Alesis Quadra Synth 6.1 User Manual

ALESIS

QS6.1

Reference Manual

INTRODUCTION

Thank you for purchasing an Alesis QS6.1 64-Voice Expandable Synthesizer. ItÕs a powerful instrument and weÕre sure you will find it exciting to use. The more you know about it the more youÕll be able to do, so we recommend that you make good use of this manual.

But most importantly, donÕt forget to have fun! (ThereÕs 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 weÕve 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 QS6.1.

Part 1: SETUP & CONNECTIONS covers how to hook up your QS6.1 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 QS6.1 to other MIDI gear.

Part 2: OVERVIEW introduces the front panel controls and LCD, along with the terms and internal structures that every QS6.1 owner ought to know. Here is where youÕll 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 youÕll be a QS6.1 performance wizard, fully versed in how to use the instrumentÕs Programs and Mixes and how to change Global settings.

ItÕll 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 QS6.1 for MIDI performance and sequencing. Because itÕs relevant, youÕll 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 QS6.1. This is useful to know even if all you want to do is Òplay the presets,Ó because even if you love a particular sound you might find that its current processing doesnÕt quite fit in with your music. Need to lengthen or shorten a ProgramÕs 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 youÕll find the answers.

QS6.1 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 QS6.1 its strength as a master MIDI keyboard.

Part 8: EDITING PROGRAMS gets deep into the instrument. If you are interested in pushing the QS6.1 synthesis engine to the max Ñ and itÕs a powerful engine, it really is Ñ then youÕll want to study this section very closely.

Part 9: EXTRAS includes all sorts of fun and useful information that doesnÕt fit neatly into the other sections. This is where to look for discussion of RAMcards, Sound Bridge, the QS6.1 CD-ROM, and other things of general interest.

Part 10: APPENDICES contains reference material on service and maintenance, troubleshooting, and the QS6.1Õs MIDI Implementation.

MANUAL CONVENTIONS

All buttons, knobs, and switches on the QS6.1 are referred to in bracketed capital letters that match the instrumentÕs actual markings. Here are some examples:

[PROGRAM] means the button to the right of the LCD that says ÒPROGRAMÓ 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 ÒDÓ

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 whatÕs being discussed.

[PITCH] is the control wheel at the left side of the instrument. And [SUS PEDAL] is the rear panel jack youÕd plug your sustain pedal into.

WHY THERE’S NO INDEX

Indexes are useful in really big books. They are also useful when you already know what you are looking for. Otherwise, though,they are kind of frustrating: ÒIt says here that there are references to The Thing I Am Interested In on pages 16, 23, 28-31, 47, 57-62, and 113. But which one of those has the bit IÕm looking for?Ó

We think having a really great Table Of Contents works much better. If you need to find something, go to the ToC and see for yourself Ñ its clear, directive headings tell you whatÕs in every section and subsection, making it easy for you to find your way. And since the information is all in context, youÕll learn that much more about your QS6.1 every time you look.

2 QS6.1 Reference Manual

UNPACKING AND INSPECTION

The shipping carton for your QS6.1 should contain the following items:

¥ QS6.1 (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 havenÕt filled out your warranty card and mailed it back to us, please take

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the time to do so. This will help us give you the best support we possibly can.

QS6.1 Reference Manual 3

Contents

4 QS6.1 Reference Manual

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

Part 2: OVERVIEW .............................................................................17

A Quick Tour Of The Front Panel.............................................................................17

Programs, Mixes, And Banks...................................................................................22

The Performance Controls.......................................................................................24

PCMCIA Expansion Cards ......................................................................................26

Part 3: FIRST SESSION .......................................................................2 7

Powering Up ..........................................................................................................27

Playing the Demo Sequences...................................................................................27

Playing Programs...................................................................................................28

Playing Mixes........................................................................................................29

The Performance Controls, Pt. II..............................................................................31

Transposing The Keyboard .........................................................................31

Performance Transposition Chart................................................................32

Part 4: BASIC OPERATION.................................................................33

Recap ....................................................................................................................33

The Double-Button Press Trick................................................................................33

Copying Existing Programs And Mixes To A New Location In The User Bank.............34

ÉOr To A New Location On A Card Bank................................................................34

Changing The Programs In A Mix............................................................................35

Storing Altered Mixes To The User Bank (Or To A Card)..........................................35

Storing Altered Programs To The User Bank (Or To A Card).....................................35

Changing The Name Of A Program Or Mix..............................................................36

Compare Mode.......................................................................................................36

Playing Sequences From A Card ..............................................................................37

The Global Settings (And How To Change Them)....................................................38

Part 5: MIDI ......................................................................................4 7

The Power of Mix Mode ..........................................................................................47

Using an External Sequencer....................................................................................48

Program Assign for each MIDI Channel...................................................................50

Sending and Receiving Bank Select Messages ..........................................................50

Using the QS6.1 as a Master Keyboard....................................................................52

Saving Programs via MIDI Sys Ex...........................................................................56

Editing Programs via MIDI Sys Ex ..........................................................................57

Part 6: EDITING EFFECTS...................................................................59

Basic Info...............................................................................................................59

Entering Effects Edit Mode From Program Mode.......................................................60

Entering Effects Edit Mode From Mix Mode..............................................................60

Navigating In Effects Edit Mode.............................................................................61

Selecting From Among The Available Effects Patches In A Mix....................61

The ÒFX Program Change via MIDIÓ function..............................................62

How The Display Changes When You Alter An Effect.............................................63

Storing Effect Patches In Program Mode ..................................................................63

Storing Effect Patches in Mix Mode.........................................................................63

Copying Effects From One Program To Another........................................................64

QS6.1 Reference Manual 5

Table of Contents

Keeping Track: The Interaction Of Effects, Programs, And Mixes..............................65

Picking An Effect Configuration..............................................................................65

Configuration #1: 1 REVERB...................................................................................66

Configuration #2: 2 REVERBS.................................................................................68

Configuration #3: LEZLIE+REVERB .......................................................................70

Configuration #4: 1 REVERB+EQ............................................................................71

Configuration #5: OVERDRIVE+LEZLIE ................................................................72

Routing Sounds or Programs Through The Effects Only.............................................73

Setting Effect Send Levels ......................................................................................74

If The Send Inputs Clip...........................................................................................74

[00] to [30] ÑEffect Sends 1 - 4 ................................................................................74

EQ.........................................................................................................................75

Mod.......................................................................................................................76

Lezlie....................................................................................................................79

Pitch .....................................................................................................................81

Delay....................................................................................................................87

Reverb ..................................................................................................................88

Overdrive..............................................................................................................94

Effect Mix..............................................................................................................95

How Ò1 ReverbÓ Is Arranged.......................................................................67

How Ò2 ReverbsÓ Is Arranged......................................................................69

How ÒLEZLIE+REVERBÓ Is Arranged.........................................................70

How ÒREVERB+EQÓ Is Arranged................................................................71

How ÒOverdrive+LezlieÓ Is Arranged ........................................................72

Part 7: Editing Mixes ........................................................................97

What is a Mix?......................................................................................................97

Polyphony in Mix Play Mode..................................................................................97

Program Assign for each MIDI Channel...................................................................97

Mix Edit Mode .......................................................................................................98

Understanding the Edit Buffers ..............................................................................99

Level Setting for Each Program...............................................................................100

Pitch .....................................................................................................................101

Effect.....................................................................................................................101

Keyboard/MIDI.....................................................................................................102

Controllers.............................................................................................................103

Setting the Range...................................................................................................104

Naming a Mix........................................................................................................104

Part 8: Editing Programs……………………………………………………………………………..105

Overview ..............................................................................................................105

The ÒNormalizedÓ Synth Voice..............................................................................105

How the QS6.1 Generates Sound .............................................................................106

Program Sound Layers ............................................................................................106

QS6.1 Signal Flow..................................................................................................107

About Modulation ..................................................................................................109

About Signal Processing..........................................................................................110

Drum Mode ............................................................................................................111

Storing Your Edited Programs .................................................................................112

Program Edit Functions...........................................................................................113

Voice.........................................................................................................114

Muting and Unmuting Sounds ..........................................................114

Level.........................................................................................................117

Pitch .........................................................................................................118

Filter.........................................................................................................121

Amp/Range ...............................................................................................124

Pitch Envelope...........................................................................................128

6 QS6.1 Reference Manual

Table of Contents

Filter Envelope..........................................................................................131

Amp Envelope............................................................................................134

Name ........................................................................................................136

Mod 1 Ð Mod 6.............................................................................................137

Pitch LFO..................................................................................................142

Filter LFO .................................................................................................144

Amp LFO...................................................................................................145

Tracking Generator.....................................................................................147

Programming Drum Sounds in Drum Mode................................................................149

Voice.........................................................................................................149

Level.........................................................................................................151

Pitch .........................................................................................................151

Filter.........................................................................................................152

Amp/Range ...............................................................................................152

Amp Envelope............................................................................................153

Mute Group ....................................................................................153

Special Programming Functions...............................................................................154

Copying Sounds..........................................................................................154

To Audition Programs Before Storing...........................................................155

Part 9: EXTRAS ................................................................................157

A Word About the QS CD-ROM..............................................................................157

Sound Bridgeª..........................................................................................157

Using PCMCIA Expansion Cards.............................................................................158

Saving the User Bank to a PCMCIA Card....................................................158

Loading a Bank from an External Card........................................................159

Storing an Individual Program or Mix .........................................................160

Loading an Individual Program or Mix........................................................160

Card Storage Ramifications ...................................................................................161

More about SRAM Cards.............................................................................162

SRAM Cards and Mix Mode........................................................................162

Part 10: Appendices…………………………………………………………………………………….163

Appendix A ...........................................................................................................163

Troubleshooting .........................................................................................163

Recovering From A ÒCrashÓ............................................................164

Re-initializing ..............................................................................164

Checking The Software Version......................................................165

Maintenance/Service .................................................................................165

Cleaning your QS6.1.......................................................................165

Preventative Maintenance..............................................................165

Refer All Servicing to Alesis ..........................................................165

Obtaining Repair Service...............................................................166

Appendix B: MIDI Supplement...............................................................................167

MIDI Basics...............................................................................................167

MIDI Hardware.........................................................................................167

MIDI Message Basics..................................................................................168

Channel Messages: Mode Messages .................................................168

Channel Messages: Voice Messages.................................................168

Continuous Controllers List.............................................................169

System Common Messages...............................................................170

General MIDI.............................................................................................170

MIDI Implementation Chart ......................................................................172

Appendix C: Parameters Index................................................................................173

Program Edit Parameters............................................................................173

Mix Edit Parameters ..................................................................................175

QS6.1 Reference Manual 7

Table of Contents

8 QS6.1 Reference Manual

Setup & Connections: Part 1

PART 1

SETUP & CONNECTIONS

AC POWER

HOOKUP

Your QS6.1 is set to work with the voltage of the country it was shipped to (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 QS6.1 is turned off.

· Plug the female (jack) end of the power cable into the QS6.1Õs power socket.

· Plug the male (plug) end into a source of AC power. ItÕs good practice not to turn

the QS6.1 on until all other cables are hooked up.

The IEC-spec power cable included with your QS6.1 is designed to connect to an outlet with three holes, the third of which Ñ the round one Ñ is the ground connection. This connection is an important safety feature: it keeps the QS6.1Õs 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 QS6.1 into an ungrounded outlet can

✪ ✪

be hazardous. The same goes for ÒliftingÓ the unit off ground by using a three-totwo plug adapter. DonÕt do it!

Alesis cannot be responsible for any problems that might be caused by using the QS6.1 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 QS6.1 is designed to tolerate typical voltage variations, it isnÕt 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 theyÕve been hit by an extremely strong spike.

QS6.1 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 Ñ 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 Ñ otherwise you risk serious gear and/or speaker damage from the current surge that takes place when power is finally restored.

AUDIO

CONNECTIONS

The QS6.1 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 QS6.1Õs [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.

¥ 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 QS6.1Õs

[VOLUME] slider all the way up. If the resulting signal is too loud (ÒhotÓ) for your

mixer or recording deck, lower the input level controls on those units until they are no longer clipping.

10 QS6.1 Reference Manual

Expression Pedal

Setup & Connections: Part 1

AC Receptacle

Pedal Switch

1/4" Audio Cables

Stereo Headphones

Stereo Amp

AUDIO CABLES — SELECTION, ROUTING, AND CARE

The audio connections between your QS6.1 and the rest of your studio are your musicÕs 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.

¥ Avoid running audio cables near such sources of electromagnetic interference as

transformers, monitors, computers, etc.

QS6.1 Reference Manual 11

Part 1: Setup & Connections

¥ DonÕt 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 Òstrain-

reliefÓ 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 donÕt 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 arenÕt familiar with MIDI, see Part 5: MIDI and Part 10: Appendices to learn more about how it works. Meanwhile, hereÕs all you need to know to get wired up.

The QS6.1 has three MIDI connectors:

¥ 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 ÒlisteningÓ to the same source.

Here are four typical MIDI setups for your QS6.1, and the appropriate cable connections for each of them:

· As Slave. To play your QS6.1 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 deviceÕs MIDI OUT to the QS6.1Õs [MIDI IN] jack.

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Setup & Connections: Part 1

· As Controller. To play other MIDI devices from your QS6.1, run a MIDI cable

from the QS6.1Õs [MIDI OUT] jack to the MIDI IN of the device you want to

control.

· As a Link in a Òdaisy chain.Ó If you are using the QS6.1 in the middle of the

MIDI chain (example: as the second unit of a three device chain), youÕll need two MIDI cables. Attach one from the MIDI OUT of the chainÕs first device to

the [MIDI IN] jack of the QS6.1; and then attach the other from the QS6.1Õs [MIDI THRU] jack to the MIDI IN of the chainÕs third device.

· As part of a computer-based MIDI Network. If you are using a computer for

sequencing and/or programming, youÕll want to be able to play data into your computer from your QS6.1, and receive data back as well. This will take two MIDI cables. Attach one from the MIDI OUT of the computerÕs MIDI interface

to the [MIDI IN] jack of the QS6.1; and then attach the other from the QS6.1Õs [MIDI OUT] jack to the interfaceÕs MIDI IN.

QS6.1 Reference Manual 13

Part 1: Setup & Connections

DIRECT COMPUTER LINK

The QS6.1 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.

HereÕs how it works:

1) Run a single serial cable from your computerÕs serial port to the [SERIAL PORT]

connector on your QS6.1.

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 QS6.1 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 QS6.1 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.

14 QS6.1 Reference Manual

Setup & Connections: Part 1

IBM® PCS AND COMPATIBLES RUNNING WINDOWS

If you want to link your QS6.1 directly with a PC or PC-Compatible, youÕll need special serial driver software and cabling.

YouÕve already got the driver software Ñ itÕs in the \ALESIS\ASDWIN directory on the CD-ROM that came with your QS6.1. (If you donÕt 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 donÕt need a special cable to make a direct connection between your QS6.1 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 arenÕt already using, and then make sure your MIDI softwareÕs 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.

™

QS6.1 Reference Manual 15

Part 1: Setup & Connections

PEDAL AND FOOTSWITCH HOOKUP

The QS6.1 keyboard has two back-panel pedal jacks, marked[SUS PEDAL] and [PEDAL 1].

[SUS PEDAL] is designed to work with any standard momentary footswitch. It doesnÕt

matter whether the footswitch is normally open or closed, so long as you plug it into the jack before powering up your QS6.1; the instrument will automatically sense the footswitchÕs polarity and calibrate itself accordingly.

[PEDAL 1] is designed to work with a Roland EV-5 volume pedal (or its equivalent). The QS6.1Õs 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 QS6.1 and make sure the footswitch plug is fully inserted

into the [

keeping your foot off the footswitch.

SUS PEDAL

] jack. When it is, turn the instrumentÕs power back on while

16 QS6.1 Reference Manual

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 wonÕt hear anything happen when you use the [MODULATION]

wheel. In these cases, either (A) the current Program or Mix isnÕt programmed to respond to modulation, or (B) modulation is tied to a function that is currently

off. HereÕs 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 wonÕt do anything audible.

THE SLIDERS

Moving to the right, you will see 5 different sliders:

· The [VOLUME] slider. This fader raises and lowers the QS6.1Õs 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 bar-graphs. 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.

QS6.1 Reference Manual 17

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 youÕve 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 youÕd press to store an altered Program or Mix to a selected location in the QS6.1Õs 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 ÒpagesÓ for the current parameter (thereÕs an indicator in the upper right of the LCD that tells you what page you are on). In Program Mode, this button changes your QS6.1Õs 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.

18 QS6.1 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.

LetÕs go over what the different areas of the LCD ÒtellÓ you.

1) The big numbers on the left side of the LCD show you which Program or Mix youÕre currently editing or playing.

2) The top line of the display shows the NAME of the Program or Mix while youÕre in Play Mode. It also gives you the name of the selected Function when youÕre 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 QS6.1'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 arrow (/\) or a 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 ÒpageÓ 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 youÕre using came from. In Edit Mode it gives you the name of the parameter youÕre editing. And in Mix Program Select mode, it lets you know which QS6.1 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. YouÕll see them alone or in combination depending on where you are. The word ÒEDITÓ changes to ÒEDITEDÓ 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 youÕll only see one channel number lit at a time. In Mix Mode youÕll 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 QS6.1's keyboard or comes in via the MIDI In jack.

QS6.1 Reference Manual 19

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 QS6.1 (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. Ñ whatever is available in the QS6.1Õs current mode.

· [00] through [120]. When you are playing Programs or Mixes, these buttons jump

your selection by tens Ñ for example, if Program 79 is selected and you press [20],

your QS6.1 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 Ñ for example, if

Program 24 is selected and you press [7], your QS6.1 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.

20 QS6.1 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 youÕll see a lot of words silkscreened on the front panel. WeÕll

get into what they mean later. All you need to know now is:

¥ When youÕre in Mix Edit mode, find the word ÒMIXÓ 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 thereÕs no bottom row of functions for Effects Edit mode. In its place you have ÒDrum SoundÓ , which means you use these buttons to select Drums in Drum Mode. The ÒKeyboard SoundÓ 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 QS6.1 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 QS6.1 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

C3). To make it easy to locate, weÕve silkscreened that on the front panel just above the key.

] button and pressing the third C key from the left (also known as

QS6.1 Reference Manual 21

Part 2: Overview

PROGRAMS, MIXES, AND BANKS

Your QS6.1 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.

ThatÕs a lot of different sounds!

In order to easily find the ones you need, you will need to know how they are arranged. Starting withÉ

WHAT’S A PROGRAM?

A QS6.1 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 QS6.1Õs polyphony, because each Sound takes one Voice to play. If your current Program uses only one Sound, youÕll 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 to each of 16 different MIDI channels, making it easy to build anything from a small pop/rock ensemble to a complete orchestra.

22 QS6.1 Reference Manual

Overview: Part 2

WHAT'S A BANK?

A Bank is a collection of 128 Programs and 100 Mixes. There are five internal Banks available in the QS6.1, 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 PRESET3É

although they may be similar if they belong to related Sound Groups (see below

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 youÕve called up uses a card-based

Program, make sure the ProgramÕs 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 wonÕt sound.)

QS6.1 Reference Manual 23

Part 2: Overview

ABOUT SOUND GROUPS

To make things easier for you, weÕve 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 QS6.1Õs User Bank is organized

· The General MIDI Bank. This is organized to match the General MIDI

in the same Sound Groups as the Preset Banks. But it neednÕt stay that way.

Any User Bank you create for yourself (or collect from non-Alesis sources) might

be organized very differently.

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 QS6.1 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 downÉand then push it down a little harder.

ThatÕs Òaftertouch.Ó (YouÕll also see it referred to as ÒPressureÓ 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

QS6.1 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.

24 QS6.1 Reference Manual

Overview: Part 2

¥ Modulation Wheel. The [MODULATION] wheel has also been around pretty

much forever in synth design. It got its name because it is typically used to add

varying levels of modulation (such as vibrato or tremolo) while you play. But it

isnÕt limited to that. It can also be used to create Òfilter-openingÓ 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.

¥ Controller Sliders A-D. These sliders can control any parameter that has been

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.

¥ Sustain Footswitch. If you connect a footswitch to the [SUS PEDAL] jack on your

QS6.1Õs back panel, you can use it to hold down notes after your lift your finger

from the keyboard. In some Programs Ñ piano and acoustic guitar sounds, for

example Ñ such held notes will naturally decay within a time set by the

ProgramÕs parameters. In other Programs Ñ like organs, woodwinds, and many

synth sounds Ñ theyÕll sound for as long as you keep the footswitch depressed.

¥ Expression Pedal. Think of this as a Modulation Wheel for your feet. All you

have to do is connect a volume-type pedal to the [PEDAL 1] jack on the QS6.1Õs

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 thatÕs hardly the limit, so we invite you to see what you can come up

with by experimenting for yourself.

QS6.1 Reference Manual 25

Part 2: Overview

PCMCIA E XPANSION CARDS

Your QS6.1 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 ROMcards 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.

¥ FlashRAM cards. There are the cards youÕll need if you want to burn your own

custom sample cards. FlashRAM cards are available in 2MB, 4MB, and 8MB

sizes. Using AlesisÕs Sound Bridge software (see Part 9: Extras) you can organize

all the necessary data on your PC or Mac and temporarily turn your QS6.1 into a

ÒRAMburnerÓ when you are ready to make your own card.

Note: See the section entitled ÒUsing PCMCIA Expansion CardsÓ in Part 9: Extras for exact card specifications.

26 QS6.1 Reference Manual

FIRST SESSION

POWERING UP

Once your QS6.1 is connected to an audio system of some kind, you are ready to play. HereÕs how to begin.

1) Make sure that all connections have been made correctly, and that the volume

controls in your amplification system and QS6.1 are set to zero.

2) Throw the QS6.1Õs rear-panel [ON/OFF] switch to ON (the up position). The

display should light up and look something like this:

First Session: Part 3

PART 3

If this isnÕt the first time your QS6.1 has been used, it may not say PROG in the

bottom left of the display. Press the [

3) Push the [VOLUME] slider all the way up.

4) Turn on your amplifier or mixer, and gradually raise its volume while playing

your QS6.1. When the sound is as loud as you want, stop.

PROGRAM

] button once to change that.

PLAYING THE DEMO SEQUENCES

The QS6.1 has five built-in sequences designed to demonstrate its rich variety of sounds and signal-processing effects. To hear these at their best, make sure to run your QS6.1 in stereo (or else listen on headphones).

Please note: Your QS6.1 doesnÕt send out MIDI messages during demo playback. In addition, the keyboard is disabled. You can listen to the demos, but you canÕt play along with them.

· To play all five sequences in order, hold down the [MIX] button and press [0].

When all five have played, your QS6.1 will exit DEMO mode on its own.

· To stop the demos at any point during playback, press [MIX] again.

· To play a specific demo, hold down [MIX] and press any of the five number

buttons from [0] through [4]. After a brief pause playback will start with the

demo youÕve selected, then continue through the remaining demos until done.

Note: After any of the demos stop playing, the QS6.1 will automatically return itself to Program Mode. The next time you enter Mix Mode you will probably see the name of the demo which was last played. This is because the Mix which was used for the demo sequence remained in the Mix Mode edit buffers, which is normal. To clear this, call up another Mix.

QS6.1 Reference Manual 27

Part 3: First Session

PLAYING PROGRAMS

The mode in which your QS6.1 plays Programs is called, logically enough, Program

Mode. To enter it at any time, just press the [PROGRAM] button on the front panel.

Once there, all you have to do is play.

To explore different Programs in the current Bank, use the [SELECTION] and [VALUE] buttons. Experiment with them until you have a feel for how they work.

Remember that the [VALUE] buttons move through the available Programs one at a time, while the [SELECTION] buttons enable you to jump around at will Ñ to get Program 27 you would push [20] and then [7], to get Program 99 you would press [90 ] and then [9], and so forth.

Please note: In MIDI there are no Program numbers above 127, so pressing [8] or [9] after pressing [

ending in 8 or 9 will Òwall outÓ your Program choice at Program #127.

To explore Programs in a different Bank, use the [BANK] buttons. You can also get to a new Bank by using the [VALUE] buttons to scroll from the end of one Bank to the

beginning of another, or vice-versa. (This means that if you are at Program 127 in

the Preset1 Bank, and press [▲ VALUE], you will jump to Program 00 in the Preset 2

Bank.)

The number, name, and Bank of the current Program will be visible in the LCD display, which should look something like this:

120

] wonÕt do anything; and pressing [120] from any Program number

· The big numerals on the left show you the number of the current Program.

· The upper line spells out the current ProgramÕs name.

· The middle line identifies the current Bank.

· The PROG beneath the Program Number shows you are in Program Mode.

· The small number underneath the Bank listing shows the current MIDI channel.

It is also a MIDI activity indicator, flashing a small circle whenever MIDI

data is sent or received over this channel. (To see this for yourself, hit any

key.)

CHANGING THE MIDI CHANNEL

MIDI has 16 channels. While in Program Mode, your QS6.1 can transmit and receive information on only one of them. As noted just above, the current channel is shown by a small indicator along the bottom of the LCD display.

To change this MIDI channel setting, press either of the the [PAGE] buttons on the

front panel until the MIDI channel number you want is visible in the display.

28 QS6.1 Reference Manual

PLAYING MIXES

In Program Mode you play Programs, so to play Mixes you can probably guess that

youÕd have to be in Mix Mode. To enter this mode at any time, just press the [MIX]

button on the front panel.

The display should look something like this:

As you can see, there are only two visible differences between this and the Program Mode display:

· The mode indicator in the lower left of the display reads MIX.

First Session: Part 3

· More than one MIDI channel is indicated. The numbers you see here tell you

what MIDI channels are being used to send and/or receive in this Mix. (This

also gives you a quick way of seeing how many Programs are in a particular

Mix, since the nature of Mixes is to have one Program per enabled MIDI

channel.)

PICKING A MIX BANK

Mixes come in Banks, just like Programs. In fact, they come in exactly the same Banks Ñ the only difference is that there are 100 Mixes in each Bank, as opposed to 128 Programs.

To cycle through the available Banks, get into Mix Mode and press the [BANK]

buttons as described earlier.

SELECTING MIXES

This works as described earlier for Programs; youÕre just in a different Mode when

you do it. Start by making sure you are in Mix Mode, then use the [VALUE] keys and [SELECTION] buttons to call up the Mix of your choice.

Please note that there are only 100 Mixes (numbered 00 through 99) in each Bank.

This is why pressing the [

Mix Mode wonÕt have any effect.

100

], [

110

], and [

120

] selection buttons while you are in

QS6.1 Reference Manual 29

Part 3: First Session

FINDING OUT WHAT PROGRAMS ARE IN THE MIX YOU ARE PLAYING

ItÕs easy to see what Programs are currently assigned to the active MIDI channels in a Mix. Just enter Mix Mode, call up the Mix you want to examine, and then move

through its MIDI channels using the [PAGE] buttons. Do that and the display will

change to look something like this:

There are five differences between this and the normal Mix Mode display:

· The upper line shows the Program assigned to the current MIDI channel. This

name always appears inside quotation marks, so you can tell at a glance that

you are not in standard Mix Mode.

· The upper line shows this ProgramÕs number.

· The middle line shows the Bank that the identified Program belongs to,

instead of the Bank that the Mix is in. As you will see when you examine

enough different Mixes, Programs can come from any Bank at all. You arenÕt

limited to working just from those within the same Bank as your Mix. This is

wonderfully useful, but has some wrinkles youÕll need to be aware of if you ever

create Mixes using Programs stored on Expansion cards. (WeÕll cover those issues

in more detail in Part 4: Basic Operation., Part 7: Editing Mixes, and Part 9:

Extras.)

· The mode indicator beneath the Program Number now reads MIXPROG.

· The current MIDI Channel Number will be flashing.

You can also change Program assignments from this display, but donÕt try that just yet. WeÕll cover that fully in the next section, Part 4: Basic Operation.

DonÕt be confused by the fact that you can use the [PAGE] buttons to look at all 16

MIDI channels in a Mix, even if those channels arenÕt actually enabled. The only channels that matter are the ones whose numbers are visible across the bottom of the display when you first call up the Mix.

And now, just for funÉ

30 QS6.1 Reference Manual

First Session: Part 3

THE PERFORMANCE CONTROLS, PT. II

We described these real-time controllers in Part 2: Overview. Now that you know how to find your way to all the different Programs and Mixes, itÕs time to explore just what the controllers can do.

Your assignment: Call up a Program or a Mix and try out the items listed just below. When you think youÕve got a sense of how they work (or donÕt) with your current choice, call up a different Program or Mix and try them again. As you move around youÕll see some interesting variations!

Here Ôs the list, as a reminder.

¥ Velocity.

¥ Aftertouch.

¥ Pitch Bend Wheel.

¥ Modulation Wheel.

¥ Controller AÐD Sliders.

· Sustain Pedal.

· Expression Pedal.

TRANSPOSING THE KEYBOARD

One of the great conveniences of electronic keyboards is how easily they can be transposed, allowing you to play all possible keys (even the more difficult ones) without having to learn as many different fingerings and hand positions.

Just to round things out before we move on, why not experiment with your QS6.1Õs Performance Transpose feature?

All you have to do is:

1) Hold down the [TRANSPOSE] button.

2) Tap the key that represents the interval youÕd like to shift by. If you want to

shift up a semitone, for example, you would tap any C-sharp on the keyboard

that lies above Middle C. And if you want to shift a major third down, youÕd

press any G-sharp below Middle C. See the chart on the next page for further

guidance.

3) Now let go of the [TRANSPOSE] button.

ItÕs that simple. Try it and see for yourself. When you finally want to return things

to normal, just hold down [TRANSPOSE] again and tap on the MIDDLE C key

before letting go.

You can go up or down as much as an octave, giving you a total of two octaves of transposition range.

This technique gives you a quick way to make transpositions Òon the fly.Ó You can also transpose your QS6.1 using one of the Global commands. That works just a little differently, and will be covered in the next part of this manual.

QS6.1 Reference Manual 31

Part 3: First Session

PERFORMANCE TRANSPOSITION CHART

OCTAVE + 12 semitones C above Middle C

MAJOR SEVENTH + 11 semitones B above Middle C

MINOR SEVENTH + 10 semitones B-flat above Middle C

MAJOR SIXTH + 09 semitones A above Middle C

MINOR SIXTH + 08 semitones G# above Middle C

PERFECT FIFTH + 07 semitones G above Middle C

DIMINISHED FIFTH + 06 semitones F# above Middle C

PERFECT FOURTH + 05 semitones F above Middle C

MAJOR THIRD + 04 semitones E above Middle C

MINOR THIRD + 03 semitones D# above Middle C

MAJOR SECOND + 02 semitones D above Middle C

MINOR SECOND + 01 semitone C# above Middle C

NORMAL Middle C

MINOR SECOND - 01 semitone B below Middle C

MAJOR SECOND - 02 semitones B-flat below Middle C

MINOR THIRD - 03 semitones A below Middle C

MAJOR THIRD - 04 semitones G# below Middle C

PERFECT FOURTH - 05 semitones G below Middle C

DIMINISHED FIFTH - 06 semitones F# below Middle C

PERFECT FIFTH - 07 semitones F below Middle C

MINOR SIXTH - 08 semitones E below Middle C

MAJOR SIXTH - 09 semitones D# below Middle C

MINOR SEVENTH - 10 semitones D below Middle C

MAJOR SEVENTH - 11 semitones C# below Middle C

OCTAVE - 12 semitones C below Middle C

DOWN

32 QS6.1 Reference Manual

Basic Operation: Part 4

PART 4

BASIC OPERATION

RECAP

At this point youÕve pretty much learned everything there is to know about how to play your QS6.1:

· YouÕve got it hooked up and amplified.

· You know about Banks, and how to switch among them.

· You know about Programs and Mixes, and how to call them up.

· You know how to use the real-time performance controllers.

· You know about the various types of PCMCIA expansion cards, and how to plug

them in as sources for additional Banks of Programs and Mixes.

ThatÕs quite a lot, actually. Add in a few more basics and some MIDI info (see Part 5: MIDI) and those of you who arenÕt interested in editing anything in your instrument will be set.

Ready? In this section of the manual weÕll give you those remaining non-MIDI basics. They include copying Programs and Mixes to new locations in the User Bank (or a Card Bank), renaming copied Programs and Mixes, changing the Programs assigned to a Mix, playing Sequences from memory cards, and everything you need to know about your QS6.1Õs Global settings.

But before we get started, thereÕs something we think you ought to know:

THE DOUBLE-BUTTON PRESS TRICK

ThereÕs a pretty nifty hidden trick in the QS6.1Õs operating system. ItÕs called the ÒDouble-button pressÓ, and what it does is reset certain parameters or functions back to a certain value without you having to actually push those same buttons a bunch

of times to get there. It works with the [VALUE] buttons, the [PAGE] buttons, and the [BANK] buttons.

Here are the areas where this trick is useful:

¥ If you press both [VALUE] buttons at the same time while youÕre in one of the Edit

Modes (Program, Mix, Effects or Global), the value which is currently displayed will change to the factory default for that parameter. This works in Store Mode, too!

¥ If you press both [PAGE] buttons at the same time while youÕre in one of the Edit

Modes, the Page which is currently displayed will change to the first page in whatever Function youÕre working with. This one also works in Store Mode.

¥ If you press both [PAGE] buttons at the same time while youÕre in Mix Program

Select mode or Program Play mode, the QS6.1 will jump to MIDI channel 1.

¥ If you press both [BANK] buttons while youÕre in Mix Play or Program Play modes,

the QS6.1 will jump to the same location in the User bank.

QS6.1 Reference Manual 33

Part 4: Basic Operation

COPYING EXISTING PROGRAMS AND MIXES TO A N EW LOCATION IN THE USER BANK

You can readily move copies of existing Programs and Mixes into the User Bank. This is useful if you want to put them in a certain order for recording or performance, or to arrange interesting starter materials in preparation for editing.

The procedure is an easy one.

1) Press [STORE]. The display will look something like this:

2) Using the [VALUE] buttons or the [EDIT VALUE] slider Ñ also known as

[CONTROLLER D] Ñ pick a User Bank location between 000 and 127 (00 and 99

in the case of Mixes). You can also directly enter the number you want using the

23 [SELECTION] buttons.

3) Press [STORE] again, and youÕre done.

…OR TO A N EW LOCATION ON A

ARD BANK

If you have an SRAM card, you can move a Program or Mix to any one of the banks on the card. The procedure is the same as listed above for copying a single Program or

Mix to the User Bank, except that in step 2) you would use the [BANK] buttons to

select a Card bank as your destination instead of the User bank. Everything else works the same.

For more about working with SRAM cards, see Part 9: EXTRAS.

34 QS6.1 Reference Manual

Basic Operation: Part 4

CHANGING THE PROGRAMS IN A MIX

This is actually the first level of editing for Mixes, but thatÕs okay Ñ itÕs an easy and useful thing that you can do whenever you are in Mix ModeÉand best of all you donÕt need to know anything special to do it!

1) Get into Mix Mode by pressing the [MIX] button.

2) Press either of the [PAGE] buttons and look at the display. One of the MIDI

channel indicators on the bottom line should be flashing, and the upper line

should now show a Program Name and Number. This Program is the one

currently associated with the flashing MIDI channel.

3) Use either the [VALUE] buttons or any of the 23 [SELECTION] buttons to call up

a different Program. You can also call up Programs from other Banks by using

the [BANK] buttons. The upper line of the display will change to show you

which Program youÕve selected for that MIDI channel.

4) Do this until you like what youÕve got.

5) If you want to change Program assignments for another MIDI channel, use the

two [PAGE] buttons to move around among the 16 channels that are available. To stop editing and return to normal operation, press either [MIX] to go to Mix Mode,

or [PROGRAM] to return to Program Mode.

Note: Your QS6.1 will let you change Program assignments on all 16 MIDI channels, even ones that arenÕt yet enabled in this Mix. You wonÕt hear the changes you make to a channel that isnÕt yet enabled. ThatÕs all right. If you want you can always go ahead and make the assignments you want now, and enable their MIDI channels later.

STORING ALTERED MIXES TO THE USER BANK (OR TO A CARD)

This works just like copying, which was described a little earlier. A recap: Once

youÕve come up with a new combination of Programs that you like, press [STORE]

while still in Mix Edit Mode. The display will change to look like this:

Select your target bank and any number between 00 and 99 (using the usual

methods), then press [STORE] again and youÕre done.

STORING ALTERED PROGRAMS TO THE USER BANK (OR TO A CARD)

This works just like copying, which was described a little earlier. A recap: Once

youÕve come up with a new combination of Sounds that you like, press [STORE]

while still in Program Edit Mode. The display will change to look like this:

Select your target bank and any number between 000 and 127 (using the usual

methods), then press [STORE] again and youÕre done.

QS6.1 Reference Manual 35

Part 4: Basic Operation

CHANGING THE NAME OF A P ROGRAM OR MIX

Call up the Program or Mix whose name you wish to change. Make sure it is visible in the display, and then:

1) Press [EDIT SELECT].

2) Press [120], which calls up the NAME function while editing. The name you

wish to edit will appear, inside quotation marks, in the middle line of the

display. One of the characters in the name will be underlined (probably the

first one, if this is your first time naming something). Pressing both [PAGE]

buttons at the same time will take the cursor back to the first character, if

thatÕs the one you want to change.

3) Change the underlined letter by moving the [EDIT VALUE] slider or pressing

the [VALUE] buttons.

4) Move the cursor back and forth among the available spaces by pressing the

[PAGE] buttons. Change any or all of the characters as you wish.

5) When you are done Ñ there is a 10-character limit Ñ go through the steps

described above to store the newly named Program or Mix somewhere. Then

press either [PROGRAM] or [MIX] to leave this mode.

COMPARE MODE

The [ BANK] button doubles as the [COMPARE] button (note the silkscreening on

the panel under the button). It allows you to go back and forth between the edited version and the original version of a Program or Mix before committing yourself to storing it.

Once a Program or a Mix have been edited, the word ÒEDITÓ will change to

ÒEDITEDÓ in the lower-left corner of the display. If [COMPARE] is pressed while

in an Edit Mode, youÕll see the word ÒEDITÓ start flashing. If you play the QS6.1 while it is doing this, you will temporarily be hearing (and seeing) the original

version of the Mix/Program. If you are editing a Mix and press [COMPARE], the

original unedited Mix is temporarily recalled. Likewise, if you are editing a

Program or its Effects Patch and press [COMPARE], the original Program will be temporarily recalled. Pressing [COMPARE] again switches back to the edited

version, and the word ÒEDITÓ will revert back to ÒEDITEDÓ in the display.

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Basic Operation: Part 4

PLAYING SEQUENCES FROM A CARD

[This section assumes that you have some PCMCIA Expansion Cards with sequences on them. If you donÕt, you can move on and come back to this section later.]

Several of the Alesis QCards come with their own demonstration sequences. More importantly, you can store your own MIDI sequences to RAMcards (in Standard MIDI File format) using a computer and AlesisÕs free Sound Bridge software, and then play them back easily from your QS6.1.

HereÕs all you have to do.

1) Insert the RAMcard containing sequence data into either of the two [PCMCIA

EXPANSION] slots on the back panel of your QS6.1.

2) Press the [SEQUENCE] button. The display will look like this:

3) Use the [SELECTION] buttons to pick the Card and Sequence Bank that holds

the sequence youÕd like to play: the [00] through [40] buttons select Sequence

Banks 0-4 on Card A, while [50] through [90] select the equivalent Sequence

Banks on Card B.

4) Finally, use the [0] through [9] buttons to activate a specific sequence from the

selected Sequence Bank (each Bank can hold 10 sequences).

If there is a sequence there, just wait a moment and it will play. (A blinking right arrow will show up in the display during playback.) If there isnÕt a sequence there, then the display will tell you so.

To stop a sequence while itÕs playing, you can press your choice of the [SEQUENCE], [PROGRAM] or [MIX] buttons. To leave this Mode and return to where you started without triggering a sequence, press [SEQUENCE] again.

QS6.1 Reference Manual 37

Part 4: Basic Operation

GLOBAL EDIT PAGE

GLOBAL SETTING

THE GLOBAL SETTINGS (AND HOW TO CHANGE THEM)

Certain basic parameters affect your entire QS6.1. Because they affect everything, they are called the Global Settings. There are 18 of them:

01 Master Pitch 02 Master Tune 03 Keyboard Velocity Curve 04 Keyboard Velocity Scaling 05 Transpose 06 Keyboard Mode 07 General MIDI 08 Controller A # 09 Controller B # 10 Controller C # 11 Controller D # 12 Pedal1 Control # 13 Pedal2 Control # 14 MIDI Program Change Mode 15 Input/Output Mode 16 MIDI Out Mode 17 Reset Controllers A-D 18 Controller A-D Mode

38 QS6.1 Reference Manual

Basic Operation: Part 4

EDITING GLOBAL PARAMETERS

To enter Global Edit Mode:

1) Press [EDIT SELECT].

2) Press the [BANK ] button (thatÕs the one that has GLOBAL written beneath

it). The display will look like this:

Now look in the upper right corner of the display. There you will see an indicator that says P1. This stands for Page One, and it tells you where you are among the 18 possible Global parameters. (Naturally enough, since there are 18 parameters there are also 18 separate pages.)

· To move around inside Global Edit Mode, youÕll use the [ PAGE] and [PAGE ]

buttons. These cycle you through all the available pages and their associated

parameters. (Try it and youÕll see that the page indicator changes as you go.)

· To change the settings you see in the Global Edit pages, use either the [D] slider

(the one with EDIT VALUE written under it) or the two [VALUE] buttons.

· To leave Global Edit Mode, press either [MIX] (to return to Mix Mode) or

[PROGRAM] (to return to Program Mode).

You can also shift directly from setting Global parameters to editing either Programs or Mixes by pressing one of the 23 [ later in this manual. Right now, we want to stick to Global changes only.

SELECTION

] buttons. But thatÕs for

PAGE 1 — MASTER PITCH

As you can probably guess from its name, this setting controls the Master Pitch of your QS6.1. Adjust this parameter when you wish to globally transpose all sounds played by the QS6.1, whether from the keyboard or by incoming MIDI information.

This parameter does not change the pitch of drum sounds (but see note below). It also has no effect on the Range settings in Mixes and Programs, or on what note data gets sent from the QS6.1Õs MIDI Out when you play the keyboard.

The range for this setting is Ð12 to 12, which is equivalent to down or up by one octave (in semitones).

Note: Changing MASTER PITCH can alter QS6.1 drumkits in unpredictable ways, because it shifts the key assignments of multi-sampled drumkits in Keyboard Mode but doesnÕt shift Drum Mode sounds. Most Preset drumkits are constructed using a combination of the two. (For an explanation of Drum Mode, see Part 8: EDITING PROGRAMS.) This goes for incoming MIDI notes as well as notes played on the keyboard, so your drum parts will play back differently than you laid them down if you alter Master Pitch after recording. If you want to explore these changes, go ahead Ñ you can always return things to normal by setting MASTER PITCH back to

00.

QS6.1 Reference Manual 39

Part 4: Basic Operation

PAGE 2 — MASTER TUNE

This setting is like Master Pitch, but on a much finer scale. Its main use will be to tune your QS6.1 to match other instruments. (If you are playing along with an acoustic piano that is consistently a little sharp or flat, for example, itÕs a lot easier to tweak this setting than to call in a piano tuner!)

Like Master Pitch, Master Tune has no effect on Drum Mode sounds, Range settings, or the note data sent from the instrumentÕs MIDI Out. But it does affect multisampled drumkits from Keyboard Mode (see note).

The range for this setting is Ð99 to 99. This is equivalent to down or up one half-step (in hundredths of a semitone).

Note: Drumkit time again. This parameter does not have any effect on Drum Mode sounds. However, it will work to tune drums that are part of multisampled Keyboard Mode drumkits. What happens is that they tune down or up as far as they can go and then switch to the next keygroup, which will probably be a different sample.

PAGE 3 — KEYBOARD VELOCITY CURVE

This parameter alters the ÒfeelÓ of your QS6.1Õs keyboard playing response. There are three options:

WEIGHTED gives the keyboard the widest possible dynamic range.

PLASTIC has the narrower dynamic range associated with typical synth

keyboards. You can still hit maximum volume with this setting, but notes played gently will be louder than they would be if you had selected WEIGHTED. Use this mode when you want a smoother, flatter keyboard response.

MAXIMUM means that every note played on the keyboard is given the maximum MIDI velocity, which is 127. In this mode, your QS6.1Õs keyboard is no longer velocity-sensitive. (Please note that while this affects the keyboard and any note data being sent from your QS6.1, it has no impact on how incoming MIDI note data is processed. Altering that is done on a Program by Program basis, using the Velocity Curve parameter available in Program Edit Mode.)

PAGE 4 — KEYBOARD VELOCITY SCALING

This parameter also alters the ÒfeelÓ of your QS6.1Õs keyboard, but in a different way than the Keyboard Velocity Curve setting mentioned just above. Unlike that setting, it doesnÕt alter the dynamic range. Instead it takes the existing velocity curve and gives it a slight bias toward either soft or hard styles of playing.

HereÕs how it works. The range for this setting is 00 to 99. When set to 00, it scales the keyboard velocity data so that loudness increases more slowly than usual as you play harder. At 00 it is a little easier to play quietly and a little harder to play loud. Push this setting all the way up to 99 and you get the opposite: keyboard velocity is scaled to make it easier to play loud, while playing soft will require great finesse.

40 QS6.1 Reference Manual

Basic Operation: Part 4

The factory default setting is 65, which gives an even scaling that favors neither loud nor soft playing. You will need to experiment with this parameter to find exactly the right adjustment for your own Òtouch.Ó

PAGE 5 — TRANSPOSE

This is the same Transpose setting you were introduced to in Part 3: First Session. The only difference is that in Global Edit Mode you make changes using the

standard [EDIT VALUE] slider and [VALUE] buttons, not by pressing keys on the

keyboard.

The transposition range is from Ð12 to 12, which is the same as moving down or up by semitones over a two-octave range. It works by changing the MIDI Note Numbers assigned to the keyboard, thus changing the note data sent out from your QS6.1 when you play.

So, if you want to play notes that are outside the QS6.1Õs normal 61-note range (MIDI Note Numbers 36-96), then by all means transpose! Taken down an octave, the keyboardÕs range becomes MIDI Note Numbers 24-84; taken up an octave, it covers MIDI Note Numbers 48-108.

This is very useful knowledge if you are using your QS6.1 to play music into a sequencer, since this parameter gives you two extra octaves of keyboard recording range.

PAGE 6 — KEYBOARD MODE

There are three possible keyboard modes. Which one you want to use will depend on how you are using your QS6.1:

NORMAL is the default setting. When NORMAL is selected, Program Mode receives and transmits over the MIDI channel indicated in the display. In Mix Mode, MIDI information is received over all active MIDI channels, but sent only from those displayed channels that have had MIDI OUT enabled. The MIDI Channel indicators in the lower line of the display will show which channels are active at any given time.

CH SOLO changes the way the keyboard handles MIDI in Mix Mode (it has no effect on Program Mode). The simplest way to describe what it does is to say that it isolates individual channels in a Mix, allowing you to play only the selected channel (indicated by a flashing number in the display) from the keyboard, while ignoring all the Programs assigned to other channels. This is a great way, for example, to individually check out the different Programs that are in a layered Mix. And since CH SOLO has no effect on incoming MIDI data, itÕs a great mode for sequencing. You can just move through your multi-timbral Mix one channel at a time, recording on single channels as you go while always hearing playback on everything that youÕve already laid down. (If youÕve selected CH SOLO, the

[ PAGE] and [PAGE ] buttons are what youÕd use in Mix Mode to hear each

channel in turn.) When using CH SOLO, make sure you turn off your sequencerÕs ECHO function (sometimes called SOFT THRU or THRU). More about this sort of thing in Part 5: MIDI.

Note: This mode is automatically selected by the QS6.1 when the General MIDI function is set to ON.

QS6.1 Reference Manual 41

Part 4: Basic Operation

OUT 01 through OUT 16 select a single MIDI channel to transmit on, while simultaneously shutting off local keyboard control. YouÕll want to choose this setting if you are using a sequencer that automatically echoes back the MIDI data that is being recorded. (If your sequencer works that way and you donÕt choose one of the OUT settings, you will run out of available Voices faster as the echoed notes double what you are playing.)

✪

Setting the Keyboard Mode to one of the OUT values is the QS6.1Õs equivalent to LOCAL OFF.

PAGE 7 — GENERAL MIDI

This parameter turns General MIDI Mode on and off. YouÕll want to set it to ON if you are going to use your QS6.1 to play back sequences created specifically for use with a General MIDI module. Otherwise youÕll want to leave it alone.

For more information about General MIDI, see the MIDI supplement in Part 10: Appendices.

WARNING: Do not change this setting to ON unless you really mean to. Why? Because doing so will immediately take you out of Global Edit Mode, switch to Mix Mode, and call up the GM Multi Mix (Mix 00 in Preset Bank 4, which is the General MIDI Bank). This can be pretty darned confusing if you arenÕt expecting it, but donÕt worry Ñ itÕs easy to return to Global Edit Mode and set this parameter back to OFF.

Some (but not all) General MIDI sequences will have a SysEx message at the beginning which tells the receiving device to go into General MIDI mode. The QS6.1 will respond to such a message. If one comes in, then your instrument will immediately jump from wherever it is to the GM Multi Mix.

The General MIDI spec reserves MIDI Channel 10 for drumkits. Because of this, when the global General MIDI setting is ON, your QS6.1 wonÕt be able to call up anything but drumkits on Channel 10 (from the front panel or via MIDI).

Note: Turning General MIDI mode ON also automatically sets your Keyboard Mode to CH SOLO. Turning General MIDI off will put the Keyboard Mode back the way it was. Also, see the Note under Global Page 14.

PAGE 8 — CONTROLLER A #

This parameter lets you select the MIDI Controller Number that will be assigned to

the front panelÕs [CONTROLLER A] slider. This is useful both for controlling

external MIDI devices and for giving you sequencer-recordable control over a variety of Program and Effect parameters. The factory default is Controller 012.

For a listing of all MIDI controllers and their designations, see the MIDI Supplement section of Part 10: Appendices.

PAGE 9 — CONTROLLER B #

The same as Global Edit Page 8, above, but for Controller B. The factory default is Controller 013.

42 QS6.1 Reference Manual

Basic Operation: Part 4

PAGE 10 — CONTROLLER C #

The same as Global Edit Page 8, above, but for Controller C. The factory default is Controller 091.

PAGE 11 — CONTROLLER D #

The same as Global Edit Page 8, above, but for Controller D. The factory default is Controller 093.

PAGE 12 — PEDAL 1 CONTROL #

Just like MIDI Controllers AÐD, your QS6.1Õs [PEDAL 1] jack can be assigned to a MIDI controller. In fact, it already is. The factory default is Controller 007 (Main Volume), which explains why a pedal plugged into the back panelÕs Pedal 1 jack will automatically control volume.

It doesnÕt have to be limited to that, however. You can use this parameter to change it to any Controller from 0 to 120. (Please note that if you do, a footpedal plugged into your [PEDAL 1] jack wonÕt work as a volume control anymore!)

In short, then, this setting determines what MIDI data is sent out when you step on a properly-connected footpedal. And since PEDAL1 is also an available setting for modulating Programs or Effects, your choice here will determine exactly what incoming MIDI Controller data will modulate those Programs, Effects and (by extension) Mixes that have been set up to respond to PEDAL1.

Something to be aware of: Unless you deliberately mean to, donÕt assign the same Controller Number to two different physical controllers. Their interaction could get very confusing! ItÕs even possible that they could fool you into thinking that something in your QS6.1 is either broken or not working properly, since youÕd be moving a controller and not getting the exact response you expect.

PAGE 13 — PEDAL 2 CONTROL #

This setting works exactly like Pedal 1, just above, except for a single itty-bitty difference: your QS6.1 doesnÕt have an input jack for a ÒPedal 2Ó!

Why have a Pedal 2 setting, then? Simple: it gives you one more assignable continuous controller to which the QS6.1 can respond! It also helps maintain program compatibility with the QS7 and QS8, which do have an input for Pedal 2. Also, when you get to Part 8: Editing Programs, you will see that PEDAL2 is one of the available Program modulation sources.

The factory default for this setting is 004 (Foot Controller).

QS6.1 Reference Manual 43

Part 4: Basic Operation

PAGE 14 — MIDI PROGRAM SELECT MODE

This parameter determines how your QS6.1 deals with MIDI Program Change Commands. There are three possible settings:

OFF turns all Program Changes off. With this choice selected, your QS6.1 will neither send Program Changes nor respond to them.

ON makes the QS6.1 respond to incoming MIDI Program Changes, and send them out whenever you change Programs from its front panel. In Program Mode it will send and receive Program Changes over the currently selected MIDI channel. In Mix Mode, Program Changes are received over all active MIDI channels, but sent only from those displayed channels that have had MIDI OUT enabled. Please Note: With this setting, incoming Program Changes will only affect the Programs associated with each specific channel, not the entire Mix.

MIDI MIX SELECTION: CHANNEL 1 through CHANNEL 16 are identical to ON as far as Program Mode is concerned. In Mix mode they work quite differently, however, allowing you to change entire Mixes in response to Program Change commands. Select CHANNEL 4, for example, and a Program Change 22 command coming in over MIDI Channel 4 would automatically select Mix 22 in the current Bank. The same is true of Bank Select messages which come in on Channel 4 in this scenario; theyÕll call up a Mix in another Bank. (Program Changes coming in over other MIDI channels would continue to work as before, changing any Programs associated with those channels within the current Mix.)

Any time you turn General MIDI Mode (Global Page #7) to ON, the MIDI Program Change setting will automatically default to ON as well. ThereÕs a good reason for this: if MIDI MIX SELECTION were left in place here, then an incoming Program Change could call up some other Mix than the standard GM Multi MixÉand thereÕd be no telling what the GM sequence you were playing might wind up sounding like!

For an in-depth discussion of how these settings impact Bank Select transmission and response, see Part 5: MIDI.

PAGE 15 — INPUT/OUTPUT MODE

This parameter determines whether your QS6.1 will communicate to the outside world through (A) its MIDI jacks, or (B) its serial port. The possible selections depend on how the rear panel [SERIAL PORT SWITCH] is set.

1) If the switch is set to MAC, your choices will be MIDI and MAC 1MHz.

2) If it is set to PC, your choices will be MIDI, PC 38.4kBaud, and PC 31.25kBaud.

(Your typical PC will work properly at the 38.4kBaud setting. PCs that require

the 31.25kBaud setting are quite rare.)

If you select MIDI, then the MIDI jacks will work and the serial port wonÕt. This is the factory default.

Select any of the others and youÕll get the opposite result: the serial port will be on and the [MIDI IN] and [MIDI OUT] jacks will be shut off (although the MIDI OUT jack can still be used as a MIDI THRU depending on the MIDI Out Mode setting described just below).

44 QS6.1 Reference Manual

Basic Operation: Part 4

PAGE 16 — MIDI OUT MODE

In normal MIDI operation, this parameter lets you switch the function of the back panel [MIDI OUT] jack between being a MIDI OUT and being a MIDI THRU. Given that, the two possible settings Ñ OUT and THRU Ñ should be self-explanatory. The factory default is OUT.

If, however, you have selected one of the SERIAL PORT settings instead of MIDI (as discussed just above) then your choices become OFF and THRU, with OFF as the default.

When this setting is OFF, the [MIDI OUT] jack doesnÕt send any data to external devices. Change it to THRU and the jack will automatically echo any MIDI data coming into your QS6.1 over the serial connection.

In some situations you may need a direct serial link to a computer and a normal MIDI OUT running from your QS6.1 to other instruments. HereÕs the solution: Set the MIDI Out Mode to THRU and then turn on your computerÕs MIDI THRU function. This will echo any incoming QS6.1 data back to your keyboard, which will echo it in turn to the [MIDI OUT] jack that is operating as a MIDI THRU. The net result will be the same as if a normal MIDI OUT was in place.

PAGE 17 — RESET CONTROLLERS A-D

This parameter determines whether the values for Controllers AÐD will (A) reset to zero or (B) stay the same whenever a new Program or Mix is chosen. The factory default is ON, which is the setting that forces a reset whenever you change from one Program or Mix to another. The other possible setting is OFF.

Which one makes the most sense will depend on what you are trying to do.

For example:

If you were using [CONTROLLER] sliders to affect the volumes of external MIDI

sound modules, youÕd probably want to set this parameter to OFF. That way you wouldnÕt reset all the different modules to zero volume every time you changed Programs.

On the other hand, if you were using the [CONTROLLER] sliders to modulate

various Program parameters, then you might very well want to set this parameter at ON in order to maintain a smooth continuity of control as you move among different Programs and Mixes.

PAGE 18 — CONTROLLER A-D MODE

This parameter determines how the data generated by moving Controllers A-D will be used. There are three possible settings:

LOCAL sets things so that your [CONTROLLER] sliders work with your own QS6.1,

but do not generate any MIDI data.

MIDI does the exact opposite. Select this, and your [CONTROLLER] sliders will

send out MIDI data but have no effect on your own QS6.1 Programs and Mixes.

BOTH sets the sliders up so they control your QS6.1 and send MIDI data. This is the factory default setting.

QS6.1 Reference Manual 45

Part 4: Basic Operation

46 QS6.1 Reference Manual

MIDI: Part 5

PART 5

MIDI

WHAT WE’LL COVER HERE...

¥ Sequencing with the QS6.1 via MIDI or the serial port.

¥ Using the QS6.1 as a master MIDI keyboard for a live rig, along with a little more

info about controlling external MIDI devices from a Card sequence.

¥ Sys-ex transfers. How to go about transferring single Programs, Mixes or an entire User bank via Sys-ex to a computer or another QS series synth.

…AND WHAT WE WON’T (BUT WHERE YOU CAN FIND IT).

¥ How to create a Mix. We will go over selecting Programs within a Mix (the very top level of Mix editing), but for information on things like setting levels or selecting the Effects Patch within the Mix, see Part 7: Editing Mixes. Our main focus here will be on interfacing the QS6.1 with the outside world.

¥ General MIDI (GM) will only receive a brief amount of coverage here, because itÕs covered pretty well in the discussion about Global Edit ModeÕs page 7 (Part 4: Basic Operation). ThereÕs even more in-depth coverage of it in Part 10: Appendices (Appendix B: MIDI Supplement).

¥ Basic MIDI concepts. If youÕre a novice to the world of MIDI, you should make it a point to read the MIDI Supplement in Appendix B soon. ItÕll help things make a lot more sense a lot sooner if you want to get a good handle on MIDI sequencing.

THE POWER OF MIX MODE

In Program Mode, the QS6.1 sends and receives MIDI information on only one MIDI channel at a time. In Mix Mode, however, the QS6.1 can send and receive on as many as 16 MIDI channels at once, each with its own keyboard range and a whole lot of other parameters you can customize. Mix Mode allows a single QS6.1 to play back full song arrangements at one time, with full control over the levels and stereo placement of the various Programs, complete with the Effects necessary to make the music shine.

But we also said it cansend (and how!). A QS6.1 in Mix Mode gives you the potential to control a whole lot of other MIDI devices at one time. When the next song calls for you to layer strings from that box with the brass from this box along with a couple of internal Programs, mixed just so, while calling up the DMPro kit for the drummer, setting the Q20 Reverb patch for the singer, and changing the setup on your lighting controller, selecting a single Mix on the QS6.1 can do all of that. ItÕll set up your whole rig instantly, right before the next song is to begin (even if your band changes its collective mind at the last second and starts a tune that wasnÕt on the song list!).

WeÕll dig into the MIDI controller aspects of the QS6.1 later in this chapter. For now, letÕs start talking aboutÉ

QS6.1 Reference Manual 47

Part 5: MIDI

USING AN EXTERNAL SEQUENCER

The QS6.1 can generate MIDI signals for a sequencer to record. On playback, the sequencer sends this data back into the QS6.1, which then serves as a multitimbral sound module (in Mix Mode). The sequencer can generate data over several channels; in Mix Mode, the QS6.1 can be programmed so that individual Programs play sequenced data on specific channels. Example: If the sequencer transmits a piano part over channel 1, a bass part over channel 2, and a drum part over channel 10, you could set up a QS6.1 Mix so that a piano sound plays only the MIDI data coming in on channel 1, a bass sound plays only the MIDI data coming in on channel 2, and drums play only the MIDI data coming in on channel 10.

For this to happen, you have to connect the sequencerÕs MIDI Out to the QS6.1Õs

[MIDI IN], and the QS6.1Õs [MIDI OUT] to the sequencerÕs MIDI In. Also, in Global

Edit mode, page 15 (I/O) must be set to "MIDI". This allows the QS6.1 to send data to the sequencer for recording, and play back data from the sequencer.

MIDI Out

MIDI In

MIDI Out

THE SERIAL PORT

All of the following information about sequencing with the MIDI ports applies to operations with the serial port as well. The most obvious difference is that if you use the built-in serial port you wonÕt need an additional MIDI interface.

If you already have the proper cables installed (and the Alesis serial driver, if youÕre using a PC-compatible computer), then youÕre almost ready to begin. Read about enabling the serial port in Part 1: Setup and Connections on page 14. YouÕll also find some very important information about using the serial port in conjunction with the MIDI Output jack in Part 4: Basic Operation on page 45. Look for the section at the bottom that goes over Global Edit mode pages 15 and 16.

Information about the Alesis Serial Driver and the cables youÕll need in order to do this is also in Part 1: Setup and Connections on page 15.

48 QS6.1 Reference Manual

MIDI: Part 5

SELECTING THE KEYBOARD MODE

In a Mix, the QS6.1Õs keyboard may be set up in several ways using the Keyboard Mode parameter found on Page 6 of Global Edit Mode. You need to determine which way is best for your application. The Keyboard Mode parameter determines how the keyboard will function with regard to MIDI:

¥ OUT 01 Ð OUT 16. Use this mode if youÕll be sequencing parts for other MIDI

devices in addition to the QS6.1. Select OUT 01, and the keyboard will send on

only MIDI channel 1 (or channel 2 if you select OUT 02, and so on). In this case

the sequencer must be used to set the MIDI channel of each track you want to

record.

Note: With this mode selected you will not hear the QS6.1 unless your sequencer

echoes the MIDI data back to the QS6.1Õs MIDI IN. (This is also one way of

verifying that the sequencer is set to receive properly.) ÒLocalÓ control of the

QS6.1 is turned OFF with this mode selected, so if things get disconnected

somehow you wonÕt be able to play anything from the QS6.1Õs keyboard. For

example, this could happen if you accidentally select the ÒdesktopÓ on your

computer, temporarily disabling the sequencing application.

So be sure to set up your sequencer to ÒechoÓ the MIDI data back to the QS6.1.

You can then set up the QS6.1 to pass the Òauto-channelizedÓ data along to other

MIDI devices by setting its MIDI Out Mode to Thru (Global Edit mode, page 16).

If the sequencing software is set up correctly, youÕll be able to play on a different

MIDI channel with each new track you record.

¥ NORMAL. Use this mode if the Mix is split or layered and sending on many

MIDI channels at once, and the sequencer will be able to record all channels at

one time. Good for capturing live performances in Mix mode.

This will only work if you have MIDI Out enabled for every MIDI channel within

the Mix which you would like the sequencer to record. The MIDI Out parameter

is on page 2 of the KEYBOARD/MIDI function in Mix Edit Mode. Once youÕre in

Mix Edit Mode, select the MIDI channel for which you would like to set this up

by pressing its [SELECT] button ([0] - [9] for channels 1-10, [00] - [ 50] for

channels 11-16).

¥ CH SOLO. Use this mode if youÕre sequencing with the QS6.1 alone (no external

MIDI modules). The keyboard only sends on one MIDI channel at a time, and

you change the channel on the QS6.1 for each separate track on the sequencer.

Naturally, this only works in Mix Mode, because Program Mode is kind of

already in Channel Solo mode by default.

This mode is automatically selected by the QS6.1 when the General MIDI

function is set to ON.

Note: In NORMAL or CH SOLO mode, the QS6.1 sounds are internally played from the QS6.1 keyboard, so any echo features of the sequencer should be turned off.

QS6.1 Reference Manual 49

Part 5: MIDI

PROGRAM ASSIGN FOR EACH MIDI CHANNEL

Assign Programs to the 16 channels of the Mix by using the [

buttons to select a channel (the silkscreening also identifies those as the [MIX CHANNEL PROGRAM SELECT] buttons). Then use the [0] Ð [ 9] and [00] Ð [120] buttons to select a

Program for that channel. If desired, you can use the [ select a Program from any of the internal or card banks.

▲

PAGE] and [PAGE

▲

BANK] and [BANK

] buttons to

▲

SENDING AND RECEIVING BANK SELECT MESSAGES

The QS6.1 will send and respond to MIDI Bank Select messages in the form of MIDI Controller 0. The value of Controller 0 determines which bank is to be recalled (User, Preset 1Ð3, GenMIDI, CardA, Card B). A total of 11 banks are accessible between the cards. The way the QS6.1 handles Bank Select messages depends on the MIDI Program Select mode (Global Edit Mode, page 14):

MIDI PrgSl: OFF

The QS6.1 will neither transmit nor receive Bank Select messages or Program change commands with this setting.

MIDI PrgSl: ON

▲

]

Reception: Program Mode. If a Bank Select (controller 0) message with a value of 0 is received, it will cause the User Bank to be recalled. If a Bank Select message of 1 is received, Preset Bank 1 will be recalled. Additionally, if a Sound Card is inserted, the Card Banks can be selected using Controller 0 values between 5 and 15. Values higher than 15 are Òwrapped aroundÓ and will start through the Banks order again. This means that a Controller 0 message with a value of 16 or 32 will recall the User Bank, while a value of 17 or 33 will call up Preset Bank 1.

Reception: Mix Mode. Same as above, except the Mix itself will not change Banks. The word ÒEDITEDÓ will appear in Mix Play mode screen, because the Mix has been altered to point to another bank on one of its MIDI channels. But you have to look inside the Mix to see that the Bank change occurred.

Transmission: Program Mode. If a new Bank is selected using the [BANK] buttons, a Bank Change message will be transmitted. See Reception: Program Mode for a description of which values will be sent for each Bank as it is selected.

Transmission: Mix Mode. If a new Bank is selected and any of the channels within the Mix have their MIDI Out parameters set to ON (Mix Edit Mode, Keyboard/MIDI function, Page 2), a Bank Select message (followed by a Program change) will be transmitted for each of those MIDI channels.

In Mix Program Select Mode (where you choose the Programs within the Mix), any channel which has its MIDI Out set to ON will transmit Bank and Program changes from within the Mix, just like in Program Mode.

50 QS6.1 Reference Manual

MIDI: Part 5

MIDI MixSl: CH 1-16

Reception: Program Mode. Same as with MIDI PrgSl: ON (see above).

Reception: Mix Mode. In this mode, when a Bank select message is received on the

channel specified by this parameter, the Mix itself will change Banks. Any Program change command on this same channel will call up an entire Mix as if it were a Program. All other channels within the Mix will behave the same way they do when MIDI PrgSl: ON is selected (i.e., they receive Bank and Program changes normally).

Transmission: Program Mode. Same as with MIDI PrgSl: ON (see above).

Transmission: Mix Mode. If a new Bank is selected, the Bank number of the Mix

itself will be transmitted on the channel specified by this parameter. Selection of another Mix in the same bank will send a Program change command which matches the Mix number.

In Mix Program Select Mode (where you choose the Programs within the Mix), changing the Bank of any Program within the Mix will not send a Bank Select command. Selecting a new Program within the Mix will not send a Program change command.

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. The MIDI Program Select parameter will automatically be set to MIDI Prg: ON.

QS6.1 Reference Manual 51

Part 5: MIDI

USING THE QS6.1 AS A MASTER KEYBOARD

Mix Play Mode also allows the QS6.1 to function as a very powerful MIDI master keyboard. You can layer the QS6.1Õs internal sounds with those of several external synthesizers by adjusting the proper parameters in Mix Edit mode.

For instance: You probably already know that you can layer and/or split several QS6.1 Programs in Mix Mode while simultaneously playing external synthesizers on those same MIDI channels. But the real power comes from using QS6.1 MIDI channels which have their Keyboard and MIDI Input parameters turned OFF. When this is the case, you can send a combination of MIDI Program changes and MIDI volume and panning commands to the external devices to select and blend them precisely the way you want with internal Programs on other channels. What's more, the QS6.1 can transpose the outgoing MIDI note numbers so you can play high octave brass sounds from an external device in the lower region of the keyboard, and/or layer external mid-range pads with high QS6.1 strings in the upper region.

The QS6.1 is so versatile as a master keyboard that if you play live, it could prove indispensible. Or if you just like having that huge, perfect, multi-MIDI-module stack for inspiration in your studio, the QS6.1 will call it up for you just the way you want it every time.

ThereÕs a detailed description of the parameters you would use to make all of this happen in Part 7: Editing Mixes. If you havenÕt read that chapter yet, go check out the section that describes the KEYBOARD/MIDI function (button [90]). If youÕre already familiar with those parameters, you're not far from being able to do the things listed in the previous paragraph.

Note: Be sure to check out the following pages for some useful information regarding:

¥ Bank Select and Program changes (Part 5: MIDI, pages 50 and 51)

¥ Making sure the Effects Patch doesnÕt change in a Mix when Program changes are received (Part 6: Editing Effects, page 62)

¥ Enabling and disabling the Wheels, Aftertouch, Sustain Pedal, and Controllers independently per channel (Part 7: Editing Mixes, page 103)

¥ Assigning different MIDI controller numbers to the four sliders and two variable pedal inputs (Part 4: Basic Operation, pages 42 and 43). Remember that Pedal 1 is a physical input and Pedal 2 is only available as a Mod source via MIDI.

¥ Setting up the A-D controllers so they either control internal parameters, send data to MIDI, or both (Part 4: Basic Operation, page 45)

52 QS6.1 Reference Manual

MIDI: Part 5

MAKING IT HAPPEN

The three parameters found under the KEYBOARD/MIDI button determine how the QS6.1 will function as a MIDI controller. For example:

¥ To play both an internal Program and an external MIDI sound source on a given channel, set both the Keyboard parameter and the MIDI Output parameter to ON.

¥ To play an internal program from the QS6.1's keyboard and not trigger an external MIDI module on a given channel, set Keyboard to ON and MIDI Output to OFF.

¥ To play an external MIDI sound source but leave the QS6.1 silent on a given channel, set its MIDI Output parameter to ON and its Keyboard parameter to OFF. But while youÕre at it, you may as well turn MIDI Input to OFF, becauseÉ

¥ To send volume, panning, and transposition information to an external MIDI sound source on a given channel, set MIDI Out to ON and set both MIDI Input and Keyboard to OFF. This is covered in greater detail on the next page.

Remember: This only works if that channel isnÕt playing a QS6.1 Program.

Note: When using the QS6.1 for this sort of thing, be sure the Keyboard Mode is set to NORMAL and the MIDI Program Select parameter is set to ON (Global Edit Mode, Pages 6 and 14). For more information, see Part 04: Basic Operation. ThereÕs also some good stuff about setting the Keyboard mode in this chapter. Look for the section called ÒSelecting the Keyboard ModeÓ under ÒUsing an External Sequencer.Ó

QS6.1 Reference Manual 53

Part 5: MIDI

(

)

(

)

(

)

(

)

(

)

(

)

(

)

TRANSMITTING MIDI VOLUME AND PANNING

Each Channel in a Mix can transmit its volume and panning settings via MIDI. For each channel on which you wish to transmit this data, MIDI Out must be set to ON and MIDI Input and Keyboard must be set to OFF (as explained in the KEYBOARD/MIDI section on page 102). Also, the Keyboard mode must be NORMAL and the MIDI Program Select parameter must be set to ON (Global Edit Mode, Pages 6 and 14).

If a channel is set up this way:

¥ whenever a Mix is recalled (via the front panel or via MIDI), volume and panning

information will be transmitted for that Channel;

¥ whenever that ChannelÕs ÒLevelÓ parameter is edited, volume information will be

transmitted as Controller #7 on that Channel;

¥ whenever that ChannelÕs ÒPanÓ parameter is edited, panning information will be

transmitted as controller #10 on that Channel. However, panning information will not be

sent if the Channel's "Pan" parameter is set to PROG.

The seven pan positions in a Mix send the following controller #10 values:

Mix Pan value CC#10 value

3> 127 2> 107 1> 85

<> 64 <1 43 <2 21 <3 0

Conversely, if you want to change the panning of a QS6.1 Program via MIDI, here is what you'll get if you transmit a given controller #10 value:

CC#10 value Mix Pan value Placement

0-20 <3 21-42 <2 43-63 <1 64-84 <>

85-106 1>

107-126 2>

127 3>

hard left mid left soft left center soft right mid right hard right

54 QS6.1 Reference Manual

MIDI: Part 5

TRANSPOSING MIDI NOTE NUMBERS PER ZONE

You can transpose different zones on the QS6.1Õs keyboard so they send higher or lower MIDI note numbers to external MIDI devices than you are actually playing.

HereÕs how: Once the initial conditions are met (MIDI Out set to ON, Keyboard and MIDI In set to OFF), all you have to do from within Mix Edit mode is press the Pitch

function button [70] and ÒtuneÓ the external MIDI devices as if they were internal

Programs using pages 1 and 2. ThatÕs it!

Between the Octave and Semitone parameters (pages 1 and 2, respectively), this gives you a +/- 3 octave control over your other gear in any zone! Not to mention the 5 octaves you have to begin with on the QS6.1Õs keyboard. And even if your external MIDI devices are being transposed in this manner by the QS6.1, they will follow the

[TRANSPOSE] button even further up or down.

That means there isnÕt any note you canÕt reach in the entire MIDI specification of 128 possible notes. From a 5-octave keyboard! Now you see why we think the QS6.1 is such a powerful controller.

SENDING CARD SEQUENCE DATA TO EXTERNAL DEVICES

There is an option box in Sound Bridge which allows you to set up the sequences on a given card so they will be transmitted from the QS6.1Õs MIDI Output jack. Basically what it does is toggle the QS6.1Õs MIDI Out parameter between Out and Thru (Global Edit Mode, page 16).

A setting of OUT causes Card sequence data to play QS6.1 Programs only, while allowing the MIDI Out jack to function relatively normally (so you can play your MIDI gear from the keyboard while the sequence is playing).

A setting of THRU passes sequence data on to external MIDI devices from the MIDI Output jack of your QS6.1, allowing both QS6.1 Programs and sounds from other MIDI devices to be played from a Card sequence. You will be able to play QS6.1 Programs from its keyboard, but you will not be able to play external MIDI devices while the sequence is running.

Note: It is highly inadvisable to enter Global Edit mode and toggle between these two settings while a sequence is running. If this happens, the QS6.1 could inadvertently send large bursts of data to your external MIDI devices.

QS6.1 Reference Manual 55

Part 5: MIDI

SAVING PROGRAMS VIA MIDI SYS EX

As an alternative to storing data to a card, the QS6.1 lets you transmit internal data via the MIDI Output connector in the form of System Exclusive messages. This data can be sent to a storage device, or recorded into a MIDI sequencer, or sent to another QS6.1 or a QSR. You have a choice of sending any single Program in the User bank (00 to 127), or what is in the current Program Edit buffer, or what is in any of the 16 Mix Edit Program buffers, or the entire User bank (100 Mixes and 128 Programs, including their Effects Patches) plus Global data. In the case of sending data to another QS6.1, you can send any individual Program to the same location or any other location in the receiving QS6.1, including any of its 17 Program Edit buffers.

To send the entire User bank via MIDI:

➀ Connect a MIDI cable from the QS6.1Õs MIDI Out to the MIDI In of a device

capable of receiving the data (a MIDI sequencer, another QS6.1, etc.).

➁ Press [STORE].

➂ Press [PAGE

The display will look like this:

] six times to select the proper page of the Store function.

▲

➃ Press [STORE] to transmit the data out the MIDI Out connector.

While transmitting the data, the display will temporarily read ÒSENDING OUT

MIDI DATA.....Ó.

To send a single Program via MIDI:

➀ Follow steps ➀ and ➁ in the instructions above. ➁ Press [PAGE

The display will look like this:

]seven times to select the proper page of the Store function.

▲

➂ Use the [CONTROLLER D] slider and the [VALUE] buttons to select a Program to

transmit. You may select any Program in the User bank (000 to 127) or the Program Edit buffer (EDIT) or any of the 16 Mix Edit buffers (Em01 to Em16).

As this value is changed, the second parameter (destination) will be linked. This is because most often you will want to transmit a Program to the same Program location. The only time to do otherwise is when sending to another QS6.1 (see below).

➃ Press [STORE] to transmit the data out the MIDI Out connector.

56 QS6.1 Reference Manual

To send a single Program via MIDI to a different Program number:

➀ Follow steps ➀ through ➂ in the instructions above.

MIDI: Part 5

➁ Press [PAGE

the display.

] one more time to advance the cursor to the lower section of

▲

➂ Use the [CONTROLLER D] slider and the [VALUE] buttons to select the Program

number to which you would like to send the Program.

➃ Press [STORE] to transmit the data out the MIDI Out connector.

The procedure is similar for sending Mixes. The next two pages of the Store function allow you to send any one of the Mixes to the same Mix location or the Mix Edit buffer in all the same ways to all the same types of devices.

But keep in mind that just because youÕre storing a Mix to MIDI doesnÕt mean that all of the Programs are being taken with it. ItÕs similar to having edited every single Program in the Mix as well as having edited the Mix. YouÕd have to individually store each of these to a location in the User bank or to a card, right? ItÕs the same with sys-ex transfers. If you want that Mix to sound the same in someone elseÕs QS6.1, youÕre going to need to send along the Programs out of which it was constructed.

So depending on how customized the Programs are, it might make more sense to go ahead and use the ÒSEND ALL TO MIDIÓ command and give them the entire bank.

But make sure s/he knows to back up his or her User bank before loading it in!

EDITING PROGRAMS VIA MIDI SYS EX

This is the single scariest thing a person can try to do with a QS6.1 (or any other synth, for that matter). ItÕs the MIDI equivalent of genetic engineering. But if youÕre into doing hexadecimal conversion and know the QS6.1 extremely well, we wanted to let you know that we have some documents which you can request from Product Support here at Alesis which will assist you. Call or e-mail us (number and addresses listed in Appendix A: Troubleshooting).

There are two documents available:

1) The Sys-Ex document. Aptly named, itÕs the one which lists every parameter in the QS6.1 and covers briefly how to represent them in System-exclusive form.

2) The Do-It-Yourself document. The DIY document (as it is commonly called) gives you an example of how to address one parameter in Sys-ex form, and then turns you loose.

QS6.1 Reference Manual 57

Part 5: MIDI

58 QS6.1 Reference Manual

Part 6: Editing Effects

PART 6

EDITING EFFECTS

The QS6.1 has an extensive and versatile built-in effects processor. Your own ears will have told you this by now, of course, since lots of the presets in a QS6.1 use the effects to some degree.

What weÕd like to discuss here is a first step in how you can go further than just appreciating and playing the Programs and Mixes that came already loaded into your instrument. Why not tweak their effects to suit your individual need and tastes, or come up with cool new sonic treatments all your own?

Why not, indeed? This section shows you how.

Assigning different Sounds, Programs, or Mixes to a specific Effect Configuration is done in either Program Edit Mode or Mix Edit Mode. Accordingly, that procedure is described in Part 7: Editing Mixes and Part 8: Editing Programs. Here our main focus will be on giving you what you need to make changes in the Effects settings themselves.

BASIC INFO

Things you should know:

· There is an Effect Configuration stored with every Program. Even when it isnÕt set to be doing anything, itÕs still there.

· The QS6.1 can only run one Effect Configuration at a time. This goes for when you play Mixes, too. (An example: Three different Programs can have three entirely separate Effects. But if you combine those same three Programs in a Mix, you will have to choose one Effect Configuration to process everything, and lose the other two.)

· There are five basic Effects Configurations to choose from. This may not seem like a lot, but because of all the parameters that are available there is actually quite a lot of flexibility.

· The different Effects Configurations have different sets of parameters

(including the number of inputs, which are referred to as Effects Sends).

· Effect Configuration settings are easy to copy from one Program or Mix to another. This is a great feature. If some existing Program or Mix has an Effect

that you like, you donÕt have to laboriously write down and re-enter parameter settings in order to apply it elsewhere. Just grab and copy!

· Each Sound within a Program can be assigned to its own separate Effects Send

(within the limits of the chosen Effect Configuration).

· You can enter Effects Edit Mode from either Program Mode or Mix Mode.

QS6.1 Reference Manual 59

Part 6: Editing Effects

ENTERING EFFECTS EDIT MODE FROM PROGRAM MODE

If you are in Program Mode and wish to edit the Effect of the Program you are

currently listening to, press the [EDIT SELECT] button twice.

The first press will take you into Program Edit Mode; you want to go past that, which is why you have to press the button a second time.

Once you are in Effects Edit Mode, the display will change to look something like this (the actual parameter you see in your display will be the same as the last Effect parameter you edited, whatever that was):

To exit and return to Program Mode, press [PROGRAM]. If youÕd rather go to Mix Mode instead, press [MIX].

Continuing to press Edit Mode and Effects Edit Mode. This is a handy convenience when creating and editing, since Program parameters and Effects parameters can have a big effect on each other in terms of the way a specific Program ultimately sounds when played.

[EDIT SELECT]

here will switch you back and forth between Program

ENTERING EFFECTS EDIT MODE FROM MIX MODE

If you are in Mix Mode and wish to edit the Effect of the Mix you are currently

listening to, press the [EDIT SELECT] button three times.

The first press will take you into Mix Edit Mode. The second will take you into Program Edit Mode (so you can tweak the Programs that are part of this Mix). And the third press will finally get you into Effects Edit Mode.

Once you are there, the display will change to look something like this (as mentioned just above, you may see a different parameter than this depending on whether youÕve previously worked with or explored this mode):

Continuing to press Edit Mode, and Effects Edit Mode (in that order).

60 QS6.1 Reference Manual

[EDIT SELECT]

here will cycle you through Mix Edit Mode, Program

Part 6: Editing Effects

NAVIGATING IN EFFECTS EDIT MODE

There are certain basic methods that apply to moving around the various displays in Effect Edit mode.

¥ Using the [40] Ð [120] buttons. These are used to select among possible Effects

parameters. If you look at the middle row of titles printed above these buttons, youÕll see the list: Configuration, EQ, Mod, Lezlie, Pitch, Delay, Reverb, Overdrive, and Mix .

¥ Using the [ PAGE] and [PAGE ] buttons. Some parameters have more than

one ÒpageÓ of settings. If more pages are available, then pressing the [PAGE]

keys will cycle you through them. You can always tell what page you are on by

looking at the indicator in the upper right corner of the display: P1 for Page One, P2 for Page Two, and so forth.

¥ Using the [00] Ð [30] buttons. These buttons select among the four possible

Effect Sends, as indicated by the middle row labels just above them.

Not all effects are available in each Configuration. For example, if you were to select the PITCH function on Effect Send 4 in Configuration #1, then the display would look like this:

NOT IN CONFIG means just what it says: you canÕt use the function you are trying to invoke here, because the current configuration isnÕt designed to include it Ñ not at this location, anyway.

Complete diagrams of all five Effects Configurations are included later in this section.

SELECTING FROM AMONG THE AVAILABLE EFFECTS PATCHES IN A MIX

When you want to edit a ProgramÕs Effect settings, itÕs easy: call up that Program, go into Effects Edit Mode, and start tweaking.

Same for Mixes, too. But thereÕs a powerful twist available to you any time you want to explore changing Effects. Here it is.

Only one ProgramÕs Effect is active in a Mix. ThatÕs a given. But all the other Programs in a Mix have their associated Effects, too Ñ itÕs just that these Effects are turned off for now. A quick and useful way to make Effect changes in a Mix, therefore, is to simply choose whole new Effects from among those that are immediately available.

QS6.1 Reference Manual 61

Part 6: Editing Effects

This choice is made at the Mix Edit level, not the Effects Edit level, because you arenÕt actually editing the Effects Ñ just turning them on and off within the Mix itself.

· Start in Mix Mode. If you arenÕt there, or arenÕt sure you are there, press [MIX]

once to make certain.

· Press [EDIT SELECT] a single time.

· Press [80]. As you can see if you glance at the MIX row of captions printed above

the [SELECTION] buttons, this takes you to the MixÕs EFFECT parameters.

· Go to Page Two of this parameter by pressing [PAGE ] a single time. The

display will look something like this:

· Now use the [DATA] slider or the [VALUE] buttons to select a new MIDI channel. The range is 01-16.

Back in the section of Part 4: Basic Operation called Changing The Programs In A Mix, we showed you that each MIDI channel in a Mix has some Program or other assigned to it (even if those Programs arenÕt turned on and sounding). When you change the MIDI channel selection here in Page Two of the Mix Effect parameters, you are telling your QS6.1 to do two important things:

· Process the Mix using the Effect settings of the Program associated with this MIDI channel, even if that Program is not currently sounding.

· Accept MIDI controller data for the EffectÕs Modulators only over this channel, and no others. (Never fear: Modulators will be explained clearly a little later in

this section.)

THE “FX PROGRAM CHANGE VIA MIDI” FUNCTION

Now that youÕve chosen an Effect (by choosing a MIDI channel), thereÕs one more useful tweak to be aware of. ItÕs back on Page 1 of this setting, so press [ PAGE ] to get there. The display will look like this:

This parameter determines how your QS6.1Õs Effect will respond to MIDI Program Change commands.

· When it is set to ON, any Program Change coming in over the MIDI channel selected for Effects will select a new Program and its associated Effect.

· When it is set to OFF, then such Program Changes will select new Programs but not change the current Effect setting.

Both are quite useful, depending on just what you want to do. The default is OFF, because that way the Effect for a Mix does not change even though you may select different Programs for the Effects Channel.

62 QS6.1 Reference Manual

Part 6: Editing Effects

HOW THE DISPLAY CHANGES WHEN YOU ALTER AN EFFECT

Whenever you enter on of the Edit modes, the word EDIT appears in the lower left portion of the display. Once you have actually changed something, that indicator changes to read EDITED.

This is a handy reminder, telling you that there is now a difference between whatÕs in the edit buffer and what is stored in memory for the selected Program (which is where the Effect Patch resides).

STORING EFFECT PATCHES IN PROGRAM MODE

Effects are part of Programs. Because of this, when you store a Program you automatically store its Effect along with it. HereÕs how.

· While in Effects Edit mode, press [STORE].

· To store the edited Program (along with Effect) into its original location,

replacing what was there before, simply press [STORE] again.

· To store the edited Program and Effect into a different location, use the [00] Ð [120] and [0] Ð [9] buttons to select a Program number from 000 Ð 127 in the User

Bank.

· If you want to store this edited Program somewhere other than the User Bank, youÕll need to have an appropriate RAMcard inserted into one of the two back

panel [PCMCIA EXPANSION CARD] slots. The storage procedure is the same, except that you use the [BANK] buttons to jump from the User Bank to a bank on

a RAMcard.

· In all three cases, when you are ready to save your Program and Effect, simply press [STORE] again and it will be done.

STORING EFFECT PATCHES IN MIX MODE

As we said earlier, when your QS6.1 is in Mix Mode or Mix Edit Mode, the Effect Patch is that of the Program number assigned to the Effect Channel. Storing the Mix will save this number, but will not store any changes you may have made to the Effect Patch itself.

QS6.1 Reference Manual 63

Part 6: Editing Effects

¥ If you press [STORE] twice while editing a Program assigned to the Effect

Channel, then both the Program and its Effects will be stored.

¥ If [STORE] is pressed twice while editing a Program on some other Channel than

the Effect Channel, then the edited Program will be stored with no change in its previous Effect settings.

¥ If [STORE] is pressed twice while in Mix Edit Mode, then only the Mix

parameters will be stored. The settings for individual Programs and Effects within the Mix will be left unchanged.

COPYING EFFECTS FROM ONE PROGRAM TO ANOTHER

When you want a Program to use the Effect from some other Program, you can copy that other ProgramÕs Effect into the Program you are working on.

This is done, within Store Mode, using the Copy Effect function. This subfunction can be found on one of Store ModeÕs many pages.

(Remember how to move around subfunctions? Just get to the function you want,

and then use the [PAGE] keys to cycle the display through all currently available

settings.)

One slight twist here is that you can only copy an Effect patch to a Program in the User bank. The only way to copy an Effects patch onto a RAMcard is to copy the Program which contains it. No problem! If youÕve just got to have that RAMcardÕs Zither program going through that preset organÕs distorted Lezlie Effects patch, just choose a location in the User bank to place the zither while you work on it. Once it has been joined with the Effects patch you want it to have, store the Zither program back to its original location on the RAMcard (or to a new one). The zither will carry its Effects patch with it, as you know.

HereÕs the procedure for copying an Effect to the User bank:

1) Select the Program which contains the Effect you wish to copy.

2) Enter Store Mode.

3) Press the [PAGE ] key three times and you will see the following display:

4) Press the [PAGE ] key one more time so the cursor is under the ÒPÓ in ÒPROGÓ.

5) Use the [EDIT VALUE] slider or the [VALUE] buttons to select the User Program

number that you would like to copy the current Effect to.

6) Press [STORE].

64 QS6.1 Reference Manual

Part 6: Editing Effects

KEEPING TRACK: THE INTERACTION OF EFFECTS, PROGRAMS, A ND MIXES

Effect Send levels and Configuration assignments are saved as either part of a Program (when in Program Edit mode), or as part of each Channel in a Mix (when in Mix Edit mode). Keep in mind that these are separate from any changes that you might make to a given ConfigurationÕs parameter settings!

If you are in Mix Mode, for example, and make changes in both the Mix and the underlying Effect, you will have to store not only the Program that is on the Effect Channel (thus saving its Effects Patch), but also the current Mix. If you donÕt do both, then this Mix wonÕt sound the way you expect it to the next time you call it up.

Another thing to be aware of is that a single Program might be part of more than one Mix. So if you change the Effect in that Program, the change will ripple through and be heard in every Mix which has its Effect Channel set to use that ProgramÕs Effect. (The way around this is to save the altered Program as a new Program, and assign this new version to the Mix in question in place of its previous version.)

PICKING AN EFFECT CONFIGURATION

The starting point of every Effect is its Configuration, which controls all routing and parameters. Each is a unique arrangement of multiple effect blocks, distributed across anywhere from two to four of the effect sends. Configurations also determine where each blockÕs input comes from, and where each blockÕs output goes Ñ to the Reverb, to the next effect in line, or straight to the main outputs.

The Configuration diagrams that follow will help guide you through the many choices that are possible in each different configuration. We recommend that you refer to them often as you experiment with creating your own Effects or editing existing ones.

Every time you select a new Configuration you run the risk of resetting many of the routings and parameters in that Configuration to their default values. So always press Edit Mode to select a Configuration FIRST, before doing any other editing.

The five Effect Configurations are:

¥ 1 Reverb ¥ 2 Reverbs ¥ Lezlie+Reverb ¥ Reverb+EQ ¥ Overdrive+Lezlie

To pick a Configuration, enter Effects Edit Mode and then press [40], the button that has CONFIGURATION printed above it. The display will change to look like this:

[40]

in Effects

Use the [▲ VALUE] and [VALUE ▼] buttons or the [EDIT VALUE] slider to select one

of the five possible Configurations. As you scroll through the choices, each oneÕs name will appear in the display.

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CONFIGURATION #1: 1 REVERB

MAIN LEFT

MAIN RIGHT

MIX

BAL.

REVERB 1

BAL.

REVERB 2

BAL.

REVERB 3

BAL.

REVERB 4

FX SEND 1

FX SEND 2

FX SEND 3

FX SEND 4

PITCH 1

PITCH 2

PITCH 3

2 3 1 2 3 14

BAL.

DELAY 1

BAL.

DELAY 2

BAL.

DELAY 3

DELAY 4

AMP

REVERB

MAIN LEFT MAIN RIGHT

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 Flange Ping-pong Delay Stereo Flange Pitch Detune Resonator

Pitch 3 Delay 3 Reverb 3

Mono Chorus Mono Delay Balance and Level to Reverb 1 Mono Flange Resonator

Delay 4 Reverb 4

Mono Delay Send/Delay Mix & Level to

Reverb 1

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At first glance this diagram may look a little daunting, but if you take a moment to trace the lines and read the component captions, things will become clear.

Think of it as a kind of Òroad mapÓ charting your audio signalÕs progress from

starting point through to its ultimate destination Ñ the [LEFT] and [RIGHT] outputs

shown at the top of the page.

1) The dotted lines indicate the divisions between different functional blocks.

2) The solid lines indicate signal paths between the blocks and controls.

3) In general, signal flow moves from left to right.

4) The number next to each function name represents one of the four effect sends. For example, Delay 2 refers to the Delay effect on effect send 2.

HOW “1 REVERB” IS ARRANGED

This Configuration provides three Pitch effects, four Delay effects, and one Reverb effect, arranged as follows:

1) Sends 1 and 2 can be stereo and have a selectable Pitch effect (Chorus, Flange, Pitch Detune, or Resonator) followed by a mono or stereo Delay effect.

1) Send 3 offers three possible Pitch effects (Mono Chorus, Mono Flange, or Resonator) followed by a mono Delay effect.

2) Send 4 is a mono Delay effect only.

3) The single Reverb effect is selected and set in Send 1. Reverb parameters that set the sound of the reverb itself (such as high and low decay, reverb type, predelay, etc.) are found only when ÒSend1Ó is displayed. Within this limitation, however, there is still tremendous flexibility of Reverb routing and control on a per-Send basis: for example, each of the four Sends has its own controls for dry/wet ratio, and specific input point. (In Sends 1 through 3 you can take Reverb inputs from the Send input itself, the output of any Pitch effect, and the input or output of Delay effect, either individually or in any combination. In Send 4, the two possible inputs are the input and output of Delay 4.)

4) Each Pitch, Delay and Reverb module has its own independent Mix output level

which controls how much signal is routed directly to the [LEFT MAIN] and [RIGHT MAIN] outputs. This Mix function is what you use to determine how

much of each Effect component will be heard. Mix 1, for example, is where you control the outputs of Pitch 1, Delay 1, and Reverb 1 to the main outputs.

The Mix parameter controls how much each Effect block feeds directly to the main outputs. It does not, however, control how much each block feeds to the blocks that follow it. For example, when Pitch 1Õs Mix control is set to 0, it is still fully available as an input to Delay 1 and Reverb 1.

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CONFIGURATION #2: 2 REVERBS

MAIN LEFT

MAIN RIGHT

MIX 1

FX SEND 1

FX SEND 2

FX SEND 3

FX SEND 4

DELAY

DELAY 1 PITCH 1

AMP

PITCH

PITCH 3

AMP

REVERB

REVERB 1

REVERB 2

REVERB

REVERB 3

REVERB 4

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

MIX 3

MAIN LEFT MAIN RIGHT

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HOW “2 REVERBS” IS ARRANGED

As you can see by glancing at the diagram, this Configuration differs considerably from the first! Here there are a single Delay, two Pitch effects, and two independent Reverb effects, arranged as follows:

· Send 1 is routed through a mono Delay, then a stereo Pitch effect, and finally a stereo Reverb effect.

· Send 2 has no effects of its own, but can be routed to the same Reverb effect as send 1 (if you wish).

· Send 3 is routed through a mono Pitch effect and then its own stereo Reverb effect.

· Send 4 has no effects of its own, but can be routed to the same Reverb effect as send 3 (thus echoing the relationship that Send 2 has with Send 1).

· The Delay, Pitch and Reverb outputs of Send 1 can be routed to the Mix control either singly or in any combination; while Send 2 is routed to the Mix only through the Reverb.

· Send 3 and Send 4 can be routed to their own separate Mix, but only through the second Reverb effect.

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CONFIGURATION #3: LEZLIE+REVERB

MAIN LEFT

MAIN RIGHT

2 3 1 2 3 14 MIX

MAIN LEFT MAIN RIGHT

FX SEND 1

FX SEND 2

FX SEND 3

FX SEND 4

LEZLIE

PITCH 1

PITCH 2

PITCH 3

BAL.

DELAY 1

DELAY 2

DELAY 3

DELAY 4

BAL.

AMP

REVERB 1

BAL.

REVERB 2

BAL.

REVERB 3

BAL.

REVERB 4

REVERB

AMP

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 Pi ng-pong Delay Stereo Flange Pitch Detune Resonator

Pitch 3 Delay 3 Reverb 3

Resonator Mono Delay Balance and level to Reverb 1

Delay 4 Reverb 4

Mono Delay Mix and level to Reverb 1

HOW “LEZLIE+REVERB” IS ARRANGED

This Configuration is structurally similar to Configuration #1. The big difference is that here the Pitch effect on Send 1 is a custom-designed stereo Òrotating speakerÓ effect, and it is followed by a mono delay, not a stereo one.

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CONFIGURATION #4: 1 REVERB+EQ

MAIN LEFT

MAIN RIGHT

FX SEND 1

FX SEND 2

PITCH 1

PITCH 2

BAL.

DELAY 1

BAL.

DELAY 2

Pitch 1 Delay 1 Reve rb 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

MIX

BAL.

AMP

REVERB 1

BAL.

AMP

REVERB 2

Reverse

REVERB 1

MISC

MAIN LEFT MAIN RIGHT

Pitch 2 Delay 2 Reverb 2

Mono Chorus Mono Delay Balance and level Stereo Chorus Stereo Delay to Reverb 1 Mono Flange Ping-Pong Delay Stereo Flange Pitch Detune Resonator

HOW “REVERB+EQ” IS ARRANGED

The arrangement of Sends 1 and 2 in this Configuration are identical to those in Configuration #1. ThatÕs where the resemblance ends, though. In this Configuration:

· Sends 3 and 4 donÕt exist! (Literally. If you route Sounds which have their outputs set to OFF through these sends you will hear nothing at all, just the same as if you were trying to play your guitar through an amp that hasnÕt been plugged in.)

· In their place weÕve added a stereo shelving EQ module to the [MAIN] outputs.

The important thing to remember about this EQ Ñ and one of its most useful aspects Ñ is that it gives you bass and treble boost/cut control over all sounds coming out of

the [MAIN] outputs. This means you can tweak EQs not just on the sounds being

routed to the Effects Sends, but everything else being produced by your QS6.1 as well.

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AUX RIGHT

CONFIGURATION #5: OVERDRIVE+LEZLIE

MAIN LEFT

MAIN RIGHT

FX SEND 1

OVERDRIVE

PITCH 1

BAL.

DELAY 1

BAL.

MIX

BAL.

AMP

REVERB 1

MAIN LEFT

MAIN RIGHT

MISC. 1

BAL.

LEZLIE

FX SEND 2

MISC. 1

FX SEND 3

FX SEND 4

PITCH 1 REVERB 1

DELAY 1

PITCH 1

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

HOW “OVERDRIVE+LEZLIE” IS ARRANGED

This Configuration is as Òall-for-oneÓ as it gets: a total of six different effects, all at once, and all of them on Send 1.

Since this is an extremely linear Configuration, letÕs follow the flow of the core signal step by step, then double-back to consider the complex extra routing choices which are available.

The main path:

· Send 1 is routed to an Overdrive effect which provides classic distortion.

· The output of the Overdrive is sent through a balance fader to a mono Pitch

effect.

· The output of the Pitch effect is sent through a balance fader to a stereo Delay.

· The output of the Delay is summed to mono and sent through a balance fader to

a stereo Reverb.

· The output of the Reverb is summed to mono and sent into a stereo Lezlie.

· The stereo output of the Reverb goes, as a stereo signal, to a shelving EQ.

· The stereo output of the EQ goes to the [MAIN LEFT] and [MAIN RIGHT] outputs.

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Now, thatÕs pretty impressive. But it isnÕt everything, not by any means. What really makes this Configuration so interesting to work with is the extreme flexibility of the routing.

Take another look at the diagram. In addition to the strictly linear flow written just above, this Configuration also offers:

· A Mix section that lets you combine the outputs from any or all of the first five Effects, in any combination, prior to routing the result to a global stereo EQ

attached to the [MAIN] outputs.

· A fader-balanced open second input on the Pitch effect that can be connected to any one of the following: either the undistorted Send 1 or your choice of totally unprocessed Sends 2, 3, and 4.

· A fader-balanced open second input on the Delay effect that can tap any of the four Sends just mentioned, or the OverdriveÕs output, or the Pitch effect input.

· A fader-balanced open second input on the Reverb effect that can be connected to any of the four Sends just mentioned, the OverdriveÕs output, the Pitch effectÕs output, or the Delay effectÕs input.

· A fader-balanced open second input on the Lezlie that can be connected to any of the four Sends, the OverdriveÕs output, the Pitch effectÕs input, the Pitch effectÕs output, the Delay effectÕs input, or the Reverb effectÕs input.

Whew. ThatÕs a lot to play with!

ROUTING SOUNDS OR PROGRAMS THROUGH THE EFFECTS ONLY

In normal operation, the final output of an Effect is mixed back in with the original Program or Mix, so that what you hear is a combination of the two. In some circumstances, however, you may want to play only the Effected sound. Or perhaps you want to split up a Program tonally by playing one or more of its Sounds only through the Effect. HereÕs how to do that:

1) Go into Program Edit mode.

2) Assign the Output parameter of the Sound/Program to OFF.

3) Assign the Effect Bus of that Sound/Program to one of the four Effect Sends.

4) Adjust the Effect Level as you wish.

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Part 6: Editing Effects

SETTING EFFECT SEND LEVELS

Effect Send levels are not set in Edit Effect mode. Instead, they are set in Program Edit mode (for Programs) and Mix Edit mode (for Mixes). For details, see Part 7: Editing Mixes and Part 8: Editing Programs.

IF THE SEND INPUTS CLIP…

If the input to the Effect becomes overloaded while you are playing, then a Ò!Ó symbol will temporarily appear in the display. (You wonÕt see this while in any of the Edit modes; just from the Program or Mix Play mode screens.) You want to avoid this situation, of course, because clipping creates unnecessary noise and distortion. (And not the nifty kind youÕd get from a fuzzbox or overdrive!) In extreme cases, overloading the Effects can even cause the signal to drop out for a second.

There are three possible fixes:

· Go into Effect Edit mode and reduce the Input levels for each effect function in the current configuration.

· If that isnÕt enough, or changes the Effect unacceptably, then reduce the Effect level settings in the Program or Mix that is giving you the problem.

· Play softer. (This suggestion is half-joking and half-serious. But with a fullblown, mega-MIDI channel sequence going on, a slight reduction in velocity values on some of the more densely active channels will clear this up.)

[00] TO [30] —EFFECT SENDS 1 - 4

Each Configuration uses Sends in a different way, so which of these buttons will do anything (and when) depends entirely on (a) what Configuration is selected, and (b) what Effect function you are currently in.

This can be a little confusing, at first. ÒHey, wait a minute! I pressed that [10] button

last time and it worked. How come it isnÕt doing anything now?Ó

It really all does make sense, though, and as you get more experience working with Effects youÕll become pretty comfortable. Early on, however, we recommend that you keep this one tip in mind: always start from the function, not the Send. Once you are in the function and Page you want, you can jump around to see whatÕs happening on

the other Sends by pressing [00] - [30], and change settings as you wish within the

limits of the Configuration.

Now that weÕre about to cover the various parameters in Effects

TIP:

Edit mode, donÕt forget the ÒDouble-button pushÓ trick! This is where you push both of the [VALUE] buttons or both of the [PAGE] buttons at the same time as a shortcut. You can read more about it in Part 4: Basic Operation on page 33.

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[50] — EQ (CONFIGURATIONS 4 AND 5 ONLY)

The stereo shelving EQ provides bass and treble boost to the entire output of the QS6.1 Ñ not just the Effect Sends Ñ and is only available in Configuration 4 (Reverb+EQ) and Configuration 5 (Overdrive+Lezlie). So if you push the EQ button while in Configurations 1, 2, or 3, youÕll get the message ÒNOT IN CONFIGÓ.

There are four EQ parameters:

1) Low Frequency (range: 30Hz to 180Hz)

2) Low Frequency Gain (0dB to +12dB)

3) High Frequency (3kHz to 10kHz)

4) High Frequency Boost (0dB to +9dB).

LO EQ FREQUENCY

Range of Settings: 30Hz to 180Hz Page 1

This parameter determines the cutoff frequency of the Lo EQ. Changing it will have no audible effect unless Lo EQ Gain (see below) is set above 0dB. When that happens, then all frequencies below and including this selection will be boosted.

LO EQ GAIN

Range of Settings: 0dB to +12dB Page 2

This parameter controls the amount of boost that will be applied to the frequencies selected by the Lo EQ Frequency setting (see just above).

HI EQ FREQUENCY

Range of Settings: 3kHz to 10kHz Page 3

This control adjusts the cutoff frequency of the Hi EQ. Changing it will have no audible effect unless Hi EQ Gain (see just below) is set above 0dB. When that happens, then all frequencies above and including this selection will be boosted.

HI EQ GAIN

Range of Settings: 0dB to +9dB Page 4

This determines how much boost will be applied to the range of frequencies selected by the Hi EQ Frequency parameter (see just above).

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[60] — MOD

Mod stands for Òmodulation.Ó So naturally enough the Mod Function lets you modulate up to two effects parameters at a time, either via MIDI or from the keyboard and front panel controllers of your QS6.1. This is extremely useful for expressive realtime performance while playing live or recording or sequencing.

There are two Modulation assignments saved along with each Effect. YouÕll notice that their labeling changes depending on whether or not they are actually doing anything! If the Level parameter for a Mod is set to 00, then every parameter within that Mod is labeled entirely in small letters (because it is disabled). But as soon as you change the Level to something above or below 00, the first letter in each parameter will be capitalized (so Òmod1 LevelÓ becomes ÒMod1 LevelÓ, etc.). This way you can tell at a glance whether or not a Mod is active, no matter what page youÕre on.

A tip: DonÕt confuse this Effect Mod function with the Mod settings within the Programs! They are not the same thing, since they have entirely independent destinations. (They can tap the same sources, though. For more information, see Part

8: Editing Programs.)

If you modulate an Effect parameter while audio is passing through it, it is possible that you will generate some degree of distortion in the audio (sometimes known as ÒZipper noiseÓ.) There is nothing abnormal or broken about this: it is due to the Òstair-stepÓ nature of the modulation source. One exception to this is Chorus Speed, which modulates more smoothly.

There are six Modulation parameters:

1) Mod1 Source

2) Mod1 Destination

3) Mod1 Level (-99 to 99)

4) Mod2 Source

5) Mod2 Destination

6) Mod2 Level (-99 to 99)

MOD1 SOURCE

Range of Settings: (see list below) Page 1

This parameter selects the control source for the first modulation path. The most common controllers appear as direct options in the display. They are:

¥ Aftertouch ¥ Mod Wheel ¥ Pitch Wheel ¥ MIDI Volume ¥ Sustain Pedal ¥ Pedal 1 ¥ Pedal 2 ¥ Controllers AÐD

If you want to use a MIDI controller that isnÕt listed, select one of the [A-D CONTROLLER] sliders (or one of the Pedals) and then go to Pages 8 through 13 of

Global Edit mode to link that mod source to the MIDI Controller number of your choice.

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MOD1 DESTINATION

Range of Settings: (see list below) Page 2

This is where you select exactly what Effect parameter your modulation source is going to modulate. ItÕs a big list. Not all of these are available in all configurations, but the possible destinations are:

¥ Pitch Speed ¥ Pitch Depth ¥ Pitch Level ¥ Pitch Balance ¥ Delay Time ¥ Delay Feedback ¥ Delay Level ¥ Reverb Balance ¥ Reverb Input ¥ Reverb Decay ¥ Reverb Low Decay ¥ Reverb High Decay ¥ Reverb Diffusion ¥ Reverb Level ¥ Overdrive Threshold ¥ Overdrive Bright ¥ Overdrive Balance ¥ Overdrive Level ¥ Lezlie Balance ¥ Lezlie Level ¥ Lezlie Speed ¥ Lezlie Motor

If the selected Configuration has a particular effect on more than one Send, certain Mod Destination parameters will be listed more than once. An example: In Config. #1 there is a Delay on each Send, so the Delay Time parameter in this subfunction will appear four times Ñ one for each Send. They are identified by number, like so: D1 Time, D2 Time, D3 Time, and D4 Time .

In the case of Pitch, which offers a variety of effect types, different parameters will be available (or unavailable) depending on the effect type chosen.

Note: if the Resonator or Detune effects are chosen as the Pitch Effect, you wonÕt see their parameters listed as Mod destinations. But theyÕre still available to you. For example, if youÕve chosen Resonator on Send 1 and you want to be able to modulate its first parameter (Resonator Tune), choose P1 Speed as your destination (thatÕs the first parameter you can modulate in a Chorus). The Resonator Decay parameter is its second parameter, so to modulate it you would choose P1 Depth (the second P1 parameter) as the destination. Just remember: the Resonator is a Pitch effect, just like chorusing, flanging, and detuning.

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MOD1 LEVEL

Range of Settings: -99 to 99 Page 3

This decides the degree to which the Destination will be modulated by the selected Source. Please notice the setting range, which allows you to choose both negative and positive numbers. DonÕt be daunted by that Ñ the way it works is very clear in practice.

HereÕs an example. Assume that Reverb Decay is the Destination, and Mod Wheel is the Source. In that situation, a positive Level setting would let you increase decay time by moving the Mod Wheel up; while a negative setting would let you decrease decay time using exactly the same motion.

MOD2 SOURCE

Range of Settings: (see list) Page 4

This works the same as described for Mod 1 Source , above, but for the second possible modulation route.

MOD2 DESTINATION

Range of Settings: (see list) Page 5

This works the same as described for Mod 1 Destination, above, but for the second possible modulation route.

MOD2 LEVEL

Range of Settings: -99 to 99 Page 6

This works the same as described for Mod 1 Level, above, but for the second possible modulation route.

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[70] — LEZLIE (C ONFIGURATIONS 3 AND 5 ONLY)

This Òspinning speakerÓ simulation is only available in Configurations 3 and 5. In Configuration #3 it takes its input from Send 1, and has three parameters:

· Motor (on/off)

· Speed (fast/slow)

· Horn Level (-6 to +6 db)

In Configuration #5 it can have up to two inputs, and those can come from a greater variety of sources. Because of that, in this Configuration the Lezlie has three more parameters:

· Input 1

· Input 2

· Input Balance

Note: When youÕre in Configuration #3 and you want to modulate the Lezlie speed, youÕll find thereÕs no parameter for a Mod destination labeled ÒLezlieÓ. But you can still control it by selecting ÒP1 SpeedÓ as the destination. Configuration #5 does have Lezlie parameters at the top of the Mod destination list, however, so be careful! If you modulate P1 Speed in Configuration #5 youÕll be changing the Chorus/Flange speed instead.

MOTOR

Range of Settings: On/Off Page 1 Config. 3

Page 4 Config. 5

This determines whether the Lezlie is operating or not. When turned on, the rotating speaker effect starts up slowly, just like the real thing. When turned off, the effect dies down slowly until it finally reaches a complete stop.

You can control the Motor On/Off setting from a footswitch, if you want. If you havenÕt already, youÕll want to read the [60] - MOD section first.

HereÕs how to do it: Select the Sustain Pedal as the Mod source and Lezlie Motor as your destination (or ÒP1 MotorÓ, depending on the configuration). That partÕs simple enough, but the Mod Level setting is crucial in making this work. If the Motor is going to be Off when the Program is first selected, set the Mod Level to +99 (so the footswitch turns the Lezlie on when pressed, and off when it is released). But if the Motor will default to On when the Program is called up, route the footswitch negatively in the Mod function. Since the Motor would be already On, a Level of +99 wouldnÕt do anything because the Motor canÕt be more ÒOnÓ than it already is! So a Level of -99 would be what you want in this case.

SPEED

Range of Settings: Slow/Fast Page 2 Config. 3

Page 5 Config. 5

This determines the speed at which the rotating effect ÒspinsÓ when the Program is called up. When you switch between the two speeds, the effect will ÒrampÓ up and down just like the real deal, so any Program which uses ÒFastÓ as the initial setting will start Òramping upÓ when you first select it. And if you want to be able to control the Lezlie speed when ÒFastÓ is the default, youÕll have to route something negatively in the Effects Mod function (see note in previous section).

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Note: If you want to know how to control the speed of the Lezlie from the Mod Wheel or some other controller, learn about the Effects Mod function (button [60]). Also, see the note at the top of the Lezlie section regarding controlling Lezlie speed in the various Configurations.

HORN LEVEL

Range of Settings: -6 to +6 dB Page 3 Config. 3

This parameter provides a way to cut or boost the high frequencies in the Lezlie effect, allowing you to ÒdarkenÓ or ÒbrightenÓ the tone to suit your music. It works in 1dB increments, over a 12 dB range.

INPUT 1

Range of Settings: Reverb/Delay Page 1 Config. 5

In Configuration #5, as noted, the Lezlie has two possible input sources. This is one of them. It is limited to one of two settings: Reverb Output or Delay Output.

Page 6 Config. 5

INPUT 2

Range of Settings: (see list below) Page 2 Config. 5

This parameter selects the second input to the Lezlie in Configuration #5. It has a wider selection of possible settings than Input 1. They are:

· Sends 1 Ð 4

· Overdrive Output

· Pitch Input

· Pitch Output

· Delay Input

· Reverb Input

INPUT BALANCE

Range of Settings: <99 to <0> to 99> Page 3 Config. 5 only

This controls the relative level of Input 1 and Input 2 signals going into the Lezlie.

When set to Ò<99 Ó, only Input 1 is being routed to the Lezlie. When set to Ò 99> Ó, all that goes through is Input 2 . When set dead-center to Ò<0>Ó, an even mix of both signals is passed on.

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[80] — P ITCH

This function controls all Effect settings related to pitch. It has many different parameters, and not all of them are available in every Configuration (or even in each Pitch subfunction: Resonator and Stereo Chorus, for example, have completely different structures). Because of this, nearly all of the following parameters show up on different page numbers occasionally. It can be easy to lose your place when you arenÕt familiar with the different Pitch function settings. Pay close attention to the Configuration maps in this manual as we go through these parameters and youÕll be fine.

Note: For the sake of simplicity, we have chosen the most frequently used page numbers for each parameter when discussing them. So if youÕre looking for one of these parameters and canÕt find it, use the [PAGE] buttons to step one or two pages in either direction and itÕll probably be there.

PITCH TYPE

Range of Settings: (see list below) Page 1

There are six different Pitch-altering effects. They are:

Part 6: Editing Effects

· Mono Chorus

· Stereo Chorus

· Mono Flange

· Stereo Flange

· Pitch Detune

· Resonator

Pitch effects are achieved by splitting a signal into two parts, delaying and/or changing the pitch of one of the parts, and then mixing the two back together. This final mixing step is essential, since the overall sound of the effect is created in the way the changed and unchanged signals interact.

Although some of these can sound quite similar, depending on their settings, each is achieved differently and will therefore be more (or less) useful depending on the circumstances. Following are some brief explanations which will help you make the choices that are best for your own music.

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DRY SIGNAL

MONO CHORUS

The Chorus effect is achieved by taking part of the signal and slightly delaying it, then slightly detuning it as well. This detuning is variable, not steady, because it is being modulated by an LFO (Low Frequency Oscillator). There are many possible adjustments in this algorithm. Some of the more interesting and useful ones include varying the LFO depth, varying the LFO speed, feeding a portion of the detuned signal back into its own input (thus increasing the effect), and changing the LFO waveform from a smooth triangle wave to a more abrupt square wave (causing the detuning to become more pronounced).

LFO

DETUNEDELAY

DRY

SIGNAL

FEEDBACK

DRY SIGNAL

CHORUSED

OUTPUT

STEREO CHORUS

In a Stereo Chorus, the signal is split into three parts: a dry signal and separate left and right detunings. Whenever the left channel is detuned sharp, the right channel is automatically detuned flat, and vice versa. This causes the effect to become more pronounced and dramatic while keeping it Òin tuneÓ to the ear.

DRY

SIGNAL

DELAY

FEEDBACK

DETUNE

LFO

LEFT

CHORUSED

OUTPUT

DRY SIGNAL

DETUNE

FEEDBACK

RIGHT

CHORUSED

OUTPUT

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DRY SIGNAL

MONO FLANGE

First used in the 1960s, ÒflangingÓ was achieved by using two tape recorders to record and play back the same material at the same time. By alternately slowing down one tape machine, and then the other, an interesting phase cancellation could be generated. There is a much-repeated legend that this slowing down was done by pressing fingertips againsts the flanges of the tape supply reels, hence the effectÕs name. But nobody actually knows for sure.

Flanging is achieved by splitting a signal and giving one part of it a variable timedelay. (This is similar to Chorusing, except here we use the LFO to modulate delay time instead of pitch.) The delayed signal is then mixed back with the original sound to produce that well-known ÒswooshingÓ or Òdoppler tunnelÓ sound.

LFO

DELAY

DRY

SIGNAL

FEEDBACK

FLANGED

OUTPUT

DRY SIGNAL

As with Chorusing, the Flanging algorithm offers great things to play with. The speed and depth of the LFO can be varied, and part of the signal can be fed back into itself to make the effect stronger. This feedback setting can be either ÒNormalÓ or ÒInvertedÓ. Try using ÒInvertedÓ for a more dramatic flange.

STEREO FLANGE

In a Stereo Flange, the signal is split into three parts: a dry signal and separate left and right signals, each with its own delay. While one channel flanges up the other channel automatically flanges down, making the effect more pronounced.

FEEDBACK

DELAY

LEFT

FLANGED

OUTPUT

DRY

SIGNAL

DRY SIGNAL

LFO

DELAY

FEEDBACK

RIGHT

FLANGED

OUTPUT

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PITCH DETUNE

As its name implies, Pitch Detune takes a part of the signal and detunes it either sharp or flat. When mixed back with the original dry signal, the popular Ò12 string guitarÓ effect is produced, thickening the sound.

DETUNE

DRY

SIGNAL

DRY SIGNAL

EFFECTED

SIGNAL

RESONATOR

This can be thought of as a highly resonant filter Ñ or a filter that is tuned to a specific frequency with a lot of emphasis Ñ which causes the frequency at which the resonator is set to be highly accentuated. This is useful for creating a brighter, buzzier, edgier sound.

Note: when you want to control the ResonatorÕs output level on the Mix button [120], adjust the Pitch effect level for that Send.

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DELAY INPUT LEVEL

Range of Settings: <99 to <0> to 99> Page 2 (Config. 2 only)

This parameter is only available on Send 1 in Configuration #2. It adjusts the level of the signal running from the Delay output to the Pitch Input.

If the chosen Pitch type is Mono Chorus, Stereo Chorus, Mono Flange, or Stereo Flange, then Page 2 through Page 5 of the Pitch function will contain the following four parameters:

WAVEFORM SHAPE

Range of Settings: Sine/Square Page 2

This determines the LFOÕs waveform shape. This parameter only appears when the Mono or Stereo Chorus or Flange are selected. The Waveform Shape of the LFO can be changed from a sine waveform, which provides a smoother, more even sound, to a square waveform, which makes the Chorus or flange effect more pronounced.

SPEED

Range of Settings: 00 to 99 Page 3

This parameter adjusts the LFO Speed of all Pitch types, with the exception of Pitch Detune and Resonator.

DEPTH

Range of Settings: 00 to 99 Page 4

This parameter adjusts the LFO Depth of all Pitch types, with the exception of Pitch Detune and Resonator. The LFO Depth, which is the amount of pitch alteration, can be adjusted to produce the desired effect.

FEEDBACK

Range of Settings: 00 to 99 Page 5

This parameter adjusts the LFO Feedback of all Pitch types, with the exception of Pitch Detune and Resonator. A portion of the output of the Pitch section can be Òfed backÓ into the input in order to make the effect more tonal or pronounced.

The following three parameters only appear if the Pitch type is set to Pitch Detune or Resonator, respectively.

DETUNE

Range of Settings: -99 to +99 Page 2 (Pitch Detune only)

If the Pitch type is Pitch Detune, page 2 will have only this parameter. This adjusts the tuning of the Pitch Detune effect. This can be set between -99 and +99, in 1 cent increments.

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RESONATOR TUNING

Range of Settings: 00 to 60 Page 2 (Resonator only)

If the Pitch type is Resonator, page 2 of the Pitch function will let you adjust the Resonator tuning. This can be tuned from 00 to 60.

Note: This parameter shows up on Page 1 for Send 3 of Configuration #3, and Page 4 for Send 1 of Configuration #5.

RESONATOR DECAY

Range of Settings: 00 to 99 Page 3 (Resonator only)

If the Pitch type is Resonator, page 3 will let you adjust the Resonator Decay. This can be set 00 to 99, whereby 00 is a very fast decay and 99 is a very slow decay.

Note: This parameter shows up on Page 2 for Send 3 of Configuration #3, and Page 5 for Send 1 of Configuration #5.

INPUT 2

Range of Settings: Sends 1 Ð 4 Page 2 (Config. 5 only)

This parameter selects the second input to the Resonator in Configuration #5. If you look closely at the Configuration diagram, youÕll see that Input 1 is hardwired to the Overdrive. The balance between the two Inputs is set by the Input Balance parameter (see below).

INPUT BALANCE

Range of Settings: OVR<99É to <0> to É99>IN2 Page 3 (Config. 5 only)

Take a deep breath!

This shows up in the display as Ò->Pch: OVR <0> IN2Ó. That seems cryptic, so letÕs work through it from left to right. The right-pointing arrow (->) stands for ÒThe Input To...Ó (we can only cram so many characters in the display, so we had to get creative with this one). ÒPchÓ stands for Òthe Pitch EffectÓ, which is what type of effect the Resonator is. Everything to the right of the colon (:) is a value. So the screen thus far would read, ÒThe Input To the Pitch Effect has a value ofÉÓ.

The rest is easy: When set to Ò<99 Ó, only the Overdrive is being routed to the Resonator. When set to Ò99> Ó, all that goes through is Input 2 . When set deadcenter to Ò<0> Ó, an even mix of both signals is passed on.

Now, that wasnÕt so bad, was it?

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[90] — DELAY

The Delay function is used to edit Delay parameters. The QS6.1Õs effects processor has three different Delay types available.

Note: Some Configurations only have a mono Delay on some Sends, and when this is the case the Delay Type parameter will be unavailable. Instead, the parameters normally found on page 2 of the Delay function are shown in page 1, and the other pages also drop by one number (please refer to next section for a description of those parameters). The exceptions to this are the Mono Delays on Send 4 of Configurations 1 and 3, and the Mono Delay on Send 1 of Configuration #2. These Delays have no Input Balance parameter (they donÕt need them), so all of their parameters are offset by 2 instead of by 1 (Delay Time is found on pages 1 and 2, instead of pages 3 and 4. Feedback is found on page 3, not page 5).

DELAY TYPE

Range of Settings: (see below) Page 1

Ping-Pong. This is called a ÒPing Pong DelayÓ because the output bounces from side

to side (left to right) in stereo with the speed determined by the delay time. The maximum delay time is 399 milliseconds.

Part 6: Editing Effects

Stereo Delay. The Stereo Delay is actually two separate delays, which can be individually varied. The maximum delay time for each delay is 399 ms.

Mono. The Mono Delay has the advantage of twice the available delay time, or 799 ms in Configuration #1, 1199 ms in Configuration #2.

In Pages 2 through 5 of the Delay Function you will find the remaining parameters for the Delay function. If the Stereo Delay type is selected, youÕll be able to select an additional set of pages (6 Ð 8) with the Delay type has parameters for both the Left and Right channels.

[PAGE]

buttons. The extra pages are due to the fact that the Stereo

INPUT

Range of Settings: <99 to <0> to 99> Page 2

This parameter is used to balance the Delay Input between the signal coming from the Pitch effect output (if applicable in the selected Configuration) and the dry effect send.

TIME

Range of Settings: 0 to 1199ms Pages 3 & 4 (and 6 & 7 in Stereo Delay)

This is the actual Delay time, which determines the amount of time the input signal will be delayed. The Stereo and Ping Pong Delay types can have a delay time of up to 399ms. However, the Mono Delay can have up to 799ms per channel (1199 ms in Configuration #2). Use Page 3 to adjust the delay time in 10 ms intervals; use page 4 to adjust the delay time in 1 ms intervals. When using the Stereo Delay, pages 3 & 4 let you adjust the delay time of the left channel, while pages 6 & 7 let you adjust the same for the right channel.

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FEEDBACK

Range of Settings: 00 to 99 Page 5 (and Page 8 in Stereo Delay)

This adjusts the Delay Feedback, which is a portion of the delay signal output being Òfed backÓ into the input. This results in the delay repeating itself. The higher the feedback value, the more repeats youÕll get. When using the Stereo Delay, page 5 lets you adjust the feedback level of the left channel, while page 8 lets you adjust the same for the right channel.

[100] — REVERB

Reverb can be thought of as a great number of distinct echoes, called reflections, that occur so fast that our ear hears them blurred together as one. In nature, different-sized spaces give distinctly different sounding reverbs, depending on the size and shape of the space, and the texture of surfaces that the reflections bounce off of. The various parameters in the effects processor make it possible to simulate nearly any natural reverberant space that can be imagined, and a few artificial ones as well.

The Reverb function is used to edit Reverb input levels and other parameters. In all configurations, page 1 of the Reverb function selects what the reverb is ÒhearingÓ (i.e., where the input of the reverb is coming from). The source can come directly from the Effect bus, the output of other effects in the chain before it, or a mix of several of them. Example: In Configuration #1 on Send 1, page 1 of the Reverb function (shown above) allows you to select the first of two sources to be routed to the reverbÕs input. You can choose either the output of the Delay or the output of the Pitch effect as Input 1. In page 2, you can choose the second input for the Reverb, which can be the dry Send 1 signal, the Delay input or the Pitch output. You can then adjust a balance between these on page 3 and set an overall input level on page 4.

A Note regarding Configuration #2 and the Reverb function

The parameters and pages in the Reverb function are identical in every Configuration but #2. Configuration #2 is different in that it only has 11 pages of parameters for each of its two Reverbs as opposed to the 14 pages of parameters available to the Reverbs in the other Configurations. The differences are due to the smaller number of input choices the Reverbs have in this Configuration. So what youÕll find here is something akin to what was described regarding the various Mono Delay parameters: the page numbers are going to be off by 3 for the parameters of the Reverbs in Configuration #2. So if youÕre looking up the Diffusion parameter in the manual and it says itÕs on Page 14, you should expect to find it on page 11 for the Reverbs in Configuration #2.

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Éand one regarding the Reverb function and Sends 2 through 4

If Configurations 1 or 3 are selected and you press [10] to select Effect send 2, you will see the various parameters that deal with the amount and type of signal going into the Reverb from Send 2. Note that there are now only 4 pages available, since the actual parameters for editing the Reverb itself are found back on Effect send 1.

Press [20] to select Send 3 and you will have the same options that you had for Effect send 2, but now the parameters adjust the amount and type of signal going into the Reverb from Send 3.

If you press [30] to select Send 4, you will have only two pages available. Page 1 controls the Balance between the Delay output and the dry Effect send signal, while page 2 controls the overall input level to the Reverb.

The situation is similar for the other Configurations: on Sends 2 through 4 you will have the ability to adjust only what those Sends will be sending into the shared Reverb, not the Reverb itself. (Naturally, Configuration #2 is the exception again, since it has a separate Reverb available for Sends 3 and 4.)

And remember that some Configurations donÕt use some Sends, so you wonÕt see any parameters related to Reverb there.

The next three parameters are not available in Configuration #2:

INPUT 1

Range of Settings: Delay Out/Chorus Out Page 1 (Config. 1, 3, 4 and 5)

In Configurations 1 and 3, there are two inputs to the Reverb. Both Inputs 1 and 2 can select a signal from several locations in the signal chain. You can select either the Pitch output or the Delay output as Input 1. If the Pitch output is chosen, the signal going into the Reverb will be chorused, flanged, detuned or resonating, depending upon which Pitch type is selected. If the Delay output is chosen, note that the signal which reaches the delay may already have passed through the Pitch module, depending on the Input Balance settings of the Delay module.

INPUT 2

Range of Settings: Pitch Out/Delay In/Send Page 2 (Config. 1, 3, 4 and 5)

Input 2 can have as its source either the Pitch output, the Delay input, or the dry Effect send signal. If the signal is taken from the Delay Input (which is a point after the Delay Input Balance), then the signal will be a blend between the Pitch Output and the dry Send. If the signal is taken from the Pitch output, the signal going into the Reverb will be chorused, flanged, detuned or resonating, depending upon which Pitch type is selected. If the signal is taken from the Effect send, the Reverb will receive direct, uneffected signal.

INPUT BALANCE

Range of Settings: <99 to <0> to 99> Page 3 (Config 1, 3, 4 and 5)

This allows you to control the balance between Reverb Inputs 1 and 2 and therefore control the blend between the various input sources. This makes it possible to have the signal come into the Reverb from the Pitch section, the Delay section, or the direct Effect send in any combination or amount.

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The next parameter is available on all other Configurations, but only on Sends 2 and 4 in Configuration #2:

REVERB INPUT LEVEL (SEND 1)

Range of Settings: 00 to 99 Page 4 (Config 1, 3, 4 and 5)

This parameter controls the overall Input Level going into the Reverb for Send 1. The signal it sends is based upon the Balance between the selected Inputs to the Reverb (if more than one Input was available).

REVERB INPUT LEVEL (SENDS 2 THROUGH 4)

Range of Settings: 00 to 99 Page 4 (Sends 2 and 3)

This parameter controls the overall Input Level going into the Reverb for Sends 2 through 4. The signal it sends is based upon the Balance between the selected Inputs to the Reverb (if more than one Input was available).

Note: Naturally, Configuration #2 just had to be different. If it is the active Configuration and you press [10] to select Send 2 from within the Reverb function, youÕll wind up on page 1 and the display will look like this:

Page 2 (Send 4)

There is only one page available to you here. It lets you adjust the level of the signal going from Effect send 2 into the Reverb. Send 2 in this Configuration has no effects of its own, and is intended to be used for signals you want sent directly to Reverb 1 without running them through Delay 1 and Pitch 1 first.

Send 4 is similar to Send 2 in this Configuration, in that it has no effects of its own but serves as a bypass going directly to Reverb 3.

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The next parameter is only available in Configuration #2 on Sends 1 and 3:

CHORUS INPUT LEVEL

Range of Settings: 00 to 99 Page 1 (Config 2 only, Sends 1 and 3)

If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of Send 1Õs Reverb function will look like this:

There is a unique parameter on this page: Chorus Input Level. It lets you adjust the level of the signal coming from the Pitch output going into the Reverb; otherwise the signal comes purely from the Pitch input. (Note that the signal which reaches the Chorus may already have passed through the Delay module, depending on the Input settings of the Chorus.)

The only difference for Send 3 is that it has no Delay ahead of the Chorus. Otherwise it functions exactly the same as Send 1 in Configuration #2.

The rest of these parameters are common to all Reverbs in all Configurations (except as noted):

REVERB PARAMETERS

Use the [PAGE ] button to advance the display through the remaining pages of the Reverb function. But donÕt forget that you must also have the correct Effect send selected in order to get at the Reverb parameters. Just a reminder: in Config. #1, they are found only on Effect send 1; in Config. #2, they are found on Sends 1 and 3 (since there are two separate Reverbs).

Here are the parameters you will find on these pages:

REVERB TYPE

Range of Settings: (see below) Page 5

The QS6.1 has seven different reverb types, all stereo, each of which simulates a different space or produces a different ambient effect. The different Reverb types are:

Plate 1 & 2. The two Plate reverb types simulate an artificial device known as a Plate. In the early days of recording, Plates were extremely popular because they were almost the only way to provide any sort of artificial ambiance to a recording. The sound of a well-tuned Plate has become quite popular over the years, especially when used on vocal or drum sounds. The tonal characteristics of these two Plate reverbs differ subtly in ways similar to different manufacturersÕ plate reverbs.

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Room. The Room reverb type simulates not only rooms of different sizes, but rooms with different surface materials. A room with soft surfaces such as carpet will produce a reverberant sound with much less high end (treble) than a room with hard surfaces. This reverb type can easily simulate both examples and many, many more.

Hall. Much larger than a room, Halls are characterized by their high ceilings, irregular shapes, and generally uniform density of reflections.

Large. Much larger than a hall, this reverb type emulates the large ambient spaces found in amphitheaters, gymnasiums, etc.

Gate. Gated Reverb is a very popular effect on drums first found on English records in the early 1980s. This reverb type can simulate applying a noise gate (a device that automatically decreases the volume once the signal falls below a certain level) across the output of the reverb thereby causing the initial attack of the reverb to sound very big, but the tail of the reverb to be cut off very quickly. Although this effect is not found in nature, it works great for modern drums, percussion, and any quickly repeated, transient source.

Reverse. The Reverse Reverb type is an inverted reverb in which the volume envelope is reversed. This means that the signal begins softly but grows louder until it is cut off, rather than loud to soft as normal.

PRE-DELAY TIME

Range of Settings: 0 to 299ms Pages 6 & 7

Pre-Delay is the slight delaying of the Reverb itself so that the dry signal more easily stands out from the Reverb. A bit of Pre-Delay can sometimes make certain instruments (such as snare drums) sound bigger. Use page 6 to adjust the Pre-Delay Time in 10ms intervals, and/or use page 7 to adjust the Pre-Delay Time in 1ms intervals. This Pre-Delay is part of the Reverb itself; donÕt confuse it with the separate Delay modules available under the Delay function.

PRE-DELAY MIX

Range of Settings: IN<99DEL to IN99>DEL Page 8

This parameter allows you to control the balance between the Pre-Delayed signal of the Reverb and the straight Reverb itself. It gives you the ability to hear a bit of the Reverb before the loudest part of the Reverb (the Pre-Delayed Reverb) sounds, which makes for bigger and smoother sounding Reverb settings. When this is set to <99 you get the Reverb signal with no Pre-Delay, while a setting of <0> gives an even mix and a setting of 99> gives you pure Pre-Delayed reverb.

INPUT FILTER

Range of Settings: 00 to 99 Page 9

This parameter adjusts the frequency of the low-pass filter which affects the audio before it reaches the Reverb input. Lower values remove high frequencies from the input signal, which is what to do if you want to make the Reverb effect less bright.

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DIFFUSION OF 0 DIFFUSION OF 99

DECAY

Range of Settings: 00 to 99 Page 10

The Reverb Decay determines how long the Reverb will sound before it dies away. When using the Reverse Reverb type, Reverb Decay controls the Reverse Time.

LOW DECAY/ HIGH DECAY

Range of Settings: 00 to -99 Pages 11 & 12

These two parameters allow the Decay Time to be set separately for both the low and high frequencies of the Reverb. This means that you have control over the tonal shape of the Reverb itself, being able to make the high frequencies die faster if the effect is too bright, and being able to make the lows die faster if the effect is too boomy. With these parameters you can simulate different surfaces of a room or hall, with softer surfaces absorbing more high frequencies and smaller rooms having faster low frequency decay.

Note: If the selected Reverb type is Gate or Reverse, the Low Decay parameter is unavailable (leaving only 13 pages of Reverb parameters available [10 in Config #2]).

DENSITY

Range of Settings: 00 to 99 Page 13 (Page 12 if Gated or Reverse type)

Density controls how the first reflection of the reverb effect will appear. When set to 0, the first reflection is heard alone without any other reflections. When set to 99, the first reflection appears to Òfade-inÓ and then Òfade-outÓ. This is because a number of reflections will occur just before and just after the first reflection, in addition to the remaining reflections heard after the first reflection; the reverb sounds more ÒdenseÓ.

Note: If the select Reverb type is Large, the Density parameter is unavailable (leaving only 13 pages of Reverb parameters available [10 in Config #2]).

DIFFUSION

Range of Settings: 00 to 99 Page 14 (Page 13 if Gated or Reverse type)

Diffusion determines the ÒthicknessÓ of the reverb sound by adding more reflections to the reverbÕs decay. With lower diffusion settings, you may be able to actually hear the individual echoes that make up the overall reverb sound. With higher diffusion settings, the echoes increase in number and blend together, washing out the reverbÕs decay. Greater diffusion works better with percussive sounds, whereas less amounts of diffusion work well with vocals and other sustained sounds.

L E V E L

Note: Each graph above assumes a Density setting of 0 so as to better illustrate the Diffusion parameter.

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TIME

Fewer reflections More reflections

TIME

Part 6: Editing Effects

[110] — OVERDRIVE (CONFIGURATION 5 ONLY)

The Overdrive effect provides four parameters spread across four editing pages. It is only used in Configuration #5.

OVERDRIVE TYPE

Range of Settings: Hard or Soft Page 1

The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive. Another difference is that the Hard setting will only provide distortion when the signal feeding the Overdrive effect is above the Overdrive Threshold setting (see below). However, with the Soft setting there will still be a slight bit of distortion if the signal is below the Overdrive Threshold setting.

OVERDRIVE THRESHOLD

Range of Settings: 00 to 99 Page 2

This parameter sets the level which the signal must reach before the Overdrive effect will begin distorting. But it works differently than you might expect: A higher value means a lower Threshold. So with a high number, it doesnÕt take much input before the Overdrive effect will start to distort. When set to a low number, the distortion will not occur until the signal becomes louder than the Threshold setting.

OVERDRIVE BRIGHTNESS

Range of Settings: 00 to 99 Page 3

This parameter sets the tone of the Overdrive effect. Higher numbers result in a brighter sounding overdrive. Lower numbers result in a duller distortion sound.

OVERDRIVE BALANCE

Range of Settings: CLN<99OVDR to CLN99>OVDR Page 4

This controls the output mix of the Overdrive effect. When set to Ò<99 Ó, the Overdrive effect cannot be heard at all. When set to Ò<0>Ó, you have an even mix between the original, uneffected signal and the overdriven signal. When set to Ò99> Ó. only the overdriven effect is heard.

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[120] — EFFECT MIX

Not to be confused with an actual Mix or Mix mode, the EffectÕs Mix function is where you can mix the various signal levels of all the effects to the Main Left and Right outputs of the QS6.1. Each Effect send has a separate Mix page for any effect module that feeds the main outputs. If an Effect send has no effect modules due to the Configuration, or if a particular Effect module isnÕt available on that Send, youÕll see the message NOT IN CONFIG.

Note that the Mix page doesnÕt control how much the individual effect modules feed to each other; only how much they feed to the Main outputs.

This is what youÕll see on page 1 of the Mix function for Send 1 in Configurations 1 and 4. Depending on the selected Configuration and Send, you may see something different on page 1. This is because the order and availability of the effects differs from one Configuration to the next. For example: for Send 1 in Configuration #1, the order reads Pitch, Delay, Reverb; but in Configuration #2, the order of effects for Send 1 is Delay, Pitch, Reverb.

Part 6: Editing Effects

PITCH LEVEL

Range of Settings: 00 to 99 Page 1 Config. 1 and 4

Page 2 Config. 2 and 5

Adjusting this value will cause the Pitch Output Level for that Send to increase or decrease. Even if this parameter is set to 00, the output of the Pitch section can still feed other Effect modules (depending on the Configuration).

DELAY LEVEL

Range of Settings: 00 to 99 Page 2 Config. 1, 3, 4

Page 1 Config. 2

Page 3 Config. 5

Adjusting this value will cause the Delay Output Level for that Send to increase or decrease. Even if this parameter is set to 00, the output of the Delay section can still feed other Effect modules (depending on the Configuration).

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REVERB LEVEL

Range of Settings: 00 to 99 Page 3 Config. 1, 3, 4

Adjusting this value will cause the overall Reverb Output Level to increase or decrease.

Note: If you pull this parameter down, you will be taking down the reverb for all of the sends at once (except for Configuration #2, which contains two separate Reverb effects). This means you wonÕt be able to hear Reverb regardless of how much input you feed it from any of the effect buses.

So if you want to pull down the Reverb level for Send 1 without affecting the other

sends, press the Reverb button [100] and use the [PAGE] buttons to find the RvbIn

Level parameter (page 4 in most Configurations). This controls the amount of Send 1 which gets fed to the Reverb (and itÕs quicker than going back to Program Edit mode or Mix Edit mode and editing the Effect Send levels of however many Sounds or Programs may be feeding Send 1). This is also the function you would use to set each of the other SendsÕ levels to the Reverb.

Page 3 (Send 1)Config. 2

Page 1 (Send 3)Config. 2

Page 4 Config. 5

See pages 89 and 90 for further discussion regarding setting the Reverb Input Level for Sends 2 through 4.

LEZLIE LEVEL

Range of Settings: 00 to 99 Page 1 Config. 3

Page 5 Config. 5

This parameter is only available in Configurations 3 and 5. Adjusting this value will cause the Lezlie Output Level to increase or decrease.

Note: In Configuration #3 if this parameter is set to 00, the output of the Lezlie effect can still feed the Delay and Reverb modules.

OVERDRIVE LEVEL

Range of Settings: 00 to 99 Page 1 (Config. 5 only)

Adjusting this value will cause the Overdrive Output Level to increase or decrease. Even if this parameter is set to 00, the output of the Overdrive can still feed other Effect modules in this Configuration.

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Editing Mixes: Chapter 5

EDITING MIXES

WHAT IS A MIX?

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 (via 16 MIDI channels) or a combination of both.

With Mix Mode, you can do the following: ¥ Combine (ÒstackÓ or ÒlayerÓ) different Programs so they can be played simultaneously from the

keyboard. For example, stack a piano on top of a brass sound and a string sound, adjusting the volume of each for a desirable mix. (Note that the stacking of Programs in Mix Play Mode will impact polyphony according to the total number of Sounds that may be stacked in the four sound layers of each Program.)

¥ Split the keyboard into different zones--for example, the classic bass guitar on the left-hand

side of the keyboard, and synth or piano on the right. You can split the keyboard into as many as 16 zones, which may overlap.

¥ Use the QS6.1 as a master MIDI keyboard. It can transmit on as many as 16 different MIDI

channels simultaneously, and send MIDI volume and panning information to each channel.

¥ Receive up to 16 MIDI channels from an external sequencer, with each channel representing a

different instrument--piano on Ch. 1, bass on Ch. 2, drums on Ch. 10, trumpet on Ch. 16. Mix Play Mode is the multitimbral mode of the QS.

¥ Set the level, panning, transpositions and effect send of each MIDI channel.

PART 7

POLYPHONY IN MIX PLAY MODE

The QS6.1 has 64-voice polyphony. In Mix Play Mode, if you have all 16 MIDI channels assigned to the same keyboard range, and each channelÕs Program has only one active Program Sound, youÕll have 4-note polyphony as you play the keyboard (but a really thick layer...). This is extreme, of course, but should tell you what you can expect when you really pile on the layers from the keyboard. And of course, polyphony will be reduced in this example if one or more of the Programs uses more than one Sound each.

PROGRAM ASSIGN FOR EACH MIDI CHANNEL

Once a Mix is recalled, you will likely want to choose different Programs than the ones the Mix has stored with it. This does not require that you be in Mix Edit Mode. Assigning Programs to the 16 channels of a Mix is done by first using the [

labeled [MIX CHANNEL PROGRAM SELECT]) to select a channel and then using the [0] Ð [9] and [00]

Ð [120] buttons to select a Program. If desired, you can use the [ select a Program from any of the internal or card banks.

PAGE] and [PAGE

▲

] buttons (which are also

▲

BANK] and [BANK

▲

] buttons to

▲

QS6.1 Reference Manual 97

Chapter 5:Editing Mixes

MIX EDIT MODE

Editing a Mix begins with using the [

PAGE] and [PAGE

▲

] buttons to select the MIDI channel

▲

you want, and selecting a Program number for each of the channels you want to use (as described above). Beyond Program selection, you may control many other aspects of a Mix by accessing Mix

Edit Mode. This is done by pressing the [EDIT SELECT] button while Mix Play Mode; the word

ÒEDITEDÓ should appear in the lower left section of the display, across from the word "MIX":

Once in Mix Edit Mode, use the [0] - [9] and [00] - [50] buttons to select a MIDI channel to edit (1 Ð

16). Use the [60] Ð [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

▲

] buttons to locate a specific

▲

parameter. The Mix Edit functions and Channels are written in blue above or below each numbered button, on the line labeled MIX.

Each channel of a Mix may be enabled or disabled, without changing any of its parameter settings. When a channel is disabled, its channel number will not appear in the lowest line of the display (unless you have selected it for editing, in which event it will be flashing). You can set levels, panning, effect levels and bus assignments, pitch transposition, keyboard ranges (if making a split or layer), and MIDI parameters for each individual channel. Mix Edit Mode is also where you select which Program's effects will be used for the entire Mix (more on that later).

Here is a simplified diagram of the signal path in Mix mode.

MIDI

Input

Keyboard

Mode =

NORMAL

Pedals

Pedals MIDI In

Keyboard

Channel 1

Channel 2

Channel 3

Channel 16

Range

Program

Sound 1

Sound 2

Sound 3

Sound 4

Pitch

Pan

Effects

Level

Output

Effects

Buss

Out

Sends

1—4

Effects

Processor

(reverb, delay,

chorus, etc.)

MIDI

Output

Main L Main R

98 QS6.1 Reference Manual

Editing Mixes: Chapter 5

UNDERSTANDING THE EDIT BUFFERS

In Mix mode, there are 16 edit buffers for the Programs inside the Mix (one for each channel), plus another buffer for the Mix parameters (Level, Pitch, Range, etc.), and yet another buffer for the Effects Processor. When you select a Mix from memory, it is copied into the Mix Edit buffer, the 16 Programs of that Mix are copied into the 16 edit buffers, and the Effect from one of the 16 Programs is copied into the Effects buffer. If you make changes to the Mix, they are only temporarily kept in the edit buffer until a new Mix is selected from memory. Therefore, you MUST store your edited Mix if you want to keep it.

In the course of making a Mix, you can enter Program Edit mode (by pressing [EDIT SELECT] a

second time) and edit one or more Programs in the Mix. The edits you make are entered into a separate buffer for each Program in the Mix. Note, however, that you DO have to store each edited Program into the User bank or to a Card bank somewhere before selecting a different Mix, or your changes will be lost. The same goes for editing the Effects Patch, which will need to be stored somewhere (along with its associated Program) before you switch Mixes. If you select another Mix before storing, your changes will be lost.

Now that weÕre about to cover the various parameters in Mix Edit mode, donÕt forget the ÒDouble-

TIP:

button pushÓ trick! This is where you push both of the [VALUE] buttons or both of the [PAGE] buttons at the same time as a shortcut. See Part 4: Basic Operation on page 33.

QS6.1 Reference Manual 99

Alesis Quadra Synth 6.1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual