Page 1 1 6 - V O I C E R E A L A N A L O G S Y N T H E S I Z E R EFERENCE ANUAL For Software Version 1.40...
Page 3: Alesis Contact Information
Revision 1.0 by Dave Bertovic Revision 1.1 by Brian R. Shim © Copyright 2001, Alesis Studio Electronics, Inc. All rights reserved. Reproduction in whole or in part is prohibited. “A6”, “QCard” and “FreeLoader” are trademarks of Alesis Studio Electronics, Inc.
Page 4 A6 R NDROMEDA EFERENCE ANUAL...
Page 5: Table Of Contents
Important Safety Instructions ...7 Instructions to the User (FCC Notice) ...11 CE Declaration of Conformity ...13 Introduction ...15 How to Use this Manual...16 Typographic Conventions...17 Key Terminology ...18 Chapter 1: Getting Started ...21 What You’ll Need, Unpacking, Set Up, Power ...21 Audio Connections and Pedals...22 MIDI Connections...23 Quick Start...26...
Page 6 Contents Chapter 4: Overview of the Andromeda A6 ...93 A Few Basic Concepts...93 A6 Function List...95 A6 Functions At-a-Glance ...97 MIDI Overview ...102 Chapter 5: Oscillators and Filters ...103 Oscillators...103 Oscillator Parameter Descriptions...104 VCO Modulation ...107 Filters...116 What Filters Do ...116 How Filters Are Designed...117...
Page 7 Post Filter Mix Overview ...189 Post Filter Mix Operation...189 Voice Mix...190 MAIN and AUX outputs ...190 Setting Levels in Mix Mode ...190 Individual VOICE OUTPUT...190 Chapter 9: Custom Modulations ... 191 MOD Functions Overview...191 Avoid duplication with hard-wired mods...191 Performance control of mods ...192 Using the Modulation Matrix...192 A Few Ground Rules...197 The Control Routes Section...198...
Page 8 Contents To copy a Mix Channel from another Mix:...245 Effects in Mix Mode...246 To set effect send levels for different Mix Channels: ...246 To copy an effect from another Program or Mix: ...246 Chapter 12: MIDI Functions ...247 MIDI Basics ...247 MIDI Hardware...247 MIDI Messages...248 To send an individual Program or Mix out as a MIDI System Exclusive...
Page 9: Important Safety Instructions
MPORTANT SAFETY SYMBOLS USED IN THIS PRODUCT This symbol alerts the user that there are important operating and maintenance instructions in the literature accompanying this unit. This symbol warns the user of uninsulated voltage within the unit that can cause dangerous electric shocks. PLEASE FOLLOW THESE PRECAUTIONS WHEN USING THIS PRODUCT: 1.
Page 10 Important Safety Instructions 12. Use only with a cart, stand, bracket, or table designed for use with professional audio or music equipment. In any installation, make sure that injury or damage will not result from cables pulling on the apparatus and its mounting.
Page 11 NSTRUCTIONS DE RENCH YMBOLES UTILISÉS DANS CE PRODUIT Ce symbole alèrte l’utilisateur qu’il existe des instructions de fonctionnement et de maintenance dans la documentation jointe avec ce produit. Ce symbole avertit l’utilisateur de la présence d’une tension non isolée à l’intérieur de l’appareil pouvant engendrer des chocs électriques.
Page 12 Important Safety Instructions 14. Faites réparer par un personnel qualifié. Une réparation est nécessaire lorsque l’appareil a été endommagé de quelque sorte que ce soit, par exemple losrque le cordon secteur ou la prise sont endommagés, si du liquide a coulé ou des objets se sont introduits dans l’appareil, si celui-ci a été...
Page 13 ENUTZEN DIESES IE BITTE DIE FOLGENDEN ERMAN Lesen Sie die Hinweise. Halten Sie sich an die Anleitung. Beachten Sie alle Warnungen. Beachten Sie alle Hinweise. Bringen Sie das Gerät nie mit Wasser in Berührung. Verwenden Sie zur Reinigung nur ein weiches Tuch. Sprühen Sie keine flüssiger Reiniger auf die Oberfläche, dies könnte zur Beschädigung der Vorderseite führen und auch weitere Schäden verursachen.
Page 14: Instructions To The User (Fcc Notice)
Important Safety Instructions NSTRUCTIONS TO THE This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.
Page 15: Ce Declaration Of Conformity
Important Safety Instructions CE D ECLARATION OF ONFORMITY Please see the Alesis website, www.alesis.com, for the CE Declaration of Conformity A6 R NDROMEDA EFERENCE ANUAL...
Page 16 Important Safety Instructions A6 R NDROMEDA EFERENCE ANUAL...
Page 17: Introduction
– as good as they are – seem to be a little lacking in many respects. Then I was introduced to the Andromeda A6. Simply stated, this box has more features and music power per square inch than any other synthesizer I’ve owned.
Page 18: How To Use This Manual
Introduction OW TO SE THIS TRUCTURE This manual was designed to take you through the A6 in a logical order of topics. This way, anyone who is new to this type of instrument can read through the book from front to back and get the most basic information first. The manual progressively deals with more complex topics as you read through to the end.
Page 19: Typographic Conventions
Technical – The Appendices The appendices at the end of the A6 Reference Manual provide concise information about the instrument from a technical perspective: Appendix A is a complete reference that documents every function in the unit. Appendix B is glossary of common terms we use throughout the manual. Appendix C provides troubleshooting assistance and covers the majority of common problems you might incur while using the A6.
Page 20: Key Terminology
Introduction ERMINOLOGY While we define terms throughout this manual, and also provide a Glossary at the end, we’d like to list a few terms now that will help you get a head start on some of the technical expressions used in this document: Voice A synthesizer voice is the most basic component of a synthesizer that produces sound.
Page 21 Introduction Offset Many of the Andromeda A6’s parameters have an additional adjustment called offset. This is simply an adjustment of the parameter by a fixed amount Default When the A6 is shipped from the factory, each of its parameters has a pre-assigned value called a default.
Page 22 Introduction simply an electronic pulse. Translating our definition of trigger to MIDI, a trigger is the equivalent of a Note On command. By contrast, a gate not only performs a “go” instruction but also carries with it a duration characteristic. Using the keyboard as in the above example, a gate signal is active for the time that a key is held down;...
Page 23: Chapter 1: Getting Started
ETTING ’ The A6’s basic requirements include: an AC electrical outlet a stand or table to put it on audio cables and a sound system or amplifier, or a pair of headphones SING THE WITH If you plan to use the A6 with other MIDI devices, you’ll need standard MIDI cables that connect your A6 to other MIDI devices in your system.
Page 24: Audio Connections And Pedals
Chapter 1: Getting Started UDIO ONNECTIONS After you’ve set up the A6 and plugged it into an AC outlet, connect your A6 to a sound system. Since the A6 does not contain an amplifier or speakers, you’ll need to connect it to some kind of a sound system in order to hear it. An amp with a full- range speaker will also suffice, as will a stereo music system with external audio inputs.
Page 25: Midi Connections
MIDI C ONNECTIONS If you plan to use the A6 with other use the following guide to connect it to your rig. As a Master: If you intend to use the A6 as the master controller in your rig, plug a standard other end of this cable should plug into the slave in the system.
Page 26 Chapter 1: Getting Started As a Slave: If you plan to control the A6 from another need a You will also need a MIDI cable connected to the A6’s if you plan to pass MIDI data from the master through the A6 to other MIDI devices in your rig.
Page 27 With a MIDI Patchbay: If you’re using a MIDI patchbay or “patcher” to connect all of your MIDI devices centrally, the patcher will have a pair of MIDI connectors for each MIDI device. The patcher’s back panel will have a series of paired in your rig (the A6 being one of them).
Page 28: Quick Start
Chapter 1: Getting Started UICK TART Now that it's all hooked up, there's one more thing you have to do. If you've jumped the gun and played a few chords, you probably heard that the unit was way out of tune.
Page 29 ELECTING ROGRAMS You don't have to know what all the knobs do to enjoy the A6; it comes pre- programmed with hundreds of sounds. You can simply listen to these sounds and find out more about them later. When playing the A6, the instrument operates in one of two play modes: Program mode and Mix mode.
Page 30 Chapter 1: Getting Started ASTER OLUME And finally, adjust the level using the panel. The VOICE MIX LEVEL to do the same thing, but avoid using it for now. knob is a MASTER VOLUME global (affects the A6 in all modes) volume control that determines the final output level of the unit’s...
Page 31: Chapter 2: Playing The A6
Possibly the best way to get acquainted with the A6 is to dig in and start playing. Feel free to skip around this Chapter if you need to get specific information quickly. This Chapter deals specifically with functions you’re most likely to use when playing the instrument: •...
Page 32: A Brief Tour Of The Front Panel
Chapter 2: Playing the A6 RIEF OUR OF THE The A6’s front panel contains a fairly large number of buttons and knobs, which is probably a lot more than most players are used to seeing on a synthesizer these days. The A6 is designed to make editing as easy and as quick as possible: the majority of Program voice parameters exist on the front panel with a knob or button dedicated exclusively to that function.
Page 33 Chapter 2: Playing the A6 Mix mode is also used when the A6 is connected to a MIDI sequencer for multitimbral recording and playback. Each Mix channel, the set of parameters that are used to control a Program in the Mix, can be assigned to a specific MIDI Channel with unique MIDI controller assignments.
Page 34: Interacting With The Display
Chapter 2: Playing the A6 NTERACTING WITH THE Although the A6 has numerous knobs and buttons across its front panel, the display (and its associated controls) is the central area to use when operating the A6. This concept holds true in all modes: with few exceptions, virtually every front panel knob and button are duplicated on-screen, and most of them will show their current settings if appropriate.
Page 35 ASIC ISPLAY UNCTIONS In its normal operating mode, the display will react to virtually any change you make to any of the front panel controls. When you turn a knob or press a button, the display will recall that parameter’s page and select the parameter for editing. This feature of the A6 will save you an enormous amount of time and frustration when making changes and minimizes the risk of “getting lost”...
Page 36: Modes Of Operation
Chapter 2: Playing the A6 Modes of Operation Let’s start at the beginning and discuss the three basic operating modes of the A6 and how the display keeps you informed of what’s going on. All of the operations of the A6 are grouped into three operating modes: Program mode, Mix mode and Global mode.
Page 37 These banks – two Preset Program banks and one Preset Mix bank – contain Programs and Mixes developed for the A6 by the Alesis Sound Design team. Unlike Preset banks in many other synths, the A6's Preset banks can be customized by the user, but only as an Entire Bank copy operation.
Page 38: Lock Function
Chapter 2: Playing the A6 LOCK Function While many of the A6’s pages make use of all eight knobs and buttons, many do not. You may notice that sometimes knobs and buttons will become inactive because the display doesn’t need them. But there are two soft buttons – active.
Page 39 Table of Display Functions The following table summarizes the functions of the display’s knobs and buttons: NAME FUNCTION GLOBAL PROGRAM STORE COMPARE MANUAL SHIFT 1/9 8/16 LOCK DISPLAY DISPLAY LOCKED A6 R NDROMEDA EFERENCE Chapter 2: Playing the A6 stored page shown on the Page row ( second row of text from the bottom (the Parameter row) ANUAL...
Page 40: Selecting Programs And Mixes
Chapter 2: Playing the A6 ELECTING ROGRAMS AND When playing the A6, the instrument operates in one of two play modes: Program mode or Mix mode. One method of selecting Programs or Mixes is using the row of direct-select buttons just above the Ribbon Controller. Pressing a 2-digit button selects the “tens group”...
Page 41: Program Mode Parameters
PROGRAM M Pressing the PROGRAM other A6 functions, the page and parameter that was last selected will be recalled. The following table summarizes the Program mode parameters: SOFT KNOB PAGE TAB PROG and DIR Page Parameters (Program) page provides another method to select Programs in addition to the Direct Select buttons.
Page 42 Chapter 2: Playing the A6 The pages unique to Mix mode are follows: MIX Page Parameters PAGE PARAMETER KBD Page Parameters The abbreviation for “Keyboard,” this Mix page contains parameters that determine the keyboard range of the current Mix Channel and allow you to turn the keyboard’s control of the Mix Channel on or off.
Page 43 PROG Page Parameters The abbreviation for “Program,” this page is where you set the level, pan and output jacks, transpose and fine tuning amounts, and MIDI Channel settings for the selected Mix Channel. This is also where you can select a Program for the Mix Channel using the GROUP PROGRAM NUMBER PAGE...
Page 44 Chapter 2: Playing the A6 CNTL Page Parameters The abbreviation for “Controllers”, this page permits you to enable/disable local and MIDI controllers for the selected Mix Channel. The parameters on this page determine whether or not the displayed controllers affect the currently selected Mix Channel. Use the parameter’s corresponding soft knob to turn the function on or off.
Page 45: Storing Edited Programs And Mixes
TORING DITED Chapters 5 through 8 explore the details of editing existing Programs and Mixes, and provide all the information for creating completely new ones. When a Program or Mix has been edited or a new one is created, you’ll need to save your work. This is where mode comes in.
Page 46 Chapter 2: Playing the A6 DIR Store Procedure When you press the STORE button 2 to enter the Programs or Mixes by name. This way, if you want to store a Program or Mix to another memory location, you can see in advance which Program or Mix will be overwritten.
Page 47 You can expand the Program/Mix memory of your Andromeda by plugging in PC Card Type 1 SRAM cards, available from your Alesis dealer. The show you the size and type of card currently in the memory slot on the rear panel.
Page 48 Chapter 2: Playing the A6 NAME Page Parameters page contains parameters that allow you to quickly and easily change the name of the selected Program or Mix. In addition, you can also change the destination Bank and Program/Mix number like you can in the PAGE PARAMETER * The names available for selection are:...
Page 49: Setting Up Splits And Layers
ETTING PLITS AND Splits and layers are constructed from Mix Channels in Mix mode. So make sure that the A6 is in Mix mode: the LED next to the button. O SET UP LAYERS OF To create a layer, we’ll “stack” one Mix Channel on top of another. This is accomplished by assigning the same keyboard range to both Mix Channels.
Page 50 Chapter 2: Playing the A6 PLITS The major difference between a split and a layer is in the settings define the limits of the keyboard range or “zone” of the Mix Channel. In a layer, the settings overlap; but in a split, the settings separate (“split”) the keyboard.
Page 51: Using Global Mode
SING LOBAL GLOBAL M SOFT KNOB PAGE TAB KEYBD Page Parameters PAGE PARAMETER Transpose Velocity Curve Velocity Sensitivity A6 R NDROMEDA EFERENCE ARAMETERS OPTIONS or RANGE DESCRIPTION This parameter adjusts the keyboard ··· transposition ± two octaves in semitone semitones increments.
Page 52 Chapter 2: Playing the A6 PAGE PARAMETER continued OPTIONS or RANGE DESCRIPTION Sets the control output of the A6 keyboard: The keyboard will play the A6’s voices and transmit MIDI Notes. The keyboard will transmit MIDI Notes only – the A6’s voices will not be played by its keyboard.
Page 53 PEDAL Page Parameters Use the parameters on this page when setting up your pedals that are plugged into the A6’s rear panel. You can refer to page 68 for the physical and electrical specifications of the types of pedals that are compatible with the A6. PAGE PARAMETER MIDI Page Parameters...
Page 54: Master Controls
Chapter 2: Playing the A6 ASTER ONTROLS OLUME knob is a MASTER VOLUME global (affects the A6 in all modes) volume control that determines the final output level of the unit. To use an audio term, MASTER VOLUME post (comes after) the mixes and the POST FILTER .
Page 55 AUTO TUNE Button Pressing displays the auto tune page. Pressing it again initiates a routine AUTO TUNE that fine tunes or calibrates a number of A6 functions to an internal tuning reference. Tip: You need to auto-tune the A6 after you first turn it on and should do it again after it warms up (about 15 minutes).
Page 56: The Keyboard And Keyboard Modes
Chapter 2: Playing the A6 EYBOARD AND This might be a big assumption, but we get the impression that some players may be interested in learning about the keyboard since the A6 is a keyboard instrument. All joking aside, the A6’s keyboard makes the unit a particularly versatile instrument, especially when you take into consideration the varied performance modes plus the addition of portamento.
Page 57: Performance Features (Kbd Mode, Unison X, Detune)
ERFORMANCE EATURES KBD MODE Controls KBD MODE (“keyboard mode”) functions allow for quick and easy access to three of the most common performance characteristics of the keyboard: UNISON X which provides several unison playing modes, which allows DETUNE you to set an amount of detuning among the voices when in unison, and switching between...
Page 58 Chapter 2: Playing the A6 Keyboard Mode Parameters Pressing the UNISON X display the page. Note that the display shows KBMODE (depending on the mode selected). Separate keyboard settings are available for each mode. SOFT KNOB PAGE TAB KBMODE DETUNE UNSN-X KBMODE Page Parameters PAGE...
Page 59 PAGE PARAMETER KBMODE MONOVX Mono Voice Continued ASSIGN About DETUNE As an example of how voices are staggered-tuned, we’ll use the extreme setting of which gives the greatest width or amount of detune among the voices. Mode: maximum UNSN-X DETUNE is set to formula is used to calculate the “spread”: Spread =...
Page 60 Chapter 2: Playing the A6 Additional Keyboard Functions TRANSPOSE Button button allows you to play the A6 in a TRANSPOSE different key. This is a global setting that affects all Programs and Mixes and remains in effect until it’s changed, even if the A6 is powered off. To set the transpose amount, hold down the button, then press a key.
Page 61: Portamento
ORTAMENTO A Italian term (from a Latin root) that means sliding, portamento causes the A6’s Voices to “slide” (sometimes called “glide”) to the notes being played. When you are playing the A6 normally, played keys or MIDI Note On messages activate the Voices with the appropriate notes instantly.
Page 62 Chapter 2: Playing the A6 ON/OFF Button This button simply turns the portamento function on or off. When on, the LED will light. Pressing this button selects the Portamento Parameters SOFT KNOB PAGE TAB PORTA TIME SPEED STMODE MODE OFFSET SOURCE PORTA Parameters PAGE...
Page 63 PAGE PARAMETER PORTA MODE Continued CURVE ENABLE A6 R NDROMEDA EFERENCE Chapter 2: Playing the A6 OPTIONS DESCRIPTION or RANGE This parameter is used to select from among three portamento actions: NORMAL Each new voice that is played will have Portamento.
Page 64 Chapter 2: Playing the A6 CURVE: Selecting the Portamento’s Slope Identical to the stages of an envelope, Portamento has a user-selectable property called slope. This term refers to how gliding notes accelerate (speed up) or decelerate (slow down) as each voice approaches its target note: •...
Page 65 Rising EXPONENTIAL 1 Rising EXPONENTIAL 2 Rising EXPONENTIAL 3 Rising S-CURVE 1 A6 R NDROMEDA EFERENCE Chapter 2: Playing the A6 PORTAMENTO SLOPES Rising LINEAR Falling Rising Falling Falling Rising Falling Rising Falling Rising ANUAL LOGARITHMIC 1 Falling LOGARITHMIC 2 Falling LOGARITHMIC 3 Falling...
Page 66 Chapter 2: Playing the A6 STMODE Parameters PAGE PARAMETER STMODE MODE Start Mode OFFSET -127 ··· + 127 Portamento MOD Parameters The Portamento Modulation parameters permit you to create a mod route to modulate the TIME parameter. Please note that, unlike most of the other is the only Portamento parameter that can be modulated.
Page 67: The Performance Wheels And Ribbon Controller
ERFORMANCE IBBON ONTROLLER ACKGROUND The A6 utilizes two performance wheels that are used mainly for pitch bend ( and vibrato ( ). The Pitch wheel on the left is a spring-loaded wheel that snaps back to its center or neutral position when released, and is normally used for pitch bend.
Page 68: Programming The Wheels And Ribbon
Chapter 2: Playing the A6 ROGRAMMING THE HEELS AND PITCH ASSIGN Parameters SOFT KNOB PAGE TAB PWHEEL BOTRNG TOPRNG CROUTE SOURCE PAGE PARAMETER PWHEEL BOTRNG Bottom Range TOPRNG Top Range BOTCRV Bottom Curve IBBON All of the Programs that ship with the A6 have default wheel and ribbon modulations stored with them.
Page 69 PAGE PARAMETER PWHEEL TOPCRV Continued Top Curve OSC 1 OSC 2 MOD ASSIGN Parameters SOFT KNOB PAGE TAB MODWHL SCALE CURVE CROUTE SOURCE PAGE PARAMETER MODWHL SCALE CURVE CROUTES (Control Routes) A second press of either the page. This allows you to see and change the internal routings of the CROUTES controllers.
Page 70: Pedals And Footswitches
Chapter 2: Playing the A6 Pedals and Footswitches Its seems as if anything plugged into an instrument that you step on is called a pedal. Well, not exactly. There are actually two types of “foot-actuated controllers” in the context of an electronic instrument. Although it’s politically correct to called them “pedals”...
Page 71: The Clock Section
CLOCK S ECTION The A6’s Clock is a global function that provides global synchronization as a modulation source to all voices in Programs or Mixes. By global sync we mean that any A6 function that relies on tempo can get its timing from the Clock.
Page 72: Clock Parameters
Chapter 2: Playing the A6 LOCK ARAMETERS DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY TEMPO Knob Clock Start Mode Tempo Modulation by Voice Mod Mix Channel Sync Source OPTIONS or RANGE DESCRIPTION The knob adjusts the tempo of the Clock from ···...
Page 73: Sequencer
SYNC/MOD Button Pressing the SYNC/MOD the parameters for modulating the tempo of the Clock by any of the A6’s 71 modulation sources. Use selected mod source. SYNC/MOD Parameters If the button is pressed, the following parameters will be shown on the SYNC/MOD display.
Page 74 Chapter 2: Playing the A6 Layout Each of the sequencer’s 16 “steps” or “events” consists of four components or Levels: a Note, the note’s Velocity amount, the note’s duration called Gate time, and whether a note will play or the step will be a rest, called the Type. It is important to note here that the A6’s Sequencer, unlike many other sequencers that play their recorded notes when you press sources.
Page 75: View Button
modulate the tempo of the sequence. The Sync/Mod parameters table that describes their functions can be found on page 78. VIEW Button Pressing this button recalls the page of Sequencer parameters that was last used (it defaults to the page). Using this button to enter the Sequencer edit mode allows you to examine the current settings without making any changes.
Page 76 Chapter 2: Playing the A6 GRAPH and 1 - 8 Parameters page is used to set the Note, Velocity, Gate and Type values for the 16 steps: • Pressing soft button parameters for the selected Step. • Soft knobs 1 through 8 are used to select and adjust the values in each Step. •...
Page 77 Sequencer CONFIG Parameters PAGE PARAMETER Sequencer Configuration Loop Type Loop Count Mono Legato Sequencer Zoom Use Keyboard A6 R NDROMEDA EFERENCE Chapter 2: Playing the A6 OPTIONS DESCRIPTION or RANGE The tempo of the Sequencer displayed in beats ··· per minute. When is selected on the sequencer will use this value for the tempo.
Page 78 Chapter 2: Playing the A6 TRIG Parameters PAGE PARAMETER Many of the MOD Ribbon, Footswitch, The A6 gets its signal to generate a trigger when the that you set (next page) and when the source is “moving” in a positive or negative direction, or both (next page under negative OPTIONS...
Page 79 PAGE PARAMETER Continued PROGRS Parameters The Progressor allows for automatic transposing of the sequence within the limits set by the parameters. Although the screen, you should set the Using as the base note (the key that’s being played) value, the end of the note range where transposing takes place.
Page 80 Chapter 2: Playing the A6 SYNC Parameters PAGE PARAMETER Sync Source Size of Sequencer Steps About Tempos and STPSIZ page features a tempo display that can help you match the speed of the clock to musical values. This display calculator assumes that 24 ticks equals a quarter note, and that the music is in 4/4 time.
Page 81: Arpeggiator
RPEGGIATOR Similar to a sequence, an arpeggio is musical term that refers to the playing of notes of a chord one after another instead of playing them simultaneously. The A6’s Arpeggiator is used to create programmable arpeggios – Arpeggiator settings are made per Program and stored in memory with each Program.
Page 82 Chapter 2: Playing the A6 Arpeggiator CONFIG Parameters PAGE PARAMETER Beats per Minute Arpeggiator Configuration Determines the direction the Arpeggiator will play notes: OPTIONS DESCRIPTION or RANGE The speed or rate of the Arpeggiator displayed ··· in “bpm” or beats per minute. This setting is independent of any or Sequencer, and is only effective when the Arpeggiator is set to...
Page 83: Chapter 3: Basics Of Analog Synthesis
ASICS OF VERVIEW OF The concept of a synthesizer is an instrument that is capable of producing a very wide range of sounds electronically. The huge popularity and continued development of synths since the late 60s is due, in great part, to this ability to offer so many different types of sound textures in one box.
Page 84: A Little Theory
Chapter 3: Basics of Analog Synthesis For both pitched and non-pitched sounds, there are two key elements of sound that we will be working with when creating or editing Programs on the A6. First, we need to consider what makes up a sound wave: what are the components of a sound wave and how do they relate to the A6? Second, we need to know that sound changes over a period of time, which can be a mere fraction of a second to...
Page 85: Fundamentals And Harmonics
Chapter 3: Basics of Analog Synthesis mechanical sounds. Clever use of aperiodic waves, often in combination with periodic waveforms, have resulted in sounds that closely resemble drums, cymbals and helicopters. The A6 provides two of these non-cyclical sound sources called Random and Noise.
Page 86: Sound Dynamics
Chapter 3: Basics of Analog Synthesis Harmonics, like other periodic waves, have frequency and amplitude. Their frequencies are musical intervals above the fundamental which can be thought of as the “root”. Their amplitudes are also based on the loudness of the fundamental: each harmonic diminishes in amplitude as you get further away from the fundamental.
Page 87 Chapter 3: Basics of Analog Synthesis Here’s a graphical representation of a typical envelope. We’ll be covering the details of how an envelope works, what you can do with it and what all those labels mean in a later chapter. For now, we just want to show you how an envelope is graphed (especially since the A6’s screen will display something like this when you’re editing an envelope in a Program).
Page 88 Chapter 3: Basics of Analog Synthesis A6 R NDROMEDA EFERENCE ANUAL...
Page 89: Lfos
Chapter 3: Basics of Analog Synthesis LFOs In addition to loudness and brightness dynamics, everyday sounds are often enhanced with repeating, patterned fluctuations we recognize as vibrato. In one of its more expressive applications, a singer often adds vibrato at the end of a sustained note.
Page 90: Components Of An Analog Synthesizer
Chapter 3: Basics of Analog Synthesis OMPONENTS OF AN With the preceding information as background, let’s take a look at how our discoveries about sound relate to a physical electronic instrument. Here’s a series of flowcharts illustrating this concept that we will build upon over the next few pages: 1.
Page 91 3. As the keyboard is played, low notes output low frequencies from the oscillators and high notes play high frequencies. Similarly, the filters can be scaled as well. So it makes sense that the keyboard control be routed to the filters so that low notes played on the keyboard cause the filter to “close”...
Page 92 Chapter 3: Basics of Analog Synthesis 5. The keyboard is also responsible for gating the envelopes. In essence, this is really what causes the synthesizer to make a sound. When the envelopes start, they “open” and allow the filters and the output section to pass sound from the oscillators: 6.
Page 93 7. Last, but not least, we’ll add controller inputs for volume pedal and sustain pedal. Typically, a volume pedal varies the amplitude (again the “amount”) of the synth’s output section. Sustain pedal control is typically routed to the Release portion of the envelopes: the stage of the envelopes that controls the time it takes for the fundamental and harmonics to fade out.
Page 94 Chapter 3: Basics of Analog Synthesis A6 R NDROMEDA EFERENCE ANUAL...
Page 95: Chapter 4: Overview Of The Andromeda A6
– that are used to create the Voice’s tonal identity: does it sound like a flute, a trumpet, a violin, a truck, a helicopter, or a dog bark? A6 R NDROMEDA EFERENCE Chapter 4: Andromeda A6 Overview VERVIEW OF THE NDROMEDA HEORY ANUAL HAPTER...
Page 96: Mix Mode
The A6’s RAM EXPANSION CARD the Alesis 512k PCMCIA Type I RAM card (PC Card). This is a credit-card-sized memory module that adds additional Program and Mix memory for you to store your own creations in addition to the User bank. Note, however, that Alesis QCards™, which are ROM cards with sample memory designed for use with the...
Page 97: A6 Function List
Pitch and Modulation wheels assignable, splittable Ribbon controller rear-panel Volume and Sustain pedal inputs rear-panel Oscillator and Filter control voltage inputs Real-time Arpeggiator 16-event, programmable Step Sequencer, 1 per Program Master Clock control A6 R NDROMEDA EFERENCE Chapter 4: Andromeda A6 Overview ANUAL...
Page 98 Chapter 4: Andromeda A6 Overview Effects Analog distortion Stereo reverb (Large Hall, Hall, Stereo Hall, Room, Chamber, Ambience, Large Plate, Plate, Hall/Room, Plate/Room, Hall/Plate, Nonlinear) Delays (Mono, Ping-Pong, Multi-tap, Dual) Chorus (Stereo Chorus/Flanger, Quad Chorus, Dual) Flange Quad pitch shifter Multieffects (Rotary>Room, Delay>Room, Chorus>Room, Room>Flange,...
Page 99: A6 Functions At-A-Glance
Filters of either Voice 15 or Voice 16 (or both for stereo), or a mono signal to all Voices. A6 R NDROMEDA EFERENCE Chapter 4: Andromeda A6 Overview LANCE OSC 1 tuning. ANUAL . As in the early days...
Page 100: Ring Modulator
Chapter 4: Andromeda A6 Overview Tone Modifiers Filters Referring back to Chapter 3 again, the second component in the signal flow is the synthesizer’s Filters – the circuitry that controls the harmonic content of the sound wave. Like the A6’s VCOs, its filters are true analog Voltage-Controlled Filters. We’ll...
Page 101: Audio Mixing
Program or Mix. A6 R NDROMEDA EFERENCE Chapter 4: Andromeda A6 Overview is routed to the frequency of OSC 2 OSC 1. . The knobs in each group are used to set the level of a controls the level of the band pass (“...
Page 102 Chapter 4: Andromeda A6 Overview Controllers The A6 provides all the standard hardware controllers you’d expect in a keyboard synthesizer plus a few more. Most obvious is its 5-octave (C-to-C) semi-weighted keyboard that responds to velocity and aftertouch. It can be played normally with one Program across all keys, or can be split so that one Program plays from the lower range of keys and a second Program plays from the upper range.
Page 103 The digital effects built into the A6 employ the same state-of-the-art technology as the studio products Alesis is known for. The extensive list of effects is programmable not only for each Program but for each Mix as well. This gives you the freedom to set up effects sets that work well for a single Programs, then create other effects sets that are appropriate for split or layered Mixes.
Page 104: Midi Overview
Chapter 4: Andromeda A6 Overview in this section on page 95. : see the discussion under the heading “Audio Mixing” earlier in FILTER AUDIO INPUTS this section on page 95. Audio outputs: the MAIN LEFT the A6. They are fed by the...
Page 105: Chapter 5: Oscillators And Filters
ROGRAM Up to this point in the manual, what we’ve covered so far will serve mainly as background material for the rest of the manual. But it is important background material, especially for A6 owners new to analog synthesis or analog veterans who’ve been away for awhile.
Page 106: Oscillator Parameter Descriptions
Chapter 5: Oscillators and Filters A6 components) fit into the Program/Mix concept. With this as a foundation, we’re now ready to explore the VCOs from a hands-on functional perspective. SCILLATOR ARAMETER The following two tables summarize the Pages of parameters for the Andromeda’s two oscillators.
Page 107 TUNE Page Parameters: OSC 1 and OSC 2 Each oscillator has tuning knobs for coarse, fine and ultra-fine tuning control. These three controls have their neutral positions (where A-440 or Standard Pitch is achieved) at 12 o’clock. For each knob, its lowest frequency position is fully counter- clockwise.
Page 108 Chapter 5: Oscillators and Filters WAVE Page Parameters DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY WAVE SQUARE Button + LED WIDTH PULSE WIDTH LEVEL — Button + LED Sawtooth Button + LED Triangle SINE SINE Button + LED — FILTFM Filter Frequency Modulation Output Selecting Waveforms...
Page 109: Vco Modulation
VCO M ODULATION ENV 1 AMOUNT, OSC 2 FM and NZEXT Of major importance in many synthesizer sounds is the ability to modulate the VCOs. The A6 provides each oscillator with several pre-routed and three custom modulations. We’ll cover the pre-routed mods accessible from the ENV1 AMOUNT OSC 2 FM DISPLAY...
Page 110 Chapter 5: Oscillators and Filters Since there is only one front panel knob for the selection of which oscillators were affected by turning the This way you can have one oscillator set to a constant value while the other would be controlled by the ENV1 AMOUNT both oscillators.
Page 111 OSC 2 FM Parameters Using a VCO as a Mod Source The frequency of “frequency modulation by Oscillator 2”. Using this modulation is a bit more involved than simply turning the modulating OSC 2 What is “FM”? The abbreviation for frequency modulation, FM can be easily confused with other forms of frequency modulation such as an LFO providing vibrato or trills by modulating the frequency of the VCOs.
Page 112 Chapter 5: Oscillators and Filters DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY OSC2FM OSC2FM — Continued Basic Operation To get started, it’s best if OSC 2 is not heard. You can always mix it in later, but for now you should turn the clockwise.
Page 113 NZEXT Oscillator Modulation Parameters Similar in principle to Andromeda’s audio sources and use them as modulation sources. By incorporating these mod routes into the A6’s modulation system, you now have the ability to use one of the synthesizer’s three noise sources or Oscillator 1, which produce very high rates of modulation, as mod sources.
Page 114 Chapter 5: Oscillators and Filters Soft buttons through respective modulations. Soft buttons buttons in the VCO sections and display their respective pages when pressed. MOD 3 Soft button 6 PWMOD button corresponds to the 7 FMMOD Tip: When using any of these buttons—either the dedicated buttons on the front panel or the soft buttons (mod tabs) under the display—pressing once displays the function’s page and a second press turns the function on (if it’s presently off) or turns it off (if it’s currently on).
Page 115 MODULATION DESTINATIONS: VCOs PARAMETER DISPLAYED AS FREQUENCY SQR WAVE LEVEL PULSE WIDTH OSC2 -> PWM (Oscillator 1 only) OSC2 -> LIN FM (Oscillator 1 only) OSC2 -> EXP FM (Oscillator 1 only) EXT -> PWIDTH EXT -> LINFM (Oscillator 1 only) EXT ->...
Page 116 Chapter 5: Oscillators and Filters FMMOD Parameters This is the page where the words, you can modulate the amount of parameters on this page. Referring to the table on the previous page, you have the same SOURCE LEVEL difference is that FMMOD MODULATION DESTINATIONS: FM MOD PARAMETER DISPLAYED AS...
Page 117 SYNC Parameter: OSC 2 Only Synchronizing OSC 1 with OSC 2 Even with the VCOs’ fine tuning and ultra-fine tuning controls, it is impossible to tune the VCOs to perfect unison, especially across the entire range of the A6’s keyboard or the wider range of MIDI Notes. There may be times when you need the tuning of two VCOs to be locked to each other.
Page 118: Filters
Chapter 5: Oscillators and Filters playing high notes or low notes affects the brightness, or if you want the brightness level to be modulated by, say, an LFO (or two) or controlled by the performance wheels. All of this is accomplished in the filter section. Filters control the brightness of the sound (or lack of it) by electronically controlling the harmonic content of the audio source routed to them.
Page 119: How Filters Are Designed
Chapter 5: Oscillators and Filters ILTERS ESIGNED As important as the amount of audio frequencies that pass through the filter is the type of filtering that is employed. The basic filtering process depends, therefore, on the mode of the filter – whether it’s low pass, high pass, band pass or notch filtering. Let’s take a moment to describe these modes.
Page 120 Chapter 5: Oscillators and Filters Band Pass A section of the audio spectrum, called a “band of frequencies”, passes through the filter while low and high frequencies are filtered out. Turning the determines the center frequency of the band: harmonics just above and below this center frequency make up the band;...
Page 121 Since a notch is created by combining high and low pass filtering, you can adjust the frequency of Filter 1 and Filter 2. As long as the frequency of Filter 2 (the low-pass element) is lower than that of Filter 1 (the high-pass element), you'll have a notch. The closer the frequencies are to each other the narrower and shallower the notch.
Page 122 Chapter 5: Oscillators and Filters Slope A filter’s slope refers to the rate at which the frequencies are filtered out. Harmonics are not chopped off abruptly by the filter but are “rolled-off” or reduced in amplitude gradually. This gradual reduction in volume occurs at a rate expressed in “decibels per octave”.
Page 123 filter has its resonance boosted at 8kHz, producing a noticeable “hump” in waveform’s harmonic amplitude just before the cutoff slope begins. To our ears, increasing resonance produces a kind of “ringing” or “whistling” effect on the sound. At its highest setting – fully clockwise – the resonance of oscillation and will output a sine wave near the same loudness as the VCOs.
Page 124: How Filters Work
Chapter 5: Oscillators and Filters ILTERS In Chapter 3, we used a number of flowcharts to illustrate how audio, modulation and control signals flow though a generic synthesizer. Since the A6 is more advanced than our generic example, let’s expand on this model with specific A6 components: 1.
Page 125 Chapter 5: Oscillators and Filters 3. The three outputs of – its Low Pass signals, High Pass signals and FILTER 1 Band Pass signals – are routed to the POST FILTER MIX Notice two things here: a.) All three types of filtering are available at the same time;...
Page 126 Chapter 5: Oscillators and Filters 4. The composite output of the or the Notch output of the of the for additional 4-pole low pass filtering. FILTER 2 button is used to route these signals into F2 INPUT button repeatedly switches between FILTER 2 •...
Page 127 does NOT have to be up to feed Filter 2. In fact, the band-pass output of Filter 1 can still feed the VCA directly if you turn the pot up. To complete our signal path, the output of where its level is set and routed to the FILTER MIX output.
Page 128 Chapter 5: Oscillators and Filters 7. The sine wave outputs of both are routed directly to the PRE FILTER into the A6’s audio path without filtering. This direct signal flow from the sound generators, bypassing the filters provides three distinct advantages when editing Programs. First, since sine waves have no harmonics, filtering them has no effect on their tone--low their amplitude.
Page 129: Filter Parameter Descriptions
ILTER ARAMETER Although FILTER 1 are similar in function if not in location. Filter 1 Parameters SOFT KNOB PAGE TAB FILT 1 FREQ MOD1 SOURCE MOD2 SOURCE MOD3 SOURCE Filter 2 Parameters SOFT KNOB PAGE TAB FILT 2 FREQ MOD1 SOURCE MOD2 SOURCE...
Page 130 Chapter 5: Oscillators and Filters Main FILTER Parameters DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY FILT 1 FILTER 1 (12dB) FILT 2 FILTER 2 (24dB) FREQ FREQ Frequency RESONANCE FILT 2 INPUT F2 INPUT (only) OPTIONS RANGE DESCRIPTION 0.0218 ··· This parameter is used to set the frequency 22.3482 (Fil 1) of the selected filter (in kilohertz).
Page 131 DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY FILT 1 ENV2 ENV 2 AMOUNT FILT 2 OFFSET KEYTRK KEY TRACK OFFSET (none) CV IN FILT 1 (menu; affects both) FILT 1 (none) CV SRC FILT 2 A6 R NDROMEDA EFERENCE Chapter 5: Oscillators and Filters OPTIONS or RANGE DESCRIPTION 0.00 ···...
Page 132 Chapter 5: Oscillators and Filters MOD Parameters DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY MOD1 MOD 1 MOD2 MOD 2 MOD3 MOD 3 SOURCE — LEVEL — OFFSET — ENABLE — DEST — OPTIONS or RANGE DESCRIPTION Use soft knob to scroll through the list of Any of the A6’s 79 modulation possible modulation sources.
Page 133: Chapter 6: Modulation And Envelopes
ROGRAM ODULATION AND ODULATION Modulation is quite possibly the most-used operation in a synthesizer. It involves more of the routine day-to-day synth functions than most people are aware of. In fact, even the simplest of Programs has some kind of modulation programmed into it.
Page 134 Chapter 6: Modulation and Envelopes gets brighter as it gets louder. This is harmonic modulation or, more precisely, filter frequency modulation. The brightness of the sound (“something”) can be changed by a pedal, an envelope, an LFO, velocity or other sources (“something else”). The principle of “something/something else”...
Page 135: Hardware And Software Modulation, Default Mod Paths
The LFO section of the A6 also contains an aperiodic mod source called sample-and- hold ( on the front panel). This classic analog mod, discussed in detail later, S & H provides yet another random modulation typically based on a noise source rather than a periodic waveform.
Page 136: Envelopes
Chapter 6: Modulation and Envelopes NVELOPES An envelope is used when you want to make changes in the level or the frequency of a destination over a period of time which can be mere fractions of a second – .001 seconds (or one thousandth of a second) –...
Page 137: Envelope Parameter Descriptions
NVELOPE ARAMETER The A6 has three 7-stage loop-able envelope generators per voice. The parameters of the envelopes are described on the following pages. Pressing a button or turning a knob on any of the three envelope areas displays that parameter. You can also press button on the desired envelope and then use any of the display’s soft knobs VIEW and buttons to work with a specific parameter as well as its dedicated panel controls.
Page 138 Chapter 6: Modulation and Envelopes example the Trigger Mode is set to NORM, the envelope’s Sustain Level will also be maintained as long as the Key is Held Down. As soon as the Key is Let Go – a “Note Off”...
Page 139: Time Page Parameters
TIME Page Parameters page is where the selected envelope’s stage duration ( TIME slope ( ) parameters are adjusted. SHAPE Tip: Although you can select any parameter simply by turning its corresponding soft knob, this action also changes the parameter’s value which isn’t always desirable.
Page 140 Chapter 6: Modulation and Envelopes TIME SHAPE — TIME Parameters (continued) ➟ R1TIME RELEASE 1 Release 1 Time ➟ R2TIME RELEASE 2 Release 2 Time LINEAR Designed after the function, refers to the slope (acceleration SHAPE EXP 1, 2 & 3 or deceleration attributes) of the envelope’s LOG 1, 2 &...
Page 141: Shape: Selecting The Stage Slope
SHAPE: Selecting the Stage Slope Each time parameter of an envelope (except Delay) has a user-selectable property called slope. This term refers to how the attack, decay and release stages accelerate (speed up) or decelerate (slow down) as each stage approaches its target level. When a time stage parameter is selected, its current slope appears in the far right side of the display.
Page 142 Chapter 6: Modulation and Envelopes (exponential) slope, however, accelerates towards the target level: it • An starts out slow then speeds up as it gets closer to its target level. Rather than a straight line, it is represented by a curve. One of three exponential curves can be selected: less steep than EXP 1...
Page 143: Level Page Parameters
LEVEL Page Parameters This page of parameters is where the four levels of the envelope are set. Notice that you can use a negative value for any or all of the levels in Envelopes 1 and 2. DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY LEVEL...
Page 144: Trig
Chapter 6: Modulation and Envelopes TRIG and RETRIG Pages Parameters The envelope’s Time and Level parameters determine its shape or contour. As important as an envelope’s shape is when it begins its cycle and how it plays through the cycle. This is where the An envelope starts its cycle when it receives a trigger.
Page 145 DISPLAY PARAMETER PAGE PANEL DISPLAY LABEL TRIG — POLAR Continued MODE — <PAGE> — For an in-depth study of these polarities, see our discussion on using an LFO source as the example. This topic starts on page 155. An interesting attribute of the envelopes is that while they rely on a trigger source to start (an envelope is a trigger destination), they themselves can also be trigger sources.
Page 146: Envelope Modes (Norm 1 & 2, Freerun, Susrel)
Chapter 6: Modulation and Envelopes Envelope Modes The envelope parameter on the MODE triggered (started) and how it progresses through its stages under various circumstances. There are seven envelope modes: Normal 1, Normal 2, Freerun, Freerun-Sustain, Sustain-Release 1, Mod-Trigger, Mod-Trig/Gate. Here are some terms used in the following descriptions of the envelope modes.
Page 147 NORM 1 NORM 1 envelope will proceed through its cycle to the Sustain stage as long as a key is being held down (Note On). The Release 1 stage starts when the key is let go (Note Off). But if the key is let go before the Sustain stage is reached, the envelope “jumps”...
Page 148 Chapter 6: Modulation and Envelopes NORM 1, EXAMPLE 2 This is a envelope with the NORM 1 Note Off occurring during the ATTACK stage. The envelope “jumps” to the RELEASE stage and proceeds into the RELEASE level. The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the...
Page 149 NORM 2 NORM 2 envelope is very similar to a envelope jumps to the Release 2 stage (instead of the Release 1 stage in key is let go before the Sustain stage is reached. Start: The envelope is started by the beginning of a Note On event. Progress: During the Note On, the envelope proceeds normally through Delay, Attack, Decay 1, and Decay 2 stages to the Sustain stage.
Page 150 Chapter 6: Modulation and Envelopes NORM 2, EXAMPLE 2 This is a envelope with the NORM 2 Note Off occurring during the ATTACK stage. The envelope “jumps” directly to the stage and proceeds to RELEASE 2 The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the...
Page 151 NORM 2, EXAMPLE 3 This is a envelope with the NORM 2 Note Off occurring during the DECAY 1 stage. The envelope “jumps” directly to the stage and proceeds to RELEASE 2 The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the stage is complete.
Page 152 Chapter 6: Modulation and Envelopes FRERUN FRERUN (“free-run”) envelope plays through its cycle even if the key or pedal is released before reaching the Sustain stage. Start: The envelope is started by the beginning of a Note On event. Progress: Once the envelope has started, regardless of Note On or Sustain status, the envelope proceeds normally through Delay, Attack, Decay 1, and Decay 2 stages to the Sustain stage.
Page 153 a. if the Note On or Sustain Pedal On are held until the Release 2 Level is reached, the envelope will hold at that level until a Note Off and/or a Sustain Pedal Off occur. The envelope will then proceed to the Release 2 stage and continue through to the end. b.
Page 154 Chapter 6: Modulation and Envelopes SUSREL, EXAMPLE 2 This is a envelope with the SUSREL Note Off occurring during the SUSREL stage, but before the stage RELEASE 2 was reached. The key concept to note here is that a Note Off or Pedal Off occurring during the stage causes the SUSREL...
Page 155: Envelope Modulation Triggering (Modtrg)
SUSREL, EXAMPLE 4 This is a envelope with the SUSREL Note Off occurring during the DECAY 1 stage. If a Sustain Pedal On occurs, the envelope “jumps” to the SUSREL and proceeds into . If the RELEASE 2 Sustain Pedal Off occurs during the stage, the envelope will jump SUSREL for its final decay to...
Page 156 Chapter 6: Modulation and Envelopes MOD-TG MOD-TG (“modulation trigger-gate”) envelope mode is very similar in function to mode, except that the envelope is triggered by a user selectable NORM 1 modulation input instead of the keyboard. Start: The envelope is started by an On level from the selected modulation source.
Page 157: How Modulation Triggering Works
How Modulation Triggering Works When a modulation source is selected to trigger an envelope, the envelope ignores Note On messages (the keyboard, MIDI Notes, and so forth) and instead looks at the selected mod source for its trigger signal. In the examples below, we chose LFO 1 but the trig source can be another envelope, the Pitch Wheel, a foot switch and so on.
Page 158 Chapter 6: Modulation and Envelopes EXAMPLE 2 User Parameters: Trigger In Level = Trigger Polarity = NEGATIVE EXAMPLE 3 User Parameters: Trigger In Level = Trigger Polarity = BIPOLAR EXAMPLE 4 User Parameters: Trigger In Level = Trigger Polarity = POSITIVE A6 R NDROMEDA...
Page 159 EXAMPLEs 5 negative attributes are ignored – just the level of 75 is used. EXAMPLE 5 User Parameters: Trigger In Level = Trigger Polarity = BIPOLAR EXAMPLE 6 User Parameters: Trigger In Level = Trigger Polarity = POSITIVE EXAMPLE 7 User Parameters: Trigger In Level = Trigger Polarity =...
Page 160: Dyn Page Parameters
Chapter 6: Modulation and Envelopes DYN Page Parameters or Dynamics functions permit you to modulate certain parameters of an envelope “live” or as you are playing the A6. To use a current computer phrase, we could say that dynamics are performance parameters that happen “in real time.” Parameters in this page deal with how the envelope is affected by the way notes are played or if a sustain pedal is used.
Page 161 DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY KEYTRK Continued Key Tracking KTBASE — Key Tracking Base Note LVLTRK — Level Tracking VELMOD — Level Velocity Modulation RELMOD — Release 2 Modulation Key Tracking and RELMOD Release 2 Modulation TIME RELMOD page) by the Note Number that triggered the envelope. If you refer back to TIME page 54 when we covered Keyboard Properties, each key of the A6’s keyboard as well as any received MIDI Note is assigned a number.
Page 162: Loop Page Parameters
Chapter 6: Modulation and Envelopes Positive Values: If KEYTRK double in speed with each octave above Middle C, and halve in speed with each octave below Middle C. Negative Values: If KEYTRK speed with each octave below Middle C, and halve in speed with each octave above Middle C.
Page 163 how we use the the term stage. It refers to the same envelope parameters as before, but when describing the loop start function, the loop starts at the beginning of the selected stage only. For example, you cannot start a loop during the Attack stage’s rise time, only at the point where the Attack stage starts.
Page 164 Chapter 6: Modulation and Envelopes DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY LOOP COUNT — Continued Continued TYPE — SMOOTH — Smooth Time SSHAPE Smooth Shape OPTIONS or RANGE DESCRIPTION SUSTAIN The loop will continue to cycle until the key is let go (or the A6 receives a MIDI Note Off).
Page 165 Some Important Notes About Envelope Looping • You can think of the Smooth parameter as another envelope “stage”. It has Time (the parameter) and Slope (the SMOOTH other stages. Just keep in mind that smoothing is used strictly for the purpose of linking two of the standard stages in order to form a loop.
Page 166: Mod Pages
Chapter 6: Modulation and Envelopes MOD Pages In addition to the modifications offered by the can be modulated by any of the A6’s 71 mod sources. In fact, three separate mod paths can be created per envelope from the three provides outstanding versatility in customizing the envelopes to a particular need.
Page 167: Envelope Examples
NVELOPE XAMPLES Now that we’ve covered envelope functions in detail, let’s take a look at a few envelopes that can be created in the A6. The envelope depicted on page 135 represents the most basic envelope contour: all stages are used, they’re all linear and all levels have positive values.
Page 168 Chapter 6: Modulation and Envelopes EXAMPLE 2: BI-POLAR with OFFSET plus LEVEL Changes Time DELAY Time ATTACK Attack SHAPE D1TIME Decay1 SHAPE D2LEVL D2TIME Decay2 SHAPE SUSTAIN Level R1TIME Release1 SHAPE R2LEVL R2TIME Release2 SHAPE Envelope OFFSET Envelope LEVEL Envelope POLAR This example shows the relationship between the Offset and the envelope’s Attack and Release2 stages.
Page 169 EXAMPLE 3: BI-POLAR with Output LEVEL Clipping and RELEASE HOLD Time DELAY ATTACK Time Attack SHAPE D1TIME Decay1 SHAPE D2LEVL D2TIME Decay2 SHAPE Level SUSTAIN R1TIME Release1 SHAPE R2LEVL R2TIME Release2 SHAPE Envelope OFFSET Envelope LEVEL Envelope POLAR This example shows another relationship between the Offset and the envelope Level. Since the envelope Level is set to maximum Output Level is top half of the Attack segment beyond the maximum Output Level.
Page 170 Chapter 6: Modulation and Envelopes EXAMPLE 4: Classic “ADSR” – Positive Amplitude Envelope with Bypassed Stages Time DELAY Time ATTACK Attack SHAPE D1TIME Decay1 SHAPE D2LEVL D2TIME Decay2 SHAPE Level SUSTAIN R1TIME Release1 SHAPE R2LEVL R2TIME Release2 SHAPE Envelope OFFSET Envelope LEVEL Envelope...
Page 171 EXAMPLE 5: A(S)R – Positive Amplitude Envelope with Additional Bypassed Stages Time DELAY ATTACK Time Attack SHAPE D1TIME Decay1 SHAPE D2LEVL D2TIME Decay2 SHAPE Level SUSTAIN R1TIME Release1 SHAPE R2LEVL R2TIME Release2 SHAPE Envelope OFFSET Envelope LEVEL Envelope POLAR This example shows the functionality of an A(S)R envelope. As always, the Attack stage rises to maximum, and proceeds to the next available Decay stage.
Page 172 Chapter 6: Modulation and Envelopes A6 R NDROMEDA EFERENCE ANUAL...
Page 173: Chapter 7: Lfos, Sample & Hold And Process
ROGRAM AMPLE REQUENCY A6 R NDROMEDA EFERENCE Chapter 7: LFOs, S&H and Process UNCTIONS & H OLD AND SCILLATORS As mentioned earlier in this manual, a Low Frequency Oscillator (LFO) primarily provides periodic (repeating pattern) modulation to its assigned destination. But an LFO can also produce aperiodic (non-repeating) modulation based on a randomly-generated waveform and a noise source.
Page 174: Wave Page
Chapter 7: LFOs, S&H and Process Tip: Tabbing feature: You can select any parameter simply by turning its correspond- ing soft knob, but this action also changes the parameter’s value which isn’t always desirable. If you just want to review the current settings of the LFO parameters without changing anything, you can select a parameter without changing its value by pressing its page’s soft button.
Page 175 ➠ DELAY Delay Time This parameter sets time that elapses before the LFO begins its oscillation. During this time delay, the LFO is inactive. Range: 0 – 131.075 seconds, adjustable in increments of 2 to 10 milliseconds. ➠ PHASE Initial Phase This parameter sets the initial phase portion where the LFO waveform starts.
Page 176 Chapter 7: LFOs, S&H and Process ➠ OFFSET DC Offset This parameter allows you to shift (“offset”) the zero amplitude reference for the LFO wave. This means that, as depicted in the graphs below, you can move the zero line – the point of a wave where it is neither positive or negative – up or down.
Page 177: Trig Page
TRIG Page As important as how an LFO operates is when it begins to oscillate. It is usually assumed that an LFO starts when a key is played or MIDI Note is received, or at the end of the Delay stage. All three of these scenarios are correct, but more accurately, it is the trigger that originates from the keyboard or MIDI that starts the LFOs’...
Page 178: Sync Page
Chapter 7: LFOs, S&H and Process SYNC Page This page allows you to synchronize the LFO’s frequency with the A6’s Master Clock, or with an external MIDI clock. This is a very useful function when you need the LFO to be in sync with the arpeggiator, the sequencer or received MIDI Timing Clock signals.
Page 179: Sample And Hold
arpeggiator, and many more. We’ll cover more about this in Chapter 9, Modulation Matrix. AMPLE AND Sample and Hold is a specialty mod source that generates its modulation by “sampling an input”. This means that a sine wave, as an example of the input, is sampled –...
Page 180 Chapter 7: LFOs, S&H and Process In both examples, the modulate the selected destination when is the output of the Sample and Hold generator and will RESULT is used as a mod source. S & H LEVEL NDROMEDA A6 R EFERENCE ANUAL...
Page 181: Process Module
PROCESS M ODULE Tracking Generator). However, if you set the Tracking Generator's input to , and then routed the output of the Tracking generator to Envelope 3's ON VELOCITY , you can make your own customized "map" of the control velocity has over LEVEL the sound level.
Page 182: Tracking Generator Parameter Descriptions
Chapter 7: LFOs, S&H and Process RACKING ENERATOR The A6 has a 16-stage (maximum) Tracking Generator for each voice. The parameters are described in detail below. SOFT KNOB PAGE TAB OUTPUT INLVL STAGE INPUT SOURCE DISPLAY PARAMETER PAGE DISPLAY or RANGE DESCRIPTION OUTPUT INLVL Input Level...
Page 183 DISPLAY PARAMETER PAGE PANEL LABEL DISPLAY INPUT MOD SOURCE — LIST LEVEL — OFFSET — ENABLE — NGINE PTIMIZER The Engine Optimizer can improve how your patch responds to changes in amplitude, filter or pitch. In the vast majority of cases, the patch will sound best if the Optimizer is left at the program.
Page 184 Chapter 7: LFOs, S&H and Process NGINE PTIMIZER DISPLAY PARAMETER or RANGE DESCRIPTION PAGE DISPLAY ENGINE Oscillator Engine Optimizer FAST PITCH FILTER Filter Engine Optimizer PERCUSSIVE WARM PADS DARK BASS PERCUSSIVE ARAMETERS OPTIONS Selects Engine Optimizer settings for the Oscillators. NORMAL This is the default setting.
Page 185: Chapter 8: The A6 Mixing System
ROGRAM NDROMEDA One of the most useful and exciting features of the A6 is its ability to mix sound signals in a multitude of ways. Having a wide choice of audio paths – routes that the oscillators and other sound sources can take as they make their way through the A6 – provides another set of power tools that you can use to create sounds.
Page 186: Pre Filter Mix Operation
Chapter 8: Pre Filter, Post Filter and Voice Mixes PRE FILTER MIX O OSC and SUB OSC Controls The output levels of both VCOs going to the Filters are controlled by their respective knobs. Each VCO also provides a sub-oscillator output and its level OSC 1 OSC 2 is controlled by the...
Page 187: Noise/External Control
Modulator, using the sine waves of sine waves have no harmonics. This will allow you to hear the Ring Modulator produce a waveform with the least complexity. Different results are obtained by using two square waves or two sawtooth waves as these waveforms contain numerous harmonics which are also multiplied together.
Page 188 Chapter 8: Pre Filter, Post Filter and Voice Mixes EXT FILTER INPUTS/ V 1-16 Button V 1-16 jack on the Andromeda’s back panel is a high-impedance input that V 1-16 routes a mono or single-channel external audio source to all 16 of the A6’s Voices. This means that you can process a mono signal polyphonically through the A6’s filters, complete with all of the modulation normally available to the Filters: envelope shaping, LFOs and the rest of the A6’s...
Page 189: Signal Routing Through The Filters
Signal Routing through the Filters outputs of PRE FILTER MIX signals), the RING MOD following procedures. Please note that the PRE FILTER MIX is on. The following procedures will inform you how to turn the FILTER BYPASS Filters on or off using their respective level knobs, as well as other Filter “mixing” methods you’ll find useful.
Page 190 Chapter 8: Pre Filter, Post Filter and Voice Mixes turn up FILT 1 HP instead of a notch. When using filtering by pressing the RING MOD Signal Routing The signal routing of the Ring Modulator has a unique feature that allows you to bypass the Filters while still routing the This allows you to hear the filtered and unfiltered Ring Modulator simultaneously.
Page 191: Post Filter Mix Overview
POST FILTER MIX O module contains five knobs that control the output of the Filters POST FILTER MIX going to the VOICE MIX and the signal. RING MOD , like the POST FILTER MIX that are used to route mod sources to their respective destinations. You can modulate the levels of the FILTER 1 bandpass) outputs, and the level of...
Page 192: Voice Mix
Chapter 8: Pre Filter, Post Filter and Voice Mixes OICE module contains the final mixing stages of the A6. The mixed output of VOICE MIX this module feeds the instrument’s that controls the final output of the A6. is where the relative levels and panning – the placement of voices VOICE MIX left-to-right in the stereo image –...
Page 193: Chapter 9: Custom Modulations
USTOM Chapter 5: Program Functions programmable functions of the A6’s modules that comprise a Program: OSC 2 FILTER 1 FILTER 2 mixing modules, plus the modulation source modules of the ENV 3 Referring back to Chapter 2: Playing the A6 functions of the A6: how to use the Display, the ), the ARPEGGIATOR...
Page 194: Performance Control Of Mods
Chapter 9: The A6 Modulation Matrix Wheel is assigned by default to control the level of have to program that. In both cases, you can turn the hard-wired routes off if you wish, but why use up a custom MOD for something that’s already there? ERFORMANCE CONTROL OF MODS Once you’ve set up a modulation, you have two options: Have the modulation exist constantly (for example, if you always want...
Page 195 What the MOD display means The upper right hand corner shows that this is a mod page for Filter 1. By looking at the page tabs and the legend above it, we know we’re looking at Mod 1 of that filter. Moving from left to right, we can see: •...
Page 196 Chapter 9: The A6 Modulation Matrix The different ways to modulate a parameter There are four “levels” of operation that are used to control mod paths in the A6’s Mod Matrix system: Hardware Mods: The first level uses dedicated front panel controls to control the level of a particular modulation source and is the most visible of the three.
Page 197 MOD BUTTONS WITH SINGLE DESTINATIONS MODULE BUTTON TITLE ARPEGGIATOR SYNC/MOD SEQUENCER SYNC/MOD PORTA S&H OSC 1 PWM (Pulse Width Modulation) OSC 2 PWM (Pulse Width Modulation) PRE FILTER EFFECTS MOD (Analog Distortion) POST FILTER MOD BUTTONS WITH MULTIPLE DESTINATIONS MODULE BUTTON TITLE LFO1 LFO2 and 3...
Page 198 Chapter 9: The A6 Modulation Matrix MOD BUTTONS WITH MULTIPLE DESTINATIONS (continued) OSC 1 (cont.) (OSC 2 FM) MOD 1, 2 and 3 OSC 2 MOD 1, 2 and 3 FILTER 1 and FILTER 2 MOD 1, 2 and 3 ENV 1 ENV 2 and ENV 3...
Page 199: A Few Ground Rules
ROUND ULES • The mod paths created from the Mod Matrix are programmable per Program. This means that each of the A6’s 128 Programs can have a unique set of custom mod paths, or none at all. • Therefore, all Mod Routes routings must be written into memory with the button, just like any other Program or Mix parameter.
Page 200: The Control Routes Section
Chapter 9: The A6 Modulation Matrix ONTROL OUTES As we said earlier in this chapter, modulators can be constant at the level set on the Mod page, or they can be controlled from still more modulation sources. This “modulating the modulator” control panel is called the Control Routes display. The CRoutes are Mod Route scaling control assignments.
Page 201: To Change The Source Of A Control Route
If you’ve done this, try the Mod Wheel again. You’ll notice that it didn’t bring in the vibrato this time. But notice that the LEDs for each Oscillator’s Mod 1 are still on. This means the mod route itself is still active; it’s just that the Mod Wheel is no longer available to increase the level of the mod.
Page 202: About Signal Flow In A Mod Path
Chapter 9: The A6 Modulation Matrix BOUT IGNAL LOW IN A When you’re programming a modulation, keep in mind that there are many possible level controls between the mod source and its destination. As in a mixing console, there are many places in the MOD signal path where the signal may be turned up, turned down, or switched off.
Page 203: About Modulation Sources
BOUT ODULATION The Mod Sources list in Appendix B near the end of the manual carries a description of each source, although they’re fairly self-explanatory. But there are three categories that you should consider: • Sources with a • Sources with a will affect all voices at once in the same way.
Page 204 Chapter 9: The A6 Modulation Matrix A6 R NDROMEDA EFERENCE ANUAL...
Page 205: Chapter 10: Using Effects
NTRODUCTION The A6 features two complete systems of effects: one that produces a variety of analog-generated distortions (overdrive, classic fuzz box and more) and the other for producing an array of studio-quality digital effects (reverbs, delays, chorus, flanging, pitch-shifting and rotating speaker). This entire arsenal is fully programmable for each Program and Mix.
Page 206: Analog Distortion
Chapter 10: Using Effects Program and each Mix, any and all distortions/effects stored with a Program or Mix can be disabled with this button. The on/off status is programmable. – There are two Configuration buttons, one for the Analog Distortion system CONFIG and one for the Digital Effects system.
Page 207: Editing Digital Effects
MOD page Soft button brings you to the options on the A6, you can use any of the 79 modulation sources to increase or decrease the level of the destinations, which are the inputs to the digital effects: DFX SEND LEFT DFX SEND RIGHT DFX SEND L&R DFX PAN...
Page 208: Editing Effect Parameters
Chapter 10: Using Effects DITING FFECT HOOSING A ARAMETER To select an effects edit page, press a soft button under the page “tab” on the bottom row of the display. In single effects, these pages are named In a multieffect each parameter page is named after the effect “block” it controls: etc.
Page 209: Mod: Modulating Effects Send/Output
MOD: M ODULATING Pressing an effect’s on any Effects Edit page displays a Modulation page for the Analog Distortion or Digital Effects systems. Here you are able to select up to two sources that can be used to modulate output levels of the Analog Distortion or Digital Effects sections. The Modulation page will display the modulation destination(s) and its sources, along with LEVEL...
Page 210: Tutorial: How To Edit A Reverb
Chapter 10: Using Effects UTORIAL OW TO The best way to learn a new piece of gear is to start using it in your studio. This section is designed to teach you how to edit your own effects using normal day-to- day examples.
Page 211: Set The Reverb Predelay
The Diffusion parameter (soft knob conjunction with the Density parameter, it can be used to approximate hundreds of room textures. Again, use the keyboard to check if the room is getting too ripply or too glassy. Set the Diffusion ( ET THE EVERB REDELAY...
Page 212: Adjust The Mix
Chapter 10: Using Effects Now we’re ready to go back to the be useful for adding a little warmth to a hall program. By setting the frequency to 237Hz and the Level to 100, we can add a touch of warmth to our hall program. 15.
Page 213: Digital Effects Architecture
IGITAL FFECTS IGNAL (ENV 3) VOICE MIX LEVEL SEND As you can see in the flow chart above, the effects section gets its input from the Voice Mix Level pot. At this point, the signal is mono. This signal appears at the controls of both effects units.
Page 214: Dual Effects: Parallel
Chapter 10: Using Effects TEREO The Stereo Room, Quad Pitch Shifter and Quad Chorus configurations are special single algorithms that treat the incoming left and right signals differently, but still create a synthesized stereo image from each side, depending on the setting of the Width control.
Page 215: Dual Effects: Mono
FFECTS ARALLEL Parallel configurations consist of two discrete “side-by-side” mono-in/stereo-out effects. These configurations are identified by the presence of a “+” in their name, and by a control between the input and the effect. In each case, the left output BLEND of the Blend control is routed to one effect, while the right output is routed to the other.
Page 216: Multi Chain
Chapter 10: Using Effects ULTI HAIN The Multi Chain configurations provide two or three stereo effects, which are connected in series: one feeding the next in the chain. These configurations are identified by a “>” symbol in their name, for example These individual effect types provide excellent sound quality but are less processor- intensive than their Single configuration equivalents, since the Digital Signal Processor is accommodating more than one effect at a time.
Page 217: Configurations & Parameter Descriptions
ONFIGURATIONS This section provides detailed descriptions of the available Digital Effects and their related parameters. A comprehensive Table of Parameters is provided at the end of this section. EVERBS Reverb Configurations Reverb is made up of a large number of distinct echoes, called reflections. In a natural acoustic space, each reflection’s amplitude and brightness decays over time.
Page 218: Reverb Parameters
Chapter 10: Using Effects Nonlinear This reverb effect’s direction can be set either forwards or backwards. Selecting the forward direction provides a classic “Gated” digital reverb sound. Selecting the reverse direction gives you a backwards reverb sound. A popular trick in the 80’s was to record the reverb with the tape flipped over, so it would play backwards in the mix.
Page 219 Chapter 10: Using Effects Bass Boost (Halls only) The Hall reverb type allows you to add bass to the input signal before processing. This can make the halls sound “warmer”, or even add rumble at extreme settings. parameter selects the highest frequency which will be boosted, and the BASSF parameter sets the amount of boost, up to 6 dB.
Page 220 Chapter 10: Using Effects Diffusion (DIFF) Diffusion determines the “thickness” of the reverb sound by adding more reflections to the reverb’s decay. With lower diffusion settings, you may be able to hear the individual echoes that make up the overall reverb sound. With higher diffusion settings, the echoes increase in number and blend together, washing out the reverb’s decay.
Page 221 Chapter 10: Using Effects The Shape parameter controls how the reflections fade out over time. Different shapes will dictate the shape of the room and the intensity of the attack. The Early Reflection shapes are diagramed below: These shapes range from 0, which fades immediately and is good for small rooms, to 2, which builds and then falls to approximate a hall, to 4, which builds up slowly for a long “bloom”...
Page 222: Delays
Chapter 10: Using Effects how long the gate will be held open before it begins to turn off; this can be set from 100 to 600 ms. GATE (Reverb Gate Level Damping) This parameter creates the effect of plugging an expander/gate on the output of a reverb, giving the famous gated reverb effect.
Page 223 Chapter 10: Using Effects Delay Parameters Some of these parameters (Feedback, etc.) are found in all of the Delay configurations, where others are found only on the single delays. Following is a list of all Delay parameters found in the A6: Delay Time (100MS, 10MS, and 1MS) In most cases, the delay time is separated into three parameters for fine-tuning the time: 100mS (milliseconds), 10mS, and 1mS.
Page 224: Pitch Effects
Chapter 10: Using Effects ITCH FFECTS Pitch Configurations The Pitch effects alter the pitch of a signal in various ways to produce “layered” timbres that are more complex than the original signal. Although some of these effects can sound similar to one another depending on the parameter settings, each is achieved differently and can be quite dramatic under the right circumstances.
Page 225 Chapter 10: Using Effects Quad Chorus Quad Chorus modulates four delayed signals, each with independent rate and depth controls. Each of the four signals has a separate Predelay variable, allowing you to change the “rhythm” of the phasing. Quad Pitch Shifter (4 PITCH) The Pitch Shifter effect transposes the pitch of the incoming signal by a fixed amount.
Page 226 Chapter 10: Using Effects Pitch Parameters Rate This is the rate that the delay time is modulated. It is adjustable from 0.00 to 6.47Hz. Depth This controls how deep the flange or chorusing will be. It affects how wide a range of delay time is swept, and is adjustable from 0-250.
Page 227 Wave The Wave parameter sets the waveform of the Chorus/Flanger’s sweep, either Sine or Triangle. Triggered Flange The Flanger effects can be Triggered by the input audio signal. This allows you to start the flanger at the top of the measure and other rhythmic effects. It starts the “sweep”...
Page 228 Chapter 10: Using Effects This selects which input to monitor to begin triggering. The choices are TRIG OFF, Left, Right, or L&R. ATTACK This parameter sets the level where the flange will “trigger” or reset. When the audio goes above this level, the flanger will begin its sweep. RELEAS This is the level where the flanger stops listening to the input.
Page 229: Table Of Digital Effects Parameters
ABLE OF IGITAL The following chart lists the parameters found on each page of each configuration. Use this as a road map to locate a specific parameter you want to edit. CONFIG DISPLAY NAME PAGE ➟ CONFIG Large Hall PARAM1 PARAM2 PARAM3 ➟...
Page 230 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Stereo Room PARAM1 PARAM2 PARAM3 ➟ CONFIG Room Reverb PARAM1 PARAM2 PARAM3 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Input Pan Effects Output Level DECAY Reverb Decay Time...
Page 231 CONFIG DISPLAY NAME PAGE ➟ CONFIG Chamber AND Ambience PARAM1 PARAM2 PARAM3 ➟ CONFIG Large Plate AND Plate PARAM1 PARAM2 PARAM3 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Effects Output Level DECAY Reverb Decay Time Input Low Pass Filter...
Page 232 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Room + Hall ROOM1 ROOM2 HALL1 HALL2 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) BLEND Input Blend RM OUT Room Output Level HL OUT Hall Output Level DECAY...
Page 233 Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Room + Plate ROOM1 ROOM2 PLATE1 PLATE2 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) BLEND Input Blend RM OUT Room Output Level PL OUT...
Page 234 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Plate + Hall PLATE1 PLATE2 HALL1 HALL2 ➟ CONFIG Nonlinear PARAM1 PARAM2 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) BLEND Input Blend PL OUT Room Output Level HL OUT...
Page 235 Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Mono Delay PARAM1 PARAM2 PARAM3 ➟ CONFIG Ping Pong Delay PARAM1 PARAM2 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Effects Output Level 100MS Delay Time Hundreds of...
Page 236 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Multi Tap Delay PARAM1 PARAM2 PARAM3 PARAM4 PARAM5 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Effects Output Level 1TIME Delay Time (First tap) 1LEVEL Delay Tap Output Level 1PAN...
Page 237 Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Delay:Delay L-DLY1 L-DLY2 R-DLY1 R-DLY2 ➟ CONFIG Stereo Chorus/Flanger PARAM1 PARAM2 PARAM3 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Input Pan OUT L Left Delay Output Level...
Page 238 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Quad Chorus PARAM1 PARAM2 PARAM3 PARAM4 PARAM5 ➟ CONFIG Chorus:Chorus L-CHRS1 L-CHRS2 R-CHRS1 R-CHRS2 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Input Pan Effects Output Level 1RATE...
Page 239 Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Quad Pitch Shifter PARAM1 PARAM2 PARAM3 PARAM4 ➟ CONFIG Lezlie > Room LEZLE1 ROOM1 ROOM2 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Input Pan Effects Output Level...
Page 240 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Delay > Room DELAY1 DELAY2 DELAY3 ROOM1 ROOM2 ➟ CONFIG Chorus > Room CHORS1 CHORS2 CHORS3 ROOM1 ROOM2 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Input Mix of Room Effect Chain Output Level 100MS...
Page 241 Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Room > Flange ROOM1 ROOM2 FLANG1 FLANG2 FLANG3 ➟ CONFIG Flange > Delay > Room (MULTI 3) FLANG1 FLANG2 DELAY ROOM1 ROOM2 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME...
Page 242 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Room + Delay ROOM1 ROOM2 DELAY1 DELAY2 DELAY3 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) BLEND Input Blend RM OUT Room Output Level DL OUT Delay Output Level DECAY...
Page 243 Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ Room + Chorus CONFIG ROOM1 ROOM2 CHORS1 CHORS2 CHORS3 ➟ CONFIG Room + Flange ROOM1 ROOM2 FLANG1 FLANG2 A6 R NDROMEDA EFERENCE Chapter 10: Using Effects PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) BLEND...
Page 244 Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG DISPLAY NAME PAGE ➟ CONFIG Room > Delay ROOM1 ROOM2 DELAY1 DELAY2 DELAY3 PARAMETER DISPLAY PARAMETER NAME SEND Send (Input Level from Voice) Input Blend Effect Chain Output Level DECAY Room Reverb Decay Time Room Input Low-Pass Filter...
Page 245: Chapter 11: Mix Mode
. MIDI C HANNELS VS Most digital synthesizers (including the Alesis QS Series) assign one Program per MIDI channel in a multitimbral Mix. But while the Andromeda has 16 Mix Channels, that is not the same as the 16 conventional MIDI channels. Several A6 Mix Channels may be “played”...
Page 246: Common Mix Settings For Midi Sequencers
Chapter 11: Mix Mode OMMON ETTINGS FOR The easiest way to use the A6 with a MIDI sequencer is to use one of the pre- programmed Mixes in the Preset or User banks. See the Program/Mix chart for the Mix set up for multitimbral use that’s appropriate for your situation. But if you want to start from scratch or edit an existing Mix, here are the steps: O MAKE A CUSTOM MULTITIMBRAL Press the...
Page 247: Midi Program Change Messages
Set Controller parameters At this point, it should be self-explanatory to go on to the whether you want this program to respond to various controller messages. For example, you can have a lead synth part affected by the pitch bend, while the bass patch on another Mix Channel stays steady.
Page 248: Effects In Mix Mode
Chapter 11: Mix Mode Select the source Mix Channel (1–16) using soft knob Select the destination Mix Channel (1–16) using soft knob MIX EDIT MIXCHAN: XX Press soft button A window will pop up asking you to press STORE to copy the effect. Press STORE FFECTS IN...
Page 249: Chapter 12: Midi Functions
MIDI F MIDI B ASICS Before we delve into the specific MIDI functions of the A6, we’d like to provide a brief background on MIDI for those who may not be familiar with this technology. MIDI (pronounced “MID-ee”) is the acronym for Musical Instrument Digital Interface.
Page 250: Midi Messages
Chapter 12: MIDI Functions For some examples in connecting MIDI devices together, see our illustrations in starting on page 23. This MIDI Chapter will take these basic Connections connections and provide many examples of using your A6 to control other instruments in a MIDI system, and playing your A6 from another MIDI device.
Page 251 Chapter 12: MIDI Functions MIDI messages that affect your instrument’s voices include: Note On. This message communicates that a particular note is being played and corresponds to a key being pressed down; values range from 000 (the lowest possible note) to 127 (the highest possible note). Middle C is MIDI Note #60. Note Off.
Page 252 Chapter 12: MIDI Functions Each type of controller is stamped with its own controller identification number. Not all controller numbers have been standardized for specific functions, but the following table lists the current list of assigned controllers. CONTROLLER # 32-63 FUNCTION Bank Select Modulation Wheel...
Page 253 Chapter 12: MIDI Functions Channel Messages: Mode Messages There are four types of messages that determine the MIDI Mode of the instrument. The “mode” of a device refers to how it will respond to incoming MIDI data. The four possible modes are defined by the instrument’s Receive Status – Omni On or Omni Off –...
Page 254 Chapter 12: MIDI Functions System Messages: Real-Time Messages Timing Clock. A tempo source (such as a sequencer) emits 24 timing messages (clocks) per quarter note. Each device synchronized to the sequencer advances by 1/24th of a quarter note when it receives the clock message, thus keeping units in sync after they’ve both started at the same time.
Page 255: To Send An Individual Program Or Mix Out As A Midi System Exclusive Dump
MIDI which is intended only for that manufacturer’s equipment. For example, sending a A6 SysEx message to an Alesis DM Pro drum module won’t do anything, but the message will be understood by another A6.
Page 256: To Send An Entire Program Or Mix Bank Out As A Midi System Exclusive Dump
Portions of this appendix are abridged versions 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 are adapted with permission.
Page 257: Midi And The A6 Andromeda
MIDI A6 A AND THE With the previous description of MIDI basics in mind, let’s continue with a few more details concerning the MIDI functions that are present in the A6. A Implementation Chart supported by the A6. A6 C HANNEL ESSAGES As we mentioned on page 248, certain instruments are designed such that you can set...
Page 258: Setting Midi Parameters In Global Mode
Chapter 12: MIDI Functions MIDI P ETTING ARAMETERS IN The most common MIDI transmission and reception variables are under the GLOBAL button, on the MIDI page (Soft Button 3). MIDI Page Parameters PAGE PARAMETER MIDI MIXSEL Mix Select PRG RX Program Change Receive PRG TX...
Page 259 CC MAP Page Parameters The fourth page of the GLOBAL menu allows you to set which of the 120 MIDI Continuous Controller messages will be transmitted by the Andromeda's controllers. PAGE PARAMETER CC MAP PED CC Pedal FSW CC Footswitch RIBVCC Ribbon Value RIBLCC...
Page 260 Chapter 12: MIDI Functions PANEL Page Parameters This page sets how the top panel controls respond and whether they send and receive MIDI NRPN (Non-Registered Parameter Number) data. MIDI NRPN data can be used to record knob movements and button presses on the A6 to an external sequencer.
Page 261: Appendix A: Glossary
All Notes Off Amplitude Channel Channel Messages Controllers Default Edit, Editing Exponential Frequency Gate Global Linear Local Logarithmic MIDI MIDI IN A6 R NDROMEDA EFERENCE LOSSARY a command that is transmitted to all devices in a MIDI system that prevents notes from becoming stuck on. the level of a signal, its “intensity”...
Page 262 Appendix A: Glossary MIDI OUT MIDI THRU Mode Note Off Note On Omni Off Omni On Page Parameter Program Program Change SysEx System Messages Timing Clock Trigger Voice the port on a device that transmits the MIDI data generated by the device.
Page 263: Appendix B: Table Of Mod Sources
TABLE OF SOFTWARE MODULATION SOURCES DISPLAYED AS OFFSET ONLY VOX KEY NUMBER VOX KEY ON VEL VOX KEY OFF VEL KEY AFTERTOUCH MIDI AFTERTOUCH MOD WHEEL PITCH WHEEL RIBBON VALUE RIBBON LEFT RIBBON RIGHT LFO 1 LFO 2 LFO 3 SAMPLE AND HOLD LVL ENVELOPE 1 ENVELOPE 2...
Page 264 Appendix B: Table of Software Modulation Sources PORTA RAW LEVEL VOICE RANDOM SUSTAIN PEDAL FOOT SWITCH CONTROL PEDAL MIDI VOLUME PGM KEY NUMBER KEY TRIG RATE PGM KEY ON VEL PGM KEY OFF VEL PGM KEY DOWN PGM NUMKEYS ON TEMPO MASTER CLOCK MIDI CLOCK...
Page 265 PGM KEY TRIGGER EXT TRIGGER 1 EXT TRIGGER 2 GLOBAL RANDOM ENV 1 ATTACK ENV 1 DECAY 1 ENV 1 DECAY 2 ENV 1 SUSTAIN ENV 1 RELEASE 1 ENV 1 RELEASE 2 ENV 1 END ENV 2 ATTACK ENV 2 DECAY 1 ENV 2 DECAY 2 ENV 2 SUSTAIN ENV 2 RELEASE 1...
Page 266 Appendix B: Table of Software Modulation Sources ENV 3 DECAY 2 ENV 3 SUSTAIN ENV 3 RELEASE 1 ENV 3 RELEASE 2 ENV 3 END MIDI CC A MIDI CC B MIDI CC C MIDI CC D MIDI CC E MIDI CC F MIDI CC G MIDI CC H...
Page 267: Appendix C: Troubleshooting
ROUBLESHOOTING The basics of AUTO TUNE initiates a software routine that will automatically tune every circuit in the Andromeda that is subject to thermal drift. Ideally, you won't have to worry about the details of Auto Tune… simply press it twice every time you turn on the unit. But if something still sounds out of tune on several different Programs after performing a complete Auto Tune, the Auto Tune display may be able to show you what's wrong so you can temporarily overcome the problem by turning off a...
Page 268: How To Use The Tune Display
Appendix C: Troubleshooting AUTO TUNE Parameters PAGE PARAMETER TUNE 354.35 Hz ··· MASTER BKTUNE TMPTUN AUTO VOICE BAND VCACAL Press twice to initiate a calibration of each VCA's base levels. OSCFRQ Press twice to tune the oscillators only. OSC-PW Press twice to tune the pulse width of the oscillators only. FILFRQ Press twice to tune the filter frequencies only.
Page 269 TUNEOK in the Oscillator columns means that the first six bands (which represent the lower octaves of the range) of this voice (12, in this case) went through an Auto Tune process and were OK. The shows that the Pulse Width has not gone through an Auto Tune process. The in the 5 band of Filter 2 shows that Auto Tune was not able to bring this band into range.
Page 270: Upgrading The Operating System
This software resides in flash memory, and is upgradeable via MIDI. Over the course of time, Alesis may make improvements to the operating system and make a new operating system available to Andromeda owners. Check www.alesis.com for information about the latest version of A6 software.
Page 271 The display will now say, "Press STORE to upgrade OS—any other switch to exit." Press STORE Now press PLAY the display while sending a SysEx message, so it may seem that nothing is happening, but wait several minutes for the transmission to complete. You should see the count of blocks increment on the A6’s screen, and the progress bar will slowly fill in.
Page 272: Troubleshooting Chart
Appendix C: Troubleshooting ROUBLESHOOTING If you experience problems while operating your Andromeda A6, please use the following table to check for possible causes and solutions before contacting Alesis customer service for assistance. Some of them may seem rather obvious, but you’d be amazed at how easy it can be to overlook the basics.
Page 273 STORE and use the COPY feature to overwrite the entire bank with a non-corrupted bank. Banks are also available on the Alesis web site. Reinitialize the unit (turn on while holding down soft button 4) with the mod wheel in its full down position.
Page 274: Cleaning And Maintenance
Appendix C: Troubleshooting LEANING AND While your Andromeda A6 should not need much attention, here are some tips for preventive maintenance: • Disconnect the AC power Adapter, then use a damp cloth to clean the A6’s metal and plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as Formula 409®...
Page 275: Appendix D: Specifications
Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO For a more information on the A6’s MIDI SysEx implementation, see the Alesis website. A6 R NDROMEDA EFERENCE Appendix D: Specifications...
Page 276: Specifications
Appendix D: Specifications PECIFICATIONS Polyphony 16-voice, 16-channel multitimbral Synthesis Method True analog subtractive Oscillators 2 oscillators (with sub-oscillation) per voice, 5 waveforms available (sine, triangle, square, up saw, down saw) Filters 2-pole multimode resonating filter per voice, 4-pole lowpass resonating filter per voice Program Memory 256 preset and 128 user-defined...
Page 277: Appendix E: Warranty
Tape a note to the top of the unit describing the problem, include your name and a phone number where Alesis can contact you if necessary, as well as instructions on where you want the product returned. Alesis will pay for standard one-way shipping back to you on any repair covered under the terms of this warranty.
Page 278 Appendix E: Warranty A6 R NDROMEDA EFERENCE ANUAL...
Page 279: Index
AFTCH 50 Aftertouch 42,50,54 Amplitude 19 Analog Distortion 204 Arpeggiator 79-80,100 Audio Connections 22 External In 186 Mixing 99 Auto Tune 26,53,265-267 Aux Outputs 190 Band Pass Filter 118 Bootloader 268 Bypass 189 Card 45,94,101 Cents 105 Chord Button 58 Chorus 222-223 Cleaning 272 Clock 69-71...
Page 280 Index PANEL 258 Parameter 18 PCMCIA 45,94,101 Pedal 22,51,68 PEDMOD 51 Pitch Assign 66 Pitch Effects 222-223 Plate Reverb 215 Pre Filter Mix 99,183-184 Poly/Mono 55,56 Portamento 59 Curve 60,62-63 Enable 60 Legato 61 Mod 59,64 Parameters 60 Speed 60 STMODE 64 Time 59,60 Post Filter Mix 99,189...

This manual is also suitable for:

A6 andromeda

Alesis ANDROMEDA A6 Reference Manual

Important Safety Instructions

Introduction

Chapter 1: Getting Started

Chapter 2: Playing the A6

Chapter 3: Basics of Analog Synthesis

Chapter 4: Overview of the Andromeda A6

Chapter 5: Oscillators and Filters

Chapter 6: Modulation and Envelopes

Chapter 7: Lfos, Sample & Hold and Process

Chapter 8: The A6 Mixing System

Chapter 9: Custom Modulations

Chapter 10: Using Effects

Chapter 11: MIX Mode

Chapter 12: MIDI Functions

Appendix A: Glossary

Appendix B: Table of Mod Sources

Appendix C: Troubleshooting

Appendix D: Specifications

Appendix E: Warranty

Index

Quick Links

Troubleshooting

Related Manuals for Alesis ANDROMEDA A6

Summary of Contents for Alesis ANDROMEDA A6