Alesis ANDROMEDA A6 Reference Manual 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. In fact, three-way
and four-way (or more) splits are easy. In all cases, split points are user-assignable
and programmable. Also, two or more Programs can be layered, and the balance of
the Programs as well as any transposing are user-assignable and programmable.
The A6 features several keyboard performance modes under the
In addition to the A6's polyphonic (
unison (
UNISON X
( ) modes.
PORTA
And where would we be without assignable Pitch and Modulation wheels? Notice
that the controller wheels are not specifically labeled Pitch Bend and Vibrato. That's
because you can define each wheel as you like it using the
us like the Mod wheel to be the one on the right, because in the days of hard-wiring
controllers, most manufacturers just did it that way, and we got used to it. But you
can assign Vibrato to be the one on the left, if you so desire. In fact, you can make
both wheels Pitch or both Vibrato. Or make them do something else, like
add/remove brightness, control volume level, you name it.
There are also back panel inputs for
(commonly used for volume) and
controllers for master volume control and sustain. A third input jack labeled
is ideally suited for footswitch control of patch changes. The electrical specifications
for these switches and pedals are listed in Appendix C: Specifications.
That long strip of fabric along the top of the keyboard is the A6's Ribbon Controller.
Normally assigned to the VCOs' frequency to create a pitch bend device, it can be
assigned to countless other parts of the sound.
The rear-panel
classic control inputs from the early analog era. These inputs make controlling the
VCOs and VCFs possible from external analog devices like an analog sequencer,
guitar synth or wind controller.
The A6's Real-time
incoming MIDI Notes and creates an arpeggio from the original chord. You can
arpeggiate "up" (from the lowest note being played to the highest note), "down"
(high to low), or up and down. You can also extend the range of the held notes to up
to five octaves above the actual notes being played.
Another classic analog controller is the A6's 16-event, programmable
step sequencer that takes its design right out of the pages of analog genesis. The
notes and filter settings are programmed by hand – not recorded like you'd expect
from a digital or MIDI sequencer. There's a programmable sequence for each of the
128 Programs.
The
MASTER CLOCK
Sequence, and can be slaved to received MIDI Timing Clock.
100
POLY
) voicings are also available along with a wide range of Portamento
FOOTSWITCHES AND PEDALS
SUSTAIN
CONTROL VOLTAGE INPUTS
takes held chords from the keyboard and/or
ARPEGGIATOR
control sets the tempo for both the Arpeggiator and each
KBD MODE
) play mode, monophonic (
ASSIGN
. The A6's
pedal inputs allow the use of foot
labeled and
OSCILLATOR
A A6 R
NDROMEDA
heading.
) and
MONO
buttons. Some of
PEDAL/CV
SWITCH
are the
FILTER
– a
SEQUENCER
M
EFERENCE ANUAL