street priceThe Alesis QuadraSynth represents a bold departure from conventional synthesizer design, offering an unusually approachable yet powerful instrument that prioritizes practical musicianship over complexity. This 76-key Sample & Synthesis (S&S) synthesizer combines generous polyphony, high-quality audio output, and an integrated effects section in a lightweight, performance-oriented package.
Breaking from the typical master keyboard mold, the QuadraSynth features a light-action 76-note keyboard (E to G range) with monophonic channel pressure, attack velocity (Note On), and release velocity (Note Off) sensitivity. The grey plastic casing is remarkably light yet rigid and tough, incorporating a convenient carrying handle for transportability. All rotary controls feature rubber coating for non-slip operation, including the pitch and modulation wheels, which are angled slightly for comfortable access across the extended keyboard span.
The instrument deliberately omits features common to many competitors: there's no onboard sequencer, no disk drive, no user sample RAM, and no softkey-driven graphic LCD with sophisticated windowing. Instead, Alesis focused on two core operating modes: Program mode for playing individual sound patches, and Mix mode for multitimbral operation across 16 MIDI channels.
Designed by Marcus Ryle and Michel Doidic of Fast Forward Designs in cooperation with Alesis, the QuadraSynth shares DNA with classic Oberheim synthesizers (including the Matrix 12), the ADAT digital tape recorder, and the Quadraverb effects units. This heritage is evident in the instrument's four-channel digital optical interface for direct ADAT connection and its sophisticated effects architecture. The development process, detailed in Sound On Sound's June 1993 interview, demonstrates remarkable consistency between initial vision and final product.
The QuadraSynth employs QSComposite Synthesis, Alesis's term for Sample & Synthesis technology. ROM samples are processed through low-pass filters and envelope shapers before routing to panning and effects sections, ultimately feeding four output buses: two main and two auxiliary.
The sample library comprises over 300 sounds organized into 16 categories: Piano, Organ, Keyboard, Synth, Waves, Bass, Guitar, Brass, Woodwind, String, Ensemble, Ethnic, Voice, Sound FX, Drums, and Percussion. The collection emphasizes realistic multisampled instruments (pianos, strings, basses, flutes) alongside synthetic FM sounds, resonant filter sweeps, additive and wavetable sounds, and comprehensive drum and percussion samples. While the library prioritizes solid, usable sounds over atmospheric loops and glossy textures, the sample quality — likely influenced by Fast Forward Designs' connections with Digidesign — ranks among the best available, with most samples featuring attack segments with looped sustains.
In Program mode, each sound patch can stack up to four separate Sample & Synthesis sections, with each consuming one note of polyphony. This means a four-sound stack provides 16-note polyphony from the instrument's 64-note total capacity. Each program includes a linked effects patch that automatically loads with the program selection. The instrument offers 128 preset programs with effects, plus 128 user-programmable slots. Effects patches can be linked to multiple programs while remaining separate entities, allowing independent editing that affects all linked programs.
Mix mode assembles up to 16 programs into a multitimbral setup. Each program within a mix can be assigned to separate MIDI channels with individual control over level, panning, and effects send levels, plus split and layer capabilities. This layering adds to any already present in the program patches, theoretically allowing 16 four-sound programs to create complex textures (though at the cost of polyphony). Only one effects patch can be active at once, linkable to either the mix itself or one constituent program. The system provides 100 preset mixes and 100 user-programmable mixes.
Optional RAM cards in the rear-panel slot can store up to nine complete sets of programs, mixes, and global settings. ROM cards provide additional banks of programs, mixes, and samples.
The synthesis section offers extensive modulation and control options despite the absence of a resonant filter (limiting resonant filtering to pre-prepared samples). Velocity crossfading provides 13 preset configurations of two-way, three-way, and four-way splits, offering smooth transitions between samples but locking users into predetermined split arrangements.
The 10-step Tracking Generator allows non-linear controller mapping, enabling complex modulation curves, customized velocity responses, and even note number remapping. While powerful, the feature is hampered by the custom LCD's limitation of displaying only four sliders simultaneously, making it less intuitive than a graphical interface would allow.
A unique Trigger Rate Follower converts playing speed into a control source, enabling effects like LFOs that accelerate with faster playing or filters that open progressively as tempo increases. Separate LFOs and envelopes for pitch, filter, and volume sections, combined with envelope delay capabilities, allow simple time-sequencing of samples. A comprehensive modulation matrix supports up to six simultaneous controller routings.
The innovative Sound Overlap feature provides a single control for designating effective polyphony and note assignment behavior, eliminating the complexity of manual note reservation or choosing between cyclic and reassign allocation methods. This parameter is configurable per program.
The editing system offers two complementary modes: Edit 1 presents up to four related parameters simultaneously for quick adjustments via the four Quad Knobs, while Edit 4 displays the same parameter across all four sounds in a program, facilitating comparative editing and layering decisions.
The QuadraSynth's drum mode exceeds typical S&S implementations, offering individual controls for level, pan, effects send, pitch, filter, note number, envelope decay, and muting group for each drum sound—similar to Yamaha's acclaimed RY30 system. Up to 40 different drum sounds can be arranged across the keyboard in a single sound patch.
Befitting its Quadraverb heritage, the effects section is exceptionally capable. Four separate effects sends route to processing divided into three types: Pitch effects (chorus, flanging), Delay effects (echo), and Reverb effects (various room types, gated, reverse). Three basic configurations determine signal flow:
Configuration 1 (4 Sends to 1 Reverb): Three sections combining pitch and delay effects, plus one delay-only section, all feeding a common reverb.
Configuration 2 (4 Sends to 2 Reverbs): One delay/pitch/reverb section parallel with a pitch/reverb section.
Configuration 3 (4 Sends to 1 Reverb with Lezlie): One "Lezlie" effect section followed by delay, two pitch/delay sections, plus one delay-only section, all feeding common reverb.
Each effect provides comprehensive parameter control and excellent modulation functionality, with two modulation sources patchable to any controllable destination. The effects are quiet, powerful, and strongly integrated with sound design rather than treated as an afterthought, making them essential to the synthesis process rather than candidates for outboard replacement.
The QuadraSynth's digital design philosophy minimizes audio wiring by using analog-to-digital converters to measure all front panel control positions, then applying these digital values to control synthesis digitally. This approach eliminates noisy potentiometers, distorted output amplifiers, and interference pickup. Alesis recommends running the volume control at maximum for optimal dynamic range, with level adjustment occurring in the digital domain before the final digital-to-analog conversion.
The ADAT optical output enables completely digital connection to ADAT recorders, routing the main and auxiliary outputs as four discrete channels with no analog audio in the signal path. This results in exceptionally clean, crisp sound quality that distinguishes the QuadraSynth from many competitors.
Rather than implementing maze-like master keyboard MIDI complexity, Alesis chose simplicity. Mix mode setup uses dedicated buttons to increment or decrement MIDI channels, with the display showing underlines for selected channels and bars indicating active receive or transmit channels. The 64-note polyphony makes the QuadraSynth potentially sufficient as a sole sound module for simple projects or demos.
The instrument focuses on providing an easy-to-use 76-note keyboard with generous polyphony for 16-part multitimbral operation, leaving complex MIDI functions, System Exclusive handling, and MIDI Clock synchronization to dedicated sequencers with graphical interfaces—a division of labor appropriate for approximately 80% of users.
The interface prioritizes simplicity and live performance ease over programming depth. Each button has a single function, and the design encourages two-handed operation with the LCD display. The warm orange LCD is custom-designed with words and slider graphics plus a small two-row alphanumeric section, rather than being a dot-addressable graphics display. This precludes complex windowing but provides clear, unambiguous readouts.
Function and parameter selection buttons sit left of the LCD, while data entry and four rotary Quad Knobs occupy the right side. The knobs correspond to four LCD slider graphics but are recessed and somewhat difficult to rotate—a design that might have benefited from physical sliders matching the display graphics. The system offers both instant parameter override and "value catch-up" modes for syncing physical controls to stored values.
The interface excels at program and mix selection for live performance (scoring 8/10) but proves more challenging for sound programming (6/10), partly because the fixed LCD text relegates actual parameter naming to the two-line alphanumeric display, effectively reducing the entire LCD to minimal information density. The numeric keypad cannot be used for value entry, only program/mix selection—attempting this will abandon current edits.
The QuadraSynth delivers high-quality audio output that ranks among the cleanest and most crisp-sounding S&S synthesizers available. It offers a classy though conventional sound set in an unusual package, clearly oriented toward ease of use in live performance scenarios. The generous polyphony and extensive stacking capabilities make it powerful for creating large, bold, rich sounds, though the fundamental S&S approach and practical sample library may lack the "performance from a single note" spectacle of vector-style evolving timbres or sample/wave sequencing that drives showroom sales.
The instrument feels purposefully designed as a musician's reliable workhorse rather than an over-sophisticated designer synthesizer. The combination of 76-note keyboard and 64-note polyphony at a remarkably accessible price point represents significant value, with any compromises in LCD sophistication and filter resonance offset by sound quality and operational ease. For musicians seeking a capable keyboard companion to a sequencer without the traditional five-octave limitation, the QuadraSynth offers compelling advantages, particularly for performers preferring a lightweight, portable instrument over heavy traditional alternatives.
An S4 1U rackmount version with equivalent sound engine is also available for studio installations.
| Usage area | |
|---|---|
| Synthesizer | |
| Performance Synthesizer | |
| Usage Design/ Form Factor | |
| With Keys | |
| Archetype | |
| Digital (D) | |
| Polyphony | |
| Voices | 64 |
| Multi Timbral Capacity | 16 part(s) |
| Tone Generator / Sound Synthesis | |
| Synthesis Method | Digital Subtractive |
| Waveform/ Spectral form (main generator): Waveform ROM | 16 Mb |
| Programs/ Voices/ Timbres | |
| Single Voice Preset | 128 |
| User-defined Single Voice | 128 |
| Multitimbral Preset | 100 |
| User-defined Multitimbral | 100 |
| Effects | |
| Reverb | |
| Chorus | |
| Flanger | |
| Delay | |
| MIDI in/ out | |
| IN | |
| OUT | |
| THRU | |
| Keys | |
| Type | Semi-weighted |
| Variable Touch Response | |
| Velocity Sensitivity | |
| Size | 6 |
| Number of Keys | 76 |
| Display | |
| Display type | LCD |
| Built-in controllers | |
| Pitch Bend Wheel | |
| Modulation Wheel | |
| External controllers | |
| Sustain foot pedal | |
| Foot Controller | 2 |
| Audio out | |
| Stereo | |
| Analogue: 1/4" (6.35mm) | 4 |
| Analogue: 1/4" (6.35mm) headphones preamplified | 1 |
| Digital: coaxial | 1 |
| Digital: optical | 1 |
| Power | |
| Voltage | 230V |
| Voltage | 120V |
| Power Supply | Built-in, internal |
| Color | |
| Black | |
| Production start | 1993 |
| Production ended | |
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