ALESIS
QuadraSynth Plus
Reference Manual
Important Safety Instructions
WARNING - When using this electric product, basic precautions should always
be followed, including the following:
1) Read all the instructions before using the product.
2) Do not use this product near water - for example, near a bathtub,
washbowl,
kitchen sink, in a wet basement, or near a swimming pool, or the like.
3) This product, either alone or in combination with an amplifier and
headphones
or speakers, may be capable of producing sound levels that could cause
permanent hearing loss. Do not operate for a long period of time at a high
volume level or at a level that is uncomfortable. If you experience any hearing
loss or ringing in the ears, you should consult an audiologist.
4) This product should be located away from heat sources such as
radiators, heat
registers, or other products that produce heat.
5) The power-supply cord on this product should be unplugged from the
outlet
when left unused for a long period of time.
6) Care should be taken so that objects do not fall and liquids are not
spilled into
the enclosure through openings.
7) The product should be serviced by qualified service personnel when:
a) The power supply cord has been damaged; or
b) Objects have fallen, or liquid has been spilled onto the product; or
c) The product has been exposed to rain; or
d) The product does not appear to be operating normally or exhibits a
marked
change in performance; or
e) The product has been dropped, or the enclosure damaged.
8) Do not attempt to service this product beyon d that described in the
usermaintenance instructions. All other servicing should be referred to qualified
service personnel.
Grounding Instructions
This product must be grounded. If it should malfunction or break down,
grounding provides a path of least resistance for electric current to reduce the
risk of electric shock. This product is equipped with a cord having an equipmentgrounding conductor and a grounding plug. The plug must be plugged into an
appropriate outlet that is properly installed and grounded in accordance with all
local rules and
ordinances.
DANGER - Improper connection of the equipment-grounding conductor can
result in a risk of electric shock. Check with a qualified electrician or serviceman
if you are in doubt as to whether the product is properly grounded. Do not
modify the plug provided with the product - if it will not fit the outlet, have a
proper outlet installed by a qualified electrician.
CONTENTS
1: Setting Up 7
Unpacking and Inspection 7
AC Power 7
Line Conditioners and Protectors 8
About Audio Cables 9
Basic Audio Hookup 9
A Word About Sound Bridge 10
2: Your First Session With The QuadraSynth Plus 11
Powering Up 11
Adjusting the Display Contrast 11
Playing the Demo Sequence 12
Enabling General MIDI Mode 12
Playing the QuadraSynth Plus 13
Program Mode and Mix Mode 13
Auditioning Internal Programs 14
Selecting Banks 14
Selecting the MIDI Channel 14
Realtime Performance Functions 15
The Quad Knobs 15
Auditioning Mix Play Mode 16
Selecting Banks 16
Editing a Mix 17
Setting the Effects Level18
3: Connections 19
Basic MIDI Hookup 19
Example 1: Master Controller for Live Use 20
Example 2: Using an External Sequencer21
About the Keyboard Mode 22
Pedal and Footswitch Hookup 22
Digital Audio/Optical Hookup 23
Recording Digital Audio 23
48 kHz Clock In 23
4: Overview 25
Basic Architecture 25
QuadraSynth Plus Polyphony 25
Modes 26
Program Play Mode 26
Mix Play Mode 26
Program Edit Mode 26
Mix Edit Mode 27
Effects Edit Mode 27
Global Edit Mode 27
Store Mode 27
Compare Mode 27
The User Interface: Display, Functions, Pages, and Parameters 28
About the Display 28
MIDI Buttons 29
Quad Knob Editing 29
Index
QuadraSynth Plus Piano Reference Manual 5
Parameter Editing 29
Direct Function Selection 31
Editing Program Parameters 31
Edit 4 and Edit 1 Modes32
Resetting a Parameter Value 32
Comparing Edited and Stored Versions 33
Preset Memory and User Memory 33
Storing 34
Store a Program34
Copying Effects Between Programs 35
Store an Effect 35
Store a Mix 35
To Audition Programs Before Storing 36
5: Editing Mixes 39
What is a Mix? 39
Mix Edit Mode 39
Understanding the Edit Buffers 40
Program Assign for each MIDI Channel 41
Level Setting for Each Program 41
Pitch 42
Setting the Range and MIDI Switches 42
Transmitting MIDI Volume and Panning 43
Effects in Mix Play Mode 44
Effect Level 44
Effect 44
Naming a Mix 45
Polyphony in Mix Play Mode 45
Using the QuadraSynth Plus as a Master Keyboard 45
Setting MIDI Out Channels for Mix in Global Mode 46
6: Editing Programs 47
Overview 47
The “Normalized” Synth Voice 47
How the QuadraSynth Generates Sound48
Program Sound Layers 48
QuadraSynth Plus Signal Flow 49
The Four Sounds of a Program 49
Voice 50
Lowpass Filter 50
Amp 51
About Modulation 51
Envelopes 52
About Signal Processing52
Drum Mode 53
Program Edit Functions 54
Assign Voice 54
Level 56
Effect Level 56
Pitch 56
Filter 59
Amp 61
Range 62
Index
QuadraSynth Plus Piano Reference Manual 6
Mod 64
Pitch LFO 67
Amp LFO 70
Pitch Envelope 71
Filter Envelope 74
Amp Envelope 76
Name 80
Misc. 81
Programming Drum Sounds 82
Assign Voice 82
Level 82
Effects Level 83
Pitch 83
Filter 83
Amp 83
Range 84
Amp Envelope 84
Copying Sounds 85
Copying Effects85
Initializing Programs 86
7: Editing Effects 87
About Signal Processing87
Selecting an Effects Patch in Mix Mode 88
Setting Effects Send Levels 88
Editing Effects 89
Storing Effect Patches In Program Mode 90
Storing Effect Patches in Mix Mode 90
Copying Effect Patches 91
Configurations 91
Reverb 98
Delay 103
Pitch 104
Mod 108
Mix 109
Misc. 110
EQ 110
Overdrive 110
8: Global Settings 113
Editing Global Parameters 113
LCD Contrast 113
General MIDI Mode 113
Enabling General MIDI Mode via MIDI 113
Master Pitch and Master Tuning114
Keyboard Sensitivity 114
Keyboard Curve 114
Keyboard Transpose 114
Keyboard Mode114
Controllers A – D 115
Reset Controllers A – D 115
Controllers A – D Mode115
Pedal 1 and 2 Assignment 116
Index
QuadraSynth Plus Piano Reference Manual 7
Using Pedals to Control Volume or Modulation 116
MIDI Program Select 116
Receiving and Transmitting Bank Change Message 117
Edit Mode 118
48 KHz Clock Input 118
9: MIDI Transfer And Storage Operations 119
Saving the User Bank to an External Card 119
Loading a Bank from an External Card 119
Storing an Individual Program or Mix to an External Card 120
Loading an Individual Program or Mix from an External Card 120
Card Storage RAMifications 121
Saving Programs via MIDI Sys Ex 121
Appendix A: Trouble-Shooting 123
Trouble-Shooting Index 123
Re-initializing 123
Checking Software Version 124
Maintenance/Service 124
Cleaning 124
Maintenance 124
Warranty Information 124
Obtaining Repair Service 124
Appendix B: MIDI Supplement 127
MIDI Basics 127
MIDI Hardware127
MIDI Message Basics 128
Channel Messages: Mode Messages 128
Channel Messages: Voice Messages 128
System Common Messages 130
General MIDI 130
MIDI Implementation Chart 132
Appendix C: Parameters Index 133
Program Parameters 133
Mix Parameters135
Appendix D: What’s New in the 2.0 “Plus” Upgrade 137
INDEX 159
Index
QuadraSynth Plus Piano Reference Manual 8
CHAPTER 1
SETTING UP
Unpacking and Inspection
Your QuadraSynth Plus was packed carefully at the factory. The shipping carton
was designed to protect the unit during shipping. Please retain this container in
the highly unlikely event that you need to return the QuadraSynth Plus for
servicing.
Upon receiving the QuadraSynth Plus, carefully examine the shipping carton
and its contents for any sign of physical damage that may have occurred in
transit. If you detect any damage, do not destroy any of the packing material or
the carton, and immediately notify the carrier of a possible claim for damage.
Damage claims must be made by you. Contact your Alesis dealer.
The shipping carton should contain the following items:
• QuadraSynth Plus with the same serial number as shown on shipping
carton
• Sustain pedal
• AC Power Cable
• Computer floppy disk containing Sound Bridge software and electronic
manual
• This instruction manual, plus lists of Mixes and Programs, and Quick
Start guide
• Alesis warranty card
Setting Up: Chapter 1
J
It is important to register your purchase; if you have not already filled out your warranty
card and mailed it back to Alesis, please take the time to do so now.
AC Power Hookup
The QuadraSynth Plus works with the voltage of the country it is shipped to
(either 110 or 220V, 50 or 60 Hz), and comes with a line cord or power supply
suitable for the destination to which the keyboard is shipped.
With the QuadraSynth Plus off, plug the AC cord’s female (jack) end into
Quadra-Synth Plus’s AC socket and the male (plug) end into a source of AC
power. It’s good practice to not turn the QuadraSynth Plus on until all other
cables are hooked up.
The IEC-spec AC cord included with the QuadraSynth Plus (do not substitute
any other AC cord) is designed to connect to an outlet that includes three pins,
with the third, round pin connected to ground. The ground connection is an
important safety feature designed to keep the chassis of electronic devices such
as the QuadraSynth Plus at ground potential. Unfortunately, the presence of a
third pin does not always indicate that it is properly grounded. Use an AC line
QuadraSynth Plus Piano Reference Manual 9
Setting Up: Chapter 1
tester to determine this. If the outlet is not grounded, consult with a licensed
electrician.
J
Do not operate any electrical equipment with ungrounded outlets. Plugging the
QuadraSynth Plus into an ungrounded outlet, or “lifting” the unit off ground with a
three-to-two wire adapter, can create a hazardous condition.
J
Alesis cannot be responsible for problems caused by using the QuadraSynth Plus or any
associated equipment with improper AC wiring.
Line Conditioners and Protectors
Although the QuadraSynth Plus is designed to tolerate typical voltage
variations, in today’s world the voltage coming from the AC line may
contain spikes or transients that can possibly stress your gear and, over
time, cause a failure. There are three main ways to protect against this,
listed in ascending order of cost and complexity:
• Line spike/surge protectors. Relatively inexpensive, these are
designed to protect against strong surges and spikes, acting somewhat
like fuses in that they need to be replaced if they’ve been hit by an
extremely strong spike.
• Line filters. These generally combine spike/surge protection
with filters that remove some line noise (dimmer hash, transients from
other appliances, etc.).
• Uninterruptible power supply (UPS). This is the most
sophisticated option. A UPS provides power even if the AC power line
fails completely. Intended for computer applications, a UPS allows you
to complete an orderly shutdown of a computer system in the event of a
power outage, and the isolation it provides from the power line
minimizes all forms of interference—spikes, noise, etc.
QuadraSynth Plus Piano Reference Manual 10
Setting Up: Chapter 1
QuadraSynth Plus Piano Reference Manual 11
Setting Up: Chapter 1
About Audio Cables
The connections between the QuadraSynth Plus and your studio are your
music’s lifeline, so use only high quality cables. These should be low-capacitance
shielded cables with a stranded (not solid) internal conductor and a lowresistance shield. Although quality cables cost more, they do make a difference.
Route cables to the QuadraSynth Plus correctly by observing the following
precautions:
• Do not bundle audio cables with AC power cords.
• Avoid running audio cables near sources of electromagnetic interference
such as transformers, monitors, computers, etc.
• Do not place cables where they can be stepped on. Stepping on a cable
may not cause immediate damage, but it can compress the insulation between
the center conductor and shield (degrading performance) or reduce the cable’s
reliability.
• Avoid twisting the cable or having it make sharp, right angle turns.
• Never unplug a cable by pulling on the wire itself. Always unplug by
firmly grasping the body of the plug and pulling directly outward.
• Although Alesis does not endorse any specific product, chemicals such
as Tweek and Cramolin, when applied to electrical connectors, are claimed to
improve the electrical contact between connectors.
Basic Audio Hookup
J
When connecting audio cables and/or turning power on and off, make sure that all
devices in your system are turned off and the volume controls are turned down.
Because the QuadraSynth Plus includes extensive signal processing as well as a
full complement of sounds, you can make great sounds with nothing more than
an amplifier or a set of headphones.
The QuadraSynth Plus has two Main and two Aux audio outputs. These can
provide an amplification system or mixer with several different audio hookup
options:
• Mono. Connect a mono cord from the [MAIN–R] Audio Output to a
mono amplification system or individual mixer input.
• Stereo. Connect two mono cords from the [MAIN–L] and [MAIN–R]
Audio Outputs to a stereo amplification system or two mixer inputs.
• Dual Stereo/Four Individual Outs. Connect two mono cords from the
[MAIN–L] and [MAIN–R] Audio Outputs and two mono cords from the [AUX–
QuadraSynth Plus Piano Reference Manual 12
Setting Up: Chapter 1
L] and [AUX–R] Outputs to a dual stereo amplification system, or four mixer
inputs.
• Stereo Headphones. Plug a set of high-quality stereo headphones into
the rear panel [PHONES] jack.
QuadraSynth Plus Piano Reference Manual 13
Setting Up: Chapter 1
A Word About Sound Bridge
Included with the QuadraSynth Plus is a 3-1/2" floppy disk containing a
software program called Sound Bridge. This software has been provided free of
charge in an effort to promote sound design for the QuadraSynth Plus.
Sound Bridge is a Macintosh™ sound development utility which compiles
custom samples from a variety of sources into the QuadraSynth Voice format,
and downloads the compiled data to an Alesis PCMCIA Sound Card via MIDI
Sysex to a QuadraSynth Plus or S4 Plus. Originally developed for in-house use
only, Alesis soon realized the need for individuals and sound developers to be
able to burn their own Sound Cards as well, using whatever samples they
wanted. Sound Bridge makes this possible without having a PCMCIA card
burner attached to your computer. All you need is a QuadraSynth Plus or S4
Plus.
Sound Bridge creates a QuadraSynth Voice (multi-sample) by loading Sample
Cell I or Sample Cell II format Instrument files. Using this format, Sound Bridge
is able to determine key group and velocity group split points, root notes, sample
playback rates, tunings, start points, loop points, and loop tunings. Sound Bridge
can also create QuadraSynth Voices without Sample Cell Instruments by loading
single AIFF, Sound Designer, or Sound Designer II files.
Sound Bridge does NOT require Sample Cell hardware. The Sample Cell
Instrument file, or sample file, may be loaded directly into Sound Bridge from
any disk (i.e. CD-ROM, floppy disk, hard disk, etc.). For example, a user may
load data from a Sample Cell CD-ROM, and send this data to the QuadraSynth
PCMCIA Card, without ever using Sample Cell!
Sound Bridge can write to PCMCIA cards (or PC Cards) of up to 8MB in size.
These cards must be either Type I SRAM (150ns or faster) or Type I Flash RAM
cards (AMD C-series or D-series 5V Flash Memory Cards). If you are unsure
whether a card is compatible with the S4 Plus, contact Alesis Product Support for
more information.
The Sound Bridge disk contains the Sound Bridge application, and an electronic
manual which will give you all the information you need to know to run Sound
Bridge.
QuadraSynth Plus Piano Reference Manual 14
Your First Session With The QuadraSynth Plus: Chapter 2
CHAPTER 2
YOUR FIRST SESSION WITH
THE QUADRASYNTH PLUS
Powering Up
After making your connections, turn on the system’s power using this procedure:
¿ Before turning on the QuadraSynth Plus’s power, check the following
items:
• Have all connections been made correctly?
• Are the volume controls of the amplifier or mixer turned down?
• Is the volume of the QuadraSynth Plus turned down?
¡ Turn on the [ON/OFF] (power) switch on the QuadraSynth Plus rear
panel.
Upon power-up, the QuadraSynth Plus will display the last selected Program or Mix. If
this Program/Mix has been edited, the display will indicate this by showing the word
“EDITED” below either the word “MIX” or “PROGRAM.”
¬ Turn the QuadraSynth Plus’s master [VOLUME] control to maximum.
The best signal-to-noise ratio is achieved when [VOLUME] is set to maximum. This is a
digital volume control, and lower settings have lower resolution.
Turn on the power of the amplifier/mixer, and adjust the volume.
Adjusting the Display Contrast
Occasionally, the characters in the LCD display may be difficult to read,
depending on the viewing angle and existing lighting conditions. In such
a situation, adjust the contrast of the LCD display using the following
procedure.
¿ Press [GLOBAL].
The display will change to the Global Page.
¡ Use Quad Knob [1] to adjust the contrast, or use the VALUE [¬]
and [] buttons.
The contrast and its value in the display will change.
QuadraSynth Plus Piano Reference Manual 15
Your First Session With The QuadraSynth Plus: Chapter 2
1
PROG
1 2 3 4 5 6P AGE:
7
GLOBAL
1
V ALUE
QuadraSynth Plus Piano Reference Manual 16
Your First Session With The QuadraSynth Plus: Chapter 2
Playing the Demo Sequence
The QuadraSynth Plus has a built-in demo sequence which demonstrates
the wide variety of sounds this amazing instrument is capable of
generating. In order to get the full effect of the demo, we recommend
that you connect both the LEFT and RIGHT outputs to your sound
system, or listen on headphones.
To play the demo sequence:
¿ Hold the [GLOBAL] button, and press [MIX].
The upper-right display will read “Playing Demo. Press MIX to stop.”
¡ Press [MIX] to stop the demo.
There will be no MIDI OUT messages during the demo, and the
keyboard will be disabled.
Playing Specific Sections of the Demo
The demo sequence is currently comprised of four sections. Any
of these sections can be played directly, without listening to the
sections preceding it. This can be done by holding [GLOBAL]
and pressing one of the Quad Buttons [1] – [4] buttons which
corresponds to the section you would like to hear.
Enabling General MIDI Mode
If you are using a General MIDI sequencer, and/or playing a sequence that is
programmed to take advantage of General MIDI, turn the “General MIDI”
function in the QuadraSynth on.
To turn the General MIDI function on:
¿ Press [GLOBAL].
The display will now be in Global Edit Mode.
¡ Press Quad Button [2].
This selects the General MIDI parameter in the display.
¬ Press the VALUE [] button.
This turns on General MIDI mode, and automatically puts you into Mix Play Mode with
Mix 00 of Preset Bank 4 selected.
For more information about General MIDI, refer to the the MIDI Supplement in
Appendix B.
QuadraSynth Plus Piano Reference Manual 17
Your First Session With The QuadraSynth Plus: Chapter 2
Playing the QuadraSynth Plus
The QuadraSynth Plus is shipped from the factory with 5 Banks of 128 Preset
Programs (sounds) each. Additionally, there are 100 Mixes in each of the 5 Banks.
Program Mode and Mix Mode
The QuadraSynth Plus is always in one of two modes: Program Mode or
Mix Mode. When selecting Programs, you will be in Program Play Mode.
When editing a Program, you will use Program Edit Mode. When
auditioning Mixes, you will be in Mix Play Mode. When editing a Mix,
you will use Mix Edit Mode.
J
If you ever get lost while programming the QuadraSynth Plus, press either the
[PROGRAM] button or the [MIX] button to get back to their respective play
modes.
• Press the [PROGRAM] button to select Program Play Mode.
In Program Play Mode, the QuadraSynth Plus plays a single Program.
The display will look like this:
1
PROG
The current PROGram number is displayed, and the Program’s name
appears in the top-right. The current Bank is shown to the left of the
Program name. The current MIDI channel is shown in the top left corner
left.
• Press the [MIX] button to select Mix Play Mode.
In Mix Play Mode, the QuadraSynth Plus can combine up to 16
Programs for stacking sounds together, splitting the keyboard into
different regions, or working with a MIDI sequencer. The display will
look like this:
QuadraSynth Plus Piano Reference Manual 18
Your First Session With The QuadraSynth Plus: Chapter 2
1 2 3 4
MIX PROG
EFFECTEFFECT
All MIDI channels that are active in the current Mix are shown at the top
left, to indicate multitimbral operation. The current MIX and EFFECT
numbers are displayed, along with the current Bank and Mix’s name.
The PROGram number display shows the program assigned to the
underlined MIDI channel.
QuadraSynth Plus Piano Reference Manual 19
Your First Session With The QuadraSynth Plus: Chapter 2
Auditioning Internal Programs
¿ Press the [PROGRAM] button to select Program Play Mode.
You can now play the QuadraSynth Plus keyboard; the Program will be
whatever was selected when last in Program mode (Program number 00 —
127).
¡ Select a Program using any of these methods:
• Use the [-1] and [+1] buttons to step through the Programs one
at a time.
• Use the [-10] and [+10] buttons to step through the Programs ten
at a time.
• Hold the [PROGRAM] button and rotate Quad Knob [1].
• Use the DIRECT SELECT [1]—[0] buttons for direct entry.
Leading zeroes must be entered for Programs 0 — 19. Example: Press [0] then
[0] then [5] for Program 5; press [0] then [1] then [3] for Program 13. Only
begin with [1] if you are selecting a Program from 100 — 127. If you start
entering a number and change your mind, wait a few seconds and the
QuadraSynth Plus will revert to the previous Program number.
J
To hear the Stereo Grand Piano, select Program 00 in Preset Bank 1.
Selecting Banks
The QuadraSynth Plus provides five internal Banks containing 128
Programs in each (and 100 Mixes each, but we’ll get to Mixes in a
moment). The currently selected Bank will be shown in the display just
to the left of the currently selected Program’s name.
• Use the BANK [♦] and [∅] buttons to select a Bank (User, Preset
1 – 4).
J
User and Preset Banks are described in detail in Chapter 4.
Selecting the MIDI Channel
While in Program Play Mode, the QuadraSynth Plus can transmit and
receive information on any single MIDI channel of the 16 available
channels. The currently selected channel appears at the top left of the
display.
QuadraSynth Plus Piano Reference Manual 20
Your First Session With The QuadraSynth Plus: Chapter 2
1
PROG
¿ Use the MIDI [♦] and [∅] buttons to select a MIDI channel from
1 — 16.
The display will change to indicate the currently selected MIDI channel.
MIDIMIDI
QuadraSynth Plus Piano Reference Manual 21
Your First Session With The QuadraSynth Plus: Chapter 2
Realtime Performance Functions
The QuadraSynth Plus provides various ways to control the sound as
you are playing. Try out some of these functions while playing the
keyboard. The sound of the effects can also change by using these
controllers. The effect of these realtime controllers varies from Program
to Program; in some they may not be active, and in others they may have
a dramatic effect.
• Velocity. The volume and tonal quality of the sound will change
according to how hard you play the keyboard.
• Aftertouch. The action of pressing a key down after playing it is
called “aftertouch” (it is also sometimes referred to as “Pressure” since it
corresponds to the amount of pressure being applied to the keyboard).
Pitch, tone and volume (among other things) can be changed using
aftertouch.
• Pitch Bend Wheel. While playing a note, you can move the
PITCH BEND WHEEL up to raise the pitch, or down to lower the pitch.
The amount of pitch bend available can be different for each Program.
• Modulation Wheel. By raising the MODULATION WHEEL,
you can add expressive modulation effects (such as vibrato or tremolo)
while you play. The type of modulation effect can be different for each
Program.
• The Quad Knobs. These are described below.
Further expressive control is available with a pedal switch (included) or
expression pedal (optional, see page 25). By connecting a pedal switch to
the SUSTAIN jack on the rear panel, you can have the sound sustain
even after you release the keys. By connecting an expression pedal to one
of the pedal jacks (PEDAL 1 or PEDAL 2), you can use the pedal to
change the volume or tone (or some other quality such as reverb depth
or vibrato speed) of the sound, if the Program is edited to use the
pedal(s).
The Quad Knobs
To the right of the display are four knobs referred to as Quad Knobs,
[1]—[4], each with its own button. The Quad Knobs provide control over
various parameters depending on the mode you are in. The parameters
in the display will change depending on which function and page are
selected. Not all four Quad Knobs are active in all windows; there are
many pages that have only one active Quad Knob.
In Program Play Mode and Mix Play Mode, the Quad Knobs act as
Controllers A–D. These Controllers are defined in Global Edit Mode
(Page 3) to transmit various MIDI controller messages. If a Program or
Mix uses these Controllers A–D, a pair of arrows will point towards the
active controller’s letter in the display. This indicates that moving the
related Quad Knob will have some kind of effect on the selected Program
or Mix. In the illustration below, Controller A (Quad Knob [1]) is used by
the selected Program.
QuadraSynth Plus Piano Reference Manual 22
Your First Session With The QuadraSynth Plus: Chapter 2
1 2 3 4
When in Program Edit Mode or Mix Edit , the Quad Knobs are linked to
the parameters that appear in the right side of the display. The lower line
of the alphanumeric display will show the abbreviated name of each
parameter, with a bar graph below it representing the current setting of
the parameter. By turning Quad Knob [1], you adjust the setting of the
first parameter on the left. Turning Quad Knob [2] adjusts the next
parameter, and so on. Once a Quad Knob has been turned, or its button
has been pressed, the top line of the display will immediately show the
parameter’s name and current setting. At this point, the parameter will
have a thick underline beneath its bargraph, indicating that you can now
use the VALUE [¬] and [] buttons to adjust the parameter’s setting.
Auditioning Mix Play Mode
Mix Play Mode allows you to assign a Program to each of the 16 MIDI
channels. This makes it easy to create multitimbral setups for use with an
external MIDI sequencer. Additionally, a MIX can be used to “layer”
sounds together, or “split” the keyboard in a number of ways, or any
combination of these. There are many different ways to program a Mix.
For more about Mix Play Mode, refer to Chapter 5. For more about
connecting the QuadraSynth Plus to a MIDI sequencer, see Chapter 3.
¿ Press the [MIX] button.
The display will change to Mix Play Mode.
¡ Select a Mix from 00—99 using one of these methods:
• Use the [-1] and [+1] buttons to step through the Mixes one at a
time.
• Use the [-10] and [+10] buttons to step through the Mixes ten at a
time.
• Hold the [MIX] button and rotate Quad Knob [1].
• Use the DIRECT SELECT [1]—[0] buttons for direct entry.
Leading zeroes must be entered for Mixes 0 — 9. Example: Press [0] then [5] for
Mix 5. If you start entering a number and change your mind, wait a few
seconds and the QuadraSynth Plus will revert to the previous Mix number.
Selecting Banks
QuadraSynth Plus Piano Reference Manual 23
Your First Session With The QuadraSynth Plus: Chapter 2
The QuadraSynth Plus provides five internal Banks containing 100 Mixes
in each. The currently selected Bank will be shown in the display just to
the left of the currently selected Mix’s name.
• Use the BANK [♦] and [∅] buttons to select a Bank (User, Preset
1 – 4).
J
After switching between the Preset and User banks, press Quad Button [1] to
see the name of the Mix in the display again.
User memory and Preset memory are described in detail in Chapter 4.
QuadraSynth Plus Piano Reference Manual 24
Your First Session With The QuadraSynth Plus: Chapter 2
Editing a Mix
In this section, we will assign Programs to and set volume levels for the
16 MIDI channels in a Mix, for playing back tracks from a MIDI
sequencer. However, there is much more about a Mix that may be edited.
Refer to Chapter 5 for more about Mix editing.
¿ Press [MIX] and select a Mix using one of the three methods
described above.
¡ Press [SELECT].
The top line of the LCD’s function list will read “EDITING: MIX”.
¬ Simultaneously press both the FUNCTION [♦] and [∅] buttons.
1 2 3 4 5 6 7 8 9 10 1 1 12 13 14 15 16
MIX
EDITING: MIX
PROGRAM – ASSIGN LEVEL EFFECT–LEVEL
PITCH RANGE EFFECT NAME
PROG EFFECT
P AGE: 1
Use the MIDI [♦] and [∅] buttons to select a MIDI channel for
editing.
The MIDI monitor and selection strip will indicate the selected MIDI channel
with an underline. These buttons “wrap around” (e.g., if you’re on channel 16
and press MIDI [∅], you’ll select channel 1. If channel 1 is selected and you
press MIDI [♦], you’ll select channel 16).
ƒ Use Quad Knob [1] to choose a Bank (User, Preset 1 – 4).
H Use Quad Knob [2] to select a Program for the selected Channel.
J
Don’t use the MIX/PROGRAM SELECT [1]—[0] buttons while in any edit
mode. If you do, you will be kicked out of Mix Edit mode and will select another
Mix, losing your changes.
Use Quad Knob [4] to enable or disable the Program on the
selected Channel.
When enabled, the Channel number will appear in the top left of the display.
When disabled, the Channel number will not appear (unless selected for editing
using the MIDI [♦] and [∅] buttons, in which case it is underlined).
« To set the Program’s level, press the FUNCTION [∅] button
once so that “LEVEL” is underlined in the display. Use Quad Knob [1] to
adjust the level.
QuadraSynth Plus Piano Reference Manual 25
Your First Session With The QuadraSynth Plus: Chapter 2
» Repeat steps ¬ — « until all desired Programs are assigned to
all desired MIDI channels, and have the appropriate levels.
J
Changes to Mix parameters are temporary and will be lost if another Mix is
selected. To make changes permanent, you must store the Mix into the User
bank. Refer to Chapter 4 for information about storing changes.
QuadraSynth Plus Piano Reference Manual 26
Your First Session With The QuadraSynth Plus: Chapter 2
Setting the Effects Level
Each Program can use up to four Sounds, for either layering or splitting
the keyboard. Each of these Sounds has its own effects send level and
effects bus assignment. Many of the Programs in the QuadraSynth Plus
use only one or two Sound layers, while others may use all four Sounds.
You can adjust the effect send amount for each Sound independently, or
you can view/edit all four sounds simultaneously.
¿ Press [PROGRAM] to access Program Play Mode, and select a
Program you wish to edit, using the methods described on page 14.
¡ Press [SELECT] to access Program Edit Mode.
¬ Press the [EFFECT] button (located among the DIRECT SELECT
buttons on the far left); the words “EFFECT - LEVEL” are underlined in
the display.
This is where you determine how much level will be sent from the current
Program sound layer to the effects processor, and on which of the four busses.
1
PROG
EDITING: PROGRAM SOUND 1
PITCH FIL TER AMP RANGE MOD EFFECT NAME
PLFO FLFO ALFO PENV FENV AENV TRACK
P AGE: 1
ASSIGN – VOICE LEVEL EFFECT–LEVEL
MISC.
Turn Quad Knob [1] to adjust the effect send level of the selected
Sound (1—4).
For the most dramatic effect, set this to 99.
ƒ Press the [EDIT 1] button to select another Sound to adjust.
The display will indicate “SOUND 1” or “SOUND 2,” etc., to indicate which
of the four Sounds is being edited.
H Press the [EDIT 4] button to display the effect send levels of all
four Sounds simultaneously; use Quad Knobs [1] — [4] to adjust each
Sound’s effect level.
The display will indicate “SOUND 1 2 3 4.”
MIDI
1
CHAN
PROGPROG
PRESET
EDITING: PROGRAM SOUND 1
PITCH FIL TER AMP RANGE MOD EFFECT NAME
PLFO FLFO ALFO PENV FENV AENV TRACK
P AGE: 1
ASSIGN – VOICE LEVEL EFFECT–LEVEL
2 3 4
MISC.
QuadraSynth Plus Piano Reference Manual 27
Your First Session With The QuadraSynth Plus: Chapter 2
Note: If a Sound is not enabled in a Program, its title will be shown in lowercase
(“snd4”), and adjust its controls will have no effect on the Sound until the
Sound is enabled. To enable a Sound, hold down its respective Quad Button
(i.e., [3] for Sound #3) and press VALUE [].
QuadraSynth Plus Piano Reference Manual 28
CHAPTER 3
CONNECTIONS
Basic MIDI Hookup
MIDI is an internationally-accepted protocol that allows musical-related data to
be conveyed from one device to another. See the MIDI Supplement in Appendix
B if you are not familiar with how MIDI works.
The MIDI connections provide three different functions. To trigger the
QuadraSynth Plus from a MIDI control device (keyboard, drum pad, guitar or
bass controller, sequencer, etc.), connect the control device’s MIDI OUT to the
QuadraSynth Plus’s MIDI IN.
Connections: Chapter 3
The MIDI THRU jack carries a replica (or echo) of the signal appearing at the
QuadraSynth Plus’s MIDI IN, allowing you to trigger other devices from the
same controller which is feeding the QuadraSynth Plus. Simply connect the
QuadraSynth Plus MIDI THRU to the other device’s MIDI IN. Note that the
MIDI THRU jack will not send messages from the QuadraSynth Plus’s keyboard
itself.
The MIDI OUT sends MIDI data from the QuadraSynth Plus’s keyboard to other
MIDI devices, but can also send System Exclusive data (see the MIDI supplement)
to a storage device such as the Alesis DataDisk for later recall.
QuadraSynth Plus Piano Reference Manual 29
Connections: Chapter 3
Example 1: Master Controller for Live Use
Most live applications use the QuadraSynth Plus to generate sounds, with
(possibly) the MIDI output driving other MIDI devices, such as an S4 Plus rack
unit, QuadraVerb 2, other keyboards and sound modules, etc.
To drive MIDI controlled devices from the QuadraSynth Plus, patch the
QuadraSynth Plus’s MIDI OUT to the MIDI device’s MIDI IN. If there is more
than one MIDI device, patch the first device’s MIDI THRU to the second device’s
MIDI IN, the second device’s MIDI THRU to the third device’s MIDI IN, etc.
Caution: Do not attempt to connect more than three or four units together using
thru connections as this may impede the MIDI data flow to the connected
devices. Instead, insert a MIDI patch-bay to the QuadraSynth Plus’s MIDI OUT
so that all devices receive its MIDI information simultaneously.
In Program mode, the keyboard sends and receives MIDI information on only
one MIDI channel at a time. In Mix mode, however, the keyboard can transmit
on as many as 16 MIDI channels, each with its own keyboard range (for more
information on Program mode and Mix mode, see Chapter 4).
When using the QuadraSynth Plus as a master keyboard to play other MIDI
devices, be sure the Keyboard Mode is set to “NORMAL.” The Keyboard Mode
parameter is found on Page 2 of Global mode (for more information, see Chapter
8).
It is possible for the QuadraSynth Plus to transmit volume and pan settings via
MIDI (as controllers 7 and 10, respectively). This occurs whenever a new
Program
is selected, or when a new Mix is selected. In the case of a Mix, the volume and
pan settings may be transmitted for each Channel (up to 16) used in the selected
Mix.
QuadraSynth Plus Piano Reference Manual 30
Connections: Chapter 3
Example 2: Using an External Sequencer
The QuadraSynth Plus can generate MIDI signals that are recorded by a
sequencer. On playback, the sequencer sends this data back into the
QuadraSynth Plus, which then serves as a multitimbral sound module (in Mix
mode). The sequencer can generate data over several channels; in Mix mode, the
QuadraSynth Plus can be programmed so that individual Programs play
sequenced data on specific channels.
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 QuadraSynth
Plus Mix so that a piano sound plays only the MIDI data assigned to channel 1, a
bass sound plays only the MIDI data assigned to channel 2, and drums play only
the MIDI data assigned to channel 10. The QuadraSynth Plus can store up to 100
User Mixes.
Connect the sequencer’s MIDI Out to the QuadraSynth Plus’s MIDI IN, and the
QuadraSynth Plus’s MIDI OUT to the sequencer’s MIDI In. This allows the
QuadraSynth Plus to send data to the sequencer for recording, and play back
data from the sequencer.
QuadraSynth Plus Piano Reference Manual 31
Connections: Chapter 3
If you are driving other MIDI gear (such as an expander module or MIDIresponsive signal processor), you’ll usually drive these from the sequencer if it
has additional MIDI outputs. However, you can also use the QuadraSynth Plus’s
MIDI THRU connector to drive other modules since the Thru carries a replica of
what appears at the QuadraSynth Plus’s MIDI IN, which is the same as the
sequencer’s MIDI OUT.
QuadraSynth Plus Piano Reference Manual 32
Connections: Chapter 3
About the Keyboard Mode
In a Mix, the QuadraSynth Plus’s keyboard may be set up in several
ways using the Keyboard Mode parameter found on Page 2 of Global
mode. You need to determine which way is best for your application.
The Keyboard Mode parameter determines how the keyboard will
function with regard to MIDI in Mix mode:
• The keyboard sends on only one MIDI channel and the
sequencer is used to set the MIDI channel of each track (Keyboard Mode
= OUT 1 – OUT 16).
• Or, the keyboard is split or layered, sending on many MIDI
channels at once, and the sequencer records each channel onto a different
track (NORMAL).
• Or, the keyboard only sends on one MIDI channel, but you
change the channel on the QuadraSynth Plus for each separate track on
the sequencer (CH SOLO).
In OUT 1 – OUT 16 mode, you will not hear the QuadraSynth Plus
unless your sequencer echoes the MIDI data back to the QuadraSynth
Plus’s MIDI IN. This is a way of verifying that the sequencer is set to
receive properly. Depending on the capabilities of your sequencer, it
may “auto-channelize” the echoed MIDI back to the QuadraSynth Plus
on a different MIDI channel (usually, the MIDI channel that the selected
record track is assigned to). In NORMAL or CH SOLO mode, the
QuadraSynth Plus sounds are internally played from the QuadraSynth
Plus keyboard, so any echo features of the sequencer should be turned
off.
When using the QuadraSynth Plus with a MIDI sequencer, the usual
choice for the Keyboard Mode is “OUT 1.” This is equivalent to turning
the QuadraSynth Plus’s local control off and transmitting on channel 1.
For more information, see page 46.
Pedal and Footswitch Hookup
The QuadraSynth Plus keyboard has two PEDAL jacks that accept a Roland
model EV-5 (or equivalent) volume control pedal, or a standard switch pedal.
Each pedal can be assigned to independent modulation functions within a
program. Example: One pedal could control volume, and the other vibrato depth.
The SUSTAIN footswitch jack accepts a momentary footswitch unit, included
with the unit (it is packed in the center of the end caps). This provides the same
function as the sustain (or damper) pedal on a standard keyboard. You can use
either a normally closed or normally open momentary contact footswitch. Plug it
into the rear panel SUSTAIN footswitch jack before powering up the
QuadraSynth Plus; on power up, it will automatically sense the footswitch
polarity and calibrate itself accordingly.
J
QuadraSynth Plus Piano Reference Manual 33
Connections: Chapter 3
If your footswitch seems to respond backwards (notes sustain unless the footswitch is
pressed), turn off the QuadraSynth Plus, make sure the footswitch plug is fully inserted
into the footswitch jack, then turn the power back on.
J
Don't hold downthe footswitch iwhen powering up the QuadraSynth Plus.
QuadraSynth Plus Piano Reference Manual 34
Connections: Chapter 3
Digital Audio/Optical Hookup
The QuadraSynth Plus can send digital audio directly into ADAT, which
provides better fidelity than using the analog inputs and outputs.
The digital I/O connector follows a proprietary Alesis format that carries all four
audio outputs on a single fiber optic cable. Either pair of outputs can be
converted into standard AES/EBU or S/PDIF stereo digital audio format by
using the Alesis AI-1 interface. Fiber optic cables of various lengths are available
from your Alesis dealer. The shorter the cable, the better. The model OC cable is
5 meters long and is the maximum length recommended.
To hook up the optical cable:
¿ Remove the two pieces of clear plastic, tubular sleeving (if present) that
protect the tips of the optical cable plugs.
¡ Insert one cable end into the QuadraSynth Plus DIGITAL OUT and the
other end into the ADAT or AI-1 DIGITAL IN.
To test the cable and QuadraSynth Plus digital output, plug one cable end into
the QuadraSynth Plus. The other end should emit a soft red light (it is not
dangerous to look directly at this light).
Recording Digital Audio
Once the fiber optic connection is made between the QuadraSynth Plus
and ADAT or an AI-1, the QuadraSynth Plus will output audio on the
first four channels of the digital bus (the bus is capable of handling eight
channels of digital audio). The Main Left and Right outputs are routed to
channels 1 and 2, while the Aux Left and Right outputs are routed to
channels 3 and 4. Note that the volume knob controls the level of all
analog and digital output channels simultaneously. Set the volume to
maximum for most applications.
48 kHz Clock In
If your ADAT system has an Alesis BRC Remote Controller, the QuadraSynth
Plus’s digital clock must be synchronized to the clock coming from the BRC.
Connect a BNC-to-BNC cable (such as the Alesis BN cable) between the BRC’s 48
kHz CLOCK OUT and the QuadraSynth Plus’s 48 kHz CLOCK IN. For more
information about using the 48 kHz clock, see page 118 in Chapter 8. When using
only one ADAT without the BRC, it is not necessary to connect the 48 kHz Clock.
QuadraSynth Plus Piano Reference Manual 35
Connections: Chapter 3
Tip: With this type of connection, the ADAT tracks will remain in tune with the
QuadraSynth Plus even when the BRC’s pitch value is adjusted.
QuadraSynth Plus Piano Reference Manual 36
CHAPTER 4
OVERVIEW
Basic Architecture
The QuadraSynth Plus contains digitized acoustic and electronic voices,
organized into 18 groups of sound types. The groups are:
Piano Bass Ensemble Drums
Organ Guitar Ethnic Percussion
Keyboard Brass Voice Rhythm
Synth Woodwind Sound FX QSPlus
Waves String
Several functions (filter, amplitude envelope, pitch envelope, LFO, multiple
modulation sources, signal processors, etc.) can be used to process a sample. A
Sound is the combination of a sample with its associated processing.
A Program consists of up to four sounds. These sounds can be layered, split over
specific keyboard ranges, or selectively overlapped. The QuadraSynth Plus has a
User Bank of 128 Programs that you can modify, plus 4 Preset Banks with 512
Preset Programs that are permanently installed in the QuadraSynth Plus at the
factory (although the Preset Programs can be edited, they must be stored into the
User bank to permanently retain your changes). Each Program is linked to its
own Effects Patch.
Overview: Chapter 4
A Mix consists of up to 16 Programs, each assigned to a specific MIDI channel
and one Effect Patch. The QuadraSynth Plus has 100 Mixes in the User Bank,
plus 4 Preset Banks with 400 Preset Mixes. This is extremely useful for
multitimbral setups where the QuadraSynth Plus plays back different sounds on
different MIDI channels. Because of the 64 voices and built-in effects, the
QuadraSynth Plus is often the only sound generator needed.
QuadraSynth Plus Polyphony
The QuadraSynth Plus provides 64-voice polyphony (i.e., how many notes can
play at once). If a program uses one sound, up to 64 notes can play at once.
Layering two sounds allows for 32-note polyphony and layering four sounds, 16note polyphony.
Layering is a powerful technique that allows you to build up complex timbres.
This is crucial because acoustic instruments have extremely complex, evolving
sounds and by comparison, many synths sound static. Being able to layer up to
four sounds allows for creating large ensembles (e.g., brass section consisting of
alto & tenor sax, trumpet, and trombone) or extremely realistic versions of single
instruments. When creating layered Programs, keep polyphony in mind. If all
Programs in a Mix use all four available sounds, the QuadraSynth Plus will
quickly run out of voices.
QuadraSynth Plus Piano Reference Manual 37
Overview: Chapter 4
Modes
The QuadraSynth Plus is always in one of two main modes: Program Mode or
Mix Mode. Pressing [PROGRAM] selects Program Play Mode, while pressing
[MIX] selects Mix Play Mode. While in Program Play Mode, you can press
[SELECT] to access Program Edit Mode and Effects Edit Mode. While in Mix
Play Mode, pressing [SELECT] alternates between Mix Edit Mode, Program Edit
Mode and Effects Edit Mode. Pressing [GLOBAL] accesses Global Edit Mode,
pressing [COMPARE] accesses Compare Mode, and pressing [STORE] accesses
Store Mode. Here are descriptions of these modes:
Program Play Mode
Program Play Mode lets you play the QuadraSynth Plus’s various
Programs one at a time. The QuadraSynth Plus contains 512 Preset and
128 User Programs (i.e., the sounds of various instruments, effects,
ensembles, etc.) that show off just how cool this instrument really is.
Initially, the 4 Preset Banks and the User Bank contain data loaded in at
the factory. The User Programs can be edited or replaced with your own
Programs. However, you cannot replace the Preset Programs, because
these are stored in ROM (permanent memory). In Program Play Mode,
the QuadraSynth Plus responds to or generates messages on a single
MIDI channel.
Mix Play Mode
Mix Play Mode lets you audition the QuadraSynth Plus’s various Mixes,
and use it as a MIDI master controller. The QuadraSynth Plus contains
400 Preset Mixes and 100 User Mixes. A Mix can combine up to 16
different Programs, and the keyboard can generate up to 16 channels of
MIDI data at once. Therefore, much thicker and richly textured sounds
can be created. In Mix Play Mode, the QuadraSynth Plus can be used in a
wide range of applications. It can be used for live performance, in which
sounds are layered or assigned to sections of the keyboard. It can also be
used as a multitimbral sound source for desktop music and home studio
applications. A Mix can use the Effects Patch associated with one of its
Programs. Although there may be 16 Programs in a Mix, there can only
be one Effects Patch per Mix. In Mix Mode, the QuadraSynth Plus can
respond to messages on up to 16 MIDI channels simul-taneously;
different channels are available depending on which Mix is selected.
Program Edit Mode
In Program Edit Mode, you can change the various settings which
determine the sound of an individual Program, or create an entirely new
Program from scratch. Each Program is made up of four Sound layers,
which you can edit individually, or simultaneously. In Program Edit
mode you can:
• select which sample waveform from the 24 megabytes of
onboard sample ROM will be used, in each of the 4 sounds;
• change the tone, level, attack and decay characteristics,
modulation inputs, and pitch of each layer;
QuadraSynth Plus Piano Reference Manual 38
Overview: Chapter 4
• set modulation routings so any parameter can be controlled via
MIDI;
• set the effect level for each Sound layer, and set which of the four
effect sends each Sound layer will use for signal processing (such as
reverb, delay, and chorus—or any combination of these).
Mix Edit Mode
Mix Edit Mode lets you change the parameters of an existing Mix. Up to
16 Programs can be active in each Mix, and Mix Edit mode sets up how
each will be played. Mix Edit Mode allows you to:
• select which Programs will be played by the different MIDI
channels and by the keyboard in multiple layers or splits;
• set the output level, effects level, and pan of each Program in the
Mix;
• select which Program’s Effects Patch will be used by the Mix.
Effects Edit Mode
Effects Edit Mode is used for setting up the Digital Signal Processing
effects. Each Effect Patch has 4 effect bus inputs, and an internal
configuration of multiple effects such as reverb, delay, and pitch-related
effects (chorus, flange, etc.). You can determine what kinds of effects are
used on each bus (this is called a “Configuration”), change each effect’s
parameters (such as reverb decay time or chorus speed), set modulation
routings (such as having the modulation wheel change the decay time),
and set the effects mix (how much reverb, delay and chorus on the
output of each effect bus).
Global Edit Mode
Use Global Edit Mode to set various parameters which effect the entire
instrument, such as overall master tuning, display contrast, MIDI
controller settings, keyboard sensitivity, and how the unit will respond
to or generate messages in Mix Mode.
Store Mode
Store Mode is used for storing changes of Programs, Mixes and/or
Effects into the User Bank or onto a QuadraCard PCMCIA memory card
accessory. It is also used for transmitting the QuadraSynth Plus’s
parameters over MIDI for data storage purposes, copying sounds or
effects from one Program to another, and for transferring entire Banks to
or from a Sound Card.
Compare Mode
Once a Program has been edited in Program Edit Mode, or a Mix has
been edited in Mix Edit Mode, the word “EDITED” will appear in the
display next to the Mix/Program number. If [COMPARE] is pressed, the
word “COMPARE” will appear in the display, and you will temporarily
QuadraSynth Plus Piano Reference Manual 39
Overview: Chapter 4
be hearing (and seeing) the original version of the Mix/Program. If you
are editing a Mix and press [COMPARE], the original unedited MIX is
temporarily recalled. Likewise, if you are editing a Program or its Effects
Patch and press [COMPARE], the original Program will be temporarily
recalled. Pressing [COMPARE] again switches back to the edited version,
and the word “COMPARE” disappears from the display.
QuadraSynth Plus Piano Reference Manual 40
Overview: Chapter 4
The User Interface: Display, Functions, Pages, and
Parameters
The key to the QuadraSynth Plus user interface is the combination of the Display
and four Quad Knobs/Buttons [1] — [4] located toward the right of the front
panel. The Display constantly informs you of the QuadraSynth Plus’s status.
About the Display
Editing Status
MIDI Channel Cursor
MIDI Monitor/Selection Strip
MIDI
1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6
CHAN
MM I X P R O G
PRESET
EDITED
E D I T I N G : M I X P R O G R A M S O U N D 1 2 3 4 E F F E C T C L I P
P R O G R A M – A S S I G N – V O I C E L E V E L E F F E C T – L E V E L
P I T C H F I L T E R A M P R A N G E M O D E F F E C T N A M E
P L F O F L F O A L F O P E N V F E N V A E N V T R A C K
C O N F I G R E V E R B D E L A Y M I X M I S C . G L O B A L
P A G E : 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 C O M P A R E
PRESET
EDITED
EE F F E C T
PRESET
EDITED
Curr ent Mix, Pr ogram and Ef fect Strip
Quad Knob/Button Label Strip
Mix/Pr ogram/Ef fect/Parameter Name Strip
Page Number Strip
Function List
Function Cursor
Compar e indicator
Page Cursor
Global indicator
Quad Knob bar-graph meters
Quad Knob Cursor
Clip indicator
Note: This illustration shows all display flags turned on at once. Actual displays
show only some of these at any time.
The display has eight main sections:
• MIDI monitor and selection strip. Selects different MIDI
channels for the programs in Mix Play Mode (a thick underline indicates
the selected channel), monitors keyboard and incoming MIDI activity
(thick lines above active channel numbers indicates activity either from
the keyboard or MIDI In), and chooses the basic MIDI channel in
Program Play Mode.
• Current Mix, Program and Effect strip. Shows the currently
selected Mix and/or Program and its associated Effect.
• Editing Status. Indicates what you are editing (either Mix Edit,
Program Edit, or Effects Edit), after pressing [SELECT]. “1 2 3 4”
indicates which Sound (1–4) is selected for editing when in Program Edit
mode; or, which effect send (1–4) is selected for editing when in Effects
Edit mode. Press [EDIT 1] to cycle through the four Sounds/sends.
When Edit 4 mode is selected (press [EDIT 4]), all four numbers appear,
to indicate that all four Sounds are available for simultaneous editing
(Edit 4 mode is available in Program Edit mode only).
• Functions list. Displays the various editing functions available
in a particular editing mode. Use the FUNCTION [♦] and [∅] buttons to
select a function, as indicated by the small line (cursor) underneath one
of the words in the list. When a function is chosen, the page number strip
QuadraSynth Plus Piano Reference Manual 41
Overview: Chapter 4
and right-hand side of the display will show values related to that
function. Only the functions used by the current edit mode will be
displayed and selectable. Functions can also be selected from the
DIRECT SELECT buttons (see page 31).
• Page number strip. Some functions have too many options to fit
on a single screen. These functions use multiple screens, with each screen
considered a page. This strip shows which page is selected by
underlining the page number. The PAGE [♦] and [∅] buttons allow you
to select a page.
• Name strip. When in Mix Play Mode, the name of the currently
selected Mix will appear here. Likewise, when in Program Play Mode,
the name of the currently selected Program will appear here. In any Edit
mode or Store mode, the name of the currently selected parameter will
appear here indicating it is selected for editing using the VALUE [] and
[¬] buttons.
• Quad Knob/Button Label strip. This line is used to show the
labels of the bar graph meters, which determine the functions of the four
Quad Knobs and Buttons. These labels change depending on which
function and page is currently selected. The labels are abbreviations of
the parameters; the complete name (and value) of a selected parameter
will appear in the Name strip.
• Quad Knob bar graph meters. When a Quad Knob controls a
function’s parameter, an associated bar graph appears which reflects the
Knob’s setting. Note: Not all four Quad Knobs are active in all pages. If a
single line appears somewhere in the bargraph area, it indicates its
corresponding Quad Knob is active.
MIDI Buttons
The MIDI [♦] and [∅] buttons serve two purposes. In Program Play
Mode, they select the basic MIDI channel the QuadraSynth Plus will
receive and transmit MIDI messages on. In Mix Play Mode, they are used
to select one of the 16 Programs for viewing and editing.
For more information on MIDI and its uses, see Chapters 8 and 9, and
Appendix B.
Quad Knob Editing
The Quad Knobs have two editing modes: Immediate and Pass-thru.
When using the Quad Knobs to adjust parameter values, you may prefer
using one mode over the other. When set to Immediate, parameter
values jump immediately to the Quad Knob’s exact position the moment
it is moved. When set to Pass-thru, the Quad Knob must be turned
beyond the parameter’s current setting before it becomes “live” and
begins adjusting the parameter’s value.
The editing mode is set in Global Edit mode, Page 2, using Quad Knob
[3]. For more information about selecting the Quad Knobs’ editing mode,
see Chapter 8.
QuadraSynth Plus Piano Reference Manual 42
Overview: Chapter 4
Parameter Editing
All parameter editing involves the same general procedure, with minor
variations:
¿ Select the type of parameters you want to edit with the
corresponding button: [MIX], [PROGRAM], or [GLOBAL].
Mix parameters edit a Mix. Program parameters edit a Program. Effects
parameters can be edited from within a Mix or a Program (see below). Global
parameters edit general characteristics that affect the entire instrument.
¡ Select an Edit Mode with the [SELECT] button.
Example: If you pressed [PROGRAM], the [SELECT] button switches between
two groups of functions—one for editing the Program’s Sound layers(Program
Edit Mode), and the other for editing the associated Effect (Effects Edit Mode). If
you’re editing a Mix, the [SELECT] button switches between three groups of
functions—one for editing the Mix’s parameters (Mix Edit Mode), one for
editing the Programs in the Mix (Program Edit Mode), and the last for editing
the associated Effect (Effects Edit Mode).
¬ Use the FUNCTION [♦] and [∅] buttons to select a function
(level, pitch, etc.). Alternatively, you can use the DIRECT SELECT
buttons (located on the far left of the front panel) to directly select a
Function to edit.
Press FUNCTION [∅] to move toward the end of the list, and FUNCTION
[♦] to move back toward the beginning. The selected function will be underlined
in the display. Press both FUNCTION [♦] and [∅] simultaneously to get back
to the first function in the list.
If a function has multiple pages, select the appropriate page by
using the PAGE [♦] and [∅] buttons.
The LCD’s page number strip shows the number of pages in a function; an
underline shows the currently selected page (e.g., if the display shows “1 2 3”
then page two is selected).
Press the PAGE [∅] button to select the next higher-numbered page, and
PAGE [♦] to select the next lower-numbered page. Press both PAGE [♦] and
[∅] simultaneously to get back to the first page of the selected function.
ƒ Select a parameter on the page for editing.
There can be up to four editable parameters on a page. The right side of the
display shows these parameters with both text and bar graph meters to give
instant visual feedback concerning a parameter’s value. Each of the four
columns has an associated Quad Knob and Button: the leftmost column
monitors Quad Knob/Button[1], the second from left column monitors Quad
Knob/Button [2], etc. Turning a Quad Knob or pressing its Button selects the
associated parameter for editing. The currently selected parameter is indicated
by a thick line at the bottom of one of the four bar graph meters.
H Change the parameter value.
You can edit the value either by turning the associated Quad Knob (for large
value changes) or pressing the VALUE [¬] and [] buttons (for smaller
changes).
QuadraSynth Plus Piano Reference Manual 43
Overview: Chapter 4
Each bar graph indicates a parameter’s approximate value—increasing a
value increases the column height. With bipolar values that can go
positive or negative, turning a knob clockwise increases the column
height upward from the midpoint, and turning a knob counterclockwise
increases the column height downward (more negative value) from the
midpoint.
Always refer to the parameter name strip in the display above the
bargraphs for the current parameter label and value.
QuadraSynth Plus Piano Reference Manual 44
Overview: Chapter 4
Direct Function Selection
When editing a Mix, Program or a Program’s Effects, the DIRECT
SELECT buttons (located next to the large VOLUME knob) provide
direct selection of edit Functions. This means you can get to the Function
you want to edit fast. The Functions available for direct selection are
printed on the front panel adjacent to each button. By pressing some of
the buttons repeatedly, you can select other Functions related to the
main Function for that button. Example: By pressing DIRECT SELECT [7]
when in Program Edit Mode, the Filter Function is selected. Press it a
second time, and the FLFO is selected; press it a third time and the FENV
is selected.
The Direct Select Functions are shown in the table below.
Button Mix Edit Function Program Edit Function Effects Edit Function
1 Program-Assign Assign-Voice Config
2 Level Level Pitch
3 Effect-Level / Effect Effect-Level Delay
4 Range Range Reverb
5 Name Name Mix
6 Pitch Pitch / PLFO / PENV - - - - 7 - - - - - Filter / FLFO / FENV - - - - 8 - - - - - Amp / ALFO / AENV - - - - 9 - - - - - Mod / Track Mod
0 - - - - - Misc. Misc.
Editing Program Parameters
Here is an example of how to use the QuadraSynth Plus’s editing
features to change Program parameters. Feel free to make changes and
twist dials; these will not be made permanent unless you store the
Program (described later).
¿ Press the [PROGRAM] button.
This selects Program Play Mode.
¡ Select a Program using the methods described on page 14.
The currently selected Program will appear in the upper right of the display.
¬ Press the [SELECT] button.
Pressing this button toggles between Program Edit mode and Effects Edit mode.
The display’s editing status line will indicate either “Editing: Program” or
“Editing: Effect.” To change edit status, press the [SELECT] button again. For
now, select “Editing: Program.”
Select the desired function by using the FUNCTION [♦] and [∅]
buttons to step through the various Function in the display (Assign
Voice, Level, Effect Level, Pitch, Filter, Amp, etc.). Alternatively, you can
use the DIRECT SELECT buttons (located on the far left of the front
panel) to directly select a Function.
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Overview: Chapter 4
Pressing FUNCTION [∅] advances to the next function, and FUNCTION
[♦] returns to the previous function. As you select the different edit Functions,
the page number strip shows how many pages exist for that function, and the
right part of the display will show the parameters on the current page.
ƒ Some functions have more parameters than will fit on a single
display page, and therefore will have multiple pages, as indicated in the
lower left corner of the display. To select a page within a particular edit
function, use the PAGE [♦] and [∅] buttons.
Press the PAGE [∅] button to advance to the next higher-numbered page or
PAGE [♦] to return to the next lower-numbered page.
H To adjust a parameter on a page, either:
• Turn the associated Quad Knob [1] – [4].
• Press the associated Quad Button [1] – [4] to select a parameter
in the display, then adjust its setting with the VALUE [¬] and []
buttons.
Edit 4 and Edit 1 Modes
A Program is made up of four sounds. Sometimes, you need to edit four
variables of a single Program sound (for example, the
attack/decay/sustain/release parameters of an envelope). Other times,
you may want to edit one variable in all four layers (for example, the
attack parameter of each layer). These two different methods of editing a
Program are available under the [EDIT 1] and [EDIT 4] buttons. The only
difference between the two modes is what variables will appear in the
display at the same time. You can switch between Edit 1 Mode and Edit
4 Mode at any time.
Note: There is no Edit 4 mode for Mixes or Effects.
¿ Press [EDIT 1] repeatedly to select a sound for editing.
The status line in the display will indicate ”SOUND 1,” or “SOUND 2,”
etc., as you continue to press [EDIT 1].
¡ To view and edit parameters for all four sounds at once, press
[EDIT 4].
The status line in the display will indicate “SOUND 1 2 3 4.”
In Edit 4 mode, the four Quad Knobs represents the four sound layers of
a Program. The currently selected parameter’s name will appear at the
top right of the display, while above each bargraph are the words “SND1
SND2 SND3 SND4.” If a sound is disabled, the display will show the
sound’s name in lower case (“snd1” means that sound 1 is disabled). If a
sound is in Drum mode, the sound’s name will read “drmX,” where X is
the sound number (1–4).
Notice that the assignments of the Quad Knobs and the number of pages
in a function change between Edit 1 Mode and Edit 4 Mode. For
example, in Edit 1 mode the LEVEL function has only one page which
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Overview: Chapter 4
shows the Volume, Pan and Output of a single sound. In Edit 4 Mode,
the Level function has three pages: all four sound volumes are page 1, all
pans are on page 2, and all outputs are on page 3.
QuadraSynth Plus Piano Reference Manual 47
Overview: Chapter 4
Resetting a Parameter Value
It’s often convenient while editing to return a parameter to its default
setting (usually, but not always, 0). This normally involves turning a
Quad Knob or repeatedly pressing the VALUE [¬] and [] buttons, but
here’s a quicker way:
To reset a parameter to its default setting:
¿ Select the parameter you wish to reset using the methods
described earlier.
¡ Simultaneously press both the VALUE [¬] and [] buttons.
Comparing Edited and Stored Versions
When you edit a Program or Mix, you are actually editing a copy which is in a
temporary edit buffer. Therefore, to retain the results of your edit, you must save
it to a particular memory location (see the next section on Storing). If you change
memory locations before saving, the buffer will be replaced and your edits lost.
Because the original Program/Mix remains undisturbed, you can compare the
edited version to the original by using the Compare function. You can only select
Compare mode when either Mix Edit, Program Edit or Effects Edit is selected,
and the word “EDITED” appears in the display below either “MIX,” “PROG” or
“EFFECT.”
¿ Press [COMPARE].
The word “COMPARE” will appear in the display, while the word “EDITED” will
disappear.
¡ Press [COMPARE] again to exit Compare mode and return to the edited
version.
The word “COMPARE” will disappear from the display, and the word “EDITED” will
reappear. Pressing [MIX], [PROGRAM], [GLOBAL], [STORE] or the
MIX/PROGRAM SELECT [1]—[0] buttons will also exit Compare mode.
J
While Compare mode is selected, you can move around to view the various parameters,
but you will not be able to edit anything. This is because you are seeing what is in
memory, not what is in the edit buffer.
Preset Memory and User Memory
The QuadraSynth Plus has two types of memory banks for Mixes and Programs:
Preset and User. The Preset banks, of which there are four, are stored in ROM
(Read Only Memory), and therefore cannot be altered. However, the User bank,
of which there is 1, is stored in RAM (Random Access Memory). Anytime you
want to keep an edited version of a Mix or Program, you will store it into the
User bank or onto a RAM Card. If you want to permanently change a Mix or
Program that is in the Preset bank, you can store the edited version into the User
bank (in either the same number location or a different number location).
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Overview: Chapter 4
However, this requires that you “store over,” losing whatever was previously in
that location. If you don’t want to lose any of the sounds in the User bank, you
should back-up the entire bank to either an external SRAM or FlashRAM
PCMCIA card, or (via MIDI System Exclusive) into a data storage device like the
Alesis DataDisk or a MIDI sequencer. See Chapter 9 for more information on
external storage operations.
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Overview: Chapter 4
Storing
The [STORE] button selects Store mode. Store mode has 6 pages which you can
scroll through by using the PAGE [♦] and [∅] buttons. Each page in Store mode
provides a different type of storage, copy or data transfer function. When storing
edited Mixes, or Programs into the User Bank or a RAM Card Bank, you will use
the first page of Store mode (for more information about the other pages of Store
mode, see Chapter 9). If you press [STORE] while in Mix Play Mode, the display
will look like this:
MIDI
1 2 3 4 5 6 7 8 9 10 1 1 12 13 14 15 16
CHAN
MIXMIX PROG
PRESET
EDITED
P AGE: 1 2 3 4 5 6
PRESET PRESET
Once you have edited a Mix, a Program, or an Effect, the word “EDITED” will
appear in the display. If this word appears next to the Mix Number, the Mix has
been edited; if it appears next to the Program Number, the Program has been
edited; if it appears next to the Effect Number, the Effect has been edited.
EFFECTEFFECT
Each edit mode type requires its own store operation. For example, if while
making a new Mix you also make changes within one of the Programs (such as
lowering the filter level), you must use the Store command separately (from Mix
Edit, and Program Edit or Effect Edit) in order to save your work. Note: When
using the Store command from Effect Edit Mode, the associated Program is
stored. This is because Effects are stored within their respective Programs.
If you select a different Mix while in Mix Edit mode, or a different Program in
Program Edit mode, you will lose all changes you have made, unless you
perform a store first.
J
You can only store Mixes, Programs, and Effects into their respective User banks. The
Preset banks are permanently stored in ROM and cannot be saved over.
Store a Program
¿ While in either Program Play Mode or Program Edit mode, after
making your edits press the [STORE] button.
¡ Select the memory Bank and location to which you want to store
the Program using Quad Knobs [1] and [2]. respectively.
If no RAM Card is inserted, you will only be able to select the User Bank.
J
Don’t use the DIRECT SELECT [1]—[0] buttons. Doing so will result in
recalling a different Program and you will lose your changes.
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Overview: Chapter 4
¬ Press [STORE] again to complete the operation.
Or, Press any other button to cancel out of the Store operation without storing.
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Copying Effects Between Programs
Follow the steps below to copy the Effects from one Program to another
Program in the User Bank.
¿ Press [PROGRAM] to select Program Play Mode.
¡ Use the VALUE [¬] and [] buttons to select the Program
Number that uses the Effects you want to copy. If necessary, use the
FUNCTION [♦] and [∅] buttons to select a different Bank.
¬ Press [STORE].
Press PAGE [∅] once to advance to Page 2.
The top right section of the display will read “COPY TO SOUND 1”.
ƒ Turn Quad Knob [1] clockwise until the display reads “COPY
FROM EFFECT”.
This selects the Effects of the currently selected Program as the source of what is
to be copied.
H Turn Quad Knob [2] to select the Program Number in the User
Bank you wish to copy the Effects to (000–127).
Press [STORE] to complete the copy function.
Store an Effect
If you have edited a Program’s Effect and would like to store it without
storing the changes you’ve made to the Program’s parameters, you can
use the Copy Effect function to store only the Effects edits to the
currently selected Program. When you recall this Program, it will have
the new Effects settings you saved it with, but will retain its previously
stored Program parameter settings.
Store a Mix
¿ While in either Mix Play Mode or Mix Edit mode, after making
your edits press the [STORE] button.
¡ Select the memory Bank and location to which you want to store
the Mix using Quad Knob [1] and [2]. respectively.
If no RAM Card is inserted, you will only be able to select the User Bank.
J
Do not use the DIRECT SELECT [1]—[0] buttons. Doing so will result in
recalling a different Mix and you will lose your changes.
¬ Press [STORE] again to complete the operation.
J
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Overview: Chapter 4
Storing a Mix only stores the Mix parameters, not the individual Programs or
Effect Patch used in the Mix. If you have edited any of the Programs in the Mix
or the Effects Patch, you must store them separately.
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Overview: Chapter 4
To Audition Programs Before Storing
To look for available memory locations to permanently store your
Program to, you can move between Program Mode and Mix Mode
without losing your changes. This is because Program Mode has a
Program edit buffer, and Mix Mode has its own Mix edit buffer along
with 16 Program edit buffers. These buffers are retained when moving
between Program Mode and Mix Mode, thus making it easy to search for
a suitable location to store your newly created Program. Example: While
in Program Edit mode, go to Mix Mode and scroll through the Program
list on one of the Channels; while editing a Program from Mix Mode, go
to Program Mode to scroll through the Program list.
The way to tell the difference between a program edited in Program
Mode and one edited from Mix Mode is simple: in Program Mode, the
MIX number does not appear in the display.
J
You will lose your changes if you remain in the same mode and recall a different
Mix/Program by pressing the MIX/PROGRAM SELECT [1]—[0] buttons.
To audition Programs before overwriting them with STORE
…when editing a Program in Program Mode:
¿ While in Program Edit mode, press [MIX].
This selects Mix Play Mode, retaining your edits to the Program in an edit
buffer.
¡ Using the BANK and DIRECT SELECT buttons, select Mix 99 in
Preset Bank 1.
¬ Press [SELECT] to enter Mix Edit Mode, and press both MIDI
[♦] and [∅] buttons simultaneously to select Channel 1.
Press the DIRECT SELECT [1] button (or both FUNCTION [♦]
and [∅] buttons simultaneously) so the words “PROGRAM – ASSIGN”
are underlined.
ƒ Turn Quad Knob [1] to the left so that the word “USER” appears
in the top part of the display, just before the Program name. If a RAM
card is inserted, use Quad Knob [1] to select a Card Bank.
H Turn Quad Knob [2] to scroll through the Programs until you
find one you wish to overwrite with the new edited Program. Take a
note of the number.
Press [PROGRAM] to enter Program Play Mode.
This recalls the edit buffer in Program Mode, which is your edited Program.
« Press [STORE].
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Overview: Chapter 4
The top right of the display will read “STORE PRG UsrXXX?” where XXX is
a User Program number from 000—127.
» Use Quad Knob [2] to enter the Program number you noted in
step 6. If necessary, use Quad Knob [1] to select a Card Bank.
… Press [STORE] again.
The Program is now stored.
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To audition Programs before overwriting them with STORE
…when editing a Program in Mix Edit Mode:
¿ While in Mix Program Edit mode, press [PROGRAM].
This selects Program Play Mode, retaining your edits to the Program in Mix
Edit.
¡ Press the BANK [♦] button until the word “USER” appears in
the top part of the display, just before the Program name. If a RAM card
is inserted, use the BANK buttons to select a Card Bank.
¬ Use the VALUE [] and [¬] buttons to scroll through the
Programs until you find one you wish to overwrite with the new edited
Program. Take note of the number.
Press [MIX].
This recalls the edit buffer in Mix Mode, which contains your edited Program.
ƒ Press [SELECT] twice, until “EDITING: PROGRAM” appears
under the MIX number in the display.
H Press [STORE].
The top line of the display will read “STORE PRG UsrXXX?” where XXX is a
User Program number from 000—127.
Use Quad Knob [2] to select the Program number you noted in
step 3. If necessary, use Quad Knob [1] to select a Card Bank.
« Press [STORE] again.
The Program is now stored.
At this point your edited Program is stored, however the Mix you were
auditioning before storing the Program still has the old Program number
assigned (if the edited Program was saved to a different Program
number location). Therefore, you need to re-select the new Program
number from within Mix Edit mode.
» Press [MIX], then [SELECT] to access Mix Edit mode.
… Use the MIDI [♦] and [∅] buttons to select the MIDI channel you
want, and use the VALUE [] and [¬] buttons or Quad Knob [2] to select
the Program number. If necessary, use Quad Knob [1] to select the Bank.
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Overview: Chapter 4
QuadraSynth Plus Piano Reference Manual 57
CHAPTER 5
EDITING MIXES
What is a Mix?
Mix Mode is one of the most powerful features of the QuadraSynth Plus. While
in Program Mode you can play only one Program at a time, in Mix Mode you can
play up to 16 Programs at once, either from the keyboard (as layers or splits) or
from an external sequencer (via 16 MIDI channels) or a combination of both.
With Mix Mode, you can do the following:
• Combine ("stack" or "layer") different Programs so they can be played
simultaneously from the keyboard. For example, stack a piano on top of a brass
patch and a string patch, adjusting the volume of each for a desirable mix. (Note
that the stacking of Programs in Mix Play Mode is in addition to any 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.
Editing Mixes: Chapter 5
• Transmit on several different MIDI channels simultaneously.
• 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 QuadraSynth Plus.
• Set the relative level, panning, and effect send of each MIDI channel.
Mix Edit Mode
To edit a Mix you must select Mix Edit mode. Press [SELECT] from Mix Play
Mode. "Editing: Mix" should appear in the edit status section of the display:
MIDI
1 2 3 4 5 6 7 8 9 10 1 1 12 13 14 15 16
CHAN
MIXMIX
PRESET
EDITING: MIX
PROGRAM – ASSIGN LEVEL EFFECT–LEVEL
PITCH RANGE EFFECT NAME
P AGE: 1
Note: This illustration shows a Mix with all 16 MIDI channels enabled. If a channel is
not enabled, its number will not show in the display unless the MIDI cursor is under the
number.
PROG EFFECT
PRESET PRESET
Editing a Mix begins with using the MIDI [♦] and [∅] buttons to select the MIDI
channel you want, and assigning a Program number for the channels you want
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Editing Mixes: Chapter 5
to use. Each channel may be enabled or disabled, without changing any of its
parameter settings. When a channel is disabled, its number will not appear in the
upper left display, except when it is selected for editing. You can set levels, effect
levels and bus assignments, pitch transposition, keyboard ranges (if making a
split or layer), and MIDI parameters for each individual channel. Each function is
selected using the FUNCTION [♦] and [∅] buttons and (if necessary) the PAGE
[♦] and [∅] buttons. A Mix also uses the Effect Patch associated with one of its 16
Programs.
Here is a simplified diagram of the signal path in Mix mode.
MIDI
Input
Keyboar d
Mode =
NORMAL
Pedals
Pedals
MIDI In
Keyboar d
Channel 1Channel 1
Channel 2
Channel 3
Channel 16
MIDI
Out
Pr ogram
Range
Sound 1
Sound 2
Sound 3
Sound 4
Pitch
Pan Output
Ef fects
Level
Sends
Ef fects
Buss
1—4
Ef fects
Pr ocessor
(r everb, delay,
chorus, etc.)
MIDI
Output
Main L
Aux L
Main R
Aux R
Understanding the Edit Buffers
In Mix mode, there are 16 Program edit buffers (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.
If in the course of making a Mix, you enter Program Edit mode (by pressing
[SELECT]) 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 in the User bank (in the same or
different Program number location) before selecting a different Mix, or your
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Editing Mixes: Chapter 5
changes will be lost. The same goes for editing the Effects, which will be stored
with its associated Program. If you select another Mix before storing, your
changes will be lost.
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Editing Mixes: Chapter 5
Program Assign for each MIDI Channel
The first function of Mix Edit is Program Assign.
Program Bank (User, Preset 1–4, Card)
This determines which Bank the selected Program is located in
for the selected MIDI channel. There are five Banks available in
the QuadraSynth Plus. If you insert a QuadraCard Sound Card,
you can have even more Banks.
Program Number (000 to 127)
This determines the Program Number (000—127) for the selected
MIDI channel.
Enable (On or Off)
This determines whether the Program on the selected channel is
enabled or disabled. When disabled, no sound will be generated
by the QuadraSynth Plus. The Channel number in the display
for a disabled channel will not appear except when selected for
editing.
J
Even if a channel is enabled here, it will not play unless the proper
settings in the RANGE function (MIDI IN and/or KEYBOARD
On/Off and LOW/HIGH) are made.
Level Setting for Each Program
The second function of Mix Edit is Level.
Level (00 to 99)
This sets the overall volume for a sound. Higher numbers give
higher levels.
Pan (<3 to 3>, or PG )
This determines the pan position of the selected channel. When
set to PG, the panning setting will be that of the Program
assigned to the selected channel. However, you can override this
setting by selecting a different value, thereby assigning the
channel’s panning between the left and right outputs of either
the MAIN or AUX outputs (depending on the Output
assignment--see below).
Output (MAIN, AUX, OFF, or PROG)
This determines the audio output assignment for the selected
channel. When set to PROG, the channel will use the Output
assignment of the Program. However, you can override this
assignment by setting this parameter to something different.
Selecting MAIN or AUX will assign the channel to the MAIN or
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Editing Mixes: Chapter 5
AUX audio outputs. When set to OFF, the channel will not be
sent to either set of outputs (but can still feed an effect bus).
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Pitch
The Pitch function lets you transpose a channel’s Program in either semitone or
octave increments. By using both parameters together, you have a total
transposition range of ±3 octaves.
Octave (-2 to +2 octaves)
This transposes the Program’s pitch in octave (12 semitone) steps
from -2 (transposed down 2 octaves) to +2 (transposed up two
octaves).
Semitone (-12 to +12 semitones)
This transposes the Program’s pitch in semitone steps, from -12
(transposed down one octave) to +12 (transposed up one octave).
Setting the Range and MIDI Switches
Each sound can be restricted to a specific range of the keyboard. This is ideal for
creating splits (e.g., bass in the lower octave and a half, piano in the middle three
octaves, and strings in the upper octave). When you start to setup a MIX, it may
be confusing if many of the channels have their Keyboard parameter turned off.
In order to hear anything on a particular channel, enable Keyboard control and
set the Range so that the low note and high note values are set beyond where you
want to play. Look at the MIDI MONITOR section of the display. A thick line
will appear above any active MIDI channels as you play notes or send notes to
the QuadraSynth Plus from a sequencer on those channels.
Range (Page 1)
Lower Limit (MIDI note 000 to 127/ C-2 to G8)
Specifies the lowest note of the sound’s keyboard range. You can
set the lower limit by holding Quad Switch [1] and tapping the
key on the keyboard you want to set as the lowest note in the
range.
High Limit (MIDI note 000 to 127/ C-2 to G8)
Specifies the highest note of the sound’s keyboard range. You
can set the high limit by holding Quad Switch [2] and tapping
the key on the keyboard you want to set as the highest note in
the range.
J
If the lower limit is set above the high limit, there will be no sound from
this program layer.
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Editing Mixes: Chapter 5
Range (Page 2)
MIDI In (On or Off)
This determines whether or not the selected channel will
respond to incoming MIDI messages.
MIDI Out (On or Off)
This determines whether or not the selected channel will
transmit MIDI messages.
Keyboard (On or Off)
This determines whether or not the selected channel will
respond to the keyboard, pitch-bend and mod wheels, foot
pedals and sustain pedal of the QuadraSynth Plus itself.
Range (Page 3)
The following four parameters determine whether or not specific types
of MIDI information will be received or transmitted, and are set
separately for each Channel in the Mix. These, however, are dependent
on how the individual Channels have their Range Page 2 parameters set
(described above).
Pitch-bend and Modulation Wheels (On or Off)
This determines whether or not the selected channel will
transmit and receive pitch-bend and modulation (controller 1)
MIDI information.
Aftertouch (On or Off)
This determines whether or not the selected channel will
transmit and receive aftertouch MIDI information.
Sustain Pedals (On or Off)
This determines whether or not the selected channel will
transmit and receive sustain pedal (controller 64) MIDI
information.
Controllers (On or Off)
This determines whether or not the selected channel will
transmit and receive MIDI controller information which the
Controllers A–D and Pedals 1 & 2 are assigned to (these are
assigned to MIDI controllers in Global Mode, Page 3 and 5).
Transmitting MIDI Volume and Panning
Each Channel in a Mix can transmit its volume and panning settings via
MIDI, if the “MIDI Prog Select” parameter is set to “On” (Global Edit
Mode, Page 6, Quad Knob [1]). Volume level is sent as MIDI controller
#7, and panning is sent as controller #10. If the “MIDI Prog Select”
parameter is set to “On:"
• whenever a Mix is recalled (via the front panel or via MIDI),
volume and panning information will be transmitted;
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Editing Mixes: Chapter 5
• whenever a Channel’s “Level” parameter is edited, volume
information will be transmitted as controller #7 on that Channel;
• whenever a Channel’s “Pan” parameter is edited, panning
information will be transmitted as controller #10 on that Channel (except
when set to “PRG”).
Note: Panning information will not be transmitted if the Channel’s “Pan“
parameter is set to PRG (using the selected Program’s stored Pan
setting).
Effects in Mix Play Mode
In Mix Play Mode, you can have only one Effect Patch active per Mix, which will
be the Effects Patch associated with one of the Programs used in the Mix.
However, the Mix’s Effect Patch still has 4 independent effect buses, and you can
set the effect send level and routing from each Program layer to the effects
processor.
The QuadraSynth Plus offers you a choice of what parameters to use for effects:
• The Effect Channel determines which one of the Programs in the Mix
you want to use the Effects Patch from. For example, if the Effect Channel is set
to 10, you will use whatever effect is used by the program on MIDI channel 10.
• The effect levels and bus assignments of the Program on each Channel
can be set directly by the Mix, or you can use the same levels and buses that were
stored in each Program.
Effect Level
The Effect function is where each channel may be given its own Effect
Level and Effect Bus assignment.
Effect Level (00 to 99, or PROG)
This determines the amount of signal from the selected channel
that will be sent to the effects, using one of the four effects buses
as determined by Quad Knob [2].
Effect Bus (1, 2, 3, 4, or PROG)
Quad Knob [2] determines which effect bus the selected channel
will be routed to. When set to PROG, the effect bus assignment
will be that stored by the channel’s Program. 1, 2, 3 or 4
overrides the Program’s bus assignment, sending all sound
layers of the Program to the chosen bus.
Effect
The Effect function is where you select what Effect Patch will be used by
the Mix, by linking the Effect to one of the Programs in the Mix.
FX Channel (1 to 16)
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The Effect Channel determines which channel’s Program’s Effect
Patch will be used for the entire Mix. In other words, when the
Effect Channel is set to 3, the Mix will use the Effect Patch used
by the Program assigned to channel 3.
FX MIDI (On or Off)
This determines whether the Effects settings will change along
with its Program, if a MIDI program change is received on the
Effect Channel. If on, and a MIDI program change is received, a
new Program will be recalled along with its associated Effect
Patch. This, however, can change the way the other Programs in
the Mix sound, since they all share the same Effects Patch. If you
want to recall Programs via MIDI program changes, but want to
continue using the same Effects Patch, leave this parameter
turned off.
If a program change is received on the Effects Channel and the
FX-MIDI parameter is off, the Program will change to the new
number (as determined by the program change number that was
received) and the Effects Patch will also change to a new
number. However, the previous Effects Program will be copied
into the Mix’s Effects buffer and the word “EDITED” will appear
next to the Effects Patch number. This indicates that, although
the Effects Patch number coincides with the Program number on
the Effects Channel, the Mix is still using the Effects Program
connected to the original Program on the Effects Channel that is
stored in the Mix. If you store the Mix, the newly selected
Program on the Effects Channel will be stored with it. The next
time this Mix is recalled the new Program on the Effects Channel
will be recalled along with its Effects (which will be different, in
most cases, from the Effects originally used with this Mix). If this
occurs, and you wish to keep the new Program in the Mix, you
could copy the Effects from the old Program into the new
Program (see the Store Mode section, later in this chapter). Or,
you could adjust the Effects Send level and Effects Bus
parameter for the remaining Channels so that their associated
Programs sound good with the new Effects. Or, you could
modify the new Program's Effects.
Naming a Mix
The Name function allows you to change the name of the Mix. The Mix name can
be up to 10 characters long. Use the PAGE [♦] and [∅] buttons to position the
cursor. Quad Knob [1] selects the character. Here is a chart of available
characters:
! " # $ % & ’ ( ) * + , - . / 0 1 2 3
4 5 6 7 8 9 : ; < = > ? @ A B C D E F G
H I J K L M N O P Q R S T U V W X Y Z [
¥ ] ^ _ ` a b c d e f g h i j k l m n o
p q r s t u v w x y z { | }
QuadraSynth Plus Piano Reference Manual 67
∅ ♦
Editing Mixes: Chapter 5
Polyphony in Mix Play Mode
The QuadraSynth Plus has 64-note polyphony. In Mix Play Mode, if you have all
16 MIDI channels assigned to the same keyboard range, and each channel's
Program has only one active Program Sound, you’ll have 4-note polyphony as
you play the keyboard (but a really thick layer...). This is extreme, of course, but
should tell you what you can expect when you really pile on the layers from the
keyboard.
Using the QuadraSynth Plus as a Master Keyboard
Mix Play Mode gives the QuadraSynth Plus the capabilities of a MIDI master
keyboard. You can layer the QuadraSynth Plus’s internal sounds with an
external synthesizer's sounds without using up internal polyphony by adjusting
the proper parameters in the Mix Edit mode.
Example: You can have 2 layers (or a split) played directly from the QuadraSynth
Plus, simultaneously playing on external synthesizers using a MIDI channel
which has its internal QuadraSynth Plus’s sound turned OFF.
Setting MIDI Out Channels for Mix in Global Mode
The QuadraSynth Plus offers a wide variety of ways to set the MIDI output. It is
very easy in Program Play Mode; you just use the MIDI [♦] and [∅] buttons to
set the MIDI OUT channel for the whole instrument. But when using the
QuadraSynth Plus in Mix Play Mode, you need to be able to transmit on several
MIDI channels at once, and to temporarily isolate certain channels within a Mix.
This is done with the Keyboard Mode function.
¿ From Mix mode, press [GLOBAL].
¡ Press PAGE [∅] to get to Page 2.
¬ Press Quad Button [4].
You will see "KBD MODE: " in the top right of the display.
Use the VALUE [¬] and [] buttons or Quad Knob [4] to set the
Keyboard Mode.
The options are: NORMAL, CH SOLO and OUT 1 — OUT 16.
NORMAL. In this mode, the MIDI channels sent out will correspond to
whatever layers or splits the Mix is set up for. For example, in the Preset Mix
bank, there are several Mixes in which the keyboard is split in two or more ways
from left to right; each of these “zones” is linked to a different set of channels. As
you play through each zone, it will send MIDI messages corresponding to that
key range and trigger the corresponding channels. Note that certain controllers
such as pitch bend and aftertouch will send on all channels at once. The MIDI
Monitor indicators in the display will show which channels are active.
CH SOLO. In this mode, the only sounds coming from the QuadraSynth Plus,
and the only MIDI Out messages, will come from the layer or range of the
underlined MIDI channel in the display. This allows you to isolate individual
channels in a Mix. So, if you play in a range of the keyboard that is active on
QuadraSynth Plus Piano Reference Manual 68
Editing Mixes: Chapter 5
MIDI CH 1, and 1 is underlined, you'll hear it. All other ranges or layers will not
respond to the keyboard (they will continue to respond to incoming MIDI
messages on their respective channels, however).
Use the MIDI [♦] and [∅] buttons to hear each channel in turn.
OUT 1 — OUT 16. The QuadraSynth Plus will generate MIDI messages from the
keyboard, regardless of the Range settings for that channel in the Mix, but it will
not play the internal sound. Use this mode if you're using a MIDI sequencer
with an ECHO feature--the sound will be activated by messages appearing at the
MIDI IN connector after it’s made the “round trip” through the sequencer. This
is the QuadraSynth Plus’s equivalent to LOCAL OFF.
QuadraSynth Plus Piano Reference Manual 69
CHAPTER 6
EDITING PROGRAMS
Overview
Synthesizer programming is the art and science of shaping sounds in a particular
way by altering the parameters of various modules. Like music itself, learning
synth programming is an ongoing process. Although this manual presents
information about synthesizer programming, no manual can offer a complete
course in programming (at least for a price that customers would be willing to
pay!).
If you’re new to synthesizer programming, the best way to learn is to adjust
different parameters as you play to discover how different parameter values
affect the sound. Also, become familiar with the signal and modulation flow
within the QuadraSynth Plus (as shown in the various block diagrams included
in this manual) so that you can understand the many ways in which you can
process a signal as it works its way from oscillator to output.
Editing Programs: Chapter 6
The “Normalized” Synth Voice
The first synthesizers were comprised of various hardware modules, some of
which generated signals, and some of which processed those signals. These were
designed to be general-purpose devices since nobody was quite sure how they
would be applied; some engineers used them as signal processors, while
keyboard players treated them as musical instruments. Therefore, patch cords
connected the inputs and outputs of the various signal generating and processing
modules (which is why particular synth sounds were called patches). Changing a
patch involved manually repositioning patch cords and adjusting knobs and
switches; recreating a patch required writing down all the patch settings on
paper so they could be duplicated later. Even then, due to the imprecision of
analog electronics, the patch might not sound exactly the same.
Over the years, certain combinations of modules seemed to work better than
others, and since patch cords were troublesome to deal with, eventually these
modules were wired together in a "normalized" configuration. Synthesizers such
as the MiniMoog, Prophet-5, and others eliminated the need for patch cords by
containing a normalized collection of sound modules (including oscillators, filter,
envelopes, LFOs, etc.).
The QuadraSynth Plus offers the best of both worlds. The most commonly-used,
normalized configurations are built-in to every program for ease of
programming. In addition, the QS Modulation Matrix gives back much of the
flexibility of a modular synthesizer, allowing you to map various modulation
sources to multiple destinations for special needs. If you’re a beginner, all of the
normalized pathways are easy to find; as you gain experience you can explore
more advanced features.
QuadraSynth Plus Piano Reference Manual 70
Editing Programs: Chapter 6
How the QuadraSynth Generates Sound
The QuadraSynth Plus uses custom integrated circuits, developed by the Alesis
engineering team specifically for the QuadraSynth Plus. These resemble the
types of chips used in computers and other digital devices. In fact, you can think
of the QuadraSynth Plus as a special-purpose computer designed to generate
and process audio. Although the user interface maintains the metaphor of
“modules,” in fact all sounds are simply a set of numbers reflecting how you’ve
programmed the various sound parameters. For example, when you change the
filter cutoff frequency, you’re not actually messing with a filter; you’re telling the
computer to simulate the effect of messing with a filter.
Each "module" is represented by parameters that appear on one or more display
pages. The Quad Knobs and Buttons change these parameters. All "patching" is
done via software, so the only patch cords you need are those that go to your
mixer or amplifier.
You can take a "snapshot" of the QuadraSynth Plus’s parameters and save this in
memory as a program. The QuadraSynth Plus comes with 512 factory preset
programs, and 128 user-editable programs.
Program Sound Layers
The simplest method of programming is to take one voice, process it through the
filter and amp sections, and (if desired) add some effect to it. However, more
elaborate Programs usually consist of 2 to 4 layers, with each layer making its
own distinct contribution to the sound, for example:
• An organ program with Program Sound 1 set to a sustained organ
waveform, and Program Sound 2 set to a percussion waveform with a fast decay.
• A piano program with one layer tuned normally, and a second layer
tuned an octave higher.
• A synthesizer program with one layer set to a sharp attack waveform, a
second layer set to an acoustic waveform, and a third layer with a slow-attack
string waveform.
This may remind you of Mix Play Mode, where playing the keyboard can sound
up to 16 different Programs at once. There are many similarities. In Mix Play
Mode, you can make the same kind of layered Mix as you can with the four
sounds of a Program. But there are differences:
Use Program Layers:
• If you want multiple sounds to respond to a single MIDI channel. For
example, if you need to play a layered synthesizer sound that was assembled in
Mix Play Mode instead of Program Play Mode, you must send 3 Note On
QuadraSynth Plus Piano Reference Manual 71
Editing Programs: Chapter 6
messages from your sequencer (one for each channel) for every note; a layered
program would need only one Note On message.
• When layers of a Program are designed to be used together, and the
individual layers by themselves wouldn't be used alone (for example, the
percussion layer of the organ sound).
Use Mix Play Mode:
• When you want to layer more than four voices. In Mix Play Mode, it is
possible (though not advisable) to stack all 64 voices onto a single key.
• When each sound is likely to be used by itself by other setups. For
example, if you are programming three different keyboard splits, each of which
uses the same left-hand bass patch, it makes sense to use Mix Play Mode.
• When you want different sounds to respond to different MIDI channels.
QuadraSynth Plus Signal Flow
The Four Sounds of a Program
Each Program is made up of at least one to four sounds. A sound is
made up of several components including a voice (the original sound
material) which passes through a low-pass filter and an amplifier. The
voice, filter and amp modules each have direct modifiers (Pitch LFO,
Filter LFO, Amp Envelope) which affect how each will function in the
Program. You can layer these sounds together, or divide them into
regions of the keyboard, or a combination of these things.
The following diagram illustrates the signal flow within each
QuadraSynth Plus Program.
QuadraSynth Plus Piano Reference Manual 72
Editing Programs: Chapter 6
Let’s look at each module’s function in detail.
Voice
This digitally-based oscillator provides the actual raw sounds from the
24 megabyte library of on-board samples. The oscillator's pitch can be
tuned to a fixed frequency or modulated. Modulation is the process of
varying a parameter dynamically over time; the oscillator pitch can be
modulated by envelope, keyboard, pressure, pedal, LFO, and other
control sources (described later).
Note that the waveforms in the QuadraSynth Plus are different from
those found in samplers or many sample-playback units. Because the
QuadraSynth Plus has its own filter module and amplitude module for
each voice, the pure waveforms are relatively bright--as bright as the
original instrument can be--and have a constant sustaining amplitude,
like an organ. So if you listen to a piano voice without setting the filter
or amp to the correct settings, it won't decay after it is hit, as you might
expect. This gives you the freedom to create the timbre and dynamics
you want, instead of being chained to the parameters of the original
sample.
Lowpass Filter
A lowpass filter varies a signal's harmonic content by progressively
increasing attenuation above a specified cutoff frequency. The higher
frequencies are filtered, while the lower frequencies are allowed to
“pass-thru.” When the cutoff frequency is set high, the sound becomes
brighter; when set low, the sound becomes bassier since fewer harmonics
are present.
QuadraSynth Plus Piano Reference Manual 73
Editing Programs: Chapter 6
Static (non-changing) filter settings can be useful, but varying the filter
cutoff dynamically over time often produces more interesting effects.
Modulating with velocity produces brighter sounds with louder
dynamics, which produces a more accurate acoustic instrument
simulation. Modulating with an envelope can create a pre-defined
change in harmonic structure, such as having a brighter attack and
bassier decay.
Amp
Each voice/filter combination is followed by an amplifier whose level
can be controlled by a variety of modulation sources. This allows for
creating sounds with percussive or slow attacks, particular types of
decays, tremolo, etc.
Filter and amp settings can interact. If the filter cutoff is extremely low,
then no signal will get through, no matter how the amp is set. Similarly,
setting the amp for a short decay won’t let you hear any filtering set for a
longer decay. This is because the volume will reach zero before the filter
decay finishes.
About Modulation
Modulation modifies some aspect of a sound over time. Since oscillators make
static sounds (unlike acoustic instruments, whose timbre and dynamics change—
often radically—over the duration of a note), modulation is the key to making
rich and expressive sounds. The vibrato of a flute, the expression pedal of an
organ, a wah-wah pedal on a guitar--all of these are examples of modulation.
You're probably familiar with the mod wheel of a synthesizer, that typically adds
vibrato to a Program as it is raised. But in synthesizer programming, modulation
is used to control even the basic characteristics of a voice: its attack, decay, and
release times, for example. Every box in the signal diagram on page 51 pointing
QuadraSynth Plus Piano Reference Manual 74
Editing Programs: Chapter 6
towards the Voice, Filter, or Amp boxes is a modulation source. The amount of
modulation, the time it takes place, and what controls (such as key velocity,
footpedals, aftertouch, mod wheel etc.) affect it are important parameters in
every Program. The QuadraSynth Plus provides the modulation flexibility of
patch cord-based instruments, but with the convenience and ease of use of digital
technology.
With some parameters, the modulation amount can be positive or negative. A
positive control signal increases the value of the parameter being controlled. A
negative control signal decreases the value of the parameter being controlled.
Setting modulation to 00 turns off the modulation source. Example: Keyboard
velocity can either make a sound brighter the harder you play, or make it less
bright, or have no effect on the filter at all. You have the freedom to set
modulation any way you want, even in ways that are the opposite of what they
would be on an acoustic instrument.
If a "baseline" setting exists for a parameter, modulation amounts add or subtract
values from the existing setting. However, modulation cannot force a value
beyond its maximum range. For example, if the amp is already at its minimum
value (lowest level), you could apply positive modulation to raise the level. But
applying negative modulation will not affect the amp level, since it's already at
its lowest value and cannot go any lower.
The QuadraSynth Plus lets you assign several modulation sources to one
modulation “target” parameter, which allows for interaction between two
modulation signals. Example: If the amp parameter responds to both the
envelope generator and a pedal, the parameter will follow the general envelope
shape but will also be influenced by the pedal.
QuadraSynth Plus Piano Reference Manual 75
Editing Programs: Chapter 6
LFO (Low Frequency Oscillator)
The pitch, filter, and amp modules each have a dedicated LFO module
for modulation. The term LFO stands for low frequency oscillator, and
comes from how modulation was created in the early synth days (an
oscillator set to a low frequency could modulate some aspect of the
sound; routing the LFO to the pitch, for example, would create vibrato).
The LFO creates a cyclic (periodic) modulation; this amount can be
constant and/or varied with a variety of modulation sources (mod wheel
is one of the most popular). Each LFO has a waveform shape and speed,
along with other controls.
Envelopes
Envelope generators provide a modulation signal that varies over time,
from the time you strike the key until after you let go. There are three
independent envelope generators (for pitch, filter, and amp) in each
Program Sound. An envelope generator has different effects on different
modules. Example: The Amp Envelope creates level changes. Amplitude
that decays over time creates percussive effects (plucked strings, drums,
etc.). Amplitude that increases over time gives the effect of brass,
woodwind, and some bowed instruments.
Each envelope generator has the standard attack, decay, sustain, and
release parameters found on most synthesizers, along with delay, sustain
decay, and different triggering options.
About Signal Processing
The QuadraSynth Plus features a signal processing section based on the Alesis
QuadraVerb 2. It is a complete digital signal processing unit with four input
buses, simultaneous multiple effects, and flexible signal routing.
QuadraSynth Plus Piano Reference Manual 76
Editing Programs: Chapter 6
Effects parameters are edited separately from either the Program or the Mix,
using Effects Edit Mode (more in Chapter 7). In Program Edit Mode, each of the
four sounds in the Program has its own Effect Level control and can be assigned
to any one of the four effect buses. Effects settings, Effect Level and Bus
information is saved with the Program when you store it back into memory.
Drum Mode
Any one or all of the four sounds in a Program can be put in Drum Mode. The
Drum Mode parameter is found in the Misc. Function (see last section of this
chapter). Note that Drum Mode isn’t the only way to hear drums or percussion
from a Program. In Standard mode, if you select a kit (such as “Rock Kit 1”) as
the voice of a Program sound, an entire arrangement of preset, pre-mapped
drum sounds will be assigned across the keyboard. If you select a single drum
(such as “Tympani”) as the voice, that single drum sound will sound across the
keyboard range, with a different pitch on each note (the original sample pitch
will appear on C3).
However, Drum Mode changes the nature of the ASSIGN VOICE function,
allowing you to make up your own drum kit from a selection of over 80 different
samples: 7 kicks, 8 snares, 4 hi-hats, 14 toms, 5 cymbals, 31 percussion, 17
percussion effects and 3 synth waves. Plus, there are 44 rhythm beats to choose
from (pre-sequenced drum grooves). You can map any of these samples to any
note on the keyboard that does not already have a drum assigned to it in that
layer. When a sound is in Drum Mode, you can assign 10 different drum sounds
to 10 different keys in that layer. If all four sounds in a Program are placed in
Drum Mode, you could assemble 40 drum sounds. In Drum mode, individual
drums cannot be “stretched” across a wide range of the keyboard -- each
occupies up to 4 keys.
Each of the 10 drum sounds has its own set of parameters in each of the functions
in the display (Pitch, Filter, Range, Effects Level, etc.). You can use Quad Knob
[4] in each Function page to select which one of the 10 drum sounds to edit.
Here is a block diagram of a sound in Drum Mode.
QuadraSynth Plus Piano Reference Manual 77
Editing Programs: Chapter 6
QuadraSynth Plus Piano Reference Manual 78
Editing Programs: Chapter 6
When Drum Mode is enabled, the sound will have fewer parameters for editing.
Consequently, not all Function labels will appear in the LCD display as when
Drum Mode is turned off. Specifically, the LFOs and all Envelopes (with the
exception of the Amp Envelope) are unavailable. In addition, the parameters in
most other functions will differ.
J
When using Edit 4 mode, sounds using Drum Mode will be unavailable for editing; only
sounds not in Drum Mode will be editable in the bargraph display. If a sound is in Drum
mode, the display will show “drmX,” whereby X is the sound number (1–4).
If you enable Drum Mode for a sound while in Edit 4 mode, the QuadraSynth
Plus will automatically switch to Edit 1 mode for that layer.
Program Edit Functions
Assign Voice
To edit a Program you must select Program Edit mode. Press [SELECT]
from Program Play Mode. "Editing: Program " will appear in the
display’s edit status section:
The Assign Voice function is the most fundamental part of Program
editing. It is where you choose the particular sample that forms the basis
of a sound. To avoid scrolling through long lists of samples (remember,
there are 24 megabytes of sounds in here!), sounds are divided into
groups. After selecting the group, you then select the sample within the
group.
Group (16 options)
Choose from among 16 different onboard sample groups (see
chart in next section).
Name
Selects one of the available samples by name from the selected
group, or OFF (no sample selected). Each group has a variety of
samples from which you can choose, although some groups
(such as waves) have more samples than others.
QuadraSynth Plus Piano Reference Manual 79
Editing Programs: Chapter 6
On the following page, you’ll find a chart listing the various
samples in their respective groups.
Group Voice
Piano GrandPiano, Dark Piano, No Hammer, Piano wave, BrtRhdsHrd, BrtRhdsSft,
BrtRhdsVel, MidRhdsHrd, MidRhdsSft, MidRhdsVel, Rhdes Hard, Rhdes Soft, Rhdes
Velo, DynaRhds 1, DynaRhds 2, FM Piano, Wurlser, AcousPiano, BritePiano,
PianoModul
Organ FullDrwbar, 3 Drawbars, Jazz Tone, Percus 2nd, Percus 3rd, Mellow, DrtyChurch, 60’s
Combo
Keybrd Clavinet, FMClav Hrd, FMClav Sft, FMClav Vel, Harpsicord, FM Harpsi, Marimba
Hd, Marimba Sf, Marimba V, FMMrmba Hd, FMMrmba Sf, FMMrmba V,
MrmbaWave, Vibraphone, VibesWave, Glock, FM Pluck H, FM Pluck S, FM Pluck V,
FMPlukWave
Synth SyncSweep1, SyncSweep2, SyncSweep3, SyncSweep4, SyncSweep5, SncSweepV1,
SncSweepV2, MicroWave1, MicroWave2, MicroWave3, MicroWave4, MicroWaveV,
FiltSweep1, FiltSweep2, FiltSweep3, FiltSweep4, FiltSweep5, FiltSweep6, FiltSweep7,
FltSweepV1, FltSweepV2, DigtlStik1, DigtlStik2, DigtlStik3, DigtlStikV, AnalogSqr1,
AnalogSqr2, AnalogSqr3, AnalogSqr4, AnalogSqrV, SyncLead 1, SyncLead 2,
SyncLead 3, SyncLead 4, SyncLead 5, SyncLead V,MicroPerc1, MicroPerc2,
MicroPerc3, MicroPercV, Perc Filt1, Perc Filt2, Perc FiltV, Analog Buzz1, AnalogBuzz2,
AnalogBuzz3, AnalogBuzz4, Analog Res, FM Bell, Whistle
Wave Pure Sine, 10% Pulse, 15% Pulse, 20% Pulse, 25% Pulse, 33% Pulse, 50% Pulse, Velo
Pulse, Mini Saw, Saw Fltr 1, Saw Fltr 2, Saw Fltr 3, Saw Fltr 4, Saw Fltr 5, Saw Fltr 6,
Saw Fltr 7, Velo Saw, MiniSquare, Sqr Fltr 1, Sqr Fltr 2, Sqr Fltr 3, Sqr Fltr 4, Sqr Fltr 5,
Sqr Fltr 6, Velo Sqr, Mini Peak, Mini Tri, Tri Fltr 1, Tri Fltr 2, Tri Fltr 3, Tri 4, Velo Tri,
Rectanglar, Rct Fltr 1, Rct Fltr 2, Rct Fltr 3, Rct Fltr 4, Rct Fltr 5, Rct Fltr 6, Rct Fltr 7,
Velo Rect, Mini Thin, Thn Fltr 1, Thn Fltr 2, Thn Fltr 3, Velo Thin, HardSync 1,
HardSync 2, HardSync 3, HardSync 4, HardSync 5, HardSync 6, HardSync 7, Velo
HSync, Additive 1, Additive 2, Additive 3, Additive 4, Additive 5, Digital 1, Digital 2,
Digital 3, Digital 4, Digital 5, Digital 6, Digital 7, Digital 8, Digital 9, Science 1, Science
2, Science 3, Science 4, Science 5, Science 6, Noise
Bass Brite Bass, StudioBass, Slap Bass, Velo Bass, Slap w/pop, Bass Pops, Fretless, Stik,
Acoustic, Fat Synth, SynAcoustc, FM Bass, FilterBass, Bass Wave1, Bass Wave2, Bass
Wave3
Guitar Nylon, Nylon Vel, Nylon Harm, Acoustic, AcoustcVel, AcoustHarm, 12Str Elec, 6 Str
Elec, 6 Str Velo, 6 Str Harm, Power Gtr, AcoustHrm2, NylonHrm2, 6 Str Hrm2
Brass Ensemble, "Pows", Trumpet, Mute Trmpt, TrmpySplit, Trombone, Mute FHorn, Soft
FHorn, Velo FHorn, Tuba Hard, Tuba Soft, Tuba Velo, Tuba Blats
Wdwind Bassoon, Oboe, Clarinet, Flute Vibr, Flute, Bari Sax, Tenor Hard, Tenor Brth, Tenor
Velo, Alto Sax, Soprano, Bari Combo, Sax Combo, FlutAtkVib
String SoloViolin, Solo Viola, Solo Cello, Violin Ptz, Cello Ptz, Bass Ptz, Harp, Elect Harp
Ensmbl Strings, AttkString, SynthStrng, TapeString
Ethnic Harmonia, FM Harmnca, EuroAccrdn, Elec Banjo, Asian Drum, Waterphone
Voice Choir Aahs, Choir Oohs, Voice EFX1, Voice EFX2, Voice EFX3, Aahs Wave, Oohs
Wave
SndFX Zap Attk 1, Zap Attk 2, Zap Attk 3, Mini Attk, Pop, Pop Attk, Bottle Hit, Metal Attk1,
Metal Attk2, SambaWhstl, Alert, Android, Cyborg, Meteor, Supernova
QuadraSynth Plus Piano Reference Manual 80
Editing Programs: Chapter 6
Drums Stndrd Kit, Rock Kit 1, Rock Kit 2, Dance Kit, Stab Kick, Deep Kick, Spike Kick, Flap
Kick, GarageKick, PillowKick, Elect Kick, Studio Snr, TurboSnare, PiccoloSnr, Crisp
Snr, Power Snr, Dance Snr, Rimshot, Side Stick, Power Tom, Mid Tom, Floor Tom,
Slam Tom, Cannon Tom, Closed Hat, Edge Hat, Open Hat, FootClosed, Cym Ride,
Cym Bell, Cym Crash, Cym China, Cym Splash, Analog Kit, Brush Kit, Tribal Kit
Percus Tympani, TbularBell, Orch Combo, Agogo, Bongo, Cabasa, Castanet, Clave, Conga
Hit, Conga Slap, Cowbell, FingerSnap, Guiro Long, GuiroShort, Hand Clap, Log
Drum, Maracas, Shaker, ShortWhstl, Tambourine, Timbale, Triangle, TriangleMt,
Vibrasmack, Wood Block
Rhythm PsiBeat 1, PsiBeat 2, PsiBeat 3, PsiBeat 4, PsiBeat 5, Kick Loop1, Kick Loop2, Kick
Loop3, Kick Loop4, Kick Loop5, SnareLoop1, SnareLoop2, SnareLoop3, Backbeat,
ClsdHHLoop, OpenHHLoop1, OpenHHLoop2, FootHHLoop, Ride Loop1, Ride
Loop2, Ride Loop3, Tick Talk, Swingset, Bongo Loop, BlockLoop1, BlockLoop2,
BlockLoop3, HiTriLpHd, HiTriLpSf, LoTriLpHd, LoTriLpSf, Tamb Loop1, Tamb
Loop2, ShakerLoop, ShuflShakr, PopperLoop, BottleLoop, Motor, MiniNoizLp,
HvyMetalLp, Machine Lp, Kah Loop, Bass Loop, SynBass Lp
QSPlus Piano L, Piano R, BritePno1L, BritePno1R, DarkPno1 L, DarkPno1 R, PnoKnock L,
PnoKnock R, Piano Trem, El.Piano1, El.Piano2, Drawbars, Perc.Organ, Pipe Organ,
Clavinet, Varimba, Fretless, BritePno2L, BritePno2R, DarkPno2 L, DarkPno2 R,
BritePno3L, BritePno3R, DarkPno3 L, DarkPno3 R, TapPiano L, TapPiano R,
El.Spinet1, El.Spinet2, Toy Pno L, Toy Pno R, KeyTrack1, KeyTrack2, Stretch L, Stretch
R, Analog Pad
Level
Each sound in a program can have its own level, pan position, and
output assignment. With up to four sounds per program, this allows for
a wide variety of stereo effects and level balances between the sounds.
Volume (00 to 99)
This sets the overall volume for a sound. Higher numbers give
higher levels.
Pan (<3 to 3>)
There are 7 available pan locations in the stereo (two-channel)
field: Far left (-3), mid left, near left, center (0), near right, mid
right, and far right (+3). The pan value is maintained, even if the
Output value is changed (see below).
Output (Main, Aux, or Off)
The Output parameter has three settings: Main, Aux, or Off. To
send the sound’s output to the Main outputs, select Main. To
send the sound’s output to the Aux outputs, select Aux. To turn
off the sound’s output, set this parameter to Off.
(Note, however, that the sound may still feed an Effect Send).
To send a sound to an individual output, use Output in
conjunction with Pan. Example: Panning a sound full left and
selecting the Aux outputs means that the sound will appear at
only the left Aux output.
Effect Level
The QuadraSynth Plus isn’t just a synthesizer; it also has a built-in effects
system and mixer, with four effect buses and sends. This section lets you
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feed the sound to one of the effect buses for processing. See Chapter 7 for
more information on editing Effects.
Level (00 to 99)
Determines how much of the sound feeds the chosen effect bus
(see below). Higher values mean that the sound will be more
effected.
Bus (1 to 4)
Selects which of the four buses the sound will feed, thereby
determining which effect(s) will process the sound. Each
Program has its own unique arrangement of effects. Example: In
Program #12, bus 1 may be a Chorus/Delay/Reverb, while in
Program #27, bus 1 may just be a Flanger.
Pitch
Pitch (Page 1)
Semitone (-24 to +24 semitones)
Sets the oscillator pitch in semitone steps, from -24 (transposed
down two octaves) to +24 (transposed up two octaves).
Detune (-99 to +99 cents)
Sets the oscillator pitch in cents, from -99 (transposed down
99/100 of a semitone) to +99 (transposed up 99/100 of a
semitone).
Detune Type (Normal or Equal)
With Normal selected, the percentage of detuning remains the
same over the entire range of the keyboard, so the effects of
detuning sound the same no matter which key you play. With
Equal selected, the absolute amount of detuning remains the same
over the entire keyboard, so any detuning seems less
pronounced as you play higher up on the keyboard.
Pitch (Page 2)
Pitch Wheel Range (0 to 12 semitones)
Determines the maximum amount of pitch bend when the pitch
bend wheel is either full forward or back. Example: When set to
12, the pitch wheel will bend ±1 octave (12 semitones).
Aftertouch Depth (-99 to +99)
At +00, aftertouch has no effect on pitch. Applying aftertouch
(by pressing harder on the keyboard, or via MIDI messages)
with this parameter set to a positive value raises the pitch;
conversely, applying aftertouch through a negative value lowers
the pitch. The higher the number (either positive or negative),
the greater the amount of pitch change for a given amount of
aftertouch.
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Tip: Aftertouch is useful for creating keyboard-controlled string
bend effects. Low settings are good for “humanizing”
synthesized sounds, since aftertouch changes can give very
slight pitch changes, as associated with acoustic instruments.
Pitch LFO Depth (-99 to +99)
At +00, the pitch LFO has no effect. Higher positive values
increase the amount of Pitch LFO modulation. Negative values
give the same apparent effect, but with reversed LFO phase (i.e.,
if the pitch would normally be increasing with depth set to a
positive number, the pitch would instead be decreasing at that
same moment had the depth been set to a negative number).
Pitch LFO parameters (such as speed and wave shape) are
programmed within the PLFO Function (see page 67).
Pitch Envelope Depth (-99 to +99)
At +00, the pitch envelope has no effect. Positive values raise the
pitch from the baseline according to the envelope shape, while
negative values similarly lower the pitch. The higher the number
(negative or positive), the greater the effect. Pitch Envelope
parameters (such as attack and decay time) are programmed
within the PENV Function (see page 71).
Pitch (Page 3)
About portamento: When you play a key and then a second key,
normally the sound jumps instantly from one pitch to another.
Portamento provides a sweeping glide from one note to another
over a variable amount of time. A good example of this type of
sound is a steel guitar, where a note slides from one pitch to
another.
Portamento (Exponential, Linear, 1 Speed)
This provides the sweep’s “curve.”
• With an exponential curve, the pitch change seems to
happen more rapidly at first, then slows down as it approaches
the ending pitch.
• A linear curve produces a constant pitch change
throughout the glide.
• Normally, the greater the interval (the pitch difference
between the two notes), the longer the glide. For example, a
glide between two notes a whole step apart would take much
less time than a glide between two notes an octave apart. The 1
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Speed curve maintains a constant glide rate regardless of the
pitch difference between notes.
Rate (0 to 99)
Sets the glide duration. Higher numbers give longer glide times.
The Rate value is affected by the Portamento value (see above).
Keyboard Mode (Mono, Poly, 1-Pitch or 1-PMono)
In Mono mode, you can play only one note at a time—just like
vintage monophonic synthesizers or wind instruments. Poly
mode allows you to play polyphonically. Note that portamento
behavior is more predictable in mono mode.
Tip: With a feedback guitar patch that uses one sound for the
guitar and one sound for the feedback, setting the feedback
sound to Mono Keyboard Mode insures that your feedback
“whistle” will be monophonic, which more accurately mimics
what happens when you play lead guitar.
Use 1-PITCH mode when you want a program sound layer to
play a single pitch polyphonically throughout the entire
keyboard range. In 1-PITCH mode, the QuadraSynth Plus will
play the sample used for note C3 for all notes in the range. 1PITCH mode is often used for layering a noise or drum sound
behind another sound that is pitched, for example, to fatten up a
bass guitar sound with a hint of kick drum, or to have the same
cymbal hit every time any note is played. Alternatively, 1PMONO mode is a monophonic version of 1-PITCH.
Sometimes when playing a monophonic instrument, you will not
want the envelopes to retrigger when playing legato, as this
would sound realistic. Imagine a flute-player beginning each
note in a phrase with a sharp, breathy attack. In reality, the
player would only attack the first note in the phrase this way.
Therefore, if the Keyboard Mode is set to “Mono”, the three
envelopes (PENV, FENV and FENV) will only retrigger when
playing legato if the envelope's Trigger Mode is set to either
“Reset” or “Reset-Freerun”.
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Filter
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Filter (Page 1)
Frequency (00 to 99)
This sets the filter's initial cutoff frequency. Lower values give a
duller sound since this removes more harmonics; higher values
let through more harmonics, which gives a brighter sound.
Tip: Signals with complex harmonic structures are most affected
by the filter. Examples: A sine wave has virtually no harmonics so
you will not hear any significant changes as long as the filter
cutoff is higher than the note pitch. If the filter cutoff is lower
than the note pitch, you will either not hear the note, or it will be
very soft. A harmonically-rich sample (such as brass or white
noise) will be greatly affected by the filter.
If the Filter Frequency is set to maximum, in most cases all other
variables in the Filter function will have no effect. Most other
filter functions raise the filter frequency, and it can't be greater
than 99. So if you want to use filter effects, proper setting of this
initial cutoff frequency is crucial. This is the "baseline" from
which all other filter parameters will raise or lower (open or
close) the filter.
If the Filter Frequency is set to 00, and no other parameters are
set to raise it dynamically, no sound will pass through the filter
at all--there will be silence. If the Amp settings are wide open
and you can't hear anything, check the Filter Frequency setting.
Since the waveforms in ROM are recorded at the brightest
possible setting, in many cases dynamic filtering is crucial to
making a program sound natural.
Keyboard Track (On or Off)
When off, the filter cutoff remains constant across the keyboard.
Higher notes will be more affected than lower notes, since the
filter cutoff is comparatively lower for higher notes than lower
ones.
When on, the filter frequency tracks the keyboard pitch.
Therefore, if using the filter creates a particular harmonic
structure when you play one key, playing a different key will
shift the filter frequency to maintain the same harmonic
structure.
Velocity (-99 to +99)
At +00, velocity has no effect on the filter cutoff. With positive
values, playing harder increases the filter cutoff. More positive
values drive the cutoff frequency higher for a given amount of
velocity. More negative values drive the cutoff frequency lower
for a given amount of velocity.
Tip: Many acoustic instruments, such as acoustic guitars, sound
brighter when you play them more forcefully. Adding a little
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positive velocity control over the filter can simulate more
realistic acoustic sounds.
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Filter (Page 2)
Modulation Wheel Depth (-99 to +99)
Determines how moving the modulation wheel affects the filter
cutoff frequency. Example: With positive settings, moving the
modulation wheel up raises the filter cutoff frequency and
moving it down lowers the filter cutoff frequency. With negative
settings, moving the modulation wheel up lowers the filter
cutoff frequency and moving it down raises the filter cutoff
frequency .
Aftertouch Depth (-99 to +99)
At +00, aftertouch has no effect on the filter cutoff frequency.
Applying aftertouch with this parameter set to a positive value
raises the filter cutoff frequency; conversely, applying aftertouch
with a negative value lowers the filter cutoff frequency. The
higher the number (either positive or negative), the greater the
effect for a given amount of aftertouch.
Tip: Many acoustic instruments sound brighter as you play them
more forcefully; in particular, brass gets brighter as you blow
harder. Using aftertouch to increase a sound’s brightness can
give more control and realism with acoustic instruments.
Filter LFO Depth (-99 to +99)
At +00, the filter LFO has no effect. Higher positive values
increase the amount of filter LFO modulation. Negative values
give the same apparent effect, but with reversed LFO phase (i.e.,
if the filter cutoff frequency would normally be increasing with
depth set to a positive number, the cutoff would instead be
decreasing at that same moment had the depth been set to a
negative number). Filter LFO parameters (such as speed and
wave shape) are programmed from within the FLFO Function
(see page 69).
Tip: Filter LFO is good for giving wah-wah effects at slower LFO
speeds, and for adding “shimmering” with higher LFO speeds.
Filter Envelope Depth (-99 to +99)
The Filter Envelope is one of the most important settings in
making a program. Many programs will use the Filter Envelope
to determine the tonal character of the sound over time (attack,
decay, sustain, and release). At +00, the filter envelope has no
effect. Positive values raise the filter from the baseline cutoff
frequency according to the envelope shape, and negative values
similarly lower the cutoff frequency. The higher the number
(negative or positive), the greater the effect. Filter Envelope
parameters (such as attack and decay time) are programmed
within the FENV Function (see page 74).
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Amp
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Velocity Curve (13 choices)
This selects how the sound will respond to the dynamics of your
playing the keyboard. A LINEAR curve is the norm, whereby
the increase in level is equal to the increase in velocity; the
velocity values increase as you play harder. Many of the Velocity
Curves make up sets to be used by 2, 3 or 4 sounds in order to
facilitate velocity crossfading, whereby a different sound is
played depending on how hard or soft the keyboard is played.
As explained earlier, many of the samples to choose from when
assigning voices are already velocity switching. These samples
usually have the word “Velo” or the letter “V” in their names,
indicating that there is actually more than one sample per note
which can be selected by how hard or soft each note is played.
However, the velocity point at which these sounds change is
fixed and cannot be altered. If you want to create your own
velocity crossfading Program, assign the single-sample versions
of the same samples (“BrtRhdsVel” is made up of “BrtRhdsHrd”
and “BrtRhdsSft”) to two or more sounds, then use the
appropriate velocity curves for each sound (in a three-way
velocity split, sound 1 would use curve “1 of 3,” sound 2 would
use curve “2 of 3” while sound 3 would use “3 of 3”).
Aftertouch Depth (-99 to +99)
At +00, aftertouch has no effect on the amplitude. Applying
aftertouch with this parameter set to a positive value raises the
amplitude; conversely, applying aftertouch with a negative
value will make the sound softer the harder you press. The
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higher the number (either positive or negative), the greater the
effect for a given amount of aftertouch.
Tip: Use aftertouch to “swell” the amplitude of brass and horn
parts.
Amplitude LFO Depth (-99 to +99)
At +00, the Amp LFO has no effect. Higher positive values
increase the amount of LFO modulation. Negative values give
the same apparent effect, but with reversed LFO phase (i.e., if the
amplitude would normally be increasing with depth set to a
positive number, the amplitude would instead be decreasing at
that same moment had the depth been set to a negative number).
Amplitude LFO parameters (such as speed and wave shape) are
programmed within the ALFO Function (see page 70).
Tip: Amplitude LFO set to a triangle wave gives tremolo effects.
Range
Each sound can be restricted to a specific range of the keyboard. This is
ideal for creating splits (e.g., bass in the lower octave and a half, piano in
the middle three octaves, and strings in the upper octave).
Lower Limit (MIDI note 000 to 127/ C-2 to G8)
Specifies the lowest note of the sound’s keyboard range. You can
set the lower limit by holding Quad Switch [1] and tapping the
key on the keyboard you want to set as the lowest note in the
range.
High Limit (MIDI note 000 to 127/ C-2 to G8)
Specifies the highest note of the sound’s keyboard range. You
can set the high limit by holding Quad Switch [2] and tapping
the key on the keyboard you want to set as the highest note in
the range.
Tip: By setting the lower limit above the high limit, you can
create a “hole in the middle” effect. This makes the sound
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appear to have two zones. All notes from the bottom of the
keyboard to the high limit note will play, and all notes from the
lower limit to the top of the keyboard will play, but the notes
between the high limit and the lower limit will not play. This can
be further enhanced in Mix Mode by using the Range function in
Mix Edit Mode to cap-off the lower and high limits.
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Sound Overlap (00 to 99)
This determines how many voices can overlap on the same pitch.
Example: If you hold the sustain pedal down and play the same
note over and over, Sound Overlap determines how many voices
are available for that note, and thus how many voices will
overlap (play simultaneously).
In the old days, different brands of synthesizers offered different
voice allocation schemes. One brand used a method called
“rotate mode” in which each time a note was struck, a new voice
was used. Another brand used a different method called
“reassign mode” whereby if a note is played and then played
again, the same voice is used both times. In other words, a new
voice is used each time a new note of a different pitch is played.
The Sound Overlap value lets you choose a comfortable setting
between rotate mode and reassign mode. When the value equals
99, you are always in rotate mode, using up polyphony; if the
value is 00, you are always in reassign mode, conserving voices.
Set the value anywhere between 00 and 99 and you will get a
combination of both, with partiality toward whichever mode the
value is closest to.
A piano sound requires some Sound Overlap, but not a lot; it
isn’t natural to hear too many voices on the same note. On the
other hand, having only one voice per pitch isn’t natural either;
let’s say you played a loud note with the sustain pedal held,
followed by a soft note--the second note would abruptly cut-off
the first. On a real piano, the string would still be resonating
from the first (loud) note when the second (soft) note was
played; thus the two notes would overlap.
Sound Overlap is especially useful in Drum Mode. In Drum
Mode, each drum sound is designated to one note (or sometimes
a group of notes). When playing one note for a drum sound,
such as a snare, and you attempt to play a roll, the Sound
Overlap controls how much of an overlap will exist between
each pair of notes. If the Sound Overlap value is set low, you are
more likely to hear old notes getting cut-off.
This function has added value when the Program’s Keyboard
Mode parameter is set to Mono, instead of Poly. When playing
monophonically, Sound Overlap controls the amount of overlap
between notes. Normally, even if the sound has a long release
time, playing a new note in Mono Mode will cut-off the previous
note. By adjusting the Sound Overlap value, you can still hear
the previous note fading away after the new note has been
played.
J
It is important to note that Sound Overlap can have a negative effect on
polyphony.
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If you have Sound Overlap set to 99, hold the sustain pedal and
play a series of notes, you will run through all 64 voices in no
time. By adjusting the Sound Overlap to a lower value, you
decrease the number of voices used by each new note, and
thereby ensure there are voices available to play other sounds, if
necessary.
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Mod
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About General Purpose Modulation
Although there are several dedicated modulators in the
QuadraSynth Plus (e.g., the pitch can always be modulated by
the pitch LFO and pitch envelope), sophisticated synthesizer
programming demands the ability to use as many modulation
sources as possible to modulate as many modulation
destinations as desired.
The QuadraSynth Plus arranges its modulation source outputs
and modulation destination inputs into a “matrix” so that any
selected source can connect to any of several destinations.
There are six general purpose matrix modulators, which allows
you to control up to six parameters with any of several control
sources.
Use the MOD functions to setup your own customized control of
a program, such as:
• Using one or both of the PEDAL inputs to control
volume, brightness (filter cutoff), effect level, LFO speed, etc.
• Using velocity to increase or decrease the attack speed of
an envelope, so playing softly makes the sound fade in, while
playing hard causes an immediate attack.
• Using release velocity to increase/decrease the release
time of an envelope, so quick releases of the keys cut off the end
of the sound, while slow key releases allow the sound to fade
away gradually.
The MOD functions give you the freedom to go beyond the
standard modulation sources built-in to other functions.
Selecting the Modulator (1 to 6)
Use the PAGE [♦] and PAGE [∅] buttons to select one of the six
modulators (modulator 1 is page 1, modulator 2 is page 2,
modulator 3 is page 3, etc.). All modulators work in the same
way, so only one will be described here.
Modulation Source
Quad Knob [1] selects one of several modulation sources:
• Note # provides a modulation signal that corresponds to
the note played on the keyboard (higher keys give higher
values). Example: Use this modulation source to obtain a
different sound in the upper and lower keyboard ranges.
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• Velocity relates to how fast a key goes from the key up
(note off) to the key down (note on) position, and therefore
represents the dynamics of your playing.
• Release velocity relates to how fast a key goes from the
key down (note on) to the key up (note off) position. Example:
Use this to affect the level of a sound’s release based on how fast
you remove your fingers from the keys.
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• Aftertouch Pressing on the keys after they’re down
generates this control signal. Aftertouch is also called channel
pressure, and represents an average of all keys being pressed.
This affects any keys that are held down. The harder you press
on the keys, the greater the degree of modulation.
• Polyphonic Pressure This is similar to aftertouch, but
each key can respond to individual pressure messages. Although
the QuadraSynth Plus keyboard does not generate poly
pressure, the sound generators can respond to poly pressure
signals entering via the MIDI In. Example: Assign poly pressure
to the sound’s amplitude in a string ensemble patch. You can
then increase the level of selected notes of a held chord to “pull”
some notes out of the chord.
• Pitch Wheel The two wheels to the left of the keyboard
are modulation sources (see below). The leftmost wheel, Pitch,
always controls the oscillator pitch but can be tied to other
parameters as well.
• Modulation Wheel The rightmost wheel, Modulation,
is traditionally assigned to LFO amount (level) so that rotating
the wheel away from you introduces vibrato. However it is also
well-suited to controlling timbre, vibrato speed, and many other
parameters.
• MIDI Volume MIDI can produce a variety of controller
messages (see the MIDI supplement in the back of this manual).
Of these, controller #7, which controls channel volume, is one of
the most frequently used. Example: Assign the filter cutoff as the
destination, and you can have the signal become less bright as it
becomes lower in volume.
• Sustain Pedal The sustain switch plugged into the
sustain pedal jack provides this modulation signal.
• Pedal 1 The pedal plugged into the Pedal 1 jack
provides this modulation signal. Typically, this may be mapped
to AENV Amp to act as a volume pedal.
• Pedal 2 The pedal plugged into the Pedal 2 jack
provides this modulation signal.
• Pitch LFO This is the same modulation signal provided
by the Pitch LFO. The Frequency LFO and Amplitude LFO can
also be selected as modulation sources.
• Pitch Envelope This is the same modulation signal
provided by the Pitch Envelope. The Frequency Envelope and
Amplitude Envelope can also be selected as modulation sources.
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• Random This provides a different modulation value
every time you hit a key. Example: With vintage analog synth
patches, use pitch as the destination and apply a very slight
amount of random modulation. Each note will have a slightly
different pitch, which simulates the natural tuning instability of
analog circuits.
• Trigrate This is a Trigger Rate Follower, which
monitors how fast notes are being played on the keyboard. For
example, if routed to the Effect send of a Program, you could
automatically have more effect when playing slowly, and less
effect when playing quickly.
• Controllers (A, B, C, D) Four incoming MIDI
controllers can be recognized by the QuadraSynth Plus and used
as modulation sources. These controllers are assigned as A–D in
Global Mode (see Chapter 8). In Program Play Mode and Mix
Play Mode, the four Quad Knobs can be used to control these
directly.
• Tracking Generator This accepts the output of a signal
processed by the Tracking Generator module (see page 81).
• Stepped Tracking Generator This accepts the output of
a signal processed by the Tracking Generator module in stepped
mode (see page 81).
Modulation Destination
Quad Knob [2] selects one of several modulation destinations.
You can find out more about these parameters and how they
affect the sound in their respective sections (for example, to learn
how Pitch Envelope Attack affects the sound, see page 72 on
Pitch Envelopes).
• Pitch • Filter Cutoff • Amplitude
• Effect Send • PLFO Speed • PLFO
Amp
• PLFO Delay • PENV Delay • PENV
Attack
• PENV Decay • PENV Sustain Decay •
PENV Release
• PENV Amp • FLFO Speed • FLFO
Amp
• FLFO Delay • FENV Delay • FENV
Attack
• FENV Decay • FENV Sustain Decay •
FENV Release
• FENV Amp • ALFO Speed • ALFO
Amp
• ALFO Delay • AEnvelope Delay•
AEnvelope Attack
• AEnvelope Decay• AEnvelope Sustain Decay •
AEnvelope Release
• AEnvelope Amp • Portamento Rate
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Modulation Level (-99 to +99)
At +00, the modulation source has no effect on the destination.
Higher positive values increase the amount of modulation.
Negative values also increase the amount of modulation, but
with negative phase (i.e., if the modulation would normally be
increasing with depth set to a positive number, the modulation
would instead be decreasing at that same moment had the depth
been set to a negative number).
Gate Mode (Off or On)
The Gate Mode function is available only on modulation
routings 1 through 4. When Gate Mode is on, the Modulator will
only be routed while notes are being played. In other words, you
can gate the effect of the Modulator so that it stops when you are
not playing any notes. This can be used on sounds with medium
to long release times, where an interesting effect (like tremolo) is
intended to be active while holding notes down, but deactivated
as the sound is fading away after being released.
Quantize Mode (Off or On)
The Quantize Mode function is only available in modulation
routings 5 and 6. When Quantize Mode is on, the modulation
effect will be stepped. When off, the effect will be smooth, or
linear. Example: If you were to route the Modulation Wheel to
Pitch with an amplitude of +99, moving the Mod Wheel while
the Quantize parameter was off would cause the pitch of a held
note to slide up, much the same way it does when the Pitch Bend
Wheel is used. However, moving the Mod Wheel while the
Quantize parameter was on would cause the pitch of a held note
to rise in half-step increments.
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Pitch LFO
Pitch LFO (Page 1)
Wave (8 choices)
Editing Programs: Chapter 6
The Pitch LFO is most often used to apply vibrato to a sound.
J
The following Pitch LFO variables will make a difference in the sound
only if the PITCH LFO DEPTH (on Page 2 of the PITCH function) is
set to a value other than 0, or, if the Pitch LFO is a source in the MOD
function.
The waveform determines the shape of the LFO. Use Quad Knob
[1] to select either Sine, Triangle, Square, Up Saw, Down Saw,
Random+-, Noise or Random+.
SINE TRIANGLE SQUARE UP SA W
DOWN SA W RANDOM+- NOISE RANDOM+
Speed (00 to 99)
Quad Knob [2] controls the speed or rate of the LFO. For fast
modulation, increase this value. For slower modulation, decrease
this value.
Delay (00 to 99)
This is the amount of time that is to occur before the LFO fades
in. Sometimes, it is desirable to have modulation come in a
moment or two after a note has been played, rather than starting
instantly. The higher the value, the slower the LFO fades in.
Trigger (Mono, Poly, Key Mono, or Key Poly)
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The Trigger parameter determines how the LFO should be
triggered, or started. There are four possible settings: Mono,
Poly, Key Mono and Key Poly. When playing multiple voices in
a single sound, each voice has its own LFO. However, the LFO
Trigger parameter determines whether or not they should be in
sync, and whether or not they can be retriggered independent
from one another.
Mono. All voices’ LFOs are in sync with each other. If you hold a
chord and then play new notes on top of the chord, all voices’
LFOs will be moving in the same direction and at the same
speed. Because of this, modulating the LFO Speed using a voicespecific source (such as velocity or one of the envelopes, for
example) will have no effect (you will be allowed to do this, but
you won’t hear any difference). This is because these modulation
sources are meant for polyphonic purposes. These include: Note
Number, Velocity, Release Velocity, PLFO, FLFO, ALFO, PENV,
FENV, AENV, Random, Trig Rate and Tracking Generator.
However, modulation sources which are not voice-specific will
still have an effect while the LFO Trigger is set to MONO. These
include: Aftertouch, Mod Wheel, Pitch Wheel, MIDI Volume,
Sustain Pedal, Pedal 1, Pedal 2, and Controllers A—D.
Poly. Each voice’s LFO is independent. If you hold a chord,
some voices’ LFOs will be moving in one direction while others
move in the other direction. If the LFO Speed is being modulated
(by one of the envelopes, for example), the LFO’s of each voice
may be running at different speeds.
Key Mono. This is identical to MONO, but whenever a new note
is played, the LFO is retriggered, instead of continuing from
wherever it may be in its cycle.
Key Poly. This is almost identical to POLY, but whenever a new
note is played, the LFO is retriggered, instead of continuing from
wherever it may be in its cycle.
Pitch LFO (Page 2)
Level (00 to 99)
This is the base output level of the Pitch LFO. If you want to
have a constant value of vibrato, even without using the Mod
Wheel or Aftertouch, set LEVEL above 00. The Mod Wheel and
Aftertouch will add or subtract from this base level. Example: If
Level is set to 10 and the Mod Wheel parameter is set to 10, there
will always be some vibrato, and raising the Mod Wheel will
add more vibrato. On the other hand, if the Mod Wheel
parameter is set to -10, raising the Mod Wheel to the top will
cancel out all vibrato.
Mod Wheel (-99 to 99)
This is the modulation amount of the Mod Wheel over the Pitch
LFO’s Level. A positive value raises the level when the Mod
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Wheel is moved up, and lowers the level when moved down.
Negative settings of this parameter will decrease the output level
of the PLFO as the Mod Wheel is raised. Since the output level of
the PLFO cannot be less than zero, a negative setting of the Mod
Wheel parameter will have no effect unless either the Aftertouch
or the Level is set to raise the PLFO output. If both the Level and
Aftertouch are set to 00, and the Mod Wheel parameter is set to 99, the Mod Wheel will have no effect on the vibrato from the
PLFO.
Aftertouch (-99 to 99)
This is the modulation amount of Aftertouch over the Pitch
LFO’s Level. A positive value raises the level as more Aftertouch
is applied. A negative value will lower the amount of PLFO level
as more Aftertouch is applied.
QuadraSynth Plus Piano Reference Manual 100
Filter LFO
Filter LFO (Page 1)
Wave (8 choices)
Editing Programs: Chapter 6
The Filter LFO is most often used to apply tremolo-like or "wahwah" effects to a sound.
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The following Filter LFO variables will affect the sound only if the
FILTER LFO DEPTH (on Page 2 of the FILTER function) is set to a
value other than 0 , or, if Filter LFO is a source in the MOD function.
Also note that the Filter LFO may have no effect if some other
modulation source or setting has already pushed the filter cutoff
frequency to its maximum.
The waveform determines the shape of the LFO. Use Quad Knob
[1] to select either Sine, Triangle, Square, Up Sawtooth, Down
Sawtooth, Random+-, Noise or Random+. For a graphic
representation of these waveforms, see the diagram in the Wave
section of the PLFO description on page 67.
Speed (00 to 99)
Quad Knob [2] controls the speed or rate of the LFO. For fast
modulation, increase this value. For slower modulation, decrease
this value.
Delay (00 to 99)
This is the amount of time that is to occur before the LFO fades
in. Sometimes, it is desirable to have modulation come in a
moment or two after a note has been played, rather than starting
instantly. The higher the value, the slower the LFO fades in.
Trigger (Mono, Poly, Key Mono, or Key Poly)
The Trigger parameter determines how the LFO should be
triggered, or started. There are four possible settings: Mono,
Poly, Key Mono and Key Poly. A description of these settings is
found in the Trigger section of the PLFO description on page 67.
Filter LFO (Page 2)
Level (00 to 99)
This is the base output level of the Filter LFO. If you want to
have a constant value of tremolo to the filter, even without using
the Mod Wheel or Aftertouch, set LEVEL above 00. The Mod
Wheel and Aftertouch will add or subtract from this base level.
Example: If Level is set to 10 and the Mod Wheel parameter is set
to 10, there will always be some filter tremolo, and raising the
Mod Wheel will add more tremolo. On the other hand, if the
Mod Wheel parameter is set to -10, raising the Mod Wheel to the
top will cancel out all tremolo.
QuadraSynth Plus Piano Reference Manual 101
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