ALESIS QS7.1 and QS8.
INTRODUCTION Thank you for purchasing an Alesis QS7.1/QS8.1 64-Voice Expandable Synthesizer. It’s a powerful instrument and we’re sure you will find it exciting to use. The more you know about it the more you’ll be able to do, so we recommend that you make good use of this manual. But most importantly, don’t forget to have fun! (There’s a good reason they call what musicians do playing.) HOW T O U SE T HIS MANUAL No manual can cover the needs of all musicians.
Contents Part 7: EDITING MIXES takes you to the next level of editing power, showing you how to change the preset Mixes and put together new ones of your own. It also explains the parameters which give the QS its strength as a master MIDI keyboard. Part 8: EDITING PROGRAMS gets deep into the instrument. If you are interested in pushing the QS synthesis engine to the max — and it’s a powerful engine, it really is — then you’ll want to study this section very closely.
Unpacking and Inspection The shipping carton for your QS should contain the following items: • • • • • • ✪ QS (with the same serial number as shown on the shipping carton) Sustain pedal AC Power Cable Computer CD-ROM containing software This instruction manual, plus Mix and Program lists and a Quick Start guide Alesis warranty card If you haven’t filled out your warranty card and mailed it back to us, please take the time to do so. This will help us give you the best support we possibly can. QS7.1/QS8.
Table of Contents CONTENTS Part 1: SETUP & CONNECTIONS .........................................................9 AC Power...............................................................................................................9 Audio....................................................................................................................10 MIDI.....................................................................................................................12 Direct Computer Link........
Table of Contents Storing Effect Patches In Program Mode..................................................................65 Storing Effect Patches in Mix Mode.........................................................................65 Copying Effects From One Program To Another........................................................66 Keeping Track: The Interaction Of Effects, Programs, And Mixes..............................67 Picking An Effect Configuration.................................................
Table of Contents Name........................................................................................................138 Mod 1 – Mod 6.............................................................................................139 Pitch LFO..................................................................................................144 Filter LFO.................................................................................................146 Amp LFO...........................................
Table of Contents 8 QS7.1/QS8.
Setup & Connections: Part 1 PART 1 SETUP & CONNECTIONS AC POWER HOOKUP Your QS7.1/QS8.1 is set to work with the voltage of the country to which it was shipped (either 110 or 220V, 50 or 60 Hz) and comes equipped with the appropriate power cable. Hooking that cable up is simple. • Make sure your QS is turned off. • Plug the female (jack) end of the power cable into the QS’s power socket. • Plug the male (plug) end into a source of AC power.
Part 1: Setup & Connections • Line filters. These cost more than simple spike/surge protectors, but may be worth it depending on your situation. Along with surge protection they offer circuits that can remove some line noise — things like dimmer hash, transients from other appliances, etc. • An Uninterruptible Power Supply (UPS). This is the most expensive way to go, but it is also the best.
Setup & Connections: Part 1 recording deck, lower the input level controls on those units until they are no longer clipping. AUDIO CABLES — SELECTION, ROUTING, AND CARE The audio connections between your QS and the rest of your studio are your music’s lifeline, so make sure you use high-quality cables. These should be low-capacitance shielded cables, with a stranded internal conductor and a low-resistance shield. Avoid cables with solid internal conductors. Quality cables cost more, but they are worth it.
Part 1: Setup & Connections • Avoid running audio cables near such sources of electromagnetic interference as transformers, monitors, computers, etc. • Don’t run cables where they can be stepped on. Stepping on a cable will compress the insulation between the center conductor and shield, and over time this will degrade performance and reliability. • Avoid twisting the cable or laying it out with sharp, right-angle turns. • Never unplug a cable by tugging on the cable itself.
Setup & Connections: Part 1 QS7.1/QS8.
Part 1: Setup & Connections 14 • As Controller. To play other MIDI devices from your QS, run a MIDI cable from the QS’s [MIDI OUT] jack to the MIDI IN of the device you want to control. • As a Link in a “daisy chain.” If you are using the QS in the middle of the MIDI chain (example: as the second unit of a three device chain), you’ll need two MIDI cables.
Setup & Connections: Part 1 DIRECT C OMPUTER L INK The QS can communicate directly with Mac or PC computers via its [SERIAL PORT] connector. Using this connection eliminates the need for a MIDI cables and a separate MIDI interface. Here’s how it works: 1) Run a single serial cable from your computer’s serial port to the [SERIAL PORT] connector on your QS. 2) Set the rear panel [ PC / MAC ] switch to either PC or MAC, depending on what kind of computer you are using.
Part 1: Setup & Connections IBM® PCS AND COMPATIBLES RUNNING WINDOWS ® If you want to link your QS directly with a PC or PC-Compatible, you’ll need special serial driver software and cabling. You’ve already got the driver software — it’s in the \ALESIS\ASDWIN directory on the CD-ROM that came with your QS. (If you don’t have a CD-ROM drive in your computer, call Alesis Product Support and ask them to send you the software on a 3-1/2 inch floppy disk.
Setup & Connections: Part 1 PEDAL AND FOOTSWITCH HOOKUP The QS keyboard has three back-panel pedal jacks, marked [SUS PEDAL], [PEDAL 1] and [PEDAL 2]. [SUS PEDAL] is designed to work with any standard momentary footswitch. It doesn’t matter whether the footswitch is normally open or closed, so long as you plug it into the jack before powering up your QS; the instrument will automatically sense the footswitch’s polarity and calibrate itself accordingly. [PEDAL 1] and [PEDAL 2].
Part 1: Setup & Connections are routed to channels 1 and 2, while the AUX [LEFT] and [RIGHT] outputs are routed to channels 3 and 4. Note that the [VOLUME] slider does not control the level going to the ADAT-XT. Volume control must happen via MIDI or a Pedal plugged into the Pedal 1 jack. When recording to ADAT-XT (or some other digital audio recorder), it must be set to “slave” to the 48kHz clock embedded in the digital audio which the QS is sending. This clock can be set to either 48kHz or 44.
Setup & Connections: Part 1 Note: When using ADAT-XTs without the BRC, it is not necessary to connect the 48 kHz Clock. If set up properly, the XTs will “slave” to the QS’s Digital Output. QS7.1/QS8.
Overview: Part 2 PART 2 OVERVIEW A Q UICK T OUR OF T HE FRONT PANEL THE WHEELS At the far left of the front panel you will find two powerful controllers: • The [PITCH] wheel. Move this control up or down to expressively bend the pitch of the synth. • The [MODULATION] wheel. Move this control to cause interesting sonic changes in the current Program or Mix. Sometimes you won’t hear anything happen when you use the [MODULATION] wheel.
Part 2: Overview THE EDIT MODE BUTTONS There are 6 buttons grouped together at the immediate left of the display: 20 • [▲ VALUE]. When you are editing, this button increments the selected value. At all other times it steps you forward through the available Programs or Mixes, depending on which mode you’ve selected. • [VALUE ▼]. Same as [▲ VALUE], except that it decrements values and steps backward through Programs and Mixes. • [EDIT SELECT]. This button takes you into Edit Mode.
Overview: Part 2 THE DISPLAY The large backlit LCD in the center of the front panel gives you visual feedback as you work. What it shows will vary depending on the mode you are in. Let’s go over what the different areas of the LCD “tell” you. 1) The big numbers on the left side of the LCD show you which Program or Mix you’re currently editing or playing. 2) The top line of the display shows the NAME of the Program or Mix while you’re in Play Mode.
Part 2: Overview THE PLAY MODE BUTTONS There are 4 buttons grouped together at the immediate right of the display: • [MIX]. This button takes you to Mix Mode. • [PROGRAM]. This button takes you to Program Mode. • [ BANK]. In Program and Mix Modes, this button cycles you backward through all available Banks. In Edit Mode this becomes the [COMPARE] button, which shifts between the original and edited versions of a Program or Mix, so you can hear both while you make your changes. • [BANK ].
Overview: Part 2 A WORD ABOUT THE SILKSCREENING As we mentioned in the last section, if you look above and below the 23 [SELECTION] buttons you’ll see a lot of words silkscreened on the front panel. We’ll get into what they mean later. All you need to know now is: • When you’re in Mix Edit mode, find the word “MIX” at the outer edge of the buttons, and then follow along that level to find the various Mix functions. • Do the same for Program and Effects Edit modes.
Part 2: Overview PROGRAMS, MIXES, AND B ANKS Your QS comes with 1,140 built-in Programs and Mixes. At any time you can also add hundreds more just by putting QCards or RAMcards into the [PCMCIA EXPANSION CARD] slots. That’s a lot of different sounds! In order to easily find the ones you need, you will need to know how they are arranged. Starting with… WHAT’S A PROGRAM? A QS Program is a set of parameters which (A) create a specific sound and (B) can be recalled instantly at the touch of a button.
Overview: Part 2 to each of 16 different MIDI channels, making it easy to build anything from a small pop/rock ensemble to a complete orchestra. QS7.1/QS8.
Part 2: Overview WHAT'S A BANK? A Bank is a collection of 128 Programs and 100 Mixes. There are five internal Banks available in the QS, and even more can be accessed if you have put QCards or RAMcards into one or both of the [PCMCIA EXPANSION CARD] slots. The different banks are: USER PRESET1 PRESET2 PRESET3 GenMIDI Card A [if in use; invisible if not] Card B [if in use; invisible if not] If a card has more than one Bank, the numbers will go up like so: CardA-1, CardA2, CardA-3, etc.
Overview: Part 2 ABOUT SOUND GROUPS To make things easier for you, we’ve broken down three of the five Banks into Sound Groups . There are 12 different Sound Groups with 10 Programs each, plus a 13th Sound Group with only 8 Programs. (This gives each Bank 128 Programs, as specified by the MIDI standard.) Each of these Groups is clearly marked on the [SELECTION] button that calls it up.
Part 2: Overview 28 • Modulation Wheel. The [MODULATION] wheel has also been around pretty much forever in synth design. It got its name because it is typically used to add varying levels of modulation (such as vibrato or tremolo) while you play. But it isn’t limited to that.
Overview: Part 2 PCMCIA EXPANSION CARDS Your QS7.1/QS8.1 is an expandable system. If you want access to more Sounds, Programs, Mixes, Effects, and Sequences, all you have to do is pop the appropriate memory card into one of the two [PCMCIA EXPANSION CARD] slots on the back panel. Using both slots you can add up to 16 megabytes of memory, effectively doubling the power of your instrument. There are three different kinds of memory card that will work.
First Session: Part 3 P ART 3 FIRST SESSION P OWERING U P Once your QS7.1/QS8.1 is connected to an audio system of some kind, you are ready to play. Here’s how to begin. 1) Make sure that all connections have been made correctly, and that the volume controls in your amplification system and QS are set to zero. 2) Throw the QS’s rear-panel [ON/OFF] switch to ON (the up position).
Part 3: First Session demo sequence remained in the Mix Mode edit buffers, which is normal. To clear this, call up another Mix. 30 QS7.1/QS8.
First Session: Part 3 P LAYING P ROGRAMS The mode in which your QS plays Programs is called, logically enough, Program Mode. To enter it at any time, just press the [PROGRAM] button on the front panel. Once there, all you have to do is play. To explore different Programs in the current Bank, use the [SELECTION] and [VALUE] buttons. Experiment with them until you have a feel for how they work.
Part 3: First Session P LAYING M IXES In Program Mode you play Programs, so to play Mixes you can probably guess that you’d have to be in Mix Mode. To enter this mode at any time, just press the [MIX] button on the front panel. The display should look something like this: As you can see, there are only two visible differences between this and the Program Mode display: • The mode indicator in the lower left of the display reads MIX. • More than one MIDI channel is indicated.
First Session: Part 3 FINDING OUT WHAT PROGRAMS ARE IN THE MIX YOU ARE PLAYING It’s easy to see what Programs are currently assigned to the active MIDI channels in a Mix. Just enter Mix Mode, call up the Mix you want to examine, and then move through its MIDI channels using the [PAGE] buttons. Do that and the display will change to look something like this: There are five differences between this and the normal Mix Mode display: • The upper line shows the Program assigned to the current MIDI channel.
Part 3: First Session T HE P ERFORMANCE C ONTROLS, P T. II We described these real-time controllers in Part 2: Overview. Now that you know how to find your way to all the different Programs and Mixes, it’s time to explore just what the controllers can do. Your assignment: Call up a Program or a Mix and try out the items listed just below. When you think you’ve got a sense of how they work (or don’t) with your current choice, call up a different Program or Mix and try them again.
First Session: Part 3 PERFORMANCE TRANSPOSITION CHART UP OCTAVE MAJOR SEVENTH MINOR SEVENTH MAJOR SIXTH MINOR SIXTH PERFECT FIFTH DIMINISHED FIFTH PERFECT FOURTH MAJOR THIRD MINOR THIRD MAJOR SECOND MINOR SECOND + 12 semitones + 11 semitones + 10 semitones + 09 semitones + 08 semitones + 07 semitones + 06 semitones + 05 semitones + 04 semitones + 03 semitones + 02 semitones + 01 semitone NORMAL C above Middle C B above Middle C B-flat above Middle C A above Middle C G# above Middle C G above Middle C F#
Basic Operation: Part 4 PART 4 BASIC OPERATION R ECAP At this point you’ve pretty much learned everything there is to know about how to play your QS7.1/QS8.1: • You’ve got it hooked up and amplified. • You know about Banks, and how to switch among them. • You know about Programs and Mixes, and how to call them up. • You know how to use the real-time performance controllers.
Part 4: Basic Operation • If you press both [BANK] buttons while you’re in Mix Play or Program Play modes, the QS will jump to the same location in the User bank. 36 QS7.1/QS8.
Basic Operation: Part 4 COPYING EXISTING PROGRAMS A ND MIXES T O A N EW LOCATION IN T HE U SER B ANK You can readily move copies of existing Programs and Mixes into the User Bank. This is useful if you want to put them in a certain order for recording or performance, or to arrange interesting starter materials in preparation for editing. The procedure is an easy one. 1) Press [STORE].
Part 4: Basic Operation CHANGING T HE PROGRAMS IN A M IX This is actually the first level of editing for Mixes, but that’s okay — it’s an easy and useful thing that you can do whenever you are in Mix Mode…and best of all you don’t need to know anything special to do it! 1) Get into Mix Mode by pressing the [MIX] button. 2) Press either of the [PAGE] buttons and look at the display.
Basic Operation: Part 4 CHANGING T HE NAME OF A P ROGRAM OR MIX Call up the Program or Mix whose name you wish to change. Make sure it is visible in the display, and then: 1) Press [EDIT SELECT]. 2) Press [120], which calls up the NAME function while editing. The name you wish to edit will appear, inside quotation marks, in the middle line of the display. One of the characters in the name will be underlined (probably the first one, if this is your first time naming something).
Part 4: Basic Operation PLAYING SEQUENCES F ROM A C ARD [This section assumes that you have some PCMCIA Expansion Cards with sequences on them. If you don’t, you can move on and come back to this section later.] Several of the Alesis QCards come with their own demonstration sequences. More importantly, you can store your own MIDI sequences to RAMcards (in Standard MIDI File format) using a computer and Alesis’s free Sound Bridge software, and then play them back easily from your QS.
Basic Operation: Part 4 T HE G LOBAL SETTINGS (A ND HOW T O CHANGE T HEM ) Certain basic parameters affect your entire QS. Because they affect everything, they are called the Global Settings. There are 19 of them: GLOBAL EDIT PAGE 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 QS7.1/QS8.
Part 4: Basic Operation EDITING GLOBAL PARAMETERS To enter Global Edit Mode: 1) Press [EDIT SELECT]. 2) Press the [BANK ] button (that’s the one that has GLOBAL written beneath it). The display will look like this: Now look in the upper right corner of the display. There you will see an indicator that says P1. This stands for Page One, and it tells you where you are among the 19 possible Global parameters. (Naturally enough, since there are 19 parameters there are also 19 separate pages.
Basic Operation: Part 4 PAGE 2 — MASTER TUNE 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. (If you are playing along with an acoustic piano that is consistently a little sharp or flat, for example, it’s a lot easier to tweak this setting than to call in a piano tuner!) Like Master Pitch, Master Tune has no effect on Drum Mode sounds, Range settings, or the note data sent from the instrument’s MIDI Out.
Part 4: Basic Operation The factory default setting is 65, which gives an even scaling that favors neither loud nor soft playing. You will need to experiment with this parameter to find exactly the right adjustment for your own “touch.” PAGE 5 — TRANSPOSE This is the same Transpose setting you were introduced to in Part 3: First Session. The only difference is that in Global Edit Mode you make changes using the standard [EDIT VALUE] slider and [VALUE] buttons, not by pressing keys on the keyboard.
Basic Operation: Part 4 OUT 01 through OUT 16 select a single MIDI channel to transmit on, while simultaneously shutting off local keyboard control. You’ll want to choose this setting if you are using a sequencer that automatically echoes back the MIDI data that is being recorded. (If your sequencer works that way and you don’t choose one of the OUT settings, you will run out of available Voices faster as the echoed notes double what you are playing.
Part 4: Basic Operation The same as Global Edit Page 8, above, but for Controller B. The factory default is Controller 013. 46 QS7.1/QS8.
Basic Operation: Part 4 PAGE 10 — CONTROLLER C # The same as Global Edit Page 8, above, but for Controller C. The factory default is Controller 091. PAGE 11 — CONTROLLER D # The same as Global Edit Page 8, above, but for Controller D. The factory default is Controller 093. PAGE 12 — PEDAL 1 CONTROL # Just like MIDI Controllers A–D, your QS’s [PEDAL 1] jack can be assigned to a MIDI controller. In fact, it already is.
Part 4: Basic Operation PAGE 14 — MIDI PROGRAM SELECT MODE This parameter determines how your QS deals with MIDI Program Change Commands. There are three possible settings: OFF turns all Program Changes off. With this choice selected, your QS will neither send Program Changes nor respond to them. ON makes the QS respond to incoming MIDI Program Changes, and send them out whenever you change Programs from its front panel.
Basic Operation: Part 4 PAGE 16 — MIDI OUT MODE In normal MIDI operation, this parameter lets you switch the function of the back panel [MIDI OUT] jack between being a MIDI OUT and being a MIDI THRU. Given that, the two possible settings — OUT and THRU — should be self-explanatory. The factory default is OUT. If, however, you have selected one of the SERIAL PORT settings instead of MIDI (as discussed just above) then your choices become OFF and THRU, with OFF as the default.
Part 4: Basic Operation BOTH sets the sliders up so they control your QS and send MIDI data. This is the factory default setting. PAGE 19 — CLOCK SOURCE/CLOCK RATE This parameter determines the “sample playback rate” which the QS will use. If you’re not using the QS’s digital audio output to send the signal from your QS to some other piece of gear, you should leave this parameter alone.
Basic Operation: Part 4 If you would like a visual aid for this, check out the Connection diagrams in Chapter 1: Setups and Connections. QS7.1/QS8.
MIDI: Part 5 PART 5 MIDI WHAT WE’LL COVER HERE... • Sequencing with the QS7.1/QS8.1 via MIDI or the serial port. • Using the QS as a master MIDI keyboard for a live rig, along with a little more info about controlling external MIDI devices from a Card sequence. • Sys-ex transfers. How to go about transferring single Programs, Mixes or an entire User bank via Sys-ex to a computer or another QS series synth. …AND WHAT WE WON’T (BUT WHERE YOU CAN FIND IT). • How to create a Mix.
Part 5: MIDI USING AN EXTERNAL SEQUENCER The QS can generate MIDI signals for a sequencer to record. On playback, the sequencer sends this data back into the QS, which then serves as a multitimbral sound module (in Mix Mode). The sequencer can generate data over several channels; in Mix Mode, the QS can be programmed so that individual Programs play sequenced data on specific channels.
MIDI: Part 5 SELECTING THE KEYBOARD MODE In a Mix, the QS’s keyboard may be set up in several ways using the Keyboard Mode parameter found on Page 6 of Global Edit Mode. You need to determine which way is best for your application. The Keyboard Mode parameter determines how the keyboard will function with regard to MIDI: • OUT 01 – OUT 16. Use this mode if you’ll be sequencing parts for other MIDI devices in addition to the QS.
Part 5: MIDI PROGRAM ASSIGN FOR EACH MIDI CHANNEL Assign Programs to the 16 channels of the Mix by using the [ PAGE] and [PAGE ] buttons to select a channel (the silkscreening also identifies those as the [MIX CHANNEL PROGRAM SELECT] buttons). Then use the [0] – [9] and [00] – [120] buttons to select a Program for that channel. If desired, you can use the [ BANK] and [BANK ] buttons to select a Program from any of the internal or card banks.
MIDI: Part 5 MIDI MixSl: CH 1-16 Reception: Program Mode. Same as with MIDI PrgSl: ON (see above). Reception: Mix Mode. In this mode, when a Bank select message is received on the channel specified by this parameter, the Mix itself will change Banks. Any Program change command on this same channel will call up an entire Mix as if it were a Program. All other channels within the Mix will behave the same way they do when MIDI PrgSl: ON is selected (i.e., they receive Bank and Program changes normally).
Part 5: MIDI USING THE QS AS A MASTER KEYBOARD Mix Play Mode also allows the QS to function as a very powerful MIDI master keyboard. You can layer the QS’s internal sounds with those of several external synthesizers by adjusting the proper parameters in Mix Edit mode. For instance: You probably already know that you can layer and/or split several QS Programs in Mix Mode while simultaneously playing external synthesizers on those same MIDI channels.
MIDI: Part 5 MAKING IT HAPPEN The three parameters found under the KEYBOARD/MIDI button determine how the QS will function as a MIDI controller. For example: • To play both an internal Program and an external MIDI sound source on a given channel, set both the Keyboard parameter and the MIDI Output parameter to ON. • To play an internal program from the QS's keyboard and not trigger an external MIDI module on a given channel, set Keyboard to ON and MIDI Output to OFF.
Part 5: MIDI 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 (as explained in the KEYBOARD/MIDI section on page 102). Also, the Keyboard mode must be NORMAL and the MIDI Program Select parameter must be set to ON (Global Edit Mode, Pages 6 and 14).
MIDI: Part 5 TRANSPOSING MIDI NOTE NUMBERS PER ZONE You can transpose different zones on the QS’s keyboard so they send higher or lower MIDI note numbers to external MIDI devices than you are actually playing. Here’s how: Once the initial conditions are met (MIDI Out set to ON, Keyboard and MIDI In set to OFF), all you have to do from within Mix Edit mode is press the Pitch function button [70] and “tune” the external MIDI devices as if they were internal Programs using pages 1 and 2.
Part 5: MIDI SAVING PROGRAMS VIA MIDI SYS EX As an alternative to storing data to a card, the QS lets you transmit internal data via the MIDI Output connector in the form of System Exclusive messages. This data can be sent to a storage device, or recorded into a MIDI sequencer, or sent to another QS or a QSR.
MIDI: Part 5 To send a single Program via MIDI to a different Program number: ❿ Follow steps ❿ through ① in the instructions above. ❡ Press [PAGE ] one more time to advance the cursor to the lower section of the display. ① Use the [CONTROLLER D] slider and the [VALUE] buttons to select the Program number to which you would like to send the Program. ➃ Press [STORE] to transmit the data out the MIDI Out connector. The procedure is similar for sending Mixes.
Part 5: MIDI 60 QS7.1/QS8.
Part 6: Editing Effects PART 6 EDITING EFFECTS The QS7.1/QS8.1 has an extensive and versatile built-in effects processor. Your own ears will have told you this by now, of course, since lots of the presets in a QS use the effects to some degree. What we’d like to discuss here is a first step in how you can go further than just appreciating and playing the Programs and Mixes that came already loaded into your instrument.
Part 6: Editing Effects 62 QS7.1/QS8.
Part 6: Editing Effects ENTERING EFFECTS EDIT MODE FROM PROGRAM MODE If you are in Program Mode and wish to edit the Effect of the Program you are currently listening to, press the [EDIT SELECT] button twice. The first press will take you into Program Edit Mode; you want to go past that, which is why you have to press the button a second time.
Part 6: Editing Effects NAVIGATING IN EFFECTS EDIT M ODE There are certain basic methods that apply to moving around the various displays in Effect Edit mode. • Using the [40] – [120] buttons. These are used to select among possible Effects parameters. If you look at the middle row of titles printed above these buttons, you’ll see the list: Configuration, EQ, Mod, Lezlie, Pitch, Delay, Reverb, Overdrive, and Mix . • Using the [ PAGE] and [PAGE ] buttons.
Part 6: Editing Effects This choice is made at the Mix Edit level, not the Effects Edit level, because you aren’t actually editing the Effects — just turning them on and off within the Mix itself. • Start in Mix Mode. If you aren’t there, or aren’t sure you are there, press [MIX] once to make certain. • Press [EDIT SELECT] a single time. • Press [80]. As you can see if you glance at the MIX row of captions printed above the [SELECTION] buttons, this takes you to the Mix’s EFFECT parameters.
Part 6: Editing Effects HOW THE DISPLAY CHANGES WHEN YOU ALTER AN EFFECT Whenever you enter on of the Edit modes, the word EDIT appears in the lower left portion of the display. Once you have actually changed something, that indicator changes to read EDITED. This is a handy reminder, telling you that there is now a difference between what’s in the edit buffer and what is stored in memory for the selected Program (which is where the Effect Patch resides).
Part 6: Editing Effects • If you press [STORE] twice while editing a Program assigned to the Effect Channel, then both the Program and its Effects will be stored. • If [STORE] is pressed twice while editing a Program on some other Channel than the Effect Channel, then the edited Program will be stored with no change in its previous Effect settings. • If [STORE] is pressed twice while in Mix Edit Mode, then only the Mix parameters will be stored.
Part 6: Editing Effects 6) Press [STORE]. 68 QS7.1/QS8.
Part 6: Editing Effects KEEPING T RACK: THE INTERACTION OF EFFECTS, PROGRAMS, AND MIXES Effect Send levels and Configuration assignments are saved as either part of a Program (when in Program Edit mode), or as part of each Channel in a Mix (when in Mix Edit mode).
Part 6: Editing Effects CONFIGURATION #1: 1 REVERB 70 Pitch 1 Mono Chorus Stereo Chorus Mono Flange Stereo Flange Pitch Detune Resonator Delay 1 Mono Delay Stereo Delay Ping-pong Delay Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse Pitch 2 Mono Chorus Stereo Chorus Mono Flange Stereo Flange Pitch Detune Resonator Delay 2 Mono Delay Stereo Delay Ping-pong Delay Reverb 2 Balance and Level to Reverb 1 Pitch 3 Mono Chorus Mono Flange Resonator Delay 3 Mono Delay Reverb 3 Balance and Level to R
Part 6: Editing Effects At first glance this diagram may look a little daunting, but if you take a moment to trace the lines and read the component captions, things will become clear. Think of it as a kind of “road map” charting your audio signal’s progress from starting point through to its ultimate destination — the [LEFT] and [RIGHT] outputs shown at the top of the page. 1) The dotted lines indicate the divisions between different functional blocks.
Part 6: Editing Effects CONFIGURATION #2: 2 REVERBS Delay 1 Mono Delay Pitch 1 Mono Chorus Stereo Chorus Pitch 3 Mono Chorus 72 Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 2 Level to Reverb 1 Reverb 3 Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 4 Reverb 4 Level to Reverb 3 QS7.1/QS8.
Part 6: Editing Effects HOW “2 REVERBS” IS ARRANGED As you can see by glancing at the diagram, this Configuration differs considerably from the first! Here there are a single Delay, two Pitch effects, and two independent Reverb effects, arranged as follows: • Send 1 is routed through a mono Delay, then a stereo Pitch effect, and finally a stereo Reverb effect. • Send 2 has no effects of its own, but can be routed to the same Reverb effect as send 1 (if you wish).
Part 6: Editing Effects CONFIGURATION #3: LEZLIE+REVERB Pitch 1 Lezlie Delay 1 Mono Delay Pitch 2 Mono Chorus Stereo Chorus Mono Flange Stereo Flange Pitch Detune Resonator Pitch 3 Resonator Delay 2 Mono Delay Stereo Delay Ping-pong Delay Delay 3 Mono Delay Delay 4 Mono Delay Reverb 1 Plate 1 Plate 2 Hall Room Hall Large Gate Reverse Reverb 2 Balance and level to Reverb 1 Reverb 3 Balance and level to Reverb 1 Reverb 4 Mix and level to Reverb 1 HOW “LEZLIE+REVERB” IS ARRANGED This Configuration is
Part 6: Editing Effects CONFIGURATION #4: 1 REVERB+EQ Pitch 1 Mono Chorus Stereo Chorus Mono Flange Stereo Flange Pitch Detune Resonator Delay 1 Mono Delay Stereo Delay Ping-Pong Delay Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse Pitch 2 Mono Chorus Stereo Chorus Mono Flange Stereo Flange Pitch Detune Resonator Delay 2 Mono Delay Stereo Delay Ping-Pong Delay Reverb 2 Balance and level to Reverb 1 HOW “REVERB+EQ” IS ARRANGED The arrangement of Sends 1 and 2 in this Configuration are identica
Part 6: Editing Effects CONFIGURATION #5: OVERDRIVE+LEZLIE Pitch 1 Mono Chorus Mono Flange Resonator Delay 1 Mono Delay Stereo Delay Ping-Pong Delay Reverb 1 Plate 1 Plate 2 Room Hall Large Gate Reverse HOW “OVERDRIVE+LEZLIE” IS ARRANGED This Configuration is as “all-for-one” as it gets: a total of six different effects, all at once, and all of them on Send 1.
Part 6: Editing Effects Now, that’s pretty impressive. But it isn’t everything, not by any means. What really makes this Configuration so interesting to work with is the extreme flexibility of the routing. Take another look at the diagram.
Part 6: Editing Effects SETTING EFFECT SEND LEVELS Effect Send levels are not set in Edit Effect mode. Instead, they are set in Program Edit mode (for Programs) and Mix Edit mode (for Mixes). For details, see Part 7: Editing Mixes and Part 8: Editing Programs. IF THE SEND INPUTS CLIP… If the input to the Effect becomes overloaded while you are playing, then a “!” symbol will temporarily appear in the display.
Part 6: Editing Effects [PAGE] buttons at the same time as a shortcut. You can read more about it in Part 4: Basic Operation on page 35. QS7.1/QS8.
Part 6: Editing Effects [50] — EQ (CONFIGURATIONS 4 AND 5 ONLY) 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+Lezlie). So if you push the EQ button while in Configurations 1, 2, or 3, you’ll get the message “NOT IN CONFIG”.
Part 6: Editing Effects [60] — MOD Mod stands for “modulation.” So naturally enough the Mod Function lets you modulate up to two effects parameters at a time, either via MIDI or from the keyboard and front panel controllers of your QS. This is extremely useful for expressive real-time performance while playing live or recording or sequencing. There are two Modulation assignments saved along with each Effect.
Part 6: Editing Effects MOD1 DESTINATION Range of Settings: (see list below) Page 2 This is where you select exactly what Effect parameter your modulation source is going to modulate. It’s a big list.
Part 6: Editing Effects MOD1 LEVEL Range of Settings: -99 to 99 Page 3 This decides the degree to which the Destination will be modulated by the selected Source. Please notice the setting range, which allows you to choose both negative and positive numbers. Don’t be daunted by that — the way it works is very clear in practice. Here’s an example. Assume that Reverb Decay is the Destination, and Mod Wheel is the Source.
Part 6: Editing Effects [70] — LEZLIE (CONFIGURATIONS 3 AND 5 ONLY) This “spinning speaker” simulation is only available in Configurations 3 and 5. In Configuration #3 it takes its input from Send 1, and has three parameters: • • • Motor (on/off) Speed (fast/slow) Horn Level (-6 to +6 db) In Configuration #5 it can have up to two inputs, and those can come from a greater variety of sources.
Part 6: Editing Effects the Lezlie speed when “Fast” is the default, you’ll have to route something negatively in the Effects Mod function (see note in previous section). QS7.1/QS8.
Part 6: Editing Effects Note: If you want to know how to control the speed of the Lezlie from the Mod Wheel or some other controller, learn about the Effects Mod function (button [60]). Also, see the note at the top of the Lezlie section regarding controlling Lezlie speed in the various Configurations. HORN LEVEL Range of Settings: -6 to +6 dB Page 3 Config. 3 Page 6 Config.
Part 6: Editing Effects [80] — PITCH This function controls all Effect settings related to pitch. It has many different parameters, and not all of them are available in every Configuration (or even in each Pitch subfunction: Resonator and Stereo Chorus, for example, have completely different structures). Because of this, nearly all of the following parameters show up on different page numbers occasionally.
Part 6: Editing Effects MONO CHORUS The Chorus effect is achieved by taking part of the signal and slightly delaying it, then slightly detuning it as well. This detuning is variable, not steady, because it is being modulated by an LFO (Low Frequency Oscillator). There are many possible adjustments in this algorithm.
Part 6: Editing Effects MONO FLANGE First used in the 1960s, “flanging” was achieved by using two tape recorders to record and play back the same material at the same time. By alternately slowing down one tape machine, and then the other, an interesting phase cancellation could be generated. There is a much-repeated legend that this slowing down was done by pressing fingertips againsts the flanges of the tape supply reels, hence the effect’s name. But nobody actually knows for sure.
Part 6: Editing Effects PITCH DETUNE As its name implies, Pitch Detune takes a part of the signal and detunes it either sharp or flat. When mixed back with the original dry signal, the popular “12 string guitar” effect is produced, thickening the sound. RESONATOR This can be thought of as a highly resonant filter — or a filter that is tuned to a specific frequency with a lot of emphasis — which causes the frequency at which the resonator is set to be highly accentuated.
Part 6: Editing Effects DELAY INPUT LEVEL Range of Settings: <99 to <0> to 99> Page 2 (Config. 2 only) This parameter is only available on Send 1 in Configuration #2. It adjusts the level of the signal running from the Delay output to the Pitch Input.
Part 6: Editing Effects RESONATOR TUNING Range of Settings: 00 to 60 Page 2 (Resonator only) If the Pitch type is Resonator, page 2 of the Pitch function will let you adjust the Resonator tuning. This can be tuned from 00 to 60. Note: This parameter shows up on Page 1 for Send 3 of Configuration #3, and Page 4 for Send 1 of Configuration #5. RESONATOR DECAY Range of Settings: 00 to 99 Page 3 (Resonator only) If the Pitch type is Resonator, page 3 will let you adjust the Resonator Decay.
Part 6: Editing Effects [90] — DELAY The Delay function is used to edit Delay parameters. The QS’s effects processor has three different Delay types available. Note: Some Configurations only have a mono Delay on some Sends, and when this is the case the Delay Type parameter will be unavailable. Instead, the parameters normally found on page 2 of the Delay function are shown in page 1, and the other pages also drop by one number (please refer to next section for a description of those parameters).
Part 6: Editing Effects let you adjust the delay time of the left channel, while pages 6 & 7 let you adjust the same for the right channel. 94 QS7.1/QS8.
Part 6: Editing Effects FEEDBACK Range of Settings: 00 to 99 Page 5 (and Page 8 in Stereo Delay) This adjusts the Delay Feedback, which is a portion of the delay signal output being “fed back” into the input. This results in the delay repeating itself. The higher the feedback value, the more repeats you’ll get. 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.
Part 6: Editing Effects …and one regarding the Reverb function and Sends 2 through 4 If Configurations 1 or 3 are selected and you press [10] to select Effect send 2, you will see the various parameters that deal with the amount and type of signal going into the Reverb from Send 2. Note that there are now only 4 pages available, since the actual parameters for editing the Reverb itself are found back on Effect send 1.
Part 6: Editing Effects The next parameter is available on all other Configurations, but only on Sends 2 and 4 in Configuration #2: REVERB INPUT LEVEL Range of Settings: 00 to 99 (SEND 1) Page 4 (Config 1, 3, 4 and 5) This parameter controls the overall Input Level going into the Reverb for Send 1. The signal it sends is based upon the Balance between the selected Inputs to the Reverb (if more than one Input was available).
Part 6: Editing Effects The next parameter is only available in Configuration #2 on Sends 1 and 3: CHORUS INPUT LEVEL Range of Settings: 00 to 99 Page 1 (Config 2 only, Sends 1 and 3) If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of Send 1’s Reverb function will look like this: There is a unique parameter on this page: Chorus Input Level.
Part 6: Editing Effects Room. The Room reverb type simulates not only rooms of different sizes, but rooms with different surface materials. A room with soft surfaces such as carpet will produce a reverberant sound with much less high end (treble) than a room with hard surfaces. This reverb type can easily simulate both examples and many, many more. Hall. Much larger than a room, Halls are characterized by their high ceilings, irregular shapes, and generally uniform density of reflections. Large.
Part 6: Editing Effects DECAY Range of Settings: 00 to 99 Page 10 The Reverb Decay determines how long the Reverb will sound before it dies away. When using the Reverse Reverb type, Reverb Decay controls the Reverse Time. LOW DECAY/ HIGH DECAY Range of Settings: 00 to -99 Pages 11 & 12 These two parameters allow the Decay Time to be set separately for both the low and high frequencies of the Reverb.
Part 6: Editing Effects Note: Each graph above assumes a Density setting of 0 so as to better illustrate the Diffusion parameter. QS7.1/QS8.
Part 6: Editing Effects [110] — OVERDRIVE (CONFIGURATION 5 ONLY) The Overdrive effect provides four parameters spread across four editing pages. It is only used in Configuration #5. OVERDRIVE TYPE Range of Settings: Hard or Soft Page 1 The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive. Another difference is that the Hard setting will only provide distortion when the signal feeding the Overdrive effect is above the Overdrive Threshold setting (see below).
Part 6: Editing Effects [120] — EFFECT MIX Not to be confused with an actual Mix or Mix mode, the Effect’s Mix function is where you can mix the various signal levels of all the effects to the Main Left and Right outputs of the QS. Each Effect send has a separate Mix page for any effect module that feeds the main outputs. If an Effect send has no effect modules due to the Configuration, or if a particular Effect module isn’t available on that Send, you’ll see the message NOT IN CONFIG.
Part 6: Editing Effects REVERB LEVEL Range of Settings: 00 to 99 Page 3 Config. 1, 3, 4 Page 3 (Send 1)Config. 2 Page 1 (Send 3)Config. 2 Page 4 Config. 5 Adjusting this value will cause the overall Reverb Output Level to increase or decrease. Note: If you pull this parameter down, you will be taking down the reverb for all of the sends at once (except for Configuration #2, which contains two separate Reverb effects).
Editing Mixes: Chapter 5 PART 7 EDITING MIXES W HAT IS A MIX? Mix Mode is one of the most powerful features of the QS7.1/QS8.1. Although in Program Mode you can play only one Program at a time, in Mix Mode you can play up to 16 Programs at once, either from the keyboard (as layers or splits) or from an external sequencer (via 16 MIDI channels) or a combination of both.
Chapter 5:Editing Mixes MIX EDIT M ODE Editing a Mix begins with using the [ PAGE] and [PAGE ] buttons to select the MIDI channel you want, and selecting a Program number for each of the channels you want to use (as described above). Beyond Program selection, you may control many other aspects of a Mix by accessing Mix Edit Mode.
Editing Mixes: Chapter 5 U NDERSTANDING THE EDIT B UFFERS In Mix mode, there are 16 edit buffers for the Programs inside the Mix (one for each channel), plus another buffer for the Mix parameters (Level, Pitch, Range, etc.), and yet another buffer for the Effects Processor. When you select a Mix from memory, it is copied into the Mix Edit buffer, the 16 Programs of that Mix are copied into the 16 edit buffers, and the Effect from one of the 16 Programs is copied into the Effects buffer.
Chapter 5:Editing Mixes LEVEL SETTING FOR EACH PROGRAM The Level function (press [60]) of Mix Edit is used to control several parameters that deal with the audio output of the selected channel. Parameters in the Level Function’s group include: Volume, Pan, Output, Effects Send Level, Effects Bus and Program Enable. Enable (On or Off) Page 1 This determines whether the selected channel is enabled or disabled. When disabled, no sound will be heard.
Editing Mixes: Chapter 5 PITCH The Pitch function (press [70]) lets you transpose a channel’s Program in either semitone or octave increments. Tune Octave (-2 to +2 octaves) Page 1 This transposes the Program’s pitch in octave (12 semitones) steps from -2 (transposed down 2 octaves) to +2 (transposed up two octaves). Semitone (-12 to +12 semitones) Page 2 This transposes the Program’s pitch in semitone steps, from -12 (transposed down one octave) to +12 (transposed up one octave).
Chapter 5:Editing Mixes KEYBOARD /MIDI The Keyboard/MIDI Function (press [90]) allows you to turn on and off the MIDI and Keyboard settings for the selected MIDI channel. MIDI Input (On or Off) Page 1 This determines whether the selected channel will respond to incoming MIDI messages. MIDI Output (On or Off) Page 2 This determines whether or not the selected channel will transmit MIDI messages.
Editing Mixes: Chapter 5 CONTROLLERS The Controllers function (press [100]) lets you turn on and off the various MIDI controllers that can affect the selected MIDI channel. The following four parameters determine whether or not specific types of MIDI information will be received or transmitted, and are set separately for each Channel in the Mix. These, however, are dependent on how each Channel has its KEYBOARD/MIDI parameters set (see the previous section).
Chapter 5:Editing Mixes SETTING THE R ANGE The Range function (press [110]) allows you to specify the number of keys to which each MIDI channel will respond. This is ideal for creating splits (e.g., bass on the lower keys, piano in the middle, and strings in the upper octave). Lower Limit (MIDI note 000 to 127/ C-2 to G8) Page 1 Specifies the lowest note of the Program's range. You can set the lower limit when you're on this page by holding the [110] button and tapping one of the keys.
Editing Programs: Part 8 PART 8 EDITING PROGRAMS OVERVIEW Synthesizer programming is the art and science of shaping sounds in a particular way by altering the parameters of various components of the sound. Like music itself, learning synth programming is an ongoing process. Although this manual presents information about synthesizer programming, no manual can offer a complete course in programming (at least for a price customers would be willing to pay!).
Part 8: Editing Programs HOW THE QS GENERATES SOUND The QS uses custom integrated circuits, developed by the Alesis engineering team specifically for the QS. These resemble the types of chips used in computers and other digital devices. In fact, you can think of the QS as a special-purpose computer designed to generate and process audio.
Editing Programs: Part 8 Use Mix Play Mode: • When you want to layer more than four voices. In Mix Play Mode, it is possible (though not advisable) to stack all 64 voices onto a single key. • When each sound is likely to be used by itself by other setups. For example, if you are programming three different keyboard splits, each of which uses the same left-hand bass patch, it makes sense to use Mix Play Mode. • When you want different sounds to respond to different MIDI channels.
Part 8: Editing Programs THE VOICE This digitally-based oscillator provides the actual raw sounds from the 16 megabyte library of on-board samples. These "raw sounds" can take the form of a simple synth wave, a multi-sample of a grand piano, an orchestra, or even a full drumkit! The oscillator’s pitch can be tuned to a fixed frequency or modulated.
Editing Programs: Part 8 AMP Each voice/filter combination is followed by an amplifier whose level can be controlled by a variety of modulation sources. This allows for creating sounds with percussive or slow attacks, particular types of decays, tremolo, etc. Filter and amp settings can interact. If the filter cutoff is extremely low, then no signal will get through, no matter how the amp is set. Similarly, setting the amp for a short decay won’t let you hear any filtering set for a longer decay.
Part 8: Editing Programs LFO (LOW FREQUENCY OSCILLATOR) The pitch, filter, and amp modules each have a dedicated LFO module for modulation. The term LFO stands for low frequency oscillator, and comes from how modulation was created in the early synth days (an oscillator set to a low frequency could modulate some aspect of the sound; routing the LFO to the pitch, for example, would create vibrato).
Editing Programs: Part 8 settings, Effect Level and Bus information are saved with the Program when you store it back into memory. DRUM MODE Drum Mode helps you personalize your music by allowing you to construct your own drumkits. Any one or all of the four Sounds in a Program can be put into Drum Mode. The parameter which controls this is found in the Voice Function (button [40]) on page 2.
Part 8: Editing Programs exception of the Amp Envelope) are unavailable. In addition, the parameters in most other functions will differ. For more information on Drum Mode, see page 151. 114 QS7.1/QS8.
Editing Programs: Part 8 STORING YOUR EDITED PROGRAMS As you go through the parameters on the following pages, don’t forget that if you come up with an edit you would like to keep, you need to store it before you go to another Program or else you will lose your edit! Storage of Programs and Mixes was covered thoroughly in Part 4: Basic Operations. But if you’d like to know a great tip on what to do if you’ve created a great edit but aren’t sure where you’d like to store it, check the end of this chapter.
Part 8: Editing Programs PROGRAM EDIT FUNCTIONS To edit a Program you must select Program Edit mode. This is done by pressing the [EDIT SELECT] once from Program Play Mode (each time you press [EDIT SELECT] in Program Mode, the display cycles between Program Edit and Effects Edit Modes). When editing a Program in Program Mode, the word "EDIT" will appear in the display’s mode section (lower-left corner): As soon as you change a value, the word "EDIT" will change to "EDITED".
Editing Programs: Part 8 VOICE The Voice function (press [40]) is the most fundamental part of Program editing. It is where you choose the particular sample that forms the basis of a Sound. To avoid scrolling through long lists of samples (remember, there are 16 megabytes of sounds in here!), sounds are divided into groups. After selecting the group, you then select the sound within the group. Sound Enable Page 1 This is the master on/off switch for the selected Sound (1–4) of the current Program.
Part 8: Editing Programs Sound Page 4 Selects one of the available samples by name from the selected group, or OFF (no sample selected). Each group has a variety of samples from which you can choose, although some groups (such as waves) have more samples than others. Below and on the following page, you’ll find a chart listing the various samples in their respective groups.
Editing Programs: Part 8 Ethnic Drums Percus SndFX Rhythm Sitar, Sitar Wave, Shamisen, Koto, DulcimerHd, DulcimerMd, DulcimerSf, DulcimrVel, DulcmrWave, MandlnTrem, Accordian, Harmonica, Banjo, Kalimba, Steel Drum, Tuned Pipe Stndrd Kit, Rock Kit 1, Rock Kit 2, Dance Kit, Brush Kit, ElctricKit, Tek Kit, Rap Kit, Street Kit, MetalliKit, HvyMtliKit, VeloMtlKit, Trip Kit 1, Trip Kit 2, Trip Kit 3, Wild Kit, Octave Kit, OrchstraKt, Raga Kit, FloppyKick, PillowKick, MasterKick, Metal Kick, Smoke Kick, Groov
Part 8: Editing Programs LEVEL The Level function (press [50]) allows you to control the volume, pan position, output assignment and effects send level for each Sound. With up to four Sounds per program, this allows for a wide variety of stereo effects and level balances between the sounds. Volume (00 to 99) Page 1 This sets the overall volume for a Sound. Higher numbers give higher levels.
Editing Programs: Part 8 PITCH The Pitch function (press [60]) lets you control the pitch aspects of each Sound layer. Semitone (-24 to +24 semitones) Page 1 Sets the oscillator pitch in semitone steps, from -24 (transposed down two octaves) to +24 (transposed up two octaves). Detune (-99 to +99 cents) Page 2 Sets the oscillator pitch in cents, from -99 (transposed down 99/100 of a semitone) to +99 (transposed up 99/100 of a semitone).
Part 8: Editing Programs Pitch Envelope Depth (-99 to +99) Page 7 At +00, the Pitch Envelope has no effect. Positive values raise the pitch from the baseline according to the envelope shape, while negative values similarly lower the pitch (see illustration below). The higher the number (negative or positive), the greater the effect. Pitch Envelope parameters (such as attack and decay time) are programmed within the Pitch Envelope Function (see page 130).
Editing Programs: Part 8 Keyboard Mode (Mono, Poly, 1-Pitch or 1-PMono) Page 10 In Mono mode, you can play only one note at a time—just like vintage monophonic synthesizers or wind instruments. Poly mode allows you to play polyphonically. Note that portamento behavior is more predictable in mono mode.
Part 8: Editing Programs FILTER The Filter function (press [70]) lets you control the tone of each Sound layer. Filter Frequency (00 to 99) Page 1 This sets the filter's initial cutoff frequency. Lower values give a duller sound since this removes more harmonics; higher values let through more harmonics, which gives a brighter sound. Note: This parameter interacts with several others.
Editing Programs: Part 8 Velocity (-99 to +99) Page 3 At +00, velocity has no effect on the filter cutoff. With positive values, playing harder increases the filter cutoff. More positive values drive the cutoff frequency higher for a given amount of velocity. More negative values drive the cutoff frequency lower for a given amount of velocity. acoustic instruments, such as acoustic guitars, sound brighter when you play TIP: Many them more forcefully.
Part 8: Editing Programs Filter Envelope Depth (-99 to +99) Page 7 The Filter Envelope is one of the most important sets of parameters in making a Program. Many Programs will use the Filter Envelope to determine the tonal character of the sound over time (attack, decay, sustain, and release). At +00, the filter envelope has no effect. Positive values raise the filter from the baseline cutoff frequency according to the envelope shape, and negative values similarly lower the cutoff frequency.
Editing Programs: Part 8 AMP/RANGE The Amp/Range function (press [80]) lets you control the velocity and keyboard range of each Sound layer. Velocity Curve (13 choices) Page 1 This selects how the Sound will respond to an increase in velocity values from the keyboard or MIDI. A LINEAR curve is the norm, where the velocity values increase the level evenly as you play harder.
Part 8: Editing Programs Aftertouch Depth (-99 to +99) Page 2 At +00, aftertouch has no effect on the amplitude. Applying aftertouch with this parameter set to a positive value raises the amplitude; conversely, applying aftertouch with a negative value will make the sound softer the harder you press. The higher the number (either positive or negative), the greater the effect for a given amount of aftertouch. aftertouch to “swell” the amplitude of string and horn parts.
Editing Programs: Part 8 Lower Limit (MIDI note 000 to 127/ C-2 to G8) Page 4 Each Sound can be restricted to a specific range of the keyboard. This is ideal for creating splits (e.g., bass on the lower keys, piano in the middle, and strings in the upper octave). The Lower Limit specifies the lowest note of the Sound’s keyboard range. You can set the lower limit when you're on this page by holding [80] and tapping a key on the keyboard.
Part 8: Editing Programs Sound Overlap (00 to 99) Page 6 This determines how many voices can overlap on the same pitch. Example: If you hold the sustain pedal down and play the same note over and over, Sound Overlap determines how many voices are available for that note, and thus how many voices will overlap (play simultaneously). In the old days, different brands of synthesizers offered different voice allocation schemes.
Editing Programs: Part 8 PITCH ENVELOPE The Pitch Envelope function (press [90]) can lead to dramatic effects, since it can cause the pitch of a single key to change drastically over time. It’s typically used in special-effect synthesizer programs, but it may also be used more subtly in an acoustic program to simulate the characteristic of some instruments to go sharp on the initial attack, especially when played hard.
Part 8: Editing Programs Delay (00 to 99, Hold) Page 5 This is the amount of time that the envelope will wait before doing anything; very useful if you want to affect one element of a sound sometime after the sound starts. When the Delay is set to 0, the envelope begins its attack segment right away, without any delay.
Editing Programs: Part 8 Sustain Pedal (On or Off) Page 9 This determines whether or not the Sustain Pedal will have an effect on the envelope. When turned on, holding down the Sustain Pedal while playing short notes is virtually the equivalent to holding down those notes on the keyboard with some subtle but important differences.
Part 8: Editing Programs FILTER E NVELOPE The Filter Envelope function (press [100]) is crucial whenever you want the tonal quality of a note to change over time, differently from its overall level. Example: When you want the initial attack of a note to be bright, but want the sustaining part to be filtered. Note: Be sure to read the TIP in the Filter Envelope Trigger Mode section on page 134. It deals with getting the most natural interaction between the Sustain Pedal and the Filter Envelope.
Editing Programs: Part 8 Delay (00 to 99) Page 5 This is the amount of time that the envelope will wait before doing anything; very useful if you want to affect one element of a sound sometime after the sound starts. When the Delay is set to 0, the envelope begins its attack segment right away, without any delay.
Part 8: Editing Programs Time Tracking (On or Off) Page 8 This determines whether or not keyboard position will affect the cycle speed of the envelope. When turned on, playing toward the higher end of the keyboard will result in a faster envelope cycle; playing toward the lower end of the keyboard will result in a slower envelope cycle. However, this does not affect the attack time, but only the decay, sustain, sustain decay and release segments. This feature will result in only a subtle change.
Editing Programs: Part 8 AMP E NVELOPE The Amp Envelope function (press [110]) is crucial for all sounds because it sets the basic characteristics of the note--whether it attacks quickly or slowly, sustains or decays. Some Programs may leave the Amp Envelope in a sustaining mode, and provide attack and decay using the Filter Envelope; the effect is slightly different.
Part 8: Editing Programs “Hold”, the Pitch Envelope’s Trigger parameter is automatically set to “Freerun” in the software (see below). However, the displayed value of that parameter is not changed; only its behavior is. Sustain Decay (00 to 99) Page 6 This is the amount of time that the envelope will take during the sustain stage to bring the level down to 0. If this is set to 99, the envelope will remain at the Sustain level until the note is released.
Editing Programs: Part 8 Level (00 to 99) Page 10 This is the overall output level of the envelope. If this is set to 00, the Amp Envelope will have no output and will have no effect, while at 99 it will have a maximum effect on whatever it is being routed to. selecting Amp Envelope Level as a modulation destination, set the Amp TIP: When Envelope level parameter to 01 if the Modulation Level is above 0 (or, set the Amp Envelope level to 99 if the Modulation Amount is below 0).
Part 8: Editing Programs MOD 1 – MOD 6 About General Purpose Modulation Although there are several dedicated modulators in the QS (e.g., the pitch can always be modulated by the pitch LFO and Pitch Envelope), sophisticated synthesizer programming demands the ability to use as many modulation sources as possible to modulate as many modulation destinations as desired.
Editing Programs: Part 8 * If you want finer control over the way the envelope tracks the keyboard than is afforded by the TRACK: ON/OFF parameter, then you can use a mod routing to do it. But please compare the two ways so you’re sure there’s a significant difference before sacrificing a mod routing to do keyboard/envelope tracking. Selecting the Modulator (1 to 6) Use the [0] – [5] buttons to select one of the six modulators (modulator 1 is [0], modulator 2 is [1], modulator 3 is [2], etc.).
Part 8: Editing Programs • Pitch Wheel The leftmost wheel, Pitch, usually controls the oscillator pitch but can be tied to other parameters as well. • MIDI Volume MIDI can produce a variety of controller messages (see the MIDI supplement in the back of this manual). Of these, controller #7, which controls channel volume, is one of the most frequently used. Example: Assign the filter cutoff as the destination, and you can have the signal become less bright as it becomes lower in volume.
Editing Programs: Part 8 Modulation Destination Page 2 Select from the following modulation destinations.
Part 8: Editing Programs Quantize Mode (Off or On) The Quantize Mode function is only available in modulation routings 4 through 6. When Quantize Mode is on, the modulation effect will be stepped. When off, the effect will be smooth, or linear. Example: If you were to route the Modulation Wheel to Pitch with an amplitude of +99, moving the Mod Wheel while the Quantize parameter was off would cause the pitch of a held note to slide up, much the same way it does when the Pitch Bend Wheel is used.
Editing Programs: Part 8 PITCH LFO The Pitch LFO function (press [6]) is most often used to apply vibrato to a Sound. ✪ The following Pitch LFO variables will make a difference in the sound only if the PITCH LFO DEPTH (on Page 6 of the PITCH function) is set to a value other than 0, or, if the Pitch LFO is a source in the MOD function. Wave (8 choices) Page 1 The waveform determines the shape of the LFO. Select either Sine, Triangle, Square, Up Saw, Down Saw, Random+-, Noise or Random+.
Part 8: Editing Programs Delay (00 to 99) Page 3 This sets the amount of time it takes the LFO to fade in from no modulation to maximum modulation. Sometimes, it is desirable to have modulation come in a moment or two after a note has been played, rather than starting instantly. The higher the value, the more slowly the LFO fades in. Trigger (Mono, Poly, Key Mono, or Key Poly) Page 4 The Trigger parameter determines how the LFO should be triggered, or started.
Editing Programs: Part 8 Level (00 to 99) Page 5 This is the base output level of the Pitch LFO. If you want to have a constant value of vibrato, even without using the Mod Wheel or Aftertouch, set LEVEL above 00. The Mod Wheel and Aftertouch can add to or subtract from this base level. Example: If Level is set to 10 and the Mod Wheel parameter (see the next paragraph) is set to 10, there will always be some vibrato, and raising the Mod Wheel will add more vibrato.
Part 8: Editing Programs Delay (00 to 99) Page 3 This sets the amount of time it takes the LFO to fade in from no modulation to maximum modulation. Sometimes, it is desirable to have modulation come in a moment or two after a note has been played, rather than starting instantly. The higher the value, the more slowly the LFO fades in. Trigger (Mono, Poly, Key Mono, or Key Poly) Page 4 The Trigger parameter determines how the LFO should be triggered, or started.
Editing Programs: Part 8 Speed (00 to 99) Page 2 Controls the speed or rate of the LFO. For fast modulation, increase this value. For slower modulation, decrease this value. Delay (00 to 99) Page 3 This sets the amount of time it takes the LFO to fade in from no modulation to maximum modulation. Sometimes, it is desirable to have modulation come in a moment or two after a note has been played, rather than starting instantly. The higher the value, the more slowly the LFO fades in.
Part 8: Editing Programs TRACKING GENERATOR The Tracking Generator function (press [9]) is used to scale a modulation source. For example, normally you could modulate the Amp (volume) of a sound using velocity; the harder you play, the louder the sound gets. The amount of change in volume is equal to the change in velocity; this is called linear control.
Editing Programs: Part 8 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 of the Tracking generator.
Part 8: Editing Programs PROGRAMMING DRUM SOUNDS IN DRUM MODE To program a sound in Drum Mode, you must first set the Sound Type to “Drum” for that particular Sound in the Voice Function, page 2 (see page 116). The [0] – [9] buttons are used to select a Drum (1–10), regardless of which Function or Page is selected. For an explanation of the basics of Drum Mode, see page 113.
Editing Programs: Part 8 Snd FX Wave Rhythm 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, ScrtchPlLp, 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
Part 8: Editing Programs LEVEL Each Sound lets you create 10 Drums in Drum Mode. The Level function (press [50]) allows you to control the volume, pan position, output assignment and effects send level for each Drum. Volume (00 to 99) Page 1 This sets the overall volume for a Drum. Higher numbers give higher levels. Pan (<3 to 3>) Page 2 There are 7 available pan locations in the stereo (two-channel) field: Far left (-3), mid left, near left, center (< >), near right, mid right, and far right (+3).
Editing Programs: Part 8 FILTER Velocity>Filter (0 to 3) Page 1 The Filter function (press [70]) lets you control the “brightness” of the selected Drum by modulating the filter frequency with velocity. When set to 3, playing the associated note harder will result in a brighter sound (more high frequencies), while playing softer will result in a duller sound (fewer high frequencies). When this parameter is set to 0, velocity will have no effect on the filter.
Part 8: Editing Programs AMP E NVELOPE Decay (0 to 99, Gate00 to Gate99) Page 1 Page 1 in the Amp Envelope Function (press [110]) lets you adjust the Decay time of the selected Drum. If this is set to 0, only the very beginning of the drum sample is played whether you hold down the key or not; setting this to 99 will cause the entire drum sample to play. When set above 99, the Decay uses a gated mode. The Decay can still be set between 0 and 99, but in 5-step increments (Gate00, Gate05, etc.).
Editing Programs: Part 8 SPECIAL PROGRAMMING FUNCTIONS COPYING SOUNDS While editing a Program, it is helpful to be able to copy a Sound to another Sound in either the same Program or a different Program, especially if you are building a split or layered Program There are three types of Sound Copying operations. You can: • Copy from one Sound to another Sound in the Edit Buffer. You can use this to quickly double and detune a Program.
Part 8: Editing Programs ➅ Press [STORE] to copy the Sound. 158 QS7.1/QS8.
Editing Programs: Part 8 TO AUDITION PROGRAMS BEFORE STORING To look for available memory locations to permanently store your Program into, you can move between Program Mode and Mix Mode without losing your changes. This is because Program Mode uses a Program edit buffer, and Mix Mode uses its own Mix edit buffer along with 16 additional Program edit buffers.
Part 8: Editing Programs To audition Programs before overwriting them with STORE …when editing a Program from within Mix Mode: ❿ While in Mix Program Edit mode, press [PROGRAM]. This selects Program Play Mode, retaining your edits to the Program in Mix Edit. ❡ Use the [ BANK] and [BANK ] buttons select the User Bank (or a Card bank). ① Use the [0] – [9] or [00] – [120] buttons to go through the Programs in the selected Bank until you find one you wish to overwrite with the new edited Program.
Part 9: Extras PART 9 EXTRAS A WORD ABOUT THE QS CD-ROM Included with the QS7.1/8.1 is a CD-ROM containing various useful software programs to use with your QS. These include various Alesis and third-party programs, QS sounds and samples, sequences stored in the MIDI Song File (SMF) format, plus demonstration software we thought you would find interesting. Most of these programs are provided in both Macintosh™ and IBM® PC formats.
Part 9: Extras USING PCMCIA EXPANSION CARDS The QS provides two PCMCIA EXPANSION CARD slots, [A] and [B], which are found on the rear panel. These accommodate Alesis QCards and RAM cards. The RAM Card is a type of PCMCIA SRAM or FlashRAM card. We currently offer one which has 512K of memory and will store 8 complete banks. Larger Flash RAM cards can store up to 8MB of sample data using Alesis Sound Bridge software.
Part 9: Extras LOADING A BANK FROM AN EXTERNAL 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 RAM card into the User bank. WARNING! This procedure will overwrite the entire contents of your User bank. There is no Undo function! So be sure this is really what you want to do.
Part 9: Extras STORING AN INDIVIDUAL PROGRAM OR MIX You also have the option of storing a Mix or Program directly to a specific location in a RAM Sound Card Bank (instead of transferring the entire Bank) and vice versa. However, the Sound Card you are storing to must be of the current QS Bank format. A Sound Card is formatted whenever an entire QS Bank is stored onto it.
Part 9: Extras CARD STORAGE RAMIFICATIONS It's not uncommon for someone to keep ROM cards in both slots A and B, create their own Mixes which access Programs from both cards, and use a RAM card in Slot A to occasionally to back up their User bank.
Part 9: Extras MORE ABOUT SRAM CARDS As mentioned before, all card bank storage/retrieval should be carried out in slot A. This assures that when the bank is loaded back into the User bank from the card, the Programs and Mixes within the User bank will be able to find the samples and Programs which originally resided on a card in the A or B slot. This is particularly important for Sounds (samples) which point to the A slot.
Appendix A — Trouble-Shooting PART 10: APPENDICES APPENDIX A TROUBLESHOOTING If you experience problems while operating your QS7.1/QS8.1, please use the following table to check for possible causes and solutions before contacting Alesis customer service for assistance. Some of them may seem rather obvious, but you’d be amazed at how easy it can be to overlook the basics. Symptom The display does not light up when the ON/OFF switch is turned on. No sound. Cause No power.
Appendix A — Trouble-Shooting Notes played from QS have a “doubled” or “flanged” sound Mod Wheel not working well (or at all) QS behaving erratically MIDI echo/Thru enabled on external MIDI device or computer Unit was re-initialized with Mod Wheel up Serial port enabled, no computer or other QS hooked to it LCD shows “ADDRESS ERROR” Bad Sys-ex data sent to QS via MIDI input Put QS into Out 01 mode (Global Edit Mode, page 6) Put Mod Wheel all the way down and re-initialize Set I/O parameter to MIDI (Glo
Appendix A — Trouble-Shooting 6) Remember to go back into Global Edit mode and set up things the way you had them (things like the Keyboard Mode, Transposition, the A-D MIDI controller number assignments, etc.). QS7.1/QS8.
Appendix A — Trouble-Shooting CHECKING THE SOFTWARE VERSION To find out what version of the operating system software is currently installed in your QS7.1/QS8.1, hold down [PROGRAM] and [0] at the same time and look in the display. MAINTENANCE /SERVICE CLEANING YOUR QS7.1 / QS8.1 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.
Appendix A — Trouble-Shooting OBTAINING REPAIR SERVICE Before contacting Alesis, please double-check all your audio and MIDI connections, and make sure you’ve read the manual. U.S. Customers: If the problem persists, call Alesis USA at 1-800-525-3747 (1-800-5ALESIS) and request the Product Support department. Or you can e-mail Product Support at Support@alesis1.usa.com.
Index INDEX 4 D 48 kHz IN connector................................17 Demo sequences......................................29 digital audio.........................................16 DIGITAL OUT port................................16 DISPLAY, tutorial.................................21 Double-Button reset procedure................35 DRUM Mode Amp envelope function.......................155 Amp/Range function..........................154 crossfading drums...............................
Index Button [80] ‘Pitch’.......................83–88 mono chorus..................................84 mono flange..................................85 pitch detune.................................86 resonator......................................86 stereo chorus................................84 stereo flange................................85 Button [90] ‘Delay’......................89–90 Button [100] ‘Reverb’...................90–95 reverb parameters...................93–95 Button [110] ‘Overdrive’.........
Index external sequencer setting Keyboard Mode....................51 tutorial...........................................50 using with serial port......................50 General MIDI....................................172 turning GM on/off............................44 General MIDI sound bank, defined.......26 global control Clock Source/Clock Rate..................48 CONTROLLER A-D sliders assigning MIDI control numbers.....44 reset............................................47 selecting the Global Mode...
Index Pitch.........................................120–22 Pitch envelope..........................130–32 Pitch LFO.................................144–46 Tracking Generator....................149–50 Velocity curves...............................126 Voice........................................116–18 Programs overview............................107 normalized synth voice...................107 QS signal flow tutorial.................109–11 QS sound generation...........................
Index QS7.1/QS8.
