Preset User and Card The Preset banks of which there are four are stored in ROM Read Only Memory and therefore cannot be altered However the User bank of which there is 1 is stored in RAM Random Access Memory Card banks can be either ROM or RAM Anytime you want to keep an edited version of a Mix or Program you will store it into the User bank or onto a RAM Card If you want to permanently change a Mix or Program that is in the Preset bank you can store the edited version into the User bank in either the same number location or a different number location However this requires that you store over an existing Program or Mix losing whatever was previously in that location If you don t want to lose any of the sounds in the User bank you should back up the entire bank to e
63. Release time to 99 will take the envelope a very long time to reach zero level The Pitch Envelope is unique from the other two envelopes in that its Release time can be set above 99 When this is done the value in the display will read Hold This indicates that the Pitch Envelope will remain where it is even after the note is released This is important when you want the pitch effect to continue even after releasing the key Example If the Pitch Envelope is bending a note up and you don t want the pitch to fall when you release the key set the Release parameter to Hold OSR Reference Manual 19 Editing Programs Chapter 6 Delay 00 to 99 Hold Page 5 This is the amount of time that the envelope will wait before doing anything very useful if you want to affect one element of a sound sometime after the sound starts When the Delay is set to 0 the envelope attacks right away without any delay Play some notes while turning up the delay and see that the time between playing the note and hearing the effect of the Pitch Envelope gets progressively longer as the Delay control is turned up If the Delay is set above 99 the display will read Hold This indicates that the Delay stage of the envelope will wait indefinitely until the key is released before continuing on to the remaining envelope stages Attack Decay etc This requires that the Pitch Envelope s Trigger parameter see next page is set to Freerun However
64. STORE Press CURSOR once 6 OG Use the VALUE knob to select a bank location on the card to store to 1 11 If the card contains a ROM bank it will show as Bank 1 and you will be unable to store to it Press CURSOR gt Once Use the VALUE knob to select a location in the selected card Bank to save to 00 127 if storing a Program 00 99 if storing a Mix Press STORE to transfer the data from the QSR onto the card If the card is write protected or not inserted or not of the current Bank format the display will indicate the situation with an error message If the card is not of the current Bank format use the Save To Card command first see previous page to save the entire User Bank to the card This however will erase all Programs and Mixes in the selected card Bank If these are important to you first load them into the 2 OSR Reference MIDI Transfer and Storage Operations Chapter 9 User Bank in the OSR and then save them back onto the card in order to re format the card using the new format OSR Reference Manual Chapter 9 MIDI Transfer and Storage Operations LoAbpiuc AN npivinpuAL Procram on Mix You can load a single Mix or Program from a Sound Card into the User Bank instead of having to load the entire Bank from the Sound Card To do this select the Mix or Program in the Sound Card Bank that you wish to copy then use the Store Function as described above to designa
65. SplashCym2 SplashCym3 China Cym1 China Cym2 RapCymball IRapCymbal2 RapCymWave Open Hat 1 Open Hat 2 Open Hat 3 Open Hat V RideCym V3 Percus Agogo Hi Agogo Low Bongo Hi Bongo Low Brake Drum Cabasa Castanet Chimes 1 Chimes 2 Clap Rap Clap Tek Clave Conga Hi Conga Low Conga Slap RapCongaHi IRapCongaMd RapCongaLo Rap Rim Rap Tone Cowbell RapCowbell Cuica Djembe Hi Djembe Low Drumstix FingerSnap Guiro Long Guiro Med GuiroShort Ice Block Kalimba Hi KalimbaLow Maracas SambaWhstl SambaShort Shaker1 Hi Shaker1Low Shaker2 Hi Shaker2Low Sleighbl 1 Sleighbl 2 SteelDrmHi SteelDrmLo TablaGa Hi TablaGaLow Tabla Ka TablaNa Hi TablaNaLow Tabla Te TablaTinHi TablaTinLo Taiko Hi Taiko Low Taiko Rim Talk Up Hi Talk Up Lo TalkDownHi TalkDownLo Tambourin1 Tambourin2 Timbale Hi TimbaleLow Timpani Hi TimpaniMid TimpaniLow Triangle TriangleSf Udu Hi Udu Mid Udu Low Udu Slap Vibrasmack IWoodBlokHi WoodBlokLo OSR Reference Manual 36 Editing Programs Chapter 6 Snd FX Bird Tweet Bird Chirp Bird Loop Fret Noise Fret Wipe Orch Hit Dance Hit Jungle 1 Jungle 2 Applause GoatsNails Brook Hi Bow Low Bow ShapeNzHi ShapeNzMid ShapeNzLow ScrtchPull ScrtchPush ScrtchLoop ScrtchPILp ScrtcPshLp RezAttkHi RezAttkMid RezAttkLow RezZipHi RezZipMid RezZipLow Zap 1 Hi Zap 1 Mid Zap 1 Low Zap 2 Hi Zap 2 Mid Zap 2 Low Zap 3 Hi Zap 3 Mid Zap 3 L
66. These recordings are made up of several thousands of tiny digital audio snapshots otherwise known as samples These samples are played so quickly and run so close together they all appear to the human ear to be one sound The rate at which samples are pud Pares is determined by the Clock function It has four settings and z The default setting is When set to either amp rit ernal setting the QSR uses its own internal sample clock as a reference for playing back the sampled sounds that make up a Program or Mix However if you are recording the OSR to ADAT using the OSR s DIGITAL OUT connector and the ADATi is ie a sample rate of 44 1 kHz you should set the OSR s Clock function to i If you are recording to an ADAT and also have a BRC Master Remote Controller the OSR must receive a clock signal from the BRC in order to maintain perfect sync with the ADAT system This requires that you connect a BNC to BNC cable between the BRC s 48 KHz Clock Out to the OSR s 48 kHz IN When you are peace to re rd onto if the BRC is set to 48 kHz ot t LE if the BRC is set to 44 1kH2 By setting the QSR s clock to the identical Vins rate bd the ADAT BRC you guarantee perfect sync between the two units For more on connecting the BNC to BNC cable see page 26 6 QSR Referenc MIDI Transfer and Storage Operations Chapter 9 CHAPTER 9 MIDI Transfer Anp STORAGE OPERATIONS Usinc PCMCIA Expansion CARDS The QSR pr
67. 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 both EDIT button and the word EDIT in the the display stop flashing QSR Reference Manual 3 Overview Chapter 4 THE USER INTERFACE DISPLAY FUNCTIONS PAGES AND PARAMETERS The key to the QSR user interface is the combination of the Display the VALUE knob and the V cursor W buttons The Display constantly informs you of the QSR s status The J CURSOR DP buttons let you select a value in the display such as a parameter a Sound a page etc and the VALUE knob lets you adjust the selection ABOUT THE DISPLAY The display has two modes Play Mode and Edit Mode When either MIX or PROG is pressed their respective Play Mode is selected and the display will look something like this Program Number Bank Name Program Name 4 MIDI Input Indicator Play Mode MIDI Channel e Mode The lower left corner of the display will indicate whether you are in Program Play Mode PROG or Mix Play Mode MIX In the example above Program Play Mode is selected If the selected Program or Mix has been edited the word EDIT will appear to the right of the displayed Mode In the example above the Program has not been edited e Numb
68. a ebd reset deett iii iiie 52 Drm Moderat reah a old hes QT RM EN N 53 Program Edit Functions eder epe e e edet uet i 54 VOCE eetan E Ea A tito tet INS eot I TIN I I Hin CIMA ee Ds dc Ie HT E IN EIE OL EE 54 lug ERE 57 PtH ees eects ined eer dE DE ISIS SES AILS ESS PEPSI tS INS AE a 58 PETE CH ee 590 s e M costa test ans Mo o mM Mes 60 AMPARARE erstens hatte tavaten theses tbe verd tret at etes ren eerie e e RE atone 62 Pitch Envelope he tte eiu tee intret a d titeg 65 Filter Erivelope ieiieit retener arte it ed rie ee detegit 68 Aip Envelope nena adde qude dune daquddiMi d TRE 70 Namen ssaoanant aa SONG gS Sacks aS qaaa antt ates gw r eeatt 72 Mod 1 MOE 6 isd vic cast coed cas cate on Suen metere e Eee aoe 73 uirgo M E 76 Filter HO MT S 78 PRIMM EO C 79 Tracking Generator eee e tee rae teta ei ise ite ean 80 OSR Reference Manual 4 Table of Contents Programming Drum Sounds voa na nA ge uu Me cee ete eire ue M eie E 82 VOCE ceste terri etu re etate b tete e Cot ine tu aret base ae aah aa t aeta Hates Tema deal 82 LEevel e mr Mo mu dis B EUM RU M EEE AEE AE E E e 83 Ritchie si iiie es ioe SARS E A Gh ean eh eh ee we Rata ses a ee sb ie Sp iei estes 83 inl e RC 83 Amp7 Range inisi istite e etes se en ie e tena cen ee cie tei ie dte petes 84 AMP ENvelopeinin nui dete une i
69. a mono amplification system or individual mixer input e Stereo Connect two mono cords from the L and R MAIN output jacks to a stereo amplification system or two mixer inputs Dual Stereo Four Individual Outs Connect two mono cords from the L and R MAIN output jacks and two mono cords from the L and R AUX output jacks to a dual stereo amplification system or four mixer inputs e Stereo Headphones Plug a set of high quality stereo headphones into the headphones PHONES jack on the front panel Computer MIDI Keyboard anpa gggg 0000 dg DODODCOCDCDCDCCCUCCCL LJCICIDIDIDIDIDIDIDIDICIE IET L JCICICICIEIEICIEIE TE TETE I ORRE PAR Serial Cable MIDI Cable Ow S E OOoOoO SERIALPORT THRU OUT IN 48KHZIN DIGITAL OUT L R iL R Lm L Aux Umain Insert into PHONES connector on front panel Power Supply Gs 1 4 Audio Cables AC Receptacle q Stereo Headphones Stereo Amp QSR Reference Manual 8 Setting Up Chapter 1 ABOUT AUDIO CABLES The connections between the QSR and your studio are your music s lifeline so use only high quality cables These should be low capacitance shielded cables with a stranded not solid internal conductor and a low resistance shield Although quality cables cost more they do make a difference Route cables to the OSR correctly by observing the following precautions e Do not bundle audio cables with
70. achines to auto locate to each other so that if you start one sequencer the other device will automatically jump to the same place in the song whereupon both continue on together System Exclusive This message called Sys Fx for short is considered exclusive because different manufacturers send and receive data over MIDI which is intended only for that manufacturer s equipment Example Sending a QSR message to an Alesis D4 Drum Module won t do anything but the message will be understood by other OSR This data often contains information about individual instrument programs Timing Clock A master tempo source such as a sequencer emits 24 timing messages clocks per quarter note Each device synchronized to the sequencer advances by 1 24th of a quarter note when it receives the clock message thus keeping units in sync after they ve both started at the same time Many devices subdivide this clock signal internally for higher resolution e g 96 pulses per quarter note Start Signals all rhythmically based units when to start playing Stop Signals all rhythmically based units when to stop playing Continue Unlike a Start command which re starts a sequencer or drum machine from the beginning of a song each time it occurs sending a continue message after stop will re start units from where they were stopped GENERAL IVIIDI General MIDI is an extension of the MIDI standard designed to meet the demands of the ever growing mult
71. age 4 Selects one of the available samples by name from the selected group or OFF no sample selected Each group has a variety of samples from which you can choose although some groups such as waves have more samples than others Below and on the following page you ll find a chart listing the various samples in their respective groups Group Voice Piano GrndPianoL GrndPianoR DarkPno1 L DarkPnol R DarkPno2 L DarkPno2 R DarkPno3 L DarkPno3 R BritePno1L BritePno1R BritePno2L BritePno2R BritePno3L BritePno3R 4 VibesWave NoHammer R SoftPianoL SoftPianoR VeloPianoL VeloPianoR TapPiano L TapPiano R E Spinet 1 E Spinet 2 Toy Pno L Toy Pno R KeyTrack1 KeyTrack2 Stretch L Stretch R PianoWaveL PianoWaveR BriteRoads Dark Roads Soft Roads VeloRoads1 VeloRoads2 VeloRoads3 Wurly VeloWurly1 VeloWurly2 FM Piano FM Tines Soft Tines VelAtkTine Vel FM Pno BrtRdsWave DrkRdsWave SftRdsWave Wurly Wave Chromatic Clavinet VelAtkClav ClavntWave Harpsicord VAtkHarpsi HarpsiWave Glock Xylophone Marimba Hd Marimba Sf MarimbaVel Vibraphone VibesWave Ice Block Brake Drum TubulrWave TubWv Null FMTbIrBell FMTublrSft FM TublrVel FATub Null Organ Rock Organ Perc Organ FullDrwbr1 FullDrwbr2 3 Drawbars 4 Drawbars UpprDrwbrs 16 Drawbar 5 1 3 bar 8 Drawbar 4 Drawbar 2 2 3 bar 2 Drawbar 1 3 5 bar 1 1 3 bar 1 Drawbar Percus 2nd Percus 3rd Percus Wav HollowWa
72. all 16 MIDI channel indicators AUDITIONING INTERNAL PROGRAMS QSR Reference Manual 3 Your First Session Chapter 2 D Press the PROG button to select Program Play Mode The PROG button and the PROG indicator in the display will light You can now play the QSR from an external MIDI keyboard the Program will be whatever was selected when last in Program mode Program number 00 127 Q Select a Program using the VALUE knob The large number in the upper left section of the display will indicate the currently selected Program number When you scroll past 127 the counter will roll over to Program 00 of the following Bank Likewise if you scroll back before 00 it will roll back to Program 127 of the preceeding Bank SELECTING PROGRAM BANKS The OSR provides five internal Banks containing 128 Programs in each and 100 Mixes each but we ll get to Mixes in a moment The currently selected Bank will be shown in the upper line of the display just above the currently selected Program s name e Use the BANK SELECT DOWN and UP buttons to select a Bank User Preset 1 8 GenMIDI or any Card Banks if present User and Preset Banks are described in detail in Chapter 4 SELECTING THE MIDI CHANNEL IN PROGRAM IVIODE While in Program Play Mode press PROG the QSR can receive information on any single MIDI channel of the 16 available channels The currently selected channel appears in the bottom right section of th
73. amplitude module for each voice the pure waveforms are relatively bright as bright as the original instrument can be and have a constant sustaining amplitude like an organ So if you listen to a piano voice without setting the filter or amp to the correct settings it won t decay after it is hit as you might expect This gives you the freedom to create the timbre and dynamics you want instead of being chained to the parameters of the original sample LowPAss FILTER A lowpass filter varies a signal s harmonic content by progressively increasing attenuation above a specified cutoff frequency The higher frequencies are filtered while the lower frequencies are allowed to pass thru When the cutoff frequency is set high the sound becomes brighter when set low the sound becomes bassier since fewer harmonics are present Cutoff Frequency p ara bent NT ce N Frequency Response Curve x Filter N Amplitude i x Frequency 00 1 99 The cutoff parameter changes the frequency at which the high frequency response starts to roll off Lower values give a lower cutoff frequency A value of 00 will cut all sound off Static non changing filter settings can be useful but varying the filter cutoff dynamically over time often produces more interesting effects Modulating with velocity produces brighter sounds with louder dynamics which produces a more accurate acoustic instrument simulation Modulating wi
74. an the ones the Mix has stored with it This does not require that you be in Mix Edit Mode Assigning Programs to the 16 channels of a Mix is done by first using the s MIDI CH Pi buttons to select a channel and then using the VALUE knob to select a Program If desired you can use the BANK SELECT DOWN and UP buttons to select a Program from any of the internal or card banks MIX EDIT MODE Editing a Mix begins with using the Q api cH DP buttons to select the MIDI channel you want and selecting a Program number for each of the channels you want to use as described above Beyond Program selection you may control many other aspects of a Mix by accessing Mix Edit Mode This is done by pressing the EDIT button while Mix Play Mode MIX EDIT should appear in the bottom left section of the display Mix Number Mix Nane Active MIDI Channels Once in Mix Edit Mode use the x MIDI CH Pi buttons to select a MIDI channel to edit 1 16 Use the VALUE knob to select a Function Group Level Pitch QSR Reference Manual 1 Editing Mixes Chapter 5 Effect etc If a Function Group has more than one parameter press the CURSOR DP button to advance the cursor in the display and then turn the VALUE knob to locate a specific parameter Each channel of a Mix may be enabled or disabled without changing any of its parameter settings When a channel is disabled its number 1 16 will not appear in the bottom right
75. ange will be transmitted out the MIDI Out connector for each of those MIDI Channels Iupur OurpPur Mope Page 11 The I O Input Output Mode determines how the MIDI INPUT and OUTPUT connectors on the QSR s rear panel will function in relation to the SERIAL PORT connector The possible settings of the I O parameter depend on the setting of the SERIAL PORT switch located on the back panel next to the SERIAL PORT With SERIAL PORT set The I O parameter may be switched between to PC MAC If you are using a PC compatible computer consult the software you are using to determine which PC setting to set the I O parameter to e When this parameter is switched to 7 i the SERIAL PORT will not function and the MIDI INPUT and OUTPUT will operate normally receiving and transmitting MIDI information to and from the OSR e When this parameter is set to either i iz if the SERIAL PORT switch is set to MAC or to PE d or F1 i if the SERIAL PORT switch is set to PC the MIDI INPUT will not function any MIDI information received on the MIDI INPUT connector will be ignored and the MIDI OUTPUT connector may act as a MIDI Thru connector for the connected computer i e MIDI information received from the computer will be transmitted see below For information regarding connecting a computer to the SERIAL PORT see page 22 D When the IJO parameter is NOT set to 5
76. anual can offer a complete course in programming at least for a price that customers would be willing to pay If you re new to synthesizer programming the best way to learn is to adjust different parameters as you play to discover how different parameter values affect the sound Also become familiar with the signal and modulation flow within the OSR as shown in the various block diagrams included in this manual so that you can understand the many ways in which you can process a signal as it works its way from oscillator to output THE NORMALIZED SYNTH VOICE The first synthesizers were comprised of various hardware modules some of which generated signals and some of which processed those signals These were designed to be general purpose devices since nobody was quite sure how they would be applied some engineers used them as signal processors while keyboard players treated them as musical instruments Therefore patch cords connected the inputs and outputs of the various signal generating and processing modules which is why particular synth sounds were called patches Changing a patch involved manually repositioning patch cords and adjusting knobs and switches recreating a patch required writing down all the patch settings on paper so they could be duplicated later Even then due to the imprecision of analog electronics the patch might not sound exactly the same Over the years certain combinations of modules seemed to work b
77. any seconds before the envelope gets to maximum Decay amp Sustain 00 to 99 Pages 2 amp 3 As soon as the attack portion of the envelope finishes when the level reaches maximum the envelope will decay decrease in level The level it reaches is set by the Sustain control how long it takes to get there is set by the Decay control In the special case where the Sustain level is all the way up 99 then there is no decrease and the Decay time segment is bypassed Whatever level the sustain is set to is the level that the decay section of the envelope will head for Depending on the setting of the Sustain Decay control see below the envelope will either hold at the sustain level until you release the note on the keyboard or decay to 0 at the Sustain Decay rate which is on page 2 of the envelope You can create a long plateau at the start of a note by setting the Sustain to 98 and the Decay to 99 This will cause the envelope to take the maximum amount of time to get from peak level to a level of 98 before the Sustain Release portion of the envelope begins Release 00 to 99 Hold Page 4 Eventually you will let go of the note that you ve been holding either by releasing the note on the keyboard or releasing the sustain pedal if it was pressed It is at this point that the Release portion of the envelope takes effect The Release is the time that the envelope takes to get from its current level back down to nothing Setting the
78. applied A negative value will lower the amount of Amp LFO level as more Aftertouch is applied TRACKING GENERATOR The Tracking Generator function is used to scale a modulation source For example normally you could modulate the Amp volume of a sound using velocity the harder you play the louder the sound gets The amount of change in volume is equal to the change in velocity this is called linear control If instead however you set the Tracking Generator s input to velocity and then routed the Tracking Generator to the Amp using the Mod function you can make your own customized map of the control velocity has over the sound s level The Tracking Generator divides the range of the input into 11 points 0 10 each of which can be set between 0 and 100 If you boost the value of one of the lower points you make the input more sensitive in its lower register By creating a non linear curve using the velocity example above you can scale the velocity s control over the sound s volume just the way you want When selecting the Tracking Generator as a modulation source in the Mod Function these two choices will be available When TRACKGEN is selected as the modulation source the Tracking Generator functions normally scaling its input as determined by its parameter settings When STEPTRACK is selected as a modulation source the Tracking Generator s output will be stepped or interpolated This means that instead of scaling
79. at12 Kick Loop1 Kick Loop2 Kick Loop3 Kick Loop4 Kick Loop5 Kick Loop6 Kick Loop7 Kick Loop8 Kick Loop9 KickLoop10 KickLoop11 Snare Lp Il 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 CongaLoopl 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 OSR Reference Manual 10 Editing Programs Chapter 6 LEVEL The Level function allows you to control the volume pan position output assignment and effects send level for each sound layer With up to four sounds per program this allows for a wide variety of stereo effects and level balances between the sounds Sound Volume 00 to 99 Page 1 This sets the overall volume for a sound Higher numbers give higher levels Sound Pan 3 to 3 gt Page 2 There are 7 available pan locations in the stereo two
80. ation Wheels On or Off Page 1 This determines whether or not the selected channel will receive pitch bend and modulation controller 1 MIDI information Aftertouch On or Off Page 2 This determines whether or not the selected channel will receive aftertouch MIDI information Sustain Pedals On or Off Page 3 This determines whether or not the selected channel will receive sustain pedal controller 64 MIDI information Controllers On or Off Page 4 This determines whether or not the selected channel will receive MIDI controller information which the Controllers A D and Pedals 1 amp 2 are assigned to these are assigned to MIDI controllers in Global Mode Page 3 and 5 TRANSMITTING MIDI VOLUME AND PANNING Each Channel in a Mix can transmit its volume and panning settings via MIDI if the MIDI Program Select parameter is set to ON Global Edit Mode Page 10 Volume level is sent as MIDI controller 7 and panning is sent as controller 10 If the MIDI Program Select Global parameter is set to ON e whenever a Mix is recalled via the front panel or via MIDI volume and panning information will be transmitted e whenever a Channel s Level parameter is edited volume information will be transmitted as controller 7 on that Channel e whenever a Channel s Pan parameter is edited panning information will be transmitted as controller 10 on that Channel except when set to PROG Note Panning information will not
81. ay Mode you can use the gt MIDI CH Pi buttons to set the MIDI IN channel for the whole instrument But when using the OSR in Mix Play Mode you may need to be able to transmit on several MIDI channels from your MIDI keyboard in order to play the different channels within a Mix However there is a way to group any number of channels in a Mix to all play simultaneously from a single MIDI channel in addition to responding to MIDI information on their individual channels This can be done by combining the Group parameter found in Mix Edit Mode Keyboard MIDI Function Page 3 and the Mix Group Channel function found in Global Edit Mode Page 13 D From Mix Play Mode press EDIT followed by BANK SELECT UP also labeled GLOBAL Q Turn the VALUE knob to get to Page 13 You will see 5 in the middle of the display Press the CURSOR gt button once to advance the cursor in the display and turn the VALUE knob to set the Mix Group Channel between 1 and 16 or Off 1 16 When the Group Mix Channel parameter is set between 1 and 16 the number it is set to determines the single MIDI channel which when MIDI information is received on it will play the channels in the selected Mix which have their Group parameter turned on OFF In this mode the individual channels used by the selected Mix will only be triggered by MIDI information received on its designated MIDI channel Example the sound on channel 1 will only respo
82. ce Fiter b Amp Pan C Output 57 Amp Envelope Effects Effects Drum 1 Level Buss Drum 2 Drum 3 T T a LI a LI Li Drum 10 Sound 1 Sound 2 Sound 3 Sound 4 When Drum Mode is enabled the sound will have fewer parameters for editing Consequently not all Function buttons will respond when pressed as when Drum Mode is turned off Specifically the LFOs and all Envelopes with the exception of the Amp Envelope are unavailable In addition the parameters in most other functions will differ See page 82 for more information about Drum Mode QSR Reference Manual 7 Editing Programs Chapter 6 PROGRAM EDIT FUNCTIONS To edit a Program you must select Program Edit mode This is done by pressing the EDIT once from Program Play Mode each time you press EDIT in Program Mode the display cycles between Program Edit and Effects Edit Modes When editing a Program in Program Mode the letters PROG EDIT will appear in the display s edit status section bottom left corner A Program may also be edited from within a Mix This requires that you press the EDIT SELECT button twice from Mix Play Mode each time you press EDIT SELECT in Mix Mode the display cycles between Mix Edit Program Edit and Effects Edit Modes When editing a Program in Mix Mode the letters MIX PROG EDIT will appear in the display s edit status section upper left corner with the channel number that is being edited immediately follo
83. ce for later recall or to another QSR When the MIDI OUT connector s mode is switched to Thru Global Edit mode page 12 it can function as a second MIDI THRU connector and resend MIDI data received on the MIDI IN from the controller to other MIDI devices OSR Reference Manual Chapter 3 Connections Usinc AN EXTERNAL SEQUENCER The MIDI keyboard or controller such as the QS7 or QS8 can generate MIDI signals that are recorded by a sequencer On playback the sequencer sends this data to the OSR which then serves as a multitimbral sound module in Mix Mode The sequencer can generate data over several channels in Mix Mode the QSR can be programmed so that individual Programs play sequenced data on specific channels Example If the sequencer transmits a piano part over channel 1 a bass part over channel 2 and a drum part over channel 10 you could set up a QSR Mix so that a piano sound plays only the MIDI data assigned to channel 1 a bass sound plays only the MIDI data assigned to channel 2 and drums play only the MIDI data assigned to channel 10 The QSR can store up to 100 User Mixes Connect your master keyboard s MIDI Out to the sequencer s MIDI In Gf using a computer based sequencer connect to the computer s MIDI interface s MIDI In Connect the sequencer s MIDI Out to your keyboard s MIDI In Finally connect your keyboard s MIDI Thru to the QSR s MIDI IN the Thru signal carries a replica of what appears at the
84. ctions 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 The Reverb function is used to edit Reverb input levels and other 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 the first of two sources to be routed to the reverb s input You can choose from the Delay output or the Pitch output In page 2 you can choose the second input for the reverb to process which can be the dry send 1 signal the Delay output or the Pitch output You can then adjust a balance between these on page 3 and set an overall input level on page 4 INPUT LEVELS Input 1 Page 1 Config 1 3 4 and 5 In Configurations 1 and 3 there are two inputs to the Reverb Both Inputs 1 and 2 can select a signal from several locations in the signal chain You can select either the Pitch
85. dard MIDI sequence files on to PCMCIA cards This allows you to play your own sequences at a live gig without taking your computer with you See the Sound Bridge instructions on the QS CD ROM for instructions on how to burn sequences to a card To play back sequences from a PCMCIA card D Press and hold the MIX button Press the DOWN button The display will read Use the Value wheel to choose a sequence from either Card A or B then press STORE You can play any of the 50 sequences on a card in slot A by using the 00 through 40 buttons and you can play the sequences from the card in slot B by using the 50 through 90 buttons For example to play sequence 34 from card B press MIX 80 then 4 Remember that if you write a sequence to Card A using Programs and wave data from that card then play it from Slot B the sequence will still look for its data in the Card A slot QSR Reference Manual Chapter 9 MIDI Transfer and Storage Operations 8 OSR Reference Troubleshooting Appendix A APPENDIX A TROUBLE SHOOTING TROUBLE SHOOTING INDEX If you are experience problems while operating the OSR please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance Symptom Cause Solution The display does not light No power Check that the power cable when the ON OFF switch is plugged in properly is turned on No sound Bad co
86. dge creates a QS Voice multi sample by loading Digidesign Sample Cell I or Sample Cell II format Instrument files Using this format Sound Bridge is able to determine key group and velocity group split points root notes sample playback rates tunings start points loop points and loop tunings Sound Bridge can also create QS Voices without Sample Cell Instruments by loading single AIFF Sound Designer and Sound Designer II files MacOS System Sounds and PC WAV files Sound Bridge does NOT require Sample Cell hardware The Sample Cell Instrument file or sample file may be loaded directly into Sound Bridge from any disk i e CD ROM floppy disk hard disk etc For example a user may load data from a Sample Cell CD ROM and send this data to the QuadraSynth PCMCIA Card without ever using Sample Cell The Sound Bridge folder on the CD ROM contains the Sound Bridge application and an electronic manual which will give you all the information you need to know to run Sound Bridge OSR Reference Manual 10 Connections Chapter 3 CHAPTER 3 CONNECTIONS Basic MIDI Hookup MIDI is an internationally accepted protocol that allows musical related data to be conveyed from one device to another See the MIDI Supplement in Appendix B if you are not familiar with how MIDI works The QSR has three MIDI connectors which provide the following functions e MIDIIN This port is for receiving MIDI information notes program changes
87. 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 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 ina different Program Follow the steps below to copy one of the four Sound layers from one Program to another Program in the User Bank When copying Sounds between Programs the new Sound will replace the same numbered Sound in the destination Program i e Sound 3 will replace Sound 3 D Press PROG to select Program Play Mode then use the VALUE knob to select the Program Number that uses the Sound you want to copy If necessary use the BANK SELECT DOWN and UP buttons to select a different Bank Press STORE The STORE button will begin to flash S Press CURSOR gt once to advance to Page 2 The upper section of the display will read Use the VALUE knob to select which of the four Sounds 1 4 you wish to copy from the currently select Program or to select the Program Number in the User Bank you wish to copy the Sound from 000 127 Press CURSOR gt once to advance t
88. e Q If the low limit is set above the high limit you will be able to play this program layer at the lower and upper ends of the keyboard but not in the middle between the two limit settings QS8 Keyboard Range C2 C3 C4 C5 C6 C7 C8 G8 48 60 72 84 96 108 120 127 Program Sound Range C1 36 NAMING A MIx The Name function allows you to change the name of the Mix The Mix name can be up to 10 characters long Use the cursor P buttons to position the cursor and the VALUE knob to select the character Here is a chart of available characters at J amp JC J J Jt J d J J 101112 183 4 5 6 7 18 9 lt 2 I JIA IB IC D E IF IG HII J KIL MN OIP QR SITIUV WIX Y Z If Y a b Je id je fig h i j Jk mn jo p liq r is t ju v iw x yz l QSR Reference Manual 6 Editing Mixes Chapter 5 POLYPHONY IN Mix PLAY MODE The OSR has 64 note polyphony In Mix Play Mode if you have all 16 MIDI channels assigned to the same keyboard range and each channel s Program has only one active Program Sound you ll have 4 note polyphony as you play the keyboard but a really thick layer This is extreme of course but should tell you what you can expect when you really pile on the layers from the keyboard PLAYING A GROUP OF CHANNELS IN A MiX In Program Pl
89. e Clock function to either if the BRC is set to 48kHz or Li if the BRC is set to 44 1kHz For more information about the Clock function see page 118 in Chapter 8 48 kHz Out Sync Out ALESIS So eases ese ES E Digital In Sync In 7 EF Digital Out Sync Out im Digital In Syne In ee 48kHz In Digital Out gt Auesis Digital Ou Sync Out Digital In ES A Syncin Tip With this type of connection the ADAT tracks will remain in tune with the QSR even when the BRC s pitch value is adjusted Note When using only one or more ADATs without the BRC it is not necessary to connect the 48 KHz Clock 6 QSR Referenc Overview Chapter 4 CHAPTER 4 OVERVIEW BAsiC ARCHITECTURE The OSR contains 16 megabytes of Sound ROM which provide digitized acoustic and electronic samples These samples are organized into 17 sample groups of different types The groups are Piano String Noise Sound FX Chromatic Brass Voice Rhythm Organ Woodwind Ethnic Guitar Synth Drums Bass Wave Percussion Several functions filter amplitude envelope pitch envelope LFO multiple modulation sources signal processors etc can be used to process a sample A Sound is the combination of a sample with its associated processing A Program consists of up t
90. e display take a look at the first display example on the previous page D Use the MIDI CH gt buttons to select a MIDI channel from 1 16 The display will change to indicate the currently selected MIDI channel QSR Reference Manual 4 Your First Session Chapter 2 REALTIME PERFORMANCE FUNCTIONS The QSR provides various ways to control the sound as you are playing Try out some of these functions while playing your MIDI keyboard The sound of the effects can also change by using these controllers The effect of these realtime controllers varies from Program to Program in some they may not be active and in others they may have a dramatic effect e Velocity The volume and tonal quality of the sound will change according to how hard you play the keyboard e Aftertouch The action of pressing a key down after playing it is called aftertouch it is also sometimes referred to as Pressure since it corresponds to the amount of pressure being applied to the keyboard Pitch tone and volume among other things can be changed using aftertouch e Pitch Bend Wheel While playing a note you can move the PITCH BEND WHEEL of your keyboard up to raise the pitch or down to lower the pitch The amount of pitch bend available can be different for each Program e Modulation Wheel By raising the MODULATION WHEEL of your keyboard you can add expressive modulation effects such as vibrato or tremolo while you play The type of mod
91. e effects are routed back to the Outputs and sent through the shelving EQ effect OSR Reference Manual 12 Editing Effects Chapter 7 EQ The shelving EQ is only available in Configuration s 4 and 5 It provides bass and treble boost and effects the entire Main Output not just the Effects Sends Four EQ parameters are included Low Frequency range 30Hz to 180Hz Low Frequency Gain 0dB to 12dB High Frequency 3kHz to 10kHz High Frequency Boost 0dB to 9dB Lo EQ Frequency 30Hz to 180Hz Page 1 This allows you to adjust the cutoff frequency of the Lo EQ It can be set between 30Hz and 180Hz If the Lo EQ Gain parameter is set above OdB all frequencies below and including the one selected by the Lo EQ Frequency parameter will be affected Lo EQ Gain 0dB to 12dB Page 2 This controls how much boost will be applied to frequencies below and including the one selected by the Lo EQ Frequency It can be set between OdB and 12dB Hi EQ Frequency 3kHz to 10kHz Page3 This allows you to adjust the cutoff frequency of the Hi EQ It can be set between 3kHz and 10kHz If the Hi EQ Gain parameter is set above OdB all frequencies above and including the one selected by the Hi EQ Frequency parameter will be affected Hi EQ Gain 0dB to 9dB Page4 This controls how much boost will be applied to frequencies above and including the one selected by the Hi EQ Frequency It can be set between OdB and 9dB Mop The Mod Func
92. e sustain level until you release the note on the keyboard or decay to 0 at the Sustain Decay rate which is on page 2 of the envelope You can create a long plateau at the start of a note by setting the Sustain to 98 and the Decay to 99 This will cause the envelope to take the maximum amount of time to get from peak level to a level of 98 before the Sustain Release portion of the envelope begins Release 00 to 99 Page 4 Eventually you will let go of the note that you ve been holding either by releasing the note on the keyboard or releasing the sustain pedal if it was pressed It is at this point that the Release portion of the envelope takes effect The Release is the time that the envelope takes to get from the sustain level back down to nothing Setting the Release time to 0 is good for playing those short funky riffs that you hear ona clavinet Setting the Release time to 99 will take the envelope a very long time to reach zero level OSR Reference Manual 22 Editing Programs Chapter 6 Delay 00 to 99 Page 5 This is the amount of time that the envelope will wait before doing anything very useful if you want to affect one element of a sound sometime after the sound starts When the Delay is set to 0 the envelope attacks right away without any delay Play some notes while turning up the delay and see that the time between playing the note and hearing the effect of the Filter Envelope gets progressively longer as the
93. e that stored with the Program assigned to the selected channel However you can override this setting by selecting a different value thereby assigning the channel s panning between the left and right outputs Output Main Aux Off or PROG Page4 This determines the audio output assignment for the selected channel When set to PROG the channel will use the Output assignment of the Program However you can override this assignment by setting this parameter to something different To send the sound s output to the Main outputs select Main To send the sound s output to the Aux outputs select Aux When set to OFF the channel will not be sent to the outputs but can still feed an effect bus To send a sound to an individual output use Output in conjunction with Pan TIP Example Panning a sound full left and selecting the Aux outputs means that the sound will appear at only the left Aux output Effect Level 00 to 99 or PROG Page 5 This determines the amount of signal from the selected channel that will be sent to the effects using one of the four effects buses as determined by the Effect Bus parameter see below When set to PROG the effect level will be that stored by the channel s Program Effect Bus 1 2 3 4 or PROG Page 6 This determines which effect bus the selected channel will be routed to When set to PROG the effect bus assignment will be that stored by the channel s Program 1 2 3 or 4 overrides the Program
94. e will lower the amount of Pitch LFO level as more Aftertouch is applied FiL TER LFO The Filter LFO function is most often used to apply tremolo like or wah wah effects to a sound Q The following Filter LFO variables will affect the sound only if the FILTER LFO DEPTH on Page 6 of the FILTER function is set to a value other than 0 or if Filter LFO is a source in the MOD function Also note that the Filter LFO may have no effect if some other modulation source or setting has already pushed the filter cutoff frequency to its maximum Wave 8 choices Page 1 The waveform determines the shape of the LFO Select either Sine Triangle Square Up Sawtooth Down Sawtooth Random Noise or Random For a graphic representation of these waveforms see the diagram in the Wave section of the Pitch LFO description on page 76 Speed 00 to 99 Page 2 Controls the speed or rate of the LFO For fast modulation increase this value For slower modulation decrease this value Delay 00 to 99 Page 3 This is the amount of time that is to occur before the LFO fades in Sometimes it is desirable to have modulation come in a moment or two after a note has been played rather than starting instantly The higher the value the slower the LFO fades in Trigger Mono Poly Key Mono or Key Poly Page 4 The Trigger parameter determines how the LFO should be triggered or started There are four possible settings Mono Poly Key Mono and Key
95. eft Aux output PITCH The Pitch function lets you transpose the selected drum up or down one octave in micro step 1 4th of a half step increments and lets you modulate the drum s pitch with velocity Tune 12 00 to 12 00 Page 1 Determines the tuning of the selected drum 12 00 Velocity gt Pitch 0 to 7 Page 2 OSR Reference Manual 37 Editing Programs Chapter 6 Selects how much velocity will affect the selected drum s tuning 0 7 When this value is set to 7 the drum will be played sharp when the associated note is played hard when played soft the drum s tuning will be unaltered FILTER Velocity gt Filter 0 to 3 Page 1 The Filter function lets you control the brightness of the selected drum by modulating the filter frequency with velocity When set to 3 playing the associated note will result in a brighter sound more high frequencies while playing softer will result in a duller sound less high frequencies When this parameter is set to 0 velocity will have no affect on the filter AMP RANGE Velocity Curve 13 choices Page 1 Page 1 of the Amp Range function lets you select one of 13 velocity curves This determines how the drum will respond to the dynamics of your playing the keyboard A LINEAR curve is the norm whereby the increase in level is equal to the increase in velocity the velocity values increase as you play harder Many of the Velocity Curves make up sets to be used by 2 3 or 4 drums i
96. ell 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 lap Vibrasmak1 Vibrasmak2 Wood Block SndFX Rain 1 Rain 2 Bird Tweet Bird Loop Telephone Jungle 1 Jungle 2 Jungle 3 Jungle 4 GoatsNails ScrtchPull ScrtchPul2 ScrtchPsh1 ScrtchPsh2 ScratchLp1 ScratchLp2 ScrtchPLp1 ScrtchPLp2 ScrtchPLp3 ScrtchPLp4 Orch Hit Null Orch Dance Hit INull Dance Rez Zip RezAttack1 RezAttack2 RezAttkVel Zap Attk 1 Zap Attk 2 Zap Attk B 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 Rhythm 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 Be
97. envelope attacks right away without any delay Play some notes while turning up the delay and see that the time between playing the note and hearing the effect of the Amp Envelope gets progressively longer as the Delay control is turned up If the Delay is set above 99 the display will read Hold This indicates that the Delay stage of the envelope will wait indefinitely until the key is released before continuing on to the remaining envelope stages Attack Decay etc This requires that the Amp Envelope s Trigger parameter see next page is set to Freerun However when the Delay is set to Hold Freerun mode is forced on regardless of the Trigger parameter s setting Sustain Decay 00 to 99 Page 6 This is the amount of time that the envelope will take during the sustain stage to bring the level down to 0 If this is set to 99 the envelope will remain at the Sustain level until the note is released When set to 0 the envelope s level will immediately jump down to 0 upon reaching the sustain stage Trigger Normal Freerun Reset Reset Freerun Page 7 The Trigger mode determines how the envelope will function You may select either Freerun or Reset or both Reset Freerun or neither Normal When set to Normal the envelope will always start at its current level i e if another note had been played which triggered the envelope s cycle playing another note in the middle would not interrupt the cycle Also in Normal mode the
98. envelope will immediately advance to its release stage upon releasing the note When set to Freerun the envelope will complete its entire cycle even if the note is released in the middle When set to Reset the envelope starts at the beginning whenever a new note is played When set to Reset Freerun the envelope will start at the beginning whenever a new note is played and will complete its entire cycle even if the note is released in the middle OSR Reference Manual 25 Editing Programs Chapter 6 If a sound layer s Keyboard Mode parameter found in the Pitch Function Page 10 is set to Mono the Amp Envelope will only retrigger when playing legato if the Trigger Mode is set to either Reset or Reset Freerun Time Tracking On or Off Page 8 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 envelope s timing doubles or halves over a range of two octaves Sustain Pedal On or Off Page 9 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 shor
99. er The upper left section of the display will indicate which Program or Mix number is currently selected 00 127 in Program Mode 00 99 in Mix Mode In the example above Program 00 is selected e Name The upper right section of the display will indicate the name of the Program or Mix which is currently selected In the example above TrueStereo is selected e Bank The middle right section of the display directly below the Program s or Mix s name will indicate which Bank is currently selected f Pa i ori F if a card is inserted example above Preset 1 Bank is selected 3 In the e Channel 1 16 In Program Play Mode the QSR will transmit and receive on a single MIDI channel which will be indicated in the lower right section of the display The MIDI channel is selected by using the x MIDI CH P buttons In Mix Play Mode the QSR can transmit and receive on up to 16 MIDI channels The active channels will be shown in the display When a channel is played from messages received via MIDI a circle will appear around the channel number in the display In the example above MIDI channel 1 is selected and MIDI information is being received QSR Reference Manual 4 Overview Chapter 4 When EDIT is pressed the display enters Edit Mode which Edit Mode you are in depends on whether you were already in Program Mode or Mix Mode When in an Edit Mode the display will look something like this e Edit Mode The bott
100. er Program Mode or Mix Mode is selected In Program Play Mode the Q viri P buttons determine which MIDI channel the OSR will receive MIDI Program Change messages on as well as other messages like notes controllers etc The Program recalled will be the same number as the Program Change message that is received from whichever bank Preset or User is currently selected When a Program is recalled from the front panel the OSR will transmit the equivalent Program Change message on this same MIDI channel In Mix Play Mode when MIDI Program select is set to On Program Changes received on any of the 16 MIDI channels will be received by the same numbered MIDI channels in the current Mix The Mix itself will not respond to Program Changes on any MIDI channel When set to Channel 1 16 the OSR 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
101. er etes iter waded ana neii ii etel eg 21 Using an External DEQUENCED nate diaeta dinde a isse hs E abide 22 Using a Computer isseire inodore a atean o mite eene cerei br uten Lebe 23 IBM PCs and compatlbles eter etadeedee a iecit o kinni na 24 Macintosh cccccccssessccesessesessesecsececsececsecsesecsesecscsucuesecuesecsesecuesesassucursesaesesuesesatscatseaeaeeeees 24 Digital Audio Optical HOOKUP teet tette tereti oe ae eae rade tae desto 25 Recording Digital Audio sse ne nenne 25 AS KEIZ Insuxs dede ce bheitoieoiroieeitislere eee cem e te ien dori E EENE E 26 a COU GWT GUN issciinisussauaRESESRRASRENSRSRRRESRSRERRRRSNSRERRRRRSSRERRRRSRSRERRRRRNERERERRRRENUE M A pasiccArchitecture SERATE A meme n emagouadaanaaon deitas T 27 OS Poly uad REM 27 hu T 28 Program Play Mode eec pe enit terere aee RAEE eer Sudden eed t et 28 Mix Play Mode ettet nde tese iate E E A nte pae en dide ineat 28 Program Edie Mode erred eret rnm emere pedes 28 Mix Edit Mode eee eee rete e book P Pre S ee eet utes eec sere et 29 Effects Edit MOd6e rte nete te unen iden 29 Global Edit Mode teer tec hcec edet i a en ec 29 Store Mode eb e be eerte cre habea ami dera ce aee ciat Cra bei eei eese tea erede addenda 29 Compare Mode naectet endi bite immitto rrt densis tiens 29 The User Interface Display Functions Pages and Parameters sess 30 Abo t the Display tritt tente re
102. er is unavailable Diffusion 00 to 99 Page 14 Page 13 if Gated or Reverse type Diffusion determines the thickness of the reverb sound by adding more reflections to the reverb s decay With lower diffusion settings you may be able to actually hear the individual echoes that make up the overall reverb sound With higher diffusion settings the echoes increase in number and blend together washing out the reverb s decay Greater diffusion works better with percussive sounds whereas less amounts of diffusion work well with vocals and other sustained sounds DIFFUSION OF 0 DIFFUSION OF 99 rme mr rme mr TME Fewer reflections More reflections Note The illustration above reflects a Density setting of 0 OSR Reference Manual 24 Editing Effects Chapter 7 OVERDRIVE The Overdrive effect provides four parameters spread across four editing pages It is only used in Configuration 5 Overdrive Type Hard or Soft Page 1 This selects one of two Overdrive Types Soft and Hard The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive Also there will still be a slight bit of distortion when using the Soft setting if the signal feeding the Overdrive effect is below the Overdrive Threshold setting see below The Hard setting will only provide distortion when the signal feeding the Overdrive effect is above the Overdrive Threshold setting Overdrive Threshold
103. er the Mix your were auditioning before storing the Program still has the old Program number assigned if the edited Program was saved to a different Program number location Therefore you need to store the Mix as well Press MIX This selects Mix Play Mode Press STORE twice The Mix is now stored QSR Reference Manual 10 Overview Chapter 4 COPYING SOUNDS BETWEEN PROGRAMS Follow the steps below to copy one of the four Sound layers from one Program to another Program in the User Bank When copying Sounds between Programs the new Sound will replace the same numbered Sound in the destination Program i e Sound 3 will replace Sound 3 D Press PROG to select Program Play Mode then use the VALUE knob to select the Program Number that uses the Sound you want to copy If necessary use the BANK SELECT DOWN and UP buttons to select a different Bank Q Press STORE The STORE button will begin to flash Press CURSOR gt once to advance to Page 2 The upper section of the display will read Use the VALUE knob to select which of the four Sounds 1 4 you wish to copy from the currently select Program or to select the Program Number in the User Bank you wish to copy the Sound from 000 127 Press CURSOR gt once to advance the cursor to the Program number value in the lower section of the display Use the VALUE knob to select which of the four Sounds 1 4 you wish to copy t
104. ertouch e Mod Wheel e Pitch Wheel e MIDI Volume e Sustain Pedal e Pedall1 e Pedal2 e Controllers A D Mod Destination Page 2 Mod 1 amp Page 5 Mod 2 The Mod Destination is the parameter that will be controlled by the selected Mod Source Pages 2 and 5 let you select the Mod Destination for Mod 1 and 2 respectively The possible Destination parameters are e Pitch Speed e Pitch Depth e Pitch Level e Pitch Balance e Delay Time e Delay Feedback e Delay Level e Reverb Balance e Reverb Input e Reverb Decay e Reverb Low Decay e Reverb High Decay e Reverb Diffusion e Reverb Level e Overdrive Threshold e Overdrive Bright e Overdrive Balance e Overdrive Level e Lezlie Balance e Lezlie Level e Lezlie Speed e Lezlie Motor If the selected Configuration has a particular effect on more than one effect send for example Config 1 has a delay on each send then some Mod Destination parameters will be listed more than once For example the Delay Time parameter will appear four times D1 Time D2 Time D3 Time and D4 Time In the case of Pitch where you can choose from various pitch effects different parameters are available depending on the effect chosen However the Mod Destinations retain their names Example If the Resonator is the Pitch effect the Pitch Speed Modulation Destination controls the first parameter in the Resonator Tuning Mod Level Page 3 Mod 1 amp Page 6 Mod 2 The Mod Level is the amount
105. es MIDI controller 64 provide this modulation signal e Pedal1 Pedal 1 can be assigned to any MIDI controller from Global Edit Mode page 8 e Pedal 2 Pedal 2 can be assigned to any MIDI controller from Global Edit Mode page 9 e Pitch LFO This is the same modulation signal provided by the Pitch LFO The Frequency LFO and Amplitude LFO can also be selected as modulation sources e Pitch Envelope This is the same modulation signal provided by the Pitch Envelope The Frequency Envelope and Amplitude Envelope can also be selected as modulation sources e 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 e Trigrate This is a 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 slowly and less effect when playing quickly OSR Reference Manual 28 Editing Programs Chapter 6 e Controllers A B C D Four incoming MIDI controllers can be recognized by the OSR and used as modulation sources These controllers are assigned as A D in Global Mode see Chapter 8 e Tracking Generator This accepts the output of a signal processed by
106. es Program Mode or Mix Mode When you are auditioning Programs you will be in Program Play Mode When you are auditioning Mixes you will be in Mix Play Mode DC If you ever get lost press either PROG or MIX to get back to their respective Play Mode e Press the PROG button to select Program Play Mode In Program Play Mode the QSR plays a single Program The display looks like this Program Number Bank Name Program Name 4 MIDI Input Indicator Play Mode MIDI Channel The current mode PROG is displayed in the bottom left corner The current number 00 is directly above To its right can be f e Program s name in 0 and the currently selected Bank name 1 The current MIDI channel appears below the Bank name e Press the MIX button to select Mix Play Mode In Mix Play Mode the QSR 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 something like this Mix bids Mix ene MIX PROG Active MIDI Channels The current mode MIX is displayed in the bottom left corner The current Mix number 01 is directly above To its right can be found the Mix s name i SF and the currently selected Bank name 1 The Active MIDI Channels 1 2 and 3 are shown at the bottom In a Mix that uses all 16 MIDI channels such as the Mixes found in the General MIDI Bank the display would light up
107. esents the average amount of pressure applied by all keys Poly Pressure produces individual pressure messages for each key Program Change Sending a Program Change command from a sequencer or other MIDI keyboard can change synth patches automatically There are 128 Program Change command numbers Also note that not all units number programs consistently Some number them as 000 127 others as 001 128 and still others arrange programs in banks of 8 programs such as A1 A8 B1 B8 C1 C8 etc Pitch Bend This bends a note from its standard pitch Continuous Controller Footpedals breath controllers and modulation wheels can vary sounds as you play thus adding expressiveness MIDI allows for 64 continuous controllers these act like potentiometers in that you can choose one of many different values and 58 continuous switch controllers these can act like continuous controllers but some are assumed to choose between two possible states such as on off QSR Reference Manual 6 MIDI Supplement Appendix B Each type of controller is stamped with its own controller identification number Not all controller numbers have been standardized for specific functions but the following indicates the current list of assigned controllers Numbers in parenthesis indicate the controller range Function ND OF iQ n Jk m p E pd pd OO Oo ON ADK oo 32 63 64 65 66 67 69 80 81 82 83 92 93 94 95 96 97 98 99 100 101 1
108. estricted to a specific range of the keyboard This is ideal for creating splits e g bass in the lower octave and a half piano in the middle three octaves and strings in the upper octave The Lower Limit specifies the lowest note of the sound s keyboard range You can set the lower limit by holding 80 and tapping the key on the keyboard you want to set as the lowest note in the range High Limit MIDI note 000 to 127 C 2 to G8 Page 5 Specifies the highest note of the sound s keyboard range You can set the high limit by holding 80 and tapping the key on the keyboard you want to set as the highest note in the range QS8 Keyboard Range 1 CO C1 C2 C3 C4 C5 C6 C7 C8 G8 0 12 24 36 48 60 72 84 96 108 120 127 Program Sound Range Bysetting the lower limit above the high limit you can create a hole in the middle TIP e effect This makes the sound appear to have two zones All notes from the bottom of the keyboard to the high limit note will play and all notes from the lower limit to the top of the keyboard will play but the notes between the high limit and the lower limit will not play This can be further enhanced in Mix Mode by using the Range function in Mix Edit Mode to cap off the lower and high limits OSR Reference Manual 17 Editing Programs Chapter 6 Sound Overlap 00 to 99 Page 6 This determines how many voices can overlap on the same pi
109. etter than others and since patch cords were troublesome to deal with eventually these modules were wired together in a normalized configuration Synthesizers such as the MiniMoog Prophet 5 and others eliminated the need for patch cords by containing a normalized collection of sound modules including oscillators filter envelopes LFOs etc The QSR offers the best of both worlds The most commonly used normalized configurations are built in to every program for ease of programming In addition the QSR Modulation Matrix gives back much of the flexibility of a modular synthesizer allowing you to map various modulation sources to multiple destinations for special needs If you re a beginner all of the normalized pathways are easy to find as you gain experience you can explore more advanced features QSR Reference Manual 1 Editing Programs Chapter 6 How THE QSR GENERATES SOUND The OSR uses custom integrated circuits developed by the Alesis engineering team specifically for the OSR These resemble the types of chips used in computers and other digital devices In fact you can think of the OSR as a special purpose computer designed to generate and process audio Although the user interface maintains the metaphor of modules in fact all sounds are simply a set of numbers reflecting how you ve programmed the various sound parameters For example when you change the filter cutoff frequency you re not actually messi
110. f the reverb to sound very big but the tail of the reverb to be cut off very quickly Although this effect is not found in nature it works great for modern drums percussion and any quickly repeated transient source Reverse The Reverse Reverb type is an inverted reverb in which the volume envelope is reversed This means that the signal begins softly but grows louder until it is cut off rather than loud to soft as normal Pre Delay Time 0 to 299ms Pages 6 amp 7 Pre Delay is the slight delaying of the Reverb itself so that the dry signal more easily stands out from the Reverb A bit of Pre Delay can sometimes make certain instruments such as snare drums sound bigger Use page 6 to adjust the Pre Delay Time in 10ms intervals and or use page 7 to adjust the Pre Delay Time in 1ms intervals This Pre Delay is part of the Reverb itself don t confuse it with the separate Delay modules available under the Delay function OSR Reference Manual 23 Editing Effects Chapter 7 Pre Delay Mix 99 to 0 to 99 gt Page 8 This allows you to mix the amount of Pre Delay into the Reverb signal path This gives you the ability to hear a bit of the Reverb before the loudest part of the Reverb the Pre Delayed Reverb sounds This makes for bigger and smoother sounding Reverb settings Input Filter 00 to 99 Page 9 This adjusts the frequency of the low pass filter which comes before the Reverb input Lower the Input Filter value to rem
111. fect level LFO speed etc e Using velocity to increase or decrease the attack speed of an envelope so playing softly makes the sound fade in while playing hard causes an immediate attack e Using release velocity to increase 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 The MOD functions give you the freedom to go beyond the standard modulation sources built in to other functions Selecting the Modulator 1 to 6 With the cursor located beneath the Function field in the upper display use the VALUE knob to select one of the six modulators the same way you would select any other Program Edit Function All modulators work in the same way so only the pages of one will be described here Modulation Source Page1 Select from the following modulation sources e Note provides a modulation signal that corresponds to the note played on your keyboard controller higher keys give higher values Example Use this modulation source to obtain a different chorus sound in the upper and lower keyboard ranges e Velocity relates to how fast a key goes from the key up note off to the key down note on position and therefore represents the dynamics of your playing e Release velocity relates to how fast a key goes from the key down note on to the key up note off position Example Use this to affect the rate of a s
112. fect sends has controls for how much dry signal and how much effected signal are sent to the Reverb effect Example The Reverb 2 block allows you to send signal to the reverb from four different points in the second effects chain a the send input itself b the output of Pitch 2 c the input of Delay 2 or d the output of Delay 2 You can even send a combination of these to the reverb But to change any other reverb parameters you must return to editing Reverb 1 Each Pitch Delay and Reverb module has its own independent Mix output level i e how much of their output is routed directly to the Main Left and Right outputs The Mix function is where you determine how the effects will actually be heard Mix 1 for example is where you can control the outputs of Pitch 1 Delay 1 and Reverb 1 to the main outputs The Mix parameter controls how much an effect block feeds directly to the main outputs but doesn t control how much it feeds to any other blocks that may follow it For example when Pitch 1 s Mix control is set to 0 it is still available as an input to Delay 1 and Reverb 1 Think of the Mix function in the OSR s effects section as being similar to the effect return control on a mixing console For example if Effect Send 1 s Mix Reverb Output parameter is set to 0 you won t be able to hear reverb regardless of how much input you feed it from any of the effect buses QSR Reference Manual 8 Editing Effects Chapter 7
113. ffects Chapter 7 CONFIGURATION 3 LEZLIE AND REVERB MAIN LEFT REVERB D H a e MAIN RIGHT 1 a i i a T f TI213 I 2 314 MIX l BAL FX SEND 1 LEZLIE Te DELAY 1 BAL le i E isi e LAL H AMP e 2 PITCH 1 DELAY 1 REVERB 1 l BAL l FX SEND 2 e PITCH 2 i DELAY 2 BAL e e E La 7 m A AMP PITCH 2 DELAY 2 REVERB 2 BAL FX SEND 3 PITCH 3 e i DELAY 3 e BAL 4 Lt FAL i AMP PITCH 3 DELAY3 REVERB 3 BAL FX SEND 4 j DELAY 4 e 1 L AMP 2 DELAY 4 REVERB 4 Pitch 1 Delay 1 Lezlie Pitch 2 Delay 2 Mono delay Mono chorus Mono delay Stereo chorus Stereo delay Mono flange Ping pong delay Stereo flange Pitch detune Resonator Plate 1 Plate 2 Hall Room Hall Large Gate Reverse AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT Balance and level to Reverb 1 Pitch 3 Delay 3 Balance and level to Reverb 1 Resonator Mono delay Delay 4 Mono delay Reverb 4 Mix and level to Reverb 1 This Configuration is similar to Configuration 1 except it provides a stereo Lez
114. for Windows to find the ASDWIN OEM setup info Follow the instructions given by windows to install the driver SETUP FOR WINDOWS 95 Open Control Panels Select Add New Hardware Select NO to NOT have windows auto detect hardware Select Sound Video Game controllers as hardware type When prompted for device select Have Disk Navigate to the OEM setup in the ASDWIN directory Follow the Win95 instructions from there Please refer to the READ ME file which accompanies the Alesis MIDI driver MACINTOSH Connect one end of a DIN 8 cable to the QSR s SERIAL PORT connector and the other end to either the MODEM serial port or the PRINTER serial port depending on which one you are using for sequencing MIDI sequencing software for the Macintosh typically defaults to using the MODEM port but in actuality can be set to use either the MODEM or the PRINTER port or both If you have a printer connected you will want to use the MODEM port conversely if you have a modem connected but do not have a printer you will want to connect to the PRINTER port If however both a printer and modem are connected you will need to either temporarily disconnect one of them preferably the modem especially if the printer uses AppleTalk since AppleTalk must be disabled to use the PRINTER port for MIDI or purchase a multiple serial port box that will allow you to switch between the modem and the OSR 4 OSR Referenc Connections
115. ft note was played thus the two notes would overlap It is important to note that Sound Overlap can have a negative effect on polyphony If you have Sound Overlap set to 99 hold the sustain pedal and play a series of notes you will run through all 64 voices in no time By adjusting the Sound Overlap to a lower value you decrease the number of voices used by each new note and thereby ensure there are voices available to play other sounds if necessary OSR Reference Manual 18 Editing Programs Chapter 6 PITCH ENVELOPE The Pitch Envelope function can lead to dramatic effects since it can cause the pitch of a single key to change drastically over time It s typically used in special effect synthesizer programs but it may also be used more subtly in an acoustic program to simulate the characteristic of some instruments to go sharp on the initial attack especially when played hard Q The following Pitch Envelope variables will have an effect only if the PITCH ENVELOPE DEPTH on Page 7 of the PITCH function is set to a value other than 0 or if Pitch Envelope is a source in the MOD function Attack 00 to 99 Page1 This is the amount of time the envelope will take until it reaches its maximum output level Setting the Attack to 0 will make the pitch go to maximum immediately on hitting the key if the Delay is also set to 0 in Pitch Envelope Page 5 see next page a setting of 99 will result in a much slower attack taking m
116. gnal while page 2 controls the overall input level to the Reverb If Configuration 2 is selected and you select effect send 2 while the Reverb function is selected the display will look like this This 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 OSR Reference Manual 22 Editing Effects Chapter 7 REVERB PARAMETERS Use the CURSOR Pi button to move the cursor to the lower line of the display and turn the VALUE knob to advance the display through the remaining pages of the Reverb function However you must have the correct effect send selected 1 4 in order to get at the Reverb parameters in Config 1 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 Reverb Type 7 types Page 5 The OSR has seven different reverb types all stereo each of which simulates a different space or prod
117. h Program is made up of four Sound layers which you can edit individually or simultaneously In Program Edit mode you can e select which sample waveform from the 16 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 e set modulation routings whereby any parameter can be controlled via MIDI e 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 chorus or any combination of these QSR Reference Manual 2 Overview Chapter 4 Mix EbpiT 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 e set the output level effects level and pan of each Program in the Mix e select which Program s Effects Patch will be used by the Mix Note that you can select which Programs will be played by the different MIDI channels and by the keyboard in multiple layers or splits without entering Mix mode 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
118. he cursor to the Program number value in the lower section of the display Use the VALUE knob to select which of the four Sounds 1 4 you wish to copy to in the currently select Program or to select the Program Number in the User Bank you wish to copy the Sound to 000 127 Press STORE to complete the copy function OSR Reference Manual 40 Editing Programs Chapter 6 COPYING EFFECTS pc 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 current 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 D Press PROG to select Program Play Mode then use the VALUE knob to select the Program Number that uses the Effects you want to copy If necessary use the BANK SELECT DOWN and UP buttons to select a different Bank Press STORE The STORE button will begin to flash Press CURSOR gt three times to advance to Page 3 The upper section of the display will read Use the VALUE knob to select the Effects Patch of the currently selected Program or any Program 000 127 in the User Bank to copy from Press CURSOR gt once to advance the cursor to the Program number value in the lower section of the display Turn the VALUE knob to select the Program
119. he greater the effect for a given amount of aftertouch TIP Many acoustic instruments sound brighter as you play them more forcefully in particular brass gets brighter as you blow harder Using aftertouch to increase a sound s brightness can give more control and realism with acoustic instruments Filter LFO Depth 99 to 99 Page 6 At 00 the filter LFO has no effect Higher positive values increase the amount of filter LFO modulation Negative values give the same apparent effect but with reversed LFO phase i e if the filter cutoff frequency would normally be increasing with depth set to a positive number the cutoff would instead be decreasing at that same moment had the depth been set to a negative number Filter LFO parameters such as speed and wave shape are programmed from within the FLFO Function see page 74 Filter LFO is good for giving wah wah effects at slower LFO speeds and for adding TIP e shimmering with higher LFO speeds Filter Envelope Depth 99 to 99 Page7 The Filter Envelope is one of the most important settings in making a program Many programs will use the Filter Envelope to determine the tonal character of the sound over time attack decay sustain and release At 00 the filter envelope has no effect Positive values raise the filter from the baseline cutoff frequency according to the envelope shape and negative values similarly lower the cutoff frequency The higher the number negati
120. he sample used for note C3 for all notes in the range 1 PITCH mode is often used for layering a noise or drum sound behind another sound that is pitched for example to fatten up a bass guitar sound with a hint of kick drum or to have the same cymbal hit every time any note is played Alternatively 1 PMONO mode is a monophonic version of 1 PITCH Sometimes when playing a monophonic instrument you will not want the envelopes to retrigger when playing legato as this would sound realistic Imagine a flute player beginning each note in a phrase with a sharp breathy attack In reality the player would only attack the first note in the phrase this way Therefore if the Keyboard Mode is set to Mono the three envelopes Pitch Envelope Filter Envelope and Amp Envelope will only retrigger when playing legato if the envelope s Trigger Mode is set to either Reset or Reset Freerun OSR Reference Manual 13 Editing Programs Chapter 6 FILTER The Filter function lets you control the tone of each sound layer Filter Frequency 00 to 99 Page1 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 Signals with complex harmonic structures are most affected by the filter Examples A TIP e sine wave has virtually no harmonics so you will not hear any significant changes as long as the filter cutoff
121. he word Ms ti in the upper left line of the display the VALUE knob is used to select one of the four effects buses 1 4 e When the cursor appears to the right of the word in the upper line of the display the VALUE knob is used to select an Effect Function Configuration EQ Mod Lezlie Pitch Delay Reverb Overdrive and Mix e Similar to Function Groups in Program Edit or Mix Edit modes most Effect Functions consist of more than one page parameter When the cursor appears in the lower line of the display the VALUE knob is used to scroll through a Function s parameters The important thing to understand is the hierarchy of the displays Think of it as a three dimensional game of Chess where you can move among three different axes Each function has 1 or more pages But the number of pares a function has available will differ when another effect send is selected 2 example if you are using Configuration 1 and trying to edit the Reverb CETA you would need to have effect send 1 selected because that s where the Reverb is located So you not only have to be aware of how to select a function and a page but how to select the effect send as well Not all effects are available in each Configuration For example if you were to select the Pitch function on effect send 4 in Configuration 1 the display would read Editing Effects Chapter 7 This is because a Pitch module is available on sends 1 2 iid 3in Ca
122. ifferent key will shift the filter frequency to maintain the same harmonic structure Velocity 99 to 99 Page 3 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 e them more forcefully Adding a little positive velocity control over the filter can simulate more realistic acoustic sounds OSR Reference Manual 14 Editing Programs Chapter 6 Modulation Wheel Depth 99 to 99 Page 4 Determines how moving your controller s modulation wheel affects the filter cutoff frequency Example With positive settings moving a modulation wheel up raises the filter cutoff frequency and moving it down lowers the filter cutoff frequency With negative settings moving the modulation wheel up lowers the filter cutoff frequency and moving it down raises the filter cutoff frequency Aftertouch Depth 99 to 99 Page 5 At 00 aftertouch has no effect on the filter cutoff frequency Applying aftertouch with this parameter set to a positive value raises the filter cutoff frequency conversely applying aftertouch with a negative value lowers the filter cutoff frequency The higher the number either positive or negative t
123. iguration Each Configuration is a unique arrangement of multiple effect blocks distributed across the four effect sends Some effect sends may have three different effects pitch delay and reverb on them Configurations also determine where the signal to a block comes from and where the output of each block goes to the main outputs the next effect in line or even to an effect block belonging to another effect send The Configuration diagrams on the next six pages provide a crucial road map you ll need to guide you through the many paths that are possible in each configuration Refer to them as you program the effect The five Effect Configurations are Configuration 1 1 Reverb Configuration 2 2 Reverbs Configuration 3 Lezlie and Reverb Configuration 4 Reverb and EQ Configuration 5 Overdrive and Lezlie The Configuration function is used to select the Configuration for the Effects Patch you are editing While in Effects Edit Mode move the cursor to the Function field in the upper section of the display and turn the VALUE knob counterclockwise to select the Configuration function The display should look like this from Mix Edit Mode Press the CURSOR IP button to advance the cursor to the lower line of the display and turn the VALUE knob to select the Configuration As you scroll through the various Configurations each one s name will appear in the lower right section of the display The following is a r
124. imedia industry and to make simple the act of playing commercially produced MIDI sequences The General MIDI standard utilizes all 16 channels available in MIDI The OSR is a perfect General MIDI companion since its Mix Mode uses 16 channels Although many channels are commonly used for specific types of instruments Example Channel 1 is usually piano channel 2 is usually bass etc channel 10 is always used for drums General MIDI also standardizes the placement of sound types in a sound device s memory bank The OSR s GenMIDI Bank is designed specifically for General MIDI and organizes it sounds according to the General MIDI specification This means when a sequencer sends a MIDI program change message that is supposed to call up a particular sound the correct sound on the QSR will be called up even if the composer of the sequence used a different sound device The Programs in the GenMIDI Bank use the General MIDI names in some cases abreviated with the letters GM added to indicate their are designed specifically for use in General MIDI mode QSR Reference Manual 8 MIDI Supplement Appendix B There are three MIDI registered parameters which the OSR will recognize in Mix Play Mode when General MIDI Mode is enabled These are e MIDI Registered Parameter 0 Pitch Bend Sensitivity This will directly effect the Pitch Wheel Range parameter of all four Sounds of the Program on the received MIDI Channel of the Mix If the Channel is
125. ines which channel s Program s Effect Patch will be used for the entire Mix In other words when the Effect Channel is set to 3 the Mix will use the Effect Patch used by the Program assigned to channel 3 KEYBOARD MIDI The Keyboard MIDI Function allows you to turn on and off the MIDI and Keyboard switches for the selected MIDI channel MIDI In On or Off Page1 This determines whether the selected channel will respond to MIDI messages MIDI Out On or Off Page 2 In the OS7 and O68 this determines whether or not the selected channel will transmit MIDI messages However in the OSR this parameter has no effect it will be shown in lowercase letters in the display MIDI Group Channel On or Off Page 3 This determines whether or not the selected channel will respond to MIDI information that is received on the Group Mix Channel The Group Mix Channel is set globally for all Mixes and can be found in Global Edit Mode Page 13 For more information see page 117 QSR Reference Manual 4 Editing Mixes Chapter 5 CONTROLLERS The Controllers function lets you turn on and off the various MIDI controllers that can effect the selected MIDI channel The following four parameters determine whether or not specific types of MIDI information will be received or transmitted and are set separately for each Channel in the Mix These however are dependent on how each Channel has its MIDI parameters set see page 38 Pitch bend and Modul
126. information is received on it will play the channels in the selected Mix which have their Group parameter turned on OFF In this mode the individual channels used by the selected Mix will only be triggered by MIDI information received on its designated MIDI channel Example the sound on channel 1 will only respond to information received on MIDI channel 1 the sound on channel 2 will only respond to information received on MIDI channel 2 etc regardless of whether each channel s Group parameter has been turned on or off However the MIDI In parameter for each channel must be turned on in order for that channel to respond to incoming MIDI information on its own channel To turn on the Group function for a channel in a Mix D From Mix Play Mode press EDIT Q Turn the VALUE knob clockwise until the Press the CURSOR gt button once Turn the VALUE knob clockwise until page 3 is displayed Use the MIDI gt buttons to select one of the 16 channels in the Mix Press the CURSOR gt button once Turn the VALUE knob clockwise to turn on the Group parameter QSR Reference Manual Chapter 8 Global Settings CLock PAGE 14 The Clock function found on Page 14 of Global Edit Mode determines the sample clock rate the OSR will use Normally the OSR uses its own internal clock to determine the actual number of samples per second Remember the sounds in the OSR are based on digital recordings
127. ink of the diagram as a road map showing all possible paths from the starting points FX SEND 1 through 4 to the ultimate destinations LEFT and RIGHT outputs at the top of the page The dotted lines indicate the divisions between different functional blocks and the solid lines indicate signal paths between the blocks and controls The diagram is similar to a block diagram for a mixer with signal moving generally from the left to the right The number next to each function name represents one of the four effect sends For example Delay 2 refers to the Delay effect on effect send 2 This Configuration 1 provides three Pitch effects four Delay effects and one Reverb effect The Pitch effects are found on effect sends 1 2 and 3 but while the Pitch effects on sends 1 and 2 are stereo and their types are selectable Mono Chorus Mono Flange or Resonator the Pitch effect on send 3 is mono and can only be used as a Resonator Effect send 4 has no Pitch effect Each of the four sends has its own Delay effect but while the Delay effects on sends 1 and 2 are stereo the Delay effects on sends 3 and 4 are mono Each effect send can be routed through the Reverb Since there is only one Reverb effect it is found in the first effect send see next section on Reverb Reverb parameters that set the sound of the reverb itself such as high and low decay reverb type predelay etc are found only when 2111 is selected However each of the 4 ef
128. is detuned sharp the right is detuned flat and vice versa Once again this causes the effect to become more pronounced and dramatic DRY SIGNAL FEEDBACK 5 LEFT Y A CHORUSED OUTPUT DRY SIG NAL RIGHT CHORUSED FEEDBACK OUTPUT DRY SIGNAL Mono Flange First used in the 1960s Flanging was achieved by the use of two tape recorders that would record and play back the same program in synchronization By alternately slowing down one tape machine and then the other different phase cancellations would occur Since the slowing down of the tape machines was done by hand pressure against the flanges of the tape supply reels the term Flanging came into being The effect of Flanging is achieved by splitting and slightly delaying one part of the signal then varying the time delay again with an LFO The delayed signal is then mixed back with the original sound to produce the swishing or tunneling sound DELAY FEEDBACK DRY SIG NAL FLANGED OUTPUT DRY SIGNAL Many variables are available from varying the speed and depth of the LFO to feeding back part of the signal to make the effect stronger The Flanger s feedback can be either Normal or Inverted Use the Inverted setting for a more dramatic flange effect OSR Reference Manual 17 Editing Effects Chapter 7 Stereo Flange In the case of the Stereo Flange the signal is split into three parts with a dry signal and a
129. 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 Keyboad Track On or Off Page2 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 d
130. is parameter only appears when the Mono or Stereo Chorus or Flange are selected The Waveform Shape of the LFO can be changed from a sine waveform which provides a smoother more even sound to a square waveform which makes the Chorus or flange effect more pronounced Speed 00 to 99 Page3 This parameter adjusts the LFO Speed of all Pitch types with the exception of Pitch Detune and Resonator Depth 00 to 99 Page 4 This parameter adjusts the LFO Depth of all Pitch types with the exception of Pitch Detune and Resonator The LFO Depth which is the amount of pitch alteration can be adjusted to produce the desired effect Feedback 00 to 99 Page 5 This parameter adjusts the LFO Feedback of all Pitch types with the exception of Pitch Detune and Resonator A portion of the output of the Pitch section can be fed back into the input in order to make the effect more tonal or pronounced The following three parameters only appear if the Pitch type is set to Pitch Detune or Resonator respectively Detune 99 to 99 Page 2 Pitch Detune only If the Pitch type is Pitch Detune page 2 will have only this parameter This adjusts the tuning of the Pitch Detune effect This can be set between 99 and 99 in 1 cent increments Resonator Tuning 00 to 60 Page 2 Resonator only If the Pitch type is Resonator page 2 of the Pitch function will let you adjust the Resonator tuning This can be tuned from 00 to 60 Resonator Decay
131. ither an external SRAM or FlashRAM PCMCIA card or via MIDI System Exclusive into a data storage device or a MIDI sequencer See Chapter 9 for more information on external storage operations QSR Reference Manual 7 Overview Chapter 4 STORING The STORE button selects Store mode Store mode has several pages which you can scroll through by using the Q cursor P buttons Each page in Store mode provides a different type of storage copy or data transfer function When storing edited Mixes or Programs into the User Bank or a RAM Card Bank you will use the first page of Store mode for more information about the other pages of Store mode see Chapter 9 If you press STORE the display will look something like this Each edit mode type requires its own store operation For example if while making a new Mix you also make changes within one of the Programs such as lowering the filter level you must use the Store command separately from Mix Edit and Program Edit or Effect Edit in order to save your work Note When using the Store command from Effect Edit Mode the associated Program is stored This is because Effects are stored within their respective Programs If you select a different Mix while in Mix Edit mode or a different Program in Program Edit mode you will lose all changes you have made unless you perform a store first Q You can only store Mixes and Programs into their respective User banks The Preset banks a
132. keyboard s MIDI In which is the same as the sequencer s MIDI Out Note that the I O parameter Global page 11 must be set to MIDI MIDI In MIDIThru MIDI In y MIDI Out J JOO IOOOODO 00 DODOCOOCOCOCOCO cese bdo MIDI In ALESIS A O O C MIDI Out Aesi D If you are driving other MIDI gear such as an expander module or MIDI responsive signal processor you ll usually drive these from the sequencer if it has additional MIDI outputs However you can also use the QSR s MIDI THRU connector to drive other modules since the Thru carries a replica of what appears at the QSR s MIDI IN which is the same as the sequencer s MIDI OUT Note For most sequencer applications the OSR s Mix Group Channel parameter on page 13 in Global Edit mode should be set to OFF See page 112 for more information 2 OSR Referenc Connections Chapter 3 Usinc A COMPUTER The QSR can communicate directly with a computer via its SERIAL PORT connector This eliminates the need for an additional computer MIDI interface as well as the MIDI cables to connect to it The SERIAL PORT can be set to one of three modes depending on the computer you are using The mode is selected from Global Edit mode page 11 I O Mode Serial Port
133. l the way down before re initializing otherwise the zero position of the mod wheel will be incorrect To re initialize the Program Mix Buffers D Turn the power off While holding down both CURSOR gt buttons turn on the power Depending on the last selected Play mode the QSR will power up showing either Mix 00 or Program 00 of Preset Bank 1 with the word EDITED appearing in the lower left corner of the display All edit buffers have all now been initialized i e all Mix and Program parameters are reset to the default settings Re initializing will also reset all Global parameters 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 INITIALIZING SOUNDS You can also initiailize the individual Sounds of a Program on a per Sound basis This resets the parameters of only one Sound at a time for the selected Program without changing the remaining Sounds To re initialize the an individual Sound in the currently selected Program D Press STORE The STORE button will begin to flash Press CURSOR gt five times to advance to Page 4 The upper section of the display will read Use the VALUE knob to select which of the four Sounds 1 4 you wish to initialize 9 Press STORE to complete the initializing function OSR Reference Manual 12 Overview Chapter 4
134. lap Amp Range 6 60 Sound Type Voice 2 50 Sustain Amp Amp ENV 3 66 Sustain Filter Filter ENV 3 64 Sustain Pitch Pitch ENV 3 61 Sustain Decay Amp Amp ENV 6 67 Sustain Decay Filter Filter ENV 6 65 Sustain Decay Pitch Pitch ENV 6 62 Sustain Pedal Amp Amp ENV 9 68 Sustain Pedal Filter Filter ENV 9 65 Sustain Pedal Pitch Pitch ENV 9 63 Time Track Amp ENV Amp ENV 8 68 Time Track Filter ENV Filter ENV 8 65 Time Track Pitch ENV Pitch ENV 8 62 Track Input Track Gen 1 77 Track Points 0 10 Track Gen 2 12 77 Tuning Semitone Pitch 1 54 Tuning Detune Pitch 2 54 Tuning Type Pitch 3 54 Velocity Filter 3 56 OSR Reference Manual 12 Parameters Index Appendix C OSR Reference Manual Page in Parameter Function Page Manual Velocity Curve Crossfade Amp Range 1 58 Sound Group Voice 3 51 Sound Name Voice 4 51 Sound Volume Level 1 53 Nix EDIT PARAMETERS Display Page in Parameter Function Page Manual Aftertouch Controllers 2 39 Controllers A D Controllers 4 39 Effect Channel Effect 2 38 Effect MIDI Effect 1 38 Keyboard Keyboard MIDI 3 38 MIDI In Keyboard MIDI 1 38 MIDI Out Keyboard MIDI 2 38 Name Name 1 10 40 Pitchbend and Mod Wheels Controllers 1 39 Program Effect Bus Level 6 37 Program Effect Level Level 5 37 Program Enable Level 1 37 Program Output Level 4 37 Program Pan Level 3 37 Program
135. ld instead be decreasing at that same moment had the depth been set to a negative number Gate Mode Off or On Page 4 Mods 1 3 Only The Gate Mode function is available only on modulation routings 1 through 3 When Gate Mode is on the Modulator will only be routed while notes are being played In other words you can gate the effect of the Modulator so that it stops when you are not playing any notes This can be used on sounds with medium to long release times where an interesting effect like tremolo is intended to be active while holding notes down but deactivated as the sound is fading away after being released Quantize Mode Off or On Page 4 Mods 4 6 Only The Quantize Mode function is only available in modulation routings 4 through 6 When Quantize Mode is on the modulation effect will be stepped When off the effect will be smooth or linear Example If you were to route the Modulation Wheel to Pitch with an amplitude of 99 moving the Mod Wheel while the Quantize parameter was off would cause the pitch of a held note to slide up much the same way it does when the Pitch Bend Wheel is used However moving the Mod Wheel while the Quantize parameter was on would cause the pitch of a held note to rise in half step increments OSR Reference Manual 29 Editing Programs Chapter 6 PitcH LFO The Pitch LFO function is most often used to apply vibrato to a sound Q The following Pitch LFO variables will make a differe
136. lie effect on send 1 which emulates a rotating speaker effect commonly heard with organ sounds This is followed by a Delay effect before going to the single stereo Reverb effect Sends 2 and 3 have Pitch modules preceding Delay modules which are then routed to Reverb 1 Send 4 has only a Mono Delay effect which may also be routed to Reverb 1 QSR Reference Manual 10 Editing Effects Chapter 7 CONFIGURATION 4 REVERB AND EQ AUX LEFT AUX LEFT AUX RIGHT AUXRIGHT o G 6 1 L MAIN LEFT NAIN RIGET ote ete bt Ea i main RIGHT m9 hem a hen miim cmm ae ie cms n ime a a a iS m m d i I i i 2 ij 2 MIX 1 e SPE j gros ec T MEM CHE in ls ei ho eae Bt ord adc icai eee 737 BAL l FXSEND 1 4 piron ug i DELAY 1 p j mi AR I i REVERB1 E 1 T 1 I PITCH 1 i DELAY 1 REVERB 1 n es eal D espe Hroeuemecrees ss Para FX SEND 2 PITCH 2 z DELAY 2 ag o i Il 1 i i i l Ep i 1 T I 1 i PITCH2 1 DELAY 2 i REVERB 2 RI eee ee B ee ee Pitch 1 Delay Reverb 1 Mono chorus Mono delay Plate 1 Stereo chorus Stereo delay Plate 2 M
137. ls the envelope s output notes played hard will deliver a higher envelope output than notes played soft When set to 0 note velocity will have no effect on the envelope s output level Amp ENVELOPE The Amp Envelope function 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 the Pitch and Filter Envelopes the Amp Envelope is always fully active there is no parameter in the Amp Range function adjusting how much envelope is applied to the Amp Attack 00 to 99 Page 1 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 Amp Envelope Page 5 see below a setting of 99 will result in a much slower attack taking many seconds before the envelope gets to maximum Decay amp Sustain 00 to 99 Pages 2 amp 3 As soon as the attack portion of the envelope finishes when the level reaches maximum the envelope will decay decrease in level The level it reaches is set by the Sustain control how long it takes to get there is set by the Decay control In the special case where the Sustain level is all the way up 99 then there is no decrease and the Decay time segmen
138. n arise when you have one or more Mixes in the Bank you are transferring which use Programs from a ROM card in slot A Example Let s say Mix 00 in the User Bank uses a Program that s located on Card A Bank 1 the ROM card If the ROM card is taken out of slot A a RAM card is inserted and the User Bank is transferred to the RAM card s 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 OS you will find that Mix 00 no longer uses the Program on the Card as it was originally programmed to do Here are 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 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 in slot A 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
139. n in the display is the Program number selected as the Effect Channel Storing the Mix will save this number but will not store any changes you may have made to the Effect Patch itself e If STORE is pressed twice while editing a Program that is on the Effect Channel both the Program and its Effects will be stored e If STORE is pressed twice while editing a Program that is on a Channel other than the Effect Channel the edited Program will be stored without altering its previous Effects settings e If STORE is pressed twice while editing a Mix Mix Edit Mode only the Mix parameters will be stored not the individual Programs or the Effects Patch COPYING EFFECT PATCHES When you want a Program to use the Effects from a different Program you must copy that other Program s Effects into the Program you are working on This is done within Store Mode using the Copy Effect function First select the Program which contains the Effects you wish to copy And of course you can only copy Effects to Programs that are in the User Bank or on a RAM Sound Card Bank For more about copying effects see page 37 QSR Reference Manual 5 Editing Effects Chapter 7 CONFIGURATIONS A Configuration is essentially the starting point of any Effects Patch You must select the Configuration you are going to use before making any other edits since all routings and parameters change to their default settings each time you change the conf
140. n order to facilitate velocity crossfading whereby a different drum is played depending on how hard or soft the keyboard is played However each drum must be in a different sound layer of the Program in order to be stacked on the same note If you want to create your own velocity crossfading Program assign the related versions of the same drum samples Conga High and Conga Lo the same key in different Program Sound layers then use the appropriate velocity curves for each drum in a three way velocity split drum 1 would use curve 1 of 3 drum 2 would use curve 2 of 3 while drum 3 would use 3 of 3 For more details about the 13 velocity curves see the illustration on page 62 Note 000 to 127 C 2 to G8 Page 2 Each drum can be assigned to a single note which will trigger the drum sound when played While the Lower Limit parameter s value is selected in the display the cursor appears beneath it you can set the note assignment by tapping the key on the keyboard you want to set as the note for the drum Q Only one drum can be assigned to a single note within a single Program sound If more than one drum in a sound is assigned to the same note only the higher number drum will sound Note Range 0 to 3 Page 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 This parameter specifies the note range of the selected drum 0 to 3 Amp ENVELOPE Decay
141. n was designed to protect the unit during shipping Please retain this container in the highly unlikely event that you need to return the QSR for servicing The shipping carton should contain the following items QSR with the same serial number as shown on shipping carton AC Power Supply Computer CD ROM containing software This instruction manual plus lists of Mixes and Programs and Quick Start guide Alesis warranty card D It is important to register your purchase if you have not already filled out your warranty card and mailed it back to Alesis please take the time to do so now AC POWER HOOKUP The QSR works with the voltage of the country it is shipped to either 110 or 220V 50 or 60 Hz and comes with a line cord or power supply suitable for the destination to which the keyboard is shipped With the QSR off plug the small end of the power adapter cordinto the QSR s POWER socket and the male plug end into a source of AC power It s good practice to not turn the QSR on until all other cables are hooked up D Alesis cannot be responsible for problems caused by using the QSR or any associated equipment with improper AC wiring LiNE CONDITIONERS AND PROTECTORS Although the QSR is designed to tolerate typical voltage variations in today s world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and over time cause a failure There are three main ways to protect against
142. nce in the sound only if the PITCH LFO DEPTH on Page 6 of the PITCH function is set to a value other than 0 or if the Pitch LFO is a source in the MOD function Shape 8 choices Page1 The waveform shape determines the shape of the LFO Select either Sine Triangle Square Up Saw Down Saw Random Noise or Random Note that the two Sawtooth waves and the Random wave are unipolar and the rest are bipolar SINE TRIANGLE SQUARE UP SAW DOWN SAW RANDOM NOISE RANDOM Speed 00 to 99 Page 2 Controls the speed or rate of the LFO For fast modulation increase this value For slower modulation decrease this value Delay 00 to 99 Page 3 This is the amount of time that is to occur before the LFO fades in Sometimes it is desirable to have modulation come in a moment or two after a note has been played rather than starting instantly The higher the value the slower the LFO fades in 99 TIME QSR Reference Manual 30 Editing Programs Chapter 6 Trigger Mono Poly Key Mono or Key Poly Page4 The Trigger parameter determines how the LFO should be triggered or started There are four possible settings Mono Poly Key Mono and Key Poly When playing multiple voices in a single sound each voice has its own LFO However the LFO Trigger parameter determines whether or not they should be in sync and whether or not they can be retriggered independent from one another Mono All voices LFOs are
143. nd Mode messages System messages which do not have a channel number and are received by all units in a system include Common Real Time and Exclusive messages CHANNEL MESSAGES NIoDE MESSAGES There are two messages that determine the MIDI mode i e how a device will receive MIDI data The Omni message determines how many channels will be recognized Omni On means that data from all channels will be received Omni Off limits the number of channels usually to one The Mono Poly message deals with voice assignment within the synthesizer In Mono mode only one note at a time plays in response to voice messages in Poly mode as many voices can play notes as are available to play notes CHANNEL MESSAGES VoicE MESSAGES A synthesizer s voice is the most basic unit of sound generation Usually each voice plays one note at a time so the number of notes you can play at one time will be limited by the available number of voices MIDI messages that affect voices include Note On Corresponds to a key being pressed down values range from 000 lowest note to 127 highest note Middle C is 60 Note Off Corresponds to a key being released values are the same as note on Velocity Corresponds to dynamics values range from 001 minimum velocity to 127 maximum velocity A velocity of 000 is equivalent to a note off message Pressure Indicates the pressure applied to a keyboard after pressing a key Mono pressure Aftertouch repr
144. nd to information received on MIDI channel 1 the sound on channel 2 will only respond to information received on MIDI channel 2 etc regardless of whether each channel s Group parameter has been turned on or off However the MIDI In parameter for each channel must be turned on in order for that channel to respond to incoming MIDI information on its own channel QSR Reference Manual 7 Editing Mixes Chapter 5 To turn on the Group function for a channel in a Mix D From Mix Play Mode press EDIT If necessary use the MIDI CH gt buttons to move the cursor to the upper line of the display Then turn the VALUE knob until the Keyboard MIDI function is displayed Press the CURSOR gt button to advance the cursor to the lower line and turn the VALUE knob until Page 3 is selected You will see fi a in the middle of the display Use the lt q MIDI CH gt buttons to select a channel in the Mix 9 Press the CURSOR gt button to advance the cursor and turn the VALUE knob clockwise to turn on the Group parameter QSR Reference Manual 8 Editing Programs Chapter 6 CHAPTER 6 EDiTING PROGRAMS OVERVIEW Synthesizer programming is the art and science of shaping sounds in a particular way by altering the parameters of various modules Like music itself learning synth programming is an ongoing process Although this manual presents information about synthesizer programming no m
145. ng Generator does not step directly from one point to the next but ramps from point to point Tracking Input Page1 Select the input of the Tracking Generator from the following sources e NoteNumber Velocity e Release Velocity Aftertouch Poly Pressure Mod Wheel e Pitch Wheel MIDI Volume e Sustain Pedal Pedal 1 e Pedal 2 e Pitch LFO Filter LFO Amp LFO e Pitch Envelope Filter Envelope e Amp Envelope Random Trig Rate Controllers A D For detailed descriptions of each of these sources see the section Modulation Source in the Mod section on pages 73 75 Tracking Points 0 10 00 100 Pages 2 12 The remaining pages of the TRACK function control the levels of points 0 10 35 Editing Programs Chapter 6 PROGRAMMING DRUM SOUNDS To program a sound in Drum Mode you must first set the Sound Type to Drum for that particular sound in the Voice Function page 2 see previous section When editing a Sound in Drum Mode check the upper middle section of the display Gib through 1 to determine which Drum Sound layer you are editing regardless of which Function or Page is selected except Effect Name and Misc For an explanation of the basics of Drum Mode see page 53 VOICE The Voice function is where you choose the particular sample for the selected Drum 1 10 Similar to the normal Assign Voice function sounds are divided into groups After selecting the group on page 3 you then selec
146. ng with a filter you re telling the computer to simulate the effect of messing with a filter Each module is represented by parameters that appear on one or more display pages The VALUE knob lets you change these parameters All patching is done via software so the only patch cords you need are those that go to your mixer or amplifier You can take a snapshot of the OSR s parameters and save this in memory as a program The QSR comes with 512 factory preset programs and 128 user editable programs PROGRAM SOUND LAYERS The simplest method of programming is to take one voice process it through the filter and amp sections and if desired add some effect to it However more elaborate Programs usually consist of 2 to 4 layers with each layer making its own distinct contribution to the sound for example e An organ program with Program Sound 1 set to a sustained organ waveform and Program Sound 2 set to a percussion waveform with a fast decay e A piano program with one layer tuned normally and a second layer tuned an octave higher e A synthesizer program with one layer set to a sharp attack waveform a second layer set to an acoustic waveform and a third layer with a slow attack string waveform This may remind you of Mix Play Mode where playing the keyboard can sound up to 16 different Programs at once There are many similarities In Mix Play Mode you can make the same kind of layered Mix as you can with the four
147. nis easton 1 but not on send 4 as you can see in the chart on page 92 QSR Reference Manual 4 Editing Effects Chapter 7 STORING EFFECT PATCHES IN PROGRAM NIODE Effects are an extension of a Program So when you store a Program you store its Effects Patch along with it Once a Program s Effect Patch has been altered the display will show the word EDITED next to the Program Mix Mode indicator in the lower left corner of the display if in Program Mode the display will read PROG EDITED will appear if in Mix Mode the display will read MIX PROG EDITED will appear The EDITED indicates that the current Effect Patch in the edit buffer is different from what is stored in memory for the selected Program While in Effects Edit mode press STORE at any time to go to Store mode Store mode has several pages but the main storing function is found in the first page To store the edited Program along with its Effect Patch into the same location it was recalled from simply press STORE again and it will be stored To store the edited Program into a different location use the VALUE knob to select a Program number 000 127 in the User Bank If a RAM Sound Card is inserted use the BANK SELECT DOWN and UP buttons to select a different Bank When you re ready press STORE to save your Program STORING EFFECT PATCHES IN Mix MODE When in Mix Play Mode or Mix Edit Mode the Effect Program number show
148. nnections Check your audio cables if necessary swap cables Volume is turned down Raise the VOLUME knob No MIDI input in Mix Bad connections Check MIDI cables mode cannot control One or more channels Make sure the MIDI IN through MIDD MIDI IN switch is off parameter is turned on for the channel s you wish to control via MIDI Group Mix Channel is Make sure the Group Mix set incorrectly Channel Global p 13 is set to the same MIDI channel your master keyboard is transmitting on RE INITIALIZING If your unit behaves erratically or freezes the first step is to power down the unit and power it back up again Disconnect any cables connected to the MIDI IN jack and make sure that a sequencer or keyboard is not sending messages to the OSR that would make it behave erratically such as a long stream of pitch bend messages on 16 channels simultaneously If these steps do not solve the problem you must re initialize the software To re initialize the OSR hold down both x CURSOR P buttons while turning on the power This will reset all Global parameters to their default settings and will initialize all edit buffers so that all Mix Program and Effects parameters are reset to their default settings However none of the Programs Mixes or Effects are changed when re initializing the unit QSR Reference Manual 1 Troubleshooting Appendix A CHECKING SOFTWARE VERSION The current
149. o four sounds These sounds can be layered split over specific keyboard ranges or selectively overlapped The QSR has a User Bank of 128 Programs that you can modify plus 4 Preset Banks of 512 Preset Programs that are permanently installed in the OSR at the factory although the Preset Programs can be edited they must be stored into the User bank to permanently retain your changes Each Program is linked to its own Effects Patch Preset Banks 1 3 and the User bank are organized into 13 Sound Groups of 10 Sounds each and are spread out among the top right row of buttons on the front panel programs 00 09 are pianos 50 59 are basses and so on The GenMIDI bank however does not follow this arrangement it follows the program list of the General MIDI standard A Mix consists of up to 16 Programs each assigned to a specific MIDI channel and one Effect Patch The OSR has 100 Mixes in the User Bank plus 4 Preset Banks of 400 Preset Mixes This is extremely useful for multitimbral setups where the OSR plays back different sounds on different MIDI channels Because of its 64 voices and built in effects the OSR is often the only sound generator needed QSR PoLvPHONY The OSR provides 64 voice polyphony i e how many notes can play at once If a program uses one sound up to 64 notes can play at once Layering two sounds allows for 32 note polyphony and layering four sounds 16 note polyphony Layering is a powerful technique that allows yo
150. o in the currently select Program or to select the Program Number in the User Bank you wish to copy the Sound to 000 127 Press STORE to complete the copy function COPYING EFFECTS BETWEEN PROGRAMS Follow the steps below to copy the Effects Patch from one Program to another Program in the User Bank D Press PROG to select Program Play Mode then use the VALUE knob to select the Program Number that uses the Effects you want to copy If necessary use the BANK SELECT DOWN and UP buttons to select a different Bank Q Press STORE The STORE button will begin to flash Press CURSOR gt three times to advance to Page 3 The upper section of the display will read Use the VALUE knob to select the Effects Patch of the currently selected Program or any Program 000 127 in the User Bank to copy from OSR Reference Manual 11 Overview Chapter 4 Press CURSOR gt once to advance the cursor to the Program number value in the lower section of the display Turn the VALUE knob to select the Progra wish to copy the Effects to 000 127 or the Program ber in the User Bank you of the currently selected Press STORE to complete the copy function INITIALIZING THE PROGRAM NIIX BUFFERS If you want to start programming from scratch you can easily reset all parameters to their default settings by re initializing the Program Mix Buffers Make sure your mod wheel is al
151. oAcid 1 VeloAcid 2 VeloAcid 3 VeloAcid 4 Chirp Rez1 Chirp Rez2 Chirp RezV Quack Rez1 Quack Rez2 Quack Rez3 Quack Rez4 QuackRezV1 QuackRezV2 QuackRezV3 Uni Rez 1 Uni Rez 2 Uni Rez 3 Uni Rez V AnalogSqr1 AnalogSqr2 AnalogSqrV SyncLead 1 SyncLead 2 SyncLead V Seq Bass Seq BassV1 Seq BassV2 FatSynBass TranceBas1 TranceBas2 VeloTrance FunkSynBs1 FunkSynBs2 FunkSynBs3 FunkSynBsV FilterBass FM Bass FM FiltVel Soft Chirp Soft Rez Wave Pure Sine 10 Pulse 20 Pulse 50 Pulse Velo Pulse Mini Saw Saw Fltr 1 Saw Fltr 2 Saw Fltr 3 Saw Fltr 4 Saw Fltr 5 Saw Fltr 6 Saw Fltr 7 RezSaw UK RezSaw USA Acid Saw Velo Saw 1 Velo Saw 2 Velo Saw 3 Velo Saw 4 Velo Saw 5 Velo Saw 6 AcidRezSqr VelAcidWav MiniSquare Sqr Fltr 1 Sqr Fltr 2 VeloSquare Mini Tri Tri Filter Velo Tri Rectanglar Hard Sync HSync Rect BrightSync Rez Sync Ring Mod RingMod V1 RingMod V2 OctaveLock Diet Saw Band Saw Notch Saw HiPassSaw1 HiPassSaw2 HiPassSaw3 IHiPassSaw4 HiPassVel1 HiPassVel2 HiPassVel3 HiPassVel4 HiPassVel5 HiPassVel6 Cognitive Additive 1 Additive 2 VeloAdditv Digital 1 Digital 2 Digital 3 Digital 4 Science 1 Science 2 Science 3 Science 4 VelScience Metal Wave Inharmoncl Inharmonc2 QSR Reference Manual 9 Editing Programs Chapter 6 Noise WhiteNoise Spectral Crickets Rain Noise FiltrNoise ShapeNoise VeloNoise1 VeloNoise2 VeloNoise3 NoiseLoop1 NoiseLoo
152. om left section of the display will indicate the Edit Mode which is currently selected MIX EDIT Mix Edit Mode PROG EDIT Program Edit Mode The Edit Mode is selected using the EDIT button In the example above Program Edit Mode is selected e Function The upper middle section of the display indicates what you are editing This information will change depending on the Edit Mode you have selected In Mix Mode you can simply scroll through the available Functions using the VALUE knob while the underline cursor appears in the upper section of the display While in Program Mode you also have the Sound 1 through 4 to choose from in addition to the Function you wish to edit Example If you are in Program Edit Mode you can choose which of the Program s 4 sounds you wish to edit by turning the VALUE knob while the Sound parameter is selected the display will indicate the selected Sound like this The Sound is then followed by a colon and the selected Function In the example above Sound 1 is selected for editing and the Voice function is selected e Parameter Page In many cases when a Function is selected for editing there will be more than one parameter associated with it Each parameter is divided into pages The upper right corner of the display will indicate the currently selected page number The number of pages available depends on the Function you have selected to edit When the parameter is selected
153. on 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 This 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 99 to 0 to 99 gt Page 1 Sends 2 through 4 If Configuration 1 is selected and you select 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 Select 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 select 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 Page 1 controls the Balance between the Delay output and the dry effect send si
154. only retrigger when playing legato if the Trigger Mode is set to either Reset or Reset Freerun Time Tracking On or Off Page 8 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 decay and release segments This feature will result in only a subtle change The envelope s timing doubles or halves over a range of two octaves OSR Reference Manual 20 Editing Programs Chapter 6 Sustain Pedal On or Off Page 9 This determines whether or not a Sustain Pedal will have an effect on the envelope When turned on holding down the Sustain Pedal while playing short notes is virtually the equivalent to holding down those notes on the keyboard with some subtle but important differences If the Delay and Attack are set to 0 and either the Decay is 0 or the Sustain is 99 the envelope will immediately jump to the sustain decay stage if not already there when the note is released and the sustain pedal is held down If a long attack is set and the envelope 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 release segment If a long delay is set and the envelope ha
155. ono flange Ping Pong delay Room Stereo flange Hall Pitch detune Large Resonator Gate Reverse Pitch 2 Delay 2 Reverb 2 Mono chorus Mono delay Balance and level Stereo chorus Stereo delay to Reverb 1 Mono flange Ping Pong delay Stereo flange Pitch detune Resonator In this Configuration note that Sends 1 and 2 are identical to that of Configuration 1 However Sends 3 and 4 have been removed In their place we have added a shelving EQ module to the main outputs This means you have bass and treble boost controls for all sounds coming out of the main outputs not just the sounds routed to the Effects Sends Q If you are using Configuration 4 routing any of the Program s Sounds to Sends 3 or 4 will have no effect In other words it s as if you routed channels of your mixing console to effects sends that aren t connected to anything OSR Reference Manual 11 Editing Effects Chapter 7 CONFIGURATION 5 OVERDRIVE AND LEZLIE AUX LEFT AUX LEFT AUX RIGHT plc AUX RIGHT MAIN LEFT EQ H MAINLEFT MAIN RIGHT L MAIN RIGHT Sena i I PITCH 1 l DELAY1 1 BAL MM QE H n REVERB 1 o _ une gt 1 i 1 te FX SEND 1 L OVERDRIVE otp 1 I
156. or that function Each effect has stereo outputs which may be routed to the MAIN LEFT and RIGHT outputs using the Mix function this is not the same as a Mix but rather a function that mixes the effects outputs together QSR Reference Manual 1 Editing Effects Chapter 7 SELECTING AN EFFECTS PATCH IN Mix NODE Each Program has its own Effects Patch that is recalled when you select a Program in Program Mode However since a Mix can have up to 16 Programs one on each Channel you need to select which Channel s Program you wish to use the Effects Patch from To select an Effects Patch you must be in Mix Edit Mode by pressing the EDIT button once so that the display directly below the Mix Number reads either MIX EDIT or MIX EDITED D With the cursor in the upper display use the VALUE knob to select the Effect function then press CURSOR W to advance the cursor and turn the VALUE knob to select page 2 The display should look like this Press CURSOR gt to advance the cursor now you can select the Effect Channel by turning the VALUE knob This parameter lets you select which Channel 1 16 of the Mix whose Effects Patch you wish to use If you set the Effect Channel to 1 the Mix will use the Effects Patch used by the Program on Channel 1 The Effect Channel is also used to determine what MIDI channel the Effects Patch will be set to for receiving MIDI controller information for the Modulators see
157. ossible for different Mixes to share the same QSR Reference Manual 2 Editing Effects Chapter 7 CLIP Effects Patch So keep in mind that when you edit an Effects Patch it may affect the sound of any other Mixes that also use it ni n If the input to the effects becomes overloaded the symbol will temporarily appear in the upper display directly after the Mix Program name when in either Mix Play or Program Play Modes If this should occur try reducing the Input Levels for each of the effects devices in the current configuration and if necessary reduce the Effects Levels in the Mix and or Program EDITING EFFECTS QSR Reference Manual The Effects Patches themselves are not edited in Program Edit Mode or Mix Edit Mode but could you guess it Effects Edit Mode You can enter Effects Edit Mode from Program Mode by pressing the EDIT button twice or until the display looks something like this In Program Mode each time the EDIT button is pressed the display will alternate between Program Edit and Effects Edit Modes You can enter Effects Edit Mode from Mix Mode by pressing the EDIT button three times In Mix Mode each time the EDIT button is pressed the display will cycle between Mix Edit Program Edit and Effects Edit Modes MAVIGATING The basic method of navigating through the displays in Effects Edit mode is similar to that in Program Edit Mode and Mix Edit Mode e When the cursor appears near t
158. ound s release based on how fast you remove your fingers from the keys OSR Reference Manual 27 Editing Programs Chapter 6 e Aftertouch Pressing on the keys after they re down generates this control signal Aftertouch is also called channel pressure and represents an average of all keys being pressed This affects any keys that are held down The harder you press on the keys the greater the degree of modulation e Polyphonic Pressure This is similar to aftertouch but each key can respond to individual pressure messages Example Assign poly pressure to the sound s amplitude in a string ensemble patch You can then increase the level of selected notes of a held chord to pull some notes out of the chord e Modulation Wheel The Modulation wheel is traditionally assigned to LFO amount level so that rotating the wheel away from you introduces vibrato However it is also well suited to controlling timbre vibrato speed and many other parameters e Pitch Wheel Pitch wheel messages always control the oscillator pitch but can be tied to other parameters as well e MIDI Volume MIDI can produce a variety of controller messages see the MIDI supplement in the back of this manual Of these controller 7 which controls channel volume is one of the most frequently used Example Assign the filter cutoff as the destination and you can have the signal become less bright as it becomes lower in volume e Sustain Pedal Sustain pedal messag
159. ove high frequencies from the input signal before they go into the Reverb Decay 00 to 99 Page 10 The Reverb Decay determines how long the Reverb will sound before it dies away When using the Reverse Reverb type Reverb Decay controls the Reverse Time Low Decay and High Decay 00 to 99 Pages 11 amp 12 These two parameters allow the Decay Time to be set separately for both the low and high frequencies of the Reverb This means that you have control over the tonal shape of the Reverb itself being able to make the high frequencies die faster if the effect is too bright and being able to make the lows die faster if the effect is too boomy This allows you to simulate different surfaces of a room or hall with softer surfaces absorbing more high frequencies and smaller rooms having faster low frequency decay If the selected Reverb type is Gate the Low Decay parameter is unavailable Density 00 to 99 Page 13 Page 12 if Gated or Reverse type Density controls how the first reflection of the reverb effect will appear When set to 0 the first reflection is heard alone without any other reflections When set to 99 the first reflection appears to fade in and then fade out This is because a number of reflections will occur just before and just after the first reflection in addition to the remaining reflections heard after the first reflection the reverb sounds more dense If the select Reverb type is Large the Density paramet
160. ovides two PCMCIA EXPANSION CARD slots A or B which are found on the front panel These accomodate Alesis QCards and RAM cards The RAM Card is a type of PCMCIA SRAM or FlashRAM card it has 256K of memory and will store 4 complete banks A 512K PCMCIA card can store 8 banks When saving data to a card that contains a ROM READ ONLY bank the ROM data is found in bank 1 this means you cannot save anything into bank 1 Each PCMCIA Expansion Card slot can house a card with up to 8 Mb of RAM for a total of 16 additional megabytes of sound storage Savinc THE User Bank ro A PCMCIA Carp The entire contents of the QSR s User memory 100 Mixes and 128 Programs can be stored to an Alesis PCMCIA RAM card inserted into PCMCIA EXPANSION CARD slot A on the QSR Depending on the amount of RAM a particular card has up to 8 complete banks can be stored onto it D Insert a card into Sound Card slot A on the front of the QSR Alesis recommends that you use card slot A for all RAM card storage operations Q Press STORE Press CURSOR three times to select Page 8 of the Store function This selects the SAVE TO CARD option The display will look like this amp Use the VALUE knob to select a bank location on the card to store to A 1 4 etc If the card contains a ROM bank it will bshow as Bank 1 and you will be unable to store to it Press STORE to transfer the user bank data from the QSR onto the card
161. ow FltrNzLoop Romscrape Rain Telephone 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 Wave High Sine Mid Sine Low Sine HiWhitNoiz MidWhtNoiz LowWhtNoiz HiSpectral LoSpectral HiCrickets LoCrickets Inharm 1 Inharm 2 High Saw Low Saw High Pulse Low Pulse Hi AcidRez LowAcidRez Metal Wave HiMetlMute LoMetlMute Hi DistGtr LowDistGtr Hi PwrHarm LowPwrHarm Hi FunkGtr LowFunkGtr Hi MuteGtr LowMuteGtr HiElecHarm LoElecHarm ClsclHarm HiBassHarm MidBassHrm LowBassHrm HiSlpBass LoSlpBass Hi BassPop LowBassPop Muted Bass Stik Bass StudioBass JazzFingrd JazzPic Fretless AcousBass 60 s Combo Hi Piano Mid Piano Low Piano High Sync Low Sync Hi Synth LowSynth Ahhs High Ahhs Mid Ahhs Low Oohs High Oohs Mid Oohs Low TunePipeHi TunePipeMd TunePipeLo Rhythm 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 Loop
162. p2 NoiseLoop3 NoiseLoop4 NoiseLoop5 Voice VocalAhhs Soft Ahhs Ahhs Wave VocalOohs Soft Oohs Oohs Ahhs Ahhs Oohs Whistle Phonic Ethnic Gitar Sitar Wave Shamisen Koto DulcimerHd DulcimerMd DulcimerSf DulcimrVel DulcmrWave MandlnTrem Accordian Harmonica Banjo Kalimba Steel Drum Tuned Pipe Drums Stndrd Kit Rock Kit 1 Rock Kit 2 Dance Kit Brush Kit ElctricKit Tek Kit Rap Kit Street Kit MetalliKit HvyMtliKit VeloMtlKit Trip Kit 1 Trip Kit 2 Trip Kit 3 Wild Kit Octave Kit OrchstraKt Raga Kit FloppyKick PillowKick MasterKick Metal Kick Smoke Kick GrooveKik1 GrooveKik2 Sharp Kick Tek Kick AnalogKick Rap Kick FatWoodSnr HR Snare Master Snr PiccoloSnr Electrnicl Electrnic2 Rap Snare1 Rap Snare2 Tek Snare Brush Snr Crosstick Hi Tom Mid Tom Low Tom Cannon Tom Hex Tom Rap Tom Closed Hat HalfOpnHat Open Hat Foot Hat TekHatClsd TekHatOpen RapHatClsd RapHatOpen CricketCHH CricketTIK CricktsOHH FltrNoisCH FltrNoisOH Ride Cym Ride Bell Crash Cym Null Crash Splash Cym China Cym Rap Cymbal RapCymWave StndrdKtDM RockKit1DM RockKit2DM DanceKitDM BrushKitDM ElctrcKtDM Tek Kit DM Rap Kit DM StreetKtDM TripKit1 DM TripKit2DM TripKit3DM OctavKitDM OrchstraDM Percus 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 RapCowb
163. pe which affect how each will function in the Program You can layer these sounds together or divide them into regions of the keyboard or a combination of these things The following diagram illustrates the signal flow within each QSR Program MIDI Input Filter LFO LFO LFO Range Voice Filter gt Amp Pan Output AuxL 1 1 1 gt AuxR Pitch Filter Amp Envelope Envelope Envelope Ly Processor t t t Level Buss reverb delay chorus etc Assignable Modulation Sources velocity aftertouch modulation wheel pitch bend etc When editing a Program check the upper middle section of the display determine which sound layer you are editing Let s look at each module s function in detail QSR Reference Manual 3 Editing Programs Chapter 6 VoicE This digitally based oscillator provides the actual raw sounds from the 16 megabyte library of on board samples The oscillator s pitch can be tuned to a fixed frequency or modulated Modulation is the process of varying a parameter dynamically over time the oscillator pitch can be modulated by envelope keyboard pressure pedal LFO and other control sources described later Note that the waveforms in the OSR are different from those found in samplers or many sample playback units Because the QSR has its own filter module and
164. pth 99 to 99 Page 7 This is the modulation amount of Aftertouch over the Filter LFO s Level A positive value raises the level as more Aftertouch is applied A negative value will lower the amount of Filter LFO level as more Aftertouch is applied Amp LFO The Amp LFO function is usually used to add tremolo to a sound Q The Amp LFO variables will have an effect only if the AMP LFO DEPTH in the AMP function page 3 is set to a value other than 0 or if Amp LFO is a source in the MOD function Wave 8 choices Page 1 The waveform determines the shape of the LFO Select either Sine Triangle Square Up Sawtooth Down Sawtooth Random Noise or Random See the diagram in the Wave section of the Pitch LFO description on page 76 Speed 00 to 99 Page 2 Controls the speed or rate of the LFO For fast modulation increase this value For slower modulation decrease this value Delay 00 to 99 Page 3 This is the amount of time that is to occur before the LFO fades in Sometimes it is desirable to have modulation come in a moment or two after a note has been played rather than starting instantly The higher the value the slower the LFO fades in Trigger Mono Poly Key Mono Key Poly Page 4 The Trigger parameter determines how the LFO should be triggered or started There are four possible settings Mono Poly Key Mono and Key Poly A description of these settings is found in the Trigger section of the Pitch LFO descrip
165. r more Programs in the Mix the edits you make are entered into a separate buffer for each Program in the Mix Note however that you DO have to store each edited Program into the User bank in the same or different Program number location before selecting a different Mix or your changes will be lost The same goes for editing the Effects which will be stored along with its associated Program into the User Bank If you select another Mix before storing your changes will be lost QSR Reference Manual 2 Editing Mixes Chapter 5 LEVEL SETTING FOR EACH PROGRAM The Level function of Mix Edit is used to control several parameters that deal with the audio output of the selected channel Parameters in the Level Function s group include Volume Pan Output Effects Send Level Effects Bus and Program Enable Program Enable On or Off Page1 This determines whether the selected channel is enabled or disabled When disabled no sound will be heard The Channel indicator in the display for a disabled channel will not appear CQ Even if a channel is enabled it will not play unless the proper settings in the RANGE LOW HIGH and MIDI KEYBOARD functions are made see pages 42 amp 44 Program Volume 00 to 99 Page 2 This sets the overall volume for a channel Higher numbers give higher levels Program Pan 3 to 3 gt or PROG Page 3 This determines the pan position of the selected channel When set to PROG the Pan setting will b
166. ral MID reeks eee tret tette terere tee retur bo toe tiene tee ete teres estet 113 Enabling General MIDI Mode via MIDI seseeeeeeee eee 114 Controllers A D Assignr ent ette a recie rire e rester deer eroe 114 Pedals Tand 2 Assignment enda dede tdt adam aetate it gerers 114 Using a Pedal to Control Volume or Modulation sse 114 MIDE Program Select tane rete e heim meia e ta e e ee un 115 Receiving Transmitting Bank Change Messages sss 115 Input Output Modes zirina a diei tire eriete ebbe see i eed eed 116 h2lpNGIAS 117 MIDI Group Channel 4 teet sete ree rte entere rete e tier a a deron 117 ecd PP it aah nt Netra eh 118 OSR Reference Manual 5 Table of Contents 9 MIDI Transfer And Storage Operations 119 Using PCMCIA Expansion Cards sse eee eene nennen nene 119 Saving the User Bank to a PCMCIA Card sss eene 119 Loading a Bank from an External Card ssssssssseeeee eene nennen 120 Storing an Individual Program or Mix sse nennen 120 Loading an Individual Program or Mix sse eene 121 Card Storage RAMificatiOlis iette eet ceteris cet eet reeee eine idera 121 Saving Programs via MIDI Sys Ex nen nennen 122 Appendix A Trouble Shooting 025 Trouble Shooting Index e
167. ram Mode which is your edited Program D Press STORE The upper section of the display will read E where XXX is a User Program number from 000 127 Use the VALUE knob to select the Program Number you noted in step 5 9 Press STORE again The Program is now stored QSR Reference Manual 9 Overview Chapter 4 To audition Programs before overwriting them with STORE When editing a Program in Mix Play Mode While in Mix Program Edit mode press PROG This selects Program Play Mode retaining your edits to the Program in Mix Edit Use the BANK SELECT DOWN and UP buttons to select the User Bank If a RAM card is inserted use the BANK SELECT DOWN and UP buttons to select a Card Bank Use the VALUE knob to scroll through the Programs until you find one you wish to overwrite with the new edited Program Take note of the number Press MIX This recalls the edit buffer in Mix Mode which contains your edited Program Press EDIT twice until PROG EDIT appears under the MIX number in the display Press STORE The top line of the display will read 5a MME where XXX is a User Program number from 000 127 Optional Y the location you noted was on a RAM card use BANK SELECT UP to select the Card Bank Use the VALUE knob to select the Program Number you noted in step 5 Press STORE again The Program is now stored At this point your edited Program is stored howev
168. rant rre teet tte reet te fete dei tee tabat een 125 Reunualizing n eter tetti Ue inset e Pt Fn oet ie en ie bereits 125 Checking Software V ersiOn ie eee emt tee b o De Hara Be ederet 126 Mairit nance Serye a aundatieitstenteeteiteticbev ute elec tercie eee Ec demi re in ee 126 Cl anmg neenon detogepedspoededudeaqueqadudeaeaisdabudencame 126 Obtaining Repair Service ono an iE tee bete eia cedet 126 Appendix B MIDI Supplement 129 MIDI Base ee ete Etre eri ne ert o eee ee eee aede eda ee ue ver nere cise 129 MILD Hard Ware 252 aeree tetti ertet eee ee tert te et te e te E ete heise Beaty 129 MIDI Message D 88168 5 5 tete etm rient ene n coder e ee eec i eire eser 130 Channel Messages Mode Messages sss ee eene 130 Channel Messages Voice Messages een eene 130 System Common Messages arises ioira ier ne ride edere RM ira Tias 132 General MID eet itii tieceteceiecete oes ete eser liest sepes tees teste tees sistves evt beue etes 132 Appendix C MIDI IMPLEMENTATION CHART ES rr t Appendix D Parameters TL uii iii2222220222222222222222232222225 00 40 25 Program Edit Parameters za eth aee tee ela ee eee tene ner ene eres 135 Mix Edit Parameters ee ect E A T eee 137 OSR Reference Manual 6 Setting Up Chapter 1 CHAPTER 1 SETTING UP UNPACKING AND NSPECTION Your QSR synthesizer module was packed carefully at the factory The shipping carto
169. re permanently stored in ROM and cannot be saved over STORE A PROGRAM OR Mix D While in either Program Mode or Mix mode after making your edits press the STORE button The STORE button will begin to flash Optional Select the memory Bank in which you want to store the Program or Mix into by first pressing the CURSOR button and then using the VALUE knob to select a Bank Once a Bank has been selected press CURSOR Po move the cursor back to the Program Mix Number field If no RAM Card is inserted you will only be able to select the User Bank Use the VALUE knob to select the Program Mix location 00 127 in which you want to store the Program or Mix into Press STORE again to complete the operation Or Press any other button to cancel out of the Store operation without storing Q Storing a Mix only stores the Mix parameters not the individual Programs or Effect Patch used in the Mix If you have edited any of the Programs in the Mix or the Effects Patch you must store them separately QSR Reference Manual 8 Overview Chapter 4 To AUDITION PROGRAMS BEFORE STORING To look for available memory locations to permanently store your Program into you can move between Program Mode and Mix Mode without losing your changes This is because Program Mode uses a Program edit buffer and Mix Mode uses its own Mix edit buffer along with 16 additional Program edit buffers These buffers are retained when
170. ree way velocity split sound 1 would use curve 1 of 3 sound 2 would use curve 2 of 3 while sound 3 would use 3 of 3 INVERTED MAXIMUM MINIMUM VELOCITY VELOCITY VELOCITY 10F2 20F2 20F3 VELOCITY VELOCITY VELOCITY VELOCITY 12 10F4 20F4 40F4 VELOCITY VELOCITY VELOCITY Aftertouch Depth 99 to 99 Page 2 At 00 aftertouch has no effect on the amplitude Applying aftertouch with this parameter set to a positive value raises the amplitude conversely applying aftertouch with a negative value will make the sound softer the harder you press The higher the number either positive or negative the greater the effect for a given amount of aftertouch TIP Use aftertouch to swell the amplitude of brass and horn parts OSR Reference Manual 16 Editing Programs Chapter 6 Amp LFO Depth 99 to 99 Page3 At 00 the Amp LFO has no effect Higher positive values increase the amount of LFO modulation Negative values give the same apparent effect but with reversed LFO phase i e if the amplitude would normally be increasing with depth set to a positive number the amplitude would instead be decreasing at that same moment had the depth been set to a negative number Amp LFO parameters such as speed and wave shape are programmed within the Amp LFO Function see page 75 TIP Amp LFO set to a triangle wave gives tremolo effects Lower Limit MIDI note 000 to 127 C 2 to G8 Page 4 Each sound can be r
171. s 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 a Sustain Pedal will have no effect on the envelope Level 00 to 99 Page 10 This is the overall output level of the envelope If this is set to 00 the Pitch Envelope 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 A When selecting Pitch Envelope Level as a modulation destination set the Pitch TIP e Envelope level to 00 if the Modulation Level is above 0 or set the Pitch Envelope level to 99 if the Modulation Amount is below 0 Velocity Modulation 00 to 99 Page 11 This determines how keyboard dynamics will affect the envelope level When set to 99 note velocity controls the envelope s output notes played hard will deliver a higher envelope output than notes played soft When set to 0 note velocity will have no effect on the envelope s output level OSR Reference Manual 21 Editing Programs Chapter 6 FiLTER ENVELOPE The Filter Envelope function is crucial whenever you want the tonal quality of a note to change over time differently from its overall level Example When you want the initial at
172. sale Do not return products to the factory unless you have been given specific instructions to do so QSR Reference Manual 3 MIDI Supplement Appendix B APPENDIX B MIDI SUPPLEMENT MIDI BAsics Most current electronic instruments and signal processors including the OSR contain an internal computer Computers and music have been working together for decades which is not surprising considering music s mathematical basis consider frequencies harmonics vibrato rates tunings etc In the mid 70s microcomputers became inexpensive enough to be built into consumer priced musical instruments They were used for everything from sound generation to storing parameters in memory for later recall In 1983 the MIDI Musical Instrument Digital Interface specification was introduced to better exploit the computers inside these new musical instruments primarily to ensure compatibility of equipment between manufacturers MIDI expresses musical events notes played vibrato dynamics tempo etc as a common language consisting of standardized digital data This data can be understood by MIDI compatible computers and computer based musical instruments Before electronics music was expressed exclusively as written symbols By translating musical parameters into digital data MIDI can express not only the types of musical events written into sheet music but other parameters as well such as amount of pitch bend or degree of vibrato
173. selected using the MIDI CH Pi buttons the word EDITED will appear below the Mix number in the lower left section of the display if this parameter is received However if you are viewing the Pitch Wheel Range parameter in the display Program Edit Mode Pitch Function Page 4 the display will not be updated to reflect the new setting If you go to another Page or Function and then return to it the display will now reflect the updated setting e MIDI Registered Parameter 1 Fine Tune This will directly effect the Detune Amount parameter of all four Sounds of the Program on the received MIDI Channel of the Mix If this MIDI registered parameter is received the OSR will automatically make sure that all four Sounds of the Program have their Detune Type parameter set to Normal Program Edit Mode Pitch Function Page 3 If the Channel is selected using the MIDI CH Pi buttons the word EDITED will appear below the Mix number in the lower left section of the display if this parameter is received However if you are viewing the Detune Amount parameter in the display Program Edit Mode Pitch Function Page 2 the display will not be updated to reflect the new setting If you go to another Page or Function and then return to it the display will now reflect the updated setting e MIDI Registered Parameter 2 Coarse Tune This will directly effect the Tune Semitone parameter of all four Sounds of the Program on the received MIDI Channel
174. 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 Level 00 to 99 Page 10 This is the overall output level of the envelope If this is set to 00 the Filter Envelope 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 When selecting Filter Envelope Level as a modulation destination set the Filter TIP e Envelope level to 00 if the Modulation Level is above 0 or set the Filter Envelope level to 99 if the Modulation Amount is below 0 Velocity Modulation 00 to 99 Page 11 This determines how keyboard dynamics will affect the envelope level When set to 99 note velocity contro
175. software version may be determined by simultaneously pressing both cursor Pi buttons The OSR will momentarily indicate the current software version installed in the display MAINTENANCE SERVICE CLEANING Disconnect the AC cord then use a damp cloth to clean the module s metal and plastic surfaces For heavy dirt use a non abrasive household cleaner such as Formula 409 or Fantastik DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE SWITCHES AND CONTROLS Spray onto a cloth then use the cloth to clean the unit REFER ALL SERVICING TO ALESIS We believe that the OSR is one of the most reliable modules that can be made using current technology and should provide years of trouble free use However should problems occur DO NOT attempt to service the unit yourself The full AC line voltage as well as high voltage high current DC voltages are present at several points within the chassis Service on this product should be performed only by qualified technicians THERE ARE NO USER SERVICEABLE PARTS INSIDE OBTAINING REPAIR SERVICE Before contacting Alesis check over all your connections and make sure you ve read the manual Customers in the USA If the problem persists call Alesis USA at 1 800 5 ALESIS and request the Product Support department Talk the problem over with one of our technicians if necessary you will be given a repair order RO number and instructions on how
176. splay and will cycle in the following order USER PRESET1 PRESET3 PRESET2 GenMIDI and optionally CARD A 1 CARD A 2 etc Each bank contains its own unique Programs and Mixes Program 10 in Preset Bank 1 is different from Program 10 in Preset Bank 3 although they can be and are usually related sounds A Mix may contain Programs from any bank The BANK SELECT UP and DOWN buttons change the current bank from the front panel and MIDI Bank Select commands may also be used to select any of the 640 Programs on board or additional card programs Preset and General MIDI banks are permanently burned in at the factory User banks and Card banks from an SRAM card may be changed by the user If you edit a Preset Program or Mix it can be saved to a User or SRAM card bank only ABOUT SOUND GROUPS Preset Banks 1 3 and the User bank are organized into 13 Groups of 10 Sounds each Programs 00 09 are pianos 50 59 are basses and so on The GenMIDI bank however does not follow this arrangement it follows the Program list of the General MIDI standard Programs on some sound cards may not follow that arrangement either depending on the card type QSR Reference Manual 2 Your First Session Chapter 2 PLAYING THE QSR The OSR 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 PROGRAM NIODE AND Mix MoDE The QSR is always in one of two mod
177. ster Tuning and Program Change Mode Chapter 9 MIDI Transfer and Storage Operations Discusses MIDI functions and how to store sounds either to a MIDI device or to a RAM card Appendices MIDI basics trouble shooting maintenance and service information MIDI Implementation Chart and an Index Conventions The buttons knobs and rear panel connectors and switches are referred to in this manual just as their names appear on the QSR using all capital letters and in brackets Example PROG button x CURSOR and CURSOR Pi buttons VALUE knob etc When something important appears in the manual an icon like the one on the left will DC appear in the left margin This symbol indicates that this information is vital when operating the QSR Mac MacOS and Macintosh are registered trademarks of Apple Corporation OSR Reference Manual Table of Contents CONTENTS 1 Setting Up metr d Unpacking and Inspection c nicus eec a n aaea GIOI I HAS HMM IER AaS 7 AC BOW aO S EEE teni eee ecetetertebeet pe ee betebeeete te ved eek ee ao et ete cobi e evt eene e eet eie cde ere 7 Line Conditioners and Protectors eese eene nnne tese na 7 Basic Audio EHIookup perti ete eme ade nere eerie tede aa 8 About Audio Cables eere cre tne eee ed aetas bees deste oak ous eden 9 2 Your First Session ccc er eruuunnannanananaananananaananananaananananaaaas VAD Powerng Up dust ens esiti icis sis vs e
178. struments 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 DECAY SUSTAIN LEVEL RELEASE ATIACK rm mr d SUSTAIN DECAY TME NOTEON NOTE OFF Ll ABOUT SIGNAL PROCESSING The QSR features a signal processing section based on the Alesis QuadraVerb 2 It is a complete digital signal processing unit with four input buses simultaneous multiple effects and flexible signal routing Sound eel perar lt e Processor M gt reverb delay chotus etc Effects parameters are edited separately from either the Program or the Mix using Effects Edit Mode more in Chapter 6 In Program Edit Mode each of the four sounds in the Program has its own Effect Level control and can be assigned to any one of the four effect buses Effects settings Effect Level and Bus information are saved with the Program when you store it back into memory QSR Reference Manual 6 Editing Programs Chapter 6 DRUM MODE Any one or all of the four sounds in a Program can be put into Drum Mode The Drum Mode parameter is found in the Voice Function Note that Drum Mode isn t the only way to hear drums or percussion from a Program In Keyboard mode if you select a kit such as Rock Kit 1 as the voice of a Program sound an entire arrangement of preset pre mapped drum so
179. t is bypassed Whatever level the sustain is set to is the level that the decay section of the envelope will head for Depending on the setting of OSR Reference Manual 24 Editing Programs Chapter 6 the Sustain Decay control see below the envelope will either hold at the sustain level until you release the note on the keyboard or decay to 0 at the Sustain Decay rate which is on page 2 of the envelope You can create a long plateau at the start of a note by setting the Sustain to 98 and the Decay to 99 This will cause the envelope to take the maximum amount of time to get from peak level to a level of 98 before the Sustain Release portion of the envelope begins Release 00 to 99 Page4 Eventually you will let go of the note that you ve been holding either by releasing the note on the keyboard or releasing the sustain pedal if it was pressed It is at this point that the Release portion of the envelope takes effect The Release is the time that the envelope takes to get from the sustain level back down to nothing Setting the Release time to 0 is good for playing those short funky riffs that you hear on a clavinet Setting the Release time to 99 will take the envelope a very long time to reach zero level Delay 00 to 99 Page 5 This is the amount of time that the envelope will wait before doing anything very useful if you want to affect one element of a sound sometime after the sound starts When the Delay is set to 0 the
180. t 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 Level 00 to 99 Page 10 This is the overall output level of the envelope If this is set to 00 the Amp Envelope 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 When selecting Amp Envelope Level as a modulation destination set the Amp TIP Envelope level to 00 if the Modulation Level is above 0 or set the Amp Envelope level to 99 if the Modulation Amount is below 0 MAME
181. t the sample within the group on page 4 Here is a chart listing the various drum samples in their respective groups Group Voice Kick FloppyKik1 FloppyKik2 FloppyKikV MasterKik1 MasterKik2 MasterKikV MetalKick1 IMetalKick2 MetalKickV GrooveKik1 GrooveKik2 GrooveKikV Sharp Kick Tek Kick 1 Tek Kick 2 Tek Kick V AnalogKik1 AnalogKik2 AnalogKik3 AnalogKikV Rap Kick Snare Fat Wood 1 Fat Wood 2 Fat Wood V HR Snare 1 HR Snare 2 HR Snare V MasterSnr1 MasterSnr2 MasterSnrV Piccolo 1 Piccolo 2 Piccolo V Electronc1 Electronc2 ElectroncV Rap Snarel Rap Snare2 Tek Snarel1 Tek Snare2 Tek SnareV Brush Hit1 Brush Hit2 Brush HitV Crosstick1 Crosstick2 CrosstickV Toms IHiRackTom1 HiRackTom2 HiRackTomV MdRackTom1 MdRackTom2 MdRackTomV LoRackToml1 LoRackTom2 LoRackTomV HiFlrTom 1 HiFlrTom 2 HiFlrTom V MidFlrTom 1 MidFlrTom 2 MidFlrTom V LowFlrTom1 LowFlrTom2 LowFlrTomV CanonTomH1 CanonTomH2 CanonTomHV CanonTomM2 CanonTomMV CanonTomL1 CanonTomL2 CanonTomLV Hex Tom Hi Hex Tom Md Hex Tom Lo RapTomHi RapTomMid RapTomLow Cymbal ClosedHat1 ClosedHat2 ClosedHatV Tight Hat Loose Hat Slosh Hat Foot Hat 1 Foot Hat 2 Velo Hat 1 Velo Hat 2 Velo Hat 3 TekHatClsd TekHatOpen RapHatClsd RapHatHalf RapHatOpen CricktHat1 CricktHat2 FilterHat1 FilterHat2 FilterHat3 Ride Cym Ride Cym 2 RideCym V1 RideCym V2 RideBell 1 RideBell 2 RideBell V Crash Cym1 Crash Cym2 SplashCym1
182. tack of a note to be bright but want the sustaining part to be filtered Q The following Filter Envelope variables will have effect only if the FILTER ENVELOPE DEPTH on Page 7 of the FILTER function is set to a value other than 0 or Filter Envelope is a source in the MOD function Also note that the Filter Envelope may have no effect if some other modulation source or the basic setting of the filter has already pushed the filter cutoff frequency to its maximum Attack 00 to 99 Page 1 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 Filter Envelope Page 5 see next page a setting of 99 will result in a much slower attack taking many seconds before the envelope gets to maximum Decay amp Sustain 00 to 99 Pages 2 amp 3 As soon as the attack portion of the envelope finishes when the level reaches maximum the envelope will decay decrease in level The level it reaches is set by the Sustain control how long it takes to get there is set by the Decay control In the special case where the Sustain level is all the way up 99 then there is no decrease and the Decay time segment is bypassed Whatever level the sustain is set to is the level that the decay section of the envelope will head for Depending on the setting of the Sustain Decay control see below the envelope will either hold at th
183. tc 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 QSR responds to or generates messages on a single MIDI channel Mix PLAY IVIODE Mix Play Mode lets you audition the QSR s various Mixes The QSR contains 400 Preset Mixes and 100 User Mixes A Mix can combine up to 16 different Programs controlled by 16 channels of MIDI data at once Therefore much thicker and richly textured sounds can be created In Mix Play Mode the QSR can be used in a wide range of applications It can be used for live performance where sounds are layered or assigned to sections of the controller keyboard It can also be used as a multitimbral sound source for desktop music and home studio applications A Mix uses 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 OSR can respond to messages on up to 16 MIDI channels simultaneously different channels are available depending on which Mix is selected PROGRAM Epit 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 Eac
184. tch Example If you hold the sustain pedal down and play the same note over and over Sound Overlap determines how many voices are available for that note and thus how many voices will overlap play simultaneously In the old days different brands of synthesizers offered different voice allocation schemes One brand used a method called rotate mode in which each time a note was struck a new voice was used Another brand used a different method called reassign mode whereby if a note is played and then played again the same voice is used both times In other words a new voice is used each time a new note of a different pitch is played The Sound Overlap value lets you choose a comfortable setting between rotate mode and reassign mode When the value equals 99 you are always in rotate mode using up polyphony if the value is 00 you are always in reassign mode conserving voices Set the value anywhere between 00 and 99 and you will get a combination of both with partiality toward whichever mode the value is closest to A piano sound requires some Sound Overlap but not a lot it isn t natural to hear too many voices on the same note On the other hand having only one voice per pitch isn t natural either let s say you played a loud note with the sustain pedal held followed by a soft note the second note would abruptly cut off the first On a real piano the string would still be resonating from the first loud note when the second so
185. te 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 Note If the Mix or Program you wish to transfer uses samples that reside on a ROM card in slot A or B you must have the ROM card in that same slot after the transfer in order for that portion of the Program or Mix to sound the same or at all CARD STORAGE RAMIFICATIONS It s not uncommon for someone to keep ROM cards in both slots A and B create their own Mixes which access Programs from both cards and use a RAM card in Slot A to occasionally to back up their User bank In this case there are a few considerations 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 for example now point to the User bank However a problem ca
186. te is released in the middle When set to Reset the envelope starts at the beginning whenever a new note is played When set to Reset Freerun the envelope will start at the beginning whenever a new note is played and will complete its entire cycle even if the note is released in the middle If a sound layer s Keyboard Mode parameter found in the Pitch Function Page 10 is set to Mono the Filter Envelope will only retrigger when playing legato if the Trigger Mode is set to either Reset or Reset Freerun Time Tracking On or Off Page 8 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 envelope s timing doubles or halves over a range of two octaves Sustain Pedal On or Off Page 9 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 OSR Reference Manual 23 Editing Programs Chapter 6 subtle but important differences If the Delay and Attack are
187. tento reete re pile peter tenge eieiei 30 OSR Reference Manual 3 Table of Contents MIDL CH Buttons 3 neri tt ete P He 32 Editifig Values ie ertet lette tien Ea eee taeda debetur arbe se tL re inn 32 Parameter Editing OVER VI CW E RR 32 Comparing Edited and Stored Versions seen 33 Preset Memory and User MeOMOLy T E 33 SONNE e e a e AR Crab vat cesses eb QU stan lov oO Het a ce iba ten sas eb Se rotten Poeni resp 34 Store a Program or MiX 2e iani d a ee eee p EHE P e A EH LA Doe EB urge 34 To Audition Programs Before Storing sse 35 Copying Sounds Between Programs eene 37 Copying Effects Between Programs seseseeeeeeeeneeeene nennen 37 Initializing the Program Mix Buffers ssssseeeeeeeeeeneetetetennetenennnnennnnennnen 38 Initializing Sounds treten ette rere e tat repre petet entera 38 5 Editing Mixes LL Lr ee rr lur rir rlrrne nnn anam aan aan aannacnaaaaas DO What tS MIX Joder terit te cete secet eee este eet eta deste ed Papae diesev ee eee ote rti aces 39 Program Assign for each MIDI Channel seen eene 39 Mix Edit Mode tle ee tm terere redevance tr ei be dede e reet 39 Understanding the Edit Buffers seen tentent 40 LevelSetting for Each Program tette eet iret e nte eisai ioiii 41 Igi EEEE ERE EE EEEE EEEE 42 iy aire PM PUE 42 Keyboards MID
188. th an envelope can create a pre defined change in harmonic structure such as having a brighter attack and bassier decay QSR Reference Manual 4 Editing Programs Chapter 6 AMP Each voice filter combination is followed by an amplifier whose level can be controlled by a variety of modulation sources This allows for creating sounds with percussive or slow attacks particular types of decays tremolo etc Filter and amp settings can interact If the filter cutoff is extremely low then no signal will get through no matter how the amp is set Similarly setting the amp for a short decay won t let you hear any filtering set for a longer decay This is because the volume will reach zero before the filter decay finishes ABouT MODULATION Modulation modifies some aspect of a sound over time Since oscillators make static sounds unlike acoustic instruments whose timbre and dynamics change often radically over the duration of a note modulation is the key to making rich and expressive sounds The vibrato of a flute the expression pedal of an organ a wah wah pedal on a guitar all of these are examples of modulation You re probably familiar with the mod wheel of a synthesizer which typically adds vibrato to a Program as it is raised But in synthesizer programming modulation is used to control even the basic characteristics of a voice its attack decay and release times for example Every box in the signal diagram on page 49 poin
189. that the Destination parameter will be affected by the Mod Source Pages 3 and 6 let you adjust the Level parameter by a positive or negative amount Example If the Reverb Decay was selected as the Destination with the mod wheel as the Source the mod wheel could be programmed to cause the Reverb to increase the decay positive or decrease the decay negative QSR Reference Manual 14 Editing Effects Chapter 7 LEZLIE The Lezlie function is only available in Configuration s 3 and 5 The Lezlie parameters found in Configuration 3 include Motor on off Speed fast slow and Horn Level 6 to 6 db In addition to these the Lezlie found in Configuration 6 also provides 3 additional parameters Input 1 Input 2 and Input 1 amp 2 Balance The Lezlie in Configuration 3 takes its input from the Send 1 signal In Configuration 5 the Lezlie can receive a combination of two inputs which can be assigned to a variety of sources Motor On Off Page 1 Config 3 or Page 4 Config 5 This determines whether the Lezlie is operating or not When turned on the rotating speaker effect slowly starts up When turned off the effect slowly dies down until a complete stop When using this parameter as a Mod Destination see above be sure to set it opposite of the Mod Level Example If the Mod Source is a footswitch and the level is at 100 set the Motor to OFF so that the footswitch turns on the motor when pressed and turns off the motor
190. the Mix page doesn t control how much the individual effect modules feed to each other only how much they feed to the Main outputs Depending on the selected Configuration the order of the effects will differ for example in Configuration 1 the order reads Pitch Delay Reverb but in Configuration 2 the order is Delay Pitch Reverb Pitch Level 00 to 99 Page Config 1 and 4 Page 2 Config 2 amp 5 Adjusting this value will cause the Pitch Output Level to increase or decrease The Pitch Output level is the level for the Pitch Section of the QSR s effects processor to the Main outputs and should be set as desired Even if this parameter is set to 00 the output of the Pitch section is still available depending on the bus and configuration to following Delay and Reverb sections Delay Level 00 to 99 Page 2 Config 1 3 4 Page 1 Config 2 Page 3 Config 5 Adjusting this value will cause the Delay Output Level to increase or decrease The Delay Output level is the level for the Delay Section of the QSR s effects processor to the Main outputs and should be set as desired Even if this parameter is set to 00 the output of the Delay section is still available depending on the bus and configuration to following Pitch and Reverb sections Reverb Level 00 to 99 Page 3 Config 1 4 Page 4 Config 5 Adjusting this value will cause the Reverb Output Level to increase or decrease The Reverb Output level is the
191. the Mod section later in this chapter for more on real time MIDI control of effect parameters Press CURSOR once and turn the VALUE knob counterclockwise The display will look like this Press CURSOR gt to advance the cursor now you can turn the Effect Program Change function on and off by turning the VALUE knob The Effect Program Change parameter determines whether or not a MIDI Program Change message received on the Effects Channel should only recall a new Program Off or if the Effects of the newly selected Program should be recalled as well On Usually you would want this off so that the Effects in a Mix do not change even though you may select different Programs for the Effects Channel SETTING EFFECTS SEND LEVELS The effect send levels and effect bus assignments are saved as part of a Program from Program Edit Mode or as part of each Channel in a Mix from Mix Edit Mode Keep in mind that these are separate from any changes that will be made to the Effects Patch itself If you are in Mix Mode and change the settings in both Mix Edit and Effects Edit modes you will have to STORE not only the Program that is on the Effect Channel thus storing its Effects Patch but the selected Mix as well in order to have your changes remembered and heard the same way in the future The actual arrangement of depth of reverb delay time etc is saved as part of the Effects Patch when a Program is stored It is p
192. the input linearly from point to point the input is kept at each point s value setting until it goes beyond the following point s value setting at which point it jumps to that setting This feature is very useful in creating mini sequences if the modulation OSR Reference Manual 34 Editing Programs Chapter 6 TIP QSR Reference Manual destination is set to Pitch and the Tracking Generator s input is an LFO using an Up Sawtooth as its waveform LINEAR 100 0 LT POINTS O 1 2 3 4 5 6 7 8 9 10 NON LINEAR 100 NA POINTS O 1 2 3 4 5 6 7 8 9 10 NON LINEAR STEPPED 0 POINTS O 1 z 3 4 5 6 7 8 9 10 The Tracking Generator can be used to turn a variable control such as the Mod Wheel or velocity into a switch by setting all of the points to 0 except for point 10 Only near the maximum input will anything other than 0 come out of the Tracking generator You can patch the Mod Wheel somewhere else in addition to the Tracking Generator giving you gradual control of one function with the full range of the Mod Wheel while switching on a second function only at the top of the wheel However the Tracking Generator interpolates between steps this is sort of like playing connect the dots In other words the Tracki
193. the parameter settings each is achieved differently and can be quite dramatic under the right circumstances Pitch effects are achieved by splitting the signal into two parts effecting the pitch of one of the parts then mixing them back together This eventual mixing is essential since the overall sound of the effect is achieved by the actual difference between the normal uneffected signal and the effected signal So that you can better understand the differences between the Pitch type effects and therefore better apply them to your music here is a brief explanation of each Mono Chorus The Chorus effect is achieved by taking part of the signal slightly delaying it and then slightly detuning it as well The detuning is further effected by being modulated by an LFO which causes the detuning to vary Many variables are available in this scheme The LFO depth can be varied the LFO speed can be varied and a portion of the detuned signal can be fed back to the input to increase the effect Finally the waveform shape of the LFO can be changed from a smooth triangle to a more abrupt squarewave to make the pitch detuning more pronounced DRY SIGNAL CHORUSED FEEDBACK OUTPUT DRY SIGNAL OSR Reference Manual 16 Editing Effects Chapter 7 Stereo Chorus In the case of a Stereo Chorus the signal is split into three parts with a dry signal and a separate Detuning section for both left and right channels When the left channel
194. the two PCMCIA EXPANSION CARD slots Under normal situations this will not be a limitation remember each bank has 128 Programs and 100 Mixes 11 banks gives you 1408 additional Programs and 1100 additional Mixes In other words if you have two SRAM cards 256k each capable of storing up to 4 banks you will have 4 banks available on each card for a total of 8 banks well below the maximum However since it is possible to purchase third party 512k PCMCIA cards and burn these yourself using Sound Bridge software it is possible to physically insert two 8 bank cards which combine for a total of 16 banks In this situation only the first 11 banks will be accessible beginning with slot A i e you ll be able to access all 8 banks from the card in slot A and the first 3 banks from the card in slot B QSR Reference Manual 9 Your First Session Chapter 2 CQ If an internal Program uses one or more Sounds that reside on a sound card the sound card must be inserted into the same PCMCIA EXPANSION CARD slot A or B as when the Program was stored In other words if a Program uses a Sound found on the card currently inserted in slot A then the same card must be inserted into slot A for that sound to be used when this Program is recalled Although the card can physically be used in either slot once a Program is stored using a Sound on a card it expects to find that card in the identical slot it was in when the Program was stored The
195. this listed in ascending order of cost and complexity e Line spike surge protectors Relatively inexpensive these are designed to protect against strong surges and spikes acting somewhat like fuses in that they need to be replaced if they ve been hit by an extremely strong spike e Line filters These generally combine spike surge protection with filters that remove some line noise dimmer hash transients from other appliances etc e Uninterruptible power supply UPS This is the most sophisticated option A UPS provides power even if the AC power line fails completely Intended for computer applications a UPS allows you to complete an orderly shutdown of a computer system in the event of a power outage and the isolation it provides from the power line minimizes all forms of interference spikes noise etc OSR Reference Manual 7 Setting Up Chapter 1 BASIC AUDIO HOOKUP D When connecting audio cables and or turning power on and off make sure that all devices in your system are turned off and the volume controls are turned down Because the QSR includes extensive signal processing as well as a full complement of sounds you can make great sounds with nothing more than an amplifier or a set of headphones The QSR has two Main outputs two Aux outputs plus a stereo headphones output These can provide an amplification system or mixer with several hookup options e Mono Connect a mono cord from either MAIN output jack to
196. ting towards the Voice Filter or Amp boxes is a modulation source The amount of modulation the time it takes place and what controls such as key velocity footpedals aftertouch mod wheel etc affect it are important parameters in every Program The OSR provides the modulation flexibility of patch cord based instruments but with the convenience and ease of use of digital technology With some parameters the modulation amount can be positive or negative A positive control signal increases the value of the parameter being controlled A negative control signal decreases the value of the parameter being controlled Setting modulation to 00 turns off the modulation source Example Keyboard velocity can either make a sound brighter the harder you play or make it less bright or have no effect on the Filter at all You have the freedom to set modulation any way you want even in ways that are the opposite of what they would be on an acoustic instrument If a baseline setting exists for a parameter modulation amounts add or subtract values from the existing setting However modulation cannot force a value beyond its maximum range For example if the Amp is already at its minimum value lowest level you could apply positive modulation to raise the level But applying negative modulation will not affect the Amp level since it s already at its lowest value and cannot go any lower The OSR lets you assign several modulation sources to one mod
197. tio is achieved when VOLUME is set to maximum Turnon the power of the amplifier mixer and adjust the volume PLAYING THE DEMO SEQUENCES The OSR has built in demo sequences which demonstrate the wide variety of sounds this amazing instrument is capable of generating To get the full effect connect both the LEFT and RIGHT outputs to your sound system or listen on headphones To play the demo sequence D Hold the MIX button and The display will read F ess BANK SELECT UP Turn the VALUE knob to select one of the built in demo songs Press STORE to start the demo Press MIX to stop the demo There will be no MIDI out messages during the demo e m WHAT S A PROGRAM A Program is a stored configuration of parameters which emulates the sound of an instrument or sound effect such as a piano or synthesizer or drum set A QSR Program is made up of hundreds of parameters which when set to specific values create a specific type of sound This setup of parameters can be stored so that you can QSR Reference Manual 1 Your First Session Chapter 2 get back to it instantly at the touch of a button When you select a Program all of its parameter settings are recalled to recreate the original sound The OSR provides 640 internal Programs divided into 5 Banks of 128 Programs each More Programs can be added by inserting a Sound Card into the Sound Card slot on the front panel of the OSR Each
198. tion lets you control various effects parameters from the various controls on the QSR keyboard after touch pitch bender etc or from the MIDI input This is extremely useful when dynamic or real time control is required in a live playing situation It is possible to control up to 2 parameters simultaneously The Modulation assignments are saved with the Effects Patch Don t confuse this Mod Function with the Mod Function used by the Programs they are independent destinations though they can come from the same source Note Modulating any effect parameter with the exception of chorus speed while audio is passing through it can result in audio artifacts or noises due to discontinuities in the modulation source SELECTING THE NIODULATOR The are two Modulators Page 1 through 3 display the parameters of Modulator 1 while pages 4 through 6 display the parameters for Modulator 2 OSR Reference Manual 13 Editing Effects Chapter 7 Mod Source Page 1 Mod 1 amp Page 4 Mod 2 The Mod Source parameter selects the MIDI controller which will remotely cause a change modulate in one or two of the parameters in the effects processor Nearly every MIDI controller can become a Mod Source using controllers A D set in Global mode page 3 with the most common controllers appearing as a direct option in the display Pages 1 and 4 let you select the Mod Source for Mod 1 and 2 respectively The options for the Mod Source are e Aft
199. tion on page 77 OSR Reference Manual 33 Editing Programs Chapter 6 Level 00 to 99 Page 5 This is the base output level of the Amp LFO If you want to have a constant value of tremolo even without using the Mod Wheel or Aftertouch set Level above 00 The Mod Wheel and Aftertouch will add or subtract from this base level Example If Level is set to 10 and the Mod Wheel parameter is set to 10 there will always be some tremolo and raising the Mod Wheel will add more tremolo On the other hand if the Mod Wheel parameter is set to 10 raising the Mod Wheel to the top will cancel out all tremolo Mod Wheel Depth 99 to 99 Page 6 This is the modulation amount of the Mod Wheel over the Amp LFO s Level A positive value raises the level when the Mod Wheel is moved up and lowers the level when moved down Negative settings of this parameter will decrease the output level of the Amp LFO as the Mod Wheel is raised Since the output level of the Amp LFO cannot be less than zero A negative setting of the Mod Wheel parameter will have no effect unless either the Aftertouch or the Level is set to raise the Amp LFO output If both the Level and Aftertouch are set to 00 and the Mod Wheel parameter is set to 99 the Mod Wheel will have no effect on the tremolo from the Amp LFO Aftertouch Depth 99 to 99 Page 7 This is the modulation amount of Aftertouch over the Amp LFO s Level A positive value raises the level as more Aftertouch is
200. to return the unit All units must be shipped prepaid and COD shipments will not be accepted For prompt service indicate the RO number on the shipping label If you do not have the original packing ship the OSR in a sturdy carton with shock absorbing materials such as styrofoam pellets the kind without CFCs please or bubble pack surrounding the unit Shipping damage caused by inadequate packing is not covered by the Alesis warranty Tape a note to the top of the unit describing the problem include your name and a phone number where Alesis can contact you if necessary as well as instructions on where you want the product returned Alesis will pay for standard one way shipping back to you on any repair covered under the terms of this warranty Next day service is available for a surcharge Field repairs are not normally authorized during the warranty period and repair attempts by unqualified personnel may invalidate the warranty QSR Reference Manual 2 Troubleshooting Appendix A Service address for customers in the USA Alesis Product Support 3630 Holdrege Avenue Los Angeles CA 90016 Customers outside the USA Contact your local Alesis dealer for warranty assistance The Alesis Limited Warranty applies only to products sold to users in the USA and Canada Customers outside of the USA and Canada are not covered by this Limited Warranty and may or may not be covered by an independent distributor warranty in the country of
201. tting the data the display will temporarily read To send a single Program via MIDI D Follow steps and in the instructions above Q Press CURSOR gt seven times to select Page 6 of the Store function The display will look like this Use the VALUE knob to select a Program to transmit You may select any i or any of the 16 Mix Edit buffers gt As this value is changed the ud parameter destination will be linked This is because most often you will want to transmit a Program to the same Program location The only time to do otherwise is when sending to another QSR see below Press STORE to transmit the data out the MIDI Out connector 6 OSR Reference MIDI Transfer and Storage Operations Chapter 9 To send a single Program via MIDI to a different Program number D Follow steps through in the instructions above Press CURSOR Ld to advance the cursor to the lower section of the display Use the VALUE knob to select a Program number to send the Program to Press STORE to transmit the data out the MIDI Out connector The procedure is similar for sending Mixes Page 5 of the Store function allows you to send any one of the Mixes In the case of storing a Mix you may want to store each of the Programs used in the Mix The SEND ALL TO MIDI command in Store mode is an easy shortcut to this see above SEQUENCE PLAYBACK Sound Bridge allows you to burn Stan
202. u to build up complex timbres This is crucial because acoustic instruments have extremely complex evolving sounds and by comparison many synths sound static Being able to layer up to four sounds allows for creating large ensembles e g brass section consisting of alto amp tenor sax trumpet and trombone or extremely realistic versions of single instruments When creating layered Programs keep polyphony in mind If all Programs in a Mix use all four available sounds the OSR will quickly run out of voices QSR Reference Manual 1 Overview Chapter 4 IVIODES The QSR is always in one of two main modes Program Play Mode or Mix Play Mode Pressing PROG selects Program Play Mode while pressing MIX selects Mix Play Mode While in Program Play Mode you can press EDIT to access Program Edit Mode and Effects Edit Mode While in Mix Play Mode pressing EDIT alternates between Mix Edit Mode Program Edit Mode and Effects Edit Mode Once EDIT has been pressed the lower left corner of the display reads EDIT pressing BANK SELECT DOWN accesses Compare Mode if the Program Mix has been edited and pressing BANK SELECT UP accesses Global Edit Mode Pressing STORE accesses Store Mode Here are descriptions of these modes PROGRAM PLAY NIODE Program Play Mode lets you play the OSR s various Programs one at a time The OSR contains 512 Preset and 128 User Programs i e the sounds of various instruments effects ensembles e
203. uce a different ambient effect The different Reverb types are Plate 1 amp 2 The two Plate reverb types simulate an artificial device known as a Plate In the early days of recording Plates were extremely popular because they were almost the only way to provide any sort of artificial ambiance to a recording The sound of a well tuned Plate has become quite popular over the years especially when used on vocal or drum sounds The two Plate reverbs differ in subtle tonal characteristic changes such as those found in different manufacturers plate reverbs Room The Room reverb type simulates not only rooms of different sizes but rooms with different 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 This reverb type can easily simulate both examples and many many more Hall Much larger than a room Halls are characterized by their high ceilings irregular shapes and generally uniform density of reflections Large Much larger than a hall this reverb type emulates large ambient spaces such as amphitheaters gymnasiums etc Gate Gated Reverb is a very popular effect on drums first found on English records in the early 1980s This reverb type can simulate applying a noise gate a device that automatically decreases the volume once the signal falls below a certain level across the output of the reverb thereby causing the initial attack o
204. ulation target parameter which allows for interaction between two modulation signals Example If the Amp parameter responds to both the envelope generator and a pedal the parameter will follow the general envelope shape but will also be influenced by the pedal QSR Reference Manual 5 Editing Programs Chapter 6 LFO Low FREQUENCY OSCILLATOR The pitch filter and amp modules each have a dedicated LFO module for modulation The term LFO stands for low frequency oscillator and comes from how modulation was created in the early synth days an oscillator set to a low frequency could modulate some aspect of the sound routing the LFO to the pitch for example would create vibrato The LFO creates a cyclic periodic modulation this amount can be constant and or varied with a variety of modulation sources mod wheel is one of the most popular Each LFO has a waveform shape and speed along with other controls ENVELOPES Envelope generators provide a modulation signal that varies over time from the time you strike the key until after you let go There are three independent envelope generators for pitch filter and amp in each Program Sound An envelope generator has different effects on different modules Example The Amp Envelope creates level changes Amplitude that decays over time creates percussive effects plucked strings drums etc Amplitude that increases over time gives the effect of brass woodwind and some bowed in
205. ulation effect can be different for each Program e Controllers A D The QSR provides four global controllers called Controllers A through D which allow control over various parameters of a Program These Controllers are defined in Global Edit Mode Pages 4 through 7 to respond to specific MIDI controller messages Many of the QSR s internal Programs use Controllers A D to provide control over their tonal aspects When auditioning Programs move the CONTROLLER A D sliders up and down to find out what effect each has they will be different from Program to Program Further expressive control is available with a pedal switch or expression pedal By using a sustain pedal connected to your master MIDI keyboard you can have the sound sustain even after you release the keys By connecting an expression pedal to your master MIDI keyboard you can use the pedal to change the volume or tone or some other quality such as reverb depth or vibrato speed of the sound if the Program is edited to use the pedal s QSR Reference Manual 5 Your First Session Chapter 2 AUDITIONING Mix PLay NODE Mix Play Mode allows you to assign a Program to each of the 16 MIDI channels This makes it easy to create multitimbral setups for use with an external MIDI sequencer Additionally a MIX can be used to layer sounds together or split your keyboard in a number of ways or any combination of these There are many different ways to program a Mix
206. un down of the various Configurations QSR Reference Manual 6 Editing Effects Chapter 7 CONFIGURATION 1 1 REVERB AUX LEFT AUX LEFT AUX RIGHT AUX RIGHT MAIN LEFT O MAIN LEFT MAIN RIGHT C MAIN RIGHT 31213 T1213 4 MIX I BAL i FX SEND 1 PITCH1 4 M LILE DELAY 1 e ay 0G REVERB ME AMP Hay i e 2 PITCH 1 i DELAY 1 l REVERB 1 i BAL FX SEND 2 PITCH2 b bs 1 DELAY 2 e 7 BAL T j TT iL ge i i 2 AMP i PITCH2 DELAY2 REVERB2 BAL i FX SEND 3 9 PITCH3 d DELAY 3 t hd BAL l HI Lg l k 9 AMP l HTCH3 j DELAYS 5 0 00 REVERB3 BAL FX SEND 4 i pELAY4 i e A i 2 ANP l R o E neu REVERB4 Pitch 1 Delay 1 Mono chorus Mono delay Plate 1 Stereo chorus Stereo delay Plate 2 Mono flange Ping pong delay Room Stereo flange Hall Pitch detune Large Resonator Gate Reverse Pitch 2 Delay 2 Mono chorus Mono delay Balance and level to Reverb 1 Stereo chorus Stereo delay Mono flange Ping pong delay Stereo flange Pitch detune Resonator Pitch 3 Delay 3 Resonator Mono delay Balance and level to Reverb 1 Delay 4 Mono delay Send delay mix and level to Reverb 1 QSR Reference Manual 7 Editing Effects Chapter 7 Th
207. unds will be assigned across the keyboard If you select a single drum such as Timpani as the voice that single drum sound will sound across the keyboard range with a different pitch on each note the original sample pitch will appear on C3 However Drum Mode changes the nature of the VOICE function allowing you to make up your own drum kit from a selection of over 340 different samples 21 kicks 26 snares 33 toms 43 cymbals 75 percussion 83 percussion effects and 63 synth waves Plus there are 90 rhythm beats to choose from pre sequenced drum grooves You can map any of these samples to any note on the keyboard that does not already have a drum assigned to it in that sound When a sound is in Drum Mode you can assign 10 different drum sounds to 10 different keys in that layer If all four sounds in a Program are placed in Drum Mode you could assemble 40 drum sounds In Drum mode individual drums cannot be stretched across the entire range of the keyboard each occupies a maximum of four keys Each of the 10 drum sounds has its own set of parameters in each of the functions in the display Pitch Filter Range Effects Level etc When editing a Sound in Drum Mode check the upper middle section of the display 11 to determine which Drum Sound layer you are editing Here is a block diagram of a sound in Drum Mode Range Voi
208. ve 60 s Combo RotarySpkr ChurchOrgn Principale Positive Guitar BteelStrng NylonGuitr Nylon Harm Nylon Harp JazzGuitar SingleCoil Sngle Mute DoubleCoil DCoil Harm DCoil Jazz D S Coil MicroGuitr PwrH MGtr1 PwrH MGtr2 MuteGuitar Mute Velo Metal Mute MGtr MtIMt MtIMut Hrm Fuzz Wave ClsHarmncs ElecHarmnc Pwr Harm 1 Pwr Harm 2 Pwr Harm 3 PwrHrmVell PwrHrmVel2 PwrHrmVel3 Bass StudioBass Studio amp Hrm Studio Hrm Slp Studio Slap Bass Slap amp Harm Slap Harm Slap Pop Pop Slap Bass Pop Pop Harm Harm Pop JazzFingrd Fingr amp Harm JazzPicked Pickd amp Harm Jazz Velo Muted Bass Stik Bass Stik amp Harm Stik Harm Harm Stik Fretless Frtls amp Harm AcousBass1 AcoBs1 amp Hrm AcousBass2 AcoBs2 amp Hrm VelAcoBass 3 VelBass1 B VelBass2 3 VelBass3 3 VelBass4 BassHarmnc String StringEnsm TapeStrngs SoloString SoloViolin Solo Viola Solo Cello Contrabass Pizz Sectn Pizz Split Pizz Strng Strng Pizz StringAttk Harp Hi Bow Low Bow Brass Pop Brass ClasclBras AttakBrass Trumpet HarmonMute Trombone FrenchHorn Bari Horn Tuba Wdwind Bassoon Oboe EnglishHrn Clarinet Bari Sax BrthyTenor Alto Sax SopranoSax Velo Sax Flute Flute Wave Shakuhachi PanPipe Hd PanPipe Md PanPipe Sf PanPipeVel Pan Wave BottleBlow BottleWave Synth J Pad M Pad X Pad Velo Pad 1 Velo Pad 2 Velo Pad 3 AcidSweep1 AcidSweep2 AcidSweep3 AcidSweep4 AcidSweep5 Vel
209. ve or positive the greater the effect Filter Envelope parameters such as attack and decay time are programmed within the Filter Envelope Function see page 64 OSR Reference Manual 15 Editing Programs Chapter 6 AAMP RANGE The Amp Range function lets you control the velocity and keyboard range of each sound layer Velocity Curve 13 choices Page 1 This selects how the sound will respond to the dynamics of your playing the keyboard A LINEAR curve is the norm whereby the increase in level is equal to the increase in velocity the velocity values increase as you play harder Many of the Velocity Curves make up sets to be used by 2 3 or 4 sounds in order to facilitate velocity crossfading whereby a different sound is played depending on how hard or soft the keyboard is played As explained earlier many of the samples to choose from when assigning voices are already velocity switching These samples usually have the word Velo or the letter V in their names indicating that there is actually more than one sample per note which can be selected by how hard or soft each note is played However the velocity point at which these sounds change is fixed and cannot be altered If you want to create your own velocity crossfading Program assign the single sample versions of the same samples MarimbaVel is made up of Marimba Hd and Marimba Sf to two or more sounds then use the appropriate velocity curves for each sound in a th
210. vel Filter LFO 5 74 Filter LFO Mod Wheel Level Filter LFO 6 75 Filter LFO Speed Filter LFO 2 74 Filter LFO Trigger Filter LFO 4 74 Filter LFO Waveform Filter LFO 1 74 Keyboard Mode Pitch 10 55 Mod Wheel Depth Amp LFO Amp LFO 6 76 Mod Wheel Depth Filter Filter 4 57 Mod Wheel Depth Filter LFO Filter LFO 6 75 Modulation Destination Mod 1 6 2 71 OSR Reference Manual 11 Parameters Index Appendix C Page in Parameter Function Page Manual Modulation Gate Mode Mod 1 3 4 71 Modulation Level Mod 1 6 3 71 Modulation Quantize Mode Mod 4 6 4 71 Modulation Source Mod 1 6 1 69 Name Program Name 1 10 68 Output Level 3 53 Pan Level 2 53 Pitch ENV Depth Pitch 7 54 Pitch ENV Level Pitch ENV 10 63 Pitch ENV Trigger Pitch ENV 7 62 Pitch ENV Velocity Depth Pitch ENV 11 63 Pitch LFO Delay Pitch LFO 3 72 Pitch LFO Depth Pitch 6 54 Pitch LFO Level Pitch LFO 5 73 Pitch LFO Mod Wheel Level Pitch LFO 6 73 Pitch LFO Speed Pitch LFO 2 72 Pitch LFO Trigger Pitch LFO 4 73 Pitch LFO Waveform Pitch LFO 1 72 Pitch Wheel Range Pitch Pitch 4 54 Portamento Type Pitch 8 55 Portamento Rate Pitch 9 55 Range Lower limit Amp Range 4 59 Range Upper Limit Amp Range 5 59 Release Amp Amp ENV 4 67 Release Filter Filter ENV 4 64 Release Pitch Pitch ENV 4 61 Sound Enable Voice 1 50 Sound Over
211. vice to go into its General MIDI mode If this message is sent no matter where you happen to be on the OSR General MIDI mode will be enabled and Mix 00 of Preset Bank 4 will automatically be selected ConrRoLLEns A D Assicnment Page 4 7 The OSR allows you to assign up to four general purpose MIDI controllers These controllers are assigned a letter A D These are directly linked to specific MIDI controllers which can be received from another synth or sequencer Page 4 through 7 of Global Edit mode lets you choose which MIDI controllers 0 to 120 to assign as Controllers A B C and D For a listing of all MIDI controllers and their designations see page 127 in the Appendix B MIDI Supplement PEDALS 1 anp 2 AssicgnmENT Page 8 amp 9 Like the MIDI Controllers A D the two footpedal controls Pedal 1 and Pedal 2 can be assigned to a MIDI controller These two pedal controls are linked to specific MIDI controllers which can be received from another synth or sequencer Pages 8 and 9 of Global Edit mode lets you assign which MIDI controllers 0 to 120 that Pedal 1 and Pedal 2 will be transmitted as over MIDI Out Simultaneously if the same MIDI controller is received it will control any modulations that use either Pedal 1 or Pedal 2 Page 8 lets you select the controller for Pedal 1 while page 9 lets you select the controller for Pedal 2 Q When recording into a MIDI sequencer be careful not to accidentally assign either Pedal 1 or
212. when released Speed Slow Fast Page 2 Config 3 or Page 5 Config 5 This determines the speed the rotating effect spins Horn Level 6 to 6 dB Page 3 Config 3 or Page 6 Config 5 This allows you to cut or boost the high frequency signal from the Lezlie effect from 6 to 6 dB in 1 dB increments Input 1 amp 2 Pages 1 amp 2 Config 5 only Pages 1 and 2 of the Lezlie effect found in Configuration 5 lets you select from two possible input sources Input 1 sources include Reverb Output and Delay Output Input 2 sources include Send 1 4 Overdrive Output Pitch Input Pitch Output Delay Input and Reverb Input Input Balance 99 to 0 to 99 gt Page 3 Config 5 only This parameter controls the Balance between the Input 1 and Input 2 signals going into the Lezlie effect When set to only the signal coming from Input 1 is routed to the Lezlie When set to only the signal coming from Input 2 is routed to the Lezlie When set to an even mix of both Input 1 and Input 2 are fed to the Lezlie OSR Reference Manual 15 Editing Effects Chapter 7 PITCH The Pitch function is used to edit Pitch parameters Pitch Type Page 1 The Pitch Type function allows access to 6 pitch altering modes The Pitch types available are Mono Chorus Stereo Chorus Mono Flange Stereo Flange Pitch Detune and Resonator Although some of these effects can sound similar to one another depending on
213. when the Delay is set to Hold Freerun mode is forced on regardless of the Trigger parameter s setting Sustain Decay 00 to 99 Page 6 This is the amount of time that the envelope will take during the sustain stage to bring the level down to 0 If this is set to 99 the envelope will remain at the Sustain level until the note is released When set to 0 the envelope s level will immediately jump down to 0 upon reaching the sustain stage Trigger Normal Freerun Reset Reset Freerun Page 7 The Trigger mode determines how the envelope will function You may select either Freerun or Reset or both Reset Freerun or neither Normal When set to Normal the envelope will always start at its current level i e if another note had been played which triggered the envelope s cycle playing another note in the middle would not interrupt the cycle Also in Normal mode the envelope will immediately advance to its release stage upon releasing the note When set to Freerun the envelope will complete its entire cycle even if the note is released in the middle When set to Reset the envelope starts at the beginning whenever a new note is played When set to Reset Freerun the envelope will start at the beginning whenever a new note is played and will complete its entire cycle even if the note is released in the middle If a sound layer s Keyboard Mode parameter found in the Pitch Function Page 10 is set to Mono the Pitch Envelope will
214. wing VOICE The Voice function is the most fundamental part of Program editing It is where you choose the particular sample that forms the basis of a sound To avoid scrolling through long lists of samples remember there are 8 megabytes of sounds in here sounds are divided into groups After selecting the group you then select the sound within the group Sound Enable Page 1 This is the master on off switch for the selected sound 1 4 of the current Program To avoid using up polyphony unnecessarily set Sound Enable to OFF for any sounds that will not be used ina Program Turning sounds off is also a convenient way to isolate a particular sound you are editing 2m the sound being edited is disabled the upper display will show the word nei in lowercase letters When the sound being edited is enabled the word Hs will appear in uppercase letters When editing a Program s Sound that is in Dain Mode a single letter will appear as 7 when a sound is enabled and amp when disabled Sound Type Page 2 This determines whether a Sound layer is going to be in Keyboard Mode or Drum Mode Drum Mode allows you to assign individual drum sounds to individual keys To Program a sound in Drum Mode refer to the next section Programming Drum Sounds on page 78 QSR Reference Manual 8 Editing Programs Chapter 6 Sound Group 17 options Page 3 Choose from among 16 different sample groups see chart below Sound P

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