User manual ALESIS QS61

[. . . ] ALESIS QS6. 1 Reference Manual INTRODUCTION Thank you for purchasing an Alesis QS6. 1 64-Voice Expandable Synthesizer. Its a powerful instrument and were sure you will find it exciting to use. The more you know about it the more youll be able to do, so we recommend that you make good use of this manual. (Theres a good reason they call what musicians do playing. ) HOW TO USE THIS MANUAL No manual can cover the needs of all musicians. [. . . ] (Note that the signal which reaches the Chorus may already have passed through the Delay module, depending on the Input settings of the Chorus. ) The only difference for Send 3 is that it has no Delay ahead of the Chorus. Otherwise it functions exactly the same as Send 1 in Configuration #2. The rest of these parameters are common to all Reverbs in all Configurations (except as noted): REVERB PARAMETERS Use the [ PAGE ] button to advance the display through the remaining pages of the Reverb function. But dont forget that you must also have the correct Effect send selected in order to get at the Reverb parameters. #2, they are found on Sends 1 and 3 (since there are two separate Reverbs). Here are the parameters you will find on these pages: REVERB TYPE Range of Settings: (see below) Page 5 The QS6. 1 has seven different reverb types, all stereo, each of which simulates a different space or produces a different ambient effect. The two Plate reverb types simulate an artificial device known as a Plate. In the early days of recording, Plates were extremely popular because they were almost the only way to provide any sort of artificial ambiance to a recording. The sound of a well-tuned Plate has become quite popular over the years, especially when used on vocal or drum sounds. The tonal characteristics of these two Plate reverbs differ subtly in ways similar to different manufacturers plate reverbs. QS6. 1 Reference Manual 91 Part 6: Editing Effects Room. The Room reverb type simulates not only rooms of different sizes, but rooms with different surface materials. A room with soft surfaces such as carpet will produce a reverberant sound with much less high end (treble) than a room with hard surfaces. This reverb type can easily simulate both examples and many, many more. Much larger than a room, Halls are characterized by their high ceilings, irregular shapes, and generally uniform density of reflections. Much larger than a hall, this reverb type emulates the large ambient spaces found in amphitheaters, gymnasiums, etc. Gated Reverb is a very popular effect on drums first found on English records in the early 1980s. This reverb type can simulate applying a noise gate (a device that automatically decreases the volume once the signal falls below a certain level) across the output of the reverb thereby causing the initial attack of the reverb to sound very big, but the tail of the reverb to be cut off very quickly. Although this effect is not found in nature, it works great for modern drums, percussion, and any quickly repeated, transient source. The Reverse Reverb type is an inverted reverb in which the volume envelope is reversed. This means that the signal begins softly but grows louder until it is cut off, rather than loud to soft as normal. PRE-DELAY TIME Range of Settings: 0 to 299ms Pages 6 & 7 Pre-Delay is the slight delaying of the Reverb itself so that the dry signal more easily stands out from the Reverb. A bit of Pre-Delay can sometimes make certain instruments (such as snare drums) sound bigger. Use page 6 to adjust the Pre-Delay Time in 10ms intervals, and/or use page 7 to adjust the Pre-Delay Time in 1ms intervals. This Pre-Delay is part of the Reverb itself; dont confuse it with the separate Delay modules available under the Delay function. PRE-DELAY MIX Range of Settings: IN<99DEL to IN99>DEL Page 8 This parameter allows you to control the balance between the Pre-Delayed signal of the Reverb and the straight Reverb itself. [. . . ] Many devices subdivide this clock signal internally for higher resolution (e. g. , 96 pulses per quarter note). Unlike a Start command, which re-starts a sequencer or drum machine from the beginning of a song each time it occurs, sending a Continue message after a Stop command will re-start units from where they were when they stopped. GENERAL MIDI General MIDI (GM) is an extension of the MIDI standard designed to meet the demands of the ever-growing multimedia industry, and to make simple the act of playing commercially-produced MIDI sequences. The QS6. 1 is a perfect General MIDI companion, since its Mix Mode uses 16 channels. Although many channels are commonly used for specific types of instruments (Example: Channel 1 is usually piano, channel 2 is usually bass, etc. ), channel 10 is always used for drums. [. . . ]