User manual ALESIS QSRPROGRAMCHART

[. . . ] This section provides a brief tour of the QSRPROGRAMCHARTPROGRAMCHART, shows you how to audition the various sounds of the QSRPROGRAMCHARTPROGRAMCHART, and points out the various performance features. Details rear panel connections (like MIDI, footpedals and the serial interface), proper hook-up procedures, plus application examples. Covers the structure of sound sources within the QSRPROGRAMCHARTPROGRAMCHART, how to read and navigate through the LCD display pages, how to edit parameters, and how to store edited Programs and Mixes. Describes all global functions, such as Master Tuning and Program Change Mode. [. . . ] In other words, a new voice is used each time a new note of a different pitch is played. The Sound Overlap value lets you choose a comfortable setting between rotate mode and reassign mode. When the value equals 99, you are always in rotate mode, using up polyphony; if the value is 00, you are always in reassign mode, conserving voices. Set the value anywhere between 00 and 99 and you will get a combination of both, with partiality toward whichever mode the value is closest to. A piano sound requires some Sound Overlap, but not a lot; it isn't natural to hear too many voices on the same note. On the other hand, having only one voice per pitch isn't natural either; let's say you played a loud note with the sustain pedal held, followed by a soft note--the second note would abruptly cut-off the first. On a real piano, the string would still be resonating from the first (loud) note when the second (soft) note was played; thus the two notes would overlap. It is important to note that Sound Overlap can have a negative effect on polyphony. If you have Sound Overlap set to 99, hold the sustain pedal and play a series of notes, you will run through all 64 voices in no time. By adjusting the Sound Overlap to a lower value, you decrease the number of voices used by each new note, and thereby ensure there are voices available to play other sounds, if necessary. QSRPROGRAMCHARTPROGRAMCHART Reference Manual 18 Editing Programs: Chapter 6 PITCH ENVELOPE The Pitch Envelope function can lead to dramatic effects, since it can cause the pitch of a single key to change drastically over time. It's typically used in special-effect synthesizer programs, but it may also be used more subtly in an acoustic program to simulate the characteristic of some instruments to go sharp on the initial attack, especially when played hard. The following Pitch Envelope variables will have an effect only if the PITCH ENVELOPE DEPTH (on Page 7 of the PITCH function) is set to a value other than 0, or, if Pitch Envelope is a source in the MOD function. Attack (00 to 99) Page 1 This is the amount of time the envelope will take until it reaches its maximum output level. Setting the Attack to 0 will make the pitch go to maximum immediately on hitting the key (if the Delay is also set to 0 in Pitch Envelope, Page 5 -- see next page); a setting of 99 will result in a much slower attack, taking many seconds before the envelope gets to maximum. Decay & Sustain (00 to 99) Pages 2 & 3 As soon as the attack portion of the envelope finishes (when the level reaches maximum), the envelope will decay (decrease in level). You may select either Freerun or Reset, or both (Reset-Freerun) or neither (Normal). When set to Normal, the envelope will always start at its current level (i. e. , if another note had been played which triggered the envelope's cycle, playing another note in the middle would not interrupt the cycle). Also in Normal mode, the envelope will immediately advance to its release stage upon releasing the note. When set to Freerun, the envelope will complete its entire cycle, even if the note is released in the middle. When set to Reset, the envelope starts at the beginning whenever a new note is played. When set to Reset-Freerun, the envelope will start at the beginning whenever a new note is played and will complete its entire cycle, even if the note is released in the middle. If a sound layer's Keyboard Mode parameter (found in the Pitch Function, Page 10) is set to "Mono", the Pitch Envelope will only retrigger when playing legato if the Trigger Mode is set to either "Reset" or "Reset-Freerun". Time Tracking (On or Off) Page 8 This determines whether or not keyboard position will affect the cycle speed of the envelope. When turned on, playing toward the higher end of the keyboard will result in a faster envelope cycle; playing toward the lower end of the keyboard will result in a slower envelope cycle. However, this does not effect the attack time, but only the decay, sustain decay and release segments. This feature will result in only a subtle change. The envelope's timing doubles or halves over a range of two octaves. QSRPROGRAMCHARTPROGRAMCHART Reference Manual 20 Editing Programs: Chapter 6 Sustain Pedal (On or Off) Page 9 This determines whether or not a Sustain Pedal will have an effect on the envelope. [. . . ] 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). Signals all rhythmically-based units when to start playing. Signals all rhythmically-based units when to stop playing. [. . . ]