Alesis QS8 Bedienungsanleitung

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Richtige Gebrauchsanleitung

Die Vorschriften verpflichten den Verkäufer zur Übertragung der Gebrauchsanleitung Alesis QS8 an den Erwerber, zusammen mit der Ware. Eine fehlende Anleitung oder falsche Informationen, die dem Verbraucher übertragen werden, bilden eine Grundlage für eine Reklamation aufgrund Unstimmigkeit des Geräts mit dem Vertrag. Rechtsmäßig lässt man das Anfügen einer Gebrauchsanleitung in anderer Form als Papierform zu, was letztens sehr oft genutzt wird, indem man eine grafische oder elektronische Anleitung von Alesis QS8, sowie Anleitungsvideos für Nutzer beifügt. Die Bedingung ist, dass ihre Form leserlich und verständlich ist.

Was ist eine Gebrauchsanleitung?

Das Wort kommt vom lateinischen „instructio”, d.h. ordnen. Demnach kann man in der Anleitung Alesis QS8 die Beschreibung der Etappen der Vorgehensweisen finden. Das Ziel der Anleitung ist die Belehrung, Vereinfachung des Starts, der Nutzung des Geräts oder auch der Ausführung bestimmter Tätigkeiten. Die Anleitung ist eine Sammlung von Informationen über ein Gegenstand/eine Dienstleistung, ein Hinweis.

Leider widmen nicht viele Nutzer ihre Zeit der Gebrauchsanleitung Alesis QS8. Eine gute Gebrauchsanleitung erlaubt nicht nur eine Reihe zusätzlicher Funktionen des gekauften Geräts kennenzulernen, sondern hilft dabei viele Fehler zu vermeiden.

Was sollte also eine ideale Gebrauchsanleitung beinhalten?

Die Gebrauchsanleitung Alesis QS8 sollte vor allem folgendes enthalten:
- Informationen über technische Daten des Geräts Alesis QS8
- Den Namen des Produzenten und das Produktionsjahr des Geräts Alesis QS8
- Grundsätze der Bedienung, Regulierung und Wartung des Geräts Alesis QS8
- Sicherheitszeichen und Zertifikate, die die Übereinstimmung mit entsprechenden Normen bestätigen

Warum lesen wir keine Gebrauchsanleitungen?

Der Grund dafür ist die fehlende Zeit und die Sicherheit, was die bestimmten Funktionen der gekauften Geräte angeht. Leider ist das Anschließen und Starten von Alesis QS8 zu wenig. Eine Anleitung beinhaltet eine Reihe von Hinweisen bezüglich bestimmter Funktionen, Sicherheitsgrundsätze, Wartungsarten (sogar das, welche Mittel man benutzen sollte), eventueller Fehler von Alesis QS8 und Lösungsarten für Probleme, die während der Nutzung auftreten könnten. Immerhin kann man in der Gebrauchsanleitung die Kontaktnummer zum Service Alesis finden, wenn die vorgeschlagenen Lösungen nicht wirksam sind. Aktuell erfreuen sich Anleitungen in Form von interessanten Animationen oder Videoanleitungen an Popularität, die den Nutzer besser ansprechen als eine Broschüre. Diese Art von Anleitung gibt garantiert, dass der Nutzer sich das ganze Video anschaut, ohne die spezifizierten und komplizierten technischen Beschreibungen von Alesis QS8 zu überspringen, wie es bei der Papierform passiert.

Warum sollte man Gebrauchsanleitungen lesen?

In der Gebrauchsanleitung finden wir vor allem die Antwort über den Bau sowie die Möglichkeiten des Geräts Alesis QS8, über die Nutzung bestimmter Accessoires und eine Reihe von Informationen, die erlauben, jegliche Funktionen und Bequemlichkeiten zu nutzen.

Nach dem gelungenen Kauf des Geräts, sollte man einige Zeit für das Kennenlernen jedes Teils der Anleitung von Alesis QS8 widmen. Aktuell sind sie genau vorbereitet oder übersetzt, damit sie nicht nur verständlich für die Nutzer sind, aber auch ihre grundliegende Hilfs-Informations-Funktion erfüllen.

Inhaltsverzeichnis der Gebrauchsanleitungen

  • Seite 1

    A L ES I S Q S 7 and QS8 Reference M a nu a l[...]

  • Seite 2

    Introduction Thank you for purchasing the Alesis QS7/QS8 64 Voice Expandable Synthesizer. To take full advantage of the QS’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 QS. To get the mos[...]

  • Seite 3

    2 QS7/QS8 Reference Manual[...]

  • Seite 4

    Table of Contents C ONTENTS 1: S ETTING U P .................................................................................................... 7 Unpacking and Inspection..............................................................................................7 AC Power...........................................................................[...]

  • Seite 5

    Table of Contents The User Interface: Display, Functions, Pages, and Parameters ..................................30 About the Display..............................................................................................30 Page Buttons.....................................................................................................32 Edi[...]

  • Seite 6

    Table of Contents Pitch LFO ..........................................................................................................76 Filter LFO ..........................................................................................................78 Amp LFO......................................................................................[...]

  • Seite 7

    Table of Contents Storing an Individual Program or Mix.............................................................................122 Loading an Individual Program or Mix ...........................................................................123 Card Storage RAMifications.........................................................................[...]

  • Seite 8

    Setting Up: Chapter 1 C HAPTER 1 S ETTING U P U NPACKING AND I NSPECTION Your QS7/QS8 synthesizer 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 QS for servicing. The shipping carton should contain the fo[...]

  • Seite 9

    Chapter 1: Setting Up L INE C ONDITIONERS AND P ROTECTORS Although the QS is designed to tolerate typical voltage variations, in today’s world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascendi[...]

  • Seite 10

    Setting Up: Chapter 1 The connections between the QS 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 QS correctly [...]

  • Seite 11

    Your First Session: Chapter 2 C HAPTER 2 Y OUR F IRST S ESSION P OWERING U P After making your connections, turn on the system’s power using this procedure: ¿ Before turning on the QS’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 v[...]

  • Seite 12

    Chapter 2: Your First Session The QS 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 rear panel of the QS. Each Bank is broken down into 12 Sound Groups of 10 Programs each, plus a 13th Sound Group with 8 Programs. These group together si[...]

  • Seite 13

    Your First Session: Chapter 2 The QS 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 editing a Program, you will use Program Edit Mode. When you are auditioning Mixes, you will be in Mix Play Mode. When editing a Mix, you will use Mix Edit Mode. J If you ever get lo[...]

  • Seite 14

    Chapter 2: Your First Session S ELECTING THE MIDI C HANNEL IN P ROGRAM M ODE While in Program Play Mode (press [PROGRAM]), the QS can transmit and receive information on any single MIDI channel of the 16 available channels. The currently selected channel appears in the bottom-right corner of the display. PROG PRESET1 ºº GrandPiano Ch01 ≠ Curren[...]

  • Seite 15

    Your First Session: Chapter 2 R EALTIME P ERFORMANCE F UNCTIONS The QS 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 m[...]

  • Seite 16

    Chapter 2: Your First Session sliders (unless the “Controller Mode” function is turned on in page 17 of Global mode; see page 115 for more information). When in Program Edit Mode or Mix Edit Mode, the CONTROLLER [D] slider is used to edit the parameter that appears in the display, and the other three CONTROLLER sliders are disabled. The lower l[...]

  • Seite 17

    Your First Session: Chapter 2 C HOOSING P ROGRAMS IN A M IX 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 se[...]

  • Seite 18

    Chapter 2: Your First Session S TORING AN E DITED M IX 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 sel[...]

  • Seite 19

    Your First Session: Chapter 2 Your QS is an expandable system using the two PCMCIA EXPANSION CARD slots on the back 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 ca[...]

  • Seite 20

    Chapter 2: Your First Session J 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 inser[...]

  • Seite 21

    Connections: Chapter 3 C HAPTER 3 C ONNECTIONS B ASIC MIDI H OOKUP 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 QS has three MIDI connectors which provide the following functions: • MID[...]

  • Seite 22

    Chapter 3: Connections U SING AN E XTERNAL S EQUENCER The QS can generate MIDI signals that are recorded by a sequencer. On playback, the sequencer sends this data back into the QS, which then serves as a multitimbral sound module (in Mix Mode). The sequencer can generate data over several channels; in Mix Mode, the QS can be programmed so that ind[...]

  • Seite 23

    Connections: Chapter 3 The QS 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 two modes, depending on the computer you are using. The mode is selected using the switch dire[...]

  • Seite 24

    Chapter 3: Connections Connect one end of a DIN-8 cable to the QS’s [SERIAL PORT] connector and the other end to either the MODEM serial port or the PRINTER serial port, depending on which one you are using for sequencing. MIDI sequencing software for the Macintosh typically defaults to using the MODEM port, but in actuality can be set to use eit[...]

  • Seite 25

    Connections: Chapter 3 before powering up the QS; on power up, it will automatically sense the footswitch polarity and calibrate itself accordingly. J If your footswitch seems to respond backwards (notes sustain unless the footswitch is pressed), turn off the QS, make sure the footswitch plug is fully inserted into the footswitch jack, then turn th[...]

  • Seite 26

    Chapter 3: Connections Connect a BNC-to-BNC cable (such as the Alesis BN cable) between the BRC’s 48 kHz CLOCK OUT and the QS’s [48 KHZ IN]. Set the Clock function to either Ext 48kHz if the BRC is set to 48kHz, or Ext 44.1k if the BRC is set to 44.1kHz. For more information about the Clock function, see page 119 in Chapter 8. Tip: With this ty[...]

  • Seite 27

    Overview: Chapter 4 C HAPTER 4 O VERVIEW B ASIC A RCHITECTURE The QS contains 16 megabytes of Sound ROM which provide digitized acoustic and electronic samples . These samples are organized into 17 sample groups of different types. The groups are: Piano String Noise Sound FX Chromatic Brass Voice Rhythm Organ Woodwind Ethnic Guitar Synth Drums Bass[...]

  • Seite 28

    Chapter 4: Overview M ODES The QS is always in one of two main modes: Program Play Mode or Mix Play Mode. Pressing [PROGRAM] selects Program Play Mode, while pressing [MIX] selects Mix Play Mode. While in Program Play Mode, you can press [EDIT SELECT] to access Program Edit Mode and Effects Edit Mode. While in Mix Play Mode, pressing [EDIT SELECT] [...]

  • Seite 29

    Overview: Chapter 4 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 [...]

  • Seite 30

    Chapter 4: Overview T HE U SER I NTERFACE : D ISPLAY , F UNCTIONS , P AGES , AND P ARAMETERS The key to the QS user interface is the combination of the Display, the [ PAGE] and [PAGE ] buttons, the [s VALUE] and [VALUE t] buttons and the CONTROLLER [D] slider. The Display constantly informs you of the QS’s status. A BOUT THE D ISPLAY The display [...]

  • Seite 31

    Overview: Chapter 4 When [EDIT SELECT] 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: EDIT MODE PAGE _____________________________ _______ MODE BANK NUMBER ________ ______________ __________ ED:PRG[...]

  • Seite 32

    Chapter 4: Overview P AGE B UTTONS The [ PAGE] and [PAGE ] 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 QS will receive and transmit MIDI messages on. In Mix Play Mode, they are used to select one of t[...]

  • Seite 33

    Overview: Chapter 4 The upper-right section of the display will indicate the currently selected page number. Each page provides a different parameter. The parameter’s name will appear in the bottom section of the display. Press the [PAGE ] button to select the next higher-numbered page, and [ PAGE] to select the next lower- numbered page. Press b[...]

  • Seite 34

    Chapter 4: Overview 30 SELECT SOUND 4 SELECT SOUND 4 SELECT CHANNEL 14 SELECT SEND 4 40 VOICE VOICE SELECT CHANNEL 15 CONFIGURATIO N 50 LEVEL LEVEL SELECT CHANNEL 16 EQ 60 PITCH PITCH LEVEL MOD 70 FILTER FILTER PITCH LEZLIE 80 AMP/RANGE AMP/RANGE EFFECT PITCH 90 PITCH ENVELOPE - - - - - KEYBOARD/MID I DELAY 100 FILTER ENVELOPE - - - - - CONTROLLERS[...]

  • Seite 35

    Overview: Chapter 4 C OMPARING E DITED AND S TORED V ERSIONS 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 [...]

  • Seite 36

    Chapter 4: Overview The [STORE] button selects Store mode. Store mode has 7 pages which you can scroll through by using the [ PAGE] and [PAGE ] 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 pag[...]

  • Seite 37

    Overview: Chapter 4 C OPYING S OUNDS B ETWEEN P ROGRAMS 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. ¿ Press [PROGR[...]

  • Seite 38

    Chapter 4: Overview T O A UDITION P ROGRAMS B EFORE S TORING 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 ed[...]

  • Seite 39

    Overview: Chapter 4 To audition Programs before overwriting them with STORE …when editing a Program in Mix Play Mode: ¿ While in Mix Program Edit mode, press [PROGRAM]. This selects Program Play Mode, retaining your edits to the Program in Mix Edit. ¡ Use the [ BANK] and [BANK ] buttons to select the User Bank. If a RAM card is inserted, use th[...]

  • Seite 40

    Editing Mixes: Chapter 5 QS7/QS8 Reference Manual 39 C HAPTER 5 E DITING M IXES W HAT IS A M IX ? Mix Mode is one of the most powerful features of the QS. 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 [...]

  • Seite 41

    Chapter 5: Editing Mixes 40 QS7/QS8 Reference Manual Once in Mix Edit Mode, use the [ 0 ] - [ 9 ] and [ 00 ] - [ 50 ] buttons to select a MIDI channel to edit (1 – 16). Use the [ 60 ] – [ 120 ] buttons to select a Function Group (Level, Pitch, Effect, etc.) If a Function Group has more than one parameter, use the [ ▲ PAGE ] and [ PAGE ▲ ] b[...]

  • Seite 42

    Editing Mixes: Chapter 5 QS7/QS8 Reference Manual 41 Program into the User Bank. If you select another Mix before storing, your changes will be lost. L EVEL S ETTING FOR E ACH P ROGRAM The Level function (press [ 60 ]) of Mix Edit is used to control several parameters that deal with the audio output of the selected channel. Parameters in the Level [...]

  • Seite 43

    Chapter 5: Editing Mixes 42 QS7/QS8 Reference Manual[...]

  • Seite 44

    Editing Mixes: Chapter 5 QS7/QS8 Reference Manual 43 P ITCH The Pitch function (press [ 70 ]) lets you transpose a channel’s Program in either semitone or octave increments. Tune Octave (-2 to +2 octaves) Page 1 This transposes the Program’s pitch in octave (12 semitones) steps from -2 (transposed down 2 octaves) to +2 (transposed up two octave[...]

  • Seite 45

    Chapter 5: Editing Mixes 44 QS7/QS8 Reference Manual C ONTROLLERS The Controllers function (press [ 100 ]) 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 [...]

  • Seite 46

    Editing Mixes: Chapter 5 QS7/QS8 Reference Manual 45 S ETTING THE R ANGE AND MIDI S WITCHES The Range function (press [ 110 ]) 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)[...]

  • Seite 47

    Chapter 5: Editing Mixes 46 QS7/QS8 Reference Manual P OLYPHONY IN M IX P LAY M ODE The QS 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...[...]

  • Seite 48

    Editing Mixes: Chapter 5 QS7/QS8 Reference Manual 47 CH SOLO. In this mode, the only sounds coming from the QS, and the only MIDI Out messages, will come from the MIDI channel in the display which is selected by using the [ ▲ PAGE ] and [ PAGE ▲ ] buttons. This allows you to isolate individual channels in a Mix. So, if you play in a range of th[...]

  • Seite 49

    Editing Programs: Chapter 6 C HAPTER 6 E DITING P ROGRAMS O VERVIEW 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 manua[...]

  • Seite 50

    Chapter 6: Editing Programs H OW THE QS G ENERATES S OUND The QS uses custom integrated circuits, developed by the Alesis engineering team specifically for the QS. These resemble the types of chips used in computers and other digital devices. In fact, you can think of the QS as a special-purpose computer designed to generate and process audio. Alth[...]

  • Seite 51

    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[...]

  • Seite 52

    Chapter 6: Editing Programs V OICE 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, keyboa[...]

  • Seite 53

    Editing Programs: Chapter 6 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[...]

  • Seite 54

    Chapter 6: Editing Programs LFO (L OW F REQUENCY O SCILLATOR ) 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 [...]

  • Seite 55

    Editing Programs: Chapter 6 D RUM M ODE 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 Misc. Function (see last section of this chapter). Note that Drum Mode isn’t the only way to hear drums or percussion from a Program. In Standard mode, if you select a kit (such as “Rock Kit 1[...]

  • Seite 56

    Chapter 6: Editing Programs P ROGRAM E DIT F UNCTIONS To edit a Program you must select Program Edit mode. This is done by pressing the [EDIT SELECT] once from Program Play Mode (each time you press [EDIT SELECT] in Program Mode, the display cycles between Program Edit and Effects Edit Modes). When editing a Program in Program Mode, the letters “[...]

  • Seite 57

    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 samp[...]

  • Seite 58

    Chapter 6: Editing Programs Wave Pure Sine, 10% Pulse, 20% Pulse, 50% Pulse, Velo Pulse, Mini Saw, Saw Fltr 1, Saw Fltr 2, Saw Fltr 3, Saw Fltr 4, Saw Fltr 5, Saw Fltr 6, Saw Fltr 7, RezSaw UK, RezSaw USA, Acid Saw, Velo Saw 1, Velo Saw 2, Velo Saw 3, Velo Saw 4, Velo Saw 5, Velo Saw 6, AcidRezSqr, VelAcidWav, MiniSquare, Sqr Fltr 1, Sqr Fltr 2, Ve[...]

  • Seite 59

    Editing Programs: Chapter 6 L EVEL The Level function (press [40]) 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. Volume (00 to 99) Page 1 This sets the overall v[...]

  • Seite 60

    Chapter 6: Editing Programs P ITCH The Pitch function (press [60]) lets you control the pitch aspects of each sound layer. Semitone (-24 to +24 semitones) Page 1 Sets the oscillator pitch in semitone steps, from -24 (transposed down two octaves) to +24 (transposed up two octaves). Detune (-99 to +99 cents) Page 2 Sets the oscillator pitch in cents,[...]

  • Seite 61

    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 gr[...]

  • Seite 62

    Chapter 6: Editing Programs F ILTER The Filter function (press [70]) lets you control the tone of each sound layer. Filter Frequency (00 to 99) Page 1 This sets the filter's initial cutoff frequency. Lower values give a duller sound since this removes more harmonics; higher values let through more harmonics, which gives a brighter sound. TIP: [...]

  • Seite 63

    Editing Programs: Chapter 6 Modulation Wheel Depth (-99 to +99) Page 4 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[...]

  • Seite 64

    Chapter 6: Editing Programs A MP /R ANGE The Amp/Range function (press [80]) lets you control the velocity and keyboard range of each sound layer. Velocity Curve (13 choices) Page 1 This selects how the sound will respond to the dynamics of your playing the keyboard. A LINEAR curve is the norm, whereby the increase in level is equal to the increase[...]

  • Seite 65

    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 instea[...]

  • Seite 66

    Chapter 6: Editing Programs Sound Overlap (00 to 99) Page 6 This determines how many voices can overlap on the same pitch. Example: If you hold the sustain pedal down and play the same note over and over, Sound Overlap determines how many voices are available for that note, and thus how many voices will overlap (play simultaneously). In the old day[...]

  • Seite 67

    Editing Programs: Chapter 6 PITCH ENVELOPE The Pitch Envelope function (press [90]) can lead to dramatic effects, since it can cause the pitch of a single key to change drastically over time. It’s typically used in special-effect synthesizer programs, but it may also be used more subtly in an acoustic program to simulate the characteristic of som[...]

  • Seite 68

    Chapter 6: Editing Programs Delay (00 to 99, Hold) Page 5 This is the amount of time that the envelope will wait before doing anything; very useful if you want to affect one element of a sound sometime after the sound starts. When the Delay is set to 0, the envelope attacks right away, without any delay. Play some notes while turning up the delay a[...]

  • Seite 69

    Editing Programs: Chapter 6 Sustain Pedal (On or Off) Page 9 This determines whether or not the Sustain Pedal will have an effect on the envelope. When turned on, holding down the Sustain Pedal while playing short notes is virtually the equivalent to holding down those notes on the keyboard with some subtle but important differences. If the Delay a[...]

  • Seite 70

    Chapter 6: Editing Programs F ILTER E NVELOPE The Filter Envelope function (press [100]) is crucial whenever you want the tonal quality of a note to change over time, differently from its overall level. Example: When you want the initial attack of a note to be bright, but want the sustaining part to be filtered. J The following Filter Envelope vari[...]

  • Seite 71

    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[...]

  • Seite 72

    Chapter 6: Editing Programs 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 a[...]

  • Seite 73

    Editing Programs: Chapter 6 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 pea[...]

  • Seite 74

    Chapter 6: Editing Programs Time Tracking (On or Off) Page 8 This determines whether or not keyboard position will affect the cycle speed of the envelope. When turned on, playing toward the higher end of the keyboard will result in a faster envelope cycle; playing toward the lower end of the keyboard will result in a slower envelope cycle. However,[...]

  • Seite 75

    Editing Programs: Chapter 6 M OD 1 – M OD 6 About General Purpose Modulation Although there are several dedicated modulators in the QS (e.g., the pitch can always be modulated by the pitch LFO and Pitch Envelope), sophisticated synthesizer programming demands the ability to use as many modulation sources as possible to modulate as many modulation[...]

  • Seite 76

    Chapter 6: Editing Programs 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. Although the QS keyboard does not generate poly pressure, the sound gen[...]

  • Seite 77

    Editing Programs: Chapter 6 • Controllers (A, B, C, D) Four incoming MIDI controllers can be recognized by the QS and used as modulation sources. These controllers are assigned as A–D in Global Mode (see Chapter 8). In Program Play and Mix Play Modes, the CONTROLLER [A], [B], [C] and [D] sliders can be used to control Controllers A– D directl[...]

  • Seite 78

    Chapter 6: Editing Programs P ITCH LFO The Pitch LFO function (press [7]) 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 6 of the PITCH function) is set to a value other than 0, or, if the Pitch LFO is a source in the MOD function. Wave (8 [...]

  • Seite 79

    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 wh[...]

  • Seite 80

    Chapter 6: Editing Programs 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. F ILTER LFO The Filter LFO function (press [7]) is most of[...]

  • Seite 81

    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 [...]

  • Seite 82

    Chapter 6: Editing Programs 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 s[...]

  • Seite 83

    Editing Programs: Chapter 6 to “Pitch” and the Tracking Generator’s input is an LFO using an “Up Sawtooth” as its waveform. 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 ot[...]

  • Seite 84

    Chapter 6: Editing Programs P ROGRAMMING D RUM S OUNDS 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). The [0] – [9] buttons are used to select a Drum (1–10), regardless of which Function or Page is selected (except Effect, Name and [...]

  • Seite 85

    Editing Programs: Chapter 6 Wave High Sine, Mid Sine, Low Sine, HiWhitNoiz, MidWhtNoiz, LowWhtNoiz, HiSpectral, LoSpectral, HiCrickets, LoCrickets, Inharm 1, Inharm 2, High Saw, Low Saw, High Pulse, Low Pulse, Hi AcidRez, LowAcidRez, Metal Wave, HiMetlMute, LoMetlMute, Hi DistGtr, LowDistGtr, Hi PwrHarm, LowPwrHarm, Hi FunkGtr, LowFunkGtr, Hi MuteG[...]

  • Seite 86

    Chapter 6: Editing Programs result in a duller sound (less high frequencies). When this parameter is set to 0, velocity will have no affect on the filter. A MP /R ANGE Velocity Curve (13 choices) Page 1 Page 1 of the Amp/Range function (press [80]) lets you select one of 13 velocity curves. This determines how the drum will respond to the dynamics [...]

  • Seite 87

    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 recen[...]

  • Seite 88

    Chapter 6: Editing Programs √ Press [s VALUE] four times to select “EFFECT”, which is the Effects Patch in the currently selected Program to copy from. ƒ Press [PAGE ] to advance the cursor to the lower line of the display. ≈ Use the [s VALUE] and [VALUE t] buttons to select which Program (0–127) to copy to. When selecting another Progra[...]

  • Seite 89

    Editing Effects: Chapter 7 C HAPTER 7 E DITING E FFECTS A BOUT S IGNAL P ROCESSING The built-in effects processor of the QS is similar to that of the Alesis QuadraVerb 2, capable of generating multiple, fully digital effects simultaneously. The QS effects processor has four inputs, called effect sends. You might think of these as the typical post-f[...]

  • Seite 90

    Chapter 7: Editing Effects S ELECTING AN E FFECTS P ATCH IN M IX M ODE 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 Pat[...]

  • Seite 91

    Editing Effects: Chapter 7 The Effects Patches themselves are not edited in Program Edit Mode or Mix Edit Mode, but (could you guess it?) Effects Edit Mode. You can enter Effects Edit Mode from Program Mode by pressing the [EDIT SELECT] button twice, or until the display looks something like this: ED:PRG EFFECTS π å CONFIG: 1 REVERB In Program Mo[...]

  • Seite 92

    Chapter 7: Editing Effects S TORING E FFECT P ATCHES I N P ROGRAM M ODE 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 a “*” next to the Program’s name (if in Program Mode; when editing the Effect Patch in M[...]

  • Seite 93

    Editing Effects: Chapter 7 C ONFIGURATIONS 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[...]

  • Seite 94

    Chapter 7: Editing Effects C ONFIGURATION #1: 1 R EVERB Pitch 1 Delay 1 Reverb 1 Mono chorus Mono delay Plate 1 Stereo chorus Stereo delay Plate 2 Mono flange Ping-pong delay Room Stereo flange Hall Pitch detune Large Resonator Gate Reverse Pitch 2 Delay 2 Reverb 2 Mono chorus Mono delay Balance and level to Reverb 1 Stereo chorus Stereo delay Mono[...]

  • Seite 95

    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[...]

  • Seite 96

    Chapter 7: Editing Effects C ONFIGURATION #2: 2 R EVERBS Delay 1 Pitch 1 Reverb 1 Mono delay Mono chorus Plate 1 Stereo chorus Plate 2 Room Hall Large Gate Reverse Reverb 2 Level to Reverb 1 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 [...]

  • Seite 97

    Editing Effects: Chapter 7 C ONFIGURATION #3: L EZLIE AND R EVERB Pitch 1 Delay 1 Reverb 1 Lezlie Mono delay Plate 1 Plate 2 Hall Room Hall Large Gate Reverse Pitch 2 Delay 2 Reverb 2 Mono chorus Mono delay Balance and level to Reverb 1 Stereo chorus Stereo delay Mono flange Ping-pong delay Stereo flange Pitch detune Resonator Pitch 3 Delay 3 Rever[...]

  • Seite 98

    Chapter 7: Editing Effects C ONFIGURATION #4: R EVERB AND EQ Pitch 1 Delay 1 Reverb 1 Mono chorus Mono delay Plate 1 Stereo chorus Stereo delay Plate 2 Mono flange Ping-Pong delay Room Stereo flange Hall Pitch detune Large Resonator Gate Reverse Pitch 2 Delay 2 Reverb 2 Mono chorus Mono delay Balance and level Stereo chorus Stereo delay to Reverb 1[...]

  • Seite 99

    Editing Effects: Chapter 7 C ONFIGURATION #5: O VERDRIVE AND L EZLIE Pitch 1 Delay 1 Reverb 1 Mono chorus Mono delay Plate 1 Mono flange Stereo delay Plate 2 Resonator Ping-Pong delay Room Hall Large Gate Reverse This is an “all-for-one” Configuration. You get six effects all at once, and they are all found in the Send 1 section. Send 1 feeds t[...]

  • Seite 100

    Chapter 7: Editing Effects 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 Boos[...]

  • Seite 101

    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[...]

  • Seite 102

    Chapter 7: Editing Effects L EZLIE 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 [...]

  • Seite 103

    Editing Effects: Chapter 7 P ITCH 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 d[...]

  • Seite 104

    Chapter 7: Editing Effects 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 dramati[...]

  • Seite 105

    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. A[...]

  • Seite 106

    Chapter 7: Editing Effects 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. [...]

  • Seite 107

    Editing Effects: Chapter 7 D ELAY The Delay function is used to edit Delay parameters. The QS’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 show[...]

  • Seite 108

    Chapter 7: Editing Effects R EVERB 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 ref[...]

  • Seite 109

    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: ED:MIX FX SND1 π å RVB CHRin LEV:08 The Configuration has two Reverbs, one on send 1 (which send 2 can sha[...]

  • Seite 110

    Chapter 7: Editing Effects R EVERB P ARAMETERS Use the [PAGE ] button 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[...]

  • Seite 111

    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 F[...]

  • Seite 112

    Chapter 7: Editing Effects O VERDRIVE The Overdrive effect provides four parameters spread across four editing pages. It is only used in Configuration #5. Overdrive Type (Hard or Soft) Page 1 This selects one of two Overdrive Types: Soft and Hard. The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive. Also, [...]

  • Seite 113

    Editing Effects: Chapter 7 M IX Not to be confused with an actual Mix or Mix mode, the Effect’s Mix function is where you can mix the various signal levels of all the effects to the Main Left and Right outputs of the QS. 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 [...]

  • Seite 114

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 112 112 C HAPTER 8 G LOBAL S ETTINGS 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. E DITING G LOBAL P ARAMETERS To select Global Edit Mode, follow these steps: ➀ Press the [ ED[...]

  • Seite 115

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 113 113 K EYBOARD S CALING Page 4 Page 4 of Global Edit mode lets you adjust how sensitive the keyboardÕs velocity will be (00 to 99). When set to 0, the keyboard will have the greatest dynamic range, but loud notes will be more difficult to play. When set for 99, the opposite is true: loud notes[...]

  • Seite 116

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 114 114 G ENERAL MIDI M ODE Page 7 Page 7 of Global Edit Mode lets you enable and disable General MIDI Mode. If this parameter is turned on, you will immediately be taken out of Global Edit Mode and into Mix Mode, and Mix 00 of Preset Bank 4 will automatically be selected. For more information abo[...]

  • Seite 117

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 115 115 Likewise, if either Pedal is assigned to Controller 1, then they will automatically function like the Modulation Wheel for any Sound in Program Play Mode, and in Mix Play Mode, Sounds that are controlled by the Keyboard and have Pedals turned on. This is in addition to the fact that the pe[...]

  • Seite 118

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 116 116 Note: Bank change messages will be ignored if General MIDI Mode is enabled, so that only Programs within the General MIDI Bank (GenMIDI) can be recalled via MIDI Program changes. If the MIDI Program Select parameter is ÒOnÓ and a new Bank is selected using the [ ▲ BANK ] and [ BANK ▲[...]

  • Seite 119

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 117 117 MIDI O UT Page 16 The MIDI Out Mode determines whether the MIDI [ OUTPUT ] connector will transmit MIDI information originating from the QS (when set to Ò OUT Ó), or will ÒechoÓ MIDI information that is received at the MIDI [ INPUT ] connector (when set to Ò THRU Ó). If the I/O param[...]

  • Seite 120

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 118 118 C LOCK P AGE 19 The Clock function, found on Page 18 of Global Edit Mode, determines the sample clock rate the QS will use. Normally the QS uses its own internal clock to determine the actual number of samples per second. Remember, the sounds in the QS are based on digital recordings. Thes[...]

  • Seite 121

    Global Settings: Chapter 8 QS7/QS8 Reference Manual 119 119[...]

  • Seite 122

    MIDI Transfer and Storage Operations: Chapter 9 C HAPTER 9 MIDI T RANSFER A ND S TORAGE O PERATIONS U SING PCMCIA E XPANSION C ARDS The QS provides two PCMCIA EXPANSION CARD slots, [A] or [B], which are found on the rear panel. These accomodate Alesis QCard RAM cards. The QCard is a type of PCMCIA SRAM or FlashRAM card; it has 256K of memory and wi[...]

  • Seite 123

    Chapter 9: MIDI Transfer and Storage Operations L OADING A B ANK FROM AN E XTERNAL C ARD The QS can read data directly from a card by using the [ BANK] and [BANK ] buttons. To overwrite the User bank with a Card bank, use this procedure: ¿ Insert the card into the card slot on the back panel. ¡ Press [STORE]. ¬ Press [ PAGE] once to select Page [...]

  • Seite 124

    MIDI Transfer and Storage Operations: Chapter 9 L OADING AN I NDIVIDUAL P ROGRAM OR M IX 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 describ[...]

  • Seite 125

    Chapter 9: MIDI Transfer and Storage Operations S AVING P ROGRAMS VIA MIDI S YS E X As an alternative to storing data to a card, the QS 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 QS or S4. You have a choice of sending any single[...]

  • Seite 126

    MIDI Transfer and Storage Operations: Chapter 9 To send a single Program via MIDI to a different Program number: ¿ Follow steps ¿ through ¬ in the instructions above. ¡ Press [PAGE ] to advance the cursor to the lower section of the display. ¬ Use the CONTROLLER [D] slider to select a Program number to send the Program to. √ Press [STORE] to[...]

  • Seite 127

    Troubleshooting: Appendix A A PPENDIX A T ROUBLE -S HOOTING T ROUBLE -S HOOTING I NDEX If you are experience problems while operating the QS, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance. Symptom Cause Solution The display does not light when the ON/OFF switch is tur[...]

  • Seite 128

    Appendix A: Troubleshooting M AINTENANCE /S ERVICE C LEANING 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. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN [...]

  • Seite 129

    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[...]

  • Seite 130

    [...]

  • Seite 131

    MIDI Supplement: Appendix B A PPENDIX B MIDI S UPPLEMENT MIDI B ASICS Most current electronic instruments and signal processors, including the QS, 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,[...]

  • Seite 132

    Appendix B: MIDI Supplement MIDI M ESSAGE B ASICS 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. C HANNEL M ESSAGES : M ODE M E[...]

  • Seite 133

    MIDI Supplement: Appendix B Each type of controller is stamped with its own controller identification number. Not all controller numbers have been standardized for specific functions, but the following indicates the current list of assigned controllers. Numbers in parenthesis indicate the controller range. # Function 1 Modulation Wheel (0-127) 2 Br[...]

  • Seite 134

    Appendix B: MIDI Supplement S YSTEM C OMMON M ESSAGES 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-[...]

  • Seite 135

    MIDI Supplement: Appendix B There are three MIDI registered parameters which the QS 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 Mi[...]

  • Seite 136

    MIDI Implementation Chart MIDI IMPLEMENTATION CHART Function Transmitted Recognized Remarks Basic Channel Default Changed 1 — 16 1 — 16 each 1 — 16 1 — 16 each Memorized Mode Default Messages Altered Mode 3 X * * * * * * * * Mode 3 X Note Number True Voice 0 — 127 * * * * * * * * 0 — 127 0 — 127 Velocity Note On Note Off O O O O After[...]

  • Seite 137

    Parameters Index: Appendix C APPENDIX C: P ARAMETERS I NDEX P ROGRAM E DIT P ARAMETERS Parameter Function Display Page Page in Manual Aftertouch Depth: Amp Amp/Range 2 58 Aftertouch Depth: ALFO Amp LFO 7 76 Aftertouch Depth: Filter Filter 5 57 Aftertouch Depth: FLFO Filter LFO 7 75 Aftertouch Depth: Pitch Pitch 5 54 Aftertouch Depth: PLFO Pitch LFO[...]

  • Seite 138

    Appendix C: Parameters Index Parameter Function Page Page in Manual Modulation: Gate Mode Mod 1 – 3 4 71 Modulation Level Mod 1 – 6 3 71 Modulation: Quantize Mode Mod 4 – 6 4 71 Modulation Source Mod 1 – 6 1 69 Name (Program) Name 1 – 10 68 Output Level 3 53 Pan Level 2 53 Pitch ENV Depth Pitch 7 54 Pitch ENV Level Pitch ENV 10 63 Pitch E[...]

  • Seite 139

    Parameters Index: Appendix C Parameter Function Page Page in Manual Velocity Curve/Crossfade Amp/Range 1 58 Sound Group Voice 3 51 Sound Name Voice 4 51 Sound Volume Level 1 53 M IX E DIT P ARAMETERS Parameter Function Display Page Page in Manual Aftertouch Controllers 2 39 Controllers A–D Controllers 4 39 Effect Channel Effect 2 38 Effect MIDI E[...]

  • Seite 140

    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 [...]

  • Seite 141

    Index 142 QS7/QS8 Reference Manual[...]