Alesis qs6.1 Guía De Referencia
Editing Programs: Part 8
QS6.1 Reference Manual
109
A
MP
Each voice/filter combination is followed by an amplifier whose level can be
controlled by a variety of modulation sources. This allows for creating sounds with
percussive or slow attacks, particular types of decays, tremolo, etc.
controlled by a variety of modulation sources. This allows for creating sounds with
percussive or slow attacks, particular types of decays, tremolo, etc.
Filter and amp settings can interact. If the filter cutoff is extremely low, then no
signal will get through, no matter how the amp is set. Similarly, setting the amp for a
short decay wonÕt let you hear any filtering set for a longer decay. This is because the
volume will reach zero before the filter decay finishes.
signal will get through, no matter how the amp is set. Similarly, setting the amp for a
short decay wonÕt let you hear any filtering set for a longer decay. This is because the
volume will reach zero before the filter decay finishes.
A
BOUT
M
ODULATION
In this manual, the word "modulation" means "to modify some aspect of a sound
over time". Since oscillators make static sounds (unlike acoustic instruments, whose
timbre and dynamics changeÑoften radicallyÑover the duration of a note),
modulation is the key to making rich and expressive sounds. The vibrato of a flute,
the expression pedal of an organ, a wah-wah pedal on a guitar--all of these are
examples of modulation. You're probably familiar with the mod wheel of a
synthesizer, which typically adds vibrato to a Program as it is raised. But in
synthesizer programming, modulation is used to control even the basic
characteristics of a voice: its attack, decay, and release times, for example. Every box
in the signal diagram on page 107 pointing towards the Voice, Filter, or Amp boxes is
a modulation source. The amount of modulation, the time it takes place, and what
controls (such as key velocity, footpedals, aftertouch, mod wheel etc.) affect it are
important parameters in every Program. The QS6.1 provides the modulation
flexibility of patch cord-based instruments, but with the convenience and ease of use
of digital technology.
over time". Since oscillators make static sounds (unlike acoustic instruments, whose
timbre and dynamics changeÑoften radicallyÑover the duration of a note),
modulation is the key to making rich and expressive sounds. The vibrato of a flute,
the expression pedal of an organ, a wah-wah pedal on a guitar--all of these are
examples of modulation. You're probably familiar with the mod wheel of a
synthesizer, which typically adds vibrato to a Program as it is raised. But in
synthesizer programming, modulation is used to control even the basic
characteristics of a voice: its attack, decay, and release times, for example. Every box
in the signal diagram on page 107 pointing towards the Voice, Filter, or Amp boxes is
a modulation source. The amount of modulation, the time it takes place, and what
controls (such as key velocity, footpedals, aftertouch, mod wheel etc.) affect it are
important parameters in every Program. The QS6.1 provides the modulation
flexibility of patch cord-based instruments, but with the convenience and ease of use
of digital technology.
With some parameters, the modulation amount can be positive or negative. A
positive control signal increases the value of the parameter being controlled. A
negative control signal decreases the value of the parameter being controlled. Setting
modulation to 00 turns off the modulation source. Example: Keyboard velocity can
either make a Sound brighter the harder you play (positive modulation), make it less
bright (negative modulation), or have no effect on the Filter at all. You have the
freedom to set modulation any way you want, even in ways that are the opposite of
what they would be on an acoustic instrument.
positive control signal increases the value of the parameter being controlled. A
negative control signal decreases the value of the parameter being controlled. Setting
modulation to 00 turns off the modulation source. Example: Keyboard velocity can
either make a Sound brighter the harder you play (positive modulation), make it less
bright (negative modulation), or have no effect on the Filter at all. You have the
freedom to set modulation any way you want, even in ways that are the opposite of
what they would be on an acoustic instrument.
If a ÒbaselineÓ setting exists for a parameter, modulation amounts add or subtract
values from the existing setting. However, modulation cannot force a value beyond
its maximum range. For example, if the Amp is already at its minimum value (lowest
level), you could apply positive modulation to raise the level. But applying negative
modulation will not affect the Amp level, since it's already at its lowest value and
cannot go any lower.
values from the existing setting. However, modulation cannot force a value beyond
its maximum range. For example, if the Amp is already at its minimum value (lowest
level), you could apply positive modulation to raise the level. But applying negative
modulation will not affect the Amp level, since it's already at its lowest value and
cannot go any lower.
The QS6.1 lets you assign several modulation sources to one modulation ÒtargetÓ
parameter, which allows for interaction between two modulation signals. Example: If
the Amp parameter responds to both the envelope generator and a pedal, the
amplitude will follow the general envelope shape but will also be influenced by the
pedal.
parameter, which allows for interaction between two modulation signals. Example: If
the Amp parameter responds to both the envelope generator and a pedal, the
amplitude will follow the general envelope shape but will also be influenced by the
pedal.