Alesis qs6.1 Guía De Referencia
Editing Programs: Part 8
QS6.1 Reference Manual
105
P
ART
8
E
DITING
P
ROGRAMS
O
VERVIEW
Synthesizer programming is the art and science of shaping sounds in a particular
way by altering the parameters of various components of the sound. Like music
itself, learning synth programming is an ongoing process. Although this manual
presents information about synthesizer programming, no manual can offer a
complete course in programming (at least for a price customers would be willing to
pay!).
way by altering the parameters of various components of the sound. Like music
itself, learning synth programming is an ongoing process. Although this manual
presents information about synthesizer programming, no manual can offer a
complete course in programming (at least for a price customers would be willing to
pay!).
If youÕre new to synthesizer programming, the best way to learn is to adjust different
parameters as you play to discover how different parameter values affect the sound.
Also, become familiar with the signal and modulation flow within the QS6.1 (as
shown in the various block diagrams included in this manual) so that you can
understand the many ways in which you can process a signal as it works its way
from oscillator to output.
parameters as you play to discover how different parameter values affect the sound.
Also, become familiar with the signal and modulation flow within the QS6.1 (as
shown in the various block diagrams included in this manual) so that you can
understand the many ways in which you can process a signal as it works its way
from oscillator to output.
T
HE
“N
ORMALIZED
” S
YNTH
V
OICE
The first synthesizers were comprised of various hardware modules, some of which
generated signals, and some of which processed those signals. These were designed
to be general-purpose devices since nobody was quite sure how they would be
applied; some engineers used them as signal processors, while keyboard players
treated them as musical instruments. Patch cords connected the inputs and outputs of
the various signal generating and processing modules (which is why particular synth
sounds were called patches). Changing a patch involved manually repositioning
patch cords and adjusting knobs and switches; recreating a patch required writing
down all the patch settings on paper so they could be duplicated later. Even then,
due to the imprecision of analog electronics, the patch might not sound exactly the
same.
generated signals, and some of which processed those signals. These were designed
to be general-purpose devices since nobody was quite sure how they would be
applied; some engineers used them as signal processors, while keyboard players
treated them as musical instruments. Patch cords connected the inputs and outputs of
the various signal generating and processing modules (which is why particular synth
sounds were called patches). Changing a patch involved manually repositioning
patch cords and adjusting knobs and switches; recreating a patch required writing
down all the patch settings on paper so they could be duplicated later. Even then,
due to the imprecision of analog electronics, the patch might not sound exactly the
same.
Over the years, certain combinations of modules seemed to work better than others,
and since patch cords were troublesome to deal with, eventually these modules were
wired together in a ÒnormalizedÓ configuration. ("Normalized" in this sense means
internally patched, and that the signal generally flows through the modules in a pre-
determined direction.) Synthesizers such as the MiniMoogª, Prophet-5ª, and
others eliminated the need for patch cords by containing a normalized collection of
sound modules (including oscillators, filter, envelopes, LFOs, etc.).
and since patch cords were troublesome to deal with, eventually these modules were
wired together in a ÒnormalizedÓ configuration. ("Normalized" in this sense means
internally patched, and that the signal generally flows through the modules in a pre-
determined direction.) Synthesizers such as the MiniMoogª, Prophet-5ª, and
others eliminated the need for patch cords by containing a normalized collection of
sound modules (including oscillators, filter, envelopes, LFOs, etc.).
The QS6.1 offers the best of both worlds. The most commonly-used, normalized
configurations are built-in to every program for ease of programming. In addition,
the QS6.1 Modulation Matrix gives back much of the flexibility of a modular
synthesizer, allowing you to map various modulation sources to multiple
destinations for special needs. If youÕre a beginner, all of the normalized pathways
are easy to find; as you gain experience you can explore more advanced features.
configurations are built-in to every program for ease of programming. In addition,
the QS6.1 Modulation Matrix gives back much of the flexibility of a modular
synthesizer, allowing you to map various modulation sources to multiple
destinations for special needs. If youÕre a beginner, all of the normalized pathways
are easy to find; as you gain experience you can explore more advanced features.