ALESIS QuadraSynth Plus Reference Manual
Important Safety Instructions WARNING - When using this electric product, basic precautions should always be followed, including the following: 1) Read all the instructions before using the product. 2) Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.
Index CONTENTS 1: Setting Up 7 Unpacking and Inspection 7 AC Power 7 Line Conditioners and Protectors About Audio Cables 9 Basic Audio Hookup 9 A Word About Sound Bridge 10 8 2: Your First Session With The QuadraSynth Plus 11 Powering Up 11 Adjusting the Display Contrast 11 Playing the Demo Sequence 12 Enabling General MIDI Mode 12 Playing the QuadraSynth Plus 13 Program Mode and Mix Mode 13 Auditioning Internal Programs 14 Selecting Banks 14 Selecting the MIDI Channel 14 Realtime Performance Functions T
Index Parameter Editing 29 Direct Function Selection 31 Editing Program Parameters 31 Edit 4 and Edit 1 Modes 32 Resetting a Parameter Value 32 Comparing Edited and Stored Versions Preset Memory and User Memory Storing 34 Store a Program34 Copying Effects Between Programs Store an Effect 35 Store a Mix 35 To Audition Programs Before Storing 5: Editing Mixes 33 33 35 36 39 What is a Mix? 39 Mix Edit Mode 39 Understanding the Edit Buffers 40 Program Assign for each MIDI Channel 41 Level Setting for Each P
Index Mod 64 Pitch LFO 67 Amp LFO 70 Pitch Envelope 71 Filter Envelope 74 Amp Envelope 76 Name 80 Misc.
Index Using Pedals to Control Volume or Modulation 116 MIDI Program Select 116 Receiving and Transmitting Bank Change Message Edit Mode 118 48 KHz Clock Input 118 9: MIDI Transfer And Storage Operations 117 119 Saving the User Bank to an External Card 119 Loading a Bank from an External Card 119 Storing an Individual Program or Mix to an External Card Loading an Individual Program or Mix from an External Card Card Storage RAMifications 121 Saving Programs via MIDI Sys Ex 121 Appendix A: Trouble-Shootin
Setting Up: Chapter 1 CHAPTER 1 SETTING UP Unpacking and Inspection Your QuadraSynth Plus 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 QuadraSynth Plus for servicing. Upon receiving the QuadraSynth Plus, carefully examine the shipping carton and its contents for any sign of physical damage that may have occurred in transit.
Setting Up: Chapter 1 tester to determine this. If the outlet is not grounded, consult with a licensed electrician. J Do not operate any electrical equipment with ungrounded outlets. Plugging the QuadraSynth Plus into an ungrounded outlet, or “lifting” the unit off ground with a three-to-two wire adapter, can create a hazardous condition. J Alesis cannot be responsible for problems caused by using the QuadraSynth Plus or any associated equipment with improper AC wiring.
Setting Up: Chapter 1 QuadraSynth Plus Piano Reference Manual 11
Setting Up: Chapter 1 About Audio Cables The connections between the QuadraSynth Plus 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 lowresistance shield. Although quality cables cost more, they do make a difference. Route cables to the QuadraSynth Plus correctly by observing the following precautions: • Do not bundle audio cables with AC power cords.
Setting Up: Chapter 1 L] and [AUX–R] Outputs to a dual stereo amplification system, or four mixer inputs. • Stereo Headphones. Plug a set of high-quality stereo headphones into the rear panel [PHONES] jack.
Setting Up: Chapter 1 A Word About Sound Bridge Included with the QuadraSynth Plus is a 3-1/2" floppy disk containing a software program called Sound Bridge. This software has been provided free of charge in an effort to promote sound design for the QuadraSynth Plus.
Your First Session With The QuadraSynth Plus: Chapter 2 CHAPTER 2 YOUR FIRST SESSION WITH THE QUADRASYNTH PLUS Powering Up After making your connections, turn on the system’s power using this procedure: Before turning on the QuadraSynth Plus’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 QuadraSynth Plus turned down? Turn on the [ON/OFF] (power) switch on the QuadraSynth Plus rear
Your First Session With The QuadraSynth Plus: Chapter 2 1 PROG GLOBAL P AGE: 1 2 3 4 5 6 7 1 V QuadraSynth Plus Piano Reference Manual ALUE 16
Your First Session With The QuadraSynth Plus: Chapter 2 Playing the Demo Sequence The QuadraSynth Plus has a built-in demo sequence which demonstrates the wide variety of sounds this amazing instrument is capable of generating. In order to get the full effect of the demo, we recommend that you connect both the LEFT and RIGHT outputs to your sound system, or listen on headphones. To play the demo sequence: Hold the [GLOBAL] button, and press [MIX]. The upper-right display will read “Playing Demo.
Your First Session With The QuadraSynth Plus: Chapter 2 Playing the QuadraSynth Plus The QuadraSynth Plus 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 QuadraSynth Plus is always in one of two modes: Program Mode or Mix Mode. When selecting Programs, you will be in Program Play Mode. When editing a Program, you will use Program Edit Mode.
Your First Session With The QuadraSynth Plus: Chapter 2 1 MIX 2 3 4 PROG EE FF FF EE CC TT All MIDI channels that are active in the current Mix are shown at the top left, to indicate multitimbral operation. The current MIX and EFFECT numbers are displayed, along with the current Bank and Mix’s name. The PROGram number display shows the program assigned to the underlined MIDI channel.
Your First Session With The QuadraSynth Plus: Chapter 2 Auditioning Internal Programs Press the [PROGRAM] button to select Program Play Mode. You can now play the QuadraSynth Plus keyboard; the Program will be whatever was selected when last in Program mode (Program number 00 — 127). ¿ ¡ Select a Program using any of these methods: • Use the [-1] and [+1] buttons to step through the Programs one at a time. • Use the [-10] and [+10] buttons to step through the Programs ten at a time.
Your First Session With The QuadraSynth Plus: Chapter 2 M M II DD II 1 PROG ¿ Use the MIDI [♦] and [∅] buttons to select a MIDI channel from 1 — 16. The display will change to indicate the currently selected MIDI channel.
Your First Session With The QuadraSynth Plus: Chapter 2 Realtime Performance Functions The QuadraSynth Plus provides various ways to control the sound as you are playing. Try out some of these functions while playing the 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 With The QuadraSynth Plus: Chapter 2 1 2 3 4 When in Program Edit Mode or Mix Edit , the Quad Knobs are linked to the parameters that appear in the right side of the display. The lower line of the alphanumeric display will show the abbreviated name of each parameter, with a bar graph below it representing the current setting of the parameter. By turning Quad Knob [1], you adjust the setting of the first parameter on the left.
Your First Session With The QuadraSynth Plus: Chapter 2 The QuadraSynth Plus provides five internal Banks containing 100 Mixes in each. The currently selected Bank will be shown in the display just to the left of the currently selected Mix’s name. • Use the BANK [♦] and [∅] buttons to select a Bank (User, Preset 1 – 4). J After switching between the Preset and User banks, press Quad Button [1] to see the name of the Mix in the display again.
Your First Session With The QuadraSynth Plus: Chapter 2 Editing a Mix In this section, we will assign Programs to and set volume levels for the 16 MIDI channels in a Mix, for playing back tracks from a MIDI sequencer. However, there is much more about a Mix that may be edited. Refer to Chapter 5 for more about Mix editing. Press [MIX] and select a Mix using one of the three methods described above. ¿ Press [SELECT]. The top line of the LCD’s function list will read “EDITING: MIX”.
Your First Session With The QuadraSynth Plus: Chapter 2 Repeat steps ¬ — « until all desired Programs are assigned to all desired MIDI channels, and have the appropriate levels. » J Changes to Mix parameters are temporary and will be lost if another Mix is selected. To make changes permanent, you must store the Mix into the User bank. Refer to Chapter 4 for information about storing changes.
Your First Session With The QuadraSynth Plus: Chapter 2 Setting the Effects Level Each Program can use up to four Sounds, for either layering or splitting the keyboard. Each of these Sounds has its own effects send level and effects bus assignment. Many of the Programs in the QuadraSynth Plus use only one or two Sound layers, while others may use all four Sounds. You can adjust the effect send amount for each Sound independently, or you can view/edit all four sounds simultaneously.
Your First Session With The QuadraSynth Plus: Chapter 2 Note: If a Sound is not enabled in a Program, its title will be shown in lowercase (“snd4”), and adjust its controls will have no effect on the Sound until the Sound is enabled. To enable a Sound, hold down its respective Quad Button (i.e., [3] for Sound #3) and press VALUE [].
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 MIDI connections provide three different functions. To trigger the QuadraSynth Plus from a MIDI control device (keyboard, drum pad, guitar or bass controller, sequencer, etc.
Connections: Chapter 3 Example 1: Master Controller for Live Use Most live applications use the QuadraSynth Plus to generate sounds, with (possibly) the MIDI output driving other MIDI devices, such as an S4 Plus rack unit, QuadraVerb 2, other keyboards and sound modules, etc. To drive MIDI controlled devices from the QuadraSynth Plus, patch the QuadraSynth Plus’s MIDI OUT to the MIDI device’s MIDI IN.
Connections: Chapter 3 Example 2: Using an External Sequencer The QuadraSynth Plus can generate MIDI signals that are recorded by a sequencer. On playback, the sequencer sends this data back into the QuadraSynth Plus, which then serves as a multitimbral sound module (in Mix mode). The sequencer can generate data over several channels; in Mix mode, the QuadraSynth Plus can be programmed so that individual Programs play sequenced data on specific channels.
Connections: Chapter 3 If you are driving other MIDI gear (such as an expander module or MIDIresponsive signal processor), you’ll usually drive these from the sequencer if it has additional MIDI outputs. However, you can also use the QuadraSynth Plus’s MIDI THRU connector to drive other modules since the Thru carries a replica of what appears at the QuadraSynth Plus’s MIDI IN, which is the same as the sequencer’s MIDI OUT.
Connections: Chapter 3 About the Keyboard Mode In a Mix, the QuadraSynth Plus’s keyboard may be set up in several ways using the Keyboard Mode parameter found on Page 2 of Global 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 in Mix mode: • The keyboard sends on only one MIDI channel and the sequencer is used to set the MIDI channel of each track (Keyboard Mode = OUT 1 – OUT 16).
Connections: Chapter 3 If your footswitch seems to respond backwards (notes sustain unless the footswitch is pressed), turn off the QuadraSynth Plus, make sure the footswitch plug is fully inserted into the footswitch jack, then turn the power back on. J Don't hold downthe footswitch iwhen powering up the QuadraSynth Plus.
Connections: Chapter 3 Digital Audio/Optical Hookup The QuadraSynth Plus can send digital audio directly into ADAT, which provides better fidelity than using the analog inputs and outputs. The digital I/O connector follows a proprietary Alesis format that carries all four audio outputs 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.
Connections: Chapter 3 Tip: With this type of connection, the ADAT tracks will remain in tune with the QuadraSynth Plus even when the BRC’s pitch value is adjusted.
Overview: Chapter 4 CHAPTER 4 OVERVIEW Basic Architecture The QuadraSynth Plus contains digitized acoustic and electronic voices, organized into 18 groups of sound types. The groups are: Piano Organ Keyboard Synth Waves Bass Guitar Brass Woodwind String Ensemble Ethnic Voice Sound FX Drums Percussion Rhythm QSPlus Several functions (filter, amplitude envelope, pitch envelope, LFO, multiple modulation sources, signal processors, etc.) can be used to process a sample.
Overview: Chapter 4 Modes The QuadraSynth Plus is always in one of two main modes: Program Mode or Mix Mode. Pressing [PROGRAM] selects Program Play Mode, while pressing [MIX] selects Mix Play Mode. While in Program Play Mode, you can press [SELECT] to access Program Edit Mode and Effects Edit Mode. While in Mix Play Mode, pressing [SELECT] alternates between Mix Edit Mode, Program Edit Mode and Effects Edit Mode.
Overview: Chapter 4 • set modulation routings so any parameter can be controlled via MIDI; • set the effect level for each Sound layer, and set which of the four effect sends each Sound layer will use for signal processing (such as reverb, delay, and chorus—or any combination of these). 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.
Overview: Chapter 4 be hearing (and seeing) the original version of the Mix/Program. If you are editing a Mix and press [COMPARE], the original unedited MIX is temporarily recalled. Likewise, if you are editing a Program or its Effects Patch and press [COMPARE], the original Program will be temporarily recalled. Pressing [COMPARE] again switches back to the edited version, and the word “COMPARE” disappears from the display.
Overview: Chapter 4 The User Interface: Display, Functions, Pages, and Parameters The key to the QuadraSynth Plus user interface is the combination of the Display and four Quad Knobs/Buttons [1] — [4] located toward the right of the front panel. The Display constantly informs you of the QuadraSynth Plus’s status.
Overview: Chapter 4 and right-hand side of the display will show values related to that function. Only the functions used by the current edit mode will be displayed and selectable. Functions can also be selected from the DIRECT SELECT buttons (see page 31). • Page number strip. Some functions have too many options to fit on a single screen. These functions use multiple screens, with each screen considered a page. This strip shows which page is selected by underlining the page number.
Overview: Chapter 4 Parameter Editing All parameter editing involves the same general procedure, with minor variations: Select the type of parameters you want to edit with the corresponding button: [MIX], [PROGRAM], or [GLOBAL]. Mix parameters edit a Mix. Program parameters edit a Program. Effects parameters can be edited from within a Mix or a Program (see below). Global parameters edit general characteristics that affect the entire instrument. ¡ Select an Edit Mode with the [SELECT] button.
Overview: Chapter 4 Each bar graph indicates a parameter’s approximate value—increasing a value increases the column height. With bipolar values that can go positive or negative, turning a knob clockwise increases the column height upward from the midpoint, and turning a knob counterclockwise increases the column height downward (more negative value) from the midpoint. Always refer to the parameter name strip in the display above the bargraphs for the current parameter label and value.
Overview: Chapter 4 Direct Function Selection When editing a Mix, Program or a Program’s Effects, the DIRECT SELECT buttons (located next to the large VOLUME knob) provide direct selection of edit Functions. This means you can get to the Function you want to edit fast. The Functions available for direct selection are printed on the front panel adjacent to each button. By pressing some of the buttons repeatedly, you can select other Functions related to the main Function for that button.
Overview: Chapter 4 Pressing FUNCTION [∅] advances to the next function, and FUNCTION [♦] returns to the previous function. As you select the different edit Functions, the page number strip shows how many pages exist for that function, and the right part of the display will show the parameters on the current page. Some functions have more parameters than will fit on a single display page, and therefore will have multiple pages, as indicated in the lower left corner of the display.
Overview: Chapter 4 shows the Volume, Pan and Output of a single sound. In Edit 4 Mode, the Level function has three pages: all four sound volumes are page 1, all pans are on page 2, and all outputs are on page 3.
Overview: Chapter 4 Resetting a Parameter Value It’s often convenient while editing to return a parameter to its default setting (usually, but not always, 0). This normally involves turning a Quad Knob or repeatedly pressing the VALUE [¬] and [] buttons, but here’s a quicker way: To reset a parameter to its default setting: Select the parameter you wish to reset using the methods described earlier. ¿ ¡ Simultaneously press both the VALUE [¬] and [] buttons.
Overview: Chapter 4 However, this requires that you “store over,” losing whatever was previously in that location. If you don’t want to lose any of the sounds in the User bank, you should back-up the entire bank to either an external SRAM or FlashRAM PCMCIA card, or (via MIDI System Exclusive) into a data storage device like the Alesis DataDisk or a MIDI sequencer. See Chapter 9 for more information on external storage operations.
Overview: Chapter 4 Storing The [STORE] button selects Store mode. Store mode has 6 pages which you can scroll through by using the PAGE [♦] and [∅] 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 Press [STORE] again to complete the operation. Or, Press any other button to cancel out of the Store operation without storing.
Overview: Chapter 4 Copying Effects Between Programs Follow the steps below to copy the Effects from one Program to another Program in the User Bank. ¿ Press [PROGRAM] to select Program Play Mode. Use the VALUE [¬] and [] buttons to select the Program Number that uses the Effects you want to copy. If necessary, use the FUNCTION [♦] and [∅] buttons to select a different Bank. ¡ ¬ Press [STORE]. Press PAGE [∅] once to advance to Page 2.
Overview: Chapter 4 Storing a Mix only stores the Mix parameters, not the individual Programs or Effect Patch used in the Mix. If you have edited any of the Programs in the Mix or the Effects Patch, you must store them separately.
Overview: Chapter 4 To Audition Programs Before Storing To look for available memory locations to permanently store your Program to, you can move between Program Mode and Mix Mode without losing your changes. This is because Program Mode has a Program edit buffer, and Mix Mode has its own Mix edit buffer along with 16 Program edit buffers. These buffers are retained when moving between Program Mode and Mix Mode, thus making it easy to search for a suitable location to store your newly created Program.
Overview: Chapter 4 The top right of the display will read “STORE PRG UsrXXX?” where XXX is a User Program number from 000—127. Use Quad Knob [2] to enter the Program number you noted in step 6. If necessary, use Quad Knob [1] to select a Card Bank. » Press [STORE] again. The Program is now stored.
Overview: Chapter 4 To audition Programs before overwriting them with STORE …when editing a Program in Mix Edit Mode: While in Mix Program Edit mode, press [PROGRAM]. This selects Program Play Mode, retaining your edits to the Program in Mix Edit. ¿ Press the BANK [♦] button until the word “USER” appears in the top part of the display, just before the Program name. If a RAM card is inserted, use the BANK buttons to select a Card Bank.
Overview: Chapter 4 QuadraSynth Plus Piano Reference Manual 57
Editing Mixes: Chapter 5 CHAPTER 5 EDITING MIXES What is a Mix? Mix Mode is one of the most powerful features of the QuadraSynth Plus. While 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 to use. Each channel may be enabled or disabled, without changing any of its parameter settings. When a channel is disabled, its number will not appear in the upper left display, except when it is selected for editing. You can set levels, effect levels and bus assignments, pitch transposition, keyboard ranges (if making a split or layer), and MIDI parameters for each individual channel.
Editing Mixes: Chapter 5 changes will be lost. The same goes for editing the Effects, which will be stored with its associated Program. If you select another Mix before storing, your changes will be lost.
Editing Mixes: Chapter 5 Program Assign for each MIDI Channel The first function of Mix Edit is Program Assign. Program Bank (User, Preset 1–4, Card) This determines which Bank the selected Program is located in for the selected MIDI channel. There are five Banks available in the QuadraSynth Plus. If you insert a QuadraCard Sound Card, you can have even more Banks. Program Number (000 to 127) This determines the Program Number (000—127) for the selected MIDI channel.
Editing Mixes: Chapter 5 AUX audio outputs. When set to OFF, the channel will not be sent to either set of outputs (but can still feed an effect bus).
Editing Mixes: Chapter 5 Pitch The Pitch function lets you transpose a channel’s Program in either semitone or octave increments. By using both parameters together, you have a total transposition range of ±3 octaves. Octave (-2 to +2 octaves) This transposes the Program’s pitch in octave (12 semitone) steps from -2 (transposed down 2 octaves) to +2 (transposed up two octaves).
Editing Mixes: Chapter 5 QuadraSynth Plus Piano Reference Manual 64
Editing Mixes: Chapter 5 Range (Page 2) MIDI In (On or Off) This determines whether or not the selected channel will respond to incoming MIDI messages. MIDI Out (On or Off) This determines whether or not the selected channel will transmit MIDI messages. Keyboard (On or Off) This determines whether or not the selected channel will respond to the keyboard, pitch-bend and mod wheels, foot pedals and sustain pedal of the QuadraSynth Plus itself.
Editing Mixes: Chapter 5 • whenever a Channel’s “Level” parameter is edited, volume information will be transmitted as controller #7 on that Channel; • whenever a Channel’s “Pan” parameter is edited, panning information will be transmitted as controller #10 on that Channel (except when set to “PRG”). Note: Panning information will not be transmitted if the Channel’s “Pan“ parameter is set to PRG (using the selected Program’s stored Pan setting).
Editing Mixes: Chapter 5 The Effect Channel determines which channel’s Program’s Effect Patch will be used for the entire Mix. In other words, when the Effect Channel is set to 3, the Mix will use the Effect Patch used by the Program assigned to channel 3. FX MIDI (On or Off) This determines whether the Effects settings will change along with its Program, if a MIDI program change is received on the Effect Channel.
Editing Mixes: Chapter 5 Polyphony in Mix Play Mode The QuadraSynth Plus 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 MIDI CH 1, and 1 is underlined, you'll hear it. All other ranges or layers will not respond to the keyboard (they will continue to respond to incoming MIDI messages on their respective channels, however). Use the MIDI [♦] and [∅] buttons to hear each channel in turn. OUT 1 — OUT 16. The QuadraSynth Plus will generate MIDI messages from the keyboard, regardless of the Range settings for that channel in the Mix, but it will not play the internal sound.
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 QuadraSynth Generates Sound The QuadraSynth Plus uses custom integrated circuits, developed by the Alesis engineering team specifically for the QuadraSynth Plus. These resemble the types of chips used in computers and other digital devices. In fact, you can think of the QuadraSynth Plus as a special-purpose computer designed to generate and process audio.
Editing Programs: Chapter 6 messages from your sequencer (one for each channel) for every note; a layered program would need only one Note On message. • When layers of a Program are designed to be used together, and the individual layers by themselves wouldn't be used alone (for example, the percussion layer of the organ sound). Use Mix Play Mode: • 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.
Editing Programs: Chapter 6 Let’s look at each module’s function in detail. Voice This digitally-based oscillator provides the actual raw sounds from the 24 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 Static (non-changing) filter settings can be useful, but varying the filter cutoff dynamically over time often produces more interesting effects. Modulating with velocity produces brighter sounds with louder dynamics, which produces a more accurate acoustic instrument simulation. Modulating with an envelope can create a pre-defined change in harmonic structure, such as having a brighter attack and bassier decay.
Editing Programs: Chapter 6 towards the Voice, Filter, or Amp boxes is a modulation source. The amount of modulation, the time it takes place, and what controls (such as key velocity, footpedals, aftertouch, mod wheel etc.) affect it are important parameters in every Program. The QuadraSynth Plus provides the modulation flexibility of patch cord-based instruments, but with the convenience and ease of use of digital technology. With some parameters, the modulation amount can be positive or negative.
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 Effects parameters are edited separately from either the Program or the Mix, using Effects Edit Mode (more in Chapter 7). In Program Edit Mode, each of the four sounds in the Program has its own Effect Level control and can be assigned to any one of the four effect buses. Effects settings, Effect Level and Bus information is saved with the Program when you store it back into memory. Drum Mode Any one or all of the four sounds in a Program can be put in Drum Mode.
Editing Programs: Chapter 6 QuadraSynth Plus Piano Reference Manual 78
Editing Programs: Chapter 6 When Drum Mode is enabled, the sound will have fewer parameters for editing. Consequently, not all Function labels will appear in the LCD display as when Drum Mode is turned off. Specifically, the LFOs and all Envelopes (with the exception of the Amp Envelope) are unavailable. In addition, the parameters in most other functions will differ.
Editing Programs: Chapter 6 On the following page, you’ll find a chart listing the various samples in their respective groups.
Editing Programs: Chapter 6 Drums Stndrd Kit, Rock Kit 1, Rock Kit 2, Dance Kit, Stab Kick, Deep Kick, Spike Kick, Flap Kick, GarageKick, PillowKick, Elect Kick, Studio Snr, TurboSnare, PiccoloSnr, Crisp Snr, Power Snr, Dance Snr, Rimshot, Side Stick, Power Tom, Mid Tom, Floor Tom, Slam Tom, Cannon Tom, Closed Hat, Edge Hat, Open Hat, FootClosed, Cym Ride, Cym Bell, Cym Crash, Cym China, Cym Splash, Analog Kit, Brush Kit, Tribal Kit Percus Tympani, TbularBell, Orch Combo, Agogo, Bongo, Cabasa, Castanet, Cl
Editing Programs: Chapter 6 feed the sound to one of the effect buses for processing. See Chapter 7 for more information on editing Effects. Level (00 to 99) Determines how much of the sound feeds the chosen effect bus (see below). Higher values mean that the sound will be more effected. Bus (1 to 4) Selects which of the four buses the sound will feed, thereby determining which effect(s) will process the sound. Each Program has its own unique arrangement of effects.
Editing Programs: Chapter 6 Tip: Aftertouch is useful for creating keyboard-controlled string bend effects. Low settings are good for “humanizing” synthesized sounds, since aftertouch changes can give very slight pitch changes, as associated with acoustic instruments. Pitch LFO Depth (-99 to +99) At +00, the pitch LFO has no effect. Higher positive values increase the amount of Pitch LFO modulation. Negative values give the same apparent effect, but with reversed LFO phase (i.e.
Editing Programs: Chapter 6 Speed curve maintains a constant glide rate regardless of the pitch difference between notes. Rate (0 to 99) Sets the glide duration. Higher numbers give longer glide times. The Rate value is affected by the Portamento value (see above). Keyboard Mode (Mono, Poly, 1-Pitch or 1-PMono) 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.
Editing Programs: Chapter 6 Filter Filter (Page 1) Frequency (00 to 99) 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. Tip: Signals with complex harmonic structures are most affected by the filter. Examples: A sine wave has virtually no harmonics so you will not hear any significant changes as long as the filter cutoff is higher than the note pitch.
Editing Programs: Chapter 6 positive velocity control over the filter can simulate more realistic acoustic sounds.
Editing Programs: Chapter 6 Filter (Page 2) Modulation Wheel Depth (-99 to +99) Determines how moving the modulation wheel affects the filter cutoff frequency. Example: With positive settings, moving the 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 Velocity Curve (13 choices) This selects how the sound will respond to the dynamics of your playing the keyboard. A LINEAR curve is the norm, whereby the increase in level is equal to the increase in velocity; the velocity values increase as you play harder. Many of the Velocity Curves make up sets to be used by 2, 3 or 4 sounds in order to facilitate velocity crossfading, whereby a different sound is played depending on how hard or soft the keyboard is played.
Editing Programs: Chapter 6 higher the number (either positive or negative), the greater the effect for a given amount of aftertouch. Tip: Use aftertouch to “swell” the amplitude of brass and horn parts. Amplitude LFO Depth (-99 to +99) 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.
Editing Programs: Chapter 6 appear to have two zones. All notes from the bottom of the keyboard to the high limit note will play, and all notes from the lower limit to the top of the keyboard will play, but the notes between the high limit and the lower limit will not play. This can be further enhanced in Mix Mode by using the Range function in Mix Edit Mode to cap-off the lower and high limits.
Editing Programs: Chapter 6 Sound Overlap (00 to 99) 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 If you have Sound Overlap set to 99, hold the sustain pedal and play a series of notes, you will run through all 64 voices in no time. By adjusting the Sound Overlap to a lower value, you decrease the number of voices used by each new note, and thereby ensure there are voices available to play other sounds, if necessary.
Editing Programs: Chapter 6 Mod About General Purpose Modulation Although there are several dedicated modulators in the QuadraSynth Plus (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 • Velocity relates to how fast a key goes from the key up (note off) to the key down (note on) position, and therefore represents the dynamics of your playing. • Release velocity relates to how fast a key goes from the key down (note on) to the key up (note off) position. Example: Use this to affect the level of a sound’s release based on how fast you remove your fingers from the keys.
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 • Random This provides a different modulation value every time you hit a key. Example: With vintage analog synth patches, use pitch as the destination and apply a very slight amount of random modulation. Each note will have a slightly different pitch, which simulates the natural tuning instability of analog circuits. • Trigrate This is a Trigger Rate Follower, which monitors how fast notes are being played on the keyboard.
Editing Programs: Chapter 6 Modulation Level (-99 to +99) At +00, the modulation source has no effect on the destination. Higher positive values increase the amount of modulation. Negative values also increase the amount of modulation, but with negative phase (i.e., if the modulation would normally be increasing with depth set to a positive number, the modulation would instead be decreasing at that same moment had the depth been set to a negative number).
Editing Programs: Chapter 6 Pitch LFO Pitch LFO (Page 1) The Pitch LFO is most often used to apply vibrato to a sound. J The following Pitch LFO variables will make a difference in the sound only if the PITCH LFO DEPTH (on Page 2 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) The waveform determines the shape of the LFO.
Editing Programs: Chapter 6 The Trigger parameter determines how the LFO should be triggered, or started. There are four possible settings: Mono, Poly, Key Mono and Key Poly. When playing multiple voices in a single sound, each voice has its own LFO. However, the LFO Trigger parameter determines whether or not they should be in sync, and whether or not they can be retriggered independent from one another. Mono. All voices’ LFOs are in sync with each other.
Editing Programs: Chapter 6 Wheel is moved up, and lowers the level when moved down. Negative settings of this parameter will decrease the output level of the PLFO as the Mod Wheel is raised. Since the output level of the PLFO cannot be less than zero, a negative setting of the Mod Wheel parameter will have no effect unless either the Aftertouch or the Level is set to raise the PLFO output.
Editing Programs: Chapter 6 Filter LFO Filter LFO (Page 1) The Filter LFO is most often used to apply tremolo-like or "wahwah" effects to a sound. J The following Filter LFO variables will affect the sound only if the FILTER LFO DEPTH (on Page 2 of the FILTER function) is set to a value other than 0 , or, if Filter LFO is a source in the MOD function.
Editing Programs: Chapter 6 Mod Wheel (-99 to 99) 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 FLFO as the Mod Wheel is raised.
Editing Programs: Chapter 6 Poly, Key Mono and Key Poly. A description of these settings is found in the Trigger section of the PLFO description on page 67.
Editing Programs: Chapter 6 Amp LFO (Page 2) Level (00 to 99) 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 pitch go to maximum immediately on hitting the key (if the Delay is also set to 0 in PENV Page 2--see below); a setting of 99 will result in a much slower attack, taking many seconds before the envelope gets to maximum.
Editing Programs: Chapter 6 Decay & Sustain (00 to 99) As soon as the attack portion of the envelope finishes (when the level reaches maximum), the envelope will decay (decrease in level). The level it reaches is set by the Sustain control; how long it takes to get there is set by the Decay control. In the special case where the Sustain level is all the way up (99), then there is no decrease and the Decay time segment is bypassed.
Editing Programs: Chapter 6 that the Pitch Envelope’s Trigger parameter (see next page) is set to “Freerun”. However, when the Delay is set to “Hold”, “Freerun” mode is forced on regardless of the Trigger parameter’s setting. Sustain Decay (00 to 99) 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: Chapter 6 not already there) when the note is released and the sustain pedal is held down. If a long attack is set, and the envelope does not reach the end of the attack segment when the note is released, it will be skipped and the envelope will jump immediately to the release segment. If a long delay is set, and the envelope has not reached the attack segment before the note is released, the envelope will remain at 0.
Editing Programs: Chapter 6 Velocity Modulation (00 to 99) This determines how keyboard dynamics will affect the envelope level. When set to 99, note velocity controls the envelope’s output; notes played hard will deliver a higher envelope output than notes played soft. When set to 0, note velocity will have no effect on the envelope’s output level.
Editing Programs: Chapter 6 Release (00 to 99) Eventually, you will let go of the note that you’ve been holding (either by releasing the note on the keyboard, or releasing the sustain pedal if it was pressed). It is at this point that the Release portion of the envelope takes effect. The Release is the time that the envelope takes to get from the sustain level back down to nothing. Setting the Release time to 0 is good for playing those short funky riffs that you hear on a clavinet.
Editing Programs: Chapter 6 Filter Envelope (Page 2) Delay (00 to 99) 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.
Editing Programs: Chapter 6 This determines whether or not keyboard position will affect the cycle speed of the envelope. When turned on, playing toward the higher end of the keyboard will result in a faster envelope cycle; playing toward the lower end of the keyboard will result in a slower envelope cycle. However, this does not effect the attack time, but only the decay, sustain, sustain decay and release segments. This feature will result in only a subtle change.
Editing Programs: Chapter 6 Sustain Pedal (On or Off) 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.
Editing Programs: Chapter 6 Page 2--see below); a setting of 99 will result in a much slower attack, taking many seconds before the envelope gets to maximum. Decay & Sustain (00 to 99) As soon as the attack portion of the envelope finishes (when the level reaches maximum), the envelope will decay (decrease in level). The level it reaches is set by the Sustain control; how long it takes to get there is set by the Decay control.
Editing Programs: Chapter 6 “Freerun” mode is forced on regardless of the Trigger parameter’s setting. Sustain Decay (00 to 99) This is the amount of time that the envelope will take during the sustain stage to bring the level down to 0. If this is set to 99, the envelope will remain at the Sustain level until the note is released. When set to 0, the envelope’s level will immediately jump down to 0 upon reaching the sustain stage.
Editing Programs: Chapter 6 already there) when the note is released and the sustain pedal is held down. If a long attack is set, and the envelope does not reach the end of the attack segment when the note is released, it will be skipped and the envelope will jump immediately to the sustain decay segment. If a long delay is set, and the envelope has not reached the attack segment before the note is released, the envelope will remain at 0.
Editing Programs: Chapter 6 Tracking Generator The Tracking Generator 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: Chapter 6 LINEAR 100 0 POINTS: 0 1 2 3 4 5 6 7 8 9 10 3 4 5 6 7 8 9 10 3 4 5 6 7 8 9 10 NON-LINEAR 100 0 POINTS: 0 1 2 NON-LINEAR STEPPED 100 0 POINTS: 0 1 2 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.
Editing Programs: Chapter 6 For detailed descriptions of each of these sources, see the section “Modulation Source” in the Mod section on pages 67—69. Points 0 — 10 (00—100) Quad Knobs [2], [3] and [4] in page 1 of the TRACK function control the levels of points 0 —2. Points 3—6 are found on page 2, while points 7—10 are on page 3. Name The Name Function allows you to change the Program’s name. The Program name can be up to 10 characters long. Use the PAGE [♦] and [∅] buttons to position the cursor.
Editing Programs: Chapter 6 Misc. Drum Mode This enables and disables Drum Mode which allows you to assign individual drum sounds to individual keys. To Program a sound in Drum Mode, refer to the next section “Programming Drum Sounds.” Sound Enable This is the master on/off switch for the selected sound (1—4) of the current Program. To avoid using up polyphony unnecessarily, set Sound Enable to OFF for any sounds that will not be used in a Program.
Editing Programs: Chapter 6 Programming Drum Sounds To program a sound in Drum Mode, you must first enable Drum Mode for that particular sound in the Misc. Function (see previous section). Quad Knob [4] is always used to select a Drum (1—10), regardless of which Function or Page is selected (except Effect, Name and Misc.). For an explanation of the basics of Drum Mode, see page 56.
Editing Programs: Chapter 6 Each of the 10 drums in a sound can have its own level, pan position, and output assignment. The Level function provides these controls. Use Quad Knob [1] to adjust the selected drum’s level (00 to 99), Quad Knob [2] to adjust pan position (<3 to >3), and Quad Knob [3] to select the Output assignment (Main, Aux or Off). Use Quad Knob [4] to select the drum (1—10) you wish to edit. To send a drum to an individual output, use Output in conjunction with Pan.
Editing Programs: Chapter 6 A LINEAR curve is the norm, whereby the increase in level is equal to the increase in velocity; the velocity values increase as you play harder. Many of the Velocity Curves make up sets to be used by 2, 3 or 4 drums in order to facilitate velocity crossfading, whereby a different drum is played depending on how hard or soft the keyboard is played. However, each drum must be in a different sound layer of the Program in order to be stacked on the same note.
Editing Programs: Chapter 6 increments (e.g., Gate00 = Decay setting of 0 with gating, Gate05 = Decay setting of 5 with gating, etc.). Gating means that the drum sound will continue to be played as long as the key is held. This is useful for longer sounds, like cymbals, when you wish to hear a short crash by playing a short note but can still hear a longer crash by keeping the note held down. Mute Group (Off, 1, 2, or 3) This is an important feature when using multiple sounds of the same instrument.
Editing Programs: Chapter 6 Copying Sounds While editing a Program, it is helpful to be able to copy a sound to another sound in either the same Program or a different Program, especially if you are building a split or layered Program. This can be done very easily from within the Store function. To copy a sound to another sound in the same Program, or to the same sound in a different Program: ¿ From Program Edit mode, press [STORE]. ¡ Press PAGE [∅] to select Page 2 of the Store function.
Editing Programs: Chapter 6 ƒ Press [STORE] to copy the sound. Initializing Programs If you want to start programming from “scratch”, you can easily reset all parameters to their default settings by re-initializing the software. Make sure your mod wheel is all the way down before re-initializing, otherwise the "zero" position of the mod wheel will be incorrect. To re-initialize the QuadraSynth Plus: ¿ Press [PROGRAM] to enter Program mode. ¡ Turn the unit off.
Editing Effects: Chapter 7 CHAPTER 7 EDITING EFFECTS About Signal Processing The built-in effects processor of the QuadraSynth Plus is similar to that of the Alesis QuadraVerb 2, capable of generating multiple, fully digital effects simultaneously. The QuadraSynth Plus 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 adjustments– left and right – for several parameters). Consequently, the more parameters an effect has, additional pages become available for that function. The number of pages the currently selected function has and the current page are always shown in the bottom left of the display. Each effect has stereo outputs, which may be routed to the Main Left and Right outputs using the Mix function (the Aux Left and Right outputs do not use the internal effects processing).
Editing Effects: Chapter 7 order to have your changes remembered and heard the same way in the future. The actual arrangement of depth of reverb, delay time, etc., is saved as part of the Effects Edit parameters when a Program is stored. It is possible for different Mixes to share the same 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.
Editing Effects: Chapter 7 Clip While routing sounds into the effects processor, the word “CLIP” will temporarily appear in the display if an input is overloading the effects. If this should occur, try reducing the Input Levels for each of the effects devices in the current configuration, and (if necessary) reduce the Effects Levels in the Mix/Program. Editing Effects The Effects Patches themselves are not edited in Program Edit Mode or Mix Edit Mode, but (could you guess it?) Effects Edit Mode.
Editing Effects: Chapter 7 sends 1, 2 and 3 in Configuration #1, but not on send 4—as you can see in the chart on page 92. Although only used in Configuration #s 4 and 5, the word “MISC.” will appear in the display. This can be selected in the same manner as any other function using the FUNCTION [♦] and [∅] buttons. The MISC function is where you access the EQ parameters used in Configuration #4, and the Overdrive effect’s parameters in Configuration #5.
Editing Effects: Chapter 7 • If [STORE] is pressed twice while editing a Program that is on a Channel other than the Effect Channel, the edited Program will be stored without altering its previous Effects settings. • If [STORE] is pressed twice while editing a Mix (Mix Edit Mode), only the Mix parameters will be stored, not the individual Programs or the Effects Patch.
Editing Effects: Chapter 7 Copying Effect Patches When you want a Program to use the Effects from a different Program, you must copy that other Program’s Effects into the Program you are working on. This is done within Store Mode using the “Copy Effect” function. First, select the Program which contains the Effects you wish to copy. And, of course, you can only copy Effects to Programs that are in the User Bank or on a RAM Sound Card Bank. For more about copying effects, see page 35.
Editing Effects: Chapter 7 Here is a run-down of the various Configurations: QuadraSynth Plus Piano Reference Manual 134
Editing Effects: Chapter 7 Configuration #1: 4-Sends, 1 Reverb Pitch 1 Delay 1Reverb 1 Mono chorus Mono delay Plate 1 Stereo chorus Stereo delay Plate 2 Mono flange Ping-pong delay Room Stereo flange Hall Pitch detune Large Resonator Gate Reverse Pitch 2 Delay 2Reverb 2 Mono chorus Mono delay Balance and level to Reverb 1 Stereo chorus Stereo delay Mono flange Ping-pong delay Stereo flange Pitch detune Resonator Pitch 3 Delay 3Reverb 3 Resonator Mono delay Balance and level to Reverb 1 Delay 4 Reverb 4 Mo
Editing Effects: Chapter 7 is similar to a block diagram for a mixer, with signal moving generally from the left to the right. The number next to each function name represents one of the four effect sends. For example, Delay 2 refers to the Delay effect on effect send 2. This Configuration #1 provides three Pitch effects, four Delay effects and one Reverb effect.
Editing Effects: Chapter 7 Configuration #2: 4-Sends, 2 Reverb Delay 1Pitch 1 Reverb 1 Mono delay Mono chorus Plate 1 Stereo chorus Plate 2 Room Hall Large Gate Reverse Reverb 2 Level to Reverb 1 Pitch 3 Reverb 3 Mono chorus Plate 1 Plate 2 Room Hall Large Gate Reverse Reverb 4 Reverb 4 Level to Reverb 3 This Configuration differs from Configuration #1 in many ways. In this Configuration, there is only one Delay effect, two Pitch effects and two Reverb effects.
Editing Effects: Chapter 7 Effect send 1’s Delay, Pitch, and Reverb can feed the Mix output directly. Unlike the first configuration, however, Pitch 3 can be routed to the Mix only after passing through Reverb 3.
Editing Effects: Chapter 7 Configuration #3: 4-Sends, 1 Lezlie A A UX LEFT UX RIGHT MAIN LEFT A UX LEFT A UX RIGHT MAIN LEFT MAIN RIGHT MAIN RIGHT 1 2 3 1 2 3 4 MIX 1 BAL. FX SEND 1 DELA LEZLIE Y1 BAL. 1 REVERB AMP 2 PITCH 1 DELA Y 1 REVERB 1 BAL. FX SEND 2 PITCH 2 DELA Y2 BAL. 1 AMP 2 PITCH 2 DELA Y 2 REVERB 2 BAL. FX SEND 3 PITCH 3 DELA Y3 BAL. 1 AMP 2 PITCH 3 DELA Y 3 REVERB 3 BAL.
Editing Effects: Chapter 7 Send 4 has only a Mono Delay effect, which may also be routed to Reverb 1.
Editing Effects: Chapter 7 Configuration #4: 2-Sends, with EQ Pitch 1 Delay 1Reverb 1 Misc.
Editing Effects: Chapter 7 Configuration #5: OD>CHS>DDL>REV>LZ AUX LEFT AUX RIGHT MAIN LEFT MAIN RIGHT MISC. 1 1 1 1 BAL. MIX 1 1 BAL. BAL. BAL. FX SEND 1 PITCH 1 OVERDRIVE DELA Y 1 1 1 REVERB 1 LEZLIE AMP 2 2 MISC. 1 PITCH 1 DELAY 1 REVERB 1 PITCH 1 FX SEND 2 FX SEND 3 FX SEND 4 Pitch 1 Delay 1Reverb 1 Misc.
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 which Pitch type is selected. If the signal is taken from the effect send, the Reverb will receive direct, uneffected signal. Input Balance Quad Knob [3] allows you to control the balance between Reverb Inputs 1 and 2 and therefore control the blend between the various input sources. This makes it possible to have the signal from the Pitch or Delay sections, or the direct effect send in any combination or amount.
Editing Effects: Chapter 7 Input level Quad Knob [4] controls the overall Input Level going into the Reverb. Chorus Input Level 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: MIDI 1 CHAN PPRROOGG PRESET EDITING: 1 PITCH CONFIG P EFFECT MOD REVERB AGE: DELA Y 1 2 3 MIX MISC.
Editing Effects: Chapter 7 MIDI 1 CHAN PPRROOGG PRESET EDITING: 4 PITCH CONFIG P EFFECT MOD REVERB AGE: DELA Y MIX MISC. 1 There are only two parameters: Balance and Input Level. This is because in Configuration #1, effect send 4 only has a Delay effect, and not a Pitch effect like the other effect sends do. Quad Knob [1] controls the Balance between the Delay output and the dry effect send signal, while Quad Knob [3] controls the overall input level to the Reverb.
Editing Effects: Chapter 7 If Configuration #2 is selected and you press [EDIT 1] to advance to effect send 2 while the Reverb function is selected, the display will look like this: MIDI 1 CHAN PPRROOGG PRESET EDITING: 2 PITCH CONFIG P EFFECT MOD REVERB DELA AGE: Y MIX MISC. 1 Quad Knob [1] lets you adjust the level of the signal coming from effect send 2 going into the Reverb. Send 2 in this Configuration has no effects of its own.
Editing Effects: Chapter 7 reverberant sound with much less high end (treble) than a room with hard surfaces. This reverb type can easily simulate both examples and many, many more. Hall. Much larger than a room, Halls are characterized by their high ceilings, irregular shapes, and generally uniform density of reflections. Large. Much larger than a hall, this reverb type emulates large ambient spaces such as amphitheaters, gymnasiums, etc.
Editing Effects: Chapter 7 Gated. Gated Reverb is a very popular effect on drums first found on English records in the early 1980s. This reverb type can simulate applying a noise gate (a device that automatically decreases the volume once the signal falls below a certain level) across the output of the reverb thereby causing the initial attack of the reverb to sound very big, but the tail of the reverb to be cut off very quickly.
Editing Effects: Chapter 7 room or hall, with softer surfaces absorbing more high frequencies and smaller rooms having faster low frequency decay. If the selected Reverb type is Gate, the Low Decay parameter is unavailable.
Editing Effects: Chapter 7 Reverb (Page 4) Density Density controls how the first reflection of the reverb effect will appear. When set to 0, the first reflection is heard alone without any other reflections. When set to 99, the first reflection appears to “fade-in” and then “fade-out”. This is because a number of reflections will occur just before and just after the first reflection, in addition to the remaining reflections heard after the first reflection. Thus, the reverb sounds more “dense”.
Editing Effects: Chapter 7 Delay The Delay function is used to edit Delay parameters. Delay (Page 1) The QuadraSynth Plus’s effects processor has three different Delay types available. Note: Some delay modules 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).
Editing Effects: Chapter 7 QuadraSynth Plus Piano Reference Manual 153
Editing Effects: Chapter 7 Pitch The Pitch function is used to edit Pitch parameters. Pitch (Page 1) The first page of the Pitch function will look different depending on the selected Configuration and which effect send you are editing. Normally, there will only be one parameter: Pitch Type. However, in the case of Configuration #2, a second parameter (Delay Input) is also available. Pitch Type The Pitch Type function allows access to 6 pitch altering modes.
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. Mono Flange.
Editing Effects: Chapter 7 Many variables are available, from varying the speed and depth of the LFO to feeding back part of the signal to make the effect stronger. The Flanger’s waveform shape can be either “Normal” or “Inverted”. Use the “Inverted” setting for a more dramatic flange effect.
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. Pitch Detune. As the name implies, Pitch Detune takes a part of the signal and detunes it either sharp or flat.
Editing Effects: Chapter 7 Pitch (Page 2) If the Pitch type is Mono Chorus, Stereo Chorus, Mono Flange or Stereo Flange, page 2 of the Pitch function contain the following four parameters: Waveform Shape Quad Knob [1] determines the LFO’s waveform shape. This parameter only appears when the Mono or Stereo Chorus or Flange are selected.
Editing Effects: Chapter 7 Mod The Mod Function lets you control various effects parameters from the various controls on the QuadraSynth Plus (keyboard, after-touch, pitch-bender, etc.) or from the MIDI input. This is extremely useful when dynamic or real-time control is required in a live playing situation. It is possible to control up to 2 parameters simultaneously. The Modulation assignments are saved with the Effects Patch.
Editing Effects: Chapter 7 depending on the effect chosen. However, the Mod Destinations retain their names. Example: If the Resonator is the Pitch effect, the Pitch Speed Modulation Destination controls the first parameter in the Resonator (Tuning). Mod Level The Mod level is the amount that the Destination parameter will be affected by the Mod Source. Use Quad Knob [3] to affect the Destination parameter by a positive or negative amount.
Editing Effects: Chapter 7 section is still available (depending on the bus and configuration) to following Pitch and Reverb sections. Reverb Level Adjusting this value will cause the Reverb Output Level to increase or decrease. The Reverb Output level is the level for the Reverb Section of the QuadraSynth Plus’s effects processor to the main outputs, and should be set as desired. Misc. This Misc. Function is only available when using Configuration #s 4 or 5. In Configuration 4, the Misc.
Editing Effects: Chapter 7 The Overdrive effect provides four parameters spread across two editing pages. It is only used in Configuration #5. Overdrive Type This selects one of two Overdrive Types: Soft and Hard. The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive. Also, there will still be a slight bit of distortion when using the Soft setting, if the signal feeding the Overdrive effect is below the Overdrive Threshold setting (see below).
Editing Effects: Chapter 7 Overdrive Threshold This sets the level the signal feeding the Overdrive effect must be reach before the Overdrive effect will begin distorting. It can be set between 00 and 99. If this number is very low, the Overdrive effect will start to distort almost right away. When set to a high number, the distortion will not occur until the signal feeding the overdrive becomes louder than the Threshold setting. Overdrive Brightness This sets the tone of the Overdrive effect.
Editing Effects: Chapter 7 QuadraSynth Plus Piano Reference Manual 164
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, display contrast, controller settings, keyboard mode, edit mode and the 48 kHz input. Editing Global Parameters Press the [GLOBAL] button. The display will change to Global Edit Mode, page 1 . The total number of pages (seven) is indicated in the lower left corner of the display.
Global Settings: Chapter 8 MIDI mode will be enabled, and Mix 00 of Preset Bank 4 will automatically be selected. Master Pitch and Master Tuning In Page 1 of Global Edit Mode, Quad Knob [3] adjusts the QuadraSynth Plus’s overall pitch (-12 to +12/up or down an octave). Adjust this parameter when you wish to globally transpose all sounds. Quad Knob [4] adjusts the QuadraSynth Plus’s overall Master Tuning (-99 to +99/up or down 1/2 step).
Global Settings: Chapter 8 In Page 2 of Global Edit mode, Quad Knob [4] selects the Keyboard Mode (NORMAL, CH SOLO, OUT 1 – OUT 16). This determines how the keyboard will function. When in Mix Mode, you have the option to transmit on several MIDI channels at once, or to temporarily isolate certain channels within a Mix. NORMAL. In Program Mode, the keyboard will transmit on the selected MIDI channel.
Global Settings: Chapter 8 Example: If you adjusted Controller A (using Quad Knob [1]) to, say, a value of 25 and then you recalled a different Program, the value of Controller A would remain at 25 if the “A–D Reset” function was turned off. Alternatively, the Controller A value would reset to 0 if this function was turned on.
Global Settings: Chapter 8 Remember, whenever one of the Controllers A–D is used in the currently selected Program, a pair of arrows will appear on either side of that Controllers name in the display while in either Program Play Mode or Mix Play Mode. This indicates that turning that Controller’s associated Quad Knob will have some affect on the Program or Mix.
Global Settings: Chapter 8 In Page 6 of Global Edit mode, Quad Knob [1] determines the MIDI Program Select mode (Off, On, Mix Select Channel 1 –16). When this is set to “Off”, the QuadraSynth Plus will not respond to incoming MIDI Program Change messages, nor will it transmit Program Changes. When set to “On”, the QuadraSynth Plus 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.
Global Settings: Chapter 8 If the MIDI Program Select parameter is turned “On” and a new Bank is selected using the BANK [♦] and [∅] buttons, a Bank Change message (followed by the appropriate Program Change message) will be transmitted out the MIDI Out connector.
MIDI Transfer and Storage Operations: Chapter 9 CHAPTER 9 MIDI TRANSFER AND STORAGE OPERATIONS Saving the User Bank to an External Card The entire contents of the QuadraSynth Plus’s User memory (100 Mixes, 128 Programs, 128 Effects Patches) can be stored to an Alesis QuadraCard RAM card inserted into the Sound Card slot on the QuadraSynth Plus. Depending on the amount of RAM a particular card has, up to 8 complete banks can be stored onto it.
MIDI Transfer and Storage Operations: Chapter 9 Storing an Individual Program or Mix to an External Card 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 QuadraSynth Plus Bank format. A Sound Card is formatted whenever an entire QuadraSynth Plus Bank is stored onto it.
MIDI Transfer and Storage Operations: Chapter 9 Card Storage RAMifications Whenever you transfer an internal Bank to a RAM card, the result is that all Mixes in the transferred Bank are changed so that they now access the Programs on the card bank to which the User bank was saved (since they reside there, now), instead of the Programs from the original internal Bank.
MIDI Transfer and Storage Operations: Chapter 9 To send the entire User bank via MIDI: Connect a MIDI cable from the QuadraSynth Plus’s MIDI Out to the MIDI In of a device capable of receiving the data (S4, another QuadraSynth Plus, etc.). ¿ ¡ Press [STORE]. ¬ Use either PAGE [♦] or [∅] to select Page 3 of the Store function. Turn Quad Knob [1] to the right until the upper right display reads “SEND_ALL TO MIDI.” ƒ Press [STORE] to transmit the data out the MIDI Out connector.
Troubleshooting: Appendix A APPENDIX A TROUBLE-SHOOTING Trouble-Shooting Index If you are experience problems while operating the QuadraSynth Plus, 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. Display is blank. Cause Solution No power. Check that the power cable is plugged in properly. No sound. Display contrast is set either too high or low.
Troubleshooting: Appendix A Checking Software Version The current software version may be determined by holding [GLOBAL] and pressing [PROGRAM]. The QuadraSynth Plus will indicate the current software version installed in the upper right display. Maintenance/Service Cleaning Disconnect the AC cord, then use a damp cloth to clean the keyboard’s metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409 or Fantastik.
Troubleshooting: Appendix A shock-absorbing materials such as styrofoam pellets (the kind without CFCs, please) or “bubble-pack” surrounding the unit. Shipping damage caused by inadequate packing is not covered by the Alesis warranty. Tape a note to the top of the unit describing the problem, include your name and a phone number where Alesis can contact you if necessary, as well as instructions on where you want the product returned.
Troubleshooting: Appendix A QuadraSynth Plus Piano Reference Manual 179
MIDI Supplement: Appendix B APPENDIX B MIDI SUPPLEMENT MIDI Basics Most current electronic instruments and signal processors, including the QuadraSynth Plus, 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 channel-specific, 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 Continuous Controller. Footpedals, breath controllers, and modulation wheels can vary sounds as you play, thus adding expressiveness. MIDI allows for 64 continuous controllers (these act like potentiometers in that you can choose one of many different values) and 58 continuous/switch (these can act like continuous controllers but some are assumed to choose between two possible states, such as on/off).
MIDI Supplement: Appendix B 125 126 127 Omni On (0) Mono On (0-16; 0=Omni Off) Poly On (0) QuadraSynth Plus Piano Reference Manual 184
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 names (in some cases abreviated) with the letters GM added to indicate their are designed specifically for use in General MIDI mode.
MIDI Supplement: Appendix B There are three MIDI registered parameters which the QuadraSynth plus 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 Transmitted Function Basic Channel Mode Note Number Velocity Default Changed Default Messages Altered True Voice Note On Note Off Key’s Ch’s 1 — 16 1 — 16 each Mode 3 X 0 — 127 0 — 127 0 — 127 O O O O O O ******** ******** O O X O O 0 — 120 O After Touch Pitch Bender Control Change Prog Change True # System Exclusive System Song Pos Common Song Sel Tune System Clock Realtime Commands Aux Local On/Off Messages All Notes Off Active Sense Reset GM On
Parameters Index: Appendix C APPENDIX C: PARAMETERS INDEX Program Parameters Parameter Aftertouch Depth: Amp Aftertouch Depth: ALFO Aftertouch Depth: Filter Aftertouch Depth: FLFO Aftertouch Depth: Pitch Aftertouch Depth: PLFO AENV Level AENV Trigger ALFO Delay ALFO Depth ALFO Level ALFO Mod.
Parameters Index: Appendix C Parameter Function Page Quad Knob Page in Manual ALFO Filter FLFO Mod Mod Mod Mod Mod Name Level Level Pitch PENV PENV PENV PLFO Pitch PLFO PLFO PLFO PLFO PLFO Pitch Pitch Pitch Range Range AENV FENV PENV Misc.
Parameters Index: Appendix C Tuning: Semitone Parameter Tuning: Detune Tuning: Type Velocity Velocity Curve/Crossfade Voice Select: Group Voice Select: Sound Name Volume Pitch 1 1 57 Function Page Quad Knob Page in Manual Pitch Pitch Filter Amp Assign Voice Assign Voice Level 1 1 1 1 1 1 1 3 4 4 1 1 3 1 57 57 59 61 54 54 55 Function Page Quad Knob Page in Manual Range Range Effect Effect Range Range Range Name Range Effect-Level Effect-Level Program Assign Level Level Level Program Assign
Parameters Index: Appendix C QuadraSynth Plus Piano Reference Manual 192
