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Eight patches on the Alesis QuadraSynth Plus Piano: 00:10 Door-way 00:46 ModWhlClav 01:27 D4 Pwr Kit 02:02 ToneWhlPrc 02:39 Bali Hai 03:37 Industrial 04:07 Dark Piano 05:05 Rave&House.

Alesis QuadraSynth Plus Piano info and specifications. The QuadraSynth Plus Piano and S4 Plus Module QS Plus Piano Specifications S4 Plus Specifications The QuadraSynth Plus Piano is a greatly improved version of the original QuadraSynth New keys, more ROM (24MB), more banks (5) more sounds (640) and mixes (500), General MIDI, as well as 8MB. QuadraSynth Plus Piano Reference Manual 9 C HAPTER 1 S ETTING U P 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. Read and download Alesis Car Speaker QuadraSynth Plus User's Manual Page 5 online. Download free Alesis user manuals, owners manuals, instructions, warranties and installation guides, etc.

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).

Editing Mixes: Chapter 5

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 (-2to +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 (-12to +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-2to 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-2to 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.

Editing Mixes: Chapter 5

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-bendand 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-bendand Modulation Wheels (On or Off)

This determines whether or not the selected channel will transmit and receive pitch-bendand 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–Dand 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;

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)

Alesis Quadrasynth Plus Piano Manual Free

Editing Mixes: Chapter 5

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-MIDIparameter 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:

Editing Mixes: Chapter 5

Polyphony in Mix Play Mode

The QuadraSynth Plus has 64-notepolyphony. 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 have4-notepolyphony 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 theunderlined 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

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 willnot play the internal sound. Use this mode if you're using a MIDI sequencer with an ECHOfeature--thesound 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.

Editing Programs: Chapter 6

CHAPTER6

EDITINGPROGRAMS

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.

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-purposedevices 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 calledpatches). 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 arebuilt-into 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.

Alesis Quadrasynth Plus

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-purposecomputer 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.

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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 128user-editableprograms.

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-attackstring 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

The AlesisQuadrasynth is a 76-key, 64-note polyphonic^[2]PCM sample-based digital subtractive synthesizer first introduced in 1993. It was Alesis's first major foray into synthesizer production.

Function[edit]

In the Quadrasynth's composite synthesis system, up to four 'tones' are used to create a single 'patch' or synthesizer sound. These individual 'tones' are created by using 16-bit digital single-cycle waveforms or digital samples as oscillator sources, and are then processed via a digital non-resonant filter, various LFOs and envelope generators, and so on - in the usual manner. The Quadrasynth contained 16MB of ROM containing PCM-based waveforms and samples, with the option of expanding the sample base via PCMCIA expansion cards which plug into the back of the synthesizer.

A 'patch' on the Quadrasynth can contain 1, 2, 3 or 4 of these tones. However, polyphony decreases as more tones are used. For example, a 1-tone patch would have 64-note polyphony, a 2-tone patch would have 32-note polyphony, and a 4-tone patch would only have 16-note polyphony. Patches can only be stored in the User bank. All other banks are factory presets which cannot be overwritten. The Quadrasynth was typical of synthesizers of the early 90s, featuring a digital, menu-based editing system. Editing user patches could be tedious if the user is unfamiliar with its complex editing structure or has not read the manual.

A multitimbral 'mix' (or 'performance') can contain up to 16 parts (patches). Each part can respond to the full range of the keyboard or to a configured subrange, which allows for layering and splitting. Each patch in a mix corresponds to a different MIDI channel, so that the Quadrasynth can become a multitimbral playback device for external sequencers or MIDI file players. The Quadrasynth also had a 4-bus multi effects processor, which is based on Alesis' own Quadraverb 2 stand-alone effects processor. A main function of the synthesizer is its ability to output in Quadraphonic, on the rear of the keyboard .

History[edit]

In 1995, Alesis gave the Quadrasynth an upgrade with the QuadraSynth Plus. It had more ROM (24MB), plus many more program patches. The General MIDI library was added, as well as an 8MB stereo Grand Piano sample.

In 1996, Alesis introduced the first of their [series synthesizers]. The first of these were the QS6 61-note synth and the QSR rackmount synth. Following these in quick succession were the QS7 76-note synth and the QS8 88-note synth (the flagship of the series). Essentially, the QS synths' architecture is still based on the original Quadrasynth, but with the important addition of a modulation matrix, allowing users to assign virtually any controller source to any modulation parameter. Many of the sounds in the Preset and User banks were re-written, and new samples were created, including samples of Keith Emerson's infamous Yamaha GX1 synthesizer. Emerson even wrote new patches for it, and demonstrated the new QS8 at a release party for Alesis in 1996.

In 1998, Alesis upgraded the QS line with the QS6.1, QS7.1 and QS8.1, which were basically the same as the original QS line, except that Alesis created a new 8MB Bosendorfer Stereo Grand Piano sample for them. Also, a bigger LCD screen, and a few extra assignable sliders (for performance tweaking) were included.

Alesis Quadrasynth Plus Piano Manual Pdf

In 2003, Alesis decided to keep the QS series alive with the QS6.2 and QS8.2 (there was no 76-key version). This happened after Alesis declared bankruptcy in 2001 and was acquired by Numark. Basically, the x.2 line is identical to the x.1 line but with many stripped-down hardware options. There is now no ADAT port, no multiple outs (only a stereo pair), only one PCMCIA expansion slot, and no aftertouch on the 88-key model. The only other differences are a new brushed-aluminum casing (replacing the original black metal casing), plastic end-caps instead of oak (on the 88-key models), ergonomic placing of cursor buttons, and 24-bit effects and DAC's.

References[edit]

1. ^'Alesis QuadraSynth'. 2015-06-06. Archived from the original on 2015-06-06. Retrieved 2018-08-22.
2. ^'Alesis QuadraSynth'. Sound On Sound. May 1994. Archived from the original on 6 June 2015.

Alesis Quadrasynth Plus Piano Manual 1

Further reading[edit]

• 'Alesis Quadrasynth'. Future Music. No. 21. Future Publishing. July 1994. p. 29. ISSN0967-0378. OCLC1032779031.

External links[edit]

Alesis Quadrasynth Plus Programs