• Alesis Qs7 User Manual
• Alesis Qs7 Keyboard Manual
• Alesis Qs7 Manual Pdf
• Alesis Qs7 Service Manual

The QS7.1 is a 64 Voice Expandable Synthesizer based on the QS6.1 and QS7 QuadraSynths. It's basically the same as the QS6.1 but has a 72-note keyboard and additional audio outs. But compared to the older QS7, it offers up a much needed larger LCD display screen and a few more direct access buttons to certain edit function and parameters.

1. The QS7 was released shortly after the QS6 as an enhanced and more Studio-quality version of what was already a powerful multitimbral synthesizer from the effects-box geniuses at Alesis. It featured a larger 76-note keyboard with semi-weighted action and a more conservative black chassis.
2. . 88 Note Weighted (QS8.1), 76 Note Semi-Weighted (QS7.1), or 61 Note Semi-Weighted (QS6.1) Keyboard with Aftertouch and Release Velocity. Included CD-ROM with Sequencing and Sound Editing Applications and Files. For more information please refer to the QS Reference Manual that comes with your keyboard. QS Quick Facts. Front Panel Controls.
3. Alesis QS8 Musical Instrument User Manual.
4. Alesis qs7 keyboard. Top Secret Drum Corps of Basel meets the Blue Devil Percussion Team of Concorde California - Duration: 16:20. Ben Fisher 5,990,595 views.
5. Thank you for purchasing the Alesis QS7/QS8 64 Voice Expandable Synthesizer. To take full advantage of the QS’s functions, and to enjoy long and trouble-free use, please read this user’s manual carefully. How To Use This Manual This manual is divided into the following sections describing the various modes of the QS.
6. Read and download Alesis Musical Instruments QS7 Reference Manual Page 50 online. Download free Alesis user manuals, owners manuals, instructions, warranties and installation guides, etc.

Introduction

Thank you for purchasing the Alesis QS7/QS8 64 Voice Expandable Synthesizer. To take full advantage of the QS’s functions, and to enjoy long and trouble-freeuse, please read this user’s manual carefully.

How To Use This Manual

This manual is divided into the following sections describing the various modes of the QS. To get the most out of your QS, read the entire manual once, then use the table of contents and index to reference specific functions while using the instrument.

Chapter 1: Setting Up. Deals with the necessary preparation before playing, including connections to external devices.

Chapter 2: Your First Session with the QS. This section provides a brief tour of the QS, shows you how to audition the various sounds of the QS, and points out the various performance features.

Chapter 3: Connections. Details rear panel connections (like MIDI, footpedals and the serial interface), properhook-upprocedures, plus application examples.

Chapter 4: Overview. Covers the structure of sound sources within the QS, how to read and navigate through the LCD display pages, how to edit parameters, and how to store edited Programs and Mixes.

Chapter 5: Editing Mixes. Explains how to create and edit Mixes.

Chapter 6: Editing Programs. How to create and edit Programs.

Chapter 7: Editing Effects. How to create and edit Effects Patches.

Chapter 8: Global Settings. Describes all global functions, such as Master Tuning, Keyboard Mode, Keyboard Scaling, and Program Change Mode.

Chapter 9: MIDI Transfer and Storage Operations. Discusses MIDI functions and how to store sounds either to a MIDI device or to a RAM card.

Appendices. MIDI basics,trouble-shooting,maintenance and service information, MIDI Implementation Chart and an Index.

Mac™ and Macintosh™ are registered trademarks of Apple Corporation.

Table of Contents

Setting Up: Chapter 1

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CHAPTER1

SETTINGUP

UNPACKING ANDINSPECTION

Your QS7/QS8 synthesizer 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 QS for servicing.

The shipping carton should contain the following items:

•QS with the same serial number as shown on shipping carton

•Sustain pedal

•AC Power Cable

•Computer CD-ROMcontaining software

•This instruction manual, plus lists of Mixes and Programs, and Quick Start guide

•Alesis warranty card

AC POWERHOOKUP

The QS 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 QS off, plug the female (jack) end of the power cable into the QS’s power socket and the male (plug) end into a source of AC power. It’s good practice to not turn the QS on until all other cables are hooked up.

Chapter 1: Setting Up

LINECONDITIONERS ANDPROTECTORS

Although the QS 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.

ABOUTAUDIOCABLES

Setting Up: Chapter 1

The connections between the QS and your studio are your music’s lifeline, so use only high quality cables. These should be low-capacitanceshielded cables with a stranded (not solid) internal conductor and alow-resistanceshield. Although quality cables cost more, they do make a difference. Route cables to the QS 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 (such as the QS’s Power Supply), 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.

BASICAUDIOHOOKUP

Part 6: Editing Effects

FEEDBACK

This adjusts 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 higher the feedback value, the more repeats you’ll get. When using the Stereo Delay, page 5 lets you adjust the feedback level of the left channel, while page 8 lets you adjust the same for the right channel.

[100] — 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-sizedspaces 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.

The Reverb function is used to edit Reverb input levels and other 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 on Send 1, page 1 of the Reverb function (shown above) allows you to select the first of two sources to be routed to the reverb’s input. You can choose either the output of the Delay or the output of the Pitch effect as Input 1. In page 2, you can choose the second input for the Reverb, which can be the dry Send 1 signal, the Delay input or the Pitch output. You can then adjust a balance between these on page 3 and set an overall input level on page 4.

A Note regarding Configuration #2 and the Reverb function

The parameters and pages in the Reverb function are identical in every Configuration but #2. Configuration #2 is different in that it only has 11 pages of parameters for each of its two Reverbs as opposed to the 14 pages of parameters available to the Reverbs in the other Configurations. The differences are due to the smaller number of input choices the Reverbs have in this Configuration. So what you’ll find here is something akin to what was described regarding the various Mono Delay parameters: the page numbers are going to be off by 3 for the parameters of the Reverbs in Configuration #2. So if you’re looking up the Diffusion parameter in the manual and it says it’s on Page 14, you should expect to find it on page 11 for the Reverbs in Configuration #2.

Part 6: Editing Effects

…and one regarding the Reverb function and Sends 2 through 4

If Configurations 1 or 3 are selected and you press [10] to select Effect send 2, you will see the various parameters that deal with the amount and type of signal going into the Reverb from Send 2. Note that there are now only 4 pages available, since the actual parameters for editing the Reverb itself are found back on Effect send 1.

Press [20] to select Send 3 and you will have the same options that you had for Effect send 2, but now the parameters adjust the amount and type of signal going into the Reverb from Send 3.

If you press [30] to select Send 4, you will have only two pages available. Page 1 controls the Balance between the Delay output and the dry Effect send signal, while page 2 controls the overall input level to the Reverb.

The situation is similar for the other Configurations: on Sends 2 through 4 you will have the ability to adjust only what those Sends will be sending into the shared Reverb, not the Reverb itself. (Naturally, Configuration #2 is the exception again, since it has a separate Reverb available for Sends 3 and 4.)

And remember that some Configurations don’t use some Sends, so you won’t see any parameters related to Reverb there.

The next three parameters are not available in Configuration #2:

INPUT 1

In Configurations 1 and 3, there are two inputs to the Reverb. Both Inputs 1 and 2 can select a signal from several locations in the signal chain. You can select either the Pitch output or the Delay output as Input 1. If the Pitch output is chosen, the signal going into the Reverb will be chorused, flanged, detuned or resonating, depending upon which Pitch type is selected. If the Delay output is chosen, note that the signal which reaches the delay may already have passed through the Pitch module, depending on the Input Balance settings of the Delay module.

INPUT 2

Input 2 can have as its source either the Pitch output, the Delay input, or the dry Effect send signal. If the signal is taken from the Delay Input (which is a point after the Delay Input Balance), then the signal will be a blend between the Pitch Output and the dry Send. If the signal is taken from the Pitch output, the signal going into the Reverb will be chorused, flanged, detuned or resonating, depending upon which Pitch type is selected. If the signal is taken from the Effect send, the Reverb will receive direct, uneffected signal.

INPUT BALANCE

This 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 come into the Reverb from the Pitch section, the Delay section, or the direct Effect send in any combination or amount.

Part 6: Editing Effects

The next parameter is available on all other Configurations, but only on Sends 2 and 4 in Configuration #2:

REVERB INPUT LEVEL (SEND 1)

This parameter controls the overall Input Level going into the Reverb for Send 1. The signal it sends is based upon the Balance between the selected Inputs to the Reverb (if more than one Input was available).

REVERB INPUT LEVEL (SENDS 2 THROUGH 4)

This parameter controls the overall Input Level going into the Reverb for Sends 2 through 4. The signal it sends is based upon the Balance between the selected Inputs to the Reverb (if more than one Input was available).

Note: Naturally, Configuration #2 just had to be different. If it is the active Configuration and you press [10] to select Send 2 from within the Reverb function, you’ll wind up on page 1 and the display will look like this:

There is only one page available to you here. It lets you adjust the level of the signal going from Effect send 2 into the Reverb. Send 2 in this Configuration has no effects of its own, and is intended to be used for signals you want sent directly to Reverb 1 without running them through Delay 1 and Pitch 1 first.

Send 4 is similar to Send 2 in this Configuration, in that it has no effects of its own but serves as a bypass going directly to Reverb 3.

Part 6: Editing Effects

The next parameter is only available in Configuration #2 on Sends 1 and 3:

CHORUS INPUT LEVEL

If Configuration #2 is selected (refer to block diagram of Configuration #2, earlier in this chapter), the first page of Send 1’s Reverb function will look like this:

There is a unique parameter on this page: Chorus Input Level. It 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. (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):

REVERBPARAMETERS

Use the [PAGE] button to advance the display through the remaining pages of the Reverb function. But don’t forget that you must also have the correct Effect send selected in order to get at the Reverb parameters. Just a reminder: in Config. #1, they 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 are the parameters you will find on these pages:

REVERB TYPE

The QS has seven different reverb types, all stereo, each of which simulates a different space or produces a different ambient effect. 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 awell-tunedPlate 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.

Part 6: Editing Effects

Alesis Qs7 User Manual

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.

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 the large ambient spaces found in amphitheaters, gymnasiums, etc.

Gate. 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-DELAYTIME

Pre-Delayis the slight delaying of the Reverb itself so that the dry signal more easily stands out from the Reverb. A bit ofPre-Delaycan sometimes make certain instruments (such as snare drums) sound bigger. Use page 6 to adjust thePre-DelayTime in 10ms intervals, and/or use page 7 to adjust thePre-DelayTime in 1ms intervals. ThisPre-Delayis part of the Reverb itself; don’t confuse it with the separate Delay modules available under the Delay function.

PRE-DELAYMIX

This parameter allows you to control the balance between the Pre-Delayedsignal of the Reverb and the straight Reverb itself. It gives you the ability to hear a bit of the Reverb before the loudest part of the Reverb (thePre-DelayedReverb) sounds, which makes for bigger and smoother sounding Reverb settings. When this is set to <99 you get the Reverb signal with noPre-Delay,while a setting of <0> gives an even mix and a setting of 99> gives you purePre-Delayedreverb.

INPUT FILTER

This parameter adjusts the frequency of the low-passfilter which affects the audio before it reaches the Reverb input. Lower values remove high frequencies from the input signal, which is what to do if you want to make the Reverb effect less bright.

Part 6: Editing Effects

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/ 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. With these parameters you can simulate different surfaces of a room or hall, with softer surfaces absorbing more high frequencies and smaller rooms having faster low frequency decay.

Note: If the selected Reverb type is Gate or Reverse, the Low Decay parameter is unavailable (leaving only 13 pages of Reverb parameters available [10 in Config #2]).

DENSITY

Range of Settings: 00 to 99 Page 13 (Page 12 if Gated or Reverse type)

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; the reverb sounds more “dense”.

Note: If the select Reverb type is Large, the Density parameter is unavailable (leaving only 13 pages of Reverb parameters available [10 in Config #2]).

DIFFUSION

Range of Settings: 00 to 99 Page 14 (Page 13 if Gated or Reverse type)

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.

Part 6: Editing Effects

Note: Each graph above assumes a Density setting of 0 so as to better illustrate the Diffusion parameter.

Part 6: Editing Effects

[110] — OVERDRIVE (CONFIGURATION5 ONLY)

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

Alesis Qs7 Keyboard Manual

OVERDRIVE TYPE

The Soft Overdrive has less gain and provides slightly less distortion than the Hard Overdrive. Another difference is that the Hard setting will only provide distortion when the signal feeding the Overdrive effect is above the Overdrive Threshold setting (see below). However, with the Soft setting there will still be a slight bit of distortion if the signal is below the Overdrive Threshold setting.

OVERDRIVE THRESHOLD

This parameter sets the level which the signal must reach before the Overdrive effect will begin distorting. But it works differently than you might expect: A higher value means a lower Threshold. So with a high number, it doesn’t take much input before the Overdrive effect will start to distort. When set to a low number, the distortion will not occur until the signal becomes louder than the Threshold setting.

OVERDRIVE BRIGHTNESS

This parameter sets the tone of the Overdrive effect. 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. When set to “<99”, the Overdrive effect cannot be heard at all. When set to “<0>”, you have an even mix between the original, uneffected signal and the overdriven signal. When set to “99>”. only the overdriven effect is heard.

Part 6: Editing Effects

Alesis Qs7 Manual Pdf

[120] — EFFECTMIX

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 QS. Each Effect send has a separate Mix page for any effect module that feeds the main outputs. If an Effect send has no effect modules due to the Configuration, or if a particular Effect module isn’t available on that Send, you’ll see the message NOT IN CONFIG.

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.

This is what you’ll see on page 1 of the Mix function for Send 1 in Configurations 1 and 4. Depending on the selected Configuration and Send, you may see something different on page 1. This is because the order and availability of the effects differs from one Configuration to the next. For example: for Send 1 in Configuration #1, the order reads Pitch, Delay, Reverb; but in Configuration #2, the order of effects for Send 1 is Delay, Pitch, Reverb.

PITCH LEVEL

Adjusting this value will cause the Pitch Output Level for that Send to increase or decrease. Even if this parameter is set to 00, the output of the Pitch section can still feed other Effect modules (depending on the Configuration).

DELAY LEVEL

Adjusting this value will cause the Delay Output Level for that Send to increase or decrease. Even if this parameter is set to 00, the output of the Delay section can still feed other Effect modules (depending on the Configuration).

Part 6: Editing Effects

REVERB LEVEL

Adjusting this value will cause the overall Reverb Output Level to increase or decrease.

Note: If you pull this parameter down, you will be taking down the reverb for all of the sends at once (except for Configuration #2, which contains two separate Reverb effects). This means you won’t be able to hear Reverb regardless of how much input you feed it from any of the effect buses.

So if you want to pull down the Reverb level for Send 1 without affecting the other sends, press the Reverb button [100] and use the[PAGE] buttons to find the RvbIn Level parameter (page 4 in most Configurations). This controls the amount of Send 1 which gets fed to the Reverb (and it’s quicker than going back to Program Edit mode or Mix Edit mode and editing the Effect Send levels of however many Sounds or Programs may be feeding Send 1). This is also the function you would use to set each of the other Sends’ levels to the Reverb.

See pages 91 and 92 for further discussion regarding setting the Reverb Input Level for Sends 2 through 4.

LEZLIE LEVEL

This parameter is only available in Configurations 3 and 5. Adjusting this value will cause the Lezlie Output Level to increase or decrease.

Note: In Configuration #3 if this parameter is set to 00, the output of the Lezlie effect can still feed the Delay and Reverb modules.

Alesis Qs7 Service Manual

OVERDRIVE LEVEL

Adjusting this value will cause the Overdrive Output Level to increase or decrease. Even if this parameter is set to 00, the output of the Overdrive can still feed other Effect modules in this Configuration.