Editing Effects: Chapter 7

Configuration #5: OD>CHS>DDL>REV>LZ

AUX LEFT

AUX RIGHT

MAIN LEFT

MAIN RIGHT

MISC. 1

MIX
1 1 1 1
1

BAL. BAL.

BAL.

BAL.

FX SEND 1 PITCH 1 DELA Y 1 1

OVERDRIVE
1

REVERB 1

LEZLIE

AMP

MISC. 1 PITCH 1 DELAY 1 REVERB 1 PITCH 1

FX SEND 2

FX SEND 3

FX SEND 4

Pitch 1 Delay 1Reverb 1 Misc. 1

Mono chorus Mono delay Plate 1 Overdrive
Mono flange Stereo delay Plate 2 -------------
Resonator Ping-Pong delay Room EQ
------------------ Hall
Lezlie Large
Gate
Reverse

This is an “all-for-one” Configuration. You get six effects all at once, and
they are all found in the Send 1 section, but other sends may be used to
access particular parts of the chain. Send 1 feeds the Overdrive effect
which provides classic distortion. The Overdrive output then feeds the
Pitch effect. The Pitch effect has a second input which can come from
either Sends 1, 2, 3 or 4 . These two inputs can be mixed together.

The Delay effect has two inputs which can be mixed together. The first
input comes from the Pitch effect’s output. The second input can come
from either Sends 1, 2, 3 or 4 , or the Overdrive effect’s output, or Pitch
effects input.

The Reverb effect has two inputs which can be mixed together. The first
input can come from the Pitch effect’s output or the Delay effect’s
output. The second input can come from either Sends 1, 2, 3 or 4 , or the
Overdrive effect’s output, or the Delay effect’s input.

The Lezlie effect (found in the Pitch Function, Page 4) has two inputs
which can be mixed together. The first input can come from the Delay
effect’s output or the Reverb effect’s output. The second input can come
from either Sends 1, 2, 3 or 4 , or the Overdrive effect’s output, or the
Pitch effect’s input or output, or the Delay effect’s input, or the Reverb
effect’s input.

The outputs of all these effects are routed back to the Main Outputs, and
sent through the shelving EQ effect (found in the Misc. Function, Page 4).

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Reverb
Reverb can be thought of as a great number of distinct echoes, called reflections,
that occur so fast that our ear hears them blurred together as one. In nature,
different sized spaces give distinctly different sounding reverbs, depending on
the size and shape of the space, and the texture of surfaces that the reflections
bounce off of. The various parameters in the effects processor make it possible to
simulate nearly any natural reverberant space that can be imagined, and a few
artificial ones as well.

Reverb (Page 1)
MIDI

CHAN

PPRROOGG

PRESET

EDITING: 1 EFFECT

PITCH MOD

CONFIG REVERB DELA Y MIX MISC.

P AGE: 1 2 3 4

The Reverb function is used to edit Reverb parameters. In all

configurations, page 1 of the Reverb function selects what the reverb is
“hearing” (i.e., where the input of the reverb is coming from). The source
can come directly from the Effect bus, the output of other effects in the
chain before it, or a mix of several of them. Example: In Configuration #1,
page 1 of the Reverb function (shown above) allows you to select either
one or two sources to be routed to the reverb’s input. You can choose
from the Delay output, the Delay input, the Pitch output and the
uneffected send input (dry signal). You can then adjust a balance
between these and set an overall input level.

Input 1
In configurations 1, 3, 4, and 5, there are two inputs to the
Reverb. Both Inputs 1 and 2 can select a signal from several
locations in the signal chain. Quad Knob [1] can select either the
Pitch output or the Delay output as Input 1. If the signal is taken
from the Pitch output, the Reverb will be chorused, flanged,
detuned or resonating, depending upon which Pitch type is
selected. (Note that the delay signal may already have passed
through the Pitch module, depending on the Input settings of
the Delay module.)

Input 2
By using Quad Knob [2], Input 2 can have as its source either the
Pitch output, the Delay output, or the dry effect send signal. If
the signal is taken from the Delay output, the Reverb will be
delayed by the amount of delay time set for the Delay. If the
signal is taken from the Pitch output, the Reverb will be
chorused, flanged, detuned or resonating, depending upon

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which Pitch type is selected. If the signal is taken from the effect
send, the Reverb will receive direct, uneffected signal.

Input Balance
Quad Knob [3] allows you to control the balance between Reverb
Inputs 1 and 2 and therefore control the blend between the
various input sources. This makes it possible to have the signal
from the Pitch or Delay sections, or the direct effect send in any
combination or amount.

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Input level
Quad Knob [4] controls the overall Input Level going into the
Reverb.

Chorus Input Level

If Configuration #2 is selected (refer to block diagram of
Configuration #2, earlier in this chapter), the first page of the
Reverb function will look like this:

MIDI

1
CHAN

PPRROOGG

PRESET

EDITING: 1 EFFECT

PITCH MOD

CONFIG REVERB DELA Y MIX MISC.

P AGE: 1 2 3 4

The Configuration has two Reverbs, one on send 1 (which send 2

can share), the other on send 3 (which send 4 can share). There is
only one parameter in this page: Chorus Input Level. Quad
Knob [1] lets you adjust the level of the signal coming from the
Pitch output going into the Reverb, otherwise the signal comes
purely from the Pitch input.

The other parameters and pages in the Reverb function are

identical, regardless of which Configuration is being used. Only
page 1 is different, because of the fewer input choices the Reverb
has in this Configuration.

Send Input Levels

If Configuration #1 is selected and you press [EDIT 1] to
advance to effect send 2, the display will now show you the
parameters that represent the signal levels on send 2 going into
the Reverb. Note that there is now only 1 page available, since
the other reverb parameters are found back on effect send 1.

Press [EDIT 1] again to advance to send 3, and the display will

still look the same, but now the parameters adjust the signal
levels on send 3 going into the Reverb. If you press [EDIT 1]
again and advance to send 4, the display will look like this:

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 Editing Effects: Chapter 7

MIDI

1
CHAN

PPRROOGG

PRESET

EDITING: EFFECT
4

PITCH MOD

CONFIG REVERB DELA Y MIX MISC.

P AGE: 1

There are only two parameters: Balance and Input Level. This is
because in Configuration #1, effect send 4 only has a Delay
effect, and not a Pitch effect like the other effect sends do. Quad
Knob [1] controls the Balance between the Delay output and the
dry effect send signal, while Quad Knob [3] controls the overall
input level to the Reverb.

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If Configuration #2 is selected and you press [EDIT 1] to

advance to effect send 2 while the Reverb function is selected,
the display will look like this:

MIDI

1
CHAN

PPRROOGG

PRESET

EDITING: 2 EFFECT

PITCH MOD

CONFIG REVERB DELA Y MIX MISC.

P AGE: 1

Quad Knob [1] lets you adjust the level of the signal coming
from effect send 2 going into the Reverb. Send 2 in this
Configuration has no effects of its own. Therefore, there are no
input or input mix controls in this page, since there is only one
possible signal choice. Send 2 is intended to be used for signals
that you want to send to Reverb 1, but bypass Delay and Pitch 1.
In Configuration #2, send 4 is similar to send 2, in that it has no
effects of its own but serves as a bypass going directly to Reverb
3.

Reverb (Page 2)
Pressing the PAGE [∅] button will advance the display to Page 2 of the
Reverb function. However, you must have the correct effect send
selected (1—4) in order to get at the Reverb parameters (in Config. #1, 3,
4, and 5, the Reverb parameters are found only on effect send 1; in
Config. #2, they are found on sends 1 and 3 since there are two separate
Reverbs). Here you will find parameters for selecting the Reverb type,
adjusting Pre-Delay Time and Pre-Delay Mix.

Reverb Type
The QuadraSynth Plus has seven different reverb types, all
stereo, each of which simulates a different space or produce a
different ambient effect. Use Quad Knob [1] to select one. The
different Reverb types are:

Plate 1 & 2. 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 two
Plate reverbs differ in subtle tonal characteristic changes such as
those found in different manufacturers’ plate reverbs.

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

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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.

Hall. Much larger than a room, Halls are characterized by their

high ceilings, irregular shapes, and generally uniform density of
reflections.

Large. Much larger than a hall, this reverb type emulates large
ambient spaces such as amphitheaters, gymnasiums, etc.

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Gated. 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.

Reverse. 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
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 Quad Knob [2] to adjust the Pre-Delay
Time in 10ms intervals, and/or use Quad Knob [3] to adjust the
Pre-Delay Time in 1ms intervals. This Pre-Delay is part of the
Reverb itself; don’t confuse it with the separate Delay modules
available under the Delay function.

Pre-Delay Mix
Quad Knob [4] allows you to mix the amount of Pre-Delay into
the Reverb signal path. This gives you the ability to hear a bit of
the Reverb before the loudest part of the Reverb (the Pre-
Delayed Reverb) sounds. This makes for bigger and smoother
sounding Reverb settings.

Reverb (Page 3)
Input Filter
This is a low-pass filter which comes before the Reverb input.
Use Quad Knob [1] to adjust the filter frequency. Lower the
Input Filter to remove high frequencies from the input signal
before they go into the Reverb.

Decay
The Reverb Decay determines how long the Reverb will sound
before it dies away. When using the Reverse Reverb type,
Reverb Decay controls the Reverse Time.

Low Decay and High Decay

These two parameters allow the Decay Time to be set separately
for both the low and high frequencies of the Reverb. This means
that you have control over the tonal shape of the Reverb itself,
being able to make the high frequencies die faster if the effect is
too bright, and being able to make the lows die faster if the effect
is too boomy. This allows you to simulate different surfaces of a

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room or hall, with softer surfaces absorbing more high

frequencies and smaller rooms having faster low frequency
decay.

If the selected Reverb type is Gate, the Low Decay parameter is

unavailable.

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Reverb (Page 4)
Density
Density controls how the first reflection of the reverb effect will
appear. When set to 0, the first reflection is heard alone without
any other reflections. When set to 99, the first reflection appears
to “fade-in” and then “fade-out”. This is because a number of
reflections will occur just before and just after the first reflection,
in addition to the remaining reflections heard after the first
reflection. Thus, the reverb sounds more “dense”.

If the select Reverb type is Large, the Density parameter is

unavailable.

Diffusion
Diffusion determines the “thickness” of the reverb sound by
adding more reflections to the reverb’s decay. With lower
diffusion settings, you may be able to actually hear the
individual echoes that make up the overall reverb sound. With
higher diffusion settings, the echoes increase in number and
blend together, washing out the reverb’s decay. Greater
diffusion works better with percussive sounds, whereas less
amounts of diffusion work well with vocals and other sustained
sounds.

Note: The illustration above reflects a Density setting of 0.

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Delay
The Delay function is used to edit Delay parameters.

Delay (Page 1)
The QuadraSynth Plus’s effects processor has three different Delay types
available.

Note: Some delay modules only feature a mono Delay, and therefore the
Delay Type parameter will be unavailable. Instead the parameters
normally found on page 2 of the Delay function are shown in page 1, and
there are no other pages (please refer to next section for a description of
those parameters).

Delay Type
Ping-Pong. This is called a “Ping Pong Delay’ because the
output bounces from side to side (left to right) in stereo with the
speed determined by the delay time. The maximum delay time is
399 milliseconds.

Stereo Delay. The Stereo Delay is actually two separate delays,

which can be individually varied. The maximum delay time for
each delay is 399 ms.

Mono. The Mono Delay has the advantage of twice the available
delay time, or 799 ms in Configuration #1, 1199 ms in
Configuration #2.

Delay (Pages 2 and 3)

In Page 2 of the Delay Function you will find the remaining parameters
for the Delay function. If the Stereo Delay type is selected, you can press
PAGE [∅] again to advance to Page 3. This is because the Stereo Delay
type has parameters for both the Left and Right channels.

Input
Quad Knob [1] is used to balance the Delay Input between the
signal coming from the Pitch effect output (if applicable) and the
dry effect send.

Time/Left Time/Right Time

This is the actual Delay time, which determines the amount of
time the input signal will be delayed. Use Quad Knob [2] to
adjust the delay time in 10 ms intervals; use Quad Knob [3] to
adjust the delay time in 1 ms intervals.

Feedback/Left Feedback/Right Feedback

Quad Knob [4] is used to adjust the Delay Feedback, which is a
portion of the delay signal output being “fed back” into the
input. This results in the delay repeating itself. The more
feedback, the more repeats.

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Pitch
The Pitch function is used to edit Pitch parameters.

Pitch (Page 1)
The first page of the Pitch function will look different depending on the
selected Configuration and which effect send you are editing. Normally,
there will only be one parameter: Pitch Type. However, in the case of
Configuration #2, a second parameter (Delay Input) is also available.

Pitch Type
The Pitch Type function allows access to 6 pitch altering modes.
The Pitch types available are: Mono Chorus, Stereo Chorus,
Mono Flange, Stereo Flange, Pitch Detune and Resonator.
Although some of these effects can sound similar to one another
depending on the parameter settings, each is achieved
differently and can be quite dramatic under the right
circumstances. Pitch effects are achieved by splitting the signal
into two parts, effecting the pitch of one of the parts, then mixing
them back together. This eventual mixing is essential since the
overall sound of the effect is achieved by the actual difference
between the normal, uneffected signal and the effected signal.

So that you can better understand the differences between the

Pitch type effects, and therefore better apply them to your music,
here is a brief explanation of each.

Mono Chorus. The Chorus effect is achieved by taking part of

the signal, slightly delaying it, and then slightly detuning it as
well. The detuning is further effected by being modulated by an
LFO which causes the detuning to vary. Many variables are
available in this scheme. The LFO depth can be varied, the LFO
speed can be varied, and a portion of the detuned signal can be
fed back to the input to increase the effect. Finally, the waveform
shape of the LFO can be changed from a smooth triangle to a
more abrupt squarewave to make the pitch detuning more
pronounced.

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Stereo Chorus. In the case of a Stereo Chorus, the signal is split

into three parts with a dry signal and a separate Detuning
section for both left and right channels. When the left channel is
detuned sharp, the right is detuned flat, and vice versa. Once
again, this causes the effect to become more pronounced and
dramatic.

Mono Flange. First used in the 1960s, “Flanging” was achieved

by the use of two tape recorders that would record and play
back the same program in synchronization. By alternately
slowing down one tape machine, and then the other, different
phase cancellations would occur. Since the slowing down of the
tape machines was done by hand pressure against the flanges of
the tape supply reels, the term “Flanging” came into being.

The effect of Flanging is achieved by splitting and slightly

delaying one part of the signal, then varying the time delay,
again with an LFO. The delayed signal is then mixed back with
the original sound to produce the “swishing” or “tunneling”
sound.

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Many variables are available, from varying the speed and depth
of the LFO to feeding back part of the signal to make the effect
stronger. The Flanger’s waveform shape can be either “Normal”
or “Inverted”. Use the “Inverted” setting for a more dramatic
flange effect.

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Stereo Flange. In the case of the Stereo Flange, the signal is split
into three parts with a dry signal and a separate Delay section
for both left and right channels with one channel flanging up
while the other channel flanges down. Once again, this causes
the effect to become more pronounced and dramatic.

Pitch Detune. As the name implies, Pitch Detune takes a part of

the signal and detunes it either sharp or flat. When mixed back
with the original dry signal, the popular “12 string guitar” effect
is produced.

Resonator. This can be thought of as a highly resonant filter, or

a filter that is tuned to a specific frequency with a lot of
emphasis, which will cause the frequency that the resonator is
set at to be highly accentuated.

Delay Input
Quad Knob [2] can adjust the level of the signal coming from the
Delay output going into the Pitch Input. The Delay Input
parameter is only available when editing a effects bus which has
the Delay effect ahead of the Pitch effect in the selected
Configuration (Example: Configuration #2, effect send 1).

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Pitch (Page 2)
If the Pitch type is Mono Chorus, Stereo Chorus, Mono Flange or Stereo
Flange, page 2 of the Pitch function contain the following four
parameters:

Waveform Shape
Quad Knob [1] determines the LFO’s waveform shape. This
parameter only appears when the Mono or Stereo Chorus or
Flange are selected. The Waveform Shape of the LFO can be
changed from a sine waveform, which provides a smoother,
more even sound, to a square or triangle waveform, which
makes the Chorus or flange effect more pronounced.

Speed
Quad Knob [2] is used to adjust the LFO Speed of all Pitch types,
with the exception of Pitch Detune and Resonator.

Depth
Quad Knob [3] is used to adjust the LFO Depth of all Pitch types,
with the exception of Pitch Detune and Resonator. The LFO
Depth, which is the amount of pitch alteration, can be adjusted
to produce the desired effect.

Feedback
Quad Knob [4] is used to adjust the LFO Feedback of all Pitch
types, with the exception of Pitch Detune and Resonator. A
portion of the output of the Pitch section can be “fed back” into
the input in order to make the effect more tonal or pronounced.

Detune
If the Pitch type is Pitch Detune, page 2 will have only this
parameter. Use Quad Knob [1] to adjust the tuning of the Pitch
Detune effect.

Resonator Tuning and Decay

If the Pitch type is Resonator, page 2 of the Pitch function will
have two parameters. Use Quad Knob [1] to adjust the Resonator
tuning, and Quad Knob [3] to adjust the Resonator Decay.

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Mod
The Mod Function lets you control various effects parameters from the various
controls on the QuadraSynth Plus (keyboard, after-touch, pitch-bender, etc.) or
from the MIDI input. This is extremely useful when dynamic or real-time control
is required in a live playing situation. It is possible to control up to 2 parameters
simultaneously. The Modulation assignments are saved with the Effects Patch.

Don’t confuse this Mod Function with the Mod Function used by the Programs;
they are independent destinations, though they can come from the same source.

Note: Modulating any effect parameter (with the exception of chorus speed)
while audio is passing through it can result in audio artifacts or noises due to
discontinuities in the modulation source.

Selecting the Modulator

The are two Modulators. You can select between these by using the
PAGE [♦] and [∅] buttons. Page 1 displays the parameters of Modulator
#1, while page 2 displays the parameters for Modulator #2.

Mod Source
The Mod Source parameter selects the MIDI controller which will
remotely cause a change (modulate) in one or two of the parameters in
the effects processor. Nearly every MIDI controller can become a Mod
Source (using controllers A-D, set in Global mode, page 3), with the most
common controllers appearing as a direct option in the display. Quad
Knob [1] selects the Mod Source. The options for the Mod Source are:

• Aftertouch • Mod Wheel • Pitch Wheel

• MIDI Volume
• Sustain Pedal • Pedal 1 • Pedal 2 •
Controller A—D

Mod Destination
The Mod Destination is the parameter that will be controlled by the
selected Mod Source. Quad Knob [2] selects the Mod Destination. The
possible Destination parameters are:

• Pitch Speed • Pitch Depth • Pitch Level

• Pitch Balance • Delay Time • Delay Feedback
• Delay Level • Reverb Balance • Reverb Input
• Reverb Decay • Reverb Low Decay • Reverb
High Decay
• Reverb Diffusion • Reverb Level

If the selected Configuration has a particular effect on more than one

effect send (for example, Config. #1 has a delay on each send), then some
Mod Destination parameters will be listed more than once. For example,
the Delay Time parameter will appear four times (“D1 Time,” “D2
Time,” “D3 Time,” and “D4 Time”). In the case of Pitch, where you can
choose from various pitch effects, different parameters are available

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depending on the effect chosen. However, the Mod Destinations retain

their names. Example: If the Resonator is the Pitch effect, the Pitch Speed
Modulation Destination controls the first parameter in the Resonator
(Tuning).

Mod Level
The Mod level is the amount that the Destination parameter will be
affected by the Mod Source. Use Quad Knob [3] to affect the Destination
parameter by a positive or negative amount. Example: If the Reverb
Decay was selected as the Destination with the mod wheel as the Source,
the mod wheel could be programmed to cause the Reverb to increase the
decay (positive) or decrease the decay (negative).

Mix
Not to be confused with an actual Mix or Mix mode, the Effect’s Mix function is
where you can mix the various signal levels of all the effects to the Main Left and
Right outputs of the QuadraSynth Plus. Only effect modules that have access to
the Main outputs will appear on the Mix page. There is a separate Mix page for
each of the four effect busses whose effect modules feed the main output. Note
that the Mix page doesn't control how much the individual effect modules feed
to each other; only how much they feed to the Main outputs.

MIDI

1
CHAN
DELAY OUTPUT: 50

PPRROOGG

DELAY PITCH REVERB

PRESET

EDITING: 1 EFFECT

PITCH MOD

CONFIG REVERB DELA Y MIX MISC.

P AGE: 1

Depending on the selected Configuration, the order of the effects will differ (for
example: in Configuration #1, the order reads Pitch, Delay, Reverb; but in
Configuration #2, the order is Delay, Pitch, Reverb).

Pitch Level
Adjusting this value will cause the Pitch Output Level to increase or
decrease. The Pitch Output level is the level for the Pitch Section of the
QuadraSynth Plus’s effects processor to the Main outputs, and should be
set as desired. Even if this parameter is set to 00, the output of the Pitch
section is still available (depending on the bus and configuration) to
following Delay and Reverb sections.

Delay Level
Adjusting this value will cause the Delay Output Level to increase or
decrease. The Delay Output level is the level for the Delay Section of the
QuadraSynth Plus’s effects processor to the Main outputs, and should be
set as desired. Even if this parameter is set to 00, the output of the Delay

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section is still available (depending on the bus and configuration) to

following Pitch and Reverb sections.

Reverb Level
Adjusting this value will cause the Reverb Output Level to increase or
decrease. The Reverb Output level is the level for the Reverb Section of
the QuadraSynth Plus’s effects processor to the main outputs, and
should be set as desired.

Misc.
This Misc. Function is only available when using Configuration #s 4 or 5. In
Configuration 4, the Misc. Function is where the EQ parameters are found. In
Configuration #5, the Misc. function houses both the Overdrive parameters and
the EQ parameters (the EQ is found on Page 3). In all cases, the Misc. Function
can be selected and its parameters edited regardless of which Effects Send (1–4)
is selected.

EQ
The shelving EQ is only available in Configuration #s 4 and 5. It
provides bass and treble boost, and affects the entire Main Output (not
just the Effects Sends). Four EQ parameters are included: low frequency
(range: 30Hz to 180Hz), low frequency boost (0dB to 12dB), high
frequency (3kHz to 10kHz), high frequency boost (0dB to 9dB).

Lo EQ Frequency
This allows you to adjust the cutoff frequency of the Lo EQ. It
can be set between 30Hz and180HZ. If the Lo EQ Gain
parameter is set above 0dB, all frequencies below and including
the one selected by the Lo EQ Frequency parameter will be
affected.

Lo EQ Gain
This controls how much boost will be applied to frequencies
below and including the one selected by the Lo EQ Frequency. It
can be set between 0dB and +12dB.

Hi EQ Frequency
This allows you to adjust the cutoff frequency of the Hi EQ. It
can be set between 3kHz and 10kHz. If the Hi EQ Gain
parameter is set above 0dB, all frequencies above and including
the one selected by the Hi EQ Frequency parameter will be
affected.

Hi EQ Gain
This controls how much boost will be applied to frequencies
above and including the one selected by the Hi EQ Frequency. It
can be set between 0dB and +9dB.

Overdrive

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The Overdrive effect provides four parameters spread across two editing
pages. It is only used in Configuration #5.

Overdrive Type
This selects one of two Overdrive Types: Soft and Hard. The Soft
Overdrive has less gain and provides slightly less distortion than
the Hard Overdrive. Also, there will still be a slight bit of
distortion when using the Soft setting, if the signal feeding the
Overdrive effect is below the Overdrive Threshold setting (see
below). The Hard setting will only provide distortion when the
signal feeding the Overdrive effect is above the Overdrive
Threshold setting.

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Overdrive Threshold
This sets the level the signal feeding the Overdrive effect must be
reach before the Overdrive effect will begin distorting. It can be
set between 00 and 99. If this number is very low, the Overdrive
effect will start to distort almost right away. When set to a high
number, the distortion will not occur until the signal feeding the
overdrive becomes louder than the Threshold setting.

Overdrive Brightness
This sets the tone of the Overdrive effect. It can be set between 00
and 99. Higher numbers result in a brighter sounding overdrive.
Lower numbers result in a duller distortion sound.

Overdrive Balance
This controls the output mix of the Overdrive effect. It can be set
anywhere from “CLEAN<99” to “CLEAN<00>OVRD” to
“99>OVRD”. When set to “CLEAN<99”, the Overdrive effect
cannot be heard at all. When set to “CLEAN<00>OVRD”, you
have an even mix between the original, uneffected signal and the
overdriven signal. When set to “99>OVRD”. only the overdriven
effect is heard.

Note:: The CLIP indictator is disabled when configuration 5 is

selected.

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 Global Settings: Chapter 8

CHAPTER 8

GLOBAL SETTINGS
Global Edit Mode is where you will find several parameters which affect the entire
instrument, such as overall master tuning, display contrast, controller settings, keyboard
mode, edit mode and the 48 kHz input.

Editing Global Parameters

¿ Press the [GLOBAL] button.
The display will change to Global Edit Mode, page 1 . The total number of pages (seven)
is indicated in the lower left corner of the display. The currently selected page number
will be underlined.

¡ There are four parameters available for editing in Global Edit Page 1:

• Quad Knob [1] controls the display contrast.

• Quad Knob [2] enables General MIDI Mode and recalls Mix 00 of Preset
Bank 4.
• Quad Knob [3] controls the transposition, or pitch, of the keyboard.
• Quad Knob [4] controls the instrument’s overall master tuning.

¬ Use the PAGE [♦] and [∅] buttons to scroll through the 7 pages of
Global Mode.

The following sections describe in detail each of the parameters found in the
seven Global Edit Mode pages.

LCD Contrast
In Page 1 of Global Edit Mode, Quad Knob [1] adjusts the LCD Display Contrast
(00 to 121). Whenever the [GLOBAL] button is pressed, the display will always
revert to Page 1 with the Display Contrast parameter selected. This is so that if
the display contrast is set too high or too low and is unreadable, you can easily
adjust it even if you can’t see what you’re doing.

General MIDI Mode

In Page 1 of Global Edit Mode, selecting Quad Button [2] and pressing VALUE
[] enables General MIDI Mode. This will immediately take you out of Global
Edit Mode and into Mix Mode, automatically selecting Mix 00 of Preset Bank 4.
For more information about General MIDI, refer to the MIDI Supplement in
Appendix B.

Enabling General MIDI Mode via MIDI

The QuadraSynth will respond to a universal MIDI Sysex message to
turn General MIDI mode on or off. Some (but not all) General MIDI
sequences will have a Sysex message at the beginning (bar 1) which tells
the receiving device to go into its General MIDI mode. If this message is
sent, no matter where you happen to be on the QuadraSynth, General

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MIDI mode will be enabled, and Mix 00 of Preset Bank 4 will

automatically be selected.

Master Pitch and Master Tuning

In Page 1 of Global Edit Mode, Quad Knob [3] adjusts the QuadraSynth Plus’s
overall pitch (-12 to +12/up or down an octave). Adjust this parameter when you
wish to globally transpose all sounds. Quad Knob [4] adjusts the QuadraSynth
Plus’s overall Master Tuning (-99 to +99/up or down 1/2 step). Adjust this
parameter when tuning the QuadraSynth Plus to other instruments. These
parameters have no effect on drum sounds, the Range settings, or MIDI Out.

Keyboard Sensitivity
In Page 2 of Global Edit mode, Quad Knob [1] adjusts how sensitive the
keyboard’s velocity will be (00 to 99). When set to 0, the keyboard will not
transmit any velocity, no matter how hard or soft the keys are played; all notes
will be treated as having a velocity of 64 (right in the middle). When set to 99, the
keyboard will have maximum sensitivity, allowing the greatest difference
between soft and loud notes in terms of velocity control. Adjust this value to
create the ideal sensitivity for your playing style. By lowering this value from 99,
you limit how loud and soft notes may be played.

Keyboard Curve
In Page 2 of Global Edit mode, Quad Knob [2] selects the Keyboard Velocity
Curve. There are three options: Weighted, Plastic and Maximum. When set to
weighted, the keyboard will have the velocity response of a weighted keyboard.
This means you will really have to play hard to get the loudest notes. When set to
plastic, the keyboard will have the velocity response of a typical plastic
keyboard. Plastic is not as sensitive as Weighted, therefore playing soft will not
result in the same soft notes as Weighted mode produces. When set to
Maximum, no velocity response is available, and all notes are given a maximum
velocity value of 127. This parameter only affects the keyboard’s output to the
sounds in the QuadraSynth Plus and MIDI Out. This is different from the
Velocity Curve parameter in Program Edit, which determines how a sound will
respond to incoming velocity information, either from the keyboard or from
MIDI In.

Keyboard Transpose
In Page 2 of Global Edit mode, Quad Knob [3] controls Keyboard Transposition
(-12 to +12/up or down 1 octave). This determines the note number that the
keyboard will transmit to the QuadraSynth Plus’s sounds and to MIDI Out. If
you are using a MIDI sequencer, use this function when you wish to record notes
outside of the keyboard’s normal note range (note numbers 28 – 103). When set
to -12, the keyboard range is note numbers 16 – 91. Likewise, if set to +12, the
range would be 40 – 115.

Keyboard Mode

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In Page 2 of Global Edit mode, Quad Knob [4] selects the Keyboard Mode
(NORMAL, CH SOLO, OUT 1 – OUT 16). This determines how the keyboard will
function. When in Mix Mode, you have the option to transmit on several MIDI
channels at once, or to temporarily isolate certain channels within a Mix.

NORMAL. In Program Mode, the keyboard will transmit on the selected MIDI
channel. In Mix Mode, the MIDI channels the keyboard transmits on will
correspond to whatever layers or splits the Mix is set up for. Note that certain
controllers such as pitch bend and aftertouch may transmit on a different set of
channels, since they are enabled or disabled independently for each channel of
the Mix The MIDI Monitor indicators in the display will show which channels
are active.

CH SOLO. In Program Mode, this is the same as the NORMAL setting. In Mix
Mode, the only sounds coming from the QuadraSynth Plus, and the only MIDI
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 MIDI CH 1, and 1 is underlined,
you'll hear it. All other ranges or layers will not respond to the keyboard (they
will respond to incoming MIDI messages on their respective channels). Use the
MIDI [♦] and [∅] buttons to hear each channel in turn.

OUT 1 – OUT 16. In both Program Mode and Mix Mode, the keyboard will
transmit on a specific MIDI channel (determined by the number setting of this
parameter), but it will not play the internal sound(s). Use this mode if you're
using a MIDI sequencer with an “Echo” feature (also known as “MIDI Thru”);
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.

Controllers A – D Assignment
The QuadraSynth Plus allows you to assign up to four general purpose MIDI
controllers. These MIDI controllers are assigned a letter, A–D. In Page 3 of Global
Edit mode, you can choose which MIDI controllers (0 to 120) to assign as
Controllers A, B, C and D. For a listing of all MIDI controllers and their
designations, see page 123 in the MIDI Supplement towards the end of this
manual.

Reset Controllers A – D
Found on Global Edit Page 4, the “A–D Reset” function (On/Off) determines
whether the values for Controllers A–D will be reset to zero when a new
Program or Mix is recalled. Use Quad Knob [2] to turn this on or off. This
parameter works along with the A-D Mode parameter (described below) to
choose how the keyboard is being used as a controller. If the A-D Controllers are
being used to modulate the volume, etc., of external MIDI sound modules, you
will probably want the A-D Reset parameter turned “OFF” so that the modules’
volumes will not be reset to zero every time a new Mix or Program is selected. If
you are using the A-D Controllers only for modulating parameters in the
QuadraSynth Plus, you will probably want this parameter turned “ON” so that
new Programs or Mixes are recalled with their stored settings.

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 Global Settings: Chapter 8

Example: If you adjusted Controller A (using Quad Knob [1]) to, say, a value of 25
and then you recalled a different Program, the value of Controller A would
remain at 25 if the “A–D Reset” function was turned off. Alternatively, the
Controller A value would reset to 0 if this function was turned on.

Controllers A – D Mode
The “A–D Mode” function (Local, MIDI, or Both) determines whether the
Controllers A–D will have an affect on the currently selected Program or Mix, or
will only send out controller data via the MIDI Out connector, or do both. Use
Quad Knob [4] to turn this on or off.

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Remember, whenever one of the Controllers A–D is used in the currently

selected Program, a pair of arrows will appear on either side of that Controllers
name in the display while in either Program Play Mode or Mix Play Mode. This
indicates that turning that Controller’s associated Quad Knob will have some
affect on the Program or Mix. If the “A–D Mode” function is set to MIDI, turning
the Quad Knobs will have no affect on the currently selected Program or Mix;
however, this will cause controller data to be sent out the MIDI Out connector.

Example: If Controller A is defined as MIDI controller #11 (which is the default),

and the “A–D Mode” is set to MIDI, turning Quad Knob [1] will send out
controller 11 data but will have no effect on the currently selected Program or
Mix (even if arrows appear on either side of the letter “A” in the display).
Although the Program or Mix may use Controller A to modify it in some way,
Controller A is temporarily “disconnected” from the Program or Mix until the
“A–D Mode” function is set to Local or Both.

Pedal 1 and 2 Assignment

Like the MIDI Controllers A—D, the two footpedal controls (Pedal 1 and Pedal 2)
can be assigned to a MIDI controller. In Page 5 of Global Edit mode, you can
assign which MIDI controllers (0 to 120) that Pedal 1 and Pedal 2 will be
transmitted as over MIDI Out. Simultaneously, if the same MIDI controller is
received it will control any modulations that use either Pedal 1 or Pedal 2. Quad
Knob [1] selects the controller for Pedal 1, while Quad Knob [3] selects the
controller for Pedal 2.

J
When recording into a MIDI sequencer, be careful not to accidentally assign either Pedal
1 or Pedal 2 to a controller which may already be used by another control (like MIDI
Volume/controller 7, or Mod Wheel/controller 1).

Using Pedals to Control Volume or Modulation

If either Pedal 1 or Pedal 2 is assigned to Controller 7 (Global Edit Mode,
Page 4), then they will automatically control the volume of:

• any Sounds in a Program, and;

• in Mix Mode, any Sounds that are controlled by the Keyboard

(Mix Edit Mode, Range, Page 2) and have Pedals turned on (Mix Edit
Mode, Range, Page 3).

Likewise, if either Pedal is assigned to Controller 1, then they will

automatically function like the Modulation Wheel for any Sound in
Program Play Mode, and in Mix Play Mode, Sounds that are controlled
by the Keyboard and have Pedals turned on. This is in addition to the
fact that the pedals will be sending out MIDI information. The default
settings are: Pedal 1 = 7; Pedal 2 = 4.

MIDI Program Select

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In Page 6 of Global Edit mode, Quad Knob [1] determines the MIDI Program
Select mode (Off, On, Mix Select Channel 1 –16). When this is set to “Off”, the
QuadraSynth Plus will not respond to incoming MIDI Program Change
messages, nor will it transmit Program Changes.

When set to “On”, the QuadraSynth Plus will respond to incoming Program
Change messages. Likewise, when a Program or Mix is recalled from the front
panel, its respective program change message will be sent out. However, the
QuadraSynth Plus will respond differently to incoming Program Change
messages depending on whether Program Mode or Mix Mode is selected.

In Program Mode, the MIDI [♦] and [∅] buttons determine on which MIDI
channel the QuadraSynth Plus will receive MIDI Program Change messages (as
well as other messages, like notes, controllers, etc.). The Program recalled will be
the same number as the MIDI Program Change message that is received, from
whichever bank (Preset or User) is currently selected. When a Program is
recalled from the front panel, the QuadraSynth Plus will transmit the equivalent
Program Change message on this same MIDI channel.

In Mix Mode, when MIDI Program select is on, Program Changes received on
any of the 16 MIDI channels will be received by the same numbered MIDI
channels in the current Mix. The Mix itself will not respond to Program Changes.

When set to “Mix Select Channel 1 – 16”, the QuadraSynth Plus will change
Mixes in response to Program Change messages received on the same MIDI
channel as selected by this parameter, from whichever bank (Preset or User) is
currently selected. Program Change messages received on any other channel
(other than the one selected by this parameter) will change the individual
Programs in the Mix on the same channels the messages are received on.

Note: When General MIDI Mode is enabled (see page 115), Channel 10 of the
selected Mix will be used exclusively for drums. If a program change is received
on Channel 10, a new drum kit will be recalled. These drum kits are used
exclusively in General MIDI mode, and adhere to the General MIDI specification.

Receiving and Transmitting Bank Change Message

The QuadraSynth Plus will respond to MIDI Bank Select messages. Bank
Select messages are transmitted via MIDI Controller 0. The value of
Controller 0 determines which bank (User, Preset 1–4, Card 1–8) is to be
recalled. Example: If a Bank Select (controller 0) message of 0 is received,
it will cause the User Bank to be recalled. If a Bank Select (message of 1 is
received, Preset Bank 1 will be recalled. Additionally, if a Sound Card is
inserted, the Card Banks can be selected using Controller 0 values
between 5 and 13. Values higher than 13 are “wrapped around” and will
recall the same Banks. Example: A Controller 0 message with a value of
39 will recall the User Bank.

Note: Bank change messages will be ignored if General MIDI Mode is

enabled, so that only Programs within the General MIDI Bank (Preset 4)
can be recalled via MIDI Program changes.

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 Global Settings: Chapter 8

If the MIDI Program Select parameter is turned “On” and a new Bank is
selected using the BANK [♦] and [∅] buttons, a Bank Change message
(followed by the appropriate Program Change message) will be
transmitted out the MIDI Out connector.

If, additionally, a new Bank is selected in Mix Play Mode and any
Channel’s MIDI Out parameter (Mix Edit Mode, Range Function, Page 2,
Quad Knob [3]) is turned “On”, a Bank Select message (followed by the
appropriate Program Change) will be transmitted out the MIDI Out
connector for each of those MIDI Channels.

Edit Mode
The Quad Knobs have two editing modes: Immediate and Pass-thru. When using
the Quad Knobs to adjust parameter values, you may prefer one mode over the
other.

In Page 6 of Global Edit mode, Quad Knob [3] determines the Edit Mode of the
four Quad Knobs. 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.

48 KHz Clock Input

In Page 7 of Global Edit mode, Quad Knob [1] turns the 48 kHz Clock Input on
and off. When turned off, the QuadraSynth Plus uses its own internal sample
clock as a reference for playing back the sampled sounds that make up a
Program or Mix. However, if you are recording the QuadraSynth Plus to ADAT
using the Digital Out fiber optic cable and also have a BRC Master Remote
Controller, the QuadraSynth Plus must receive a 48 kHz clock signal from the
BRC in order to maintain perfect sync with the ADAT system. This requires that
you connect a BNC-to-BNC cable between the BRC’s 48 kHz Clock Out to the
QuadraSynth Plus’s 48 kHz Clock In. When you are ready to record onto ADAT
from the QuadraSynth Plus, be sure to turn on the 48 kHz Clock Input function.
For more on connecting the BNC-to-BNC cable, see page 25.

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 MIDI Transfer and Storage Operations: Chapter 9

CHAPTER 9

MIDI TRANSFER AND

STORAGE OPERATIONS
Saving the User Bank to an External Card
The entire contents of the QuadraSynth Plus’s User memory (100 Mixes, 128
Programs, 128 Effects Patches) can be stored to an Alesis QuadraCard RAM card
inserted into the Sound Card slot on the QuadraSynth Plus. Depending on the
amount of RAM a particular card has, up to 8 complete banks can be stored onto
it. The QuadraCard is a type of PCMCIA SRAM or FlashRAM card; it has 256K
of memory and will store 4 complete banks. A 512K PCMCIA card can store 8
banks. When saving data to a card that contains a ROM (READ-ONLY) bank, it
will be in bank 1; this means you cannot save anything into bank 1.

¿ Insert a card into the Sound Card slot on the back of the QuadraSynth
Plus.

¡ Press [STORE].

¬ Use either PAGE [♦] or [∅] to select Page 6 of the Store function.
This selects the “SAVE TO CARD” option.

Use Quad Knob [1] to select a bank location on the card to store to (1–8).
If the card contains a ROM bank, it will be bank 1. Therefore, you will only be able to
save into bank locations 2–8.

ƒ Press [STORE] to transfer the data from the QuadraSynth Plus onto the
card.

If the display reads "CARD IS WRITE PROTECTED", switch the write-protect

switch on the card to off and repeat the procedure.

Loading a Bank from an External Card

¿ Insert the card into the card slot on the back panel.

¡ Press [STORE].

¬ Use either PAGE [♦] or [∅] to select Page 7 of the Store function.
This selects the “LOAD FROM CARD” option.

Use Quad Knob [1] to select the bank on the card you wish to load (1–8).

ƒ Press [STORE] to transfer the data from the card into the QuadraSynth
Plus.

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 MIDI Transfer and Storage Operations: Chapter 9

Storing an Individual Program or Mix to an

External Card
You also have the option of storing a Mix or Program directly to a specific
location in a RAM Sound Card Bank (instead of transferring the entire Bank) and
vice versa. However, the Sound Card you are storing to must be of the current
QuadraSynth Plus Bank format. A Sound Card is formatted whenever an entire
QuadraSynth Plus Bank is stored onto it. If you are using an older Sound Card
that does not use the current Bank format, you will not be able to store individual
Mixes or Programs onto until you store an entire QuadraSynth Bank onto it first.

¿ Insert a card into the Sound Card slot on the back of the QuadraSynth
Plus.

¡ Select the Program or Mix you wish to transfer to the card.

¬ Press [STORE].

Use Quad Knob [1] to select a bank location on the card to store to (1–8).
If the card contains a ROM bank, it will be bank 1. Therefore, you will only be able to
save into bank locations 2–8.

ƒ Use Quad Knob [2] to select a location in the selected card Bank to save
to (00–127 if storing a Program; 00–99 if storing a Mix).

H Press [STORE] to transfer the data from the QuadraSynth Plus onto the
card.

If the card is write-protected, or not inserted, or not of the current Bank format,
the display will indicate the situation with an error message. If the card is not of
the current Bank format, use the “Save To Card” command first (Store Mode,
Page 5) to save the entire User Bank to the card. This however will erase all
Programs and Mixes in the selected card Bank. If these are important to you, first
load them into the User Bank in the QuadraSynth, and then save them back onto
the card in order to re-format the card using the new format.

Loading an Individual Program or Mix from an

External Card
You can load a single Mix or Program from a Sound Card into the User Bank,
instead of having to load the entire Bank from the Sound Card. To do this, select
the Mix or Program in the Sound Card Bank that you wish to copy, then use the
Store Function (as described above) to designate a location you wish to store to
in the User Bank.

Note: When storing a Mix from a Sound Card into the User Bank, the individual
Programs used by the Mix will not be moved into the User Program Bank. Once
you store a Mix from a Sound Card into the User Bank, it will still look for its
Programs in the Sound Card Bank, if that is where it was programmed to look
for them in the first place (which is almost always the case).

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 MIDI Transfer and Storage Operations: Chapter 9

Card Storage RAMifications

Whenever you transfer an internal Bank to a RAM card, the result is that
all Mixes in the transferred Bank are changed so that they now access the
Programs on the card bank to which the User bank was saved (since they
reside there, now), instead of the Programs from the original internal
Bank. And, when a Card Bank is transferred to an internal Bank location,
the opposite happens – all Programs within a Mix which had previously
accessed card bank 1 (the ROM card) now point to the User bank.

However, a problem can arise when you have one or more Mixes in the
Bank you are transferring which use Programs already on the Card.
Example: Let's say Mix 00 in the User Bank uses a Program that’s located
in Card Bank 1. If the User Bank is transferred to the Card Bank 1, the
result will be that Mix 00 in Card Bank 1 now uses only Programs from
Card Bank 1. If later you transfer the entire Bank back into the
QuadraSynth Plus, you will find that Mix 00 no longer uses the Program
on the Card as it was originally programmed to.

Here’s a few ways to avoid this problem. First, always transfer to a Card
Bank that does not include any Programs used by the Mixes in the Bank
you are transferring from. In other words, if we transferred the Bank into
Card Bank 2, we would not have a problem, since the Mix would still be
using the Program in Card Bank 1. When this Bank is transferred back to
the QuadraSynth, the Mix will still use the Program in Card Bank 1.

Another way to avoid this problem is to transfer the Bank to a Card

Bank, and then immediately store the individual Mix onto the Card by
itself. When a Mix is stored individually to a Card, it is not modified in
any way ; i.e. if it used Programs in the internal Banks, it will still use
them even though the Mix and its Programs are in two different
locations (the Mix is on the Card but the Programs it uses are stored in
the internal Banks).

Finally, you could avoid this situation by always making sure your
Mixes use only Programs located in the same Bank it is stored in. This
could mean individually storing some Programs from a RAM Card into
one of the internal Banks. Although this is very limiting, it makes things
much simpler in the long run.

Saving Programs via MIDI Sys Ex

As an alternative to storing data to a card, the QuadraSynth Plus lets you
transmit internal data via MIDI System Exclusive messages. This data can be sent
to a storage device, or recorded into a MIDI sequencer, or sent to another
QuadraSynth Plus or S4. You have a choice of sending any single Program in the
User bank (00 to 127), or what is in the current Program Edit buffer, or what is in
any of the 16 Mix Edit Program buffers, or the entire User bank (100 Mixes, 128
Programs, 128 Effects Patches) plus Global data. In the case of sending data to
another QuadraSynth Plus, you can send any individual Program to the same
location or any other location in the receiving QuadraSynth Plus, including any
of its 17 Program Edit buffers.

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 MIDI Transfer and Storage Operations: Chapter 9

To send the entire User bank via MIDI:

¿ Connect a MIDI cable from the QuadraSynth Plus’s MIDI Out to the
MIDI In of a device capable of receiving the data (S4, another QuadraSynth Plus,
etc.).

¡ Press [STORE].

¬ Use either PAGE [♦] or [∅] to select Page 3 of the Store function.

Turn Quad Knob [1] to the right until the upper right display reads
“SEND_ALL TO MIDI.”

ƒ Press [STORE] to transmit the data out the MIDI Out connector.

To send a single Program via MIDI:

¿ Follow steps ¿ through ¬ in the instructions above.

¡ Use Quad Knob [1] to select a Program. You may select any Program in
the User bank (0 to 127) or the Program Edit buffer (EDIT) or any of the 16 Mix
Edit buffers (EDm01 to EDm16).
As this value is changed, the second parameter (destination) will be linked. This is
because most often you will want to transmit a Program to the same Program location.
The only time to do otherwise is when sending to another QuadraSynth Plus (see below).

¬ Press [STORE] to transmit the data out the MIDI Out connector.

To send a single Program via MIDI to a different Program number:

¿ Follow steps ¿ through ¬ in the instructions above.

¡ Use Quad Knob [1] to select a Program. You may select any Program in
the User bank (0 to 127) or the Program Edit buffer (EDIT) or any of the 16 Mix
Edit buffers (EDm01 to EDm16).
As this value is changed, the second parameter (destination) will be linked.

¬ Use Quad Knob [2] to select a Program number to send the selected
Program to.
If this value is turned all the way up, the “SEND ALL TO MIDI” option will be selected
and the first value will jump all the way up. At this point you will not be able to adjust
the destination value with Quad Knob [2] until you use Quad Knob [1] to re-select the
Program to be transmitted.
Press [STORE] to transmit the data out the MIDI Out connector.

The procedure is similar for sending Mixes. Page 4 of the Store function allows
you to send any one of the Mixes.

Similarly, if a Mix is stored, you may want to store each of the Programs used in
the Mix. The “SEND ALL TO MIDI” command in the Program Store function is
an easy shortcut to this.

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 Troubleshooting: Appendix A

APPENDIX A

TROUBLE-SHOOTING
Trouble-Shooting Index
If you are experience problems while operating the QuadraSynth Plus, please use
the following table to locate possible causes and solutions before contacting
Alesis customer service for assistance.

Symptom Cause Solution

The display does not light No power. Check that the power cable
when the ON/OFF switch is plugged in properly.
is turned on.
Display is blank. Display contrast is set Adjust the display contrast.
either too high or low. (Global, p.1, Quad Knob 1).
No sound. Bad connections. Check your audio cables; if
necessary, swap cables.
Volume is turned down. Turn [VOLUME] knob up.
Keyboard Mode is set Set the Keyboard Mode to
incorrectly. “NORMAL” (Global, p. 2).
No MIDI input in Mix Bad connections. Check MIDI cables.
mode (cannot control One or more channels’ Make sure the MIDI IN
through MIDI). MIDI IN switch is off. parameter is turned on for
the channel(s) you wish to
control via MIDI.
Keyboard Mode is set Make sure the Keyboard
incorrectly. Mode (Global p. 2) is set to
“NORMAL”.
Notes sustain Sustain pedal was Turn off power and turn
continuously. plugged in after power on again.
was turned on.

Re-initializing
If your unit behaves erratically or “freezes”, the first step is to power down the
unit. and power it back up again. Disconnect any cables connected to the MIDI
IN jack, and make sure that a sequencer or keyboard is not sending messages to
the QuadraSynth Plus that would make it behave erratically (such as a long
stream of pitch bend messages on 16 channels simultaneously). If these steps do
not solve the problem, you must re-initialize the software. Make sure your mod
wheel is all the way down before re-initializing, otherwise the “zero” position of
the mod wheel will be incorrect. To re-initialize the QuadraSynth Plus, hold
down both Quad Buttons [1] and [4] while turning on the power. This will reset
all Global parameters to their default settings, and will initialize all edit buffers
so that all Mix, Program and Effects parameters are reset to their default settings.
However, none of the Programs, Mixes, or Effects are changed when re-
initializing the unit.

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 Troubleshooting: Appendix A

Checking Software Version

The current software version may be determined by holding [GLOBAL] and
pressing [PROGRAM]. The QuadraSynth Plus will indicate the current software
version installed in the upper right display.

Maintenance/Service
Cleaning
Disconnect the AC cord, then use a damp cloth to clean the keyboard’s
metal and plastic surfaces. For heavy dirt, use a non-abrasive household
cleaner such as Formula 409 or Fantastik. DO NOT SPRAY THE
CLEANER DIRECTLY ONTO THE FRONT OF THE UNIT AS IT MAY
DESTROY THE LUBRICANTS USED IN THE SWITCHES AND
CONTROLS! Spray onto a cloth, then use the cloth to clean the unit.

Maintenance
Here are some tips for preventive maintenance.

• Periodically check the AC cord for signs of fraying or damage.

• Make sure the entire bottom part of the keyboard is supported

so that the case is not subjected to unnecessary bending.

• Place a dust cover over the QuadraSynth Plus when it is not in

use.

Refer All Servicing to Alesis

We believe that the QuadraSynth Plus is one of the most reliable
keyboards that can be made using current technology, and should
provide years of trouble-free use. However, should problems occur, DO
NOT attempt to service the unit yourself. The full AC line voltage, as
well as high voltage/high current DC voltages, are present at several
points within the chassis. Service on this product should be performed
only by qualified technicians. THERE ARE NO USER-SERVICEABLE
PARTS INSIDE.

Obtaining Repair Service

Before contacting Alesis, check over all your connections, and make sure
you’ve read the manual.

Customers in the USA:

If the problem persists, call Alesis USA at 1-800-5ALESIS (525-3747) and
request the Product Support department. Talk the problem over with
one of our technicians; if necessary, you will be given a repair order (RO)
number and instructions on how to return the unit. All units must be
shipped prepaid and COD shipments will not be accepted.

For prompt service, indicate the RO number on the shipping label. If you
do not have the original packing, ship the XT in a sturdy carton, with

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 Troubleshooting: Appendix A

shock-absorbing materials such as styrofoam pellets (the kind without

CFCs, please) or “bubble-pack” surrounding the unit. Shipping damage
caused by inadequate packing is not covered by the Alesis warranty.

Tape a note to the top of the unit describing the problem, include your
name and a phone number where Alesis can contact you if necessary, as
well as instructions on where you want the product returned. Alesis will
pay for standard one-way shipping back to you on any repair covered
under the terms of this warranty. Next day service is available for a
surcharge.

Field repairs are not normally authorized during the warranty period,
and repair attempts by unqualified personnel may invalidate the
warranty.

Service address for customers in the USA:

Alesis Product Support

12520 Wilkie
Hawthorne, CA 90250

Customers outside the USA:

Contact your local Alesis dealer for warranty assistance. The Alesis
Limited Warranty applies only to products sold to users in the USA and
Canada. Customers outside the USA and Canada are not convered by
this Limited Warranty and may or may not be covered by independent
distributor warranty in the county of sale. Do not return products to the
factory unless you have been given specific instructions to do so.

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 Troubleshooting: Appendix A

QuadraSynth Plus Piano Reference Manual 179

 MIDI Supplement: Appendix B

APPENDIX B

MIDI SUPPLEMENT
MIDI Basics
Most current electronic instruments and signal processors, including the
QuadraSynth Plus, contain an internal computer. Computers and music have
been working together for decades, which is not surprising considering music’s
mathematical basis (consider frequencies, harmonics, vibrato rates, tunings, etc.).
In the mid-70s, microcomputers became inexpensive enough to be built into
consumer-priced musical instruments. They were used for everything from
sound generation to storing parameters in memory for later recall.

In 1983, the MIDI (Musical Instrument Digital Interface) specification was

introduced to better exploit the computers inside these new musical instruments,
primarily to ensure compatibility of equipment between manufacturers. MIDI
expresses musical events (notes played, vibrato, dynamics, tempo, etc.) as a
common “language” consisting of standardized digital data. This data can be
understood by MIDI-compatible computers and computer-based musical
instruments.

Before electronics, music was expressed exclusively as written symbols. By

translating musical parameters into digital data, MIDI can express not only the
types of musical events written into sheet music, but other parameters as well
(such as amount of pitch bend or degree of vibrato).

MIDI Hardware
MIDI-compatible devices usually include both MIDI In and MIDI Out jacks,
which terminate in 5-pin DIN-style connectors. The MIDI Out jack transmits
MIDI data to another MIDI device. As you play a MIDI controller such as a
keyboard, data corresponding to what you play exits the MIDI Out jack.
Example: If you play middle C, the MIDI Out transmits a piece of data that says
“middle C is down.” If you release that key, the MIDI Out transmits another
piece of data that says “middle C has been released.”

If the keyboard responds to the dynamics of your playing, the note data will
include dynamics information too. Moving the modulation wheels and pedals
attached to many synthesizers will also generate data associated with the wheel
or pedal being used.

The MIDI In jack receives data from another MIDI device. In addition to the type
of performance data described above, rhythmically-oriented MIDI devices (e.g.,
drum machines) can often transmit and/or receive additional MIDI timing
messages that keep other rhythmically-oriented units in a system synchronized
with each other.

An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In
jack. This is handy if you want to route MIDI data appearing at one device to
another device as well.

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 MIDI Supplement: Appendix B

MIDI Message Basics

The are two main types of MIDI messages. Channel messages, which are
channel-specific, consist of Voice and Mode messages. System messages, which
do not have a channel number and are received by all units in a system, include
Common, Real Time, and Exclusive messages.

Channel Messages: Mode Messages

There are two messages that determine the MIDI mode (i.e., how a
device will receive MIDI data). The “Omni” message determines how
many channels will be recognized. Omni On means that data from all
channels will be received; Omni Off limits the number of channels,
usually to one.

The “Mono/Poly” message deals with voice assignment within the

synthesizer. In Mono mode, only one note at a time plays in response to
voice messages; in Poly mode, as many voices can play notes as are
available to play notes.

Channel Messages: Voice Messages

A synthesizer’s voice is the most basic unit of sound generation. Usually,
each voice plays one note at a time, so the number of notes you can play
at one time will be limited by the available number of voices. MIDI
messages that affect voices include:

Note On. Corresponds to a key being pressed down; values range from
000 (lowest note) to 127 (highest note). Middle C is 60.

Note Off. Corresponds to a key being released; values are the same as
note on.

Velocity. Corresponds to dynamics; values range from 001 (minimum

velocity) to 127 (maximum velocity). A velocity of 000 is equivalent to a
note-off message.

Pressure. Indicates the pressure applied to a keyboard after pressing a

key. Mono pressure (Aftertouch) represents the average amount of
pressure applied by all keys. Poly Pressure produces individual pressure
messages for each key.

Program Change. Sending a Program Change command from a

sequencer or other MIDI keyboard can change synth patches
automatically. There are 128 Program Change command numbers.

Also note that not all units number programs consistently. Some number
them as 000-127, others as 001-128, and still others arrange programs in
banks of 8 programs (such as A1-A8, B1-B8, C1-C8, etc.).

Pitch Bend. This “bends” a note from its standard pitch.

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 MIDI Supplement: Appendix B

Continuous Controller. Footpedals, breath controllers, and modulation

wheels can vary sounds as you play, thus adding expressiveness. MIDI
allows for 64 continuous controllers (these act like potentiometers in that
you can choose one of many different values) and 58 continuous/switch
(these can act like continuous controllers but some are assumed to
choose between two possible states, such as on/off).

Each type of controller is stamped with its own controller identification

number. Not all controller numbers have been standardized for specific
functions, but the following indicates the current list of assigned
controllers. Numbers in parenthesis indicate the controller range.

# Function
1 Modulation Wheel (0-127)
2 Breath Controller (0-127)
3 Early DX7 Aftertouch (0-127)
4 Foot Controller (0-127)
5 Portamento Time (0-127)
6 Data Slider (0-127)
7 Main Volume (0-127)
8 Balance (0-127)
10 Pan (0-127)
11 Expression (0-127)
16 General Purpose #1 (0-127)
17 General Purpose #2 (0-127)
18 General Purpose #3 (0-127)
19 General Purpose #4 (0-127)
32-63 Least Significant Bits, Controllers 0-31 (0-127)
64 Sustain Pedal (0 or 127)
65 Portamento On/Off (0 or 127)
66 Sustenuto Pedal (0 or 127)
67 Soft Pedal (0 or 127)
69 Hold 2 (0 or 127)
80 General Purpose #5 (0 or 127)
81 General Purpose #6 (0 or 127)
82 General Purpose #7 (0 or 127)
83 General Purpose #8 (0 or 127)
92 Tremolo Depth (0-127)
93 Chorus Depth (0-127)
94 Celeste Depth (0-127)
95 Phase Depth (0-127)
96 Data Increment (0 or 127)
97 Data Decrement (0 or 127)
98 Non-Registered Parameter MSB (0-127)
99 Non-Registered Parameter LSB (0-127)
100 Registered Parameter MSB (0-127)
101 Registered Parameter LSB (0-127)
121 Reset All Controllers (0)
122 Local Control On/Off (0 or 127)
123 All Notes Off (0)
124 Omni Off (0)

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 MIDI Supplement: Appendix B

125 Omni On (0)

126 Mono On (0-16; 0=Omni Off)
127 Poly On (0)

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 MIDI Supplement: Appendix B

System Common Messages

Intended for all units in a system, some of these MIDI messages are:

Song Position Pointer. This indicates how many “MIDI beats” (normally
a 16th note) have elapsed since a piece started (up to 16,384 total beats).
It is primarily used to allow different sequencers and drum machines to
auto-locate to each other so that if you start one sequencer, the other
device will automatically jump to the same place in the song, whereupon
both continue on together.

System Exclusive. This message (called Sys Ex for short) is considered

“exclusive” because different manufacturers send and receive data over
MIDI which is intended only for that manufacturer’s equipment.
Example: Sending a QuadraSynth Plus message to an Alesis D4 Drum
Module won’t do anything, but the message will be understood by other
QuadraSynth Plus. This data often contains information about individual
instrument programs.

Timing Clock. A master tempo source (such as a sequencer) emits 24

timing messages (clocks) per quarter note. Each device synchronized to
the sequencer advances by 1/24th of a quarter note when it receives the
clock message, thus keeping units in sync after they’ve both started at
the same time. Many devices subdivide this clock signal internally for
higher resolution (e.g., 96 pulses per quarter note).

Start. Signals all rhythmically-based units when to start playing.

Stop. Signals all rhythmically-based units when to stop playing.

Continue. 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 stop will re-start units from where they were
stopped.

General MIDI
General MIDI 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 General MIDI standard
utilizes all 16 channels available in MIDI. The QuadraSynth Plus 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.

General MIDI also standardizes the placement of sound types in a sound device’s
memory bank. The QuadraSynth Plus’ Preset 4 Bank is designed specifically for
General MIDI, and organizes it sounds according to the General MIDI
specification. This means, when a sequencer sends a MIDI program change
message that is supposed to call up a particular sound, the correct sound on the
QuadraSynth Plus will be called up, even if the composer of the sequence used a
different sound device. The Programs in Preset Bank 4 use the General MIDI

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 MIDI Supplement: Appendix B

names (in some cases abreviated) with the letters GM added to indicate their are
designed specifically for use in General MIDI mode.

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 MIDI Supplement: Appendix B

There are three MIDI registered parameters which the QuadraSynth plus will
recognize in Mix Play Mode when General MIDI Mode is enabled. These are:

• MIDI Registered Parameter 0 (Pitch Bend Sensitivity): This will directly

effect the Pitch Wheel Range parameter of all four Sounds of the Program on the
received MIDI Channel of the Mix. If the Channel is selected using the MIDI [♦]
and [∅] buttons, the word “Edited” will appear next to the Program Number in
the display if this parameter is received. However, if you are viewing the Pitch
Wheel Range parameter in the display (Program Edit Mode, Pitch Function, Page
2, Quad Knob [2]), the display will not be updated to reflect the new setting. If
you go to another Page or Function and then return to it, the display will now
reflect the updated setting.

• MIDI Registered Parameter 1 (Fine Tune): This will directly effect the
Detune Amount parameter of all four Sounds of the Program on the received
MIDI Channel of the Mix. If this MIDI registered parameter is received, the
QuadraSynth will automatically make sure that all four Sounds of the Program
have their Detune Type parameter set to “Normal” (Program Edit Mode, Pitch
Function, Page 1, Quad Knob [4]). If the Channel is selected using the MIDI [♦]
and [∅] buttons, the word “Edited” will appear next to the Program Number in
the display if this parameter is received. However, if you are viewing the Detune
Amount parameter in the display (Program Edit Mode, Pitch Function, Page 1,
Quad Knob [3]), the display will not be updated to reflect the new setting. If you
go to another Page or Function and then return to it, the display will now reflect
the updated setting.

• MIDI Registered Parameter 2 (Coarse Tune):This will directly effect the

Tune Semitone parameter of all four Sounds of the Program on the received
MIDI Channel of the Mix. If the Channel is selected using the MIDI [♦] and [∅]
buttons, the word “Edited” will appear next to the Program Number in the
display if this parameter is received. However, if you are viewing the Tune
Semitone parameter in the display (Program Edit Mode, Pitch Function, Page 1,
Quad Knob [1]), the display will not be updated to reflect the new setting. If you
go to another Page or Function and then return to it, the display will now reflect
the new setting.

(Parts of this appendix are abridged versions of material from Power Sequencing
with Master Tracks Pro/Pro 4 and The Complete Guide to the Alesis HR-16 and
MMT-8, copyright 1990 and 1989 respectively by AMSCO Publications, and is
adapted with permission.)

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 MIDI Implementation Chart

MIDI IMPLEMENTATION CHART

Function Transmitted Recognized Remarks
Basic Default 1 — 16 1 — 16
Channel Changed 1 — 16 each 1 — 16 each Memorized
Default Mode 3 Mode 3
Mode Messages X X
Altered ********
Note 0 — 127 0 — 127
Number True Voice ******** 0 — 127
Velocity Note On O O
Note Off O O
After Key’s X O
Touch Ch’s O O
Pitch Bender O O
Control 0 — 120 O O
Change
Prog O1 0 — 127 O1 0 — 127
Change True #
*O * * * * * * * 0 — 127
System Exclusive O
System Song Pos X X
Common Song Sel X X
Tune X X
System Clock X X
Realtime Commands X X
Aux Local On/Off X O2
Messages All Notes Off X O
Active Sense X X
X
Reset O2
GM On X
O
Notes
1 O, X is selectable
2Recognized as ALL NOTES OFF

Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY O : Yes

Mode 1: OMNI ON, MONO Mode 4: OMNI OFF, MONO X : No

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 Parameters Index: Appendix C

APPENDIX C:

PARAMETERS INDEX
Program Parameters
Quad Page in
Parameter Function Page Knob Manual
Aftertouch Depth: Amp Amp 1 2 61
Aftertouch Depth: ALFO ALFO 2 3 71
Aftertouch Depth: Filter Filter 2 2 60
Aftertouch Depth: FLFO FLFO 2 3 70
Aftertouch Depth: Pitch Pitch 2 2 57
Aftertouch Depth: PLFO PLFO 2 3 68
AENV Level AENV 3 3 77
AENV Trigger AENV 2 4 77
ALFO Delay ALFO 1 3 70
ALFO Depth Amp 1 3 62
ALFO Level ALFO 2 1 71
ALFO Mod. Wheel Depth ALFO 2 2 71
ALFO Speed ALFO 1 2 70
ALFO Trigger ALFO 1 4 70
ALFO Waveform ALFO 1 1 70
Attack: Amp AENV 1 1 76
Attack: Filter FENV 1 1 74
Attack: Pitch PENV 1 1 71
Decay: Amp AENV 1 2 76
Decay: Filter FENV 1 2 74
Decay: Pitch PENV 1 2 72
Drum Mode Misc. 1 1 79
Effect Bus Effect-Level 1 2 56
Effect Level Effect-Level 1 1 56
Effect Program Effect 1 1 56
Effect Type Effect 1 3 56
FENV Depth Filter 2 4 60
FENV Level FENV 3 3 75
FENV Trigger FENV 2 4 75
FENV Velocity Depth FENV 3 4 75
Filter Frequency Filter 1 1 59
FLFO Delay FLFO 1 3 69
FLFO Depth Filter 2 3 60
FLFO Level FLFO 2 1 69
FLFO Mod. Wheel Level FLFO 2 2 70
FLFO Speed FLFO 1 2 69
FLFO Trigger FLFO 1 4 69
FLFO Waveform FLFO 1 1 69
Keyboard Tracking Filter 1 2 59
Keyboard Mode Pitch 3 4 58

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 Parameters Index: Appendix C

Quad Page in
Parameter Function Page Knob Manual
Mod. Wheel Level: ALFO ALFO 2 2 71
Mod. Wheel Level: Filter Filter 2 1 60
Mod. Wheel Level: FLFO FLFO 2 2 70
Modulation Destination Mod 1–6 2 66
Modulation: Gate Mode Mod 1–4 4 66
Modulation Level Mod 1–6 3 66
Modulation: Quantize Mode Mod 5–6 4 64
Modulation Source Mod 1 1 64
Name (Program) Name 1—10 1 79
Output Level 1 3 56
Pan Level 1 2 55
PENV Depth Pitch 2 4 58
PENV Level PENV 3 3 73
PENV Trigger PENV 2 4 72
PENV Velocity Depth PENV 3 4 73
PLFO Delay PLFO 1 3 67
PLFO Depth Pitch 2 3 57
PLFO Level PLFO 2 1 68
PLFO Mod. Wheel Level PLFO 2 2 68
PLFO Speed PLFO 1 2 67
PLFO Trigger PLFO 1 4 67
PLFO Waveform PLFO 1 1 67
Pitch Wheel Range: Pitch Pitch 2 1 57
Portamento Pitch 3 1 58
Portamento Rate Pitch 3 3 58
Range Lower limit Range 1 1 62
Range Upper Limit Range 1 2 62
Release: Amp AENV 1 4 76
Release: Filter FENV 1 4 74
Release: Pitch PENV 1 4 72
Sound Enable Misc. 1 4 79
Sound Overlap Range 1 3 63
Sustain: Amp AENV 1 3 76
Sustain: Filter FENV 1 3 74
Sustain: Pitch PENV 1 3 72
Sustain Decay: Amp AENV 2 2 77
Sustain Decay: Filter FENV 2 2 74
Sustain Decay: Pitch PENV 2 2 73
Sustain Pedal: Amp AENV 3 2 77
Sustain Pedal: Filter FENV 3 2 75
Sustain Pedal: Pitch PENV 3 2 73
Time Track: AENV AENV 3 1 77
Time Track: FENV FENV 3 1 75
Time Track: PENV PENV 3 1 73
Track Input Track 1 1 79
Track Points (0—10) Track 1, 2—3 2—4, 1—4 79

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 Parameters Index: Appendix C

Tuning: Semitone Pitch 1 1 57

Quad Page in
Parameter Function Page Knob Manual
Tuning: Detune Pitch 1 3 57
Tuning: Type Pitch 1 4 57
Velocity Filter 1 4 59
Velocity Curve/Crossfade Amp 1 1 61
Voice Select: Group Assign Voice 1 1 54
Voice Select: Sound Name Assign Voice 1 3 54
Volume Level 1 1 55

Mix Parameters
Quad Page in
Parameter Function Page Knob Manual
Aftertouch Range 3 2 43
Controllers A–D Range 3 4 43
Effect Channel Effect 1 4 44
Effect MIDI Effect 1 2 44
Keyboard Range 2 4 43
MIDI In Range 2 1 43
MIDI Out Range 2 3 43
Name (Mix) Name 1—10 1 44
Pitchbend and Mod Wheels Range 3 1 43
Program Effect Bus Effect-Level 1 2 44
Program Effect Level Effect-Level 1 1 43
Program Enable Program Assign 1 4 41
Program Output Level 1 3 41
Program Pan Level 1 2 41
Program Volume Level 1 1 41
Program Select: Number Program Assign 1 1 41
Program Select: Type Program Assign 1 3 41
Range Lower limit Range 1 1 42
Range Upper Limit Range 1 2 42
Sustain Pedal Range 3 3 43
Tuning: Octave Pitch 1 1 42
Tuning: Semitone Pitch 1 3 42

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 Parameters Index: Appendix C

QuadraSynth Plus Piano Reference Manual 192