Alesis qs6.1 Guía De Referencia
Part 8: Editing Programs
108
QS6.1 Reference Manual
T
HE
V
OICE
This digitally-based oscillator provides the actual raw sounds from the 16 megabyte
library of on-board samples. These "raw sounds" can take the form of a simple synth
wave, a multi-sample of a grand piano, an orchestra, or even a full drumkit! The
oscillatorÕs pitch can be tuned to a fixed frequency or modulated. Modulation is the
process of varying a parameter dynamically over time; the oscillator pitch can be
modulated by an envelope, velocity, pressure, pedal, LFO, and other control sources
(described later). In this manual we frequently refer to the "Sound", which is a
combination of the Voice, the Filter, the Amplitude section, and the various ways of
modulating them.
library of on-board samples. These "raw sounds" can take the form of a simple synth
wave, a multi-sample of a grand piano, an orchestra, or even a full drumkit! The
oscillatorÕs pitch can be tuned to a fixed frequency or modulated. Modulation is the
process of varying a parameter dynamically over time; the oscillator pitch can be
modulated by an envelope, velocity, pressure, pedal, LFO, and other control sources
(described later). In this manual we frequently refer to the "Sound", which is a
combination of the Voice, the Filter, the Amplitude section, and the various ways of
modulating them.
In their raw forms (such as you would hear after re-initializing the QS6.1) the
samples on the QS6.1 have a constant sustaining amplitude, like an organ. In order
to shape the sound so it fades, you would use an envelope or two (keep reading!).
samples on the QS6.1 have a constant sustaining amplitude, like an organ. In order
to shape the sound so it fades, you would use an envelope or two (keep reading!).
L
OWPASS
F
ILTER
A lowpass filter varies a signalÕs harmonic content by progressively increasing
attenuation above a specified cutoff frequency. The higher frequencies are filtered,
while the lower frequencies are allowed to Òpass-thru.Ó When the cutoff frequency is
set high, the sound becomes brighter; when set low, the sound becomes bassier since
fewer harmonics are present.
attenuation above a specified cutoff frequency. The higher frequencies are filtered,
while the lower frequencies are allowed to Òpass-thru.Ó When the cutoff frequency is
set high, the sound becomes brighter; when set low, the sound becomes bassier since
fewer harmonics are present.
Frequency Response Curve
Cutoff
Frequency
Filter
Amplitude
Frequency
00
99
The cutoff parameter changes the frequency at which the high-
frequency response starts to roll off. Lower values give a lower
cutoff frequency. A value of 00 will cut all sound off.
frequency response starts to roll off. Lower values give a lower
cutoff frequency. A value of 00 will cut all sound off.
Static (non-changing) filter settings can be useful, but varying the filter cutoff
dynamically over time often produces more interesting effects. Modulating with
velocity can produce brighter sounds when you play harder, which produces a more
accurate acoustic instrument simulation. Modulating with an envelope can create a
pre-defined change in harmonic structure, such as having a brighter attack and
bassier sustain portion (the point at which the envelope rests before you release the
key).
dynamically over time often produces more interesting effects. Modulating with
velocity can produce brighter sounds when you play harder, which produces a more
accurate acoustic instrument simulation. Modulating with an envelope can create a
pre-defined change in harmonic structure, such as having a brighter attack and
bassier sustain portion (the point at which the envelope rests before you release the
key).