ALESIS QSR Reference Manual
Introduction Thank you for purchasing the Alesis QSR 64 Voice Expandable Synthesizer Module. To take full advantage of the QSR’s functions, and to enjoy long and trouble-free use, please read this user’s manual carefully. How To Use This Manual This manual is divided into the following sections describing the various modes of the QSR. To get the most out of your QSR, read the entire manual once, then use the table of contents and index to reference specific functions while using the instrument.
Table of Contents CONTENTS 1: Setting Up.....................................................................................7 Unpacking and Inspection ............................................................................................................ 7 AC Power ......................................................................................................................................... 7 Line Conditioners and Protectors ..................................................................
Table of Contents MIDI CH Buttons ............................................................................................................. 32 Editing Values .................................................................................................................. 32 Parameter Editing Overview ......................................................................................... 32 Comparing Edited and Stored Versions...........................................................................
Table of Contents Programming Drum Sounds ........................................................................................................ 82 Voice ................................................................................................................................... 82 Level ................................................................................................................................... 83 Pitch .........................................................................
Table of Contents 9: MIDI Transfer And Storage Operations....................................119 Using PCMCIA Expansion Cards................................................................................................ 119 Saving the User Bank to a PCMCIA Card.................................................................................. 119 Loading a Bank from an External Card ......................................................................................
Setting Up: Chapter 1 CHAPTER 1 SETTING UP UNPACKING AND INSPECTION Your QSR synthesizer module was packed carefully at the factory. The shipping carton was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the QSR for servicing.
Setting Up: Chapter 1 BASIC AUDIO HOOKUP ✪ When connecting audio cables and/or turning power on and off, make sure that all devices in your system are turned off and the volume controls are turned down. Because the QSR includes extensive signal processing as well as a full complement of sounds, you can make great sounds with nothing more than an amplifier or a set of headphones. The QSR has two Main outputs, two Aux outputs, plus a stereo headphones output.
Setting Up: Chapter 1 ABOUT AUDIO CABLES The connections between the QSR and your studio are your music’s lifeline, so use only high quality cables. These should be low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Route cables to the QSR correctly by observing the following precautions: • Do not bundle audio cables with AC power cords.
Your First Session: Chapter 2 CHAPTER 2 YOUR FIRST SESSION POWERING UP After making your connections, turn on the system’s power using this procedure: ➀ Before turning on the QSR’s power, check the following items: • • • Have all connections been made correctly? Are the volume controls of the amplifier or mixer turned down? Is the volume of the QSR turned down? ➁ Turn on the [POWER] switch on the QSR front panel. Upon power-up, the QSR will display the last selected Program or Mix.
Your First Session: Chapter 2 get back to it instantly at the touch of a button. When you select a Program, all of its parameter settings are recalled to recreate the original sound. The QSR provides 640 internal Programs, divided into 5 Banks of 128 Programs each. More Programs can be added by inserting a Sound Card into the Sound Card slot on the front panel of the QSR. Each Bank is broken down into 12 Sound Groups of 10 Programs each, plus a 13th Sound Group with 8 Programs.
Your First Session: Chapter 2 PLAYING THE QSR The QSR is shipped from the factory with 5 Banks of 128 Preset Programs (sounds) each. Additionally, there are 100 Mixes in each of the 5 Banks. PROGRAM MODE AND MIX MODE The QSR is always in one of two modes: Program Mode or Mix Mode. When you are auditioning Programs, you will be in Program Play Mode. When you are auditioning Mixes, you will be in Mix Play Mode. ✪ If you ever get lost, press either [PROG] or [MIX] to get back to their respective Play Mode.
Your First Session: Chapter 2 ➀ Press the [PROG] button to select Program Play Mode. The [PROG] button and the PROG indicator in the display will light. You can now play the QSR from an external MIDI keyboard; the Program will be whatever was selected when last in Program mode (Program number 00 –127). ➁ Select a Program using the [VALUE] knob. The large number in the upper-left section of the display will indicate the currently selected Program number.
Your First Session: Chapter 2 REALTIME PERFORMANCE FUNCTIONS The QSR provides various ways to control the sound as you are playing. Try out some of these functions while playing your MIDI keyboard. The sound of the effects can also change by using these controllers. The effect of these realtime controllers varies from Program to Program; in some they may not be active, and in others they may have a dramatic effect. • Velocity.
Your First Session: Chapter 2 AUDITIONING MIX PLAY MODE Mix Play Mode allows you to assign a Program to each of the 16 MIDI channels. This makes it easy to create multitimbral setups for use with an external MIDI sequencer. Additionally, a MIX can be used to “layer” sounds together, or “split” your keyboard in a number of ways, or any combination of these. There are many different ways to program a Mix. For more about Mix Play Mode, refer to Chapter 5.
Your First Session: Chapter 2 CHOOSING PROGRAMS IN A MIX In this section, we will choose Programs for the 16 channels in a Mix, for playing back tracks from a MIDI sequencer. There are many other aspects of a Mix we may wish to edit, however. Refer to Chapter 5 for more information about Mix editing. You do not have to access Mix Edit Mode to select Programs for a Mix (i.e. you don’t have to press the [EDIT SELECT] button).
Your First Session: Chapter 2 STORING AN EDITED MIX Once you have made changes to a Mix, you will need to store the Mix into the User Bank; that is, if you want to keep the changes you have made. The User Bank is designed to hold up to 100 (00 – 99) of your custom-made Mixes. Whenever you store an edited Mix, the User Bank is automatically selected. All you have to do is select a Program location (00 – 127) within the User Bank to store the edited Mix into.
Your First Session: Chapter 2 USING THE PCMCIA EXPANSION CARD SLOTS Your QSR is an expandable system using the two PCMCIA EXPANSION CARD slots on the front panel. There are three different kinds of Sound Cards available through your Alesis dealer or directly from Alesis: • SRAM cards: The Alesis Virtual Composer card provides an additional four banks of Program/Mix memory. All banks can be stored to by the user, and it comes with additional Programs and Mixes pre-stored.
Your First Session: Chapter 2 ✪ If an internal Program uses one or more Sounds that reside on a sound card, the sound card must be inserted into the same PCMCIA EXPANSION CARD slot, [A] or [B], as when the Program was stored. In other words, if a Program uses a Sound found on the card currently inserted in slot [A], then the same card must be inserted into slot [A] for that sound to be used when this Program is recalled.
Connections: Chapter 3 CHAPTER 3 CONNECTIONS BASIC MIDI HOOKUP MIDI is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. See the MIDI Supplement in Appendix B if you are not familiar with how MIDI works. The QSR has three MIDI connectors which provide the following functions: • MIDI IN This port is for receiving MIDI information (notes, program changes, etc.) from a source such as another QSR or MIDI keyboard, controller, or computer.
Chapter 3: Connections USING AN EXTERNAL SEQUENCER The MIDI keyboard or controller (such as the QS7 or QS8) can generate MIDI signals that are recorded by a sequencer. On playback, the sequencer sends this data to the QSR, which then serves as a multitimbral sound module (in Mix Mode). The sequencer can generate data over several channels; in Mix Mode, the QSR can be programmed so that individual Programs play sequenced data on specific channels.
Connections: Chapter 3 USING A COMPUTER The QSR can communicate directly with a computer via its [SERIAL PORT] connector. This eliminates the need for an additional computer-MIDI interface, as well as the MIDI cables to connect to it. The [SERIAL PORT] can be set to one of three modes, depending on the computer you are using. The mode is selected from Global Edit mode, page 11 (I/O Mode).
Chapter 3: Connections IBM® PCS AND COMPATIBLES This connection will require a special cable with a DIN8 connector on one end and either a DB9 or DB25 connector on the other end, depending on the type of connector you are using on the PC. You can purchase this cable in most computer retailers or through Alesis Product Support (DIN8-to-DB9 cable: part number 15-00-0009; DIN8to-DB25 cable: part number 15-00-0025).
Connections: Chapter 3 DIGITAL AUDIO/OPTICAL HOOKUP The QSR can output digital audio directly into an Alesis ADAT or ADAT-compatible multitrack digital recorder via fiber optic cable. The digital connector follows a proprietary Alesis format that carries all four audio outputs of the QSR (Main and Aux, Left and Right) on a single fiber optic cable. Either pair of outputs can be converted into standard AES/EBU or S/PDIF stereo digital audio format by using the Alesis AI-1 interface.
Chapter 3: Connections 48 KHZ IN If your ADAT system has an Alesis BRC Remote Controller, the QSR’s digital clock must be synchronized to the clock coming from the BRC. This requires that a connection be made providing the clock signal to the QSR and that the QSR’s Clock function be set to either one of its two external settings (Ext48kHz or Ext44.1k). Connect a BNC-to-BNC cable (such as the Alesis BN cable) between the BRC’s 48 kHz CLOCK OUT and the QSR’s [48 KHZ IN].
Overview: Chapter 4 CHAPTER 4 OVERVIEW BASIC ARCHITECTURE The QSR contains 16 megabytes of Sound ROM which provide digitized acoustic and electronic samples. These samples are organized into 17 sample groups of different types. The groups are: Piano Chromatic Organ Guitar Bass String Brass Woodwind Synth Wave Noise Voice Ethnic Drums Percussion Sound FX Rhythm Several functions (filter, amplitude envelope, pitch envelope, LFO, multiple modulation sources, signal processors, etc.
Overview: Chapter 4 MODES The QSR is always in one of two main modes: Program Play Mode or Mix Play Mode. Pressing [PROG] selects Program Play Mode, while pressing [MIX] selects Mix Play Mode. While in Program Play Mode, you can press [EDIT] to access Program Edit Mode and Effects Edit Mode. While in Mix Play Mode, pressing [EDIT] alternates between Mix Edit Mode, Program Edit Mode and Effects Edit Mode.
Overview: Chapter 4 MIX EDIT MODE Mix Edit Mode lets you change the parameters of an existing Mix. Up to 16 Programs can be active in each Mix, and Mix Edit mode sets up how each will be played. Mix Edit Mode allows you to: • set the output level, effects level, and pan of each Program in the Mix; • select which Program’s Effects Patch will be used by the Mix.
Overview: Chapter 4 THE USER INTERFACE: DISPLAY, FUNCTIONS, PAGES AND PARAMETERS ▲ ▲ ▲ ▲ The key to the QSR user interface is the combination of the Display, the [VALUE] knob and the [ CURSOR ] buttons. The Display constantly informs you of the QSR’s status. The [ CURSOR ] buttons let you select a value in the display (such as a parameter, a Sound, a page, etc.), and the [VALUE] knob lets you adjust the selection. ABOUT THE DISPLAY The display has two modes: Play Mode and Edit Mode.
Overview: Chapter 4 When [EDIT] is pressed, the display enters Edit Mode (which Edit Mode you are in depends on whether you were already in Program Mode or Mix Mode). When in an Edit Mode, the display will look something like this: SND1:VOICE πå Snd Enable:ON • Function. The upper-middle section of the display indicates what you are editing. This information will change depending on the Edit Mode you have selected.
Overview: Chapter 4 ▲ ▲ MIDI CH BUTTONS The [ MIDI CH ] buttons serve two purposes. In Program Play Mode and Mix Play Mode, they are used to select a MIDI channel from 1 to 16. In Program Play Mode, they are used to select the basic MIDI channel the QSR will receive and transmit MIDI messages on. In Mix Play Mode, they are used to select one of the 16 possible Channels for viewing and editing. For more information on MIDI and its uses, see Chapters 8 and 9, and Appendix B.
Overview: Chapter 4 COMPARING EDITED AND STORED VERSIONS When you edit a Program or Mix, you are actually editing a copy which is in a temporary edit buffer. Therefore, to retain the results of your edit, you must save it to a particular memory location (see the next section on Storing). If you change memory locations before saving, the buffer will be replaced and your edits lost.
Overview: Chapter 4 STORING ▲ ▲ The [STORE] button selects Store mode. Store mode has several pages which you can scroll through by using the [ CURSOR ] buttons. Each page in Store mode provides a different type of storage, copy or data transfer function. When storing edited Mixes or Programs into the User Bank or a RAM Card Bank, you will use the first page of Store mode (for more information about the other pages of Store mode, see Chapter 9).
Overview: Chapter 4 TO AUDITION PROGRAMS BEFORE STORING To look for available memory locations to permanently store your Program into, you can move between Program Mode and Mix Mode without losing your changes. This is because Program Mode uses a Program edit buffer, and Mix Mode uses its own Mix edit buffer along with 16 additional Program edit buffers.
Overview: Chapter 4 To audition Programs before overwriting them with STORE …when editing a Program in Mix Play Mode: ➀ While in Mix Program Edit mode, press [PROG]. This selects Program Play Mode, retaining your edits to the Program in Mix Edit. ➁ Use the BANK SELECT [DOWN] and [UP] buttons to select the User Bank. If a RAM card is inserted, use the BANK SELECT [DOWN] and [UP] buttons to select a Card Bank.
Overview: Chapter 4 COPYING SOUNDS BETWEEN PROGRAMS Follow the steps below to copy one of the four Sound layers from one Program to another Program in the User Bank. When copying Sounds between Programs, the “new” Sound will replace the same numbered Sound in the destination Program, i.e., Sound 3 will replace Sound 3. ➀ Press [PROG] to select Program Play Mode, then use the [VALUE] knob to select the Program Number that uses the Sound you want to copy.
Overview: Chapter 4 ▲ ➄ Press [CURSOR ] once to advance the cursor to the Program number value in the lower section of the display. ➅ Turn the [VALUE] knob to select the Program Number in the User Bank you wish to copy the Effects to (000–127), or the EFFECT of the currently selected Program. ➆ Press [STORE] to complete the copy function.
Overview: Chapter 4 QSR Reference Manual 13
Editing Mixes: Chapter 5 CHAPTER 5 EDITING MIXES WHAT IS A MIX? Mix Mode is one of the most powerful features of the QSR. Although in Program Mode you can play only one Program at a time, in Mix Mode you can play up to 16 Programs at once, either from the keyboard (as layers or splits) or from an external sequencer (via 16 MIDI channels) or a combination of both.
Editing Mixes: Chapter 5 ▲ Effect, etc.) If a Function Group has more than one parameter, press the [CURSOR ] button to advance the cursor in the display, and then turn the [VALUE] knob to locate a specific parameter. Each channel of a Mix may be enabled or disabled, without changing any of its parameter settings. When a channel is disabled, its number (1 - 16) will not appear in the bottom right section of the display.
Editing Mixes: Chapter 5 LEVEL SETTING FOR EACH PROGRAM The Level function of Mix Edit is used to control several parameters that deal with the audio output of the selected channel. Parameters in the Level Function’s group include: Volume, Pan, Output, Effects Send Level, Effects Bus and Program Enable. Program Enable (On or Off) 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 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).
Editing Mixes: Chapter 5 CONTROLLERS The Controllers function lets you turn on and off the various MIDI controllers that can effect the selected MIDI channel. The following four parameters determine whether or not specific types of MIDI information will be received or transmitted, and are set separately for each Channel in the Mix. These, however, are dependent on how each Channel has its MIDI parameters set (see page 38).
Editing Mixes: Chapter 5 SETTING THE RANGE AND MIDI SWITCHES The Range function allows you to restrict each MIDI channel to a specific range of the keyboard. This is ideal for creating splits (e.g., bass in the lower octave and a half, piano in the middle three octaves, and strings in the upper octave). In order to hear anything on a particular channel, turn the MIDI In parameter on (KBD/MIDI function) set the Range so that the low note and high note values are set beyond where you want to play.
Editing Mixes: Chapter 5 POLYPHONY IN MIX PLAY MODE The QSR has 64-note polyphony. In Mix Play Mode, if you have all 16 MIDI channels assigned to the same keyboard range, and each channel’s Program has only one active Program Sound, you’ll have 4-note polyphony as you play the keyboard (but a really thick layer...). This is extreme, of course, but should tell you what you can expect when you really pile on the layers from the keyboard.
Editing Mixes: Chapter 5 To turn on the Group function for a channel in a Mix: ▲ ▲ ➀ From Mix Play Mode, press [EDIT]. ➁ If necessary, use the [ MIDI CH ] buttons to move the cursor to the upper line of the display. Then turn the [VALUE] knob until the Keyboard/MIDI function is displayed. ▲ ➂ Press the [CURSOR ➃ Use the [ ▲ ▲ ] button to advance the cursor to the lower line and turn the [VALUE] knob until Page 3 is selected. You will see "MIDI Group: " in the middle of the display.
Editing Programs: Chapter 6 CHAPTER 6 EDITING PROGRAMS OVERVIEW Synthesizer programming is the art and science of shaping sounds in a particular way by altering the parameters of various modules. Like music itself, learning synth programming is an ongoing process. Although this manual presents information about synthesizer programming, no manual can offer a complete course in programming (at least for a price that customers would be willing to pay!).
Editing Programs: Chapter 6 HOW THE QSR GENERATES SOUND The QSR uses custom integrated circuits, developed by the Alesis engineering team specifically for the QSR. These resemble the types of chips used in computers and other digital devices. In fact, you can think of the QSR as a special-purpose computer designed to generate and process audio.
Editing Programs: Chapter 6 • 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.
Editing Programs: Chapter 6 VOICE This digitally-based oscillator provides the actual raw sounds from the 16 megabyte library of on-board samples. The oscillator’s pitch can be tuned to a fixed frequency or modulated. Modulation is the process of varying a parameter dynamically over time; the oscillator pitch can be modulated by envelope, keyboard, pressure, pedal, LFO, and other control sources (described later).
Editing Programs: Chapter 6 AMP Each voice/filter combination is followed by an amplifier whose level can be controlled by a variety of modulation sources. This allows for creating sounds with percussive or slow attacks, particular types of decays, tremolo, etc. Filter and amp settings can interact. If the filter cutoff is extremely low, then no signal will get through, no matter how the amp is set. Similarly, setting the amp for a short decay won’t let you hear any filtering set for a longer decay.
Editing Programs: Chapter 6 LFO (LOW FREQUENCY OSCILLATOR) The pitch, filter, and amp modules each have a dedicated LFO module for modulation. The term LFO stands for low frequency oscillator, and comes from how modulation was created in the early synth days (an oscillator set to a low frequency could modulate some aspect of the sound; routing the LFO to the pitch, for example, would create vibrato).
Editing Programs: Chapter 6 DRUM MODE Any one or all of the four sounds in a Program can be put into Drum Mode. The Drum Mode parameter is found in the Voice Function. Note that Drum Mode isn’t the only way to hear drums or percussion from a Program. In Keyboard mode, if you select a kit (such as “Rock Kit 1”) as the voice of a Program sound, an entire arrangement of preset, pre-mapped drum sounds will be assigned across the keyboard.
Editing Programs: Chapter 6 PROGRAM EDIT FUNCTIONS To edit a Program you must select Program Edit mode. This is done by pressing the [EDIT] once from Program Play Mode (each time you press [EDIT] in Program Mode, the display cycles between Program Edit and Effects Edit Modes). When editing a Program in Program Mode, the letters “PROG EDIT” will appear in the display’s edit status section (bottom-left corner). A Program may also be edited from within a Mix.
Editing Programs: Chapter 6 Sound Group (17 options) Page 3 Choose from among 16 different sample groups (see chart below). 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: Chapter 6 Noise Voice Ethnic Drums Percus SndFX Rhythm WhiteNoise, Spectral, Crickets, Rain Noise, FiltrNoise, ShapeNoise, VeloNoise1, VeloNoise2, VeloNoise3, NoiseLoop1, NoiseLoop2, NoiseLoop3, NoiseLoop4, NoiseLoop5 VocalAhhs, Soft Ahhs, Ahhs Wave, VocalOohs, Soft Oohs, Oohs/Ahhs, Ahhs/Oohs, Whistle, Phonic Sitar, Sitar Wave, Shamisen, Koto, DulcimerHd, DulcimerMd, DulcimerSf, DulcimrVel, DulcmrWave, MandlnTrem, Accordian, Harmonica, Banjo, Kalimba, Steel Drum, Tuned Pipe Stndrd Kit
Editing Programs: Chapter 6 LEVEL The Level function allows you to control the volume, pan position, output assignment and effects send level for each sound layer. With up to four sounds per program, this allows for a wide variety of stereo effects and level balances between the sounds. Sound Volume (00 to 99) Page 1 This sets the overall volume for a sound. Higher numbers give higher levels.
Editing Programs: Chapter 6 PITCH The Pitch function lets you control the pitch aspects of each sound layer. Semitone (-24 to +24 semitones) Page 1 Sets the oscillator pitch in semitone steps, from -24 (transposed down two octaves) to +24 (transposed up two octaves). Detune (-99 to +99 cents) Page 2 Sets the oscillator pitch in cents, from -99 (transposed down 99/100 of a semitone) to +99 (transposed up 99/100 of a semitone).
Editing Programs: Chapter 6 Portamento (Exponential, Linear, 1 Speed) Page 8 This provides the sweep’s “curve.” • With an exponential curve, the pitch change seems to happen more rapidly at first, then slows down as it approaches the ending pitch. • A linear curve produces a constant pitch change throughout the glide. • Normally, the greater the interval (the pitch difference between the two notes), the longer the glide.
Editing Programs: Chapter 6 FILTER The Filter function 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. with complex harmonic structures are most affected by the filter.
Editing Programs: Chapter 6 Modulation Wheel Depth (-99 to +99) Page 4 Determines how moving your controller's modulation wheel affects the filter cutoff frequency. Example: With positive settings, moving a modulation wheel up raises the filter cutoff frequency and moving it down lowers the filter cutoff frequency. With negative settings, moving the modulation wheel up lowers the filter cutoff frequency and moving it down raises the filter cutoff frequency .
Editing Programs: Chapter 6 AMP/RANGE The Amp/Range function lets you control the velocity and keyboard range of each sound layer. Velocity Curve (13 choices) Page 1 This selects how the sound will respond to the dynamics of your playing the keyboard. A LINEAR curve is the norm, whereby the increase in level is equal to the increase in velocity; the velocity values increase as you play harder.
Editing Programs: Chapter 6 Amp LFO Depth (-99 to +99) Page 3 At +00, the Amp LFO has no effect. Higher positive values increase the amount of LFO modulation. Negative values give the same apparent effect, but with reversed LFO phase (i.e., if the amplitude would normally be increasing with depth set to a positive number, the amplitude would instead be decreasing at that same moment had the depth been set to a negative number).
Editing Programs: Chapter 6 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: Chapter 6 PITCH ENVELOPE The Pitch Envelope function can lead to dramatic effects, since it can cause the pitch of a single key to change drastically over time. It’s typically used in special-effect synthesizer programs, but it may also be used more subtly in an acoustic program to simulate the characteristic of some instruments to go sharp on the initial attack, especially when played hard.
Editing Programs: Chapter 6 Delay (00 to 99, Hold) Page 5 This is the amount of time that the envelope will wait before doing anything; very useful if you want to affect one element of a sound sometime after the sound starts. When the Delay is set to 0, the envelope attacks right away, without any delay. Play some notes while turning up the delay and see that the time between playing the note and hearing the effect of the Pitch Envelope gets progressively longer as the Delay control is turned up.
Editing Programs: Chapter 6 Sustain Pedal (On or Off) Page 9 This determines whether or not a Sustain Pedal will have an effect on the envelope. When turned on, holding down the Sustain Pedal while playing short notes is virtually the equivalent to holding down those notes on the keyboard with some subtle but important differences.
Editing Programs: Chapter 6 FILTER ENVELOPE The Filter Envelope function is crucial whenever you want the tonal quality of a note to change over time, differently from its overall level. Example: When you want the initial attack of a note to be bright, but want the sustaining part to be filtered.
Editing Programs: Chapter 6 Delay (00 to 99) Page 5 This is the amount of time that the envelope will wait before doing anything; very useful if you want to affect one element of a sound sometime after the sound starts. When the Delay is set to 0, the envelope attacks right away, without any delay. Play some notes while turning up the delay and see that the time between playing the note and hearing the effect of the Filter Envelope gets progressively longer as the Delay control is turned up.
Editing Programs: Chapter 6 subtle but important differences. If the Delay and Attack are set to 0 and either the Decay is 0 or the Sustain is 99, the envelope will immediately jump to the release stage (if not already there) when the note is released and the sustain pedal is held down. If a long attack is set, and the envelope does not reach the end of the attack segment when the note is released, it will be skipped and the envelope will jump immediately to the sustain decay segment.
Editing Programs: Chapter 6 the Sustain Decay control (see below), the envelope will either hold at the sustain level until you release the note on the keyboard, or decay to 0 at the Sustain Decay rate (which is on page 2 of the envelope). You can create a long "plateau" at the start of a note by setting the Sustain to 98 and the Decay to 99. This will cause the envelope to take the maximum amount of time to get from peak level to a level of 98, before the Sustain Release portion of the envelope begins.
Editing Programs: Chapter 6 If a sound layer’s Keyboard Mode parameter (found in the Pitch Function, Page 10,) is set to “Mono”, the Amp Envelope will only retrigger when playing legato if the Trigger Mode is set to either “Reset” or “Reset-Freerun”. Time Tracking (On or Off) Page 8 This determines whether or not keyboard position will affect the cycle speed of the envelope.
Editing Programs: Chapter 6 MOD 1 – MOD 6 About General Purpose Modulation Although there are several dedicated modulators in the QSR (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: Chapter 6 • Aftertouch Pressing on the keys after they’re down generates this control signal. Aftertouch is also called channel pressure, and represents an average of all keys being pressed. This affects any keys that are held down. The harder you press on the keys, the greater the degree of modulation. • Polyphonic Pressure This is similar to aftertouch, but each key can respond to individual pressure messages.
Editing Programs: Chapter 6 • Controllers (A, B, C, D) Four incoming MIDI controllers can be recognized by the QSR and used as modulation sources. These controllers are assigned as A–D in Global Mode (see Chapter 8). • Tracking Generator This accepts the output of a signal processed by the Tracking Generator module (see page 81). • Stepped Tracking Generator This accepts the output of a signal processed by the Tracking Generator module in stepped mode (see page 81).
Editing Programs: Chapter 6 PITCH LFO The Pitch LFO function 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. Shape (8 choices) Page 1 The waveform shape determines the shape of the LFO. Select either Sine, Triangle, Square, Up Saw, Down Saw, Random+-, Noise or Random+.
Editing Programs: Chapter 6 Trigger (Mono, Poly, Key Mono, or Key Poly) Page 4 The Trigger parameter determines how the LFO should be triggered, or started. There are four possible settings: Mono, Poly, Key Mono and Key Poly. When playing multiple voices in a single sound, each voice has its own LFO. However, the LFO Trigger parameter determines whether or not they should be in sync, and whether or not they can be retriggered independent from one another. Mono.
Editing Programs: Chapter 6 Aftertouch Depth (-99 to 99) Page 7 This is the modulation amount of Aftertouch over the Pitch LFO’s Level. A positive value raises the level as more Aftertouch is applied. A negative value will lower the amount of Pitch LFO level as more Aftertouch is applied. FILTER LFO The Filter LFO function is most often used to apply tremolo-like or "wah-wah" effects to a sound.
Editing Programs: Chapter 6 Mod Wheel Depth (-99 to 99) Page 6 This parameter sets how much the Mod Wheel will increase or decrease the Filter LFO’s Level. A positive value raises the level when the Mod Wheel is moved up, and lowers the level when moved down. Negative settings of this parameter will decrease the output level of the Filter LFO as the Mod Wheel is raised.
Editing Programs: Chapter 6 Level (00 to 99) Page 5 This is the base output level of the Amp LFO. If you want to have a constant value of tremolo, even without using the Mod Wheel or Aftertouch, set Level above 00. The Mod Wheel and Aftertouch will add or subtract from this base level. Example: If Level is set to 10 and the Mod Wheel parameter is set to 10, there will always be some tremolo, and raising the Mod Wheel will add more tremolo.
Editing Programs: Chapter 6 destination is set to “Pitch” and the Tracking Generator’s input is an LFO using an “Up Sawtooth” as its waveform. LINEAR 100 0 POINTS: 0 1 2 3 4 5 6 7 8 9 10 6 7 8 9 10 7 8 9 10 NON-LINEAR 100 0 POINTS: 0 1 2 3 4 5 NON-LINEAR STEPPED 100 0 POINTS: 0 1 2 3 4 5 6 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.
Editing Programs: Chapter 6 PROGRAMMING DRUM SOUNDS To program a sound in Drum Mode, you must first set the Sound Type to “Drum” for that particular sound in the Voice Function, page 2 (see previous section). When editing a Sound in Drum Mode, check the upper-middle section of the display (S1Då through S1Dƒ) to determine which Drum Sound layer you are editing, regardless of which Function or Page is selected (except Effect, Name and Misc.). For an explanation of the basics of Drum Mode, see page 53.
Editing Programs: Chapter 6 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 Lo
Editing Programs: Chapter 6 Selects how much velocity will affect the selected drum’s tuning (0-7). When this value is set to 7, the drum will be played sharp when the associated note is played hard; when played soft, the drum’s tuning will be unaltered. FILTER Velocity>Filter (0 to 3) Page 1 The Filter function lets you control the “brightness” of the selected drum by modulating the filter frequency with velocity.
Editing Programs: Chapter 6 Page 1 in the Amp Envelope Function lets you adjust the Decay time of the selected drum (00 to 99, Gate00 to Gate99). If this is set to 0, only the very beginning of the drum sample is played; setting this to 99 will cause the entire drum sample to play. When set above 99, the Decay uses a gated mode. The Decay can still be set between 0 and 99, but in 5-step increments (e.g., Gate00 = Decay setting of 0 with gating, Gate05 = Decay setting of 5 with gating, etc.).
Editing Programs: Chapter 6 Mute Group (Off, 1, 2, or 3) Page 2 This is an important feature when using multiple sounds of the same instrument. Mute Groups allow multiple drums to share a single voice. For example, if you have assigned a Closed Hat and an Open Hat to two different notes, playing either note should cut-off the other (if it had recently been played). This creates a more realistic sound, since an actual Hi Hat is only capable of making one sound at a time.
Editing Programs: Chapter 6 COPYING EFFECTS While editing a Program, it is helpful to be able to copy the Effects Patch from a different Program. This can be done very easily from within the Store function. ✪ Be sure to save your changes to the current edited Program before going to a new Program. Otherwise, all your changes will be lost.
Editing Effects: Chapter 7 CHAPTER 7 EDITING EFFECTS ABOUT SIGNAL PROCESSING The built-in effects processor of the QSR is similar to that of the Alesis QuadraVerb 2, capable of generating multiple, fully digital effects simultaneously. The QSR effects processor has four inputs, called effect sends. You might think of these as the typical post-fader sends found on a mixing console. In a Program, each of the four Sounds can be assigned to one of the four effect sends.
Editing Effects: Chapter 7 SELECTING AN EFFECTS PATCH IN MIX MODE Each Program has its own Effects Patch that is recalled when you select a Program in Program Mode. However, since a Mix can have up to 16 Programs (one on each Channel), you need to select which Channel’s Program you wish to use the Effects Patch from. To select an Effects Patch, you must be in Mix Edit Mode, by pressing the [EDIT] button once so that the display directly below the Mix Number reads either: “MIX EDIT” or “MIX EDITED”.
Editing Effects: Chapter 7 Effects Patch. So keep in mind that when you edit an Effects Patch, it may affect the sound of any other Mixes that also use it. CLIP If the input to the effects becomes overloaded, the “!” symbol will temporarily appear in the upper display (directly after the Mix/Program name) when in either Mix Play or Program Play Modes.
Editing Effects: Chapter 7 “(NOT IN CONFIG).” This is because a Pitch module is available on sends 1, 2 and 3 in Configuration #1, but not on send 4—as you can see in the chart on page 92.
Editing Effects: Chapter 7 STORING EFFECT PATCHES IN PROGRAM MODE Effects are an extension of a Program. So, when you store a Program, you store its Effects Patch along with it. Once a Program’s Effect Patch has been altered, the display will show the word “EDITED” next to the Program/Mix Mode indicator in the lower-left corner of the display (if in Program Mode, the display will read “PROG EDITED” will appear; if in Mix Mode, the display will read “MIX PROG EDITED” will appear).
Editing Effects: Chapter 7 CONFIGURATIONS A Configuration is essentially the starting point of any Effects Patch. You must select the Configuration you are going to use before making any other edits, since all routings and parameters change to their default settings each time you change the configuration. Each Configuration is a unique arrangement of multiple effect blocks, distributed across the four effect sends. Some effect sends may have three different effects (pitch, delay and reverb) on them.
Editing Effects: Chapter 7 CONFIGURATION #1: 1 REVERB AUX LEFT AUX RIGHT AUX LEFT AUX RIGHT AAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAA AAAAA AAAAA AAAAAAA AAAAA AAAAA AAAAAAA AAAAA AAAAA AAAAAAA AAAAA AAAAA AAAAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA AAAAA MAIN LEFT MAIN RIGHT MAIN LEFT MAIN RIGHT 1 2 3 1 2 3 MIX 4 1 BAL. FX SEND 1 PITCH 1 DELAY 1 BAL.
Editing Effects: Chapter 7 Think of the diagram as a “road map” showing all possible paths from the starting points (FX SEND 1 through 4) to the ultimate destinations (LEFT and RIGHT outputs at the top of the page). The dotted lines indicate the divisions between different functional blocks, and the solid lines indicate signal paths between the blocks and controls. The diagram is similar to a block diagram for a mixer, with signal moving generally from the left to the right.
Editing Effects: Chapter 7 CONFIGURATION #2: 2 REVERBS AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT AUX LEFT AAAAAAAAAAAA AAAA AAAA AAAAA AAAAAA AAAAAAAAAAAA AAAA AAAA AAAAAAAAAAA AAAA AAAAAAAAAAA AAAAAA AAAAAA AAAAA AAAAAA AAAAAAAAAAA AAAAAAAAAAA AAAAAA AAAAAA AAAAAA MIX 1 FX SEND 1 AUX RIGHT MAIN LEFT MAIN RIGHT AMP DELAY 1 REVERB PITCH DELAY MIX 3 AMP REVERB 1 PITCH 1 FX SEND 2 AMP REVERB 2 FX SEND 3 REVERB PITCH AMP PITCH 3 REVERB 3 FX SEND 4 AMP REVERB 4 Delay 1 Mono delay Pitch
Editing Effects: Chapter 7 CONFIGURATION #3: LEZLIE AND REVERB AUX LEFT AUX RIGHT AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT MAIN LEFT MAIN RIGHT 1 2 3 1 2 3 4 MIX 1 BAL. FX SEND 1 LEZLIE DELAY 1 BAL. 1 REVERB AMP 2 PITCH 1 DELAY 1 REVERB 1 BAL. FX SEND 2 PITCH 2 DELAY 2 BAL. 1 AMP 2 PITCH 2 DELAY 2 REVERB 2 BAL. FX SEND 3 PITCH 3 DELAY 3 BAL. 1 AMP 2 PITCH 3 DELAY 3 REVERB 3 BAL.
Editing Effects: Chapter 7 CONFIGURATION #4: REVERB AND EQ AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT EQ 1 2 1 2 1 MIX AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT MISC BAL. FX SEND 1 PITCH 1 DELAY 1 BAL. 1 REVERB 1 AMP 2 DELAY 1 PITCH 1 REVERB 1 BAL. FX SEND 2 PITCH 2 DELAY 2 BAL.
Editing Effects: Chapter 7 CONFIGURATION #5: OVERDRIVE AND LEZLIE AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT EQ 1 1 BAL. 1 MIX 1 1 PITCH 1 OVERDRIVE DELAY 1 BAL. 1 1 REVERB 1 2 MISC. 1 MISC. 1 BAL. BAL.
Editing Effects: Chapter 7 EQ The shelving EQ is only available in Configuration #s 4 and 5. It provides bass and treble boost, and effects the entire Main Output (not just the Effects Sends). Four EQ parameters are included: Low Frequency (range: 30Hz to 180Hz), Low Frequency Gain (0dB to +12dB), High Frequency (3kHz to 10kHz), High Frequency Boost (0dB to +9dB). Lo EQ Frequency (30Hz to 180Hz) Page 1 This allows you to adjust the cutoff frequency of the Lo EQ. It can be set between 30Hz and 180Hz.
Editing Effects: Chapter 7 Mod Source Page 1 (Mod 1) & Page 4 (Mod 2) The Mod Source parameter selects the MIDI controller which will remotely cause a change (modulate) in one or two of the parameters in the effects processor. Nearly every MIDI controller can become a Mod Source (using controllers A-D, set in Global mode, page 3), with the most common controllers appearing as a direct option in the display. Pages 1 and 4 let you select the Mod Source for Mod 1 and 2, respectively.
Editing Effects: Chapter 7 LEZLIE The Lezlie function is only available in Configuration #s 3 and 5. The Lezlie parameters found in Configuration 3 include: Motor (on/off), Speed (fast/slow), and Horn Level (-6 to +6 db). In addition to these, the Lezlie found in Configuration #6 also provides 3 additional parameters: Input 1, Input 2 and Input 1 & 2 Balance. The Lezlie in Configuration #3 takes its input from the Send 1 signal.
Editing Effects: Chapter 7 PITCH The Pitch function is used to edit Pitch parameters. Pitch Type Page 1 The Pitch Type function allows access to 6 pitch altering modes. The Pitch types available are: Mono Chorus, Stereo Chorus, Mono Flange, Stereo Flange, Pitch Detune and Resonator. Although some of these effects can sound similar to one another depending on the parameter settings, each is achieved differently and can be quite dramatic under the right circumstances.
Editing Effects: Chapter 7 Stereo Chorus. In the case of a Stereo Chorus, the signal is split into three parts with a dry signal and a separate Detuning section for both left and right channels. When the left channel is detuned sharp, the right is detuned flat, and vice versa. Once again, this causes the effect to become more pronounced and dramatic. DRY SIGNAL FEEDBACK LEFT CHORUSED OUTPUT DETUNE DRY SIGNAL DELAY LFO DETUNE FEEDBACK RIGHT CHORUSED OUTPUT DRY SIGNAL Mono Flange.
Editing Effects: Chapter 7 Stereo Flange. In the case of the Stereo Flange, the signal is split into three parts with a dry signal and a separate Delay section for both left and right channels with one channel flanging up while the other channel flanges down. Once again, this causes the effect to become more pronounced and dramatic. DRY SIGNAL FEEDBACK LEFT FLANGED OUTPUT DELAY DRY SIGNAL LFO DELAY FEEDBACK RIGHT FLANGED OUTPUT DRY SIGNAL Pitch Detune.
Editing Effects: Chapter 7 If the Pitch type is Mono Chorus, Stereo Chorus, Mono Flange or Stereo Flange, page 2 through 5 of the Pitch function contain the following four parameters: Waveform Shape (Sine or Square) Page 2 This determines the LFO’s waveform shape. This parameter only appears when the Mono or Stereo Chorus or Flange are selected.
Editing Effects: Chapter 7 DELAY The Delay function is used to edit Delay parameters. The QSR’s effects processor has three different Delay types available. Note: Some Configurations only feature a mono Delay, and therefore the Delay Type parameter will be unavailable. Instead the parameters normally found on page 2 of the Delay function are shown in page 1, and there are no other pages (please refer to next section for a description of those parameters). Delay Type (3 types) Page 1 Ping-Pong.
Editing Effects: Chapter 7 REVERB Reverb can be thought of as a great number of distinct echoes, called reflections, that occur so fast that our ear hears them blurred together as one. In nature, different sized spaces give distinctly different sounding reverbs, depending on the size and shape of the space, and the texture of surfaces that the reflections bounce off of.
Editing Effects: Chapter 7 Chorus Input Level (00 to 99) Page 1 (Config 2 Only) If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of the Reverb function will look like this: Send1:REVERB πå Chrs In Lev:03 The Configuration has two Reverbs, one on send 1 (which send 2 can share), the other on send 3 (which send 4 can share). There is only one parameter in this page: Chorus Input Level.
Editing Effects: Chapter 7 REVERB PARAMETERS ▲ Use the [CURSOR ] button to move the cursor to the lower line of the display, and turn the [VALUE] knob to advance the display through the remaining pages of the Reverb function. However, you must have the correct effect send selected (1–4) in order to get at the Reverb parameters (in Config. #1, the Reverb parameters are found only on effect send 1; in Config. #2, they are found on sends 1 and 3 since there are two separate Reverbs).
Editing Effects: Chapter 7 Pre-Delay Mix (<99 to <0> to 99>) Page 8 This allows you to mix the amount of Pre-Delay into the Reverb signal path. This gives you the ability to hear a bit of the Reverb before the loudest part of the Reverb (the Pre-Delayed Reverb) sounds. This makes for bigger and smoother sounding Reverb settings. Input Filter (00 to 99) Page 9 This adjusts the frequency of the low-pass filter which comes before the Reverb input.
Editing Effects: Chapter 7 OVERDRIVE The Overdrive effect provides four parameters spread across four editing pages. It is only used in Configuration #5. Overdrive Type (Hard or Soft) Page 1 This selects one of two Overdrive Types: Soft and Hard. The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive.
Editing Effects: Chapter 7 MIX Not to be confused with an actual Mix or Mix mode, the Effect’s Mix function is where you can mix the various signal levels of all the effects to the Main Left and Right outputs of the QSR. Only effect modules that have access to the Main outputs will appear on the Mix page. There is a separate Mix page for each of the four effect busses whose effect modules feed the main output.
Editing Effects: Chapter 7 QSR Reference Manual 27
Global Settings: Chapter 8 CHAPTER 8 GLOBAL SETTINGS Global Edit Mode is where you will find several parameters which affect the entire instrument, such as overall master tuning, controller settings, and keyboard mode. EDITING GLOBAL PARAMETERS To select Global Edit Mode, follow these steps: ➀ Press the [EDIT SELECT] button. ➁ Press the BANK SELECT [UP] button (also labeled [GLOBAL]).
Chapter 8: Global Settings ENABLING GENERAL MIDI MODE VIA MIDI The QSR will respond to a universal MIDI Sysex message to turn General MIDI mode on or off. Some (but not all) General MIDI sequences will have a Sysex message at the beginning (bar 1) which tells the receiving device to go into its General MIDI mode. If this message is sent, no matter where you happen to be on the QSR, General MIDI mode will be enabled, and Mix 00 of Preset Bank 4 will automatically be selected.
Global Settings: Chapter 8 MIDI PROGRAM SELECT Page 10 Page 14 of Global Edit mode lets you determine the MIDI Program Select Mode (Off, On, Channel 1 – 16). When this is set to “Off”, the QSR will not respond to incoming MIDI Program Change messages, nor will it transmit Program Changes. ▲ ▲ When set to “On”, the QSR will respond to incoming Program Change messages. Likewise, when a Program or Mix is recalled from the front panel, its respective program change message will be sent out.
Chapter 8: Global Settings If the MIDI Program Select parameter is “On” and a new Bank is selected using the BANK SELECT [DOWN] and [UP] buttons, a Bank Change message (followed by the appropriate Program Change message) will be transmitted out the MIDI [OUTPUT] connector.
Global Settings: Chapter 8 MIDI OUT Page 12 The MIDI Out Mode determines whether the MIDI [OUTPUT] connector will transmit MIDI information originating from the QSR (when set to “OUT”), or will “echo” MIDI information that is received at the MIDI [INPUT] connector (when set to “THRU”). If the I/O parameter (see previous page) is set to either “Mac”, “PC 38.4kbaud” or “PC31.25kbaud”, the MIDI Out parameter can only be set to “OFF” or “THRU”.
Chapter 8: Global Settings CLOCK PAGE 14 The Clock function, found on Page 14 of Global Edit Mode, determines the sample clock rate the QSR will use. Normally the QSR uses its own internal clock to determine the actual number of samples per second. Remember, the sounds in the QSR are based on digital recordings. These recordings are made up of several thousands of tiny digital audio “snapshots”, otherwise known as samples.
MIDI Transfer and Storage Operations: Chapter 9 CHAPTER 9 MIDI TRANSFER AND STORAGE OPERATIONS USING PCMCIA EXPANSION CARDS The QSR provides two PCMCIA EXPANSION CARD slots, [A] or [B], which are found on the front panel. These accomodate Alesis QCards and RAM cards. The RAM Card is a type of PCMCIA SRAM or FlashRAM card; it has 256K of memory and will store 4 complete banks. A 512K PCMCIA card can store 8 banks.
Chapter 9: MIDI Transfer and Storage Operations ▲ LOADING A BANK FROM AN EXTERNAL CARD ▲ The QSR can access Program and Mix data directly from a card by using the [ BANK] and [BANK ] buttons. To overwrite the User bank with a Card bank: ➀ Insert the card into one of the card slots on the front panel. ➂ Press [ ▲ ➁ Press [STORE]. CURSOR] twice to select Page 9 of the Store function. Load USER from CrdABnk1 (STR) ➃ Use the [VALUE] knob to select the bank on the card you wish to load (1–11).
MIDI Transfer and Storage Operations: Chapter 9 User Bank in the QSR, and then save them back onto the card in order to re-format the card using the new format.
Chapter 9: MIDI Transfer and Storage Operations LOADING AN INDIVIDUAL PROGRAM OR MIX You can load a single Mix or Program from a Sound Card into the User Bank, instead of having to load the entire Bank from the Sound Card. To do this, select the Mix or Program in the Sound Card Bank that you wish to copy, then use the Store Function (as described above) to designate a location you wish to store to in the User Bank.
MIDI Transfer and Storage Operations: Chapter 9 storing some Programs from a RAM Card into one of the internal Banks. Although this is very limiting, it makes things much simpler in the long run.
Chapter 9: MIDI Transfer and Storage Operations SAVING PROGRAMS VIA MIDI SYS EX As an alternative to storing data to a card, the QSR lets you transmit internal data via MIDI System Exclusive messages. This data can be sent to a storage device, or recorded into a MIDI sequencer, or sent to another QSR or S4.
MIDI Transfer and Storage Operations: Chapter 9 To send a single Program via MIDI to a different Program number: ➀ Follow steps ➀ through ➂ in the instructions above. ▲ ➁ Press [CURSOR ] to advance the cursor to the lower section of the display. ➂ Use the [VALUE] knob to select a Program number to send the Program to. ➃ Press [STORE] to transmit the data out the MIDI Out connector. The procedure is similar for sending Mixes. Page 5 of the Store function allows you to send any one of the Mixes.
Chapter 9: MIDI Transfer and Storage Operations 8 QSR Reference
Troubleshooting: Appendix A APPENDIX A TROUBLE-SHOOTING TROUBLE-SHOOTING INDEX If you are experience problems while operating the QSR, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance. Symptom The display does not light when the ON/OFF switch is turned on. No sound. No MIDI input in Mix mode (cannot control through MIDI). Cause Solution No power. Check that the power cable is plugged in properly. Bad connections.
Troubleshooting: Appendix A CHECKING SOFTWARE VERSION ▲ ▲ The current software version may be determined by simultaneously pressing both [ CURSOR ] buttons. The QSR will momentarily indicate the current software version installed in the display. MAINTENANCE/SERVICE CLEANING Disconnect the AC cord, then use a damp cloth to clean the module’s metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409 or Fantastik.
Troubleshooting: Appendix A Service address for customers in the USA: Alesis Product Support 3630 Holdrege Avenue Los Angeles, CA 90016 Customers outside the USA: Contact your local Alesis dealer for warranty assistance. The Alesis Limited Warranty applies only to products sold to users in the USA and Canada. Customers outside of the USA and Canada are not covered by this Limited Warranty and may or may not be covered by an independent distributor warranty in the country of sale.
MIDI Supplement: Appendix B APPENDIX B MIDI SUPPLEMENT MIDI BASICS Most current electronic instruments and signal processors, including the QSR, contain an internal computer. Computers and music have been working together for decades, which is not surprising considering music’s mathematical basis (consider frequencies, harmonics, vibrato rates, tunings, etc.). In the mid-70s, microcomputers became inexpensive enough to be built into consumer-priced musical instruments.
MIDI Supplement: Appendix B MIDI MESSAGE BASICS The are two main types of MIDI messages. Channel messages, which are channelspecific, consist of Voice and Mode messages. System messages, which do not have a channel number and are received by all units in a system, include Common, Real Time, and Exclusive messages. CHANNEL MESSAGES: MODE MESSAGES There are two messages that determine the MIDI mode (i.e., how a device will receive MIDI data).
MIDI Supplement: Appendix B Each type of controller is stamped with its own controller identification number. Not all controller numbers have been standardized for specific functions, but the following indicates the current list of assigned controllers. Numbers in parenthesis indicate the controller range.
MIDI Supplement: Appendix B SYSTEM COMMON MESSAGES Intended for all units in a system, some of these MIDI messages are: Song Position Pointer. This indicates how many “MIDI beats” (normally a 16th note) have elapsed since a piece started (up to 16,384 total beats). It is primarily used to allow different sequencers and drum machines to auto-locate to each other so that if you start one sequencer, the other device will automatically jump to the same place in the song, whereupon both continue on together.
MIDI Supplement: Appendix B There are three MIDI registered parameters which the QSR will recognize in Mix Play Mode when General MIDI Mode is enabled. These are: MIDI Registered Parameter 0 (Pitch Bend Sensitivity): This will directly effect the Pitch Wheel Range parameter of all four Sounds of the Program on the received MIDI Channel of the Mix.
MIDI Implementation Chart MIDI IMPLEMENTATION CHART Function Basic Channel Mode Default Changed Default Messages Altered Transmitted X X Mode 3 X ******** Recognized 1 — 16 1 — 16 each Mode 3 X Remarks Memorized X 0 — 127 True Voice X 0 — 127 Note On X O Note Off X O After Key’s X O Touch Ch’s X O Pitch Bender X O Control 0 — 120 X O Change Prog O1 0 — 127 O1 0 — 127 Change True # 0 — 127 ******** System Exclusive O O System Song Pos X X Common Song Sel X X Tune X X System Clock X X Realtime Commands
Parameters Index: Appendix C APPENDIX C: PARAMETERS INDEX PROGRAM EDIT PARAMETERS Parameter Function Display Page Page in Manual Aftertouch Depth: Amp Aftertouch Depth: ALFO Aftertouch Depth: Filter Aftertouch Depth: FLFO Aftertouch Depth: Pitch Aftertouch Depth: PLFO Amp ENV Level Amp ENV Trigger Amp LFO Delay Amp LFO Depth Amp LFO Level Amp LFO Mod.
Parameters Index: Appendix C Parameter Function Page Page in Manual Modulation: Gate Mode Modulation Level Modulation: Quantize Mode Modulation Source Name (Program) Output Pan Pitch ENV Depth Pitch ENV Level Pitch ENV Trigger Pitch ENV Velocity Depth Pitch LFO Delay Pitch LFO Depth Pitch LFO Level Pitch LFO Mod.
Parameters Index: Appendix C Parameter Function Page Page in Manual Velocity Curve/Crossfade Sound Group Sound Name Sound Volume Amp/Range Voice Voice Level 1 3 4 1 58 51 51 53 Function Display Page Page in Manual Controllers Controllers Effect Effect Keyboard/MIDI Keyboard/MIDI Keyboard/MIDI Name Controllers Level Level Level Level Level Level Range Range Controllers Pitch Pitch 2 4 2 1 3 1 2 1 – 10 1 6 5 1 4 3 2 1 2 3 1 2 39 39 38 38 38 38 38 40 39 37 37 37 37 37 37 40 40 39 38 38 MIX EDIT
Index INDEX Aftertouch 15 Amp 62 Filter 60 Pitch 58 Compare 29, 34 Computer 23, 117 Controllers 115 Copy Sound 85 Effects 85 Demo 11 Direct Select 33 Digital Output 25 Display 30 Drum Mode 53 Edit buffer 34, 40 Effects Edit 29, 89 Clip 88 Configuration 91, 92-97 EQ 98 Mix 111 Mod 98 Modulation 98 Reverb 106 Footswitch 24 48kHz Input 26 Global Edit 29, 113 Headphones 9 Input/Output 117 Keyboard Curve 113 Mode 22, 45, 114 Scaling 114 Transpose 114 Local Off 46 Master Pitch 113 Master Tune 113 Memory Preset 3
