Alesis Car Speaker QuadraSynth Plus User Manual

ALESIS

QuadraSynth Plus

Reference Manual

Index

CONTENTS

1: Setting Up 7

Unpacking and Inspection

AC Power

Line Conditioners and Protectors

About Audio Cables

Basic Audio Hookup

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

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

Realtime Performance Functions

The Quad Knobs

Auditioning Mix Play Mode

Selecting Banks 16

Editing a Mix 17

Setting the Effects Level 18

3: Connections

Basic MIDI Hookup

Example 1: Master Controller for Live Use

Example 2: Using an External Sequencer21

About the Keyboard Mode

Pedal and Footswitch Hookup 22

Digital Audio/Optical Hookup 23

Recording Digital Audio

48 kHz Clock In23

4: Overview 25

Basic Architecture

QuadraSynth Plus Polyphony 25

Modes 26

Program Play Mode

Mix Play Mode 26

Program Edit Mode

Mix Edit Mode 27

Effects Edit Mode

Global Edit Mode

Store Mode

Compare Mode 27

The User Interface: Display, Functions, Pages, and Parameters 28

About the Display

MIDI Buttons 29

Quad Knob Editing

QuadraSynth Plus Piano Reference Manual

Index

Parameter Editing

Direct Function Selection

Editing Program Parameters

Edit 4 and Edit 1 Modes32

Resetting a Parameter Value

Comparing Edited and Stored Versions 33

Preset Memory and User Memory

Storing 34

Store a Program34

Copying Effects Between Programs

Store an Effect 35

Store a Mix

To Audition Programs Before Storing 36

5: Editing Mixes

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

Effects in Mix Play Mode

Effect Level

Effect 44

Naming a Mix 45

Polyphony in Mix Play Mode 45

Using the QuadraSynth Plus as a Master Keyboard

Setting MIDI Out Channels for Mix in Global Mode

6: Editing Programs 47

Overview

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

Envelopes 52

About Signal Processing52

Drum Mode 53

Program Edit Functions 54

Assign Voice 54

Level 56

Effect Level

Pitch 56

Filter 59

Amp 61

Range 62

QuadraSynth Plus Piano Reference Manual

Index

Mod 64

Pitch LFO

Amp LFO

Pitch Envelope 71

Filter Envelope 74

Amp Envelope 76

Name 80

Misc. 81

Programming Drum Sounds

Assign Voice 82

Level 82

Effects Level

Pitch 83

Filter 83

Amp 83

Range 84

Amp Envelope 84

Copying Sounds

Copying Effects85

Initializing Programs 86

7: Editing Effects

About Signal Processing87

Selecting an Effects Patch in Mix Mode 88

Setting Effects Send Levels

Editing Effects 89

Storing Effect Patches In Program Mode 90

Storing Effect Patches in Mix Mode

Copying Effect Patches 91

Configurations 91

Reverb 98

Delay 103

Pitch 104

Mod 108

Mix

Misc. 110

EQ 110

Overdrive

109

110

8: Global Settings

Editing Global Parameters

LCD Contrast 113

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

Keyboard Mode114

Controllers A – D

115

Reset Controllers A – D 115

Controllers A – D Mode 115

Pedal 1 and 2 Assignment

116

QuadraSynth Plus Piano Reference Manual

Index

Using Pedals to Control Volume or Modulation 116

MIDI Program Select 116

Receiving and Transmitting Bank Change Message

117

Edit Mode

48 KHz Clock Input

118

9: MIDI Transfer And Storage Operations 119

Saving the User Bank to an External Card

Loading a Bank from an External Card 119

Storing an Individual Program or Mix to an External Card

Loading an Individual Program or Mix from an External Card 120

Card Storage RAMifications 121

119

120

Saving Programs via MIDI Sys Ex

121

Appendix A: Trouble-Shooting

Trouble-Shooting Index 123

Re-initializing 123

123

Checking Software Version

Maintenance/Service 124

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

Channel Messages: Voice Messages

128

System Common Messages

General MIDI 130

MIDI Implementation Chart

130

132

Appendix C: Parameters Index

Program Parameters

Mix Parameters 135

133

Appendix D: What’s New in the 2.0 “Plus” Upgrade

INDEX 159

137

QuadraSynth Plus Piano Reference Manual

Setting Up: Chapter 1

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

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

Setting Up: Chapter 1

tester to determine this. If the outlet is not grounded, consult with a licensed

electrician.

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.

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

Setting Up: Chapter 1

QuadraSynth Plus Piano Reference Manual

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 low-

resistance 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

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

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

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

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 [Ø]

and [` ] buttons.

The contrast and its value in the display will change.

QuadraSynth Plus Piano Reference Manual

Your First Session With The QuadraSynth Plus: Chapter 2

ALUE

QuadraSynth Plus Piano Reference Manual

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

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.

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:

ROG

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

Your First Session With The QuadraSynth Plus: Chapter 2

ROG

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

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.

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 [Æ] buttons to select a Bank (User, Preset

1 – 4).

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

Your First Session With The QuadraSynth Plus: Chapter 2

ROG

Use the MIDI [¨ ] and [Æ] buttons to select a MIDI channel from

1 — 16.

The display will change to indicate the currently selected MIDI channel.

QuadraSynth Plus Piano Reference Manual

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

Your First Session With The QuadraSynth Plus: Chapter 2

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 [Ø] 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

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 [Æ] buttons to select a Bank (User, Preset

1 – 4).

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

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 [Æ] buttons.

EFFECT

EDI TI

ROGRAM

–

LEVEL

EFFECT–LEVEL

TCH

RANGE

ECT

NAM

AGE:

Use the MIDI [¨ ] and [Æ] 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 [Æ], you’ll select channel 1. If channel 1 is selected and you

press MIDI [¨ ], you’ll select channel 16).

Use Quad Knob [1] to choose a Bank (User, Preset 1 – 4).

Use Quad Knob [2] to select a Program for the selected Channel.

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 [Æ] buttons, in which case it is underlined).

To set the Program’s level, press the FUNCTION [Æ] button

once so that “LEVEL” is underlined in the display. Use Quad Knob [1] to

adjust the level.

QuadraSynth Plus Piano Reference Manual

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.

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

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.

ROG

EDI TI

ROGRAM

SOUND

–

VOI CE

LEVEL

EFFECT–LEVEL

TER

RANGE

EFFECT

NAM

ALFO

ENV

FENV

AENV

TRACK

SC.

AGE:

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.

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.

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

CHAN

ROOG

RESET

EDI TI

ROGRAM

SOUND

–

VOI CE

LEVEL

EFFECT–LEVEL

TER

RANGE

EFFECT

NAM

ALFO

ENV

FENV

AENV

TRACK

SC.

AGE:

QuadraSynth Plus Piano Reference Manual

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

Connections: Chapter 3

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.

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

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

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

Connections: Chapter 3

If you are driving other MIDI gear (such as an expander module or MIDI-

responsive 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

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.

QuadraSynth Plus Piano Reference Manual

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.

Don't hold downthe footswitch iwhen powering up the QuadraSynth Plus.

QuadraSynth Plus Piano Reference Manual

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

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

Overview: Chapter 4

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

Guitar

Brass

Woodwind

String

Ensemble

Ethnic

Voice

Drums

Organ

Keyboard

Synth

Percussion

Rhythm

QSPlus

Sound FX

Waves

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.

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, 16-

note 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

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

Overview: Chapter 4

•

set modulation routings so any parameter can be controlled via

set the effect level for each Sound layer, and set which of the four

MIDI;

•

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;

•

Mix;

set the output level, effects level, and pan of each Program in the

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

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

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

r/ Se le

Strip

MIDI

CHAN

ESET

EDI TED

–

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 [Æ] 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

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 [Æ] 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

[Ø] 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 [Æ] 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

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 [Æ] 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 [Æ] 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 [Æ] 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 [Æ] 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 [Æ] button to select the next higher-numbered page, and

PAGE [¨ ] to select the next lower-numbered page. Press both PAGE [¨ ] and

[Æ] simultaneously to get back to the first page of the selected function.

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.

Change the parameter value.

You can edit the value either by turning the associated Quad Knob (for large

value changes) or pressing the VALUE [Ø] and [` ] buttons (for smaller

changes).

QuadraSynth Plus Piano Reference Manual

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

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-Assign

Level

Effect-Level / Effect

Range

Program Edit Function

Assign-Voice

Level

Effects Edit Function

Config

Pitch

Effect-Level

Delay

Reverb

Mix

- - - - -

Mod

Misc.

Range

Name

Pitch

- - - - -

Pitch / PLFO / PENV

Filter / FLFO / FENV

Amp / ALFO / AENV

Mod / Track

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 [Æ]

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.

QuadraSynth Plus Piano Reference Manual

Overview: Chapter 4

Pressing FUNCTION [Æ] 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.

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 [Æ] buttons.

Press the PAGE [Æ] button to advance to the next higher-numbered page or

PAGE [¨ ] to return to the next lower-numbered page.

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 [Ø] 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.

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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 [Ø] 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 [Ø] 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.

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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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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Storing

The [STORE] button selects Store mode. Store mode has 6 pages which you can

scroll through by using the PAGE [¨ ] and [Æ] 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:

ROG

EFFFFEECCT

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.

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.

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.

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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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 [Ø] and [` ] buttons to select the Program

Number that uses the Effects you want to copy. If necessary, use the

FUNCTION [¨ ] and [Æ] buttons to select a different Bank.

Press [STORE].

Press PAGE [Æ] once to advance to Page 2.

The top right section of the display will read “COPY TO SOUND 1”.

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.

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.

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.

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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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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.

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 [Æ] buttons simultaneously to select Channel 1.

Press the DIRECT SELECT [1] button (or both FUNCTION [¨ ]

and [Æ] buttons simultaneously) so the words “PROGRAM – ASSIGN”

are underlined.

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.

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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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 [Ø] 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.

Press [SELECT] twice, until “EDITING: PROGRAM” appears

under the MIX number in the display.

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 [Æ] buttons to select the MIDI channel you

want, and use the VALUE [` ] and [Ø] buttons or Quad Knob [2] to select

the Program number. If necessary, use Quad Knob [1] to select the Bank.

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Editing Mixes: Chapter 5

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.

•

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:

CHAN

EFFECT

ESET

RESET

EDI TI

ROGRAM

–

LEVEL

EFFECT–LEVEL

TCH

RANGE

ECT

NAM

AGE:

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.

Editing a Mix begins with using the MIDI [¨ ] and [Æ] 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 [Æ] buttons and (if necessary) the PAGE

[¨ ] and [Æ] 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.

put

nput

Sound

nge

put

Sound

nds

Mode

—

ssor

(

hha

nnnne

)

Channe

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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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.

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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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 (-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.

If the lower limit is set above the high limit, there will be no sound from

this program layer.

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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 [Æ] buttons to position the

cursor. Quad Knob [1] selects the character. Here is a chart of available

characters:

]

’

;

(

)

{

W X

[

@ A

}

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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 [Æ] 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 [Æ] to get to Page 2.

Press Quad Button [4].

You will see "KBD MODE: " in the top right of the display.

Use the VALUE [Ø] 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

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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 [Æ] 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.

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Editing Programs: Chapter 6

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.

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.

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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

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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.

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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.

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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

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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.

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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.

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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.

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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.

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.

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Editing Programs: Chapter 6

On the following page, you’ll find a chart listing the various

samples in their respective groups.

Group

Piano

Voice

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

Brass

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

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

Voice

Harmonia, FM Harmnca, EuroAccrdn, Elec Banjo, Asian Drum, Waterphone

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

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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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Editing Programs: Chapter 6

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. 1-

PITCH 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, 1-

PMONO 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

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

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.

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

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 [Æ] 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).

•

Amp

•

Attack

•

Pitch

Effect Send

•

Filter Cutoff

•

Amplitude

•

PLFO Speed

•

PLFO

PLFO Delay

PENV Delay

•

PENV

•

PENV Decay

PENV Release

PENV Amp

PENV Sustain Decay

•

Amp

•

Attack

•

FLFO Speed

FENV Delay

•

FLFO

FENV

•

FLFO Delay

FENV Decay

FENV Release

FENV Amp

FENV Sustain Decay

ALFO Speed

AEnvelope Delay •

•

Amp

•

ALFO

ALFO Delay

AEnvelope Attack

AEnvelope Decay•

AEnvelope Release

AEnvelope Amp •

•

AEnvelope Sustain Decay •

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)

The Pitch LFO is most often used to apply vibrato to a sound.

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.

Wave (8 choices)

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

TRI ANGLE

SQUARE

UP SA

DOWN SA

RANDOM+-

NOI SE

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 voice-

specific 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.

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Filter LFO

Filter LFO (Page 1)

The Filter LFO is most often used to apply tremolo-like or "wah-

wah" effects to a sound.

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.

Wave (8 choices)

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.

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Mod Wheel (-99 to 99)

This parameter sets how much the Mod Wheel will increase or

decrease the Filter LFO’s Level. A positive value raises the level

when the Mod Wheel is moved up, and lowers the level when

moved down. Negative settings of this parameter will decrease

the output level of the FLFO as the Mod Wheel is raised. Since

the output level of the FLFO 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 FLFO 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 tremolo from the FLFO.

Aftertouch (-99 to 99)

This is the modulation amount of Aftertouch over the Filter

LFO’s Level. A positive value raises the level as more Aftertouch

is applied. A negative value will lower the amount of FLFO level

as more Aftertouch is applied.

Amp LFO

Amp LFO (Page 1)

The Amp LFO is usually used to add tremolo to a sound.

The Amp LFO variables will have an effect only if the AMP LFO

DEPTH (in the AMP function) is set to a value other than 0 , or, if

Amp LFO is a source in the MOD function.

Wave (8 choices)

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+. 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, Key Poly)

The Trigger parameter determines how the LFO should be

triggered, or started. There are four possible settings: Mono,

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Poly, Key Mono and Key Poly. A description of these settings is

found in the Trigger section of the PLFO description on page 67.

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Amp LFO (Page 2)

Level (00 to 99)

This is the base output level of the Amp LFO. If you want to

have a constant value of tremolo, 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 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.

Mod Wheel (-99 to 99)

This is the modulation amount of the Mod Wheel over the Amp

LFO’s Level. A positive value raises the level when the Mod

Wheel is moved up, and lowers the level when moved down.

Negative settings of this parameter will decrease the output level

of the ALFO as the Mod Wheel is raised. Since the output level

of the ALFO 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 ALFO 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

tremolo from the ALFO.

Aftertouch (-99 to 99)

This is the modulation amount of Aftertouch over the Amp

LFO’s Level. A positive value raises the level as more Aftertouch

is applied. A negative value will lower the amount of ALFO

level as more Aftertouch is applied.

Pitch Envelope

Pitch Envelope (Page 1)

Pitch Envelope can lead to dramatic effects, since it can cause the

pitch of a single key to change drastically over time. It’s

typically used in special-effect synthesizer programs, but it may

also be used more subtly in an acoustic program to simulate the

characteristic of some instruments to go sharp on the initial

attack, especially when played hard.

The following Pitch Envelope variables will have an effect only if the

PITCH ENVELOPE DEPTH (on Page 2 of the PITCH function) is set

to a value other than 0, or, if Pitch Envelope is a source in the MOD

function.

Attack (00 to 99)

This is the amount of time the envelope will take until it reaches

its maximum output level. Setting the Attack to 0 will make the

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pitch go to maximum immediately on hitting the key (if the

Delay is also set to 0 in PENV Page 2--see below); a setting of 99

will result in a much slower attack, taking many seconds before

the envelope gets to maximum.

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Decay & Sustain (00 to 99)

As soon as the attack portion of the envelope finishes (when the

level reaches maximum), the envelope will decay (decrease in

level). The level it reaches is set by the Sustain control; how long

it takes to get there is set by the Decay control. In the special case

where the Sustain level is all the way up (99), then there is no

decrease and the Decay time segment is bypassed. Whatever

level the sustain is set to is the level that the decay section of the

envelope will head for. Depending on the setting of the Sustain

Decay control (see below), the envelope will either hold at the

sustain level until you release the note on the keyboard, or decay

to 0 at the Sustain Decay rate (which is on page 2 of the

envelope). You can create a long "plateau" at the start of a note

by setting the Sustain to 98 and the Decay to 99. This will cause

the envelope to take the maximum amount of time to get from

peak level to a level of 98, before the Sustain Release portion of

the envelope begins.

Release (00 to 99, Hold)

Eventually, you will let go of the note that you’ve been holding

(either by releasing the note on the keyboard, or releasing the

sustain pedal if it was pressed). It is at this point that the Release

portion of the envelope takes effect. The Release is the time that

the envelope takes to get from its current level back down to

nothing. Setting the Release time to 99 will take the envelope a

very long time to reach zero level.

The Pitch Envelope is unique from the other two envelopes in

that its Release time can be set above 99. When this is done, the

value in the display will read “Hold”. This indicates that the

pitch envelope will remain where it is even after the note is

released. This is important when you want the pitch effect to

continue even after releasing the key. Example: If the PENV is

bending a note up, and you don’t want the pitch to fall when

you release the key, set the Release parameter to “Hold”.

Pitch Envelope (Page 2)

Delay (00 to 99, Hold)

This is the amount of time that the envelope will wait before

doing anything; very useful if you want to affect one element of

a sound sometime after the sound starts. When the Delay is set

to 0, the envelope attacks right away, without any delay. Play

some notes while turning up the delay and see that the time

between playing the note and hearing the effect of the Pitch

Envelope gets progressively longer as the Delay control is turned

up.

If the Delay is set above 99, the display will read “Hold”. This

indicates that the Delay stage of the envelope will wait

indefinitely until the key is released before continuing on to the

remaining envelope stages (Attack, Decay, etc.). This requires

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that the Pitch Envelope’s Trigger parameter (see next page) is set

to “Freerun”. However, when the Delay is set to “Hold”,

“Freerun” mode is forced on regardless of the Trigger

parameter’s setting.

Sustain Decay (00 to 99)

This is the amount of time that the envelope will take during the

sustain stage to bring the level down to 0. If this is set to 99, the

envelope will remain at the Sustain level until the note is

released. When set to 0, the envelope’s level will immediately

jump down to 0 upon reaching the sustain stage.

Trigger (Normal, Freerun, Reset, Reset-Freerun)

The Trigger mode determines how the envelope will function.

You may select either Freerun or Reset, or both (Reset-Freerun)

or neither (Normal). When set to Normal, the envelope will

always start at its current level (i.e., if another note had been

played which triggered the envelope’s cycle, playing another

note in the middle would not interrupt the cycle). Also in

Normal mode, the envelope will immediately advance to its

release stage upon releasing the note. When set to Freerun, the

envelope will complete its entire cycle, even if the note is

released in the middle. When set to Reset, the envelope starts at

the beginning whenever a new note is played. When set to Reset-

Freerun, the envelope will start at the beginning whenever a

new note is played and will complete its entire cycle, even if the

note is released in the middle.

If a sound layer’s Keyboard Mode parameter (found in the Pitch

Function, Page 3, Quad Knob [4]) is set to “Mono”, the Pitch

Envelope will only retrigger when playing legato if the Trigger

Mode is set to either “Reset” or “Reset-Freerun”.

Pitch Envelope (Page 3)

Time Tracking (On or Off)

This determines whether or not keyboard position will affect the

cycle speed of the envelope. When turned on, playing toward

the higher end of the keyboard will result in a faster envelope

cycle; playing toward the lower end of the keyboard will result

in a slower envelope cycle. However, this does not effect the

attack time, but only the decay, sustain decay and release

segments. This feature will result in only a subtle change. The

envelope’s timing doubles or halves over a range of two octaves.

Sustain Pedal (On or Off)

This determines whether or not the Sustain Pedal will have an

effect on the envelope. When turned on, holding down the

Sustain Pedal while playing short notes is virtually the

equivalent to holding down those notes on the keyboard with

some subtle but important differences. If the Delay and Attack

are set to 0 and either the Decay is 0 or the Sustain is 99, the

envelope will immediately jump to the sustain decay stage (if

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not already there) when the note is released and the sustain

pedal is held down. If a long attack is set, and the envelope does

not reach the end of the attack segment when the note is

released, it will be skipped and the envelope will jump

immediately to the release segment. If a long delay is set, and the

envelope has not reached the attack segment before the note is

released, the envelope will remain at 0. However, if Freerun is

turned on, the envelope will continue through the delay, attack,

decay and sustain segments and remain at the sustain decay

segment. This is exactly the same as holding down the note on

the keyboard. When the Sustain Pedal parameter is turned off,

the Sustain Pedal will have no effect on the envelope.

Level (00 to 99)

This is the overall output level of the envelope. If this is set to 00,

the PENV will have no output and will have no effect, while at

99 it will have a maximum effect on whatever it is being routed

to. Tip: When selecting PENV Level as a modulation destination,

set the PENV level to 00 if the Modulation Level is above 0 (or,

set the PENV level to 99 if the Modulation Amount is below 0).

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Velocity Modulation (00 to 99)

This determines how keyboard dynamics will affect the

envelope level. When set to 99, note velocity controls the

envelope’s output; notes played hard will deliver a higher

envelope output than notes played soft. When set to 0, note

velocity will have no effect on the envelope’s output level.

Filter Envelope

Filter Envelope (Page 1)

Filter Envelope is crucial whenever you want the tonal quality of

a note to change over time, differently from its overall level.

Example: When you want the initial attack of a note to be bright,

but want the sustaining part to be filtered.

The following Filter Envelope variables will only have any effect if the

FILTER ENVELOPE DEPTH (on Page 2 of the FILTER function) is

set to a value other than 0, or, Filter Envelope is a source in the MOD

function.

Also note that the Filter Envelope may have no effect if some other

modulation source, or the basic setting of the filter, has already pushed

the filter cutoff frequency to its maximum.

Attack (00 to 99)

This is the amount of time the envelope will take until it reaches

its maximum output level. Setting the Attack to 0 will give a

sharp edge to the sound (if the Delay is also set to 0 in FENV

Page 2--see below); a setting of 99 will result in a much slower

attack, taking many seconds before the envelope gets to

maximum.

Decay & Sustain (00 to 99)

As soon as the attack portion of the envelope finishes (when the

level reaches maximum), the envelope will decay (decrease in

level). The level it reaches is set by the Sustain control; how long

it takes to get there is set by the Decay control. In the special case

where the Sustain level is all the way up (99), then there is no

decrease and the Decay time segment is bypassed. Whatever

level the sustain is set to is the level that the decay section of the

envelope will head for. Depending on the setting of the Sustain

Decay control (see below), the envelope will either hold at the

sustain level until you release the note on the keyboard, or decay

to 0 at the Sustain Decay rate (which is on page 2 of the

envelope). You can create a long "plateau" at the start of a note

by setting the Sustain to 98 and the Decay to 99. This will cause

the envelope to take the maximum amount of time to get from

peak level to a level of 98, before the Sustain Release portion of

the envelope begins.

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Release (00 to 99)

Eventually, you will let go of the note that you’ve been holding

(either by releasing the note on the keyboard, or releasing the

sustain pedal if it was pressed). It is at this point that the Release

portion of the envelope takes effect. The Release is the time that

the envelope takes to get from the sustain level back down to

nothing. Setting the Release time to 0 is good for playing those

short funky riffs that you hear on a clavinet. Setting the Release

time to 99 will take the envelope a very long time to reach zero

level.

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Filter Envelope (Page 2)

Delay (00 to 99)

This is the amount of time that the envelope will wait before

doing anything; very useful if you want to affect one element of

a sound sometime after the sound starts. When the Delay is set

to 0, the envelope attacks right away, without any delay. Play

some notes while turning up the delay and see that the time

between playing the note and hearing the effect of the Filter

Envelope gets progressively longer as the Delay control is turned

up.

If the Delay is set above 99, the display will read “Hold”. This

indicates that the Delay stage of the envelope will wait

indefinitely until the key is released before continuing on to the

remaining envelope stages (Attack, Decay, etc.). This requires

that the Filter Envelope’s Trigger parameter (see next page) is set

to “Freerun”. However, when the Delay is set to “Hold”,

“Freerun” mode is forced on regardless of the Trigger

parameter’s setting.

Sustain Decay (00 to 99)

This is the amount of time that the envelope will take during the

sustain stage to bring the level down to 0. If this is set to 99, the

envelope will remain at the Sustain level until the note is

released. This is the normal setting for organ-type sounds. When

set to 0, the envelope’s level will immediately jump down to 0

upon reaching the sustain stage.

Trigger (Normal, Freerun, Reset, Reset-Freerun)

The Trigger mode determines how the envelope will function.

You may select either Freerun or Reset, or both (Reset-Freerun)

or neither (Normal). When set to Normal, the envelope will

always start at its current level (i.e., if another note had been

played which triggered the envelope’s cycle, playing another

note in the middle would not interrupt the cycle). Also in

Normal mode, the envelope will immediately advance to its

release stage upon releasing the note. When set to Freerun, the

envelope will complete its entire cycle, even if the note is

released in the middle. When set to Reset, the envelope starts at

the beginning whenever a new note is played. When set to Reset-

Freerun, the envelope will start at the beginning whenever a

new note is played and will complete its entire cycle, even if the

note is released in the middle.

If a sound layer’s Keyboard Mode parameter (found in the Pitch

Function, Page 3, Quad Knob [4]) is set to “Mono”, the Filter

Envelope will only retrigger when playing legato if the Trigger

Mode is set to either “Reset” or “Reset-Freerun”.

Filter Envelope (Page 3)

Time Tracking (On or Off)

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This determines whether or not keyboard position will affect the

cycle speed of the envelope. When turned on, playing toward

the higher end of the keyboard will result in a faster envelope

cycle; playing toward the lower end of the keyboard will result

in a slower envelope cycle. However, this does not effect the

attack time, but only the decay, sustain, sustain decay and

release segments. This feature will result in only a subtle

change. The envelope’s timing doubles or halves over a range of

two octaves.

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Sustain Pedal (On or Off)

This determines whether or not the Sustain Pedal will have an

effect on the envelope. When turned on, holding down the

Sustain Pedal while playing short notes is virtually the

equivalent to holding down those notes on the keyboard with

some subtle but important differences. If the Delay and Attack

are set to 0 and either the Decay is 0 or the Sustain is 99, the

envelope will immediately jump to the release stage (if not

already there) when the note is released and the sustain pedal is

held down. If a long attack is set, and the envelope does not

reach the end of the attack segment when the note is released, it

will be skipped and the envelope will jump immediately to the

sustain decay segment. If a long delay is set, and the envelope

has not reached the attack segment before the note is released,

the envelope will remain at 0. However, if Freerun is turned on,

the envelope will continue through the delay, attack, decay and

sustain segments and remain at the sustain decay segment. This

is exactly the same as holding down the note on the keyboard.

When the Sustain Pedal parameter is turned off, the Sustain

Pedal will have no effect on the envelope.

Level (00 to 99)

This is the overall output level of the envelope. If this is set to 00,

the FENV will have no output and will have no effect, while at

99 it will have a maximum effect on whatever it is being routed

to. Tip: When selecting FENV Level as a modulation destination,

set the FENV level to 00 if the Modulation Level is above 0 (or,

set the FENV level to 99 if the Modulation Amount is below 0).

Velocity Modulation (00 to 99)

This determines how keyboard dynamics will affect the

envelope level. When set to 99, note velocity controls the

envelope’s output; notes played hard will deliver a higher

envelope output than notes played soft. When set to 0, note

velocity will have no effect on the envelope’s output level.

Amp Envelope

Amp Envelope (Page 1)

The Amp Envelope is crucial for all sounds because it sets the

basic characteristics of the note--whether it attacks quickly or

slowly, sustains or decays. Some Programs may leave the Amp

Envelope in a sustaining mode, and provide attack and decay

using the Filter Envelope; the effect is slightly different. Unlike

Pitch and Filter Envelope, the Amp Envelope is always fully

active (there is no second-page to the AMP function adjusting

how much envelope is applied to the amp).

Attack (00 to 99)

This is the amount of time the envelope will take until it reaches

its maximum output level. Setting the Attack to 0 will give a

sharp edge to the sound (if the Delay is also set to 0 in AENV