ALESIS QS 6.2 MANUAL PDF

The synth is pretty loaded when it comes to sounds. It goes through all the genres and also includes a nice FX section pretty good sounding Alesis algorithms. The synth has a voice polyphony Alesis has always been pretty good in making their equipment easily accessible.

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No serial or USB port. Stereo output only. Synth engine has not matured noticeably since the QS series was introduced. The QS6. The number of Programs and Mixes remained the same as on the QS6. The serial connection port was retained from the QS6, a welcome feature to speed up those sample-data transfers.

The connections on the rear panel were also repositioned — apparently the QS6 had some problems sitting comfortably on certain keyboard stands. Finally, the QS6. Cosmetics aside, the QS6. The voice architecture has remained unchanged — this is surprising in that one would have expected some refinements by now, such as an improved filter. The one here is still a single, low-pass non-resonant affair, with not even a hint of high- or band-pass types. This does seem remarkably backward-thinking, considering the class — and price — to which the QS synths clearly aspire.

So what are the differences? The casing of the QS6. However, the computer serial port is gone, and expandability is halved — the QS6. The most substantial difference that the QS6. Although higher bit-rate designs seem to be increasingly in vogue, is this factor enough to warrant the QS6.

The answer to this is clouded by several factors — in particular one glaring, missed opportunity Back To The Time Machine Inevitably, the MIDI data transmission was painfully slow, but the main thing was that you could do it — after all, who ever turned their nose up at a long tea break?

Why should this be? I was delighted with what this offered — the sound quality of my imported drum samples was immeasurably superior to any other sample-reproduction device I had at the time, and the DM Pro became my drum and percussion generator of choice. However, the journey I had to make to get to that point was far from easy. Undeterred, I reckoned that the local music stores would be a better bet, as they were already familiar with QS synths and DM Pros.

But it was like looking into the Guinness Book of Blank Expressions. According to every store I visited, nobody had enquired about these cards — ever. I then began scouring the Internet. It took me several weeks to find a solution, and it eventually involved a computer specialist friend of mine who agreed to import some of the right cards from the USA under his company name.

Somehow, this worked. I ordered two cards, and was finally able to justify those long tea breaks. Photo: Mark Ewing Returning at last to the present, you can imagine my surprise when, looking around the back of the new Alesis QS6. I immediately checked my tricorder — no, there had been no temporal displacement anomalies, it was indeed still And guess what?

You can burn sample data by Yet even more than seven years down the line, Alesis have made no attempt to embrace current technology. And as for having to transmit the data over MIDI Concluding Observations Whilst reflecting on the whys and wherefores of the QS6. What if I was able to get into a time machine and travel back with suitable youthful prosthetics to , to a gig with my first band at school, armed with a QS6. I could dramatically set fire to my Welson President organ — then, kicking aside the smoking ruins, produce the QS6.

This goes to show how readily we take technology for granted. So why have Alesis seemingly re-issued a five-year old synth whose architecture dates back even further — nearly 10 years — and which still incorporates rapidly vanishing technology from the early 90s?

The changes from the QS6. Unfortunately, the QS synth engine and sample set are now looking a little tired and basic compared to the those of the competition. Patch editing is still frustratingly button-intensive, and is not helped by the fact that, of the four voices that make up a patch, only one can be edited at a time. Alesis might argue that their samples are more memory-hungry due to being uncompressed, but I would rather have compressed samples that are longer and pleasingly looped than very short uncompressed ones.

There also seems to be no evidence to suggest that the ROM sample waveforms or indeed those on the Q Cards are anything other than the original bit ones, so the benefits of having bit A-D converters is somewhat questionable. However, one thing that has marginally improved for the good is the price of the QS6.

If Alesis had done this, the QS6. Despite its shortcomings, it might still have made a very useful tool, offering substantial and practical user-sampling facilities at this price point. As it is, this synth offers the Golden Chalice of Sampledom on the one hand, only to have it dashed away by the Spectre of Obsolescence.

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No serial or USB port. Stereo output only. Synth engine has not matured noticeably since the QS series was introduced. The QS6.

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ALESIS QS 6.2 MANUAL PDF

Dukree First Production Release 1. This is especially important as the H8 must be able write to the Sound card as well as read from it. Editing Programs This sets the amount mankal time the envelope will take to get from its current level to zero after the note is released. Both or only one left or right can be affected. A setting of AUX will also shut off the path.

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