Alesis QUADRAVERBGT User Manual
ALESIS
QuadraVerb GT
Reference Manual
sCHAPTER 1 Ð GETTING STARTED ...............................................1
1.1 INTRODUCTION ......................................................................................1
What It Is ...............................................................................................1
Features..................................................................................................2
1.2 SYSTEM HOOKUP BASICS.....................................................................2
AC Transformer Hookup...................................................................3
1.3 AUDIO HOOKUPS ....................................................................................3
Mono In, Mono Out............................................................................3
Mono In, Stereo Out............................................................................4
Stereo In, Stereo Out ...........................................................................4
Mono Send, Mono Return Effects Loop .........................................5
Mono Send, Stereo Return Effects Loop.........................................5
Stereo Send, Stereo Return Effects Loop.........................................6
Interfacing with Mixer Stereo Effects Sends...................................7
1.4 FOOTSWITCH HOOKUP.........................................................................7
1.5 EXTERNAL EFFECTS HOOKUP ............................................................8
1.6 SETTING LEVELS......................................................................................9
1.7 CHECK OUT THE FACTORY PROGRAMS.........................................9
Selecting Programs ..............................................................................10
1.8 MIDI HOOKUP...........................................................................................10
MIDI Program Selection .....................................................................11
MIDI Controller Pedal Hookup ........................................................12
MIDI Thru/Out Hookup....................................................................13
1.9 ROCK OUT!.................................................................................................13
CHAPTER 2 Ð QuadraVerb GT MODULES AND CONFIGURATIONS 14
2.1 ABOUT THE QUADRAVERB GT's EFFECTS ....................................14
Preamp ...................................................................................................14
Reverb....................................................................................................14
Delay .......................................................................................................15
Pitch Change .........................................................................................15
Equalization ..........................................................................................16
Panning and Tremolo.........................................................................18
Ring Modulation .................................................................................18
Tunable Resonators.............................................................................18
Sampling................................................................................................18
Mixer.......................................................................................................18
Modulation...........................................................................................19
ÒBi-TimbralÓ Effects.............................................................................19
2.2 ABOUT CONFIGURATIONS.................................................................20
#1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb 21
#2 Preamp > Lezlie > Delay > Reverb.............................................22
#4 Preamp > 5 Band EQ > Tremolo/Panning >............................23
#5 Preamp > 3 Band EQ > Reverb....................................................24
#6 Preamp > Ring Modulator > Delay > Reverb..........................25
#7 Preamp > Resonators > Delay > Reverb ...................................25
#8 Preamp > Sampling ......................................................................26
CHAPTER 3 - BASIC EDITING TECHNIQUES .................................27
3.1 HOW EDITING WORKS .........................................................................27
3.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS 29
3.3 SAVING (STORING) EDITED PROGRAMS .......................................29
3.4 RENAMING PROGRAMS ......................................................................30
3.5 RECALLING INDIVIDUAL FACTORY PROGRAMS.......................31
3.6 RECALLING ALL FACTORY PROGRAMS.........................................31
CHAPTER 4 Ð EDITING CONFIGURATION PARAMETERS.............32
4.1 SELECTING A CONFIGURATION .......................................................32
4.2 SELECTING A CONFIGURATION MODULE FOR EDITING.........33
4.3 EDITING PREAMP PARAMETERS ......................................................33
Compression.........................................................................................33
Overdrive ..............................................................................................33
Distortion...............................................................................................34
Preamp Tone.........................................................................................34
Bass Boost ..............................................................................................35
Cabinet Simulator................................................................................35
Effect Loop .............................................................................................35
Noise Gate .............................................................................................36
Preamp Out Level................................................................................36
4.4 EDITING REVERB PARAMETERS.......................................................37
Reverb Type (configs 1, 2, 5, 6, 7).......................................................37
Reverb Input 1 (configs 1, 2, 6, 7) ......................................................37
Reverb Input (config 5).......................................................................38
Reverb Input 2 (configs 1, 2, 6, 7) ......................................................38
Reverb Input Mix (configs 1, 2, 6, 7).................................................38
Reverb Predelay (configs 1, 2, 5, 6, 7)................................................39
Reverb Predelay Mix (configs 1, 2, 5, 6, 7)........................................39
Reverb Decay (configs 1, 2, 5, 6, 7).....................................................40
Reverb Diffusion Amount (configs 1, 2, 5, 6, 7).............................40
Reverb Density (configs 1, 2, 5, 6, 7)..................................................41
Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7)........................41
Reverb High Frequency Decay (configs 1, 2, 5, 6, 7).......................42
Reverb Gate Status (configs 1, 2, 5, 6, 7)...........................................42
Reverb Gate Hold Time (configs 1, 2, 5, 6, 7)..................................42
Reverb Gate Release Time (configs 1, 2, 5, 6, 7) .............................43
Reverb Gated Level (configs 1, 2, 5, 6, 7)..........................................43
4.5 EDITING DELAY PARAMETERS..........................................................43
Delay Type (configs 1, 2, 3, 4, 6, 7)......................................................43
Delay Input 1 (configs 1, 4, 6, 7) .........................................................44
Delay Input (config 3)..........................................................................44
Delay Input Mix (configs 1, 2, 4, 6, 7)................................................45
Delay Time (configs 1, 2, 3, 4, 6, 7).....................................................45
Delay Feedback (configs 1, 2, 3, 4, 6, 7)..............................................46
Right Delay Time (configs 1, 2, 3, 4, 6, 7) .........................................46
Delay Feedback Right (configs 1, 2, 3, 4, 6, 7)...................................46
Multi Tap Number (config 4 only)...................................................47
Multi Tap Delay Time (config 4 only) .............................................47
Multi Tap Volume (config 4 only)...................................................47
Multi Tap Panning (config 4 only)...................................................48
Multi Tap Feedback (config 4 only)..................................................48
Multi Tap Master Feedback (config 4 only) ....................................48
4.6 EDITING PITCH PARAMETERS ...........................................................49
Pitch Mode (configs 1, 4).....................................................................49
Pitch Input (configs 1, 4) .....................................................................50
LFO Waveshape (Chorus only) ........................................................50
LFO Speed (Chorus and Flange only)..............................................50
LFO Depth (Chorus and Flange only)..............................................50
Pitch Feedback (Chorus and Flange only).......................................51
Trigger Flange (Flange only)..............................................................51
Pitch Detune (Detune only)...............................................................51
Phaser Speed (Phaser only)................................................................52
Phaser Depth (Phaser only)................................................................52
Lezlie Stereo Separation (config 2 only)..........................................52
Lezlie Motor Control (config 2 only) ...............................................52
Lezlie Speed (config 2 only) ...............................................................53
Ring Modulator Spectrum Shift (config 6 only) ...........................53
Ring Modulator Output Mix (config 6 only)..................................53
Ring Modulator Delay/Reverb Input (config 6 only) ..................54
Reverb Chorus Mode (config 5 only)...............................................54
4.7 A WORD ABOUT EQ, RESONATORS, AND GUITAR TONE ......55
Resonators, EQ, and Tone..................................................................55
Programmable Tone Curves .............................................................56
4.8 EDITING 3-BAND EQ AND RESONATOR PARAMETERS (config 1) 56
EQ Preset ................................................................................................56
EQ Mode.................................................................................................57
Resonator Tune (Resonators + EQ mode only) ............................57
Resonator Decay (Resonators + EQ mode only)............................57
Resonator Amplitude (Resonators + EQ mode only)..................58
Low EQ Frequency (3 Band EQ mode only)....................................58
Low EQ Amplitude (3 Band EQ mode only)..................................58
Mid EQ Frequency................................................................................59
Mid EQ Bandwidth..............................................................................59
Mid EQ Amplitude..............................................................................59
High EQ Frequency (3 Band EQ mode only) ..................................60
High EQ Amplitude (3 Band EQ mode only).................................60
4.9 EDITING LEZLIE EQ PARAMETERS (config 2)..................................61
High Rotor Level .................................................................................61
4.10 EDITING 11-BAND GRAPHIC EQ PARAMETERS (config 3) .......61
EQ Preset ................................................................................................61
Graphic Frequencies and Levels.......................................................62
4.11 EDITING 5-BAND EQ AND RESONATOR PARAMETERS (config 4)63
EQ Preset ................................................................................................63
EQ Mode.................................................................................................64
Low EQ Frequency ...............................................................................64
Low EQ Amplitude..............................................................................64
Low Mid EQ Frequency (5 Band EQ mode only)...........................64
Low Mid EQ Bandwidth (5 Band EQ mode only) .........................65
Low Mid EQ Amplitude (5 Band EQ mode only) .........................65
Mid EQ Frequency................................................................................65
Mid EQ Bandwidth..............................................................................66
Mid EQ Amplitude..............................................................................66
Hi Mid EQ Frequency (5 Band EQ mode only) ..............................66
Hi Mid EQ Bandwidth (5 Band EQ mode only).............................67
Hi Mid EQ Amplitude (5 Band EQ mode only).............................67
High EQ Frequency..............................................................................67
High EQ Amplitude ............................................................................68
Resonator Number (5 Resonator/3 EQ mode only).....................68
Resonator Tune (5 Resonator/3 EQ mode only)...........................68
Resonator Decay (5 Resonator/3 EQ mode only)..........................69
Resonator Amplitude (5 Resonator/3 EQ mode only)................69
4.12 EDITING 3-BAND EQ (config 5)...........................................................69
EQ Preset ................................................................................................69
Low EQ Frequency ...............................................................................70
Low EQ Amplitude..............................................................................70
Mid EQ Frequency................................................................................71
Mid EQ Bandwidth..............................................................................71
Mid EQ Amplitude..............................................................................71
High EQ Frequency..............................................................................72
High EQ Amplitude ............................................................................72
4.13 EDITING 5 BAND RESONATOR ........................................................72
Resonator Gate Mode (config 7 only) ..............................................72
Resonator Decay (config 7 only)........................................................73
Resonator Tune (config 7 only) ........................................................73
4.14 EDITING MIX PARAMETERS..............................................................73
Direct Signal Level...............................................................................74
Master Effects Level.............................................................................74
Preamp Signal.......................................................................................74
Preamp Level (appears only with Pre-EQ preamp signal) ..........75
EQ Level (appears only with Post-EQ preamp signals)................75
Pitch Output Level...............................................................................75
Delay Output Level..............................................................................75
Reverb Output Level...........................................................................76
Modulation...........................................................................................76
Modulation Depth...............................................................................76
Modulation Speed ...............................................................................76
4.15 EDITING MIX PARAMETERS..............................................................77
Direct Signal Level...............................................................................77
Master Effects Level.............................................................................77
Lezlie Output Level.............................................................................77
Delay Output Level..............................................................................78
Reverb Output Level...........................................................................78
4.16 EDITING MIX PARAMETERS..............................................................78
Direct Signal Level...............................................................................78
Master Effects Level.............................................................................79
EQ Output Level...................................................................................79
Delay Output Level..............................................................................79
4.17 EDITING MIX PARAMETERS..............................................................80
Direct Signal Level...............................................................................80
Master Effects Level.............................................................................80
Preamp Signal.......................................................................................80
Preamp Level (appears only with Pre-EQ preamp signal) ..........81
EQ Output Level (appears only with Post-EQ preamp signals)..81
Pitch Output Level (appears only with Post-EQ direct signals)..81
Delay Output Level..............................................................................82
Modulation...........................................................................................82
Modulation Depth...............................................................................82
Modulation Speed ...............................................................................82
4.18 EDITING MIX PARAMETERS..............................................................83
Direct Signal Level (appears only with Pre-EQ direct signals) ...83
Master Effects Level.............................................................................83
Preamp Signal.......................................................................................83
Preamp Level (appears only with Pre-EQ preamp signal) ..........84
EQ Output Level (appears only with Post-EQ preamp signals)..84
Reverb Output Level...........................................................................84
4.19 EDITING MIX PARAMETERS..............................................................85
Direct Signal Level...............................................................................85
Master Effects Level.............................................................................85
Preamp Level........................................................................................85
Ring Modulator Output Level..........................................................86
Delay Output Level..............................................................................86
Reverb Output Level...........................................................................86
4.20 EDITING MIX PARAMETERS..............................................................87
Direct Signal Level...............................................................................87
Master Effects Level.............................................................................87
Preamp Signal Level ...........................................................................87
Resonator Output Level.....................................................................88
Delay Output Level..............................................................................88
Reverb Output Level...........................................................................88
CHAPTER 5 Ð SAMPLING ...............................................................89
5.1 SELECTING THE SAMPLING CONFIGURATION...........................89
5.2 RECORDING A SAMPLE.........................................................................89
Recording By Audio Trigger..............................................................90
Recording from the Front Panel.......................................................90
Playing Back a Sample ........................................................................91
Front Panel Playback ...........................................................................92
Audio Trigger Playback.......................................................................92
MIDI Playback .......................................................................................93
Select MIDI Trigger Mode ..................................................................93
Select the MIDI Trigger Note.............................................................94
Adjusting the Sample Playback Length ..........................................95
Adjusting the Sample Mix Parameters...........................................96
CHAPTER 6 Ð THE MIDI BUTTON..................................................97
6.1 SELECT MIDI MODE.................................................................................97
6.2 PROGRAM CHANGE ENABLE.............................................................98
6.3 EDIT THE PROGRAM CHANGE TABLE.............................................99
6.4 MIDI THRU/OUT SELECTION..............................................................100
6.5 SYSTEM EXCLUSIVE DATA ENABLE.................................................100
6.6 SEND PROGRAM DATA (SYS EX) OVER MIDI................................100
6.7 PROGRAM ADVANCE FOOTSWITCH RANGE..............................103
CHAPTER 7 Ð MIDI MODULATION (NAME/MOD BUTTON) ..........104
7.1 ABOUT MOD SOURCES AND TARGETS ..........................................104
7.2 PROGRAMMING MOD SOURCES AND TARGETS........................105
7.3 TARGET PARAMETER LISTING..........................................................107
Configuration 1 Target Parameters..................................................107
Configuration 2 Target Parameters..................................................108
Configuration 3 Target Parameters..................................................109
Configuration 4 Target Parameters..................................................109
Configuration 5 Target Parameters..................................................110
Configuration 6 Target Parameters..................................................111
Configuration 7 Target Parameters..................................................111
7.4 PARAMETER DEFAULT VALUE CHART .........................................113
CHAPTER 8 Ð MIDI SUPPLEMENT .................................................116
8.1 MIDI BASICS .............................................................................................116
8.2 MIDI HARDWARE..................................................................................116
8.3 MIDI MESSAGE BASICS.........................................................................117
8.4 CHANNEL MESSAGES ..........................................................................117
8.4A Voice Messages...........................................................................117
8.4B Mode Messages ...........................................................................119
8.5 SYSTEM COMMON MESSAGES..........................................................120
8.6 BOOKS ON MIDI ......................................................................................121
8.7 VIDEOS ON MIDI.....................................................................................121
CHAPTER 1 Ð GETTING STARTED
1.1 INTRODUCTION
What It Is
The Alesis QuadraVerb GT is a stereo effects unit that is ideal for guitar.
It combines analog and digital electronics to provide the best of both
worlds. Analog effects include:
¥Compression
¥Distortion
¥ Flat/Presence/Brightness Control
¥ Bass Boost
¥ Speaker Cabinet Simulator (ideal for use with headphones or
recording direct; can be bypassed when feeding a guitar amp)
¥ Noise Gate
¥ Programmable Effects Loop for inserting other effects (can also
provide a signal send from the analog outputs, and receive a return
signal into the digital processor)
The digital effects are the same ones that have made the QuadraVerb
Plus a favorite in studios and live equipment racks world-wide:
¥Reverb
¥ Delay (stereo or mono)
¥ Pitch Change (chorus, flange, detune, phaser, etc.)
¥ Equalization (graphic or parametric)
¥Panning and Tremolo
¥Ring Modulation
¥ Tunable Resonators (a very resonant filtering effect)
¥ Sampling (up to 1.5 seconds of sound can be captured and replayed)
The order of the analog effects are preset in their optimum positions; the
routing of the digital effects is flexible and programmable. All effects
parameters are editable. 100 edited programs can be saved in memory,
and called up by front panel switches or MIDI program change
commands.
The QuadraVerb GT is also MIDI controllable. Settings need not be
staticÑyou can control them in real time with Continuous Controller
foot pedals, or with sequencers or keyboards.
1
Features
¥ 20 Hz to 20 kHz frequency response
¥ Up to 11 simultaneous effects (6 analog, 5 digital) and programmable
¥ Backlit, descriptive 32 character LCD display
¥ Touch sensitive programming buttons for quick editingÑpress
¥ Stores up to 100 programs
¥ Comprehensive MIDI implementation
¥ Real-time parameter control via MIDI controllers
¥ Easy editing of all parameters
¥ All functions, parameters, and volume levels fully programmable
¥ Stereo in and out
¥ Flexible effects routing and mixing
¥ Several types of reverbs, including: Plate, Room,
¥ Several types of delay, including: Ping Pong Delay,
¥ Several types of Pitch Shift, including: Mono
¥ Three types of Digital EQ, including: 3 band
¥ Any or all Alesis presets can be recalled from ROM
effects loop
harder to scroll faster through the display
Chamber, Hall, and Reverse
Mono Delay, Stereo Delay, and Multitap delay
Chorus, Stereo Chorus, Mono Flange, Stereo Flange,
Pitch Detune, and Phase Shifter
Parametric, 5 band Parametric, and 11 band Graphic
at any time
1.2 SYSTEM HOOKUP BASICS
The QuadraVerb GT is designed for mono or stereo guitar, bass,
Chapman Stick, etc. but is also right at home in the studio for processing
vocals, drums, pianos, synthesizers (try the rotating speaker sound!), tape
tracks, and other instruments.
The QuadraVerb GT can insert between your guitar and subsequent
effects units or amplification systems. This lets you use the amp's
overdrive options to further color the QuadraVerb GT's sound. Or, patch
the QuadraVerb GT into an ampÕs effects loop. This lets the QuadraVerb
GT process the amp's internal sound, and in some cases, lets you use the
amplifier's preamp section as an alternate to the QuadraVerb GT's
internal preamp.
Following are some typical hookups, followed by information on proper
2
level-setting. All inputs and outputs are unbalanced lines.
Turn your amplifier volume all the way down when patching the
QuadraVerb GT into your system!
AC Transformer Hookup
Plug the QuadraVerb GT's AC adapter into the wall. The smaller plug
inserts into the 9 VAC power jack on the QuadraVerb GT's rear panel.
To prolong the AC adapter's life, unplug it from AC power when not in
use (turning off the QuadraVerb GT's power switch does not disconnect
the AC adapter from AC power). It's good practice to plug all your ACpowered devices into a switched power strip, so that turning off the strip
turns off power to all your gear.
1.3 AUDIO HOOKUPS
The QuadraVerb GT can interface with a variety of guitar systems and
recording studio setups.
Mono In, Mono Out
From
guitar
Right Input Right Output
Application Mono guitar feeding a mono amp, PA, or mixer.
Hookup Patch the guitar into the right input and feed the right output
to your amplifier (Using the left input and output will also work, but for
the sake of consistency and simplicity, we'll just refer to the right input
and output).
to mono amp,
PA, or mixer
3
Mono In, Stereo Out
From
guitar
to stereo amp,
PA, or mixer
Application Mono guitar feeding a stereo amp, PA, or mixer.
Hookup Patch the guitar into the right input and feed the right and left
outputs to your amplifier.
Stereo In, Stereo Out
From
guitar
Left
Input
Right
Input
Right
Input
Left
Output
Left
Output
Right
Output
to stereo amp,
PA, or mixer
Right
Output
Application Stereo guitar feeding a stereo amp, PA, or mixer.
Hookup Patch the guitar into the right and left inputs and feed the right
and left outputs to your amplifier.
4
Mono Send, Mono Return Effects Loop
from effects
loop send
Right Input Right Output
Application Patching into a guitar amp with a mono effects loop. Do not
confuse this with the QuadraVerb GTÕs internal effects loop; the loop in
an amplifier is specifically designed for the insertion of signal processors
such as the QuadraVerb GT.
Hookup Patch the effects loop send into the right QuadraVerb GT input
and feed QuadraVerb GT's right output to the effects loop return.
Mono Send, Stereo Return Effects Loop
From effects
loop send
to effects
loop return
to effects loop
stereo returns
Right
Input
Left
Output
Right
Output
Application Patching into a guitar amp with a mono send and stereo
return effects loop. Do not confuse this with the QuadraVerb GTÕs
internal effects loop; the loop in an amplifier is specifically designed for
the insertion of signal processors such as the QuadraVerb GT.
Hookup Patch the effects loop send into the right QuadraVerb GT input
and patch the QuadraVerb GT's right and left outputs to the effects loop
stereo return.
5
Stereo Send, Stereo Return Effects Loop
From effects
loop sends
to effects
loop returns
Left
Input
Right
Input
Left
Output
Right
Output
Application Patching into a guitar amp with a stereo send and stereo
return effects loop. Do not confuse this with the QuadraVerb GTÕs
internal effects loop; the loop in an amplifier is specifically designed for
the insertion of signal processors such as the QuadraVerb GT.
Hookup Patch the effects loop sends into the right and left QuadraVerb
GT inputs, and patch the QuadraVerb GT's right and left outputs to the
effects loop stereo return.
6
Interfacing with Mixer Stereo Effects Sends
From mixer
sends
Left
Input
Right
Input
Application Patching into a mixer's stereo effects sends for use as a
reverb or other processor while recording.
Hookup Patch the mixer's auxiliary bus (or effects bus) sends into the
right and left QuadraVerb GT inputs, and patch the QuadraVerb GT's
right and left outputs to the mixer's stereo returns or if not available,
two standard mixer channel inputs.
1.4 FOOTSWITCH HOOKUP
There are two footswitch jacks on the rear panel that accept standard,
normally open, momentary contact footswitches.
Left
Output
to mixer
returns
Right
Output
A footswitch plugged into the Bypass jack duplicates the BYPASS button
function. Press on the footswitch to toggle between bypass and active
modes. When bypassed, the LED in the middle of the BYPASS button
will be lit.
A footswitch plugged into the Advance jack increments (or decrements)
7
the program number by one with each footswitch press. You can set an
upper and lower program number limit, as described in section 5.7.
1.5 EXTERNAL EFFECTS HOOKUP
The QuadraVerb GT offers an effects loop where you can patch in effects
other than the ones included in the unit (you might want to insert, for
example, a wah-wah pedal or vintage fuzz). The effect can be bypassed or
enabled for each patch.
Patch the Effects Loop Send jack to the effect input, and the Effects Loop
Receive jack to the effect output. Also note that the Send jack provides a
post-analog effects, pre-digital effects send suitable for driving guitar
amps or a studio console; the Receive jack lets you plug directly into the
digital effects and bypass the analog effects. The effects loop can therefore
split the QuadraVerb GT into two separate effects, as described in section
2.1.
It is important to note that turning off the effects loop does not turn off
the effects send. Selecting In or Out on the Effects Loop page will only
enable or disable the Effects Loop Return jack. Also, the effects loop will
be bypassed if there are no jacks inserted, regardless of whether the
Effects Loop page is set to On or Off.
8
1.6 SETTING LEVELS
After hooking up your cables, set the proper levels. Start off with your
amplifier turned down to a low volume to prevent any ear-shattering
surprises as you learn about the QuadraVerb GT. After you know what
you're doing, increase the level to normal monitoring levels.
1. Press the BYPASS button (its red LED will light) so that you hear only
the straight guitar sound.
2. Play your instrument and observe the 4-step LED meter toward the
left of the QuadraVerb GT.
3. Adjust the Input control so that the -6 dB LED lights consistently but
the Clip (red) LED lights rarely, if ever. The red LED indicates that
distortion is either about to occur or is actually occurring.
4. Adjust the output control for a comfortable monitoring level. Make
sure the output is turned up high enough to provide the amplifier,
mixer, or subsequent processor with sufficient level, but not turned
up so high that it overloads the unit it is feeding.
5. Press the BYPASS button again so that you can hear the effect of the
different QuadraVerb GT programs. BYPASS can be used at any time
to toggle between processed and straight sounds.
1.7 CHECK OUT THE FACTORY PROGRAMS
The QuadraVerb GT contains 90 programs that put your guitar through
serious sonic gyrations. Initially, these programs contain factory presets.
However, they can be edited or replaced with your own programs. You
can also recall the original factory sound associated with a program
location at any time, even if that location has been modified or erased,
because the parameters for these programs are stored in ROM
(permanent memory).
Assuming you've hooked up your guitar as described in the previous
section, it's time to audition the QuadraVerb GT programs and see what
this baby can do.
9
Selecting Programs
1. Press the PROGRAM (PROG) button. The LED in the middle of the
button will light.
2. There are three ways to select programs:
¥ MIDI program changes. See next section.
¥ Press either VALUE button to scroll through the available programs
(VALUE UP increases the program number, VALUE DOWN
decreases the program number). The harder you press the VALUE
button, the faster the Program numbers will scroll. Stop on a
program, and it will be selected.
¥ Key in a particular two-digit program number. Note that the module
buttons (REVERB, DELAY, PITCH, etc.) also have numbers printed in
gray. These can be used for entering numbers as long as the
PROGRAM button is held down.
Example: To enter program 56, press the PROGRAM button and
while it is being held down, press the 5 (MIDI) and 6 (CONFIG)
buttons. The display will show 56, and that program will be selected.
If you release the PROGRAM button before entering the two digit
program number, the program number will revert to what it was
before you pressed the PROGRAM button.
The number you enter must be a two-digit number, so enter a
Òleading zeroÓ if necessary. Example: To enter program 9, enter 09.
1.8 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 if you are not familiar with how MIDI works.
The most popular MIDI applications are hooking up a MIDI footswitch
to change programs, and/or a MIDI continuous controller pedal to vary
QuadraVerb GT parameters in real time, as you play. The following
sections describe how this process works.
10
MIDI Program Selection
MIDI In
Footswitch
MIDI Out
The QuadraVerb GT responds to MIDI program change commands.
Therefore, sending a particular program number via MIDI to the
QuadraVerb GT will call up the program you specified.
If a device can generate program change commands, patching its MIDI
Out to the QuadraVerb GT's MIDI In allows for remote program
selection.
Several devices can generate program change commands:
¥ MIDI footswitch This is probably the option that most guitarists will
use. A MIDI footswitch sends program changes in response to
footswitch presses. Many companies make MIDI footswitches; their
manuals explain how to program the footswitch to send out
particular program changes.
¥ MIDI sequencer A sequencer can record and play back MIDI data,
including program change commands.
¥ Synthesizer Selecting a new program on a synthesizer usually sends
out a corresponding program change command. This allows any
signal processor hooked up to the synth to change its settings in
response to different synth programs.
¥ Other effects boxes If you use more than one effects box, calling up a
program on it will often send a corresponding program change
through its MIDI Out.
NOTE: Your QuadraVerb GT and the MIDI footswitch must both be set to
the same MIDI channel to execute program changes.
11
MIDI Controller Pedal Hookup
MIDI In
Footswitch
Controller Pedal
MIDI In
Footswitch
Controller Pedal
MIDI
Several QuadraVerb GT parameters can be changed remotely over MIDI.
Usually this is done with a footpedal that generates MIDI continuous
controller data. There are 128 controllers, most of which are available for
remote parameter control (some of the higher-numbered controllers are
used to set up synthesizer modes and other things we donÕt need to
worry about).
The basic idea is to set the parameter to be controlled to a particular
controller number. Then set the pedal to the same controller number. As
you vary the pedal, it will generate data that will change the QuadraVerb
GT parameter. For example, assigning a foot pedal to delay feedback
would allow you to kick in a slapback delay at the end of a phrase.
The MIDI controller pedal may be part of your footswitch unit, a separate
stand-alone device, or a combination standard volume pedal and
converter (e.g., Anatek Pocket Pedal). Synthesizers and other devices
also generate MIDI continuous controller data.
If you want to feed the QuadraVerb GT with both a footswitch for
program change control and a pedal for real time control, either the
footswitch or pedal will need a merging input, or you will need a MIDI
merger.
Merger
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MIDI Thru/Out Hookup
MIDI In
Footswitch
MIDI Out
MIDI Thru/Out
MIDI In
The MIDI Thru/Out jack can have its function changed via software (see
section 5.4). When MIDI Thru is turned on, this jack carries a duplicate
of the MIDI data appearing at the MIDI In jack. In addition to the Thru
function, the Thru/Out jack can then feed the MIDI In of other MIDIcontrolled unit, thus distributing the MIDI signal to two different units.
In addition to the Thru function, data generated by the QuadraVerb GT
can be sent to other MIDI units. This is more of a feature for advanced
MIDI users and is described in sections 5.5 and 5.6 on QuadraVerb GT
System Exclusive options (for more information on System Exclusive
information, see the MIDI supplement). Generally, the data generated
from the QuadraVerb GT is used for one of two purposes:
¥ Transfer program data directly from one QuadraVerb GT to another.
¥ Send program data to a such as the Alesis DataDisk or other MIDI
storage device in order to back up the data inside the QuadraVerb GT.
1.9 ROCK OUT!
Play for a while and get a feel for how the QuadraVerb GT sounds. The
factory programs give a good idea of what the QuadraVerb GT can do,
and can also be modified later on if you want to customize the factory
programs to your own specifications.
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CHAPTER 2 Ð QUADRAVERB GT MODULES
AND CONFIGURATIONS
Many guitarists will find that the 90 factory presets take care of most, if
not all, of their musical needs. However, the QuadraVerb GT is a very
flexible device and comes into its own when edited to your own specific
needs.
To do this, it is necessary to understand the QuadraVerb GT's effects and
configurations, which is what this chapter is all about. The next chapter
covers how to edit those effects and configurations.
2.1 ABOUT THE QUADRAVERB GT's EFFECTS
The QuadraVerb GT has 11 main effects sections (including the mixer)
and the ability to alter (modulate) some of the effects parameters in real
time. Each effect modifies your signal in a particular way. A particular
combination of the 11 effects is called a configuration, as explained in
section 2.2.
Preamp
The Preamp section includes effects found in standard rack preamps,
such as compression, overdrive, distortion, flat/bright/presence switch,
bass boost, cabinet simulator, and noise gate.
This section is followed by a programmable effects loop that lets you
insert your favorite classic wah-wah, phase shifter, etc.; you can enable or
bypass the effect as part of a program. This loop can also be used to split
the QuadraVerb GT into two separate effects (see the last part of this
section on ÒBi-TimbralÓ Effects).
Reverb
Reverb is made up of a large number of distinct echoes, called reflections.
In a natural acoustic space, each reflection's amplitude and brightness
decays over time. This decaying action is influenced by the room size, the
location of the sound source in the room, the hardness of the walls, and
other factors.
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Delay
There are five main reverb types, as described later. Furthermore, any
reverb type can be gated, which is the process of abruptly cutting off the
reverbÕs decay for a more ÒchoppyÓ sound.
Delay provides a discrete repetition of a signal. By adding feedback
within the effect, the delayed signal can repeat many times, with each
successive decay softer than its predecessor. The QuadraVerb GT offers
four types of delay:
¥ Ping-Pong Delay In stereo, the delayed signal bounces back and forth
between channels, with the speed determined by the delay time
parameter. Maximum delay is 375 milliseconds in QuadMode, 400ms
in the Lezlie and Ring Modulation configurations, 750 ms in the
Graphic > Delay configuration, 705ms in the 5 Band EQ > Pitch >
Delay configuration, and 320ms in the Resonator configuration.
¥ Stereo Delay This has two individual delays, one for each channel.
Setting them to different delay times allows for polyrhythmic delays.
Maximum delay specs are the same as for ping-pong delay.
¥ Mono Delay Because this is a single delay line, it has twice the
maximum delay time of the stereo delay (up to 1500 ms).
¥ Multitap Delay Available only in the 5 BAND EQ > PITCH > DELAY
configuration, this delay includes 8 taps with variable delay time,
volume, panning, and feedback amount for each tap. The total delay
time of all eight delays cannot exceed 1470 ms.
Pitch Change
This module alters the pitch of a signal in various ways to produce
ÒanimatedÓ timbres that are more complex than the original signal. The
various pitch change options are:
¥ Chorus This combines a delayed (typically 10-25 ms), detuned
version of the original signal with the straight signal. Modulating the
delayed version creates phase, amplitude, and time differences that
sound like two instruments playing together. Mono and stereo
functions are available; stereo modulates two delayed signals instead
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of just one.
¥ Flanging Flanging is similar to chorusing, but modulates the delayed
signal over a much shorter delay range (typically 0-12 ms). This
produces a Òjet airplaneÓ-like sound. Mono and stereo flanging is
available, and the flange modulation sweep can be triggered in order
to sync up with the rhythm of your playing.
¥ Detune Shifts the pitch by a fixed amount. This creates a thickening
effect similar to the difference between a 12-string and 6-string guitar.
¥ Phase Shifter This effect is similar to flanging, but covers a narrower
delay range and has a more diffused timbral quality.
¥ Lezlie Speaker Simulator With the Lezlie configuration selected, the
pitch change module becomes a rotating speaker simulator. Rotating
speakers, which involved mechanically rotating one or two speakers
to produce complex timbral changes, were extremely popular during
the 1960s.
Equalization
Equalization provides control over the tone of your signal by altering the
frequency response in various ways. The QuadraVerb GT's three
different types of EQ are:
¥ 3 Band Parametric This combines high and low frequency shelving
equalizers (like the tone controls found on stereo systems and guitar
amps) along with a sweepable midrange parametric stage (see Ó5 Band
Parametric,Ó next) that has variable boost or cut, frequency, and
bandwidth (resonance, or ÒbiteÓ). This works well for dialing in
rhythm guitar sounds.
The high and low shelving bands offer two parameters, amplitude
and frequency. Amplitude sets the amount of boost or cut; frequency
sets the frequency at which the maximum boost or cut occurs. This
boost continues for frequencies higher than the high frequency and
lower than the low frequency.
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The middle band is parametric and offers amplitude, frequency, and
bandwidth parameters as described next.
¥ 5 Band Parametric This is identical to the 3 Band Parametric but
offers two additional sweepable midrange stages with variable boost
or cut, frequency, and bandwidth. The following diagram shows the
relationship between three parameters.
The complex response of the 5 band parametric lets you compensate
for dead spots on a guitar's neck, or set up a very specific frequency
response.
¥ 11 Band Graphic The graphic equalizer can boost or cut any of 11
different bands (16 Hz, 32 Hz, 62 Hz, 126 Hz, 250 Hz, 500 Hz, 1 kHz, 2
kHz, 4 kHz, 8 kHz, and 16 kHz.
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Panning and Tremolo
Panning shifts the signal back and forth between the stereo outputs at a
cyclical, adjustable rate. Tremolo provides a ÒpulsingÓ sound via cyclical
level changes. Both have ÒdepthÓ parameters; with panning this varies
the width of the pan in the stereo field, with tremolo this sets the
difference between volume peaks and valleys.
Ring Modulation
Ring modulation shifts a signal's harmonics up and/or down by an
adjustable frequency (expressed in Hertz). The QuadraVerb GTÕs ring
modulator features individual outputs for the up and down signals. The
resulting sound takes on a Òclangorous,Ó bell-like quality that is used
mostly with percussive effects. Try this on a drum machine, or muted
guitar parts.
Tunable Resonators
A resonator is a filter whose response is so sharp that it actually imparts
a pitch to any signal going through it. In the Resonator configuration,
there are up to five resonators, depending on the configuration, so you
can tune the resonators to complex chord types. You can also transpose
the resonator frequencies via MIDI notes to match a particular chord
progression.
Sampling
Sampling is the process of digitally recording a signal into the
QuadraVerb GT's memory, which can then be triggered via an external
audio input (e.g., a snare drum sound coming from a tape track), a front
panel button, or a MIDI note. Different MIDI notes will transpose the
sample. Sampling is useful if you want to capture a particular effect or
chord change, then play over it. Try it in the studio for drum sound
replacement, reproducing unusual vocal effects, etc.
Mixer
The multiple effects are all placed in parallel. Each effectÕs output feeds a
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mixer, and is variable so that you can change the balance of that
particular effect with respect to the overall sound.
The effect input can come from the main input if you only want the
effect to process the dry sound, but in many configurations, the effect can
get its input from the output of other effects, or from a combination of
processed and dry sounds.
Modulation
As mentioned earlier, many QuadraVerb GT parameters can be changed
in real time via pedals that generate continuous controller commands,
or from commands issued by a sequencer or synthesizer. Continuous
controller pedals are available from a variety of manufacturers at
various price points. These generate signals that are ÒtaggedÓ with a
particular controller identification number. If you set a QuadraVerb GT
parameter to be controlled by this particular controller number, moving
the pedal will change the QuadraVerb GT parameter.
Modulation consists of choosing up to 8 ÒtargetÓ parameters to be
modulated by any one of several types of MIDI ÒsourceÓ data types (pitch
bend, aftertouch, note number, and note velocity as well as continuous
controllers). Several parameters can be changed by one controller, so
that, for example, moving a pedal could increase chorus depth and boost
the midrange frequencies.
ÒBi-TimbralÓ Effects
The QuadraVerb GT can serve as two separate effects units by proper
patching to and from the effects loop. For example, consider a situation
where a guitarist plays guitar and sings. Plug the guitar into the
QuadraVerb input; the effects loop send provides the post-analog effects
signal, which can be routed to a guitar amp. Meanwhile, the voice mic
can be externally preamplified and sent into the effects loop return. This
allows the vocal to be processed by the digital chorus, reverb,
equalization, etc. sections. The QuadraVerb GT output, which now
carries only the processed vocal sound, can be routed to a PA for further
amplification.
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Right Output
to PA
Effects Return
From guitar
Effects Send
from Microphone
to Amplifier
Right Input
2.2 ABOUT CONFIGURATIONS
No matter which program you select, the analog effects are always in the
same order. However, the digital effects can be connected together in one
of eight different ways, each of which is called a configuration. A
configuration doesn't just include a specific collection of effects, but also
the way in which they interconnect (e.g., whether the delay signal is
derived from an equalized or non-equalized signal). This allows for a
great deal more flexibility than you would expect from a fixed
configuration of effects.
This flexibility allows for some great sounds, but also requires a bit of
experimentation to learn the subtleties of each configuration and how
these subtleties affect the sound. It's probably easiest to start off by
ÒtweakingÓ the factory presets to learn what the different parameters do,
then graduate to creating programs from scratch.
These configuration descriptions use block diagrams to indicate signal
flow. Keep the following in mind:
¥ Think of the connecting lines as Òpatch cordsÓ between different
Òeffects boxesÓ (the individual modules).
¥ Switches are enclosed in rectangular boxes with rounded corners.
¥ The knobs act as volume controls if two wires hook into the knob, or
mix (ÒpanÓ) between two signals (incoming wires) and provides an
output (outgoing wire) if three wires hook into the knob.
¥ Heavy lines indicate a stereo path. Note that most effects output a
stereo signal, but accept a summed, mono signal at the input.
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#1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb
EQ
PITCH
DELAY
PANNING
TREMOLO
REVERB
Pitch
Delay
Delay
Reverb
x
EQ
Pitch
Delay
Reverb
Reverb
Reverb
Effects
INPUT
OUTPUT
Configuration 1
Mono
Stereo
Direct Output
Pre-Amp Signal
PREAMP
Preamp
Pre/Post EQ
Input
Output
Input 1
&
Input Mix
Output
Output
Input 1
Input 2
Input Mi
Output
Output
QuadModeª is a complex configuration that offers comprehensive
switching and mixing possibilities. ItÕs excellent for creating larger-thanlife, animated sounds.
The Pitch module can switch its input between the preamp or EQ signals.
The Delay moduleÕs Delay Input Mix control chooses a blend between
the output of the Pitch module, or the preamp or EQ signal (as selected
by the Delay Input 1 switch).
The Reverb moduleÕs Reverb Input Mix control chooses a blend between
two input options. Reverb Input 1 switches between preamp, EQ, preDelay, or post-Pitch signals; Reverb Input 2 switches between the postDelay or post-Pitch signal.
Panning and Tremolo are available in this configuration, and are in
series with the preamp or EQ signal line. The Preamp Signal Pre/Post EQ
switch chooses whether the Preamp Output comes from preamp or EQ.
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#2 Preamp > Lezlie > Delay > Reverb
LEZLIE
DELAY
REVERB
Delay
Lezlie
Reverb
Reverb
Effects
Delay
Reverb
Reverb
INPUT
Direct Output
PREAMP
OUTPUT
Configuration 2
Mono
Stereo
Output
Input 1
Input 2
Input Mix
Output
Output
Input Mix
Output
This is similar to the QuadModeª configuration, but replaces the EQ
and Pitch modules with a Lezlie (rotating speaker simulator) module
and does not have a Preamp level control.
The Lezlie module simulates the common two-speaker system with two
different speeds. The switching and mixing options are similar to those
used in QuadMode. This configuration produces complex frequency and
amplitude modulation effects and works very well with rhythm guitar.
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