Alesis QS8.1, QS7.1 User Manual
ALESIS
QS7.1 and QS8.1
Reference Manual
INTRODUCTION
Thank you for purchasing an Alesis QS7.1/QS8.1 64-Voice Expandable Synthesizer.
It’s a powerful instrument and we’re sure you will find it exciting to use. The more
you know about it the more you’ll be able to do, so we recommend that you make
good use of this manual.
But most importantly, don’t forget to have fun! (There’s a good reason they call
what musicians do playing.)
HOW TO USE THIS MANUAL
No manual can cover the needs of all musicians. There are simply too many of you,
and your needs are too different. But we’ve tried to make this a document that will
teach you what you need to know while encouraging you to explore new and
interesting territory.
It is divided into eleven parts. How many of these sections you need to read will
depend on what you want to do with your QS.
Part 1: SETUP & CONNECTIONS covers how to hook up your QS so it can be turned
on and played. This section also contains useful audio basics, some tips on wiring
and power, and directions for connecting your QS to other MIDI gear.
Part 2: OVERVIEW introduces the front panel controls and LCD, along with the
terms and internal structures that every QS owner ought to know. Here is where
you’ll learn what all the buttons do, and how the sounds are organized. This
chapter also covers the Card expansion options you have available.
Part 3: FIRST SESSION starts you playing.
Part 4: BASIC OPERATION takes everything in the First Session one step further.
After covering this material you’ll be a QS performance wizard, fully versed in
how to use the instrument’s Programs and Mixes and how to change Global settings.
It’ll also take you through the basics of using the [STORE] button to save your
edits, how to go about naming them, and the procedures for playing back sequences
from a card.
Part 5: MIDI is for players who want to use their QS for MIDI performance and
sequencing. Because it’s relevant, you’ll also find a little here about the very top
level of Mix editing. Sys-ex transfer operations are also covered in this section.
Part 6: EDITING EFFECTS will show you how to modify the the matrix of effects
processors that are built into your QS. This is useful to know even if all you want to
do is “play the presets,” because even if you love a particular sound you might find
that its current processing doesn’t quite fit in with your music. Need to lengthen or
shorten a Program’s reverb time? Extend a delay? Make an echo louder? Or maybe
even shut the effects completely off, so you can run a raw signal into your mixing
deck or external effects processor? This is where you’ll find the answers.
QS7.1/QS8.1 Reference Manual 1
Contents
Part 7: EDITING MIXES takes you to the next level of editing power, showing you
how to change the preset Mixes and put together new ones of your own. It also
explains the parameters which give the QS its strength as a master MIDI
keyboard.
Part 8: EDITING PROGRAMS gets deep into the instrument. If you are interested in
pushing the QS synthesis engine to the max — and it’s a powerful engine, it really
is — then you’ll want to study this section very closely.
Part 9: EXTRAS includes all sorts of fun and useful information that doesn’t fit
neatly into the other sections. This is where to look for discussion of RAMcards,
Sound Bridge, the QS CD-ROM, and other things of general interest.
Part 10: APPENDICES contains reference material on service and maintenance,
troubleshooting, and the QS’s MIDI Implementation.
Part 11: Index lists some key parameters and concepts alphabetically, along with
the page numbers on which you will find the most information about the item you
are researching.
MANUAL CONVENTIONS
All buttons, knobs, and switches on the QS are referred to in bracketed capital
letters that match the instrument’s actual markings. Here are some examples:
[PROGRAM] means the button to the right of the LCD that says “PROGRAM” on it.
[ PAGE] and [PAGE ] refer to the two buttons on the left of the LCD that have
left-and-right cursors on them.
[CONTROLLER D] is the slider on the right side of the slider grouping, with “D”
printed underneath.
[00 PIANO] refers to the leftmost button in the top row of numbered buttons.
Sometimes this will be shorthanded as [00], depending on what’s being discussed.
[PITCH] is the control wheel at the left side of the instrument.
And [SUS PEDAL] is the rear panel jack you’d plug your sustain pedal into.
2 QS7.1/QS8.1 Reference Manual
Unpacking and Inspection
The shipping carton for your QS should contain the following items:
• QS (with the same serial number as shown on the shipping carton)
• Sustain pedal
• AC Power Cable
• Computer CD-ROM containing software
• This instruction manual, plus Mix and Program lists and a Quick Start guide
• Alesis warranty card
If you haven’t filled out your warranty card and mailed it back to us, please take
the time to do so. This will help us give you the best support we possibly can.✪
QS7.1/QS8.1 Reference Manual 3
Table of Contents
CONTENTS
Part 1: SETUP & CONNECTIONS .........................................................9
AC Power...............................................................................................................9
Audio....................................................................................................................10
MIDI.....................................................................................................................12
Direct Computer Link.............................................................................................14
Pedal and Footswitch Hookup................................................................................16
Digital Audio/Optical Hookup..............................................................................16
48 kHz Input..........................................................................................................17
Part 2: OVERVIEW ............................................................................19
A Quick Tour Of The Front Panel.............................................................................19
Programs, Mixes, And Banks...................................................................................24
The Performance Controls.......................................................................................26
PCMCIA Expansion Cards......................................................................................28
Part 3: FIRST SESSION ......................................................................29
Powering Up..........................................................................................................29
Playing the Demo Sequences...................................................................................29
Playing Programs...................................................................................................30
Playing Mixes........................................................................................................31
The Performance Controls, Pt. II..............................................................................33
Transposing The Keyboard.........................................................................33
Performance Transposition Chart................................................................34
Part 4: BASIC OPERATION.................................................................35
Recap....................................................................................................................35
The Double-Button Press Trick................................................................................35
Copying Existing Programs And Mixes To A New Location In The User Bank.............36
…Or To A New Location On A Card Bank................................................................36
Changing The Programs In A Mix............................................................................37
Storing Altered Mixes To The User Bank (Or To A Card)..........................................37
Storing Altered Programs To The User Bank (Or To A Card).....................................37
Changing The Name Of A Program Or Mix..............................................................38
Compare Mode.......................................................................................................38
Playing Sequences From A Card..............................................................................39
The Global Settings (And How To Change Them)....................................................40
Part 5: MIDI .....................................................................................49
The Power of Mix Mode..........................................................................................49
Using an External Sequencer....................................................................................50
Program Assign for each MIDI Channel...................................................................52
Sending and Receiving Bank Select Messages..........................................................52
Using the QS6.1 as a Master Keyboard....................................................................54
Saving Programs via MIDI Sys Ex...........................................................................58
Editing Programs via MIDI Sys Ex..........................................................................59
Part 6:
EDITING EFFECTS ..................................................................61
Basic Info...............................................................................................................61
Entering Effects Edit Mode From Program Mode.......................................................62
Entering Effects Edit Mode From Mix Mode..............................................................62
Navigating In Effects Edit Mode.............................................................................63
Selecting From Among The Available Effects Patches In A Mix....................63
The “FX Program Change via MIDI” function..............................................64
How The Display Changes When You Alter An Effect.............................................65
QS7.1/QS8.1 Reference Manual 5
Table of Contents
Storing Effect Patches In Program Mode..................................................................65
Storing Effect Patches in Mix Mode.........................................................................65
Copying Effects From One Program To Another........................................................66
Keeping Track: The Interaction Of Effects, Programs, And Mixes..............................67
Picking An Effect Configuration..............................................................................67
Configuration #1: 1 REVERB...................................................................................68
Configuration #2: 2 REVERBS.................................................................................70
Configuration #3: LEZLIE+REVERB.......................................................................72
Configuration #4: 1 REVERB+EQ............................................................................73
Configuration #5: OVERDRIVE+LEZLIE................................................................74
Routing Sounds or Programs Through The Effects Only.............................................75
Setting Effect Send Levels......................................................................................76
If The Send Inputs Clip...........................................................................................76
[00] to [30] —Effect Sends 1 - 4................................................................................76
EQ.........................................................................................................................77
Mod.......................................................................................................................78
Lezlie....................................................................................................................81
Pitch.....................................................................................................................83
Delay....................................................................................................................89
Reverb ..................................................................................................................90
Overdrive..............................................................................................................96
Effect Mix..............................................................................................................97
Part 7: Editing Mixes........................................................................99
What is a Mix?......................................................................................................99
Polyphony in Mix Play Mode..................................................................................99
Program Assign for each MIDI Channel...................................................................99
Mix Edit Mode.......................................................................................................100
Understanding the Edit Buffers..............................................................................101
Level Setting for Each Program...............................................................................102
Pitch.....................................................................................................................103
Effect.....................................................................................................................103
Keyboard/MIDI.....................................................................................................104
Controllers.............................................................................................................105
Setting the Range...................................................................................................106
Naming a Mix........................................................................................................106
Part 8: Editing Programs……………………………………………………………………………..107
Overview..............................................................................................................107
The “Normalized” Synth Voice..............................................................................107
How the QS6.1 Generates Sound.............................................................................108
Program Sound Layers............................................................................................108
QS6.1 Signal Flow..................................................................................................109
About Modulation..................................................................................................111
About Signal Processing..........................................................................................112
Drum Mode............................................................................................................113
Storing Your Edited Programs.................................................................................114
Program Edit Functions...........................................................................................115
Voice.........................................................................................................116
Muting and Unmuting Sounds..........................................................116
Level.........................................................................................................119
Pitch.........................................................................................................120
Filter.........................................................................................................123
Amp/Range...............................................................................................126
Pitch Envelope...........................................................................................130
Filter Envelope..........................................................................................133
Amp Envelope............................................................................................136
6 QS7.1/QS8.1 Reference Manual
Table of Contents
Name........................................................................................................138
Mod 1 – Mod 6.............................................................................................139
Pitch LFO..................................................................................................144
Filter LFO.................................................................................................146
Amp LFO...................................................................................................147
Tracking Generator.....................................................................................149
Programming Drum Sounds in Drum Mode................................................................151
Voice.........................................................................................................151
Level.........................................................................................................153
Pitch.........................................................................................................153
Filter.........................................................................................................154
Amp/Range...............................................................................................154
Amp Envelope............................................................................................155
Mute Group....................................................................................155
Special Programming Functions...............................................................................156
Copying Sounds..........................................................................................156
To Audition Programs Before Storing...........................................................157
Part 9: Extras…………………………………………………………………………………………………159
A Word About the QS CD-ROM..............................................................................159
Sound Bridge™..........................................................................................159
Using PCMCIA Expansion Cards.............................................................................160
Saving the User Bank to a PCMCIA Card....................................................160
Loading a Bank from an External Card........................................................161
Storing an Individual Program or Mix .........................................................162
Loading an Individual Program or Mix........................................................162
Card Storage Ramifications...................................................................................163
More about SRAM Cards.............................................................................164
SRAM Cards and Mix Mode........................................................................164
Part 10: Appendices…………………………………………………………………………………….165
Appendix A...........................................................................................................165
Troubleshooting.........................................................................................165
Recovering From A “Crash”............................................................166
Re-initializing..............................................................................166
Checking The Software Version......................................................167
Maintenance/Service.................................................................................167
Cleaning your QS6.1.......................................................................167
Preventative Maintenance..............................................................167
Refer All Servicing to Alesis..........................................................167
Obtaining Repair Service...............................................................168
Appendix B: MIDI Supplement...............................................................................169
MIDI Basics...............................................................................................169
MIDI Hardware.........................................................................................169
MIDI Message Basics..................................................................................170
Channel Messages: Mode Messages.................................................170
Channel Messages: Voice Messages.................................................170
Continuous Controllers List.............................................................171
System Common Messages...............................................................172
General MIDI.............................................................................................172
MIDI Implementation Chart......................................................................174
Appendix C: Parameters Index................................................................................175
Program Edit Parameters............................................................................175
Mix Edit Parameters..................................................................................177
Part 11: Index………………………………………………………………………………………………179
QS7.1/QS8.1 Reference Manual 7
Table of Contents
8 QS7.1/QS8.1 Reference Manual
Setup & Connections: Part 1
PART 1
SETUP & CONNECTIONS
AC POWER
HOOKUP
Your QS7.1/QS8.1 is set to work with the voltage of the country to which it was
shipped (either 110 or 220V, 50 or 60 Hz) and comes equipped with the appropriate
power cable.
Hooking that cable up is simple.
• Make sure your QS is turned off.
• Plug the female (jack) end of the power cable into the QS’s power socket.
• Plug the male (plug) end into a source of AC power. It’s good practice not to turn
the QS on until all other cables are hooked up.
The IEC-spec power cable included with your QS is designed to connect to an outlet with
three holes, the third of which — the round one — is the ground connection. This
connection is an important safety feature: it keeps the QS’s chassis at ground potential,
preventing accidental shocks.
Unfortunately, not all three-hole sockets are properly grounded. We recommend that
you use an AC line tester to check the ground connection on any socket you may use, just to
be on the safe side. If you find an ungrounded outlet, consult with a licensed electrician
about getting the problem fixed.
Avoid using ungrounded outlets. Plugging the QS into an ungrounded outlet can be
✪
✪
hazardous. The same goes for “lifting” the unit off ground by using a three-to-two
plug adapter. Don’t do it!
Alesis cannot be responsible for any problems that might be caused by using the
QS with improper AC wiring.
LINE CONDITIONERS AND PROTECTORS
The power coming through some AC lines contains voltage surges, spikes, or transients
that can stress your gear, causing failure or malfunctions. Although the QS is designed
to tolerate typical voltage variations, it isn’t invulnerable. So if the power in your area
is particularly bad (or if you are out playing live gigs) you will probably want to take
precautions. You have three basic options:
• Line spike/surge protectors. These relatively inexpensive devices are designed
to protect against strong surges and spikes. They act somewhat like fuses and
will have to be either replaced or reset (depending on the unit) if they’ve been
hit by an extremely strong spike.
QS7.1/QS8.1 Reference Manual 9
Part 1: Setup & Connections
• Line filters. These cost more than simple spike/surge protectors, but may be
worth it depending on your situation. Along with surge protection they offer
circuits that can remove some line noise — things like dimmer hash, transients
from other appliances, etc.
• An Uninterruptible Power Supply (UPS). This is the most expensive way to go,
but it is also the best. Your typical UPS offers complete line protection/filtering
and throws in emergency battery power that will come on instantly if there is a
power outage. This will prevent anything in RAM-only memory from getting
lost, and enable you to take the time to shut down everything properly. That
last step is very important. You should always turn everything in your rig
physically off when the power goes out — otherwise you risk serious gear
and/or speaker damage from the current surge that takes place when power is
finally restored.
AUDIO
CONNECTIONS
The QS has two Main outputs and a stereo headphone output. These make for several
possible hookups:
• Mono. To run in mono, connect a single mono cable from one of the QS’s [MAIN]
output jacks to either a mono amp or an individual mixer input. (You can use
either the [LEFT MAIN] or the [RIGHT MAIN] output jack.) Please note that
with this connection you will only be hearing one channel, so any Programs or
Mixes designed for stereo output will sound incomplete or diminished.
• Stereo. To run in stereo, connect two mono cords (one each from the [LEFT] and
[RIGHT] output jacks) to either (A) a stereo amp system or (B) two separate
mixer inputs. For full effect, make sure that these inputs are panned hard left
and right.
• Dual Stereo/Four Individual Outs. Connect two mono cords from the [LEFT] and
[RIGHT] MAIN OUTPUT jacks and two mono cords from the [LEFT] and [RIGHT]
AUX OUTPUT jacks to a dual stereo amplification system, or four mixer inputs.
• Stereo Headphones. To listen over headphones, plug a set of high-quality
stereo headphones into the headphones [ ] jack on the rear panel. The
volume for the headphone output is controlled by the front panel [VOLUME]
slider. Some headphones have a higher electrical resistance than others; if
the sound level seems too low even with the [VOLUME] slide up full, try a
different set.
LEVELS
To get the highest audio quality when performing or recording, set your QS’s [VOLUME]
slider all the way up. If the resulting signal is too loud (“hot”) for your mixer or
10 QS7.1/QS8.1 Reference Manual
Setup & Connections: Part 1
recording deck, lower the input level controls on those units until they are no longer
clipping.
AUDIO CABLES — SELECTION, ROUTING,
AND CARE
The audio connections between your QS and the rest of your studio are your music’s
lifeline, so make sure you use high-quality cables. These should be low-capacitance
shielded cables, with a stranded internal conductor and a low-resistance shield. Avoid
cables with solid internal conductors.
Quality cables cost more, but they are worth it. If you want to the lowest possible noise
and the best possible sound, there is no other way to go. As for what to do with them
when setting up, here are some basic mistakes to avoid:
• Do not bundle audio cables with AC power cords. If you do, the audio cables
will pick up hum from the AC line.
QS7.1/QS8.1 Reference Manual 11
Part 1: Setup & Connections
• Avoid running audio cables near such sources of electromagnetic interference as
transformers, monitors, computers, etc.
• Don’t run cables where they can be stepped on. Stepping on a cable will
compress the insulation between the center conductor and shield, and over time
this will degrade performance and reliability.
• Avoid twisting the cable or laying it out with sharp, right-angle turns.
• Never unplug a cable by tugging on the cable itself. Even if it has a “strain-
relief” plug, you are likely to damage the inside wiring and connections. The
best way to unplug a cable is to firmly grasp the body of the plug and then pull
it straight outward.
When connecting audio cables, or turning power on and off, make sure that ALL
✪
devices in your system are turned off and ALL volume controls are turned down.
This is important. If you don’t do this, you can create loud bursts of sound that
might damage your speakers (or worse, your ears).
MIDI
BASIC MIDI HOOKUP
MIDI is the standard data communication protocol for electronic musical instruments. If
you aren’t familiar with MIDI, see Part 5: MIDI and Part 10: Appendices to learn more
about how it works. Meanwhile, here’s all you need to know to get wired up.
The QS has three MIDI connectors:
Here are four typical MIDI setups for your QS, and the appropriate cable connections
for each of them:
• MIDI IN. This port is for receiving MIDI information (notes, program changes,
etc.) from another source, such as another MIDI keyboard, an alternate
controller, or a computer.
• MIDI OUT. This port is for sending MIDI information to another MIDI
keyboard, sound module, or computer.
• MIDI THRU. This port is for passing on MIDI information received by the MIDI
IN port. In simple MIDI setups, the THRU port is used to connect additional
devices that will all be “listening” to the same source.
• As Slave. To play your QS from any other MIDI device (keyboard, drum pad,
guitar or bass controller, sequencer, etc.), just run a standard 5-pin MIDI cable
from the control device’s MIDI OUT to the QS’s [MIDI IN] jack.
12 QS7.1/QS8.1 Reference Manual
Setup & Connections: Part 1
QS7.1/QS8.1 Reference Manual 13
Part 1: Setup & Connections
• As Controller. To play other MIDI devices from your QS, run a MIDI cable from
the QS’s [MIDI OUT] jack to the MIDI IN of the device you want to control.
• As a Link in a “daisy chain.” If you are using the QS in the middle of the MIDI
chain (example: as the second unit of a three device chain), you’ll need two
MIDI cables. Attach one from the MIDI OUT of the chain’s first device to the
[MIDI IN] jack of the QS; and then attach the other from the QS’s [MIDI THRU]
jack to the MIDI IN of the chain’s third device.
• As part of a computer-based MIDI Network. If you are using a computer for
sequencing and/or programming, you’ll want to be able to play data into your
computer from your QS, and receive data back as well. This will take two MIDI
cables. Attach one from the MIDI OUT of the computer’s MIDI interface to the
[MIDI IN] jack of the QS; and then attach the other from the QS’s [MIDI OUT]
jack to the interface’s MIDI IN.
14 QS7.1/QS8.1 Reference Manual
DIRECT COMPUTER LINK
The QS can communicate directly with Mac or PC computers via its [SERIAL PORT]
connector. Using this connection eliminates the need for a MIDI cables and a separate
MIDI interface.
Here’s how it works:
1) Run a single serial cable from your computer’s serial port to the [SERIAL PORT]
connector on your QS.
Setup & Connections: Part 1
2) Set the rear panel [ PC / MAC ] switch to either PC or MAC, depending on
what kind of computer you are using.
3) Set your QS to listen to data over this direct serial connection, instead of MIDI.
To do this, press [EDIT SELECT] to begin editing; then press [BANK ] to access
Global Edit Mode; then press [ PAGE] until the lower line of the LCD reads
I/O. (If you overshoot, just press the [PAGE ] button to get back.) Once there,
use the [VALUE] buttons to change the setting from MIDI to whatever best
matches your computer. There are three options:
• PC 38.4Kbd. Use this setting if your computer is a PC and its serial port runs
at 38.4 kilobaud.
• PC 31.25Kbd. Use this setting if your computer is a PC and its serial port
runs at 31.25 kilobaud.
• MAC 1MHz. Use this setting if your computer is a Macintosh.
Please note that if the rear-panel selection switch is set to [MAC], your QS will not
show you the two PC choices. Likewise, if the switch is set to [PC], then the Mac setting
will not show up in the display.
QS7.1/QS8.1 Reference Manual 15
Part 1: Setup & Connections
IBM® PCS AND COMPATIBLES RUNNING
WINDOWS
If you want to link your QS directly with a PC or PC-Compatible, you’ll need special
serial driver software and cabling.
You’ve already got the driver software — it’s in the \ALESIS\ASDWIN directory on
the CD-ROM that came with your QS. (If you don’t have a CD-ROM drive in your
computer, call Alesis Product Support and ask them to send you the software on a 3-1/2
inch floppy disk. ) Complete installation instructions come with the driver software.
The procedure will vary depending on your version of Windows.
The special cable can be purchased through Alesis Product Support. It has a DIN8
connector on one end and either a DB9 or DB25 connector on the other end (depending on
the type of connector that is on your PC.) The DIN8-to-DB9 cable is part # 9-96-1290.
The DIN8-to-DB25 cable is part # 9-96-1291.
Be aware that many PCs have more than one serial port, and some have both types of
connector. Before you order a cable from us you will need to (A) identify the port you
wish to hook up to, and (B) make certain it is not already in use by the computer.
MACINTOSH
You don’t need a special cable to make a direct connection between your QS and a Mac.
Any standard Mac DIN-8 cable will do.
®
™
You will, however, have to choose between using the MODEM or PRINTER serial port
on the Mac. Plug into whichever one you aren’t already using, and then make sure your
MIDI software’s port selection is set to match.
If both ports are already in use, you can either (A) temporarily disconnect your modem
or printer, or (B) buy a multiple serial port box that will let you hook everything up to
your Mac and switch among these serial devices as needed.
NOTE: If you want to use the printer port for your direct serial link, first make certain
that AppleTalk is disabled.
16 QS7.1/QS8.1 Reference Manual
Setup & Connections: Part 1
PEDAL AND FOOTSWITCH HOOKUP
The QS keyboard has three back-panel pedal jacks, marked [SUS PEDAL], [PEDAL 1]
and [PEDAL 2].
[SUS PEDAL] is designed to work with any standard momentary footswitch. It doesn’t
matter whether the footswitch is normally open or closed, so long as you plug it into the
jack before powering up your QS; the instrument will automatically sense the
footswitch’s polarity and calibrate itself accordingly.
[PEDAL 1] and [ PEDAL 2]. are designed to work with a Roland EV-5 volume pedal (or
its equivalent).
The QS’s factory defaults assign sustain to the [SUS PEDAL] jack and overall
instrument volume to the [PEDAL 1] jack, but you can change these settings at any time
if you want to. There are lots of interesting possibilities to explore. A starter example:
using a footswitch to turn vibrato on in a program, and using a volume-type pedal to
control vibrato speed.
If your sustain footswitch responds backwards (i.e., notes sustain unless the footswitch
is pressed), then turn off your QS and make sure the footswitch plug is fully inserted
into the [SUS PEDAL] jack. When it is, turn the instrument’s power back on while
keeping your foot off the footswitch.
DIGITAL AUDIO/OPTICAL HOOKUP
The QS can output digital audio directly into an Alesis ADAT, ADAT-XT, or
ADAT-compatible multitrack digital recorder via fiber optic cable.
The QS’s [DIGITAL OUT] carries all four audio outputs of the QS (Main and Aux,
Left and Right) on a single fiber optic cable. Fiber optic cables of various lengths
are available from your Alesis dealer. The model OC cable is 5 meters long and is
the maximum length recommended.
Note: This will not plug directly into a tape deck which uses S/PDIF or AES/EBU
for its digital input! A digital audio format converter of some sort must be used.
To hook up the optical cable between the QS and an ADAT-XT:
❿ Remove the two pieces of clear plastic, tubular sleeving (if present) that
protect the tips of the optical cable plug.
❡ Insert one cable end into the QS [DIGITAL OUT] and the other end into the
ADAT-XT’s DIGITAL IN.
To test the cable and QS digital output, plug one cable end into the QS. The other
end should emit a soft red light (it is not dangerous to look directly at this light).
R
ECORDING DIGITAL AUDIO
Once the fiber optic connection is made between the QS and ADAT-XT, the QS will
output audio on the first four channels of the digital bus (the bus is capable of
handling eight channels of digital audio). The MAIN [LEFT] and [RIGHT] outputs
QS7.1/QS8.1 Reference Manual 17
Part 1: Setup & Connections
are routed to channels 1 and 2, while the AUX [LEFT] and [RIGHT] outputs are routed
to channels 3 and 4. Note that the [VOLUME] slider does not control the level going
to the ADAT-XT. Volume control must happen via MIDI or a Pedal plugged into the
Pedal 1 jack.
When recording to ADAT-XT (or some other digital audio recorder), it must be set to
“slave” to the 48kHz clock embedded in the digital audio which the QS is sending.
This clock can be set to either 48kHz or 44.1kHz, as determined by the Clock
function (found in Global Edit Mode, Page 19). The Clock function has four settings:
Int 48kHz, Int 44.1k, Ext 48kHz and Ext 44.1k. The default setting
is Int 48kHz, which is suitable when the digital recorder is using the 48kHz
sample rate. However, if the recorder is using the 44.1kHz sample rate, the Clock
function should be set to Int 44.1k. This ensures that the QS will be in tune
with previously recorded material. See page 47 in Chapter 4: Basic Operations for
more information on the Clock parameter.
48 KHZ IN
If your ADAT system has an Alesis BRC Remote Controller, the QS’s digital clock
must be synchronized to the clock coming from the BRC. This requires that a
connection be made providing the clock signal to the QS and that the QS’s Clock
function be set to either one of its two external settings (Ext 48kHz or Ext
44.1k).
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
(“Pitched Down” to -147).
Tip: With this type of connection, the ADAT-XT tracks will remain in tune with
the QS even when the BRC’s pitch value is adjusted.
18 QS7.1/QS8.1 Reference Manual
Setup & Connections: Part 1
Note: When using ADAT-XTs without the BRC, it is not necessary to connect the 48
kHz Clock. If set up properly, the XTs will “slave” to the QS’s Digital Output.
QS7.1/QS8.1 Reference Manual 19
Overview: Part 2
PART 2
OVERVIEW
A QUICK TOUR OF THE FRONT PANEL
THE WHEELS
At the far left of the front panel you will find two powerful controllers:
• The [PITCH] wheel. Move this control up or down to expressively bend the pitch
of the synth.
• The [MODULATION] wheel. Move this control to cause interesting sonic changes
in the current Program or Mix.
Sometimes you won’t hear anything happen when you use the [MODULATION]
wheel. In these cases, either (A) the current Program or Mix isn’t programmed
to respond to modulation, or (B) modulation is tied to a function that is currently
off. Here’s an example of the latter: if the [MODULATION] wheel is
programmed to control chorus speed, but chorus depth is currently set at zero,
then moving the [MODULATION] wheel won’t do anything audible.
THE SLIDERS
Moving to the right, you will see 5 different sliders:
• The [VOLUME] slider. This fader raises and lowers the QS7.1/QS8.1’s audio
output level.
• [CONTROLLERS A, B, C, and D]. These faders are programmable and can be
used to give you hands-on control of many different parameters. What they do
will vary depending on how the Program or Mix has been designed. As you move
them, the LCD gives you visual feedback in the form of small vertical bargraphs. Please note: this only happens if a control function is assigned to the
slider being moved. That means the quickest way to find out which sliders are
working in a given Program is to push all four sliders up while watching the
display.
During editing, the [CONTROLLER D] slider serves as a data entry control.
QS7.1/QS8.1 Reference Manual 19
Part 2: Overview
THE EDIT MODE BUTTONS
There are 6 buttons grouped together at the immediate left of the display:
• [▲ VALUE]. When you are editing, this button increments the selected value. At
• [VALUE ▼]. Same as [▲ VALUE], except that it decrements values and steps
• [EDIT SELECT]. This button takes you into Edit Mode. To get back out, press
all other times it steps you forward through the available Programs or Mixes,
depending on which mode you’ve selected.
backward through Programs and Mixes.
either [MIX] or [PROGRAM].
• [STORE]. A true multi-purpose control. It is involved in making MIDI sys-ex
transfers, in saving and loading both User and Card Banks, in copying Effects
patches, and when initializing individual Sounds within a Program. When
editing, this is the button you’d press to store an altered Program or Mix to a
selected location in the QS’s memory. In normal performance it gives you a quick
way to copy the current Program or Mix to a new location.
• [ PAGE]. When editing, this button cycles you backward through the
available “pages” for the current parameter (there’s an indicator in the upper
right of the LCD that tells you what page you are on). In Program Mode, this
button changes your QS’s basic MIDI channel. In Mix Mode, it is used to display
the Programs assigned to different MIDI channels, so that you can change these
assignments on the fly.
• [PAGE ]. Same as just above, except that it cycles you forward instead of
backward.
20 QS7.1/QS8.1 Reference Manual
Overview: Part 2
THE DISPLAY
The large backlit LCD in the center of the front panel gives you visual feedback as
you work. What it shows will vary depending on the mode you are in.
Let’s go over what the different areas of the LCD “tell” you.
1) The big numbers on the left side of the LCD show you which Program or Mix
you’re currently editing or playing.
2) The top line of the display shows the NAME of the Program or Mix while you’re
in Play Mode. It also gives you the name of the selected Function when you’re in
Edit Mode.
3) If you look closely at the silkscreening around the LCD's "bezel" (the raised,
clear plastic cover between it and the dusty outside world), you'll notice some
abbreviations like "CLP" or "TRN" alongside the word "NAME". Here is what
they stand for:
CLP: An exclamation point (!) will appear in this area of the LCD if the QS's
signal clips internally. You'll only see this in Program or Mix Modes (not while
you're editing).
SEQ: A blinking arrow (->) will appear in this area of the LCD if you have
triggered a card sequence. When the sequence stops, the arrow will disappear.
TRN: An up or down arrow will appear in this area of the LCD if you have
transposed the keyboard up or down.
ABCD: If a Program or Mix has any of the four faders active, you can move
them and see a reaction in the LCD under these four letters. The four vertical bar
graphs represent the [CONTROLLER A-D] slider positions. This area of the LCD
will also display the “page” numbers when you are in any of the Edit Modes.
4) The middle line does triple duty. In Play Mode it tells you which Bank the sound
you’re using came from. In Edit Mode it gives you the name of the parameter you’re
editing. And in Mix Program Select mode, it lets you know which QS Program is
assigned to which MIDI channel. More on that later in the manual.
5) These words let you know which Mode you are in. You’ll see them alone or in
combination depending on where you are. The word “EDIT” changes to “EDITED”
when you change a value in one of the Edit Modes.
6) The numbers along the bottom are the MIDI channel numbers. In Program Mode
you’ll only see one channel number lit at a time. In Mix Mode you’ll see two or more.
When activity is happening on a given channel, a circle will light up around that
MIDI channel's number. This is true whether the information is generated from the
QS's keyboard or comes in via the MIDI In jack.
QS7.1/QS8.1 Reference Manual 21
Part 2: Overview
THE PLAY MODE BUTTONS
There are 4 buttons grouped together at the immediate right of the display:
• [MIX]. This button takes you to Mix Mode.
• [PROGRAM]. This button takes you to Program Mode.
• [ BANK]. In Program and Mix Modes, this button cycles you backward through
• [BANK ]. In Program and Mix Modes, this button cycles you forward through
all available Banks. In Edit Mode this becomes the [COMPARE] button, which
shifts between the original and edited versions of a Program or Mix, so you can
hear both while you make your changes.
all available Banks. In Edit Mode it becomes the [GLOBAL] button, taking you
to 18 pages of controls that affect the overall operation of your QS (including
Master Tune, Controller Assignments, Keyboard Response Curves, and more).
THE SELECTION BUTTONS
There are 23 buttons grouped together at the right side of the front panel, arranged
in two rows (an upper row of 13, and a lower row of 10). These [SELECTION] buttons
are used to quickly choose among Programs, Mixes, Sound parameters, MIDI channel
assignments, etc. — whatever is available in the QS’s current mode.
• [00] through [120]. When you are playing Programs or Mixes, these buttons jump
your selection by tens — for example, if Program 79 is selected and you press [20],
your QS will shift to Program 29. When you are editing, they select one of the
three parameters printed just above them, depending on which Edit Mode you
are in.
• [0] through [9]. When you are playing Programs or Mixes, these buttons jump
your selection within the currently selected Sound Group — for example, if
Program 24 is selected and you press [7], your QS will shift to Program 27. When
you are editing, they select one of the three parameters printed just below
them, depending on what Edit Mode you are in.
Most of these buttons are also used in Sequence selection and playback, as discussed
on the next page.
22 QS7.1/QS8.1 Reference Manual
Overview: Part 2
A WORD ABOUT THE SILKSCREENING
As we mentioned in the last section, if you look above and below the 23
[SELECTION] buttons you’ll see a lot of words silkscreened on the front panel. We’ll
get into what they mean later. All you need to know now is:
• When you’re in Mix Edit mode, find the word “MIX” at the outer edge of the
buttons, and then follow along that level to find the various Mix functions.
• Do the same for Program and Effects Edit modes. The exception here is that
there’s no bottom row of functions for Effects Edit mode. In its place you have “Drum
Sound” , which means you use these buttons to select Drums in Drum Mode. The
“Keyboard Sound” row calls up more Program Edit mode functions.
THE SEQUENCE & TRANSPOSE BUTTONS
At the far right on the front panel are two buttons:
[SEQUENCE]. Pressing this button once puts your QS in Sequence Playback Mode. In
this mode the [00] through [90] buttons select possible PCMCIA card Sequence
Banks, and the [0] through [9] buttons trigger specific Sequences for playback. To
exit without making a selection, just press [SEQUENCE] again.
[TRANSPOSE]. You can transpose the output of your QS by holding this button
down and then pressing any key on the keyboard. The transposition limit is one
octave in either direction. To return to normal operation, just stop pressing on the
[TRANSPOSE] button. Please note that any changes you make here will stay in
place until you deliberately reset them to normal. This is done by holding the
[TRANSPOSE] button and pressing the third C key from the left (also known as
C3). To make it easy to locate, we’ve silkscreened that on the front panel just above
the key.
QS7.1/QS8.1 Reference Manual 23
Part 2: Overview
PROGRAMS, MIXES, AND BANKS
Your QS comes with 1,140 built-in Programs and Mixes. At any time you can also
add hundreds more just by putting QCards or RAMcards into the [PCMCIA
EXPANSION CARD] slots.
That’s a lot of different sounds!
In order to easily find the ones you need, you will need to know how they are
arranged. Starting with…
WHAT’S A PROGRAM?
A QS Program is a set of parameters which (A) create a specific sound and (B) can
be recalled instantly at the touch of a button. There are lots of parameters, which is
why many thousands of cool Programs are currently available from Alesis and
third-party sources. And, of course, you can always edit these parameters yourself
to create Programs that are uniquely your own.
There are 640 internal Programs, divided into 5 Banks of 128 Programs each (more
about Banks in a moment). To get instant access to more Banks, simply insert an
Alesis QCard into one or both of the [PCMCIA EXPANSION CARD] slots. You can
also add Banks using RAMcards, assuming Program data is stored on them.
Each Program consists of from 1 to 4 different Sounds which can be combined and
processed in many different ways: layered on top of one another, for example, or
split up to cover different sections of the keyboard, or set to play (or not play)
depending on how hard you strike a key.
The number of Sounds being used by a Program has a direct effect on your QS’s
polyphony, because each Sound takes one Voice to play. If your current Program uses
only one Sound, you’ll be able to play 64 simultaneous notes. By contrast, a Program
using two Sounds will run out of Voices twice as fast, limiting you to 32 simultaneous
notes. And a Program that uses four Sounds will limit you to 16 notes of polyphony.
WHAT’S A MIX?
A Mix is a combination of Programs selected from the available Banks. Most Mixes
have only two or three Programs in them, but you can put together as many as 16 if
you want. You can also arrange them in a number of useful ways, creating layered
combinations, split combinations, and more.
There are 500 internal Mixes, arranged 100 per Bank. More can be accessed at any
time using expansion cards, as mentioned above for Programs.
For those of you who do MIDI sequencing, one of the most useful Mixes will be #00 in
the User Bank. This is the multi-timbral Mix. It lets you assign different Programs
24 QS7.1/QS8.1 Reference Manual
Overview: Part 2
to each of 16 different MIDI channels, making it easy to build anything from a
small pop/rock ensemble to a complete orchestra.
QS7.1/QS8.1 Reference Manual 25
Part 2: Overview
WHAT'S A BANK?
A Bank is a collection of 128 Programs and 100 Mixes. There are five internal Banks
available in the QS, and even more can be accessed if you have put QCards or
RAMcards into one or both of the [PCMCIA EXPANSION CARD] slots.
The different banks are:
USER
PRESET1
PRESET2
PRESET3
GenMIDI
Card A [if in use; invisible if not]
Card B [if in use; invisible if not]
If a card has more than one Bank, the numbers will go up like so: CardA-1, CardA2, CardA-3, etc.
While playing Programs or Mixes, the current Bank is named in the second line of
the LCD display. To cycle through all the Banks that are available, press the
[BANK] buttons on the front panel. You can also change Banks by using standard
MIDI Bank Select commands (various values of Controller 0).
Two things to remember about Banks:
1) Each Bank contains its own unique collection of Programs and Mixes. This means
that Program 10 in PRESET1 is different from Program 10 in PRESET3…
although they may be similar if they belong to related Sound Groups (see the
next page for a quick explanation of Sound Groups).
2) A Mix can contain Programs from any Bank. This includes Banks which might
be on a QCard or an SRAM card. (If the Mix you’ve called up uses a card-based
Program, make sure the Program’s card is in the right expansion slot. If you
have the wrong card in the slot, the Mix will call up the wrong Program. And if
you have no card in the slot at all, that part of the Mix won’t sound.)
26 QS7.1/QS8.1 Reference Manual
Overview: Part 2
ABOUT SOUND GROUPS
To make things easier for you, we’ve broken down three of the five Banks into Sound
Groups. There are 12 different Sound Groups with 10 Programs each, plus a 13th
Sound Group with only 8 Programs. (This gives each Bank 128 Programs, as
specified by the MIDI standard.) Each of these Groups is clearly marked on the
[SELECTION] button that calls it up.
Why do we call them Sound Groups? Because they bring together Programs which
are musically or sonically related, such as pianos [00], guitars [30], bass [40] and
drums [120].
There are two Banks which differ from this default scheme:
• The User Bank. Straight from the factory, your QS’s User Bank is organized in
the same Sound Groups as the Preset Banks. But it needn’t stay that way. Any
User Bank you create for yourself (or collect from non-Alesis sources) might be
organized very differently.
• The General MIDI Bank. This is organized to match the General MIDI
standard, which puts Programs in a totally different order than that of our
Sound Groups.
THE PERFORMANCE CONTROLS
There are a number of expressive ways to control the sound of your QS while you are
playing. They are:
• Velocity. This refers to how slow or fast you strike the keys. In most Programs,
faster means louder. Velocity can also cause tonal changes in the sound, trigger
new Sound layers in a Program, or do other things entirely. It all depends on
what parameters are set to respond to it, and how.
• Aftertouch. Strike a key, hold it down…and then push it down a little harder.
That’s “aftertouch.” (You’ll also see it referred to as “Pressure” in some
instruments and software.) Common uses include triggering changes in the pitch,
tone, or volume of notes.
• Pitch Bend Wheel. Push the [PITCH BEND] wheel up and the pitch of your QS
goes up. Push the wheel down, and it goes down. Let the wheel go and it springs
back to center. A no-brainer, right? There have been pitch bend wheels on
synths since the early days, so this function is properly familiar to you.
Familiar or not, however, the simple fact is that bending pitch is a blast. Do it
well and you can achieve incredible levels of emotional expression. One thing
to remember: the amount of available pitch bend may vary from Program to
Program.
QS7.1/QS8.1 Reference Manual 27
Part 2: Overview
• Modulation Wheel. The [MODULATION] wheel has also been around pretty
• Controller Sliders A-D. These sliders can control any parameter that has been
• Sustain Footswitch. If you connect a footswitch to the [SUS PEDAL] jack on your
• Expression Pedal. Think of this as a Modulation Wheel for your feet. All you
much forever in synth design. It got its name because it is typically used to add
varying levels of modulation (such as vibrato or tremolo) while you play. But it
isn’t limited to that. It can also be used to create “filter-opening” effects, to
raise and lower volume, to pan signals from left to right (by crossfading between
two separately hard-panned Sounds), to select between layers, to lengthen a
reverb time, and lots more. It all depends on the individual Program settings.
assigned to them (which may change from Program to Program). They are
particularly useful when you want to have several related controls close at
hand, for quick adjustment.
QS’s back panel, you can use it to hold down notes after your lift your finger
from the keyboard. In some Programs — piano and acoustic guitar sounds, for
example — such held notes will naturally decay within a time set by the
Program’s parameters. In other Programs — like organs, woodwinds, and many
synth sounds — they’ll sound for as long as you keep the footswitch depressed.
have to do is connect a volume-type pedal to the [PEDAL 1] or [PEDAL 2] jacks
on the QS’s back panel, and you can use foot action to control pretty much any
Program or Effect parameter that you want. Some obvious uses include changing
volume, raising and lowering vibrato rates, increasing reverb depth or delay
repeats, etc. But that’s hardly the limit, so we invite you to see what you can
come up with by experimenting for yourself.
28 QS7.1/QS8.1 Reference Manual
PCMCIA EXPANSION CARDS
Your QS7.1/QS8.1 is an expandable system. If you want access to more Sounds,
Programs, Mixes, Effects, and Sequences, all you have to do is pop the appropriate
memory card into one of the two [PCMCIA EXPANSION CARD] slots on the back
panel. Using both slots you can add up to 16 megabytes of memory, effectively
doubling the power of your instrument.
There are three different kinds of memory card that will work. All of them should
be available through your Alesis dealer (if not, call us). They are:
• SRAM cards. Alesis offers a 512K SRAM card through our dealers that
provides an additional eight banks of Programs and Mixes. You can use and edit
these as you wish, or use the card as storage for your own creations. You can also
order a blank version of this card from us (part # 7-10-1203).
• QCards. This is a series of ROM cards developed by us here at Alesis. Each is a
self-contained universe of new samples, plus Programs and Mixes designed to
take full advantage of them. Some of the cards available right now include
Classical, Sanctuary, Vintage Keyboards, Vintage Synthesizers, HipHop, and
EuroDance, with more coming out all the time.
Overview: Part 2
• FlashRAM cards. These are the cards you’ll need if you want to burn your own
custom sample cards. FlashRAM cards are available in 2MB, 4MB, and 8MB
sizes. Using Alesis’s Sound Bridge software (see Part 9: Extras) you can organize
all the necessary data on your PC or Mac and temporarily turn your QS into a
“RAMburner” when you are ready to make your own card.
Note: See the section entitled “Using PCMCIA Expansion Cards” in Part 9: Extras
for exact card specifications.
QS7.1/QS8.1 Reference Manual 29
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