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Alesis GT Reference Manual

Alesis quadraverb gt audio-digital processor: reference manual.

 
ALESIS
QuadraVerb GT
Reference Manual

Summary of Contents

  • Page 1

    ALESIS QuadraVerb GT Reference Manual...

  • Page 2: Table Of Contents

    Tunable Resonators...18 Sampling...18 Mixer...18 Modulation ...19 ÒBi-TimbralÓ Effects...19 2.2 ABOUT CONFIGURATIONS...20 #1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb 21 #2 Preamp > Lezlie > Delay > Reverb...22 #4 Preamp > 5 Band EQ > Tremolo/Panning >...23...

  • Page 3: Table Of Contents

    #5 Preamp > 3 Band EQ > Reverb...24 #6 Preamp > Ring Modulator > Delay > Reverb...25 #7 Preamp > Resonators > Delay > Reverb ...25 #8 Preamp > Sampling ...26 CHAPTER 3 - BASIC EDITING TECHNIQUES ...27 3.1 HOW EDITING WORKS ...27 3.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS 29...

  • Page 4: Table Of Contents

    Delay Type (configs 1, 2, 3, 4, 6, 7)...43 Delay Input 1 (configs 1, 4, 6, 7) ...44 Delay Input (config 3)...44 Delay Input Mix (configs 1, 2, 4, 6, 7)...45 Delay Time (configs 1, 2, 3, 4, 6, 7)...45 Delay Feedback (configs 1, 2, 3, 4, 6, 7)...46 Right Delay Time (configs 1, 2, 3, 4, 6, 7) ...46 Delay Feedback Right (configs 1, 2, 3, 4, 6, 7)...46...

  • Page 5: Table Of Contents

    High EQ Frequency (3 Band EQ mode only) ...60 High EQ Amplitude (3 Band EQ mode only)...60 4.9 EDITING LEZLIE EQ PARAMETERS (config 2)...61 High Rotor Level ...61 4.10 EDITING 11-BAND GRAPHIC EQ PARAMETERS (config 3) ...61 EQ Preset ...61 Graphic Frequencies and Levels...62 4.11 EDITING 5-BAND EQ AND RESONATOR PARAMETERS (config 4)63 EQ Preset ...63...

  • Page 6: Table Of Contents

    Pitch Output Level...75 Delay Output Level...75 Reverb Output Level...76 Modulation ...76 Modulation Depth...76 Modulation Speed ...76 4.15 EDITING MIX PARAMETERS...77 Direct Signal Level...77 Master Effects Level...77 Lezlie Output Level...77 Delay Output Level...78 Reverb Output Level...78 4.16 EDITING MIX PARAMETERS...78 Direct Signal Level...78 Master Effects Level...79 EQ Output Level...79 Delay Output Level...79...

  • Page 7: Table Of Contents

    Resonator Output Level...88 Delay Output Level...88 Reverb Output Level...88 CHAPTER 5 Ð SAMPLING ...89 5.1 SELECTING THE SAMPLING CONFIGURATION...89 5.2 RECORDING A SAMPLE...89 Recording By Audio Trigger...90 Recording from the Front Panel...90 Playing Back a Sample ...91 Front Panel Playback ...92 Audio Trigger Playback...92 MIDI Playback ...93 Select MIDI Trigger Mode ...93...

  • Page 8: Table Of Contents

    8.2 MIDI HARDWARE...116 8.3 MIDI MESSAGE BASICS...117 8.4 CHANNEL MESSAGES ...117 8.4A Voice Messages...117 8.4B Mode Messages ...119 8.5 SYSTEM COMMON MESSAGES...120 8.6 BOOKS ON MIDI ...121 8.7 VIDEOS ON MIDI...121...

  • Page 9: Introduction

    CHAPTER 1 Ð GETTING STARTED 1.1 INTRODUCTION What It Is The Alesis QuadraVerb GT is a stereo effects unit that is ideal for guitar. It combines analog and digital electronics to provide the best of both worlds. Analog effects include: ¥...

  • Page 10: Features, System Hookup Basics

    QuadraVerb GT's sound. Or, patch the QuadraVerb GT into an ampÕs effects loop. This lets the QuadraVerb GT process the amp's internal sound, and in some cases, lets you use the amplifier's preamp section as an alternate to the QuadraVerb GT's internal preamp.

  • Page 11: Ac Transformer Hookup, Audio Hookups, Mono In, Mono Out

    AC Transformer Hookup Plug the QuadraVerb GT's AC adapter into the wall. The smaller plug inserts into the 9 VAC power jack on the QuadraVerb GT's rear panel. To prolong the AC adapter's life, unplug it from AC power when not in use (turning off the QuadraVerb GT's power switch does not disconnect the AC adapter from AC power).

  • Page 12: Mono In, Stereo Out, Stereo In, Stereo Out

    Mono In, Stereo Out From guitar Application Mono guitar feeding a stereo amp, PA, or mixer. Hookup Patch the guitar into the right input and feed the right and left outputs to your amplifier. Stereo In, Stereo Out From guitar Left Input Application Stereo guitar feeding a stereo amp, PA, or mixer.

  • Page 13: Mono Send, Mono Return Effects Loop, Mono Send, Stereo Return Effects Loop

    QuadraVerb GT. Hookup Patch the effects loop send into the right QuadraVerb GT input and patch the QuadraVerb GT's right and left outputs to the effects loop stereo return. to effects...

  • Page 14: Stereo Send, Stereo Return Effects Loop

    QuadraVerb GT. Hookup Patch the effects loop sends into the right and left QuadraVerb GT inputs, and patch the QuadraVerb GT's right and left outputs to the effects loop stereo return. to effects...

  • Page 15: Interfacing With Mixer Stereo Effects Sends, Footswitch Hookup

    Hookup Patch the mixer's auxiliary bus (or effects bus) sends into the right and left QuadraVerb GT inputs, and patch the QuadraVerb GT's right and left outputs to the mixer's stereo returns or if not available, two standard mixer channel inputs.

  • Page 16: External Effects Hookup

    5.7. 1.5 EXTERNAL EFFECTS HOOKUP The QuadraVerb GT offers an effects loop where you can patch in effects other than the ones included in the unit (you might want to insert, for example, a wah-wah pedal or vintage fuzz).

  • Page 17: Setting Levels, Check Out The Factory Programs

    After hooking up your cables, set the proper levels. Start off with your amplifier turned down to a low volume to prevent any ear-shattering surprises as you learn about the QuadraVerb GT. After you know what you're doing, increase the level to normal monitoring levels.

  • Page 18: Selecting Programs, Midi Hookup

    MIDI works. The most popular MIDI applications are hooking up a MIDI footswitch to change programs, and/or a MIDI continuous controller pedal to vary QuadraVerb GT parameters in real time, as you play. The following sections describe how this process works.

  • Page 19: Midi Program Selection

    ¥ Other effects boxes If you use more than one effects box, calling up a program on it will often send a corresponding program change through its MIDI Out. NOTE: Your QuadraVerb GT and the MIDI footswitch must both be set to the same MIDI channel to execute program changes. MIDI In...

  • Page 20: Midi Controller Pedal Hookup

    (e.g., Anatek Pocket Pedal). Synthesizers and other devices also generate MIDI continuous controller data. If you want to feed the QuadraVerb GT with both a footswitch for program change control and a pedal for real time control, either the footswitch or pedal will need a merging input, or you will need a MIDI merger.

  • Page 21: Midi Thru/out Hookup, Rock Out

    QuadraVerb GT. 1.9 ROCK OUT! Play for a while and get a feel for how the QuadraVerb GT sounds. The factory programs give a good idea of what the QuadraVerb GT can do, and can also be modified later on if you want to customize the factory programs to your own specifications.

  • Page 22: About The Quadraverb Gt's Effects, Preamp, Reverb, Chapter 2 Ð Quadraverb Gt Modules And Configurations

    Many guitarists will find that the 90 factory presets take care of most, if not all, of their musical needs. However, the QuadraVerb GT is a very flexible device and comes into its own when edited to your own specific needs.

  • Page 23: Delay, Pitch Change

    ¥ Mono Delay Because this is a single delay line, it has twice the maximum delay time of the stereo delay (up to 1500 ms). ¥ Multitap Delay Available only in the 5 BAND EQ > PITCH > DELAY configuration, this delay includes 8 taps with variable delay time, volume, panning, and feedback amount for each tap.

  • Page 24: Equalization

    1960s. Equalization Equalization provides control over the tone of your signal by altering the frequency response in various ways. The QuadraVerb GT's three different types of EQ are: ¥ 3 Band Parametric This combines high and low frequency shelving equalizers (like the tone controls found on stereo systems and guitar amps) along with a sweepable midrange parametric stage (see Ó5 Band...

  • Page 25

    The middle band is parametric and offers amplitude, frequency, and bandwidth parameters as described next. ¥ 5 Band Parametric This is identical to the 3 Band Parametric but offers two additional sweepable midrange stages with variable boost or cut, frequency, and bandwidth. The following diagram shows the relationship between three parameters.

  • Page 26: Panning And Tremolo, Ring Modulation, Tunable Resonators, Sampling, Mixer

    Sampling Sampling is the process of digitally recording a signal into the QuadraVerb GT's memory, which can then be triggered via an external audio input (e.g., a snare drum sound coming from a tape track), a front panel button, or a MIDI note. Different MIDI notes will transpose the sample.

  • Page 27: Modulation, Òbi-timbralÓ Effects

    ÒBi-TimbralÓ Effects The QuadraVerb GT can serve as two separate effects units by proper patching to and from the effects loop. For example, consider a situation where a guitarist plays guitar and sings. Plug the guitar into the QuadraVerb input;...

  • Page 28: About Configurations

    to Amplifier From guitar Right Input 2.2 ABOUT CONFIGURATIONS No matter which program you select, the analog effects are always in the same order. However, the digital effects can be connected together in one of eight different ways, each of which is called a configuration. A configuration doesn't just include a specific collection of effects, but also the way in which they interconnect (e.g., whether the delay signal is derived from an equalized or non-equalized signal).

  • Page 29: Preamp > Eq > Tremolo/panning > Pitch > Delay > Reverb

    #1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb Pitch Input INPUT PREAMP Preamp Pre/Post EQ QuadModeª is a complex configuration that offers comprehensive switching and mixing possibilities. ItÕs excellent for creating larger-than- life, animated sounds. The Pitch module can switch its input between the preamp or EQ signals.

  • Page 30: Preamp > Lezlie > Delay > Reverb

    #2 Preamp > Lezlie > Delay > Reverb INPUT PREAMP This is similar to the QuadModeª configuration, but replaces the EQ and Pitch modules with a Lezlie (rotating speaker simulator) module and does not have a Preamp level control. The Lezlie module simulates the common two-speaker system with two different speeds.

  • Page 31: Preamp > 5 Band Eq > Tremolo/panning

    This combines the 11 band graphic EQ with delay. The EQ provides sophisticated sound-shaping for the preamp sound, and the delay adds ambience for lead effects. #4 Preamp > 5 Band EQ > Tremolo/Panning > Pitch Change > Delay Configuration 4...

  • Page 32: Preamp > 3 Band Eq > Reverb

    INPUT This is the recommended configuration when you want the best possible reverb sound. By restricting the number of effects, the QuadraVerb GT can devote its full computing power to creating awesome reverberation effects. However, EQ is still available for additional tone shaping, as is a simpler version of chorusing.

  • Page 33: Preamp > Ring Modulator > Delay > Reverb, Preamp > Resonators > Delay > Reverb

    #6 Preamp > Ring Modulator > Delay > Reverb Configuration 6 INPUT PREAMP This configuration features the Ring Modulation in conjunction with Delay and Reverb. The Ring Modulator is not available in other configurations. The Ring Modulator produces two outputs, both of which are mathematically derived (sum and difference frequencies) from the input signal.

  • Page 34: Preamp > Sampling

    #8 Preamp > Sampling INPUT PREAMP In this configuration, you can record sounds (processed by the Preamp if desired) into the QuadraVerb GT and play them back in a variety of ways. Configuration 8 Stereo Audio MIDI Looping Trigger Trigger...

  • Page 35: How Editing Works, Chapter 3 - Basic Editing Techniques

    CHAPTER 3 - BASIC EDITING TECHNIQUES Editing is the key to using the QuadraVerb GT to its fullest potential. If you like a sound but want more reverb, less treble, more distortion, or whatever, editing is the answer. Make sure that if you develop a custom set of programs, that you save your data to some form of MIDI system exclusive storage device, like the Alesis DataDisk (see sections 5.5-5.6).

  • Page 36

    QuadraVerb GT's MIDI modulation parameters. (See section 3.4) 3. Change the Parameter's Value A parameter's value is like the Òcalibration scaleÓ a knob would point to on a regular guitar effects box, except instead of setting a physical device to a certain position, you see the parameter setting on the screen and adjust its value with a pair of buttons (increase/decrease value).

  • Page 37: Comparing Edited And Non-edited Versions Of Programs, Saving (storing) Edited Programs

    3.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS Editing a program does not change the original version permanently until it is stored (see section 3.3 below). Because your edited version is separate from the original, you can compare the two versions without altering the original.

  • Page 38: Renaming Programs, Recalling Individual Factory Programs

    (in addition to a blank space, Yen symbol, and left and right arrows) are: Ò > 3. Use the VALUE buttons to select the desired character. To enter a space, press both VALUE buttons simultaneously (or press the DOWN VALUE button and scroll to the last character of the character list, which is a blank space).

  • Page 39: Recalling All Factory Programs

    RECALL ALESIS PROG Y Y INTO XX 3. Press either VALUE button to select the program to be recalled (the first parameter). 4. Press the PAGE UP button again to move the cursor under the second parameter. 5. The factory program will be recalled into the program selected as the second parameter.

  • Page 40: Selecting A Configuration, Chapter 4 Ð Editing Configuration Parameters

    The parameter value shown for each page will usually be representative, but when you actually call up the page on the QuadraVerb GT, a different parameter value from the one shown in the manual may appear.

  • Page 41: Selecting A Configuration Module For Editing, Editing Preamp Parameters, Compression, Overdrive

    Distortion module (which is used more for leads). The overdrive stage also gives a fuller, more harmonically dense sound than the Distortion module. The QuadraVerb GT's Overdrive stage utilizes both odd and even order harmonics to NOT USED IN THIS CONFIGURATION...

  • Page 42: Distortion, Preamp Tone

    It is important to note that you can get quite a different tone from combining Overdrive and Distortion in addition to using either of the effects independently. Distortion The QuadraVerb GT includes several distortion options, as selected with the VALUE buttons. DISTORTION: Off No distortion 1 Mild distortion for rhythm guitar &...

  • Page 43: Bass Boost, Cabinet Simulator, Effect Loop

    PA, choose either Cabinet 1 (sounds like two 10Ó speakers) or Cabinet 2 (simulates a cabinet with four 12Ó speakers). When using the QuadraVerb GT with a standard guitar amp, leave this set to Off. However, if you like the sound of the cabinet simulators while using a guitar amp, it's perfectly OK to use these settings.

  • Page 44: Noise Gate, Preamp Out Level

    You can set the Quadraverb GT's noise gate threshold manually, or you can enable the Auto Gate feature to set it for you. The auto gate estimates a moderate gate level for you, depending on the amount of compression and distortion you have chosen.

  • Page 45: Editing Reverb Parameters, Reverb Type (configs 1, 2, 5, 6, 7)

    1. Press the BYPASS button and play your guitar. Even though you won't hear any effects, check the QuadraVerb GT's input level meter. If the red clip light still lights, turn down the Input knob. 2. If the clip LED doesn't light with the BYPASS button pressed, press it again to disengage the bypass function.

  • Page 46: Reverb Input (config 5), Reverb Input 2 (configs 1, 2, 6, 7)

    module. ¥ Ring Output [6] The reverb signal comes from the Resonator Output. ¥ Resonator Output [7] The reverb signal comes from the Resonator Output. ¥ Pitch Output [1] The reverb signal comes from the pitch module output. ¥ Delay Mix Input [1, 2, 6, 7] The reverb signal comes from the Delay input, which consists of a blend, selected by the Delay Input Mix parameter, of the pitch output and either pre- or post-EQ signal (as selected by the Delay Input 1 switch).

  • Page 47: Reverb Predelay (configs 1, 2, 5, 6, 7)

    Larger numbers with the arrow pointing toward 1 indicate that more of the signal from Reverb Input 1 will be selected. When set to ¬99, only the signal from Reverb Input 1 will feed the reverb. Larger numbers with the arrow pointing toward 2 indicates that more of the signal from Reverb Input 2 will be selected.

  • Page 48: Reverb Decay (configs 1, 2, 5, 6, 7)

    by the predelay parameter. When set to 00, the predelayed and non-predelayed signals are mixed equally into the reverb. Larger numbers with the arrow pointing toward POST indicate that more of the predelayed signal will be selected. When set to 99® only the predelayed signal will feed the reverb.

  • Page 49: Reverb Density (configs 1, 2, 5, 6, 7)

    Reverb Density (configs 1, 2, 5, 6, 7) The display shows: Usually, in natural acoustic spaces, some time elapses between the first reflection and all other reflections that make up the reverb sound. If you listen to only the reverb with Density set to 1, you will hear the source sound repeat (the first reflection), a short bit of silence, then the onset of the rest of the reverb.

  • Page 50: Reverb High Frequency Decay (configs 1, 2, 5, 6, 7)

    Reverb High Frequency Decay (configs 1, 2, 5, 6, 7) The display shows: HIGH FREQUENCY DECAY: Separating the decay times for the high and low frequencies changes the timbral quality of the reverb over time. The value is always a negative number since this parameter shortens the time of reverb with high frequency content compared to the master reverb decay time parameter.

  • Page 51: Reverb Gate Release Time (configs 1, 2, 5, 6, 7)

    Reverb Gate Release Time (configs 1, 2, 5, 6, 7) The display shows: REVERB GATE RELEASE TIME: This parameter determines the period of time (00-99) over which the gate closes. 00 gives an extremely sharp cutoff; 99 gives a more gradual decay.

  • Page 52: Delay Input 1 (configs 1, 4, 6, 7), Delay Input (config 3)

    ¥ Stereo Delay Each audio channel has its own individual delay settings. The maximum delay depends on the chosen configuration: Configurations 1, 2, 6 Configurations 3, 4 Configuration 7 ¥ Ping-Pong Delay This delay bounces the delayed signal from left to right audio outputs, with the speed determined by the delay time.

  • Page 53: Delay Input Mix (configs 1, 2, 4, 6, 7)

    Delay Input Mix (configs 1, 2, 4, 6, 7) The display shows: The lower line shows the blend between the signal selected by Delay Input 1 and one of several module outputs, depending on the configuration: Configurations 1, 4 Pitch Configuration 2 Lezlie Configuration 6...

  • Page 54: Delay Feedback (configs 1, 2, 3, 4, 6, 7)

    Delay Feedback (configs 1, 2, 3, 4, 6, 7) With Mono or Ping Pong selected for delay type, the display shows: With Stereo selected, this will say DELAY FEEDBACK LEFT. Increasing the feedback increases the number of successive echoes; each echo will be softer than its predecessor.

  • Page 55: Multi Tap Number (config 4 Only), Multi Tap Delay Time (config 4 Only)

    Multi Tap Number (config 4 only) The display says: This parameter selects the tap to be edited on subsequent pages. IMPORTANT: When the Delay Time, Volume, Panning, or Feedback pages are selected, you can select the next higher-numbered tap by pressing the DELAY button.

  • Page 56: Multi Tap Panning (config 4 Only), Multi Tap Feedback (config 4 Only)

    Multi Tap Panning (config 4 only) The display says: X is the number of the tap selected for editing. This pans the tap output anywhere in the stereo field between full left (¬99) and full right (99®). Center is 00. Multi Tap Feedback (config 4 only) The display says: X is the number of the tap selected for editing.

  • Page 57: Pitch Mode (configs 1, 4), Editing Pitch Parameters

    4.6 EDITING PITCH PARAMETERS Configurations 1, 2, 4, 5, and 6 can access the pitch parameters. However, the pitch parameters are quite different for these configurations. Parameters are covered in the following order: Configurations 1 and 4 use pitch parameters in a relatively traditional manner (chorus, flange, pitch detune, and phase shifter).

  • Page 58: Pitch Input (configs 1, 4), Lfo Waveshape (chorus Only), Lfo Speed (chorus And Flange Only)

    Pitch Input (configs 1, 4) ¥ Preamp Output The pitch module input signal comes from the preamp output. ¥ EQ Output The pitch module input signal comes after the EQ module. LFO Waveshape (Chorus only) As mentioned earlier, in chorusing the pitch change is cyclical. There are two ways to modulate the pitch: ¥...

  • Page 59: Pitch Feedback (chorus And Flange Only), Trigger Flange (flange Only), Pitch Detune (detune Only)

    Pitch Feedback (Chorus and Flange only) The display says: Pitch feedback sends some of the output signal back to the input, from 00% to 99%. Higher numbers give a sharper, more resonant sound. Trigger Flange (Flange only) The display says: When on, a silence between incoming notes resets the flanger to its highest point, and as soon as a new note appears, the flanger sweeps downward.

  • Page 60: Phaser Speed (phaser Only), Phaser Depth (phaser Only), Lezlie Stereo Separation (config 2 Only)

    Phaser Speed (Phaser only) The display says: This parameter alters the rate of phaser modulation, from 01 (slow) to (fast) 99. Phaser Depth (Phaser only) The display says: This parameter determines the degree to which the modulation affects the phaser effect. Higher numbers increase the phaser sweep. Lezlie Stereo Separation (config 2 only) The display says: LEZLIE STEREO...

  • Page 61: Lezlie Speed (config 2 Only), Ring Modulator Spectrum Shift (config 6 Only)

    Because the speakers in a mechanical rotating speaker system weigh a lot, they take a while to get up to speed from a dead stop, and take a while to slow down when turned off. Turn this parameter off to slow the speakers down to a stop, or on to speed them up to the speed set on the next page;...

  • Page 62: Ring Modulator Delay/reverb Input (config 6 Only), Reverb Chorus Mode (config 5 Only)

    At ¬99, the output consists entirely of the downshifted signal. (With the QuadraVerb GT, excessive downshifting will not wear out the clutch. There is no clutch.) Ring Modulator Delay/Reverb Input (config 6 only) The display says: The ring modulator signal that can optionally feed the Delay and/or Reverb inputs can consist of any blend of the up and downshifted signals.

  • Page 63: Resonators, Eq, And Tone, A Word About Eq, Resonators, And Guitar Tone

    Its own unique tone. The Quadraverb GT's EQ/Resonator section gives you specific control over fundamental and harmonic overtones in your guitar's tone. The parametric EQ gives you precise control of the fundamentals of your guitar tone by increasing or decreasing the amplitude of specific pitches over a variable bandwidth.

  • Page 64: Programmable Tone Curves, Eq Preset, Editing 3-band Eq And Resonator Parameters (config 1)

    Programmable Tone Curves To simplify the process of getting a great guitar sound (after all, you'd rather play, right?), each configuration in the Quadraverb GT includes six preset tone curves with EQ and/or resonator parameters that have been pre-programmed to yield certain types of guitar tones with a minimum of programming.

  • Page 65: Resonator Tune (resonators + Eq Mode Only), Resonator Decay (resonators + Eq Mode Only)

    ¥ #3 (3 Band EQ Mode) ¥ #4 (3 Band EQ Mode) ¥ #5 (2 Resonator + 1 Band EQ Mode) ¥ #6 (2 Resonator + 1 Band EQ Mode) EQ Mode The display says: EQ MODE: R ESONATORS + EQ This page switches between the 3 BAND EQ and RESONATORS + EQ modes.

  • Page 66: Resonator Amplitude (resonators + Eq Mode Only), Low Eq Frequency (3 Band Eq Mode Only)

    Resonator Amplitude (Resonators + EQ mode only) The display says: This sets the volume level for resonator 1. The higher the number, the louder the output of the resonator. Please note that if both resonators are assigned a value of 00, you will not hear any sound in this configuration. Pressing the PAGE up button will show the Tune, Decay, and Amplitude pages for Resonator 2.

  • Page 67: Mid Eq Frequency, Mid Eq Bandwidth, Mid Eq Amplitude

    Mid EQ Frequency The display says: The midrange filter is a parametric type. This parameter sets the midrange frequency at which signals will be boosted or cut. Mid EQ Bandwidth The display says: Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQÕs boost and cut values.

  • Page 68: High Eq Frequency (3 Band Eq Mode Only)

    High EQ Frequency (3 Band EQ mode only) The display says: This sets the frequency above which all signals will be boosted or cut by the amplitude amount set on the next page. High EQ Amplitude (3 Band EQ mode only) The display says: This sets the amount of boost (positive numbers) or cut (negative numbers) at the High EQ Frequency set on the previous page.

  • Page 69: High Rotor Level, Eq Preset, Editing Lezlie Eq Parameters (config 2)

    4.9 EDITING LEZLIE EQ PARAMETERS (config 2) Configurations 2Õs EQ has one page that adjusts the timbre of the rotating speaker sound. High Rotor Level The display says: Rotating speakers generally have two different speaker drivers, one for high, and one for low frequencies. This parameter adjusts the level of the high frequency speaker from -20 dB lower than the low frequency speaker to +06 dB higher.

  • Page 70: Graphic Frequencies And Levels

    program, your edits will appear as the program's USER curve. Configuration 3 has 6 tone curves. They are: ¥ #1 (Graphic EQ Mode) ¥ #2 (Graphic EQ Mode) ¥ #3 (Graphic EQ Mode) ¥ #4 (Graphic EQ Mode) ¥ #5 (Graphic EQ Mode) ¥...

  • Page 71: Eq Preset

    4.11 EDITING 5-BAND EQ AND RESONATOR PARAMETERS (config 4) EQ Preset The display says: EQ PRESET: This page allows you to access 6 preset tone curves, or to create your own curve from scratch. The EQ and/or resonator parameters of the 6 preset curves have been programmed to give you a variety of tones to choose from.

  • Page 72: Low Eq Frequency, Low Eq Amplitude, Low Mid Eq Frequency (5 Band Eq Mode Only)

    EQ Mode The display says: EQ MODE: 5 RESONATOR/3 EQ This page switches between the 5 BAND EQ and 5 RESONATOR/3 EQ modes. Low EQ Frequency The display says: This sets the frequency below which all signals will be boosted or cut by the amplitude amount set on the next page.

  • Page 73: Low Mid Eq Bandwidth (5 Band Eq Mode Only)

    All three midrange filters are parametric types. This parameter sets the lower midrange frequency at which signals will be boosted or cut. Low Mid EQ Bandwidth (5 Band EQ mode only) The display says: Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQÕs boost and cut values.

  • Page 74: Mid Eq Bandwidth, Mid Eq Amplitude, Hi Mid Eq Frequency (5 Band Eq Mode Only)

    Mid EQ Bandwidth The display says: Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQÕs boost and cut values. Example: A bandwidth of one octave boosts a wider range of frequencies than a bandwidth of 0.2 octaves.

  • Page 75: Hi Mid Eq Bandwidth (5 Band Eq Mode Only)

    Hi Mid EQ Bandwidth (5 Band EQ mode only) The display says: Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQÕs boost and cut values. Example: A bandwidth of one octave boosts a wider range of frequencies than a bandwidth of 0.2 octaves.

  • Page 76: High Eq Amplitude, Resonator Number (5 Resonator/3 Eq Mode Only)

    High EQ Amplitude The display says: This sets the amount of boost (positive numbers) or cut (negative numbers) at the High EQ Frequency set on the previous page. Resonator Number (5 Resonator/3 EQ mode only) The display says: This selects a resonator to be edited. There are 5 resonators in 5 Resonator/3 EQ mode.

  • Page 77: Resonator Decay (5 Resonator/3 Eq Mode Only), Resonator Amplitude (5 Resonator/3 Eq Mode Only)

    Resonator Decay (5 Resonator/3 EQ mode only) The display says: This sets the decay time for each resonator. The higher the number, the longer the decay. Resonator Amplitude (5 Resonator/3 EQ mode only) The display says: This sets the volume level for each resonator. The higher the number, the louder the output of the resonator.

  • Page 78: Low Eq Amplitude, Low Eq Frequency

    current program by pressing the STORE button twice. To use a preset as a starting point for your own custom tone curve, simply edit its EQ and/or resonator parameters until you have the sound you want (for more about the specific parameters, see their explanations below). Then press the STORE button twice.

  • Page 79: Mid Eq Amplitude, Mid Eq Frequency, Mid Eq Bandwidth

    Mid EQ Frequency The display says: The midrange filter is a parametric type. This parameter sets the midrange frequency at which signals will be boosted or cut. Mid EQ Bandwidth The display says: Bandwidth refers to the width (range of frequencies) of the band of frequencies that will be affected by the EQÕs boost and cut values.

  • Page 80: High Eq Frequency, High Eq Amplitude, Resonator Gate Mode (config 7 Only)

    High EQ Frequency The display says: This sets the frequency above which all signals will be boosted or cut by the amplitude amount set on the next page. High EQ Amplitude The display says: This sets the amount of boost (positive numbers) or cut (negative numbers) at the High EQ Frequency set on the previous page.

  • Page 81: Resonator Decay (config 7 Only), Resonator Tune (config 7 Only), Editing Mix Parameters

    MIDI note-off message, it will decay to zero according to the decay time (set on the next page) even if thereÕs still a signal present at the QuadraVerb GT input. Resonator Decay (config 7 only) The display says: This sets a global decay time for all five resonators.

  • Page 82: Direct Signal Level, Master Effects Level, Preamp Signal

    Delay, and Reverb modules, tremolo or panning, and master/direct mix levels. Direct Signal Level The display says: This sets the level for the direct signal path. Use this and the Master Effects level control to balance the levels of the straight and processed signal paths.

  • Page 83: Preamp Level (appears Only With Pre-eq Preamp Signal)

    Preamp Level (appears only with Pre-EQ preamp signal) The display says: This mixes the preamp output signal into the master effects buss. Note that this level is dependent on the Preamp Output level found in the Preamp module. EQ Level (appears only with Post-EQ preamp signals) The display says: This mixes the EQÕed signal into the master effects output bus.

  • Page 84: Reverb Output Level, Modulation, Modulation Depth, Modulation Speed

    Reverb Output Level The display says: This mixes the reverberated signal into the master effects output bus. Modulation The display says: MODULATION: T REMOLO This allows you to choose between tremolo or panning. Modulation Depth The display says: This determines the depth of either the panning or tremolo, depending upon which you have selected.

  • Page 85: Master Effects Level, Direct Signal Level, Lezlie Output Level, Editing Mix Parameters

    upon which you have selected. 4.15 EDITING MIX PARAMETERS (config 2) Configuration 2 offers separate mix levels for the Lezlie, Delay, and Reverb modules, as well as master level (no preamp signal output is needed in this configuration). Direct Signal Level The display says: This sets the level for the direct signal path.

  • Page 86: Delay Output Level, Reverb Output Level, Direct Signal Level, Editing Mix Parameters

    This mixes the Lezlie output signal into the master effects output bus. Delay Output Level The display says: This mixes the delayed signal into the master effects output bus. Reverb Output Level The display says: This mixes the reverberated signal into the master effects output bus. 4.16 EDITING MIX PARAMETERS (config 3) Configuration 3 offers separate mix levels for the EQ and Delay, as well...

  • Page 87: Eq Output Level, Master Effects Level, Delay Output Level

    Master Effects Level The display says: MASTER EFFECTS LEVEL: 0 0 This sets the master volume for all the effects module outputs. EQ Output Level The display says: This mixes the EQÕed signal into the master effects output bus. Delay Output Level The display says: This mixes the delayed signal into the master effects output bus.

  • Page 88: Preamp Signal, Direct Signal Level, Master Effects Level, Editing Mix Parameters

    4.17 EDITING MIX PARAMETERS (config 4) Configuration 4 offers separate mix levels for the EQ, Pitch, and Delay modules, along with master/direct mix levels. Direct Signal Level The display says: This sets the level for the direct signal path. Use this and the Master Effects level control to balance the levels of the straight and processed signal paths.

  • Page 89: Eq Output Level (appears Only With Post-eq Preamp Signals)

    Preamp Level (appears only with Pre-EQ preamp signal) The display says: This mixes the preamp output signal into the master effects buss. Note that this level is dependent on the Preamp Output level found in the Preamp module. EQ Output Level (appears only with Post-EQ preamp signals) The display says: This mixes the EQÕed signal into the master effects output bus.

  • Page 90: Modulation Depth, Delay Output Level, Modulation, Modulation Speed

    Delay Output Level The display says: This mixes the delayed signal into the master effects output bus. Modulation The display says: MODULATION: T REMOLO This allows you to choose between tremolo or panning. Modulation Depth The display says: This determines the depth of either the panning or tremolo, depending upon which you have selected.

  • Page 91: Direct Signal Level (appears Only With Pre-eq Direct Signals), Master Effects Level, Preamp Signal

    4.18 EDITING MIX PARAMETERS (config 5) Configuration 5 offers a mix control for the Reverb module, along with master/direct mix levels. Direct Signal Level (appears only with Pre-EQ direct signals) The display says: This sets the level for the direct signal path. Use this and the Master Effects level control to balance the levels of the straight and processed signal paths.

  • Page 92

    before being sent to the Output Level Control. Preamp Level (appears only with Pre-EQ preamp signal) The display says: This mixes the preamp output signal into the master effects buss. Note that this level is dependent on the Preamp Output level found in the Preamp module.

  • Page 93: Preamp Level, Direct Signal Level, Master Effects Level, Editing Mix Parameters

    4.19 EDITING MIX PARAMETERS (config 6) Configuration 6 offers separate mix levels for the Ring Modulator, Delay, and Reverb modules, along with master/direct mix levels. Direct Signal Level The display says: This sets the level for the direct signal path. Use this and the Master Effects level control to balance the levels of the straight and processed signal paths.

  • Page 94: Ring Modulator Output Level, Delay Output Level, Reverb Output Level

    Ring Modulator Output Level The display says: This mixes the ring modulated signal into the master effects output bus. Delay Output Level The display says: This mixes the delayed signal into the master effects output bus. Reverb Output Level The display says: This mixes the reverberated signal into the master effects output bus.

  • Page 95: Preamp Signal Level, Direct Signal Level, Master Effects Level, Editing Mix Parameters

    4.20 EDITING MIX PARAMETERS (config 7) Configuration 7 offers separate mix levels for the Resonator, Delay, and Reverb modules, along with master/direct mix levels. Direct Signal Level The display says: This sets the level for the direct signal path. Use this and the Master Effects level control to balance the levels of the straight and processed signal paths.

  • Page 96: Resonator Output Level, Delay Output Level, Reverb Output Level

    Preamp module. Resonator Output Level The display says: This mixes the resonator signal into the master effects output bus. Delay Output Level The display says: This mixes the delayed signal into the master effects output bus. Reverb Output Level The display says: This mixes the reverberated signal into the master effects output bus.

  • Page 97: Selecting The Sampling Configuration, Recording A Sample, Chapter 5 Ð Sampling

    CHAPTER 5 Ð SAMPLING The QuadraVerb GT can record an audio sample of up to 1.55 seconds. During playback, the sample start and length times can be altered for special effects or to trim the playback of the sample to the actual start point of the sound. The sample can also be played back in its entirety (one shot) or continuously repeated (looping).

  • Page 98: Recording By Audio Trigger, Recording From The Front Panel

    4. Press the BYPASS button. The display says: 5. Send a signal to the QuadraVerb GT. When the first LED (-18dB) lights, the input signal has passed the audio threshold and recording has begun. For the best signal quality, vary the input level control so that the -6dB LED lights.

  • Page 99: Playing Back A Sample

    This page is primarily for playback and can be bypassed for now. 2. Press the PAGE UP button until the display says: 3. Use the VALUE buttons to select the Audio Trigger Off mode. 4. Press the BYPASS button to start sampling. The display will read: For the best signal quality, vary the input level control so that the - 6dB LED lights.

  • Page 100: Front Panel Playback, Audio Trigger Playback

    Front Panel Playback 1. Press the DELAY button. The lower display line shows either ONE SHOT or LOOPING: SAMPLE PLAYBACK: O NE SHOT ONE SHOT means that once a sample is initiated, it will play until the end of the sample and then stop. If you want to play back the sample continuously until you tell it to stop, select LOOPING.

  • Page 101: Midi Playback, Select Midi Trigger Mode

    It is also possible to trigger the recorded sample from a MIDI keyboard in two different ways: ¥ MIDI One Shot When the QuadraVerb GT receives a MIDI note on, the recorded sample will play back to the selected sample end point, regardless of how long that the key is pressed.

  • Page 102: Select The Midi Trigger Note

    ¥ Off The QuadraVerb GT will not respond to MIDI note on/off information). ¥ MIDI One Shot The recorded sample will play back to the selected end of the sample, regardless of how long the key is pressed. IMPORTANT: If the playback mode is set to "Looping" and MIDI Trigger is set to One Shot, the sample will play indefinitely until the mode is changed or the sampling configuration is deselected.

  • Page 103: Adjusting The Sample Playback Length

    Notes ¥ Because of the nature of sampling, the timing of the sample as well as the pitch will change the farther away from the base note from which it is transposed, with the higher notes sounding like ÒmunchkinsÓ and the lower notes like Ògiants.Ó This is a normal phenomena that occurs during sample playback.

  • Page 104: Adjusting The Sample Mix Parameters

    This page determine the length of the sample playback. 4. Use the VALUE buttons to select the desired sample length time. Adjusting the Sample Mix Parameters The Mix module allows for adjusting the relative balance between the direct signal, and the recorded sample playback signal. 1.

  • Page 105: Select Midi Mode, Chapter 6 Ð The Midi Button

    MIDI line, you will need to assign each one to its own channel number, described next. ¥ 01-16 This selects a MIDI channel from 1 to 16. The QuadraVerb GT will respond only to information appearing on the selected channel.

  • Page 106: Program Change Enable

    6.2 PROGRAM CHANGE ENABLE The display says: There are three options. ¥ Off When off, the QuadraVerb GT will ignore any incoming program changes. ¥ On When on, the QuadraVerb GT will respond to incoming program change commands. There is a one-to-one correspondence between program change numbers and QuadraVerb GT programs (i.e., MIDI...

  • Page 107: Edit The Program Change Table

    2. Press the PAGE UP button to move the cursor under the corresponding QuadraVerb GT program number. 3. Use the VALUE buttons to select the desired QuadraVerb GT program number. 4. To do more edits, press the PAGE DOWN button to return the cursor to the incoming MIDI program change parameter.

  • Page 108: Midi Thru/out Selection, System Exclusive Data Enable, Send Program Data (sys Ex) Over Midi

    5.6). When ON, the rear panel MIDI Out/Thru jack serves as a MIDI Thru jack that carries a duplicate of the data appearing at the QuadraVerb GTÕs MIDI In. Even when the MIDI Thru function is enabled, the MIDI Thru/Out jack will continue to function as a MIDI Out.

  • Page 109

    76 and therefore wants your program to go into program location 32. 1. Hook the MIDI Thru/Out of your QuadraVerb GT to the MIDI In of your friendÕs QuadraVerb GT. 2. Make sure your System Exclusive is enabled.

  • Page 110

    GTÕs edit buffer will be transferred to the target QuadraVerb GTÕs edit buffer (see section 3.2 for info about the edit buffer). This is useful if you want to send a program over to a QuadraVerb GT but donÕt want to commit it to a particular memory location.

  • Page 111: Program Advance Footswitch Range, Chapter 7 Ð Midi Modulation (name/mod Button)

    QuadraVerb GTÕs internal battery goes dead, the unit gets abused and needs to be repaired, etc.), you can reload your programs back into the QuadraVerb GT and be right back in business with your own favorite patches. REMEMBER: The System Exclusive page must be set to ON for any of this stuff to work at all.

  • Page 112: About Mod Sources And Targets

    7.1 ABOUT MOD SOURCES AND TARGETS A mod source controls a particular QuadraVerb GT parameter. The QuadraVerb GT can respond to any of the following sources of data: ¥ Continuous controllers This is the type of data produced by MIDI Continuous Controller footpedals.

  • Page 113: Programming Mod Sources And Targets

    The basic idea is to choose a target parameter to be controlled, then assign a mod source to it (e.g., control delay feedback with controller 12). The QuadraVerb GT also lets you scale the amplitude and direction of the control data. In other words, increasing a controller value can either increase (positive direction) or decrease (negative direction) the target parameterÕs value;...

  • Page 114

    3. Press the PAGE UP button again, and the display shows: MOD 1 TARGET: L FO SPEED Of course, your actual screen may show a different target parameter. 4. Choose the first target parameter with the VALUE buttons. Different configurations offer different target parameters for modulation; see the list at the end of this section.

  • Page 115: Target Parameter Listing, Configuration 1 Target Parameters

    Now, step on the pedal until it is all the way forward. Set the Mod Amplitude level to its maximum value (+99). This sets the amount of Reverb Output level you will hear when the pedal is completely forward. By assigning these two values to the extreme positions of your controller's range, you have defined the range within your target parameter that you will be able to modulate with the controller.

  • Page 116: Configuration 2 Target Parameters

    EQ Mode: 3 Band EQ Lo EQ Frequency Lo EQ Amplitude Mid EQ Frequency Mid EQ Bandwidth Mid EQ Amplitude Hi EQ Frequency Hi EQ Amplitude Direct Mix Level Preamp or EQ Mix Level Effect Mix Level Pitch Mix Level Delay Mix Level Reverb Mix Level Preamp Out Level...

  • Page 117: Configuration 3 Target Parameters, Configuration 4 Target Parameters

    Reverb Mix Level Preamp Out Level Configuration 3 Target Parameters Delay Type: Mono Delay Delay Time Delay Feedback Each Graphic EQ Band Boost/Cut (11 target parameters total) Direct Mix Level Effect Mix Level EQ Mix Level Delay Mix Level Preamp Out Level Configuration 4 Target Parameters Delay Input Mix Delay Type: Mono Delay...

  • Page 118: Configuration 5 Target Parameters

    Hi EQ Amplitude Direct Mix Level Effect Mix Level Preamp Mix Level or EQ Mix Level Pitch Mix Level Delay Mix Level Mix Mod Depth Mix Mod Speed Preamp Out Level Configuration 5 Target Parameters Reverb Input Mix Reverb Predelay Reverb Predelay Mix Reverb Type: Reverse 2 Reverb Reverse Time...

  • Page 119: Configuration 6 Target Parameters, Configuration 7 Target Parameters

    Configuration 6 Target Parameters Reverb Input Mix Reverb Predelay Reverb Predelay Mix Reverb Type: Reverse Reverb Reverse Time Reverb Diffusion Reverb Density (not available for Reverb Type: Hall 1) Reverb Low Decay Reverb Hi Decay Delay Type: Mono Delay Delay Time Delay Feedback Spectrum Shift Ring Output Mix...

  • Page 120

    Delay Type: Mono Delay Delay Time Delay Feedback Resonator Decay Direct Mix Level Effect Mix Level Mix Preamp Level Resonator Level Delay Mix Level Reverb Mix Level Preamp Out Level Delay Type: Stereo Delay Left Delay Time/Right Delay Time L Delay Feedback/R Delay Feedback...

  • Page 124: Midi Basics, Chapter 8 Ð Midi Supplement, Midi Hardware

    CHAPTER 8 Ð MIDI SUPPLEMENT (This chapter is an abridged version of material from Power Sequencing with Master Tracks Pro/Pro 4 and The Complete Guide to the Alesis HR- 16 and MMT-8, copyright 1990 and 1989 respectively by AMSCO Publications, and is adapted with permission.) 8.1 MIDI BASICS...

  • Page 125: Midi Message Basics, Channel Messages, A Voice Messages

    MIDI In jack. This is handy if you want to route MIDI data appearing at one device to another device as well. Some devices, like the Quadraverb GT, switch their MIDI Out between the Out and Thru functions. Example: Suppose a keyboardÕs MIDI Out feeds the QuadraVerb's MIDI In.

  • Page 126

    messages that affect voices include: Note On Corresponds to a key being pressed down; values range from 000 (lowest note) to 127 (highest note). Middle C is 60. Note Off Corresponds to a key being released; values are the same as note on.

  • Page 127: B Mode Messages

    8.4B Mode Messages There are two messages that determine the MIDI mode (i.e., how the QuadraVerb GT will receive MIDI data). The "omni" message determines how many channels will be recognized. Omni On means that data from all channels will be received; Omni Off limits the number...

  • Page 128: System Common Messages

    The QuadraVerb GT implements two different MIDI modes. Omni On/Poly (Mode 1) The QuadraVerb GT responds to MIDI data occurring on any channel. Omni Off/Poly (Mode 3) The QuadraVerb GT is tuned to a single MIDI channel, from 1 to 16. 8.5 SYSTEM COMMON MESSAGES Intended for all units in a system, some of these messages are: Song Position Pointer This indicates how many "MIDI beats"...

  • Page 129: Books On Midi

    A general guide to MIDI with an emphasis on applications. Understanding MIDI and Understanding MIDI 2 by various authors; Amordian Press. A collection of MIDI-oriented articles from Musician magazine. Descubriendo MIDI by JosŽ Valenzuela; Alesis Publishing. A thorough overview of MIDI in Spanish, suitable for beginners and/or advanced users.

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