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Alesis QS6.2 Musical Instrument User Manual

1. MAIN LEFT MAIN LEFT MAIN RIGHT PAL Eo PF main RIGHT SE H OUTPUT MIX SECTION O a ee ee ee cep 4 I l SEND1 RvbIN1 IN2 I AT RvbinLevel ALe REVERB I I I l l eee Ener l SEND2 PITCH2 2 DELAY2 ao RvDIN IN2 1 l 5 Ted l f rb l gt l gt l I l i I L E EE E EAE a ee de rth Ep ree E ET i Configuration 5 OVERDRIVE LEZLIE This Configuration has a classic Overdrive distortion with Lezlie useful for guitar and organ sounds Send 1 has the Overdrive distortion followed by a mono Pitch effect a Delay a Reverb then a Lezlie This is summed with the main outputs and sent through a shelving EQ Sends 2 through 4 have no effects of their own but can feed the effects of Send 1 at various points MAIN LEFT o 5 i MAIN RIGHT Free Foe tH OUTPUT MIX SECTION ii pier ab ee ee ee ee ER et fe payee EN eT er er ere ere er er ere ror i i ia ee i i a a a cr PE ee ln in Oe EN E EEE L PchOVDIIN2 DelPCH IN2 i RVbIN1 IN2 i SENDI SRNE I PITCHE DELAY I i nz i i H l E d 1 EvERB I 1 l LEZUE i rie 2 l i T i i i i i I i i i SA OEE i SEND2 SEND3 SENDA EEE EEE 75 76 Selecting a Send to Edit 00 30 SEND After you choose a Configuration the next step in editing is to pick one of the four Sends to work on The 00 30 buttons select which effects Send 1 4 you are editing You can ch
2. 58 The Level Function 50 LEVEL Each Sound layer lets you create 10 Drums in Drum Mode The Level function button 50 allows you to control the volume pan position output assignment and effects send level for cach Drum Setting the Drum Volume Button EDIT 50 LEVEL Page 1 Parameter Volume 00 to 99 This sets the volume for the selected Drum Setting the Drum Panning Button EDIT 50 LEVEL Page 2 Parameter Panning lt 3 to 3 gt This sets the panning from far left lt 3 to far right 3 gt Routing Drums to the Outputs Button EDIT 50 LEVEL Page Parameter Output see below In the QS6 2 selecting ON routes the Sound to the outputs OFF shuts off the path In the QS8 2 selecting MAIN routes the Sound to the outputs OFF TIP Regardless of the setting the Sound shuts off the path A setting of AUX will also shut off the path This may still feed an Effects Send is provided for backward compatibility with older QS8 models Setting the Drum Effects Send Level Button EDIT 50 LEVEL Page 4 Parameter FX Level 00 to 99 This determines how much the drum sound feeds the selected effects Send See the Editing Effects section of this manual for more information Selecting the Effects Send Button EDIT 50 LEVEL Page 5 Parameter FX Bus 1 to 4 This selects which effects Bus or Send the drum sound will feed See the Editing Effects section
3. Active MIDI Channels Mode MIDI Channel Use the BANK VALUE or the numbered buttons to call up the Mix of your choice the same way you select Programs The numbers at the bottom of the display show which Mix Channels are enabled in this Mix Each Mix Channel contains a Program To see what Programs the Mix uses use the PAGE gt button to step through the Mix Channels The selected Mix Channel will blink at the bottom of the screen and the name of the Program on that channel will be displayed Mix Number Program Name and Number Program Bank Name Selected MIDI Channel Mode flashing Active MIDI Channels Changing the Programs in a Mix Suppose you re playing a Mix that has two Programs split across the keyboard a bass sound on the lower half and a piano on the upper half Now suppose you want to choose a different bass Program for the lower half To do this you need to change the Program in that Mix Channel Here s how 1 Get into Mix Mode by pressing the MIX button 2 Press the PAGE gt button to select the Mix Channel containing the Program you want to change The selected Mix Channel should NAT RAD ea ee Programs on all 16 Mix Channels even ones be flashing at the bottom of the display that aren t yet enabled in this Mix You t hear the ch ke t 3 Use the VALUE BANK or numbered buttons to select a E De ee ee 207 different Program To return to normal operat
4. Conversely if you want to change the panning of a QS Program via MIDI here is what you ll get if you transmit a given Controller 10 value CC 10 value Mix Pan value Placement 0 20 i hard left 43 63 64 84 85 106 107 126 i mid right 127 i 3S hard right MIDI Controller Numbers Each type of controller has its own MIDI controller number Not all controller numbers have been standardized for specific functions but the following indicates the current list of assigned controllers Numbers in parentheses indicate the controller range Function 0 Bank Select 0 127 1 Modulation Wheel 0 127 2 Breath Controller 0 127 3 Early DX7 Aftertouch 0 127 4 Foot Controller 0 127 5 Portamento Time 0 127 6 Data Slider 0 127 7 Main Volume 0 127 8 Balance 0 127 10 Pan 0 127 11 Expression 0 127 16 General Purpose 1 0 127 17 General Purpose 2 0 127 18 General Purpose 3 0 127 19 General Purpose 4 0 127 32 63 Least Significant Bits LSB Controllers 0 31 0 127 64 Sustain Pedal 0 or 127 65 Portamento On Off 0 or 127 66 Sostenuto Pedal 0 or 127 67 Soft Pedal 0 or 127 69 Hold 2 0 or 127 80 General Purpose 5 0 or 127 81 General Purpose 6 0 or 127 82 General Purpose 7 0 or 127 83 General Purpose 8 0 or 127 91 Reverb Depth 0 127 92 Tremolo Depth 0 127 93 Chorus Depth 0 127 94 Celeste Depth 0 127 93 Phase Depth 0 127 96 Data Increment
5. 0 9 Buttons selects individual Programs or Mixes in Edit Mode these select edit functions SEQ SELECT Button triggers a sequence stored on the Expansion Card TRANSPOSE Button transposes the keyboard Hold this button and touch a key 17 18 The Play Modes We ve already introduced you to these modes in the last chapter This is where you ll normally be when you re playing your QS Program Mode In this mode you can play the QS s various Programs one at a time Yow ll probably be in this mode most of the time The QS contains 512 Preset and 128 User Programs To get into Program Mode press the PROGRAM button RFP Number Fan Name Bank Name MIDI Input Indicator Mode MIDI Channel Mix Mode In this mode you can play up to 16 Programs at the same time You can use this mode to create keyboard splits or keyboard layers or for multitimbral sequencing The QS contains 400 Preset Mixes and 100 User Mixes To get into Mix Mode press the MIX button Mix MoS Mix ims Bank Name BAKE r123 Active MIDI Channels Mode MIDI Channel What the Other Buttons Do When in Mix or Program Mode the buttons have the following functions The numbered buttons select different Programs and Mixes e The VALUE buttons step through the Programs and Mixes The PAGE buttons change the MIDI channel e The BANK buttons step through the Banks The Edit Modes Th
6. positive values applying aftertouch makes the sound louder At negative values it makes the sound softer TIP Some of the Velocity Curves are designed to be used in sets to allow a different Sound to play depending on how hard the keyboard is played TIP Most Sounds use the LINEAR velocity curve TIP Many of the internal samples are already velocity switching meaning that there is actually more than one sample per note These samples usually have V or Velo in their names NOTE Notes played at maximum velocity might not have enough headroom available for a positive aftertouch amplitude swell Try playing softly while experimenting with this parameter 43 44 Setting the Amplitude LFO Amount Button EDIT 80 AMP RANGE Page 3 Parameter A LFO gt AMP 99 to 99 This sets how much the Amplitude LFO affects the level Higher values increase the amount of amplitude LFO modulation Negative values flip the LFO phase Setting the Lower Keyboard Limit Button EDIT 80 AMP RANGE Page 4 Parameter LoLim C2 000 to G8 127 This specifies the lowest note of the Sound s keyboard range Each Sound can be restricted to a specific range of the keyboard This allows you to create splits and layers across the keyboard Setting the Upper Keyboard Limit Button EDIT 80 AMP RANGE Page 5 Parameter HiLim C2 000 to G8 127 This specifies the highest note of the Sound s keyboard range S
7. 81 82 Setting the Resonator Decay Time Button EDIT EDIT 80 PITCH Page 2 3 or 5 Resonator only Parameter Resntr Decy 00 to 99 This adjusts the Resonator Decay time 00 is a fast decay and 99 is a longer decay Selecting the Pitch Effect Input 2 Source in OVERDRIVE LEZLIE Button EDIT EDIT 80 PITCH Page 2 Config 5 only Parameter In2 SEND1 SEND4 This selects the second input to the Pitch effect in Configuration 5 OVERDRIVE LEZLIE Setting the Pitch Effect Input Balance in OVERDRIVE LEZLIE Button EDIT EDIT 80 PITCH Page 3 Config 5 only Parameter gt PCH OVD lt 99 to 99 gt IN2 This sets the Resonator input balance between Overdrive and Input 2 in Configuration 5 OVERDRIVE LEZLIE When set to OVD lt 99 only the Overdrive is being routed to the Resonator When set to 99 gt IN2 all that goes through is Input 2 When set to lt 0 gt an even mix of both signals is passed on The Delay Function 90 DELAY This effect delays the signal to create one or more echoes of the original sound The QS s effects processor has three different delay types available Choosing the Delay Type Button EDIT EDIT 90 DELAY Page 1 Parameter Typ see below PING PONG In this delay the output bounces from left to right in the stereo field The maximum delay time is 399 milliseconds STEREO DELAY This is actually two separate delays which can be individually varied The m
8. EDIT EDIT 50 EQ Page 4 Parameter Hi EQ Gn 0dB to 9dB This determines how much boost will be applied to the high shelving EQ The Mod Function 60 MOD The Mod Function button 60 provides two modulation paths allowing you to modulate two effects parameters at a time either via MIDI or from your QS If a Mod is disabled the Level is set to zero then every parameter within that Mod will be displayed in small letters Otherwise the first letter of each parameter will be capitalized Choosing the Mod Source Button EDIT EDIT 60 MOD Pages 4 Parameter Srcl Src2 see below This parameter selects the control source for the modulation path The choices are e Aftertouch e Sustain Pedal e Mod Wheel e Pedal 1 Pitch Wheel e Pedal 2 e MIDI Volume e Controllers A D Choosing the Mod Destination Button EDIT EDIT 60 MOD Pages 5 Parameter Dsti Dst2 see below This is where you select what Effect parameter your modulation source is going to modulate Not all of these are available in all configurations but the possible destinations are e Pitch Speed e Reverb High Decay e Pitch Depth e Reverb Diffusion e Pitch Level e Reverb Level e Pitch Balance e Overdrive Threshold e Delay Balance e Overdrive Bright Delay Time e Overdrive Balance e Delay Feedback e Overdrive Level e Delay Level e Lezlie Balance e Reverb Balance e Lezlie Level e Reverb Input e Lezlie Speed e Reverb
9. Global Mode and toggle between these two settings while a sequence is running If this happens the OS could inadvertently send large bursts of data to your external MIDI devices 91 MIDI Supplement Sending and Receiving Bank Select Messages The QS will send and respond to MIDI Bank Select messages in the form of MIDI Controller 0 The value of Controller 0 determines which bank is to be recalled User Preset 1 3 GenMIDI Card The way the QS handles Bank Select messages depends on the MIDI Program Select mode set in Global Mode MIDI PrgSl OFF The QS will neither transmit nor receive Bank Select messages or Program change commands with this setting MIDI PrgSl ON Reception Program Mode If a Bank Select controller 0 message with a value of 0 is received it will cause the User Bank to be recalled If a Bank Select message of 1 is received Preset Bank 1 will be recalled Additionally if a Sound Card is inserted the Card Banks can be selected using Controller 0 values between 5 and 15 Reception Mix Mode Same as above except the Mix itself will not change Banks The word EDITED will appear in Mix Play mode screen because the Mix has been altered to point to another bank on one of its MIDI channels But you have to look inside the Mix to see that the Bank change occurred Transmission Program Mode If a new Bank is selected using the BANK buttons a Bank Change message will be transmitted See Receptio
10. TalkDownHi TalkDownLo Tambourin1 Tambourin2 Timbale Hi TimbaleLow Timpani Hi TimpaniMid TimpaniLow Triangle TriangleSf Udu Hi Udu Mid Udu Low Udu Slap Vibrasmack WoodBlokHi WoodBlokLo 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 Low 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
11. Velocity Filter Envelope Level 100 FILTER ENV 11 Filter Frequency 70 FILTER 3 Pitch Envelope Level 90 PITCH ENV 11 49 50 Editing the Mod Routes The Mod Routes are part of each Program just like any other program parameter like Filter Frequency for example Hit EDIT from Program mode to begin editing Selecting a Mod Route 0 5 MOD In Program Edit Mode use the 0 5 buttons to select one of the six mod routes to edit All modulators work in the same way so only the pages of one will be described here When you re in one of the Mod pages the top line of the display will show whether that Mod is active If the Mod is disabled Level set to 00 mod will be in small letters If the Mod is enabled MOD will be capitalized Choosing the Mod Source Buttons EDIT 0 5 MOD Page 1 Parameter Src see below Here you can select one of the following modulation sources e NOTE provides a modulation signal that corresponds to the note played on the keyboard higher keys give higher values e VELOCITY refers to how hard you hit the keys REL VEL Release Velocity refers to how fast you let go of the keys e AFT TCH Aftertouch Pressing on the keys after they re down generates this control signal This represents an average of all keys being pressed The harder you press on the keys the greater the degree of modulation Note the QS8 2 s keyboard does not generate afterto
12. buttons to choose a Program Bank Available choices ate USER PRESET1 PRESET2 PRESET3 and GenMIDI More Banks are available if you have an expansion card To call up an individual Program press the numbered buttons for the Program you want to recall For example if you want to hear a grand piano Program press the BANK gt button until you are in the PRESET1 Bank then press the 00 PIANO button and then the 0 button This will select Program 00 True Stereo You can also use the VALUE UP and VALUE DOWN buttons step through the Programs Finding Programs To make Programs easier to find we ve organized them into eleven categories marked on the tens buttons 00 09 Pianos 10 19 Chromatic 20 29 Organ 30 39 Guitar 40 49 Bass 50 59 Strings 60 69 Brass 70 79 Winds 80 109 Synth i 110 119 Rhythm FX 120 127 Drums Percussion ei ee ae organized to match the General MIDI For example Programs 20 through 29 are all Organ sounds standard which puts Programs in a different order 13 14 Playing Split and Layered Programs Mixes A Mix is a combination of up to 16 Programs allowing you to play more than one sound at the same time The Programs may be split or layered across the keyboard or distributed among MIDI channels for multitimbral sequencing Press the MIX button The display should look something like this Mix Number Mix Name Bank Name an a a ie bes eee Se oie
13. 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 Beat12 Kick Loopl Kick Loop2 Kick Loop3 Kick Loop4 Kick Loop5 Kick Loop6 Kick Loop7 Kick Loop8 Kick Loop9 KickLoop10 KickLoop11 Snare Lp L Snare Lp 2 Snare Lp 3 Snare Lp 4 Snare Lp 5 Snare Lp 6 Snare Lp 7 Snare Lp 8 Snare Lp 9 SnareBeatl SnareBeat2 SnareBeat3 SnareBeat4 SnareBeat5 Back Beat1 Back Beat2 Back Beat3 Back Beat4 Hat1 Clsd1 Hat1 Clsd2 Hat1 Foot Hatl 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 Loop Bongo Loop CabasaLoop CastanetLp CongaLoop1 Shaker Lp1 Shaker Lp2 SleighLoop Tabla Ga Lp Tabla Ka Lp Tabla Na Lp Tabla Te Lp TablaTin Lp Taiko Loop PercBeatl PercBeat2 PercBeat3 PercBeat4 VoiceLoop1 VoiceLoop2 PhonicLoop SpinalLoop Tr Loop 1 Tri Loop 2 Orch Loop The Level Function 50 LEVEL The Level function button 50 allows you to control the volume pan position output assignment and effects send level for each Sound Setting the Sound Volume Button EDIT 50 L
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15. 2 REVERBS This Configuration should be used when two different reverbs are needed For example you might need a gated reverb for drums and a regular reverb for everything else Send 1 is routed through a mono Delay then a Chorus then to the first Reverb Send 2 is routed directly to the first Reverb Send 3 is routed through a mono Chorus then to the second Reverb Send 4 is routed directly to the second Reverb MAIN LEFT MAIN RIGHT MAIN LEFT MAIN RIGHT SENDA 7 L REVERB1 SEND2 Parse ashes 1 ehir er IN 7 SEND4 74 Configuration 3 LEZLIE REVERB This Configuration is structurally similar to Configuration 1 1 REVERB The difference here is that the Pitch effect on Send 1 is a custom designed stereo rotating speaker effect and it is followed by a mono Delay This is useful for organ sounds MAIN LEFT MAIN RIGHT SEND1 SEND2 SEND3 SEND4 DELAY4 1 OUTPUT MIX SECTION RvbIN1 IN2 RvbIN4 IN2 2 gt MAIN LEFT MAIN RIGHT Configuration 4 1 REVERB EQ This is another general purpose Configuration with the bonus of having a shelving EQ at the output This Configuration is similar to Configuration 1 1 REVERB except that sends 3 and 4 have been removed and there is a shelving EQ at the main outputs This EQ affects all sounds coming out of the QS outputs not just the effects output
16. 5 MIDI susanne ae MIDI Conticctons s scsi ni srias SKEE EE REAR A Using Your QS With a MIDI Sequence Ghanging the MIDI Charing 38 chides eakadseasanwias Saving Programs and Mixes Via MIDI Chapter 6 Global Parameter ssccccceees Setting the Master Pitch aueenseenenn non iKa eas Pine VU ua aatisstzesidaaieatisetloeeis Picking the Keyboard Velocity Curve Setting the Keyboard Velocity Scaling ween Transposing the eyboatd 56cksanidanuecasihadatank sakes Setting the Keyboard MIDI Mode ennnsnnnenennenenne Turning on General MIDI ssesenensenensenennenennenennen Setting the A D Controller MIDI Numbers eneneenen Setting the Pedal 1 MIDI Controller Number Setting the Pedal 2 MIDI Controller Number Selecting the MIDI Program Change Behavior ues Setting the Behavior of the MIDI Out Pott 32 Resetting the A D Conttollers ennenenennenennenennenennen 32 Setting the A D Controller MIDI Mode 32 Chapter 7 Editing Program cccccccees 33 OS Composite Synthesis nenn kennen 33 Selecting a Sound to Edit 00 30 SOUND 35 The Voice Function 40 VOICE n eeeessenensenneenenennenenenennenenen 36 The Level Function 50 LEVEL neesnensenensenneenenesenenenensenenen 38 The Pitch Function 60 PITCH eenesenenennennenne 39 The Filter Function 70 FILTER 41 The Amp Range Function 80 AMP RANGE wu 43 The Pitch Envelope Functi
17. 89 How do I split the keyboard nemenenensenensenennenennenenne 89 How do I layer two sounds on the keyboard ueeeeene 89 What is a MIDI Sequence unnnnesnssenesenennenennenennenennenennenennenennn 89 Where can I get MIDI sequences for the QS wees 89 How do I play General MIDI sequences nennen 89 How do I load sequences into my QS cece csseseeeeeees 89 How do I load samples into the QS n nnennnsnnenennenennenenne 90 Where can T get Q Cards sicissiisssis sizisisssistadsettinsiessistsistsiateiessteteinesansls 90 Where can I get SRAM cards and Flash cards oes 90 Where can I get more Banks nnnensnnsenesenensenennenennenennenennen 90 Are QS6 2 QS8 2 Programs compatible with older QS PLOSTAMS apenn iia uwAak wate E 90 How do I change what the sliders do nnnmenennnenenne 90 Appendix B Sound Bridge 22200000000 91 Appendix C MIDI Supplement cc0008 93 Appendix D Troubleshooting ccceee 97 Recovering from a Crash uesssnssnensenesenensenensenensenensenensnnennnn 98 PRG Em CA TN ooo pets ete seid iir g irni Asari E E ERE 98 Checking the Software Version usenennsenensenensenensenennenennenenne 98 Cleaning Vout OS areas en Bass 98 Specifications ssssesseeosseseccoseseecoseseeoosseeecosseeeeeo 99 Index nk 101 Introduction Welcome Congratulations on your purchase of an Alesis QS6 2 QS8 2 64 Voice Expandable Synthesizer It s a po
18. Config 2 Send 3 Parameter Inpt Filter 00 to 99 This adjusts the frequency of the low pass filter at the Reverb input Lower values make the reverb sound darker Setting the Reverb Decay Time Button EDIT EDIT 100 REVERB Page 10 7 in Config 2 Send 3 Parameter Decay 00 to 99 This determines how long the reverb will sound before it dies away When using the Reverse Reverb type Reverb Decay controls the Reverse Time Setting the Reverb Hi Low Decay Time ee Button EDIT EDIT 100 REVERB or Reverse the Low Decay parameter is Page 11 amp 12 8 amp 9 in Config 2 Send 3 unavailable Parameter Low Decay High Decay 00 to 99 These two parameters set the Decay Time separately for the low and high frequencies of the reverb This means that you can make the high frequencies die faster if the effect is too bright and being able to make the lows die faster if it s too boomy Setting the Reverb Hi Low Decay Time Button EDIT EDIT 100 REVERB Page 10 or 13 12 if Gated or Reverse type Parameter Density 00 to 99 This controls how the reflections of the reverb will sound When set to 00 the individual reflections will be very distinct When set to 99 the reflections will be smeared making the reverb sound more dense Setting the Reverb Diffusion Button EDIT EDIT 100 REVERB Page 11 or 14 13 if Gated or Reverse type Parameter Diffusion 00 to 99 This sets the number of re
19. Decay e Lezlie Motor e Reverb Low Decay If the selected Configuration has a particular effect on more than one Send certain Mod Destination parameters will be listed more than once For example D1 TIME D2 TIME D3 TIME etc NOTE Don t confuse this Effect Mod function with the Mod settings within the Programs They are not the same thing since they have entirely independent destinations They can tap some of the same sources though TIP Ifyou want to use a MIDI controller that isn t listed select one of the A D CONTROLLER sliders or one of the pedals and then go to display pages 8 through 13 of Global Mode to link that mod source to the MIDI Controller number of your choice NOTE If you modulate an Effect parameter while audio is passing through it it is possible that you will generate some degree of distortion in the audio sometimes known as zipper noise This is normal One exception to this is Chorus Speed which modulates more smoothly NOTE If the Resonator or Detune effects are chosen you won t see their parameters listed as Mod destinations but they re still available For example if you ve chosen Resonator on Send I and you want to be able to modulate its first parameter Resonator Tune choose P1 Speed as your destination that s the first parameter you can modulate in a Chorus The Resonator Decay parameter is its second parameter so to modulate it you would choose P1 Depth th
20. Decay e Portamento Rate Pitch Envelope Delay Filter Envelope Release e Pitch Envelope Attack e Filter Envelope Amp e Pitch Envelope Decay Amp LFO Speed e Pitch Envelope Sus Decay Amp LFO Amp e Pitch Envelope Release Amp LFO Delay e Pitch Envelope Amp 51 52 Setting the Mod Level Buttons EDIT 0 5 MOD Page 3 Parameter Level 99 to 99 This sets the modulation level At zero the modulation source has no effect on the destination it is disabled Higher positive values increase the amount of modulation in the positive direction Negative values increase the amount of modulation in the negative direction In other words if you choose Controller A as your source and Pitch as your destination a value here of 99 will cause the pitch to rise as slider A moves up A value of 99 will lower the pitch as slider A moves up Turning On the Mod Gate Buttons EDIT 0 5 MOD Page 4 Mods 1 3 only Parameter Gated ON or OFF This determines whether the modulator will be active after keys are released When the gate is ON the Modulator will only be active while notes are being held The effect of the Modulator will stop when you are not playing any notes This function is available only in mod routes 1 through 3 Turning On Quantization Buttons EDIT 0 5 MOD Page 4 Mods 4 6 only Parameter Quant ON or OFF This determines whether the modulator will modulate in a smooth fashion or a ste
21. LoRackTom2 LoRackTomV HiFlrTom 1 HiFlrTom 2 HiFlrTom V MidFlrTom 1 MidFlrTom 2 MidFlrTom V LowFlrTom1 LowFlrTom2 LowFlrTomV CanonTomHl CanonTomH2 CanonTomHV CanonTomM1 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 FilterHatl FilterHat2 FilterHat3 Ride Cym Ride Cym 2 RideCym V1 RideCym V2 RideBell 1 RideBell 2 RideBell V Crash Cym1 Crash Cym2 SplashCym1 SplashCym2 SplashCym3 China Cym1 China Cym2 RapCymball RapCymbal2 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 RapCongaMd 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 Shaker Hi Shaker2Low Sleighbl 1 Sleighbl 2 Steel DrmHi 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
22. LowMuteGtr IHiElecHarm LoElecHarm ClsclHarm HiBassHarm MidBassHrm LowBassHrm HiSlpBass ILoSlpBass 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 Loop7 Kick Loop8 Kick Loop9 KickLoop10 KickLoop11 Snare Lp 1 Snare Lp 2 Snare Lp 3 Snare Lp 4 Snare Lp 5 Snare Lp 6 Snare Lp 7 Snare Lp 8 Snare Lp 9 SnareBeat1 SnareBeat2 SnareBeat3 SnareBeat4 SnareBeat5 Back Beat1 Back Beat2 Back Beat3 Back Beat4 Hatl Clsd1 Hat1 Clsd2 Hatl 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 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
23. Master Slave e Slave with pass through This setup allows MIDI signals to pass through the QS so they may reach multiple units This allows one MIDI device to control several Attach a cable from the MIDI OUT of the first device to the MIDI IN jack of the QS and then attach another cable from the QS s MIDI THRU jack to the MIDI IN of the third device OUT IN THRU EA TEE LT e Sequencing This setup allows you to use your QS with a MIDI sequencer or a computer with a MIDI interface Attach one MIDI cable from the MIDI OUT of the sequencer or computer to the MIDI IN jack of the QS Attach another cable from the QS s MIDI OUT jack to the MIDI IN of the sequencer or computer Computer Sooooo0000008 se ssosscocoocoo oo Using Your QS With a MIDI Sequencer A sequencer is a device that records and plays back note messages A sequencer can take the form of a stand alone hardware device or a computer with a MIDI interface and sequencing software Using a MIDI sequencer you can record what you play on your QS and then play it back later You can also obtain sequences written by other people and play them back on your QS synthesizer There are a large number of General MIDI sequences available for just this purpose Since the QS is a multitimbral instrument it is a perfect companion to a sequencer In Mix Mode the QS can play up to 16 different programs simulta
24. affects filter frequency Higher values increase the amount of filter LFO modulation Negative values flip the LFO phase TIP Many acoustic instruments such as acoustic guitars sound brighter when you play them more forcefully Adding a little positive velocity control over the filter frequency can more accurately simulate these instruments NOTE Ifyou don t hear any change when you edit this and other filter parameters make sure the Filter Frequency is not already maxed out i e it has room to move in the direction you specified TIP Filter LFO is good for giving wah wah effects at slower LFO speeds and for adding shimmering at higher speeds NOTE Ifyou hear no change when you alter this parameter experiment with the Filter LFO Functions on button 7 You may get a more pronounced effect if you use a negative setting for Filter LFO Depth Setting the Filter Envelope Amount Button EDIT 70 FILTER Page 7 Parameter F ENV gt FILT 99 to 99 This sets how much the Filter Envelope affects the filter frequency Higher values increase the effect of the Filter Envelope Negative values turn the envelope upside down The Amp Range Function 80 AMP RANGE The Amp Range function button 80 lets you control the velocity and keyboard range of each Sound layer Selecting the Velocity Curve Button EDIT 80 AMP RANGE Page 1 Parameter VelCrv see chart This sets how the Level will respon
25. and where each block s output goes The five Effect Configurations are 1 1REVERB 2 2REVERBS 3 LEZLIE REVERB 4 1REVERB EQ 5 OVERDRIVE LZLY To pick a Configuration enter Effects Edit Mode and then press 40 the button that has CONFIGURATION printed above it The display will NOTE Everytime youselectanew look like this Configuration many of the parameters will be reset to their default values So always pick your Configuration first before doing E 1 pep COME TS any other Effects editing _ _ vun PROG EDIT 2 Use the VALUE buttons or the EDIT VALUE slider to select one of the five Configurations 71 72 Configuration 1 1 REVERB 1 REVERB is a general purpose configuration with four Sends each with a variety of effects which all feed into a single Reverb NOTE Each Pitch Delay and Reverb module has its own independent mix output level which controls how much signal is routed directly to the main outputs Sends 1 and 2 have a Pitch effect followed by a stereo Delay Send 3 has a mono Pitch effect followed by a mono Delay Send 4 has a mono Delay The output of all of these paths are mixed and sent into a single Reverb The Reverb parameters are in Send 1 MAIN LEFT 8 99 0 00 MAIN LEFT MAIN RIGHT Kata D D a E n MANN RIGHT OUTPUT MIX SECTION SEND PITCH 11 DELAY e Bo RvbIN1 IN2 E Eel EBEN SEND2 SEND3 RvbIN1 IN2 SEND4 DELAY4 1 2 Configuration 2
26. ce soit par exemple losrque le cordon secteur ou la prise sont endommag s si du liquide a coul ou des objets se sont introduits dans appareil si celui ci a t expos la pluie ou humidit ne fonctionne pas normalement ou est tomb 15 Puisque son fonctionement normale g n re de la chaleur placez cet appareil au moins 15cm des quipments p ripheriques et assurez que emplacement permet la circulation de Pair 16 Ce produit utilis avec un amplificateur et un casque ou des enceintes est capable de produite des niveaux sonores pouvant engendrer une perte permanente de l ouie Ne VPutilisez pas pendant longtemps un niveau sonore lev ou un niveau non confortable Si vous remarquez une perte de l ouie ou un bourdonnement dans les oreilles consultez un sp cialiste 17 N exposez pas l appareil l goutture ou l claboussement Ne placez pas les objets remplis de liquides vases a fleur boites de boisson non alcoolique tasses de caf sur l appareil 18 AVERTISSEMENT Pour r duire le risque du feu ou de d charge lectrique n exposez pas cet appareil a la pluie ou a l humidit OY Ot Fe O Col Lesen Sie bitte die folgende Sicherheitshinweise German Sicherheit Symbole verwendet in diesem Produkt N Dieses Symbol alarmiert den Benutzer da es wichtige Funktionieren und Wartung Anweisungen in der Literatur gibt die diese Ma einheit begleitet AN Dieses Symbol warnt den Benutzer der
27. keyboard or MIDI A LINEAR curve is the norm where the volume increases as you play harder The velocity curves are the same as those for Keyboard Mode described under the AMP RANGE function in the Editing Programs chapter Choosing the Base Note for the Drum Sound Button EDIT 80 AMP RANGE Page 2 Parameter Note C2 000 to G8 127 This sets which note will trigger the Drum sound when played You can also set the note assignment by holding 80 and tapping a key on the keyboard while in this page Setting the Note Range for the Drum Sound Button EDIT 80 AMP RANGE Page 3 Parameter Note Range 0 to 3 This sets the range of notes above the root note that will trigger the Drum sound A setting of 3 assigns the Drum to a total of 4 consecutive keys The Amp Env Function AMP ENV 110 The Amp Env Function button 110 is where you can set the drum s decay time and assign it to a mute group if desired Setting the Drum s Decay Time Button EDIT 110 AMP ENV Page 1 Parameter Decay 0 to 99 Gat00 to Gat99 This lets you adjust the amplitude envelope Decay time of the selected Drum If this is set to 0 only the very beginning of the drum sample will be played Setting this to 99 will cause the entire drum sample to play Settings of Gat00 to Gat99 gate will cause the Drum sound to continue to be played as long as the key is held or the end of the sample is reached The number after t
28. nicht isolierten Spannung innerhalb der Ma einheit die gef hrliche elektrische Schl ge verursachen kann h Dieses Symbol warnt den Benutzer dem Ausgabestecker Spannungen enthalten die gef hrlichen elektrischen Schlag verursachen k nnen Folgen Sie bitte diesen Vorkehrungen wenn dieses Produkt verwendet wird Lesen Sie die Hinweise Halten Sie sich an die Anleitung Beachten Sie alle Warnungen Beachten Sie alle Hinweise Bringen Sie das Ger t nie mit Wasser in Ber hrung Verwenden Sie zur Reinigung nur ein weiches Tuch Verwenden Sie keine fl ssigen Reinigungsmittel Dies kann gef hrliche Folgen haben Halten Sie sich beim Aufbau des Ger tes an die Angaben des Herstellers Stellen Sie das Ger t nich in der N he von Heizk rpern Heizungsklappen oder anderen W rmequellen einschlie lich Verst rkern auf 9 Verfehlen Sie nicht den Zweck des grounging Terminals auf dem Netzstecker Dieses Terminal wird f r Ihre Sicherheit zur Verf gung gestellt 10 Verlegen Sie das Netzkabel des Ger tes niemals so da man dar ber stolpern kann oder da es gequetscht wird Benutzen Sie nur das vom Hersteller empfohlene Zubeh r Verwenden Sie ausschlie lich Wagen St nder oder Tische die speziell f r professionelle Audio und Musikinstrumente geeignet sind Achten Sie immer darauf da die jeweiligen Ger te sicher installiert sind um Sch den und Verletzungen zu vermeiden Wenn Sie einen Rollwagen benutzen acht
29. of one 1 year for parts and for a period of one 1 year for labor from the date of original retail purchase This warranty is enforceable only by the original retail purchaser and cannot be transferred or assigned The purchaser should complete and return the enclosed warranty card within 14 days of purchase During the warranty period ALESIS shall at its sole and absolute option either repair or replace free of charge any product that proves to be defective on inspection by ALESIS or its authorized service representative In all cases disputes concerning this warranty shall be resolved as prescribed by law To obtain warranty service the purchaser must first call or write ALESIS at the address and telephone number printed below to obtain a Return Authorization Number and instructions concerning where to return the unit for service All inquiries must be accompanied by a description of the problem All authorized returns must be sent to ALESIS or an authorized ALESIS repair facility postage prepaid insured and properly packaged Proof of purchase must be presented in the form of a bill of sale canceled check or some other positive proof that the product is within the warranty period ALESIS reserves the right to update any unit returned for repair ALESIS reserves the right to change or improve design of the product at any time without prior notice This warranty does not cover claims for damage due to abuse neglect alteration or attempted repair
30. the note fades in slowly or starts abruptly Unlike the Pitch and Filter Envelopes the Amp Envelope is always fully active See below for the envelope parameters Setting Envelope Parameters The following parameters apply to the Pitch Filter and Amplitude Envelopes DECAY SUSTAIN LEW EL ATTACK SUSTAIN DECAY rrm lt me TIME nun NOTE ON MOTE OFF I 1 Setting the Envelope Attack Time Buttons EDIT 90 110 Page 1 Parameter Attack 00 to 99 This sets the amount of time the envelope will take to reach its maximum level The higher the value the slower the attack Setting the Envelope Decay Time Buttons EDIT 90 110 Page 2 Parameter Decay 00 to 99 This sets the amount of time the envelope takes from the end of the Attack stage to reach the Sustain level The higher the value the longer it will take Setting the Envelope Sustain Level Buttons EDIT 90 110 Page 3 Parameter Sustain 00 to 99 This sets the level that the envelope will reach after the Decay time Setting the Envelope Release Time Buttons EDIT 90 110 Page 4 Parameter Release 00 to 99 HOLD Pitch Envelope only TIP Some Programs may leave the Amp Envelope fully open and provide attack and decay using the Filter Envelope 45 46 This sets the amount of time the envelope will take to get from its current level to zero after the note is released The higher the value the longer it wil
31. the pitch 5 semitones At 99 it lowers the pitch 5 semitones Setting the Pitch LFO Amount Button EDIT 60 PITCH Page 6 Parameter PLFO gt PITCH 99 to 99 This sets how much the Pitch LFO affects pitch Higher values increase the amount of Pitch LFO modulation Negative values flip the LFO phase Pitch LFO parameters such as speed and wave shape are programmed within the Pitch LFO Function Setting the Pitch Envelope Amount Button EDIT 60 PITCH Page 7 Parameter PENV gt PITCH 99 to 99 This sets how much the Pitch Envelope affects Pitch Higher values increase the effect of the Pitch Envelope Negative values turn the envelope upside down Postive Bwose Negative Bmvelspe 39 39 0 o 99 99 TIME TIME NOTE Aftertouch is not present on the OS8 2 keyboard but you can still have the aftertouch effect when you control the OS8 2 via MIDI NOTE Hearing a change when you edit this parameter depends on whether the LFO has received input from a modulator such as the Mod wheel If you hear no change try moving the Mod wheel up NOTE Pitch Envelope parameters such as attack and decay time are programmed within the Pitch Envelope Function on button 90 Setting the Portamento Mode Button EDIT 60 PITCH Page 8 Parameter Prtamento EXPON LNEAR 1 SPD Portamento provides a glide in pitch from one note to the next An example of this is a steel guitar where a not
32. to its release stage When set to FREERUN the envelope will complete its entire cycle even if the note is released before the envelope has completed its cycle When set to RESET the envelope will start 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 it will complete its entire cycle even if the note is released in the middle NOTE In NORMAL and FREERUN modes when a voice is stolen by a new note the envelope will not start from the beginning but will continue from its current level TIP If you don t want the envelope to re trigger when playing legato set the Keyboard Mode to MONO and the envelope trigger mode to NORMAL TIP To get the most natural sounding Sustain Pedal reaction the best setting for the Filter Envelope Trigger Mode is usually either the FREERUN or the RESET FREERUN mode This allows the Filter to keep following its envelope shape even after the keys are lifted up Activating Envelope Key Tracking Buttons EDIT 90 110 Page 8 Parameter Time Track ON or OFF This determines whether keyboard position affects the speed of the envelope When ON playing toward the higher end of the keyboard will result in a faster envelope cycle This only affects the decay sustain decay and release segments of the envelope The envelope s timing doubles or halves over a range of two octaves
33. within the country of sale Without limiting the foregoing repairs under this warranty shall be made only by a duly authorized Alesis service representative in the country of sale For warranty information in all other countries please refer to your local distributor Alesis Contact Information Alesis Distribution LLC Los Angeles USA E mail support alesis com Website http www alesis com Alesis QS6 2 QS8 2 Reference Manual Revision 1 0 by Brian Shim with help from Taiho Yamada Copyright 2002 Alesis Distribution LLC All rights reserved Reproduction in whole or in part is prohibited QS6 2 and QS8 2 are trademarks of Alesis Distribution LLC Specifications subject to change without notice 7 51 0103A 5 23 2002 For more effective service and product update notices please register your OS online at http www alesis com support warranty htm 103
34. xj ef fa Ib c fa fe If fg In fi Jj k h m n Jo e a r Is It Ju v wx ly Iz je D gt lt M The Mix Edit Buffers In Mix mode there are 16 edit buffers for the Programs inside the Mix plus another buffer for the Mix parameters and yet another buffer for TIP These edit buffers are preserved when the Effects Processor going between Mix and Program Modes So if you want to audition other Programs while in Mix Mode you can go into Program Mode and your Mix Mode edits will not be lost You can edit a Program within a Mix by pressing EDIT a second time each time you press EDIT in Mix Mode the display cycles between Mix Edit Program Edit and Effects Edit Modes When editing a Program in Mix Mode the words MIX PROG EDIT will appear in the lower left corner of the display and the channel number that is being edited will flash ach dadii m ganan l l A NOTE Be sure to store each edited I I i F Program or your changes will be lost MIX PROG EDIT 13 Editing Effects QS Parallel Matrix Effects The QS synthesizer has a powerful built in digital signal processor capable of generating a variety of effects including reverb delay chorus flanging and overdrive The effects processor has four paths called effect Sends Each Send has its own group of effects arranged in a particular way The four Sends are arranged in parallel and can be active simultaneously In a Program each Sound can be assigne
35. 0 127 The Sound number in the top line determines the target Sound within the User Program you chose Press STORE to copy the Sound Auditioning Programs Before Storing When it s time to store your Program you may need to look around to find a Program that you don t need anymore so you can overwrite it To do this you can take advantage of the fact that you can move between Program Mode and Mix Mode without losing your changes So to find a new location to store your edited Program jump into Mix Mode search for a Program you can overwrite there then jump back into Program Mode and store the Program NOTE The way to tell the difference between a program edited in Program Mode and one edited from Mix Mode is by looking at the display in Program Edit Mode PROG EDIT appears in the lower left corner of the display while in Mix Program Edit Mode MIXPROG EDIT appears Modulations The Mod Routes As we mentioned in the previous chapter modulation refers to modifying some aspect of a sound For example sound volume is shaped or modulated by the Amplitude Envelope A Mod Route refers to a modulation source and the destination that it is modulating In the previous chapter we ve already covered some of the hard wired mod routes One example is the Pitch LFO which can always be used to modulate pitch In addition however there are six general purpose mod routes that have many more possible m
36. 0 raising the Mod Wheel to the top will cancel out all vibrato NOTE Since the output level of the LFO cannot be less than zero a negative setting of the Mod Wheel parameter will have no effect unless there is LFO already occurring It might be helpful to think of the Tracking Generator as a fifth page available to the Mod function When you choose it as your source on the first page of a Mod let s say button 0 or Mod 1 you then need to go select the TG s input on button 9 page 1 In effect the TG s input is its Mod soutce and the TG itself becomes a sort of Mod destination Modulation input is basically filtered through the TG before it reaches the actual Mod destination on page 2 of Mod 1 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 two choices will be available TRACKGEN and STEPTRAK When TRACKGEN is selected as the modulation source the Tracking Generator functions normally scaling its input as determined by its parameter settings When STEPTRAK is selected as a modulation source the Tracking Generato
37. 0 5 MOD Page 2 Parameter Dst see below Here you can select from the following modulation destinations You can find out more about these parameters and how they affect the sound in their respective sections TIP If you want to modulate the pitch or filter Envelope Level positively set the Envelope Level to zero so you have room to modulate For the amplitude envelope set the level to 01 Similarly if you want to modulate any Envelope Level negatively set the Envelope Level to 99 NOTE When negatively modulating the amplitude envelope make sure the negative modulation amount is not greater than the Aenv Level setting For example If your Aenv Level is at 59 and you have Controller A routed to AENV AMP with a mod amount of 60 any note held down when Controller A reaches its maximum throw will be considered off and will be unable to be pulled back up by Controller A You ll have to re trigger the note NOTE When Portamento Rate is chosen as a destination you will hear no change in that parameter unless it is at least set to 01 e Pitch Filter LFO Speed Amp Envelope Delay Filter Frequency e Filter LFO Amp e Amp Envelope Attack e Amplitude Filter LFO Delay Amp Envelope Decay Effect Send e Filter Envelope Delay e Amp Envelope Sus Decay Pitch LFO Speed e Filter Envelope Attack Amp Envelope Release Pitch LFO Amp e Filter Envelope Decay e Amp Envelope Amp Pitch LFO Delay Filter Envelope Sus
38. 0 or 127 97 Data Decrement 0 or 127 98 Non Registered Parameter MSB 0 127 99 Non Registered Parameter LSB 0 127 100 Registered Parameter MSB 0 127 101 Registered Parameter LSB 0 127 121 Reset All Controllers 0 122 Local Control On Off 0 or 127 123 All Notes Off 0 124 Omni Off 0 125 Omni On 0 126 Mono On 0 16 0 Omni Off 127 Poly On 0 95 96 MIDI Implementation Chart Function Basic Default 1 16 1 16 Channel Changed 1 16 each 1 16 each Memorized Default Mode 3 Mode 3 Messages X Altered xk OOK OK OK OK OK X Number True Voice nee Ate 0 127 Velocity Note On Touch Ch s O O Control 0 120 O Change Prog Ol 0 127 Ol 0 127 Change True FR ER ce ae 0 127 System Exclusive eae gt em m se a a Common Song Sel K K KIO Tune System Clock Realtime Commands Aux Local On Off Messages All Notes Off Active Sense Reset GM On ait O D lo X is selectable 2Recognized as ALL NOTES OFF Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLY Mode 1 OMNI ON MONO Mode 4 OMNI OFE MONO Yes No Oo General MIDI There are three MIDI registered parameter numbers RPNs which the QS will recognize in Mix Mode when General MIDI is enabled These are e MIDI Registered Parameter 0 Pitch Bend Sensitivity This will affect the Pitch Wheel Range parameter of all four Sounds of the Program on the recetved MIDI Channel of the Mix MIDI Registered
39. 60 PITCH The Pitch function button 60 lets you control the pitch aspects of each Sound layer Setting the Pitch Button EDIT 60 PITCH Page 1 TIP Remember you can reset any Parameter Semitone 24 to 24 semitones parameter back to its default value by J j pressing the VALUE UP and VALUE This sets the oscillator pitch in semitones DOWN buttons at the same time Fine Tuning the Pitch Button EDIT 60 PITCH Page 2 Parameter Detune 99 to 99 cents This sets the oscillator pitch in cents from 99 down 99 100 of a semitone to 99 up 99 100 of a semitone Selecting the Detune Type Button EDIT 60 PITCH Page 3 Parameter DetuneType NOR EQU With NOR 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 39 40 With EQU selected the absolute amount of detuning remains the same over the entire keyboard so any detuning seems less pronounced as you play higher up on the keyboard Setting the Pitch Wheel Bend Amount Button EDIT 60 PITCH Page 4 Parameter PWHL gt PITCH 0 to 12 semitones This sets the amount of pitch bend when the PITCH wheel is full forward Setting the Aftertouch Pitch Bend Amount Button EDIT 60 PITCH Page Parameter 5 AFTCH gt PITCH 99 to 99 This sets how much Aftertouch affects pitch At 99 applying aftertouch raises
40. Activating the Sustain Pedal Buttons EDIT 90 110 Page 9 Parameter SustainPed ON or OFF This determines whether the Sustain Pedal will affect the envelope Setting the Envelope Level Buttons EDIT 90 110 Page 10 Parameter Env Level 00 to 99 This sets the level of the envelope At 99 the envelope will have a maximum effect on whatever it is being routed to Setting Velocity Modulation of the Envelope Buttons EDIT 90 100 Page 11 Parameter VEL gt Level 00 to 99 It determines how keyboard velocity will affect the Pitch or Filter envelope level When set to 99 notes played hard will deliver a higher envelope output than notes played soft Naming the Program 120 NAME The Name function button 120 allows you to change the Program s name Use the PAGE buttons to position the cursor Here is a chart of available characters I amp ft f fe 1 7011 f2 43 4 5 67 8 9 1 lt gt IA BIC DIE F IG HII J K L MN O P JQUR IS T JU FV IWIX TY Z II i _ C Ja b je jd je f jg h ji j Jk JL min jo piqir js t ju jv wx y z gt lt NOTE If the Env Level is already at 99 a positive value for VEL gt Level will have no effect because it is already maxed out To hear the full effect the sum of the Env Level and VEL gt Level values should not exceed 99 NOTE Thi
41. E buttons at the same time will set the QS to MIDI channel 1 Pressing the BANK buttons at the same time will jump to the User Bank Expansion Cards PCMCIA Expansion Cards If you want more Sounds samples Programs Mixes or Sequences all you have to do is insert the appropriate card into the QS s PCMCIA EXPANSION SLOT There are three kinds of expansion cards that you can use e QCards are a series of excellent ROM read only memory cards developed by Alesis Each contains 8MB of professional TIP If you own a O Card you can get additional sound banks to go with that O take full advantage of them The cards available are Classical Card on the Alesis website uncompressed PCM samples plus Programs and Mixes designed to Sanctuary Vintage Keyboards Vintage Synthesizers HipHop EuroDance Latin Stereo Classical Piano and Stereo Jazz Piano You can get these at your Alesis dealer e SRAM cards provide additional storage for Programs and Mixes A 512K SRAM card can hold eight Banks of Programs and Mixes You can edit these as you wish Many different SRAM cards from 256K to 8 Megabytes are supported just make sure they are 5 volt read write only and have an access time of 120 nanoseconds or faster Flash cards provide additional sample memory that you can fill with your own sounds using a computer The QS can accommodate 2MB 4MB and 8MB flash cards larger cards will work but only the first 8MB will be
42. EVEL Page 1 Parameter Snd Volume 00 to 99 This sets the volume for the current Sound Adjusting the Panning Button EDIT 50 LEVEL Page 2 Parameter Snd Panning lt 3 to 3 gt This sets the panning over the stereo field from far left lt 3 to far right B gt Routing Sounds to the Outputs Button EDIT 50 LEVEL Page 3 Parameter Snd Output see below In the QS6 2 selecting ON routes the Sound to the main outputs OFF shuts off the path NOTE If the Volume setting is maxed out and you still can t hear anything make sure the Filter Frequency setting described later in this chapter is greater than zero In the QS8 2 selecting MAIN routes the Sound to the main outputs TIP Resardl h ER OFF shuts off the path A setting of AUX will also shut off the path Pie a This is provided for backward compatibility with older QS8 models Setting the FX Send Level Button EDIT 50 LEVEL Page 4 Parameter FX Level 00 to 99 This determines how much the Sound feeds the chosen effects Send See the Editing Effects section of this manual for more information Selecting the FX Send Button EDIT 50 LEVEL Page 5 Parameter FX Bus 1 to 4 This selects which effects Bus or Send the Sound will feed For example Send 1 may be a Chorus Delay Reverb Send 2 may be Reverb only etc See the Editing Effects section of this manual for more information The Pitch Function
43. IDI Function 90 KEYBOARD MID 66 The Controller Function 100 CONTROLLERS ou 67 The Range Function 110 RANGE enssnennennensennenne 67 Naming the Mix 120 NAME nsneensensensnennennensensennens 68 The Mix Edit Butrets vic nn neigen en 68 Chapter 11 Editing Effects cccccceeeees 69 Setting the Send Levels r ae En EET 69 Getting Into Effects Edit Mode nunnmenennsenensenennenenne 69 Storing F ffeets Settin s sansnssseisshninihgssbessbhahuinhs 70 Copying Effects aa nee reinem Rn 70 The Configuration Function 40 CONFIGURATION 71 Configuration 1 1 REVERB eeennsennnsnensenensenenne 72 Configuration 2 2 REVERBS eennnnenensenennenennenennen 73 Configuration 3 LEZLIE REVERB ennennnenen 74 Configuration 4 1 REVERB EQ eennennnensenennenennenennen 75 Configuration 5 OVERDRIVE LEZLIE wu eee 75 Selecting a Send to Edit 00 30 SEND 76 The FQ Function 50 BO 22er 76 The Mod Function 60 MOD nsseenensensenenennennennenenne 77 The Lezlie Function 70 LEZLIE eeeenesnennenenenensenenen 78 The Pitch Function 80 PITCH eensenenenennenn 79 The Delay Function 90 DELAY neeeeseenensnenenenenenensenenen 82 The Reverb Function 100 REVERB esenesnnnenn 83 The Overdrive Function 110 OVERDRIVE nn 87 Setting the Effects Output Levels 120 MIX 88 Appendix A Frequently Asked Questions
44. ION SLOT 2 Press STORE 3 Press lt PAGE three times This selects the SAVE TO CARD option 4 Use the CONTROLLER D slider or the VALUE buttons to select a bank location on the card to store to 5 Press STORE to transfer the User Bank data from the QS onto the card Saving a Program or Mix to an SRAM Card NOTE If the display reads CARD IS This is done just like storing to the User Bank except that you use the WRITE PROTECTED switch the write BANK buttons to select a card bank protect switch on the card to off and repeat the procedure Note that the SRAM card must be formatted first see above Loading Banks from a Card The QS can access Program and Mix data directly from a card by using the BANK buttons However there may be an instance where you want to load a full bank from a card into the User Bank Warning this will erase the current Programs and Mixes in your User Bank To overwrite the User Bank with a Card bank 1 Insert the card into the card slot on the back panel 2 Press STORE 3 Press lt PAGE twice This selects the LOAD FROM CARD option 4 Use the CONTROLLER D slider or the VALUE buttons to select the bank on the card you wish to load A1 A4 etc 5 Press STORE to transfer the data from the card into the QS Loading a Program or Mix from a Card To load a single Mix or Program from a card into the User Bank first select the Mix or Pro
45. If you look at the middle row of labels above these buttons you ll see the list Configuration EQ Mod Lezlie Pitch Delay Reverb Overdrive and Mix Storing Effects Settings To store your Effects edits press STORE twice from Effects Edit Mode In Program Mode this stores the current Program In Mix Mode this stores the Effects Channel Program Copying Effects You can copy one Program s Effects settings into another by using the Copy Effect function within Store Mode Here s how it s done 1 Select the Program that contains the Effect you wish to copy 2 Press STORE 3 Press the PAGE gt key three times and you will see the following display CI LOP 7 L F R al PROG EDIT 4 Press the PAGE gt key one more time so the cursor is under the lt p in PROG 5 Use the EDIT VALUE slider or the VALUE buttons to select the User Program number that you would like to copy the current Effect to 6 Press STORE You can also copy another Program s effects into the Edit buffer by adjusting the first parameter the source on this page NOTE A particular Program s Effects might be used in one or more Mixes So if you change the Effects settings in that Program the change will ripple through and be heard in every Mix which uses that Program s Effects NOTE You can only copy Effects to the User bank The only way to copy a Effects settings onto an SRAM card is to copy t
46. Parameter Ovrd Bright 00 to 99 This parameter sets the tone of the Overdrive effect Higher numbers result in a brighter sounding overdtive Setting the Overdrive Mix Button EDIT EDIT 110 OVERDRIVE Page 4 Parameter Mix CLN lt 99 to 99 gt OVDR This controls the output mix of the Overdrive effect When set to CLN lt 99 the Overdrive effect cannot be heard at all When set to lt 0 gt you have an even mix between the original signal and the overdriven signal When set to 99 gt OVDR only the overdriven effect is heard Setting the Effects Output Levels 120 MIX The Effect s Mix function button 120 is where you can mix the various effects into the output of the QS Each Effect Send has a separate Mix page for any effect module that feeds the main outputs Note that 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 Setting the Effects Mix into the Main Outputs Button EDIT EDIT 120 MIX Page 1to5 Parameter Pitch Outpt Delay Outpt Rvb Output Ovrdrv Out Lezlie Out 00 to 99 These pages set the Effect Mix into the main outputs Depending on the Configuration you can set the output mix of the Pitch Effect Delay Reverb Overdrive and Lezlie PROG EDIT Consult the Configuration charts in the beginning of this chapter to see exactly where the effects are tapped to be mixed into the main outputs The dotted
47. Parameter 1 Fine Tune This will affect the Pitch Detune parameter of all four Sounds of the Program on the received MIDI Channel of the Mix Also when this RPN is received the QS will automatically make sure that all four Sounds of the Program have their Detune Type parameter set to Normal Program Edit Mode Pitch Function Page 3 e MIDI Registered Parameter 2 Coarse Tune This will affect the Pitch Semitone parameter of all four Sounds of the Program on the received MIDI Channel of the Mix Troubleshooting If you experience problems while operating your QS please use the following table to check for possible causes and solutions before contacting Alesis customer service for assistance Symptoms The display does not light up when the ON OFF switch is turned on No sound MIDI input in Mix mode isn t working i e you can t control your unit via MIDI from a sequencer or some other controller Notes sustain continuously Notes played from QS have a doubled or flanged sound Mod Wheel not working well or at all LCD shows ADDRESS ERROR Cause No power Bad Connections Volume is turned down Keyboard Mode is set incorrectly External MIDI device sent Volume CC 7 or Expression CC 11 commands with a value approaching 0 Trying to record onto a track higher than the current Song allows INPUT SELECT is set to 2 4 8 or 12 input mode EDIT PREVIEW plays back
48. RBS they are found on Sends 1 and 3 since there are two separate Reverbs TIP A Plate is a device used in the early days of recording to simulate reverb The sound of a Plate reverb is still popular today TIP Gated reverbs were popularly used on drums in the 1980 s 85 86 air is being moved when the drum is hit This effect works great for drums percussion and any transient soutce REVERSE The Reverse Reverb type is an inverted reverb in which the signal begins softly and grows louder until it is cut off rather than loud to soft as normal Setting the Reverb Predelay Time Button EDIT EDIT 100 REVERB Page 6 and 7 3 and 4 in Config 2 Send 3 NOTE This Pre Delay is applied to the Parameter Predelay 0 to 299ms Reverb itself don t confuse it with the te Del dul ilable under th With this parameter you can add a slight delay before the reverb effect Be mend Be starts This can make instruments such as snare drums sound bigger You can adjust the time in 10ms and 1ms increments Setting the Reverb Predelay Mix Button EDIT EDIT 100 REVERB Page 8 5 in Config 2 Send 3 Parameter PreMx IN lt 99 to 99 gt DEL This controls the balance between the pre delayed reverb and the straight reverb When set to IN lt 99 you get the reverb with no pre delay At 99 gt DEL you get pure pre delayed reverb Setting the Reverb Input Filter Frequency Button EDIT EDIT 100 REVERB Page 9 6 in
49. RDRIVE LEZLIE The choices are e Sends 1 4 e Overdrive Output e Pitch Input e Pitch Output Delay Input e Reverb Input Setting the Balance Between the Lezlie Inputs Config 5 Only Button EDIT EDIT 70 LEZLIE Page 3 Config 5 only Parameter gt Lez IN1 lt 99 to 99 gt IN2 This controls the balance between Input 1 and Input 2 going into the Lezlie When set to IN1 lt 99 only Input 1 is being routed to the Lezlie When set to 99 gt IN2 only Input 2 is routed When set to lt 0 gt an even mix of both signals is passed on TIP The Lezlie effect is most commonly used on guitar and organ sounds Turning On the Lezlie Motor Button EDIT EDIT 70 LEZLIE Page 1 or 4 Parameter Motor ON or OFF This determines whether the Lezlie is operating or not When turned ON the rotating speaker effect starts up slowly just like the real thing When turned OFF the effect dies down slowly until it reaches a complete stop Setting the Lezlie Speed Button EDIT EDIT 70 LEZLIE Page 2or5 Parameter Lezl Spd SLOW or FAST This determines how fast the rotating effect spins When you switch between the two speeds the effect will ramp up and down just like the real deal Setting the Lezlie Horn Level Button EDIT EDIT 70 LEZLIE Page 3 or 6 Parameter Horn Lvl 6 to 6 dB This parameter provides a way to cut or boost the high frequencies in the Lezlie effect allowing you to da
50. adiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety When the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus Use only attachments or accessories specified by the manufacturer Use only with a cart stand bracket or table designed for use with professional audio or music equipment In any installation make sure that injury or damage will not result from cables pulling on the apparatus and its mounting If a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as when the power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has bee
51. al coming from the Pitch effect output to the Reverb otherwise the signal comes purely from the Pitch effect input This parameter is only available in Configuration 2 2 REVERBS Reverb Parameters These pages determine the characteristics of the reverb itself Here are the parameters you will find on these pages Selecting the Reverb Type Button EDIT EDIT 100 REVERB Page 2 or 5 Parameter Type see below The QS has seven different reverb types all stereo each of which simulates a different space or produces a different ambient effect The different reverb types are PLATE 1 amp 2 These are recreations of vintage plate reverbs especially useful on vocal and drum sounds ROOM This reverb type simulates rooms of different sizes and surface materials A room with soft surfaces such as carpet will produce a reverberant sound with much less high end treble than a room with hard surfaces HALL Halls are characterized by their high ceilings irregular shapes and generally uniform density of reflections LARGE This reverb simulates the large ambient spaces found in amphitheaters gymnasiums etc GATE In this reverb the reverb sound is abruptly cut off or gated as it decays When applied to drums it sounds like a large volume of NOTE You must have the correct Effect send selected in order to get to the Reverb parameters In Config 1 1 REVERB they are found on Send 1 in Config 2 2 REVE
52. allowing the MIDI Out jack to function relatively normally so you can play your MIDI gear from the keyboard while the sequence is playing A setting of THRU passes sequence data on to external MIDI devices from the MIDI Output jack of your QS allowing both QS Programs and sounds from other MIDI devices to be played from a Card sequence You will be able to play QS Programs from its keyboard but you will not be able to play external MIDI devices while the sequence is running Sound Bridge Instrument Format Sound Bridge 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 sound files in a variety of formats If you ate interested in creating and or editing your own custom Sample Cell Instruments you will need Digidesign s Sample Cell hardware and software This is for advanced users who want to create their own multi sampled instruments NOTE On some computers Sound Bridge may appear to max out your CPU meter Don t worry it will give up CPU bandwidth for other programs In reality Sound Bridge only uses a small percentage of your CPU bandwidth NOTE It is highly inadvisable to enter
53. amplification first If your instrument still isn t working after that then disconnect the MIDI IN cable and repeat the power on off trick This ought to work if your problem is being caused by strange MIDI data coming from an external MIDI device If neither of these work you will have to re initialize the instrument Re Initializing Re initializing will reset all Global parameters to their factory default settings and empty out the edit buffers The Programs and Mixes in the User Bank will be preserved though Here s how to do it 1 Turn down the volume on your QS your mixer and your amplifier 2 Turn off your QS 3 Make sure the MODULATION wheel is all the way down 4 Turn on your QS while holding down buttons 0 and 3 You ll know you were successful if there is no name in the LCD display on the top line 5 Remember to go back into Global Mode and set up things the way you had them things like the Keyboard Mode Transposition the A D MIDI controller number assignments etc Checking the Software Version To find out what version of the operating system software is currently installed in your QS hold down PROGRAM and 0 at the same time and look in the display Cleaning Your QS Before doing cleaning of any kind always disconnect the AC cord For simple dusting and removal of minor dirt wipe the instrument down with a slightly damp cloth NEVER spray any cleaner directly onto the QS this
54. ange what Send you are editing any time from most of the Effects Edit pages by pressing these buttons Notice how the Send number changes in the upper left part of the display Not all effects are available in each Configuration or Send If you try to select an effect that doesn t exist in the Configuration or Send you ll see the message MIX PROG EDIT 1 The EQ Function 50 EQ The stereo shelving EQ provides bass and treble boost to the entire output of the QS not just the Effect Sends and is only available in Configuration 4 REVERB EQ and Configuration 5 OVERDRIVE LZLY There are four EQ parameters Setting the EQ Low Shelf Frequency Button EDIT EDIT 50 EQ Page 1 Parameter Lo EQ 30Hz to 180Hz This sets the cutoff frequency of the low shelving EQ All frequencies below this will be boosted by the Lo EQ Gain amount below Setting the EQ Low Shelf Boost Button EDIT EDIT 50 EQ TIP You can reset any parameter back to Page 2 its default value by pressing the VALUE Parameter Lo EQ Gn 0dB to 12dB ee l VALUE DOWN buttons at the This controls the amount of boost that will be applied to the low shelving EQ Setting the EQ High Shelf Frequency Button EDIT EDIT 50 EQ Page 3 Parameter Hi EQ kHz to 10kHz This sets the cutoff frequency of the high shelving EQ All frequencies above this will be boosted by the Hi EQ Gain amount below Setting the EQ High Shelf Boost Button
55. ari Horn Tuba 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 VeloAcid 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 HiPassSaw4 HiPassVell HiPassVel2 HiPassVel3 HiPassVel4 HiPassVel5 HiPassVel6 Cognitive Additive 1 Additive
56. aximum delay time for each delay is 399 ms MONO DELAY This delay has the advantage of twice the available delay time or 799 ms in Configuration 1 1199 ms in Configuration 2 2 REVERBS NOTE The page numbers may vary slightly in different Configurations Not all pages are available in all Configurations Selecting the Delay Input 2 Source in OVERDRIVE LEZLIE Button EDIT EDIT 90 DELAY Page 2 Config 5 only Parameter In2 SEND1 SEND4 OVERDRIV PITCH IN This selects the second input to the Delay effect in Configuration 5 OVERDRIVE LEZLIE Setting the Delay Input Balance Button EDIT EDIT 90 DELAY Page 2 or 3 Parameter gt DEL PCH lt 99 to 99 gt IN2 This sets the balance between the two Delay effect inputs The first input comes from a Pitch effect the second input is dry Setting the Delay Time Button EDIT EDIT 90 DELAY Pages 3 and 4 and 6 and 7 for Stereo Delay Parameter Delay Tm Delay or R L Delay 0 to 799ms Mono Delay 0 to 1199ms Mono Delay in Config 2 0 to 399ms Ping Pong and Stereo Delay This is the actual delay time which determines when the echoes will occur You can adjust the delay time in 10ms and 1ms increments Setting the Delay Feedback Amount Button EDIT EDIT 90 DELAY Pages 5 and 8 in Stereo Delay Parameter Delay Fdbk 00 to 99 This adjusts the delay feedback which is a portion of the delay signal output being fed back in
57. behavior of the MIDI OUT port When set to OUT MIDI data from the QS will be sent to the MIDI OUT port This is the default setting When set to THRU a copy of what is received from the MIDI IN port will be echoed to the MIDI OUT port with no MIDI data from the QS mixed in In other words the MIDI OUT port will act as a MIDI THRU Resetting the A D Controllers Button EDIT GLOBAL Page 16 Parameter RESET A D ON OFF This parameter determines whether the values for Controllers A D will reset to zero or stay the same whenever a new Program or Mix is chosen The default is ON which resets the A D Controllers to zero whenever you change Programs or Mixes Setting the A D Controller MIDI Mode Button EDIT GLOBAL Page 17 Parameter A D MODE LOCAL MIDI BOTH This parameter determines how the A D CONTROLLER sliders will work LOCAL makes the sliders control the QS without sending MIDI data MIDI makes the sliders send out MIDI data but have no effect on the QS BOTH makes the sliders control your QS and send MIDI data This is the default setting NOTE When you turn General MIDI Mode ON the MIDI Program Change setting will be turned ON as well TIP If you are using CONTROLLER sliders to affect the volumes of external MIDI sound modules you probably want to set this parameter to OFF That way you won t reset all the different modules to zero volume every time you changed Programs O
58. ber if you wish on Global Mode page 13 PLFO FLFO ALFO You can select the Pitch Filter and Amplitude LFOs as modulation sources even if they aren t being used to affect the Sound in their usual ways e PENV FENV AENV The Pitch Filter and Amplitude envelopes can also be selected as modulation sources Try routing them to LFO speeds or the Effect Send Level of a Sound 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 TRIGATE This is the Trigger Rate Follower which monitors how fast notes ate being played on the keyboard For example if routed to the Effect send of a Program you could automatically have more effect when playing quickly and less effect when playing slowly e CNTRL A B C D These are the four CONTROLLER sliders on the front panel Since these sliders also have MIDI controller numbers assigned to them they can be remotely controlled via MIDI The MIDI controller numbers are assigned in Global page 8 11 e TRACKGEN This is the output of a signal processed by the Tracking Generator module e STEPTRAK This is the output of a signal processed by the Tracking Generator module in stepped mode Choosing the Mod Destination Buttons EDIT
59. bination of these The number of Sounds being used by a Program has a direct effect on the QS s polyphony If the current Program uses only one Sound you ll be able to play 64 simultaneous notes A Program using two Sounds will be limited to 32 simultaneous notes and so on 33 The following diagram shows the signal flow for each Sound Effects Sends Sound 1 Modulation In synthesizer programming modulation refers to modifying some aspect of a sound over time Modulation is the key to making rich and expressive sounds The vibrato of a flute the expression pedal of an organ and the wah pedal on a guitar are all examples of modulation Modulation can be used to control basic characteristics of a voice including pitch filter frequency volume and envelope With some parameters the modulation amount can be positive or negative With positive modulation for example keyboard velocity can be NOTE Modulation cannot forceea used to make a Sound brighter the harder you play This is how many parameter beyond its maximum or minimum oe beh With 2 Aulati Eh value For example if the Amp is set to its acoustic instruments behave With negative modulation you also have minimum value applying negative the ability to make the Sound more muted the harder you play Setting modulation will not affect it modulation to 00 turns off the modulation source LFO Low Frequency Oscillator The term LFO stands for Low Frequency Osci
60. box labeled Mix near the top of each Configuration shows the Mix paths NOTE The page numbers will vary in different Configurations depending on the availability of the effects NOTE Ifyou want to pull down the Reverb level for Send 1 without affecting the other sends adjust the RvbIn Level parameter page 4 in most Configurations NOTE Since all of the effects tend to feed into the Reverb when you pull this parameter down you will be taking down the reverb for all of the sends at once except for Configuration 2 2 REVERBS which contains two separate Reverb effects TIP Even when an effect s output Mix level is set to zero it can still feed the effects block after it Frequently Asked Questions How do I split the keyboard Press the MIX button to get into Mix Mode Select a Mix that has a split for example Preset 1 022 PercNPedl Press PAGE gt to select the first Mix channel Select the Program for the lower half of the split using the numbered buttons Press PAGE gt to select the second Mix channel NOTE If only one of the sounds seems to Select the Program for the upper half of the split eas ne En the Ken a T If you want to store this Mix hit the STORE button select a User KG iota Tage O ISSE r10 a RE 5 parameter that sets the split point is the Mix destination and hit STORE again keyboard Range function Press MIX then EDIT then 110 RANGE to set th
61. by unauthorized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product THE ABOVE WARRANTIES ARE IN LIEU OF ANY OTHER WARRANTIES OR REPRESENTATIONS WHETHER EXPRESS OR IMPLIED OR OTHERWISE WITH RESPECT TO THE PRODUCT AND SPECIFICALLY EXCLUDE ANY IMPLIED WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE OR MERCHANTABILITY OR OTHER IMPLIED WARRANTIES Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you IN NO EVENT WILL ALESIS BE LIABLE FOR INCIDENTAL CONSEQUENTIAL INDIRECT OR OTHER DAMAGES RESULTING FROM THE BREACH OF ANY EXPRESS OR IMPLIED WARRANTY INCLUDING AMONG OTHER THINGS DAMAGE TO PROPERTY DAMAGE BASED ON INCONVENIENCE OR ON LOSS OF USE OF THE PRODUCT AND TO THE EXTENT PERMITTED BY LAW DAMAGES FOR PERSONAL INJURY Some states do not allow the exclusion or limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you THIS CONTRACT SHALL BE GOVERNED BY THE INTERNAL LAWS OF THE STATE OF CALIFORNIA WITHOUT REFERENCE TO CONFLICTS OF LAWS This warranty gives you specific legal rights and you may also have other rights required by law which vary from state to state This warranty only applies to products sold to purchasers in the United States of America or Canada The terms of this warranty and any obligations of Alesis under this warranty shall apply only
62. can destroy the lubricants used in j rols For heavy dirt use a non abrasive household cleaner such as Formula a and Soptily 409 or Fantastik Spray the cleanser onto a cloth then use the cloth to clean the unit Specifications Sound Generation Method QS Composite Synthesis 16 Bit Linear 48kHz Sample ROM with lowpass filter Polyphonic Voices 64 each with sweepable lowpass filter 3 envelope generators 3 LFOs programmable effects send and QS Modulation Matrix dynamic voice allocation 16 part multitimbral Audio Section Alesis 24 bit Stereo DAC with 128x oversampling delta sigma converter Keyboard QS6 2 61 synth action keys velocity release velocity aftertouch QS8 2 88 hammer action weighted keys velocity release velocity Waveform Memory 16MB expandable to 24 MB via PCMCIA Expansion Card Program Memory Program Mode 512 Preset 128 User Mix Mode 400 Preset 100 User Effects QS Parallel Matrix Effects 4 independent stereo multieffect processing busses Multitimbral Mode QS Mix Mode 64 part multitimbral across 16 MIDI channels Controllers 4 control sliders programmable pitch and modulation wheels foot pedals aftertouch in QS6 2 only Expansion Slot Type I PCMCIA PC Card slot compatible with QCards SRAM and Flash cards up to 8MB with 120ns access time or faster Pedal Jacks Assignable Aux pedal Sustain pedal MIDI Connections MIDI In Out Thru Audio Outp
63. cian for help Connections Connecting AC Power Before making any power connections make sure the QS s power switch is turned off 1 Plug the female end of the power cable into the QS s power socket 2 Plug the male plug end into a properly grounded power outlet Making Audio Connections There are several ways to hook up your QS synthesizer audio outputs e Mono Connect a cable from either of the QS s MAIN outputs to an amp or mixer input The QS will automatically route both left and right channels to that output e Stereo Connect two cables from the QS s LEFT and RIGHT outputs to two inputs of an amp or mixer e Headphones Plug a set of headphones into the HEADPHONES jack on the rear panel Connecting the Foot Pedals The QS has two pedal jacks marked SUS PEDAL and PEDAL 1 Plug the included sustain pedal into the jack marked SUS PEDAL SUS PEDAL is designed to work with any standard momentary footswitch It doesn t matter whether the footswitch is normally open or closed as long as you plug it in before powering up your QS the instrument will calibrate itself PEDAL 1 is designed to work with a Roland EV 5 pedal or equivalent WARNING Make sure the outlet is properly grounded Plugging the OS into an ungrounded outlet can be hazardous WARNING When connecting audio cables or turning power on and off make sure that the amplifiers in your system are turned off or the volume contr
64. cts 79 resonator 81 reverb 83 selecting a Send to edit 76 send levels 69 storing 70 envelope 34 parameters 45 trigger type 46 EQ 76 filter envelope amount 43 frequency 41 function 41 LFO amount 42 velocity curve drum 60 velocity tracking 42 filter envelope function 44 filter LFO function 52 fine tune 29 flanger 80 flash card 21 90 foot pedals 11 freerun envelope mode 46 FX send Mix 65 Program 39 General MIDI 31 89 registered parameters 96 Global 29 grounding 7 key tracking 46 47 keyboard mode 30 splits 44 keyboard MIDI function 66 Keymono 54 Keypoly 54 layering sounds 89 level function 38 Mix 64 Lezlie 78 Lezlie Reverb configuration 74 LFO 34 delay 53 level 54 speed 53 waveforms 53 lowpass filter 33 master pitch 29 MIDI 25 bank select messages 93 changing channels 27 connections 25 controller numbers 31 95 101 102 out port behavior 32 pass through 26 sequencing 26 slave 26 storing via 27 28 volume and panning 94 mix function 88 Mixes 14 63 changing Programs in 14 63 controllers 67 edit buffers 68 edit mode 63 effects 65 effects selection 66 enabling a channel 64 level 64 naming 68 playing 18 setting channel volume 64 split point 68 mod function effects 77 mod routes destinations 51 editing 50 effects 77 gate 52 hard wired 49 level 52 sources 50 mod wheel 15 filter depth 42 LFO depth 54 modula
65. d thickening the sound RESONATOR The Resonator is a very fast delay that causes a comb filtering effect This results in a pitched buzzy sound when applied to percussive sounds like drums Adjusting the Pitch Effect Input Level in 2 REVERBS Button EDIT EDIT 80 PITCH Page 2 Config 2 only Parameter DelayIn Lev lt 99 to 99 gt This adjusts the level of the signal going from the Delay output to the Pitch Input This parameter is only available on Send 1 in Configuration 2 2 REVERBS Setting the Chorus LFO Wave Shape Button EDIT EDIT 80 PITCH Page 2 Chorus only Parameter Chr Shp SINE or SQUARE This determines the LFO s waveform shape for the Chorus effect NOTE The Resonator is considered to be a Pitch effect so when you want to control the Resonator s output level adjust the Pitch effect level for that Send in the Mix function 120 TIP The resonator effect is most often used in electronic music Setting the Flanger Feedback Type TIP The inverted feedback Flange effect can be used to simulate resonance To Button EDIT EDIT 80 PITCH simulate a sweep run the waveform through Page 2 Flanger only the effect and modulate the flange depth Parameter FingShp NORMAL or INVERT Although you cannot use an envelope as a mod source you can access any of the other real time controllers The flanger may introduce artifacts depending on the frequency content of the wavef
66. d Mode functions See the Drum Mode section of this manual for more information Selecting a Sample Category Button EDIT 40 VOICE Page 3 Parameter Group see chart This selects the sample category or group for the Sound for example Pianos Organs Guitars etc Selecting a Sample Button EDIT 40 VOICE Page Parameter Snd see chart This selects the actual sample that will be the basis of the Sound Here s a chart listing the various samples in their respective groups TIP A quick way to turn a Sound on and off from anywhere within Program Edit Mode is to hold the corresponding Sound button 00 30 and press VALUE DOWN to disable or VALUE UP to enable Group Sample Piano GrndPianoL GrndPianoR DarkPnol L DarkPnol R DarkPno2 L DarkPno2 R DarkPno3 L DarkPno3 R BritePnolL 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 VeloRoadsl 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 Vibrapho
67. d to keyboard velocity LINEAR is the standard velocity curve where playing harder results in a louder sound INVERTD is the opposite where playing harder results in a softer sound 1OF2XFD and 20F2XFD stand for 1 Of 2 Crossfade and 2 Of 2 Crossfade These are designed to be used in conjunction with each other on two Sounds in the same Program producing a velocity switching effect i e a different Sound will play depending on how hard you hit the keys LOF2XFD is for the Sound that will be heard when playing at lower velocities while 2OF2XFD is for the Sound that will be heard when playing at higher velocities The curves are designed to cross fade into each other to create a smooth transition between the two sounds 1OF3XFD 20F3XFD and 30F3XFD are designed to be used together when you want to switch between three Sounds using velocity going from lower velocity to higher velocity 1OF4XFD 20F4XFD 30F4XFD and 4OF4XFD are designed to be used together when you want to switch between four Sounds using velocity With a setting of MAXIMUM the Sound will respond as if you are playing at the maximum velocity at all times With a setting of MINIMUM the Sound will respond as if you are playing at the minimum velocity at all times Setting the Aftertouch Volume Depth Button EDIT 80 AMP RANGE Page 2 Parameter AFTCH gt AMP 99 to 99 This sets how much aftertouch affects the Sound level or amplitude At
68. d to one of the four effect Sends The send levels are set in Program Edit Mode and Mix Edit Mode In Mix Mode only one Program s effects are active and they apply to all Programs in the Mix The Mix Channel containing the Program whose effects are active is called the Effects Channel The Effects Channel is set within Mix Mode Editing Effects Setting the Send Levels To hear any effects you must route sounds to the effects processor In Program Edit mode you do this by pressing the Level function button 50 and setting the FX Level and FX Bus i e Send In Mix Edit mode press the Level function button 60 for these settings Getting Into Effects Edit Mode Effects Edit Mode allows you to choose how your effects are arranged and to set the parameters for those effects To enter Effects Edit Mode from Program Mode press the EDIT button twice The display will look something like this PROG EDIT To enter Effects Edit Mode from Mix Mode press the EDIT button three times You will automatically jump to the Mix Channel whose effects are being used by the Mix 69 70 The display will look like this MIX PROG EDIT 1 What the Numbered Buttons Do The 00 30 buttons choose among the four Effect Sends as indicated by the blue middle row of labels above them You can change which Effect Send you are editing from any Effects Edit function The 40 120 buttons select Effects Edit functions
69. e Edit Modes are used to change the QS s sounds and various parameters Many people are perfectly happy using their QS without ever editing a sound However if you like to tweak and create your own sounds you ll be using these modes Program Edit Mode In this mode you can change the settings that make up a Program or create an entirely new Program from scratch To get into Program Edit Mode press the EDIT button from Program Mode Mix Edit Mode In this mode you can change the settings that make up a Mix or create an entirely new Mix from scratch To get into Mix Edit Mode press the EDIT button from Mix Mode Effects Edit Mode In this mode you can change the settings of the QS s internal digital effects processor To get into Effects Edit Mode press the EDIT button twice from Program mode or three times from Mix Mode Navigating and Entering Data When in one of the Edit modes the buttons have the following functions The numbered buttons select an Edit function The lt PAGE and PAGE gt buttons cycle through the pages of the function You can always tell what page you are on by looking at the indicator in the upper right corner of the display For example P1 for Page One The VALUE UP and VALUE DOWN buttons increment or decrement parameter values CONTROLLER D can also be used for setting parameter values The lt BANK button Compare lets you compare the edited sound t
70. e low and high limits of the Program BOWONPR NAU How do I layer two sounds on the keyboard Press the MIX button to get into Mix Mode Select a Mix that has a layer for example Preset1 000 Zen Piano Press PAGE gt to select the first Mix channel Select one of the Programs in the layer using the numbered buttons NOME OW onN che or ile UAI KEENE Press PAGE gt to select the second Mix channel work make sure the Keyboard Mode Select the other Program in the layer using the numbered buttons Global Page 6 is set to NORMAL If you want to store this Mix hit the STORE button select a User Mix destination and hit STORE again NDANE What is a MIDI Sequence A MIDI sequence is a data file containing note data that can be played on a MIDI synthesizer like the QS A General MIDI sequence is a sequence that will play on any General MIDI compatible synthesizer like the QS with the correct sounds regardless of the brand of synthesizer Where can I get MIDI sequences for the QS Since the QS is General MIDI compatible it can play back any of the thousands of General MIDI sequences that are widely available For example there are many General MIDI sequences available on the Internet go to a search engine and enter for the artist name General MIDI General MIDI sequences are available for almost every genre of music How do I play General MIDI sequences Once you find a Gen
71. e second P1 parameter as the destination NOTE When you re in Configuration 3 and you want to modulate the Lezlie speed you ll find there s no parameter for a Mod destination labeled Lezlie But you can still control it by selecting P1 Speed as the destination Configuration 5 does have Lezlie parameters at the top of the Mod destination list however so be careful If you modulate P1 Speed in Configuration 5 you ll be changing the Chorus Flange speed instead 77 78 Setting the Mod Level Button EDIT EDIT 60 MOD Pages 6 Parameter Modi Level Mod2 Level 99 to 99 This determines the degree to which the Mod Destination will be modulated by the Source The Lezlie Function 70 LEZLIE This rotating speaker simulation is available in Configurations 3 and 5 only In Configuration 3 it takes its input from Send 1 In Configuration 5 it can have up to two inputs and those can come from a greater variety of sources Selecting the Lezlie Input 1 Source Config 5 Button EDIT EDIT 70 LEZLIE Page 1 Config 5 only Parameter In1 REVERB or DELAY This selects the first input to the Lezlie in Configuration 5 OVERDRIVE LEZLIE The input can be the output of the Reverb ot Delay Selecting the Lezlie Input 2 Source Config 5 Button EDIT EDIT 70 LEZLIE Page 2 Config 5 only Parameter In2 see below This selects the second input to the Lezlie in Configuration 5 OVE
72. e slides from one pitch to another This parameter determines the sweep s cutve With EXPON selected the pitch change happens more rapidly at first then slows down as it approaches the destination pitch With LNEAR selected the portamento glide time is constant The pitch takes the same time to reach its destination regardless of the size of the interval With 1 SPD selected the portamento glide rate is constant regardless of the pitch difference between notes so the pitch takes a longer time to reach its destination for longer intervals Setting the Portamento Glide Time Button EDIT 60 PITCH Page 9 Parameter Porta Rate 00 to 99 This sets the portamento glide time Higher numbers give longer glide times Setting Monophonic or Polyphonic Mode Button EDIT 60 PITCH Page 10 Parameter KeyMde MONO POLY 1 PITCH or 1 PMONO In MONO mode you can play only one note at a time Portamento behavior is most predictable in this mode POLY mode allows you to play multiple notes at the same time In 1 PITCH mode the program Sound layer will play a single pitch the sample used for note C3 throughout the entire keyboard range 1 PMONO is simply a monophonic version of 1 PITCH The Filter Function 70 FILTER The Filter function button 70 lets you control the tone of each Sound layer Setting the Filter Frequency Button EDIT 70 FILTER Page 1 Parameter Frequency 00 to 99 This sets t
73. e tous les avertissements Suivez toutes les instructions N utilisez pas cet allareil proximit de Peau Ne nettoyez qu avec un chiffon humide Il est potentiellement dangereux d utiliser des pulv risateurs ou nettoyants liquides sur cet appareil Installez selon les recommandations du constructeur Ne pas installer proximil de sources de chaleur comme radiateurs cuisini re ou autre appareils don t les amplificateurs produisant de la chaleur 9 Ne pas enlever la prise de terre du cordon secteur Une prise murale avec terre deux broches et une troisi rme relice la terre Cette derni re est pr sente pour votre s curit Si le cordon secteur ne rentre pas dans la prise de courant demandez un lectricien qualifi de remplacer la prise 10 Evitez de marcher sur le cordon secteur ou de le pincer en particulier au niveau de la prise et aux endroits o il sor de l appareil N utilisez que des accessoires sp cifi s par le constructeur N utilisez qu avec un stand ou table con us pour P utilisation d audio professionnel ou instruments de musique Dans toute installation veillez de ne rien endommager a cause de cables qui tirent sur des appareils et leur support 13 Debranchez l appareil lors dun orage ou lorsqu il rest pas utilis pendant longtemps 14 Faites r parer par un personnel qualifi Une r paration est n cessaire lorsque l appareil a t endommage de quelque sorte que
74. en Sie darauf das dieser nicht umkippt um Verletzungen auszuschlie en 13 Ziehen Sie w hrend eines Gewitters oder wenn Sie das Ger t ber einen l ngeren Zeitraum nicht benutzen den Netzstecher aus der Steckdose 14 Die Wartung sollte nur durch qualifiziertes Fachpersonal erfolgen Die Wartung wird notwendig wenn A ae en das Ger t besch digt wurde oder aber das Stromkabel oder der Stecker Gegenst nde oder Fl ssigkeit in das Ger t gelangt sind das Ger t dem Regen oder Feuchtigkeit ausgesetzt war und deshalb nicht mehr normal arbeitet oder heruntergefallen ist 15 Dieses Ger t produziert auch im normalen Betrieb W rme Achten Sie deshalb auf ausreichende L ftung mit mindestens 15 cm Abstand von anderen Ger ten 16 Dieses Produkt kann in Verbindung mit einem Verst rker und Kopfh rern oder Lautsprechern Lautst rkepegel erzeugen die anhaltende Geh rsch den verursachen Betreiben Sie es nicht ber l ngere Zeit mit hoher Lautst rke oder einem Pegel der Ihnen unangenehm is Wenn Sie ein Nachlassen des Geh rs oder ein Klingeln in den Ohren feststellen sollten Sie einen Ohrenarzt aufsuchen 17 Setzen Sie den Apparat nicht Bratenfett oder dem Spritzen aus Plazieren Sie die Nachrichten die mit Fl ssigkeiten gef llt werden Blumevases Getr nkdosen Kaffeetassen nicht auf den Apparat 18 WARNING um die Gefahr des Feuers oder des elektrischen Schlages zu verringern setzen Sie diesen Apparat nicht Regen oder Feuch
75. eral MIDI sequence you want to play you will need either an external sequencer or a computer with a MIDI interface and sequencing software to play it back For information on how to set up your MIDI connections see the MIDI chapter of this manual You will also need to turn General MIDI mode ON in your QS This is done on Global display page 7 Hit EDIT then BANK gt to get into Global Mode Then hit the PAGE gt button until you get to display page 7 then turn General MIDI ON How do I load sequences into my QS To load a sequence you will need either an SRAM card or a Flash card plugged into the QS s PCMCIA Expansion Slot a computer with a MIDI port and Sound Bridge software available free on the Alesis Website Connect your computer s MIDI port to the QS as described in 89 90 the MIDI portion of this manual and consult the Sound Bridge online manual on how to burn a sequence into your card Once you do this you can play sequences by pressing the SEQ SELECT button and selecting a sequence number How do I load samples into the QS To load samples you will need a Flash card plugged in the QS s PCMCIA Expansion Slot a computer with a MIDI port and Sound Bridge software available free on the Alesis Website Connect your computer s MIDI port to the QS as described in the MIDI portion of this manual and consult the Sound Bridge online manual on how to burn samples into your card Where can get Q Card
76. erything is working properly the QS display will read RECEIVING MIDI DATA and the Bank Program or Mix will be loaded into the User Bank NOTE Just because you re storing a Mix to MIDI doesn t mean that all of the Programs used by that Mix are being taken with it If you want that Mix to sound the same in someone else s OS you re going to need to send along the Programs out of which it was constructed NOTE Some computers are not fast enough to transmit MIDI sysex data properly If you are experiencing problems try adjusting the settings in your MIDI software Some programs allow you to slow down the transmit rate so the computer hardware can keep up with the software Global Parameters What are the Global Parameters Certain basic parameters affect your entire QS Because they affect everything they are called the Global Parameters Entering Global Mode 1 Press EDIT 2 Press the BANK gt button with GLOBAL written beneath it The display will look like this PROG EDIT To exit Global Mode press MIX or PROGRAM The Global Pages Setting the Master Pitch Button EDIT GLOBAL Page 1 Parameter Master Pch 12 to 12 semitones This parameter globally shifts the pitch of all sounds coming out of the QS whether triggered from the keyboard or from incoming MIDI information This parameter has no effect on MIDI Out note data Fine Tuning Button EDIT GLOBAL Page 2 Param
77. es 64 VOICE EXPANDABLE SYNTHESIZER Cem 64 VOICE EXPANDABLE SYNTHESIZER Reference Manual ALESIS This page intentionally left blank 10 20 30 40 50 60 70 80 90 100 im Table Of Contents Introduction Important Safety Instructions ccceseeees Chapter 1 CONNECTIONG cssccccccesssscccceenees Chapter 2 First SeSSiION ccccssscccccssssseeeeees Playing the Demos n creseneteneeneneneneepema nen Playing Progtams u essen Finding Programs aneignen ben Beet Playing Split and Layered Programs Mixes nneene Changing the Programs in a Mix nsnnsnensesensenensenensenennannne Seleeting Bankszi n n 8 Hai REasBErsHlaras insbe Using the Performance Controls enennennenennenennenennenennenennenennen Transposing the Keyboard uesesnsnensenennenennenennenennenennen Storing and Copying unn enesneeneseneen nennen Chapter 3 Overview cccssscccccssssscccccessssccceees The Front Panel Controls nn Chapter 4 Expansion Cards ccccccssssseeceees PCMCIA Expansion Circus a Playing Card Sounds 4 s482 e een nnan Playing Catd Segen CES ninini ninani a ne netten Saving a Bank to an SRAM Card Formatting wees Saving a Program or Mix to an SRAM Card Loading Banks from a Card uennenensenennenennenennenennenennenennenennnn Loading a Program or Mix from a Card Transferring Mix Banks ussnnsensenensenensenensenensenennanennen Chapter
78. eter Master Tun 99 to 99 cents This setting is like Master Pitch but on a much finer scale Its main use will be to tune your QS to match other instruments 99 to 99 cents is equivalent to down or up one half step in hundredths of a semitone Picking the Keyboard Velocity Curve Button EDIT GLOBAL Page 3 Parameter KbdCurv WEIGHT PLASTC MAXMUM This parameter alters the QS keyboard s velocity response NOTE The P1 in the upper right corner of the display stands for Page One and it tells you where you are among the Global pages NOTE Any changes you make in Global Mode will be saved immediately without having to press any additional buttons NOTE Changing MASTER PITCH can alter OS drumkits in unpredictable ways because it shifts the key assignments of multi sampled drumkits in Keyboard Mode but doesn t shift Drum Mode sounds Most Preset drumkits are constructed using a combination of the two NOTE This parameter does not have any effect on Drum Mode sounds However it will work to tune drums that are part of multisampled Keyboard Mode drumkits They tune down or up as far as they can go and then switch to the next keygroup which will probably be a different sample 29 30 WEIGHT gives the keyboard the widest possible dynamic velocity range for weighted keyboards like the QS8 2 s PLASTC has a narrower dynamic velocity range associated with synth keyboards like the QS6 2 s No
79. etting the Sound Overlap Amount Button EDIT 80 AMP RANGE Page 6 Parameter Snd Overlap 00 to 99 This determines how much notes of the same pitch are allowed to overlap This occurs if you hold the sustain pedal down and play the same note over and over When the value is set to 99 each voices is allowed to play through to its entire release stage At 00 the release stage is shortened cutting off previous notes The Pitch Envelope Function 90 PITCH ENVELOPE The Pitch Envelope button 90 changes the pitch of a note over time It is typically used in special effect synthesizer programs but it may also be used to simulate the characteristic of some instruments to go sharp on the initial attack when played hard See below for the envelope parameters The Filter Envelope Function 100 FILTER ENVELOPE The Filter Envelope button 100 changes the tonal quality of a note over time by controlling the filter frequency For example you can use it to make the initial attack of a note bright and the sustaining part dark See below for the envelope parameters NOTE Ifyou hear no change when you alter this parameter experiment with the Amp LFO Functions on button 8 You may get a more pronounced effect if you use a negative setting for Amp LFO Depth TIP You can set the upper or lower limit when you re on these pages by holding 80 and tapping a key on the keyboard TIP By setting the lower limit above the high lim
80. fect B a delay effect C an envelope time and D a reverb NODES pada ee Oba oo effect As you move the sliders the LCD gives you visual feedback in display when you move a slider it means the the form of small vertical bar oraphs slider has no function in that particular grapas Program Transposing the Keyboard 1 Hold down the TRANSPOSE button 2 Tap the key that represents the interval yov d like to shift by relative to Middle C For example if you want to shift up a semitone tap the C sharp key 3 Letgo of the TRANSPOSE button An up or down arrow will appear in the TRN area of the LCD depending on which direction you ve transposed When you want to return things to normal hold down TRANSPOSE TIP Using this method you can transpose zain and tap on Middle C marked by a small triangle on the front Ye GOW T nee again and tap y 8 transpose by a greater interval use the panel Global transpose page 15 16 Storing and Copying It is easy to store and copy Programs and Mixes To do this 1 Press STORE The display will look something like this he I L USER PROG EDIT 2 2 Picka USER Bank destination using the numbered buttons the VALUE buttons or the CONTROLLER D slider 3 If you want the Program or Mix to be stored on an SRAM card in the PCMCIA EXPANSION SLOT use the BANK buttons to select a card bank 4 Press STORE again TIP The factory User Bank Mixes and Programs are ava
81. flections in the reverb s decay The higher the setting the more reflections there will be TIP Greater diffusion works better with percussive sounds whereas less diffusion DIFFUSION OF 0 DIFFUSION OF 99 work well with vocals and other sustained k TIME ___ gt TIME Ga reflections More reflections The Overdrive Function 110 OVERDRIVE The Overdrive button 110 provides a classic distortion effect and is present in Configuration 5 only Selecting the Overdrive Type Button EDIT EDIT 110 OVERDRIVE Page 1 Parameter Ovrdrv HARD or SOFT The SOFT Overdrive has less gain and distortion than the HARD Overdrive In addition the HARD Overdrive will only provide distortion when the signal feeding the effect is above the Overdrive Threshold level see below Setting the Hard Overdrive Threshold Button EDIT EDIT 110 OVERDRIVE Page 2 Parameter Ovrd Thresh 00 to 99 This parameter sets the level which the signal must reach before the Overdrive effect will begin distorting But it works differently than you might expect A higher value means a lower Threshold So with a high number it doesn t take much input before the Overdrive effect will start to distort When set to a low number the distortion will not occur until the signal becomes louder than the Threshold setting 87 88 Setting the Overdrive Brightness Button EDIT EDIT 110 OVERDRIVE Page 3
82. for example Page 4 velocity or envelope You will be allowed Parameter Trigger to set up such Mod routings when the Range MONO POLY KEYMONO or KEYPOLY Trigger mode is set to MONO but you won t hear any modulation of the LFO speed This determines how each voice s LFO should be started When playing multiple voices in a single Sound each voice has its own LFO The Trigger parameter determines whether or not they should be in sync and whether or not they can be re triggered independently from one another 53 54 MONO All voices LFOs will be in sync with each other 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 LFOs of each voice may be running at different speeds KEYMONO This is identical to MONO but whenever a new note is played the LFO is re triggered instead of continuing from wherever it may be in its cycle KEYPOLY This is identical to POLY but whenever a new note is played the LFO is re triggered instead of continuing from wherever it may be in its cycle Setting the LFO Level Buttons EDIT 6 8 Page 5 Parameter Level 00 to 99 This is the base output level of the 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 Aftert
83. gram then use the Store Function to store itin the User Bank Note that when storing a Mix from a Card into the User Bank the individual Programs used by the Mix will not be moved into the User Bank If the Mix or Program you wish to transfer uses samples that reside on a ROM card you must have the ROM card in the slot after the transfer in order for that portion of the Program or Mix to sound the same or at all Transferring Mix Banks Whenever you transfer an internal Bank to an SRAM card all Mixes in the transferred Bank are automatically modified so that they access the Programs on the card Bank instead of the internal Bank And when a card Bank is transferred to the User Bank the opposite happens all Programs within a Mix which had previously accessed the card Bank point to the User Bank When an individual Mix is transferred it is not modified in any way The modification only occurs when an entire bank is transferred Generally it s a good idea to make banks self contained That is all Mixes in a bank should access only Programs that are in the same bank You don t have to do this but it makes things easier when copying banks 23 MIDI What is MIDI MIDI stands for Music Instrument Digital Interface It allows music instruments to communicate with each other You can use MIDI to e Record what you play on your QS synthesizer into a sequencer or computet e Play back sequences from a sequencer or com
84. h e Sustain Pedal e Amp LFO e Poly Pressure e Pedal 1 e Pitch Envelope For detailed descriptions of each of these soutces see the section Modulation Source in the Mod section Setting a Tracking Point Button EDIT 9 TRACK GEN Pages 2 12 for points 0 10 Parameter Input 00 to 100 The remaining pages of the TRACK GEN function control the levels of the tracking points 0 10 Select the various Points with the PAGE buttons and change the values in the usual ways A higher number increases the impact that Point will have on whatever the Mod destination is Filter Envelope Amp Envelope Random Trig Rate Controllers A D TIP You can create your own custom velocity curves using the Tracking Generator and the Mod section It s easier to do this if you start with the MINIMUM velocity curve under the AMP RANGE function Then select an available Mod say Mod 1 and on page 1 select TRACKGEN as your source On page 2 select Amplitude as your destination and then set the level to 99 on page 3 On button 9 page 1 select Velocity as your Input and then experiment with the ways different numbers affect the velocity response as you input values for Points 0 10 Editing Drum Kits Drum Mode Drum Mode allows you to construct your own drum kits within a Program Any one or all of the four Sound layers in a Program can be put into Drum Mode In Drum Mode you can select 10 drum samples per Sound and individual
85. hat have MIDI OUT enabled Ch Solo is the same as NORMAL in Program Mode In Mix Mode it only allows you to play the selected Mix channel from the keyboard and only transmits on that MIDI channel This is used to individually check out the Programs that are in a Mix or for multitimbral sequencing In this mode you ll only hear one Program at a time If the keyboard is split or layered in Mix Mode you ll only hear the Program on the current Mix channel Out01 through Out16 select a single MIDI channel to transmit on while simultaneously shutting off local keyboard control Use this mode if you ll be using your QS with an external sequencer controlling several NOTE This mode is automatically selected by the OS when the General MIDI function is set to ON NOTE With this mode selected you will not hear the OS unless your sequencer echoes the MIDI data back to the OS s MIDI IN port This is equivalent to the LOCAL OFF setting in some synthesizers MIDI devices You ll need to set your sequencer to echo back the MIDI data that is being recorded Turning on General MIDI Button EDIT GLOBAL Page 7 Parameter Genrl MIDI ON OFF This setting allows your QS to play any of the thousands of General MIDI GM for short sequences that are available from the Internet and other sources Turning this ON will immediately put the QS into Mix Mode and call up the GM Multi Mix Setting the A D Controller MIDI Numbers Butt
86. he SRAM card program to the User bank perform the Effects copy then move the Program back to the card bank Hearing the Effects Only Normally the final output of an Effect is mixed back in with the original Program or Mix so that what you hear is a combination of the two In some cases however you may want to hear only the Effected sound Here s how to do that 1 Go into Program Edit mode 2 Assign the Output parameter of the Sound Program to OFF 3 Assign the Effect Bus of that Sound Program to one of the four Effect Sends 4 Adjust the Effect Level as you wish If the Effects Inputs Clip r If the input to the Effect becomes overloaded while you are playing then a P symbol will flash in the Mix or Program display You want to avoid this situation because clipping creates unnecessary noise and distortion and can even cause the signal to drop out for a second There are two easy fixes Go into Effect Edit mode and reduce the Input levels for each effect function in the current configuration e Reduce the Effect level settings in the Program or Mix that is giving you the problem The Effects Edit Pages The Configuration Function 40 CONFIGURATION The starting point of every Effect is its Configuration which defines all routing and parameters Each is a unique arrangement of effect blocks distributed across two to four effect Sends The Configuration determines where each block s input comes from
87. he OS sends and receives Bank Program and Mix data in MIDI sysex format 27 28 4 Set up your receiving device to accept a MIDI sysex dump 5 Press STORE to transmit the data from the QS While transmitting the data the display will read SENDING OUT MIDI DATA To send a single Program via MIDI 1 Follow steps 1 and 2 in the instructions above 2 Press PAGE gt seven times to select the proper page of the Store function The display will look like this 3 Use the CONTROLLER D slider and the VALUE buttons to select a Program to transmit You may select any Program in the User Bank 000 to 127 or the Program Edit buffer EDIT or any of the 16 Mix Edit buffers Em01 to Em16 As this value is changed the second parameter destination will change also If you hit PAGE gt one more time you can change the destination number separately 4 Press STORE to transmit the data out the MIDI OUT connector To send a single Mix via MIDI The procedure for sending a single Mix is very similar to that of sending a Program see above Hit STORE then PAGE gt nine times to get to the MIDI Mix Store page Loading Programs and Mixes Via MIDI The QS doesn t need to be in a special mode to receive MIDI sysex information Simply connect a MIDI cable from the MIDI out jack of your MIDI player to the MIDI IN port of your QS and start the sysex dump on your MIDI storage device or computer If ev
88. he dry signal This parameter is not available in Config 2 2 REVERBS Setting the Reverb Input Balance Button EDIT EDIT 100 REVERB Page 3 Parameter gt Rvb lt 99 to 99 gt This controls the balance between Inputs 1 and 2 see above This parameter is not available in Config 2 2 REVERBS Setting the Reverb Input Level Button EDIT EDIT 100 REVERB Page 2 or 4 Parameter RvbIn Level 00 to 99 This controls the overall Input Level going into the Reverb in Send 1 23 2 0 IC 1 sb I re 1 PRA EPP Est Je miri PROG EDIT Setting the Send 2 Reverb Input Level 2 REVERBS Only Button EDIT EDIT 100 REVERB Page 1 Config 2 Send 2 only Parameter RvbIn Send2 00 to 99 This sets the level of the signal going from Send 2 directly into Reverb 1 This setting is only available in Configuration 2 2 REVERBS Send 2 Pe priri ET En 0J 3 I L Puls In Send PROG EDIT 2 Setting the Send 4 Reverb Input Level 2 REVERBS Only Button EDIT EDIT 100 REVERB Page 1 Config 2 Send 4 only Parameter RvbIn Send4 00 to 99 This sets the level of the signal from Send 4 into the Reverb in Send 3 This setting is only available in Configuration 2 2 REVERBS Setting the Pitch Effect Output into the Reverb 2 REVERBS Only Button EDIT EDIT 100 REVERB Page 1 Config 2 Sends 1 and 3 only Parameter Chrs In Lev 00 to 99 This adjusts the level of the sign
89. he filter frequency Lower values give a duller sound higher values give a brighter sound At 00 no sound will pass through the filter unless it is being positively modulated by another source At 99 NOTE Ifa Sound layer s Keyboard Mode is set to MONO the envelopes will only re trigger when playing legato if the Trigger Mode is set to Reset or Reset Freerun For more information on this see the Envelope Trigger functions TIP With a feedback guitar patch that uses one Sound for the guitar and another for the feedback set the feedback Sound to Mono to insure that the feedback whistle will be monophonic which more accurately mimics what happens in reality TIP This is often used for layering in a non pitched noise or drum sound for example to fatten up a bass guitar sound with a hint of kick drum TIP Since the waveforms in the OS ROM are recorded at the brightest possible setting filtering is often required to making a program sound natural NOTE This parameter interacts with several others If you hear no change when you raise the Filter Frequency amount try lowering the F ENV gt FILT parameter 41 42 positive modulation won t have any affect since the filter is already maxed out Turning On Filter Keyboard Tracking Button EDIT 70 FILTER Page 2 Parameter Kbd Track ON or OFF This sets how the filter frequency tracks across the keyboard When OFF the filter frequency remain
90. he word Gat means that after you let up the key the drum will decay at that rate Assigning the Drum to a Mute Group Button EDIT 110 AMP ENV Page 2 Parameter Mute Group OFF 1 2 or 3 Mute Groups force multiple Drums to share a single voice This is most often used with Hi Hats 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 This creates a more realistic sound since an actual hi hat is only capable of making one kind of sound at a time There are three Mute Groups In the example above both hi hat drums would be assigned to Mute Group 1 NOTE Only one Drum can be assigned to a single note within a single Program Sound NOTE If more than one Drum in a Sound is assigned to the same note only the higher numbered Drum will sound TIP If you want to layer two Drum mode Drums on top of each other you will have to use two separate Sound layers TIP 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 61 Editing Mixes What is a Mix Mix Mode allows you to play up to 16 different Programs at once from the keyboard or an external sequencer With Mix Mode you can do the following Layer different Programs so they can be played simultaneously from the keyboard For example you can stack a piano on t
91. ilable on the Alesis website NOTE The PRESET and GenMIDI banks reside in ROM so they can t be overwritten with new Programs and Mixes Overview The Front Panel Controls 0 D amp amp G amp G GP amp b GD op oaoeod oo a D D From left to right we have PITCH Bend Wheel for bending pitch during performance MODULATION Wheel for adding vibrato and tremolo during performance VOLUME Slider sets the output level CONTROLLER A D EDIT VALUE Sliders for adjusting parameters during performance or Edit mode PAGE Buttons sets the MIDI or Mix channel in the Edit Modes these are used to navigate through display pages VALUE Buttons increase or decrease the currently selected value any Edit Mode EDIT Button for entering one of the Edit Modes Mix Program Effects STORE Button for storing or copying to the User Bank an expansion card or external MIDI devices lt BANK COMPARE Button selects a Bank in an Edit Mode compares the current version to the original version BANK gt GLOBAL Button selects a Bank in an Edit Mode access the Global parameters MIX Button for entering Mix Mode PROGRAM Button for entering Program Mode 00 120 Numbered Buttons selects Program and Mix categories in an Edit Mode these select Edit functions
92. in bold All buttons knobs and switches on the QS are referred to in bracketed capital letters that match the instrument s actual markings Here are some examples PROGRAM refers to the button to the right of the display that says PROGRAM on it CONTROLLER D is the slider with D printed underneath 00 refers to one of numbered buttons to the right of the display PITCH is the control wheel at the left side of the instrument SUS PEDAL is the rear panel jack you d plug the sustain pedal into Important Safety Instructions Important Safety Instructions English Safety symbols used in this product This symbol alerts the user that there are important operating and maintenance instructions in the literature accompanying this unit A This symbol warns the user of uninsulated voltage within the unit that can cause dangerous electric shocks h This symbol warns the user that output connectors contain voltages that can cause dangerous electrical shock Please follow these precautions when using this product Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a damp cloth Do not spray any liquid cleaner onto the faceplate as this may damage the front panel controls or cause a dangerous condition Install in accordance with the manufacturer s instructions Do not install near any heat sources such as r
93. ion press MIX or PROGRAM Selecting Banks A Bank is a collection of 128 Programs and 100 Mixes There are five internal Banks available in the QS and more can be accessed if you put a catd into the PCMCIA EXPANSION CARD slot The internal Banks are USER PRESET1 PRESET2 PRESET3 GenMIDI NOTE You can overwrite the Programs and Mixes in the User Bank The other To explore different Banks use the lt BANK and BANK gt buttons Banks are permanent Using the Performance Controls The QS provides various ways to control the sound as you are playing Keyboard Velocity lets you control the sound by how hard you hit the keys Depending on how hard you play the volume and tonal quality of the sound will change e Keyboard Aftertouch QS6 2 only lets you change the sound by pressing down hard on the keys after you ve played them While holding key down you can press harder on it to change the character of the sound e The Sustain Pedal is used to hold notes after you let go of the keys e Pedal 1 is most often used to control the volume but it can be used to control other parameters The Pitch Bend Wheel allows you to alter the pitch of the notes as you play The Modulation Wheel allows you to add a modulation effect such as vibrato or tremolo to the sound e The Controller A D Sliders allow you to affect various parameters of the sound In most of the presets slider A controls a filter or filter sweep ef
94. is transposes the Program s pitch and MIDI note number in semitones The Effect Function 80 EFFECT The Effect function is where you select which Program s effects will be used by the Mix Setting How Effects Respond to Program Changes Button EDIT 80 EFFECT Page 1 Parameter Prg Change ON or OFF This parameter determines how the Mix Effects will respond to MIDI Program Change commands 65 66 When set to ON any Program Change message coming in over the MIDI channel selected for Effects will select a new Program and its associated Effect When set to OFF Program Change messages will select new Programs but not change the current Effect setting This is the default setting Setting Which Program s Effects Will be Used Button EDIT 80 EFFECT Page 2 Parameter MIDI Chan 1 to 16 This determines which Program s effect settings will be used by the entire Mix Only one Program s effects settings can be used at a time in a Mix Select the Mix channel which is the same as the MIDI channel containing the Program you want to use MIDI controller data for the Effect s Modulators will be accepted over this channel The Keyboard MIDI Function 90 KEYBOARD MIDI The Keyboard MIDI Function button 90 allows you to turn on and off the MIDI and keyboard settings for the selected Mix channel Enabling MIDI Input for the Mix Channel Button EDIT 90 KEYBOARD MIDI Page 1 Parameter MIDI I
95. it IDM Rap Kit DM StreetKtDM TripKit1DM TripKit2DM TripKit3DM OctavKitDM OrchstraDM 37 38 Percus Agogo Bongo Cabasa Castanet Chimes 1 Chimes 2 Chimes 3 Clap Rap Clap Tek Clave 1 Clave 2 Conga Hitl Conga Hit2 CongaSlap1 CongaSlap2 Rap Conga Rap Rim Cowbell RapCowbell Cuica Djembe Hi Djembe Low Drumstix FingerSnap GuiroLong1 GuiroLong2 GuiroShort Maracas SmbaWhstl1 SmbaWhstl2 ShortWhstl Shaker Hi Shaker Low Sleighbel1 Sleighbel2 Tabla Ga Tabla Ka Tabla Ka 2 Tabla Na Tabla Te Tabla Te 2 Tabla Tin Taiko Drum Taiko Rim Talk Down Talk Up Tambourine Timbale Timpani Null Timp Triangle 1 Triangle 2 TrianglSf1 TrianglSf2 Udu Hi Udu Mid Udu Low Udu Slap Vibrasmak1 Vibrasmak2 Wood Block 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 Null 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
96. it you can create a hole in the middle 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 note to the top of the keyboard will play NOTE Ifyou have Sound Overlap set to 99 and play the same note while holding the sustain pedal you will run through all 64 voices in no time By adjusting the Sound Overlap to a lower value you ensure there are voices available to play other sounds NOTE The Pitch Envelope parameters 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 NOTE The Filter Envelope parameters 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 NOTE 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 TIP For the most effective Filter Envelope sweeps leave the Amplitude Envelope Sustain level at maximum 99 and control the shape of the Sound entirely with the Filter envelope The Amplitude Envelope Function 110 AMP ENVELOPE The Amplitude Envelope button 110 determines the volume of the note over time For example it determines whether
97. its Because of this when the General MIDI setting is ON your OS won t be able to call up anything but drumkits on Channel 10 NOTE Turning General MIDI ON automatically sets your Keyboard Mode to CH SOLO Turning General MIDI off will put the Keyboard Mode back the way it was NOTE Some General MIDI sequences will have a SysEx message at the beginning which tells the receiving device to go into General MIDI mode The QS will respond to such a message If one comes in then your instrument will immediately jump from wherever it is to the GM Multi Mix 31 32 ON makes the QS send and respond to MIDI Program Changes In Program Mode it will send and receive Program Changes over the currently selected MIDI channel In Mix Mode Program Changes are received over all active MIDI channels but sent only from those displayed channels that have had MIDI OUT enabled With this setting incoming Program Changes will only affect the Programs not the entire Mix CH1 through CH16 are identical to ON as far as Program Mode is concerned In Mix mode these settings allow you to change Mixes in response to Program Change commands on the specified MIDI channel Program Changes coming in over other MIDI channels would continue to work as before changing any Programs associated with those channels within the Mix Setting the Behavior of the MIDI Out Port Button EDIT GLOBAL Page 15 Parameter MIDI Out OUT THRU This determines the
98. ivided into groups After selecting the group on display page 3 you then select the sample within the group on page 4 NOTE When Drum Mode is enabled the Sound will have fewer parameters for editing Consequently not all Function buttons will respond when pressed as they do when the Sound is in Keyboard mode 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 TIP Here s a quick way to select the Drum you d like to edit If it is on Sound 1 hold down the 00 button and hit the key the Drum is on If the Drum is on Sound 3 use the 20 button and hit the key 57 Here is a chart listing the various drum samples in their respective groups Group Voice Kick FloppyKik1 FloppyKik2 FloppyKikV MasterKik1 MasterKik2 MasterKikV MetalKickl MetalKick2 MetalKickV GrooveKikl 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 Ba Rap Snare2 Tek Snarel Tek Snare2 Tek SnareV Brush Hit1 Brush Hit2 Brush HitV rosstick1 Crosstick2 CrosstickV Toms HiRackToml HiRackTom2 HiRackTomV MdRackTom1 MdRackTom2 MdRackTomV LoRackTom1
99. k number of the Mix itself will be transmitted on the channel specified by this 93 94 parameter Selection of another Mix in the same bank will send a Program change command which matches the Mix number In Mix Program Select Mode where you choose the Programs within the Mix changing the Bank of any Program within the Mix will not send a Bank Select command Selecting a new Program within the Mix will not send a Program change command Transmitting MIDI Volume and Panning Each channel in a Mix can transmit its volume and panning settings via MIDI For each channel on which you wish to transmit this data MIDI Out must be set to ON and MIDI Input and Keyboard must be set to OFF Also the Keyboard mode must be NORMAL and the MIDI Program Select parameter must be set to ON Global Mode pages 6 and 14 If a channel is set up this way e Whenever a Mix is recalled via the front panel or via MIDI volume and panning information will be transmitted for that channel Whenever that Channel s Level parameter is edited volume information will be transmitted as Controller 7 on that channel Whenever that Channel s Pan parameter is edited panning information will be transmitted as Controller 10 on that channel However panning information will not be sent if the channel s Pan parameter is set to PROG The seven pan positions in a Mix send the following controller 10 values Mix Pan value CC 10 value
100. l take When set to HOLD the Pitch Envelope will remain where it is after the note is released Setting the Envelope Delay Time Buttons EDIT 90 110 Page 5 Parameter Delay 00 to 99 HOLD This is the amount of time the envelope will wait before doing anything When the delay is set to zero the envelope begins its attack right away When set to HOLD the Delay stage of the envelope will wait until the key is released before running through the remaining envelope stages In addition the Envelope s Trigger behavior will be automatically set to FREERUN see below The displayed value of that parameter is not changed only its behavior is Setting the Envelope Sustain Decay Time Buttons EDIT 90 110 Page 6 Parameter Sus Decay 00 to 99 This sets the amount of time the envelope will take during the sustain stage to go down to zero If this is set to 99 the envelope will remain at the Sustain level until the note is released When set to 00 the envelope s level will immediately jump to 0 upon reaching the sustain stage Setting the Envelope Trigger Type Buttons EDIT 90 110 Page 7 Parameter Trig NORMAL FREERUN RESET RES FRE This determines how the envelope will start and stop based on how the keys are held and released When set to NORMAL the envelope will play from the attack stage through to the sustain stage as long as the note is held When the note is released the envelope will jump
101. llator The LFO creates a cyclic waveform that varies over time with a specified shape and speed This waveform can be used as a modulation source The pitch filter and amp modules each have a dedicated LFO Envelopes An envelope is a modulation source that varies over time starting from when you strike a key There are three independent envelope generators for pitch filter and amplitude in each Sound layer Each envelope generator has the standard attack decay sustain and release parameters found on most synthesizers along with delay sustain decay and different triggering options More on this later DECAY SUSTAIN LEW EL ATTACK cmame SUSTAIN DEZA Y TIME nn NOTE ON MOTE OFF L The Effects Section The QS features a complete digital effects section with four input buses simultaneous multiple effects and flexible signal routing The effects include Chorus Flange Detune Delay Reverb and EQ Effects parameters are edited separately from either the Program or the Mix using Effects Edit Mode 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 Editing a Program From Program Mode press the EDIT button once j l MLA p LE NOTE As soon as you change a value the un 7 word EDIT will change to EDITED in ond Er the lower left part of the display PROG EDIT 7 Program Edit Functi
102. ly control their pitch level panning effects routings and placement on the keyboard You can choose from a collection of 343 samples 21 kicks 26 snares 33 toms 43 cymbals 75 percussion instruments 82 sound effects and 63 synth waves Plus there are 90 rhythm beats to choose from pre sequenced drum loops If all four Sounds in a Program were placed in Drum Mode you could assemble up to 40 tailor made drum sounds in your kit To round things out individual drums can be stretched to occupy up to four consecutive keys without transposing for more realistic flams Editing in Drum Mode To edit a sound in Drum Mode start from Program mode and hit EDIT Select a Sound layer by pressing one of the 00 through 30 buttons Next hit 40 VOICE and page over to the Snd Type parameter page 2 Use the VALUE buttons to select DRUM for the sound type Notice that the SND1 text in the upper left corner changes to S1D1 indicating that you re editing Sound layer 1 Drum 1 in Drum Mode or whichever Sound layer you selected Selecting a Drum to Edit 0 9 DRUM The 0 9 buttons are used to select a Drum 1 10 to edit You can select which Drum you are editing at any time from any display page in Drum Edit Mode Selecting the Drum Sample 40 VOICE The Voice function button 40 is where you choose the particular sample for the selected Drum 1 10 Similar to the normal Assign Voice function sounds are d
103. main outputs OFF shuts off the paths to the outputs In the QS8 2 selecting MAIN routes the Sound to the main outputs TIP R OFF shuts off the paths A setting of AUX will also shut off the paths ee This is provided for backward compatibility with older QS8 models When set to PROG the channel will use the Program s output assignments Setting the Mix Channel Effects Send Level Button EDIT 60 LEVEL Page 5 Parameter FX Level 00 to 99 or PROG This determines the amount of signal from the selected channel that will be sent to the effects When set to PROG the effect level will defer to the Program s Effect Level settings Selecting the Mix Channel Effects Send Button EDIT 60 LEVEL Page 6 Parameter FX Bus 1 to 4 or PROG This determines which effect Bus or Send the selected channel will be routed to When set to PROG the effect Send assignment will defer to the Program s settings The Pitch Function 70 PITCH The Pitch Function button 70 is where you can transpose the Mix channel s Program Both the pitch and MIDI note number are transposed in this operation Shifting the Mix Channel Pitch by Octaves Button EDIT 70 PITCH Page 1 Parameter Tune Octave 2 to 2 octaves This transposes the Program s pitch and MIDI note number in octaves Shifting the Mix Channel Pitch by Semitones Button EDIT 70 PITCH Page 2 Parameter Semitone 12 to 12 semitones Th
104. mixing a signal with a slightly delayed and detuned version of itself This detuning is modulated by an LFO Low Frequency Oscillator STEREO CHORUS In a Stereo Chorus the signal is split into three parts a dry signal and separate left and right detunings When the left channel is detuned sharp the right channel is automatically detuned flat and vice versa This causes the effect t0 become more dramatic while keeping it in tune to the ear MONO FLANGE Flanging is achieved by mixing a signal with a variable time delayed version of itself This is similar to Chorusing except here we use the LFO to modulate delay time instead of pitch The delayed signal is then mixed back with the original sound to produce that well known swooshing or jet plane sound The speed and depth of the LFO can be varied and part of the signal can be fed back into itself to make the effect stronger This feedback setting can be either Normal or Inverted Try using Inverted for a more dramatic flange STEREO FLANGE In a Stereo Flange the signal is split into three parts a dry signal and separate left and right signals each with its own delay While one channel flanges up the other channel automatically flanges down making the effect more pronounced PITCH DETUNE This effect takes a signal and detunes it either sharp or flat When mixed back with the original signal the popular 12 string guitar effect can be produce
105. n Program Mode for a description of which values will be sent for each Bank as it is selected Transmission Mix Mode If a new Bank is selected and any of the channels within the Mix have their MIDI Out parameters set to ON Mix Edit Mode Keyboard MIDI function Page 2 a Bank Select message followed by a Program change will be transmitted for each of those MIDI channels In Mix Program Select Mode where you choose the Programs within the Mix any channel which has its MIDI Out set to ON will transmit Bank and Program changes from within the Mix just like in Program Mode MIDI MixSl CH 1 16 Reception Program Mode Same as with MIDI PreSl ON see above NOTE Bank change messages will be Reception Mix Mode In this mode when a Bank select message is ignored if General MIDI Mode is enabled received on the channel specified by this parameter the Mix itself will so that only Programs within the General change Banks Any Program change command on this same channel will MIDI Bank GenMIDI can be recalled via call up an entire Mix as if it were a Program All other channels within MIDI Program changes The MIDI Program the Mix will behave the same way they do when MIDI PreSl ON is Select parameter will automatically be set to selected i e they receive Bank and Program changes normally MIDI Prg ON Transmission Program Mode Same as with MIDI PrgSl ON see above Transmission Mix Mode If a new Bank is selected the Ban
106. n dropped 15 This unit produces heat when operated normally Operate in a well ventilated area with at least six inches of clearance from peripheral equipment 16 This product in combination with an amplifier and headphones or speakers may be capable of producing sound levels that could cause permanent hearing loss Do not operate for a long period of time at a high volume level or at a level that is uncomfortable If you experience any hearing loss or ringing in the ears you should consult an audiologist 17 Do not expose the apparatus to dripping or splashing Do not place objects filled with liquids flower vases soft drink cans coffee cups on the apparatus 18 WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture ONE Ne Oe Instructions de Securite Importantes French Symboles utilises dans ce produit Ce symbole al rte Putilisateur qu il existe des instructions de fonctionnement et de maintenance dans la documentation jointe avec ce produit Ce symbole avertit Putilisateur de la pr sence d une tension non isol e a l int rieur de Pappareil pouvant engendrer des chocs lectriques h Ce symbole pr vient l utilisateur de la pr sence de tensions sur les raccordements de sorties repr sentant un risque d lectrocution Veuillez suivre ces pr cautions lors de l utilisation de l appareil Lisez ces instructions Gardez ces instructions Tenez compte d
107. ne VibesWave Ice Block Brake Drum TubulrWave TubWv Null FMTblrBell FMTublrSft FMTublrVel FMTub 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 HollowWave 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 MtlMt MtlMut 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 Wdwind Pop Brass ClasclBras AttakBrass Trumpet HarmonMute Trombone FrenchHorn B
108. neously This means that if you play a multi channel sequence into your QS it can sound like a whole band ensemble or even an orchestra Changing the MIDI Channel In order for MIDI to work the MIDI Channel must be set properly For example if you want one device to control another via MIDI they must be set to the same MIDI channel There are 16 MIDI channels In Program Mode the MIDI channel is indicated by a small number at the bottom of the display To change the MIDI channel press either of the PAGE buttons When there is MIDI activity either from the MIDI port or the QS s keyboard a small circle around the number will flash In Mix Mode the MIDI channel will depend on how the Keyboard Mode is set The Keyboard Mode parameter is found on Page 6 of the Global Pages Please look at the Global Parameters section of this manual to see how to set it Saving Programs and Mixes Via MIDI The QS lets you transmit your entire User Bank Programs and Mixes to an external device such as a computer sequencer storage device or another QS synthesizer via MIDI To send the entire User Bank Programs and Mixes via MIDI 1 Connect a MIDI cable from the QS s MIDI OUT jack to the MIDI In of a device capable of receiving the data a computer sequencer another QS etc 2 Press STORE 3 Press PAGE gt six times to select the proper page of the Store function The display will look like this NOTE t
109. nput ON or OFF This determines whether the selected Mix channel will respond to incoming MIDI messages Enabling MIDI Output for the Mix Channel Button EDIT 90 KEYBOARD MIDI Page 2 Parameter MIDI Outpt ON or OFF This determines whether the selected Mix channel will transmit MIDI messages Enabling the Keyboard for the Mix Channel Button EDIT 90 KEYBOARD MIDI Page Parameter Keyboard ON or OFF This determines whether the selected Mix channel will be playable locally from the QS keyboard The Controller Function 100 CONTROLLERS The Controller function button 100 lets you turn on and off the various controllers that can affect the selected MIDI channel Note that these are dependent on how each Channel has its KEYBOARD MIDI parameters set see the previous section Enabling MIDI for the Wheels Button EDIT 100 CONTROLLERS Page 1 Parameter Wheels ON or OFF This determines whether the selected channel will transmit and receive pitch bend and modulation controller 1 MIDI information Enabling MIDI Aftertouch Button EDIT 100 CONTROLLERS Page 2 Parameter Aftertouch ON or OFF This determines whether the selected channel will transmit and receive aftertouch MIDI information Enabling MIDI for the Sustain Pedal Button EDIT 100 CONTROLLERS Page 3 Parameter Sustn Pedl ON or OFF This determines whether the selected channel will transmit and receive sustain pedal c
110. o edit Use the 60 120 buttons to select an Edit Function Level Pitch Effect etc The Mix Edit functions and channels are written in blue above or below each numbered button on the line labeled MIX If a Function Group has more than one parameter use the PAGE buttons to navigate The Mix Edit Pages TIP Remember you can reset any The Level Function 60 LEVEL parameter back to its default value by The Level function button 60 is used to control parameters that deal pressing the VALUE UP and VALUE with the output of the selected channel DOWN buttons at the same time Enabling a Mix Channel Button EDIT 60 LEVEL Page 1 Parameter Prg enable ON or OFF Each channel of a Mix may be enabled or disabled without changing any of its parameter settings When a channel is disabled its channel number will not appear in the lowest line of the display Setting the Mix Channel Volume Button EDIT 60 LEVEL Page Parameter Prg Volume 00 to 99 This sets the volume for the Mix channel Setting the Mix Channel Panning Button EDIT 60 LEVEL Page 3 Parameter Prg Pan lt 3 to 3 gt or PROG This determines the pan position of the selected channel When set to PROG the Pan setting will defer to the Program s Pan settings Routing the Mix Channel to the Outputs Button EDIT 60 LEVEL Page Parameter Output see below In the QS6 2 selecting ON routes all four Sounds to the
111. o the original sound e The BANK gt button gets you into Global Mode see below 19 20 Global and Store Modes Global Mode In this mode you can set various aspects of the QS that don t change whenever a new Program or Mix is selected for example the keyboard sensitivity Press the EDIT button then the BANK gt button with GLOBAL written under it to get into this mode Store Mode This mode is for storing copying and transmitting data You can store ot copy whole Banks individual Mixes individual Programs and Effects settings among other things Press the STORE button to get into this mode Navigating and Entering Data This works the same as in the Edit modes except that the BANK buttons don t do anything Special Editing Features Compare In any Edit mode the lt BANK button performs the COMPARE function see the label under the button If you press COMPARE from any Edit mode the original Program or Mix will be temporarily recalled and EDIT will flash in the display Pressing COMPARE again switches to your edited version Resetting Parameter Values While editing you can quickly reset parameters back to their default values by pressing both of the VALUE buttons at the same time Pressing both of the PAGE buttons at the same time will jump to the first page NOTE This is also known as the Double Button Press Trick In Program or Mix Modes pressing the PAG
112. o with your QS synthesizer like additional sound Banks and Sound Bridge software We hope your investment will bring you many years of creative enjoyment and help you achieve your goals Sincerely The people of Alesis Unpacking and Inspection The shipping carton for your QS should contain the following items QS synthesizer Sustain pedal a AC power cable This instruction manual Please log on to the Alesis website at wwwalesis com to register your new QS synthesizer This will help us give you the best support we possibly can How to Use This Manual Were sure you d like to jump in and start using your QS synthesizer quickly To help you do this refer to Chapter 1 for hook up instructions then follow the First Session tutorial in Chapter 2 This will get you playing in no time If you have any questions refer to the FAQ in Chapter 12 Helpful tips and advice are highlighted in a shaded box like this For more information on other features of your QS such as how to use it with expansion cards and MIDI refer to Chapters 3 through 6 When something important appears in the manual an exclamation mark like the one True synthesists who want to create their own sounds should refer to shown at left will appear with some Chapters 7 through 11 explanatory text Near the end of the manual are troubleshooting tips specifications and an Index to help you find what you re looking for New terms are shown
113. od sources and destinations Using these you can e Use a slider to control brightness effect level LFO speed etc e Use velocity to increase the attack speed of an envelope so playing softly makes the sound fade in while playing hard causes an immediate attack e Use release velocity to decrease the release time of an envelope so quick releases of the keys cut off the end of the sound while slow key releases allow the sound to fade away gradually Hard Wired Mod Routes One way to extend the power of your Mod section is to be sure you re not routing something with a Mod that could be handled elsewhere in the QS s functions Here s a list of routings that are hard wired into the QS Source Destination Button age Aftertouch Amplitude 80 AMP RANGE 2 Amplitude LFO Depth 8 AMP LFO 7 Filter Frequency 70 FILTER 5 Filter LFO Depth 7 FILTER LFO 7 Pitch 60 PITCH 5 Pitch LFO Depth 6 PITCH LFO 7 Amplitude LFO Amplitude 8 AMP LFO 5 Filter Envelope Filter Frequency 100 FILTER ENV 10 Filter LFO Filter Frequency 7 FILTER FREQ 5 Mod Wheel Amplitude LFO Depth 8 AMP LFO 6 Filter Frequency 70 FILTER 4 Filter LFO Depth 7 FILTER LFO 6 Pitch LFO Depth 6 PITCH LFO 6 Note Number Envelope Time Tracking 90 110 P F AENV 8 Filter Frequency 70 FILTER 2 Pitch Envelope Pitch 90 PITCH ENV 10 Pitch LFO Pitch 6 PITCH LFO 5 Pitch Wheel Pitch 60 PITCH 4
114. of this manual for more information 59 60 The Pitch Function 60 PITCH The Pitch button 60 function lets you transpose the selected Drum up or down one octave and lets you modulate the Drum s pitch with velocity Tuning the Drum Sound Button EDIT 60 PITCH Page 1 Parameter Tune 12 00 to 12 00 semitones This sets the tuning of the selected Drum in 25 cent increments Setting Pitch Velocity Sensitivity Button EDIT 60 PITCH Page 2 Parameter VEL gt PITCH 0 to 7 This determines how much the selected Drum s tuning will be affected by velocity The higher the value the higher the pitch will be as you play harder Setting the Velocity Filter Curve 70 FILTER Button EDIT 70 FILTER Page 1 Parameter VEL gt FILTER 0 to 3 The Filter function lets you control the brightness of the selected Drum with keyboard velocity As this value is increased keyboard velocity will have a greater effect on the filter frequency Playing softly will result in a duller sound while playing harder will result in a brighter sound The Amp Range Function 80 AMP RANGE The Amp Range Function button 80 is where you choose the velocity curve and keyboard range for the drum sound Choosing the Velocity Curve Button EDIT 80 AMP RANGE Page 1 Parameter VelCrv see choices in Editing Programs chapter This determines how the Drum will respond to an increase in velocity values from the
115. ols are turned down If you don t do this you can create loud bursts of sound that might damage your speakers NOTE If your sustain pedal responds backwards i e notes sustain when your foot is off the pedal turn off your OS and make sure the footswitch plug is fully inserted into the SUS PEDAL jack Then turn the OS back on while keeping your foot off the footswitch 11 Connection Diagram FOOT PEDAL PEDAL 1 SUSTAIN Pedal Switch 1 4 Audio Cables Stereo Headphones L PO Expression Pedal OW u EH 33 AC Receptacle Stereo Amp 12 First Session Playing the Demos Demos The QS has five built in demo sequences To play a demo hold down MIX and press a number button from 0 through 4 Playback will 0 Jinx by James Reynolds start with the specified demo and continue through the remaining demos A a i eet ee ae ee 3 Iron Man by Keith Emerson To stop the demo press MIX 4 Camera Obscura by David Bryce Playing Programs The sounds in your QS are called Programs Programs contain all of the parameters that are needed to define a sound For example True Stereo is a grand piano Program To select a Program press the PROGRAM button The display should look something like this Number Program Name Bank Name LI H BF AME a PROG r Z i MIDI Input Indi N nput indicator MIDI Channel Press the BANK
116. on EDIT GLOBAL Pages 8 through 11 Parameter ControlrA D 0 to 120 These parameters let you select the MIDI Controller Numbers that will be assigned to the A D CONTROLLER sliders This is useful both for controlling external MIDI devices and for giving you sequencer recordable control over Program and Effect parameters The default values are 012 013 091 and 093 for Controllers A D respectively Setting the Pedal 1 MIDI Controller Number Button EDIT GLOBAL Page 12 Parameter Ped1 Ctrl 0 to 120 Just like MIDI Controllers A D your QS s PEDAL 1 jack can be assigned to a MIDI controller The default is Controller 007 Main Volume When set to this value a pedal plugged into the back panel s Pedal 1 jack will automatically control volume Setting the Pedal 2 MIDI Controller Number Button EDIT GLOBAL Page 13 Parameter Ped2 Ctrl 0 to 120 This setting works exactly like Pedal 1 just above Even though the QS does not have a Pedal 2 input you can use this function to modulate QS parameters through MIDI The default for this setting is 004 Foot Controller Selecting the MIDI Program Change Behavior Button EDIT GLOBAL Page 14 Parameter MIDI Prgsl OFF ON CH1 16 This parameter determines how your QS deals with MIDI Program Change Commands When OFF your QS will not send or respond to Program Change messages NOTE The General MIDI spec reserves MIDI Channel 10 for drumk
117. on 90 PITCH ENVELOPE 44 The Filter Envelope Function 100 FILTER ENVELOPE 44 The Amplitude Envelope Function 110 AMP ENVELOPE 45 Naming the Program 120 NAMEI nnenenenennenennenennen 47 Copying Sound Layers STORE esses ceesnssessseensseeneaes 48 Auditioning Programs Before Storing unenenennennnenennenennen 48 Chapter 8 Modulation ccssccccccssssseeceees 49 Selecting a Mod Route 0 5 MOD 50 The Pitch LFO Function 6 PITCH LFO eeene 52 The Filter LFO Function 7 FILTER LFO w eee 52 The Amplitude LFO Function 8 AMP LFO ues 52 Scaling Modulation Sources 9 TRACK GEN 54 Chapter 9 Editing Drum Kits 57 Selecting a Drum to Edit 0 9 DRUM 57 Selecting the Drum Sample 40 VOICE 57 The Level Function 50 LEVEL neesmsnsnsnnsensensene 59 The Pitch Function 60 PITCH neseenennennenne 60 Setting the Velocity Filter Curve 70 FILTER 60 The Amp Range Function 80 AMP RANGE oeseri 60 The Amp Env Function AMP ENV 110 ua 61 Chapter 10 Editing Mixes ssscseseeeeees 63 Changing the Programs Within a Mix ennnnnennenensenenne 63 Getting Into Mix Edit Mode nnsnnnensenensenensenensenennennne 63 The Level Function 60 LEVEL nesnensenenseneenenensenenenennenenen 64 The Pitch Function 70 PITCH onene 65 The Effect Function 80 EFFECT neennenen 65 The Keyboard M
118. only tracks selected for editing Sustain pedal was plugged in after power was turned on Stuck notes due to incomplete MIDI data MIDI echo Thru enabled on external MIDI device or computer Unit was re initialized with Mod Wheel up Bad Sys ex data sent to QS via MIDI input Solution Check that the power cable is plugged in properly Check your audio cables if necessary swap cables Raise the VOLUME slider or Pedal 1 Set the Keyboard Mode to NORMAL Global Parameter page 6 Switch QS from Mix Mode to Program Mode or vice versa to reset the MIDI Volume Re transmit higher values from MIDI device Copy all tracks and paste into a new song defined as having more tracks Reset INPUT SELECT for 24 input mode To hear all tracks deselect any tracks selected for editing using TRACK EDIT Turn the unit s power off wait a moment and then turn it on again Switch QS from Mix Mode to Program Mode or vice versa Disable MIDI echo Thru on external MIDI device Put QS into Out 01 mode Global Mode page 6 Put Mod Wheel all the way down and re initialize Re initialize If it persists load in known good bank 97 98 Recovering from a Crash If your QS behaves erratically or freezes on you the first thing to try is to switch between Mix and Program modes once If that doesn t do anything turn it off wait for a moment and then turn it on again Make sure you turn off any
119. ons In Program Edit Mode the numbered buttons select the Sound to edit or the edit function The function of the buttons is printed on the front panel directly above or below the buttons Selecting a Sound to Edit 00 30 SOUND In Program Edit Mode the 00 03 buttons select which Sound Layer 1 4 you are editing Remember each Sound has its own sample amplifier filter and envelope sections You can change Sounds from any Edit page by pressing a 00 03 button Notice that the Sound number changes in the upper left part of the display as you press these buttons 35 36 The Voice Function 40 VOICE Hit the 40 button to choose the sample that forms the basis of your Sound Use the PAGE buttons to select parameters within this function to edit Turning Sounds On and Off Button EDIT 40 VOICE Page 1 Parameter Snd Enable ON or OFF ric LI _ PROG EDIT This enables or disables the selected sound When a Sound is disabled snd will appear in lowercase in the display When enabled SND will appear uppercase To avoid using up polyphony unnecessarily turn off any Sounds that you re not using Turning Sounds off is also a convenient way to isolate a particular sound you are editing Selecting Keyboard or Drum Mode Button EDIT 40 VOICE Page 2 Parameter Snd Type KYBD or DRUM This determines whether the Sound is in Keyboard Mode or Drum Mode This chapter describes the Keyboar
120. ontroller 64 MIDI information Enabling MIDI for the Sliders Button EDIT 100 CONTROLLERS Page 4 Parameter Controllrs ON or OFF This determines whether the selected channel will allow Controllers A D and Pedals 1 amp 2 to transmit and recetve MIDI controller information You can assign which MIDI controller numbers they are linked to in Global Mode The Range Function 110 RANGE The Range function button 110 allows you to specify the range of keys to which each Mix Channel will respond This is ideal for creating keyboard splits and layers 67 68 Setting the Lower Keyboard Limit Split Point Button EDIT 110 RANGE Page 1 Parameter LoLim 000 C2 to 127 G8 Sets the lowest note of the Mix Channel keyboard range IIPS Waa O LO PO EENE LEOD and layers Setting the Upper Keyboard Limit Split Point Bae aes 110 RANGE TIP In both of these functions you can set i j 11 Parameter HiLim 000 C2 to 127 G8 a Bee az Sets the highest note of the Mix Channel s keyboard range Naming the Mix 120 NAME Button EDIT 120 NAME Page Parameter Name see chart This allows you to change the name of the Mix Use the PAGE buttons to position the cursor and then use the CONTROLLER D slider or VALUE buttons to select from the available characters a ES ee eee 4 5 le 7 a Io lt gt J Ja IB Ic DE IF G Hfi s IK t Im In fo P Io rR s T u v wix Y z Ir
121. op of a string sound Split the keyboard into different zones for example the classic bass guitar on the left hand side of the keyboard and synth or piano on the right e Use the QS as a master MIDI keyboard It can transmit on as many as 16 different MIDI channels simultaneously e Receive up to 16 MIDI channels from an external sequencer with each channel representing a different instrument e Set the level panning transpositions and effect send of each MIDI channel Mix Editing Changing the Programs Within a Mix The first level of Mix editing is changing the Programs in the Mix Here s how to do it 1 Get into Mix Mode by pressing the MIX button 2 Press the PAGE gt button to select the Mix channel containing the Program you want to change The selected Mix channel should be flashing at the bottom of the display 3 Use the VALUE BANK or numbered buttons to select a different Program To return to normal operation press MIX or PROGRAM Getting Into Mix Edit Mode You may control many other aspects of a Mix by accessing Mix Edit Mode This is done by pressing the EDIT button while in Mix Mode NOTE The MIDI channel is always corresponds to the Mix channel in Mix Mode NOTE As soon as you change a value the word EDIT will change to EDITED in the lower left part of the display 63 64 Once in Mix Edit Mode use the 0 9 and 00 50 buttons to select a Mix channel t
122. orm This determines the phase of the Flanger feedback signal A setting of INVERT will result in a more dramatic effect Setting the Chorus Flanger LFO Speed Button EDIT EDIT 80 PITCH Page 3 Chorus and Flanger only Parameter Chors Flang Speed 00 to 99 This parameter adjusts the LFO Speed for the Chorus and Flanger Setting the Chorus Flanger LFO Depth Button EDIT EDIT 80 PITCH Page 4 Chorus and Flanger only Parameter Chors Flang Depth 00 to 99 This parameter adjusts the LFO Depth for the Chorus and Flanger This controls the amount of pitch alteration Setting the Chorus Flanger Feedback Button EDIT EDIT 80 PITCH Page 5 Chorus and Flanger only Parameter Chrs Flng Feedbk 00 to 99 This parameter adjusts the Feedback for the Chorus and Flanger A portion of the output of the Pitch section can be fed back into the input in order to make the effect more pronounced Setting the Pitch Detune Amount Button EDIT EDIT 80 PITCH Page 2 Pitch Detune only Parameter Pch Detune 99 to 99 This adjusts the amount of detuning At 99 the sound is tuned up 50 cents At 99 the sound is tuned down 50 cents Setting the Resonator Tuning Button EDIT EDIT 80 PITCH Page 1 2 or 4 Resonator only Parameter Resntr Tune 00 to 60 This adjusts the Resonator tuning frequency Lower values result in a buzzier sound Higher values result in a flanged sound
123. ouch can add to or subtract from this base level Mod Wheel LFO Depth Buttons EDIT 6 8 Page 6 Parameter MODWH gt LEO 99 to 99 This sets how much the Mod Wheel will increase or decrease the LFO s Level A positive value raises the level when the Mod Wheel is moved up Negative values will lower the level of the LFO as the Mod Wheel is raised Aftertouch LFO Depth Buttons EDIT 6 8 Page 7 Parameter AFTCH gt LFO 99 to 99 This parameter sets how much the Aftertouch will increase or decrease the LFO s Level A positive value raises the level as more Aftertouch is applied A negative value lowers the level as more Aftertouch is applied Scaling Modulation Sources 9 TRACK GEN The Tracking Generator TG is used to scale a modulation source For example normally you could modulate the 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 velocity curve NOTE For example if Level is set to 10 and the Mod Wheel parameter see the next 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 1
124. pped quantized fashion When it is ON the modulation effect will be stepped When OFF the effect will be smooth This function is only available in mod routes 4 through 6 The Pitch LFO Function 6 PITCH LFO The Pitch LFO function is most often used to apply vibrato to a Sound See below for the LFO parameters The Filter LFO Function 7 FILTER LFO The Filter LFO function is most often used to apply tremolo like or wah wah effects to a sound See below for the LFO parameters The Amplitude LFO Function 8 AMP LFO The Amp LFO function is usually used to add tremolo to a sound See below for the LFO parameters Setting LFO Parameters The following parameters apply to the Pitch Filter and Amplitude LFOs described above NOTE When modulating Pitch a Mod level of 72 or 72 will give exactly one octave of modulation at maximum input TIP This can be used on sounds with long release times where an effect like tremolo is intended to be active while holding notes down but deactivated as the sound is fading away after being released Or if you re using the Sustain pedal you can have vibrato present until the keys are released TIP If the Modulation Wheel is routed to Pitch with an amplitude of 99 moving the Mod Wheel with the Quantize parameter ON will cause the pitch to rise in half step increments NOTE The Pitch LFO parameters will make a difference in the sound only if the PITCH LFO DEPTH on Page 6 of
125. puter on your QS e Store and recall Programs and Mixes on a computer e Use a computer to edit your QS s sounds e Use your QS to control another synthesizer or sound module e Use another keyboard to play your QS s sounds Some examples of MIDI devices besides your QS synthesizer include keyboard controllers sound modules drum machines sequencers and computers with MIDI interfaces MIDI Connections The QS has three MIDI connectors e MIDI IN is for receiving MIDI information from another MIDI device MIDI OUT is for sending MIDI information to another device Depending on your settings the data from this port can originate from the QS itself or simply be echoed from the MIDI IN port MIDI THRU echoes whatever is received on the MIDI IN port Here are four typical MIDI setups for your QS and the appropriate connections for each of them Controller With this setup you can use your QS to play another MIDI instrument synthesizer sound module drum machine etc Connect a MIDI cable from the QS s MIDI OUT jack to the MIDI IN of the device you want to control 25 26 e Slave With this setup you can use another keyboard to play the sounds on your QS Connect a MIDI cable from the controllet s MIDI OUT jack to the QS s MIDI IN jack BE 2222e209 020022228 oo y Sooooo0000008 S D se oooooooooo oo eeeeeeecee oo Esse R l ORR
126. r s output will be stepped or interpolated This means that instead of scaling the input in a linear fashion 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 destination is set to PITCH and the Tracking Generator s input is an LFO using an Up Sawtooth as its waveform The HipHop and EuroDance QCards contain many examples of this extremely cool usage of the Tracking Generator LINEAR TRACKGEN NON LINEAR TRACKGEN NT NON LINEAR STEPTRACK TIP 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 ofthe Tracking generator 55 56 Selecting the Tracking Generator Input Button EDIT 9 TRACK GEN Page 1 Parameter Input see below Select the input of the Tracking Generator from the following sources Note Number e Mod Wheel e Pedal 2 e Velocity e Pitch Wheel e Pitch LFO Release Velocity e MIDI Volume e Filter LFO e Aftertouc
127. rken or brighten the tone in 1dB increments The Pitch Function 80 PITCH Pitch effects are achieved by splitting a signal into two parts delaying and or changing the pitch of one of the parts and then mixing the two back together This final mixing step is essential since the overall sound of the effect is created in the way the changed and unchanged signals interact Selecting the Pitch Effect Button EDIT EDIT 80 PITCH Page 1 Parameter Type see below There are six different pitch altering effects They are MONO CHORUS The Chorus effect is used to thicken up the sound of an instrument making one instrument sound like two or more played together In extreme cases it can add a watery quality to a sound TIP Here s how to control the Motor ON OFF setting from a footswitch Select the Sustain Pedal as the Mod source and Lezlie Motor as your destination or P1 Motor depending on the configuration If the Motor is OFF set the Mod Level to 99 so the footswitch turns the Lezlie on when pressed If the Motor is ON route the footswitch negatively in the Mod function NOTE If you want to be able to control the Lezlie speed when set to FAST you ll have to route the modulation negatively in the Effects Mod function NOTE The page numbers may vary in different Configurations Not all pages are available in all Configurations 79 80 The Chorus effect is achieved by
128. s You can find Q Cards at your local Alesis dealer where you purchased your QS for example In addition they are available from several nationwide mail order and internet music equipment dealers Where can I get SRAM cards and Flash cards SRAM and Flash cards are available from computer stores mail order houses and on the Internet Check the Alesis website for more information Where can I get more Banks Additional Program Mix Banks are available on the Alesis website free of charge Are QS6 2 QS8 2 Programs compatible with older QS programs Absolutely You can use QS7 QS8 QS6 1 QS7 1 and QS8 1 programs in your QS6 2 or QS8 2 How do I change what the sliders do To change what the sliders do for a particular Program go into Edit mode by pressing the EDIT button Select one of the active sounds by pressing one of the 00 04 buttons Next find which Mod route is currently assigned to the slider by pressing the 0 5 buttons Once you have found the slider for example CNTRL AJ use the PAGE buttons to get to the destination and level pages There you can modify what the slider is modulating and how much If you can t find the slider then it s not modulating anything in that Sound In this case you can re assign one of the Mod routes to the slider Where can I get more information on the QS There are QS users groups on the Internet with more information In addition you can check out
129. s constant across the keyboard Higher notes will be more filtered than lower notes since they have higher frequency components When ON the filter frequency will track the keyboard pitch When you play a higher note the filter cutoff frequency will automatically be raised to compensate for the higher note Setting Velocity Filter Tracking Button EDIT 70 FILTER Page 3 Parameter VELO gt FILT 99 to 99 This sets how much keyboard velocity affects the filter frequency At positive values playing harder raises the filter frequency resulting in a brighter sound At negative values playing harder lowers the filter frequency resulting in a darker sound Setting the Mod Wheel Filter Depth Button EDIT 70 FILTER Page 4 Parameter MODWH gt FILT 99 to 99 This sets how much the modulation wheel affects filter frequency At positive settings moving the modulation wheel up raises the filter frequency At negative settings moving the wheel up lowers the filter frequency Setting the Aftertouch Filter Depth Button EDIT 70 FILTER Page 5 Parameter AFTCH gt FILT 99 to 99 This sets how much aftertouch affects the filter frequency At positive values applying aftertouch raises the filter frequency At negative values applying aftertouch lowers the frequency Setting the Filter LFO Amount Button EDIT 70 FILTER Page 6 Parameter F LFO gt FILT 99 to 99 This sets how much the Filter LFO
130. s setting is not available on the Amplitude Envelope because there is a more specific velocity curve setting in the AMP RANGE function 47 48 Copying Sound Layers STORE While editing a Program it is helpful to be able to copy a Sound layer to another Sound in either the same Program or a different Program especially if you are building a split or layered Program Here s how 1 2 3 4 5 6 From Program Edit mode press STORE Press PAGE gt once to select the Copy Sound function Use the VALUE buttons to select the source for the copy You can choose either a Sound in the current Program or different Program If you choose a different Program the Sound layer to be copied will be determined by your destination choice Press PAGE gt again to advance the cursor to the lower line of the display Use the VALUE buttons to choose a destination Depending on the choice you made in step 3 you will be able to choose either a Sound layer or a Program number If you selected a Program number in the top line you ll only be able to select Sounds 1 4 as the destination Sound Keep in mind that your choice here will also determine which Sound will be copied from the Program number you chose in the top line If you selected one of the current Program s four Sounds in the top line you ll be able to select any of the other three Sounds in the current Program or one of the Programs in the User Bank 00
131. tes played gently will be louder than they would be if you had selected WEIGHT MAXMUM means that every note played on the keyboard is given the maximum MIDI velocity which is 127 In this mode your QS s keyboard is no longer velocity sensitive Setting the Keyboard Velocity Scaling Button EDIT GLOBAL Page 4 Parameter Kbd Scaling 00 to 99 This parameter adjusts the velocity sensitivity of the keyboard At 00 the keyboard is least sensitive At 99 the keyboard will be very sensitive to velocity The default setting is 65 Transposing the Keyboard Button EDIT GLOBAL Page 5 Parameter Transpose 31 to 31 in QS6 2 19 to 19 in QS8 2 This is the same type of Transpose that happens when you press the TRANSPOSE button It changes the MIDI Note Numbers assigned to the keyboard thus changing the note data sent out from your QS when you play On this page however you enter the transpose amount by using the standard EDIT VALUE slider and VALUE buttons not by pressing keys on the keyboard Setting the Keyboard MIDI Mode Button EDIT GLOBAL Page 6 Parameter Kbd Mode Norm Solo Out01 Out16 This setting determines how the QS s keyboard will work with respect to MIDI and the internal QS engine Norm is the default setting In Program Mode the QS will receive and transmit over the selected MIDI channel In Mix Mode MIDI is received over all active MIDI channels and sent over all active channels t
132. the PITCH function is set to a value other than 0 or if the Pitch LFO is a source in the MOD function NOTE The Filter LFO parameters 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 NOTE The Amp LFO parameters will have an effect only if the AMP LFO DEPTH on page 3 of the AMP RANGE function is set to a value other than 0 or if Amp LFO is a source in the MOD function Selecting the LFO Waveform Buttons EDIT 6 8 Page 1 Parameter Wave 8 choices TIP The unipolar positive going The waveform determines the shape of the LFO Note that the two ee Ba nnd y Sawtooth waves the Square and the Random waves are unipolar routed negatively positive going only and the rest are bipolar positive and negative going SINE TRIANGLE SQUARE UP SAW DOWN SAW RANDOM NOISE RANDOM NN Setting the LFO Speed Buttons EDIT 6 8 Page 2 Parameter Speed 00 to 99 This controls the speed of the LFO The higher the value the faster the waveform Setting the LFO Delay Buttons EDIT 6 8 Page 3 Parameter Delay 00 to 99 This sets the amount of time it takes the LFO to fade in from no modulation to maximum modulation The higher the value the more slowly the LFO fades in Setting the Trigger Type NOTE Some modulation sources are by Buttons EDIT 6 8 their very nature polyphonic
133. the Hal Leonard book Alesis QS Made Easy by David Crawford Sound Bridge Using Sound Bridge to Create Your Own Sound Cards The Alesis website www alesis com contains a free program called Sound Bridge for the Mac and PC Sound Bridge allows you to download your own sequences Program Banks and samples into a Flash card plugged into the QS All you need is a Flash card and a computer with a MIDI interface Sound Bridge will also work with SRAM cards but Flash cards are cheaper for storing large amounts of sample data Sound Bridge accepts sound files in AIF AIFF SD and WAV formats Many commercially available samples are available in these formats Or you can use your computer to create your own samples You can also use Sound Bridge to download sequences into your Flash card Sound Bridge accepts standard MIDI file sequences in MID MIDI and SMF formats You can use your own sequences or use commercially available General MIDI files from the internet and other soutces The Alesis website contains the Sound Bridge application and an electronic manual which will give you all the information you need to know to run Sound Bridge Sending Sequence Data to External Devices There is an option box in Sound Bridge which allows you to set up the sequences on a given card so they will be transmitted from the QS s MIDI Output jack A setting of OUT causes Card sequence data to play QS Programs only while
134. therwise you will probably want to leave this ON Editing Programs QS Composite Synthesis The QS generates sound through the use of QS Composite Synthesis The basis of this technology is the playback and processing of audio samples A sample is a digital recording of a sound The sound could be a sine wave a grand piano or even a full orchestra The QS processes these samples by applying filters envelopes and modulations and then mixing them with other processed samples In this way the QS can create a universe of sounds The Voice The part of the QS that plays back a sample is called a Voice The QS has 64 Voices so it can play 64 sounds at the same time Lowpass Filter The output of the Voice feeds into a lowpass filter which dampens high frequencies and allows low frequencies to pass through The frequency at which the dampening begins is called the filter frequency The lower the filter frequency the more muted the sound Filter Frequency Amplitude Frequency Amplifier Each voice filter combination is followed by an amplifier whose level can be controlled by a variety of sources This allows for creating sounds with either percussive or slow attacks or particular types of decays or tremolo etc The Four Sound Layers of a Program Each voice filter amplifier group is called a Sound Up to four Sounds can be used in a Program You can overlap Sounds split them across the keyboard or any com
135. tigkeit aus 10 CE Declaration Of Conformity See our website at http www alesis com FCC Compliance Statement This device complies with Part 15 of the FCC rules Operation is subject to the following two conditions 1 This device may not cause harmful interference and 2 this device must accept any interference received including interference that may cause undesired operation NOTE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna Increase the separation between the equipment and receiver Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced radio TV techni
136. tion 34 49 monophonic 41 mute groups 61 name Mix 68 Program 47 overdrive effect 87 Overdrive Lezlie configuration 75 Page buttons 18 pan drum 59 Mix 64 Program 38 PCMCIA expansion cards 21 pitch detune 39 drum 60 effects 79 function 39 Mixes 65 Program 39 pitch envelope amount 40 function 44 pitch LFO function 52 pitch wheel 15 bend amount 40 plate reverb 85 polyphonic 41 polyphony 33 portamento mode 41 power cable 7 power connections 11 Programs playing 13 18 Q Cards 21 90 quantization mod route 52 range function 67 re initializing 98 resetting parameter values 20 resonator effect 80 81 reverb 83 decay time 86 diffusion 87 plate 85 predelay 86 types 85 Reverb EQ configuration 75 safety 7 samples 33 loading your own 90 selection 36 sequence 89 sequencer 27 sliders 15 90 software version 98 Sound 33 35 enabling 36 volume 38 Sound Bridge 91 sound overlap 44 specifications 99 splitting the keyboard 68 89 SRAM cards 21 formatting 22 loading from 22 saving 22 storing 16 sustain pedal 11 47 Tracking Generator 54 transposing 15 30 Mixes 65 troubleshooting 97 Value buttons 18 velocity 15 cutve 29 43 scaling 30 voice 33 Voice function 36 website 10 Warranty Contact Alesis Alesis Limited Warranty ALESIS CORPORATION ALESIS warrants this product to be free of defects in material and workmanship for a period
137. to the input This results in the delay repeating itself The higher the feedback value the more repeats you ll get The Reverb Function 100 REVERB Reverb consists of a great number of audio reflections that occur so fast that our ear hears them blurred together as one 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 TIP The Stereo Delay allows you to have different Delay Time settings for the right and left channels NOTE 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 NOTE The page numbers will vary in different Configurations Not all page types are available in all Configurations 83 84 Selecting the Reverb Input 1 Source Button EDIT EDIT 100 REVERB Page 1 Parameter Ini PITCHout or DELAYout This selects the first input of the Reverb the output from either the pitch ot delay effect This parameter is not available in Config 2 2 REVERBS Selecting the Reverb Input 2 Source Button EDIT EDIT 100 REVERB Page 2 Parameter In2 SEND IN PITCHout or DELAY IN This selects the second input of the Reverb You can choose between the output of a Pitch effect the input of the Delay effect or a dry signal SEND IN Note that at the input of the Delay effect the signal is a blend between the Pitch output and t
138. uch but the synthesizer can still respond to MIDI aftertouch messages POLYPRES Polyphonic Pressure is similar to aftertouch but each key can respond to individual pressure messages Although the QS s keyboard does not generate poly pressure its sound generators can respond to MIDI poly pressure messages e MOD WHL Modulation Wheel is traditionally assigned to LFO level so that rotating the wheel away from you introduces vibrato However it is also well suited for controlling timbre vibrato speed and other parameters e PITCH WH Pitch Wheel usually controls the oscillator pitch but can control other parameters e MIDI VOL corresponds to MIDI controller 7 Example Assign the filter cutoff as the destination and you can have the signal become less bright as it becomes lower in volume e SUST PED Sustain Pedal The sustain pedal plugged into the sustain pedal jack provides this modulation signal PEDAL 1 A controller pedal plugged into the PEDAL 1 jack provides this modulation source The default setting assigns Pedal 1 to MIDI Controller 7 to act as a volume pedal But it can also be assigned to any other incoming MIDI controller number in Global page 12 e PEDAL 2 Although there is no Pedal 2 jack on the QS it is available as a modulation source via MIDI controller messages The Pedal 2 modulation source defaults to MIDI Controller 4 Standard Foot Controller It is possible to assign it to a different controller num
139. utilized by the QS Using Alesis Sound Bridge software on your PC or Mac you can download samples into the Flash card through MIDI Flash cards must be Type 1 PC cards PCMCIA and must be AMD C series or D series FLASH or compatible with an access time of 120ns or faster Playing Card Sounds To play the sounds on an expansion card enter Mix or Program mode and use the BANK buttons to select the Card Bank Up to 8 Card Banks can be recognized Playing Card Sequences Several of the Alesis QCards come with their own demonstration sequences In addition you can store your own MIDI sequences to RAM ot FLASH cards using a computer and Alesis free Sound Bridge software 21 22 To play back a card sequence 1 Insert the card containing sequence data into the PCMCIA EXPANSION SLOT 2 Press the SEQ SELECT button The display will look like this 3 Use the 00 through 40 buttons to pick the tens digit of the sequence number 4 Finally use the 0 through 9 buttons to play a specific sequence To stop a sequence while it s playing you can press the SEQUENCE PROGRAM or MIX button Saving a Bank to an SRAM Card Formatting Before you can use a blank SRAM card for the first time you must format it by storing the User Bank to each of its banks Depending on the amount of SRAM a particular card has up to 8 complete Banks can be stored onto it 1 Insert an SRAM card into the PCMCIA EXPANS
140. uts Main L R 1 4 Headphone 1 4 TRS Power Internal Transformer Dimensions WxHxD QS6 2 36 0 x 3 5 x 11 25 915mm x 89mm x 286mm QS8 2 50 5 x 4 3 x 13 5 1283mm x 110mm x 343mm Weight QS6 2 18 5 lbs 8 4 kg QS8 2 48 0 Ibs 21 8 kg 99 Index 1 Pitch keyboard mode 41 1 Reverb configuration 72 2 Reverbs configuration 73 aftertouch 15 filter depth 42 LFO depth 54 pitch bend amount 40 volume increase 43 amp LFO function 52 amp env function 61 amp range function 43 amplifier 33 amplitude LFO amount 44 velocity curve drum 60 amplitude envelope function 45 auditioning Programs 48 Banks 15 bass boost 76 card playing sequences 21 playing sounds 21 chorus effect 80 cleaning 98 Compare button 20 Configuration 71 connections 11 controllers function 67 copying 16 Sound layers 48 crash 98 delay effect 82 time 83 demo sequences 13 detune effect 80 81 double button press trick 20 Drum Mode 36 57 amplitude 60 base note 61 decay time 61 editing 57 effects send 59 mute groups 61 note range 61 pitch 60 selecting a drum Sound 57 volume 59 Edit 19 buttons 19 Mix 63 Program 35 effects 35 69 chorus 80 clipping 71 configuration 71 copying 70 delay 82 detune 81 editing 69 EQ 76 flanger 81 gated reverb 85 Lezlie 78 Mix 65 modulating 77 output mix 88 overdrive 87 pitch effe
141. werful instrument and we re sure you will find it exciting to use Those of you who are familiar with the enormously popular QS line of synthesizers may be wondering What has changed in the new QS6 2 and QS8 2 Well we ve kept the same great sound engine but totally redesigned the output section We replaced the 18 bit D A digital to analog converters with vastly superior Alesis 24 bit audio converters resulting in a tremendous improvement in sound quality much higher signal to noise ratio and much lower distortion You can hear the difference in the crystal clear sounds Go ahead turn up the volume We also refined the look of the keyboards and rearranged the front panel controls to make them mote intuitive and improve ergonomics In addition we improved the little but important things The User Bank Programs have been completely updated The rear panel jacks have been moved to make the QS6 2 fit on certain kinds of stands better We even re wrote the manual and added a FAQ with the questions we ve received the most over the ycars And don t forget like their predecessors the QS6 2 and QS8 2 are expandable With an Alesis Q Card ROM expansion you get 8MB of additional professional quality samples to add to your palette in whatever genre of music you re into Ask your music dealer about Alesis Q Cards Be sure to register your QS synthesizer on the Alesis website www alesis com Here you will find some cool items to g

Alesis QS6.2 Musical Instrument User Manual

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