6 - V O I C E R E A L AN A L O G S Y N T H E S I Z E R REFERENCE MANUAL For Software Version 1.
Your shipping carton should contain the following items: 1. 2. 3. 4. Andromeda A6 synthesizer AC power cable Sustain Pedal Reference Manual If anything is missing, please contact your dealer or Alesis immediately. Alesis contact information: Alesis Studio Electronics, Inc. Los Angeles USA E-Mail: Website: support@alesis.com http://www.alesis.com Alesis Andromeda A6TM Reference Manual Revision 1.0 by Dave Bertovic Revision 1.1 by Brian R. Shim © Copyright 2001, Alesis Studio Electronics, Inc.
2 ANDROMEDA A6 REFERENCE MANUAL
Contents CONTENTS Important Safety Instructions ....................................................................................7 Instructions to the User (FCC Notice) ............................................................................................11 CE Declaration of Conformity .........................................................................................................13 Introduction ..............................................................................................
Contents Chapter 4: Overview of the Andromeda A6 ..........................................................93 A Few Basic Concepts ........................................................................................................................93 A6 Function List..................................................................................................................................95 A6 Functions At-a-Glance ...................................................................................
Contents Post Filter Mix Overview ................................................................................................................189 Post Filter Mix Operation................................................................................................................189 Voice Mix.............................................................................................................................190 MAIN and AUX outputs .............................................................
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 .....
Important Safety Instructions IMPORTANT SAFETY INSTRUCTIONS 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. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions.
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. If a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14.
Important Safety Instructions INSTRUCTIONS DE SÉCURITÉ IMPORTANTES (FRENCH) SYMBOLES 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. VEUILLEZ SUIVRE CES PRÉCAUTIONS LORS DE L’UTILISATION DE L’APPAREIL: 1. Lisez ces instructions. 2.
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 exposé à la pluie ou à l’humidité, ne fonctionne pas normalement ou est tombé. 15. Cet appareil produit de la chaleur en fonctionnement normal. 16.
Important Safety Instructions BEIM BENUTZEN DIESES PRODUKTES BEACHTEN SIE BITTE DIE FOLGENDEN SICHERHEITSHINWEISE: (GERMAN) 1. Lesen Sie die Hinweise. 2. Halten Sie sich an die Anleitung. 3. Beachten Sie alle Warnungen. 4. Beachten Sie alle Hinweise. 5. Bringen Sie das Gerät nie mit Wasser in Berührung. 6. Verwenden Sie zur Reinigung nur ein weiches Tuch.
Important Safety Instructions INSTRUCTIONS TO THE USER 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. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications.
Important Safety Instructions CE DECLARATION OF CONFORMITY Please see the Alesis website, www.alesis.
Important Safety Instructions 14 ANDROMEDA A6 REFERENCE MANUAL
Introduction INTRODUCTION There was a time when most of us thought that analog synthesis was dead. Yeah, there were a few new analog instruments – and rather decent ones, at that – that have come and gone over the past few years. They were glimmers of hope that the robust, full and rich sounds of the analogs could peacefully co-exist with the digitals.
Introduction HOW TO USE THIS MANUAL STRUCTURE 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. Experienced users can simply use this manual as a reference resource, browsing through the topics as needed.
Introduction 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.
Introduction KEY TERMINOLOGY 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. A voice is all of the hardware and software that is necessary to produce one note of sound.
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.
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; a trigger is generated only at the instant the key is first played.
Chapter 1: Getting Started CHAPTER 1 GETTING STARTED WHAT YOU’LL NEED The A6’s basic requirements include: 1. an AC electrical outlet 2. a stand or table to put it on 3. audio cables and a sound system or amplifier, or a pair of headphones USING THE A6 WITH OTHER INSTRUMENTS 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. See the topic Hook It Up below for more information.
Chapter 1: Getting Started AUDIO CONNECTIONS 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 fullrange speaker will also suffice, as will a stereo music system with external audio inputs. You can also use a pair of standard stereo headphones with a 1/4” TRS plug inserted into the back panel.
Chapter 1: Getting Started MIDI CONNECTIONS If you plan to use the A6 with other MIDI instruments and devices in a music system, use the following guide to connect it to your rig. If you intend to use the A6 as the master controller in your MIDI rig, plug a standard MIDI cable into the A6’s MIDI OUT port. The other end of this cable should plug into the MIDI IN of the first slave in the system.
Chapter 1: Getting Started If you plan to control the A6 from another MIDI device, you’ll need a MIDI cable connected to its MIDI IN port. As a Slave: You will also need a MIDI cable connected to the A6’s MIDI THRU if you plan to pass MIDI data from the master through the A6 to other MIDI devices in your rig. Connect one end of the MIDI cable to the A6’s MIDI THRU port and the other end of the cable to the MIDI IN of the first device in the chain.
Chapter 1: Getting Started 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 MIDI OUT and MIDI IN ports for each device in your rig (the A6 being one of them). Connect the A6’s MIDI OUT to the MIDI IN of one of the pairs. The same pair’s MIDI OUT connects to the MIDI IN of the A6.
Chapter 1: Getting Started QUICK START: PLAYING YOUR FIRST PROGRAM AUTO TUNE 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. Because the Andromeda is a true analog synthesizer, and analog circuitry is sensitive to temperature and other factors, each one of the sixteen voices (and the oscillators and filters within each voice) must be tuned before playing.
Chapter 1: Getting Started SELECTING PROGRAMS You don't have to know what all the knobs do to enjoy the A6; it comes preprogrammed 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. In Program mode, the keyboard plays a single sound across the entire keyboard. Program mode has 3 banks: User, Preset 1, and Preset 2.
Chapter 1: Getting Started MASTER VOLUME And finally, adjust the level using the MASTER VOLUME on the left side of the control panel. The VOICE MIX LEVEL on the right side is a programmable control—it may seem to do the same thing, but avoid using it for now. The MASTER VOLUME knob is a global (affects the A6 in all modes) volume control that determines the final output level of the unit’s MAIN LEFT and RIGHT stereo outs, the HEADPHONE output and the two AUX OUTs.
Chapter 2: Playing the A6 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.
Chapter 2: Playing the A6 A BRIEF TOUR OF THE FRONT PANEL 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.
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. Especially noteworthy of Mix mode is that it has its own set of programmable effects.
Chapter 2: Playing the A6 INTERACTING WITH THE DISPLAY 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.
Chapter 2: Playing the A6 BASIC DISPLAY FUNCTIONS 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” when editing many parameters at the same time.
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. You can access only one of these modes at a time, but switching among the three is as easy as pressing a button.
Chapter 2: Playing the A6 Throughout this manual, we’ll be using the following terms to describe the memory capabilities of the A6: • A Program bank refers to an entire bank of Programs. • A Mix bank refers to an entire bank of Mixes. • A User bank (there’s one for Programs and one for Mixes) refers to a data bank that uses RAM for storage and can be edited. You can think of this of bank as your “work space”: individual Programs and Mixes can be edited and stored, replaced, copied and so forth.
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 – 7 and 8 – that are always active. They are used to lock the display. As mentioned at the beginning of this topic, the display will react to virtually any change you make to any of the front panel controls.
Chapter 2: Playing the A6 Table of Display Functions The following table summarizes the functions of the display’s knobs and buttons: NAME FUNCTION GLOBAL button Enters Global mode, displays Global screen. PROGRAM button Enters Program mode, displays Program screen. MIX button Enters Mix mode, displays Mix screen.
Chapter 2: Playing the A6 SELECTING PROGRAMS AND MIXES 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 PROGRAM GROUP button selects the “tens group”... ... and pressing a single-digit PROGRAM NUMBER button selects the specific Program or Mix: 1.
Chapter 2: Playing the A6 PROGRAM MODE PARAMETERS Pressing the PROGRAM button displays the Program mode display screen. As with all other A6 functions, the page and parameter that was last selected will be recalled. The following table summarizes the Program mode parameters: SOFT KNOB 1 2 3 4 5 6 7 8 PAGE TAB PROG BANK NUMBER DIR BANK NUMBER PROG and DIR Page Parameters The PROG (Program) page provides another method to select Programs in addition to the Direct Select buttons.
Chapter 2: Playing the A6 The pages unique to Mix mode are MIX, KBD, PROG, CNTL and SOLO, described as follows: MIX Page Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION MIX BANK - USER - This parameter displays the current Mix Bank. Use soft knob 1 or the BANK select buttons to PRESET 1 change Banks. NUMBER 000 ··· 127 This parameter displays the number of the current Mix in the current Mix Bank. Use soft knob 2 or the PROGRAM GROUP and PROGRAM NUMBER buttons to change Mixes.
Chapter 2: Playing the A6 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 PROGRAM GROUP and PROGRAM NUMBER buttons. PAGE PARAMETER PROG LEVEL PAN OUTPUT SEMI CENTS MIDI CH OPTIONS or RANGE DESCRIPTION 0 ··· 100 Sets the output level of the current Mix Channel.
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. OPTIONS or RANGE DESCRIPTION PAGE PARAMETER CNTL PCHWHL ON, OFF Enables, disables the A6’s Pitch Wheel.
Chapter 2: Playing the A6 STORING EDITED PROGRAMS AND MIXES 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 STORE mode comes in. STORE mode allows you to save into the current Program or Mix number (also referred to as a memory location), or copy it to another memory location in the User or Card bank.
Chapter 2: Playing the A6 DIR Store Procedure When you press the STORE button the first time to initiate a store, you can press soft button 2 to enter the DIR (“Directory”) page. Here you can view the entire list of 128 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. Use soft knob 2 to select the destination Program (or Mix). Press STORE again to complete the store.
Chapter 2: Playing the A6 COPY Procedure To copy an item, press STORE then press soft button 3. Use soft pot knob 1 to select the type of item to copy (Program Bank, Program Digital FX settings, etc.) Select the source using soft knob 2. Select the destination using soft pot 7. Press STORE twice to execute the copy.
Chapter 2: Playing the A6 NAME Page Parameters The NAME 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 PROG page. PAGE PARAMETER OPTIONS or RANGE DESCRIPTION NAME BANK - USER - This parameter displays the current Program or Mix Bank. Use soft knob 1 or the BANK select PRESET 1 buttons to change Banks.
Chapter 2: Playing the A6 SETTING UP SPLITS AND LAYERS 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 MIX button should be on. If not, press the MIX button. TO SET UP LAYERS OF PROGRAMS IN MIX MODE: 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.
Chapter 2: Playing the A6 SPLITS The major difference between a split and a layer is in the KBD settings. The KBD LO and KBD HI 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. TO SPLIT THE KEYBOARD IN MIX MODE: Start from the Mix we setup in layers on the previous page. 1. Press MIX SELECT button 1/9 to select Mix Channel 1. 2.
Chapter 2: Playing the A6 USING GLOBAL MODE GLOBAL MODE PARAMETERS SOFT KNOB 1 2 3 4 5 6 7 8 PAGE TAB KEYBD TRANSP VCURVE PEDAL PEDMOD FSWMOD VSENS TXMODE MIDICH AFTCH MIDI MIXSEL PRG RX PRG TX BNKSEL CC TX CC RX CC MAP PED CC FSW CC RIBVCC RIBLCC RIBRCC PANEL PTHRU TXTHIN RXMODE TXMODE VSTEAL SYX RX CTLNUM CC IN VOXMON KEYBD Page Parameters PAGE PARAMETER KEYBD TRANSP Transpose OPTIONS or RANGE DESCRIPTION -24 ··· +24 This parameter adjusts the keyboard t
Chapter 2: Playing the A6 PAGE PARAMETER KEYBD TXMODE continued OPTIONS or RANGE DESCRIPTION Sets the control output of the A6 keyboard: LOCMID MIDI LOCAL MIDICH 50 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. This setting is the same as “Local Off” on other instruments. The keyboard will play the A6’s voices only – the A6 will not transmit MIDI Notes played on its keyboard.
Chapter 2: Playing the A6 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 PEDAL PEDMOD OPTIONS or RANGE DESCRIPTION These settings affect PEDAL/CV input on the A6’s rear panel.
Chapter 2: Playing the A6 MASTER CONTROLS VOLUME The MASTER VOLUME knob is a 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 is post (comes after) the PRE and POST FILTER mixes and the VOICE MIX. This means that any relative level settings you make within the Programs and Mixes are preserved. The MASTER VOLUME is routed to the unit’s MAIN LEFT and RIGHT stereo outs, the HEADPHONE output and the two AUX OUTs.
Chapter 2: Playing the A6 AUTO TUNE Button Pressing AUTO TUNE displays the auto tune page. Pressing it again initiates a routine 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). After that, background tuning (if turned on) will keep your A6 in tune as long as it is powered on.
Chapter 2: Playing the A6 THE KEYBOARD AND KEYBOARD MODES 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. KEYBOARD SPECS The A6’s keyboard is a 5-ocatve C-to-C semi-weighted keyboard.
Chapter 2: Playing the A6 PERFORMANCE FEATURES KBD MODE Controls The 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, DETUNE which allows you to set an amount of detuning among the voices when in unison, and switching between POLY and MONO playing.
Chapter 2: Playing the A6 Keyboard Mode Parameters Pressing the UNISON X, POLY or MONO buttons, or turning the DETUNE knob will display the KBMODE page. Note that the display shows PROG MODE or MIX MODE (depending on the mode selected). Separate keyboard settings are available for each mode.
Chapter 2: Playing the A6 PAGE PARAMETER KBMODE MONOVX Continued Mono Voice OPTIONS or RANGE 1 ··· 16 ± cents DESCRIPTION Only available if MONO mode is selected in the POLY parameter, MONOVX selects a specific voice to be played. This effectively turns the A6 into a 2-oscillator, single-voiced instrument. This feature is useful when the individual VOICE OUTPUTS on the back panel are used. If you need to isolate voice 8, for example, set this parameter to 8.
Chapter 2: Playing the A6 Additional Keyboard Functions TRANSPOSE Button The TRANSPOSE button allows you to play the A6 in a 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. The A6’s keyboard will be transposed by that key’s distance from middle C.
Chapter 2: Playing the A6 PORTAMENTO 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. With portamento active, it takes a period of time – set by the TIME knob – for the Voices to reach the played notes by “sliding into them”.
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 ENABLE parameter on the PORTA page. Portamento Parameters SOFT KNOB 1 2 3 4 5 6 7 OSC EN FLT EN 8 PAGE TAB PORTA TIME SPEED STMODE MODE OFFSET MOD SOURCE MODE CURVE ENABLE LEVEL OFFSET ENABLE PORTA Parameters PAGE PARAMETER PORTA TIME OPTIONS or RANGE OFF 2 M ··· 32.
Chapter 2: Playing the A6 PAGE PARAMETER PORTA MODE OPTIONS or RANGE This parameter is used to select from among three portamento actions: Continued NORMAL Each new voice that is played will have Portamento. The portamento will glide from the last note played by this voice to the new note. LEGATO Voices played staccato will not glide. While holding the first voice of a program, subsequent voices will glide, starting from the last key pressed.
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: • A LINEAR slope means that gliding notes do not accelerate (or decelerate) as they progress towards their target (destination) notes.
Chapter 2: Playing the A6 PORTAMENTO SLOPES Rising LINEAR Falling Rising EXPONENTIAL 1 Falling Rising LOGARITHMIC 1 Falling Rising EXPONENTIAL 2 Falling Rising LOGARITHMIC 2 Falling Rising EXPONENTIAL 3 Falling Rising LOGARITHMIC 3 Falling Rising S-CURVE 2 Falling Rising S-CURVE 1 Falling ANDROMEDA A6 REFERENCE MANUAL 63
Chapter 2: Playing the A6 STMODE Parameters PAGE PARAMETER STMODE MODE OPTIONS or RANGE This page determines where the portamento is sliding from—its start point. Start Mode LSTKEY When a new note is played, it will “slide” from the last key played. OFFSET When a new note is played, it will slide from a fixed number of semitones above or below the note, as set by the OFFSET variable set by Soft Knob 2. CHORD OLDEST OFFSET DESCRIPTION -127 ··· + 127 Each voice slides from its previous value.
Chapter 2: Playing the A6 THE PERFORMANCE WHEELS AND RIBBON CONTROLLER BACKGROUND The A6 utilizes two performance wheels that are used mainly for pitch bend (PITCH) and vibrato (MOD). 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. The Mod wheel on the right is not spring loaded and must be manually returned to its off position. It is normally used for vibrato.
Chapter 2: Playing the A6 PROGRAMMING THE WHEELS AND RIBBON All of the Programs that ship with the A6 have default wheel and ribbon modulations stored with them. In most cases (but not all), the left wheel and ribbon are preset for pitch bend and the right wheel is vibrato. Some factory Programs, on the other hand, have the wheels and ribbon preset to other types of modulation depending on what is appropriate for the Program.
Chapter 2: Playing the A6 OPTIONS or RANGE DESCRIPTION PAGE PARAMETER PWHEEL TOPCRV Continued Top Curve SCURV2 OSC 1 OFF, ON Turn the effect of the Pitch Wheel on OSC 1 on or off. OSC 2 OFF, ON Turn the effect of the Pitch Wheel on OSC 2 on or off. LINEAR ··· This parameter selects one of nine response curves for the wheel’s upper travel. See the discussion on curves starting on page 62.
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” generically, one is accurately called a switch, and one is accurately called a pedal.
Chapter 2: Playing the A6 THE CLOCK SECTION 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. The timing can be steady or variable. Some examples of A6 functions that rely on tempo are the Sequencer and the Arpeggiator.
Chapter 2: Playing the A6 CLOCK PARAMETERS DISPLAY PAGE CLOCK PANEL LABEL TEMPO PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION TEMPO 0.458 ··· 500.0000 Knob The knob adjusts the tempo of the Clock from .46 bpm to 500 bpm. Beats Per Minute START This parameter determines how the clock is started. Clock Start Mode NORMAL KEYDN MODVOX FIRST The oldest voice playing this sequence will determine the modulation source amount.
Chapter 2: Playing the A6 SYNC/MOD Button Pressing the SYNC/MOD button that is located directly below the TEMPO knob displays the parameters for modulating the tempo of the Clock by any of the A6’s 71 modulation sources. Use SYNC/MOD to modulate the tempo of the Clock by the selected mod source. SYNC/MOD Parameters If the SYNC/MOD button is pressed, the following parameters will be shown on the display.
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 START, can be triggered by numerous sources.
Chapter 2: Playing the A6 START/STOP Button Pressing this button enables or disables the Sequencer. This is a programmable parameter that is saved with each Program and with each Mix Channel separately. So, you can have the sequencer enabled for a program in Mix Mode and disabled for that program in Program Mode. Remember, the sequence will not start until it receives a trigger, normally the keyboard. SYNC/MOD Button Pressing this button displays the Sequencer’s MOD page on the screen.
Chapter 2: Playing the A6 GRAPH and 1 - 8 Parameters The GRAPH page is used to set the Note, Velocity, Gate and Type values for the 16 steps: • Pressing soft button 1 (GRAPH) repeatedly cycles through the NOTE, VEL, GATE and TYPE parameters for the selected Step. • Soft knobs 1 through 8 are used to select and adjust the values in each Step. • The graph on top shows the settings for all Steps at once.
Chapter 2: Playing the A6 Sequencer CONFIG Parameters PAGE PARAMETER CONFIG LOCBPM Sequencer Configuration OPTIONS or RANGE 0.46 ··· 600.00 KYTRIG OFF, ON DESCRIPTION The tempo of the Sequencer displayed in beats per minute. When LOCAL is selected on the SYNC page , the sequencer will use this value for the tempo. If CLOCK or MIDI is selected on the SYNC page, this parameter has no effect. When ON, the sequencer will play a the A6’s voice(s) when a note or chord is played.
Chapter 2: Playing the A6 TRIG Parameters PAGE PARAMETER TRIG SOURCE OPTIONS or RANGE Many of the MOD sources such as Mod Wheel, Ribbon, Footswitch, etc. DESCRIPTION This parameter allows you to select an input that will trigger the sequencer. Unlike other MOD source menus, nothing involved with a voice is on the list, since the voices themselves are being triggered by this function. The selected trigger source is activated when certain conditions exist.
Chapter 2: Playing the A6 OPTIONS or RANGE DESCRIPTION PAGE PARAMETER TRIG RETRIG OFF, ON Turns re-triggering on or off. When off, the trig source acts as a one-shot trigger. When on, the trigger acts repeatedly, restarting the sequence from the beginning. ENABLE OFF, ON Turns the trigger on or off. Continued TRGVOX Determines which voice triggers the sequencer. FIRST The first voice to play will trigger the sequencer. OLDEST The oldest voice playing will trigger the sequencer.
Chapter 2: Playing the A6 SYNC Parameters PAGE PARAMETER SYNC SYNSRC OPTIONS or RANGE Allows you to select the clock source that will drive the sequencer. Sync Source LOCAL Uses the sequencer’s dedicated clock for its tempo. CLOCK Uses the A6’s global Clock for tempo. MIDI STPSIZ DESCRIPTION 2 ··· 11904 Size of Sequencer Steps Uses an external MIDI device for tempo. Allows you to designate the size of each sequencer step. The default is a quarter note or 24 clock ticks.
Chapter 2: Playing the A6 ARPEGGIATOR 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.
Chapter 2: Playing the A6 Arpeggiator CONFIG Parameters PAGE PARAMETER OPTIONS or RANGE CNFG LOCBPM .46 ··· 600 Arpeggiator Configuration Beats per Minute The speed or rate of the Arpeggiator displayed in “bpm” or beats per minute. This setting is independent of any TEMPO setting for the Clock or Sequencer, and is only effective when the Arpeggiator is set to LOCAL in the SYNC menu. LENGTH 0 ··· 100 Modifies the Release 2 times of the envelopes.
Chapter 3: Basics of Analog Synthesis CHAPTER 3 BASICS OF ANALOG SYNTHESIS AN OVERVIEW OF SYNTHESIS 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.
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 several minutes (or longer). Let’s take a few moments to cover these two elements.
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. Central to all sounds are two properties frequency and amplitude. Frequency is another word for pitch.
Chapter 3: Basics of Analog Synthesis AMPLITUDE 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.
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).
Chapter 3: Basics of Analog Synthesis 86 ANDROMEDA A6 REFERENCE MANUAL
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. As an extreme example, you can think of the high rise and fall of a police siren as vibrato on steroids. A synthesizer uses Low Frequency Oscillators (LFOs) to introduce vibrato to the sound.
Chapter 3: Basics of Analog Synthesis COMPONENTS OF AN ANALOG SYNTHESIZER 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.
Chapter 3: Basics of Analog Synthesis 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” and output fewer harmonics; high notes on the keyboard cause the filters to “open” and output more harmonics.
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. But what about pitch bend and vibrato controllers? Pitch bend routes a wheel directly to the oscillators so as to allow you to manually vary their pitch.
Chapter 3: Basics of Analog Synthesis 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.
Chapter 3: Basics of Analog Synthesis 92 ANDROMEDA A6 REFERENCE MANUAL
Chapter 4: Andromeda A6 Overview CHAPTER 4 OVERVIEW OF THE ANDROMEDA A6 MAKING SENSE OF ALL THIS THEORY: AN OVERVIEW OF THE A6 Now that we’ve covered the bare-bones basics of analog synthesis, we can move on to see how all this theory applies to the A6. As analog synthesizer technology developed over the years, it became more feasible to not only add more sound-modifying features (additional oscillators, two filters per voice rather than just one, more envelopes, more LFOs, etc.
Chapter 4: Andromeda A6 Overview In the A6, all of a Voice’s settings are stored in memory for instant recall. So, all of the settings that you use to create a sound are “programmed” into the A6’s memory, hence the term Program for referring to a sound stored in memory. In PROGRAM mode, all 16 of the A6’s Voices get the same Program information and therefore play the same sound. Playing keys on the keyboard or receiving MIDI notes all play the same sound.
Chapter 4: Andromeda A6 Overview A6 FUNCTION LIST We continue with a list of A6 functions. Each function will be explained in the section following this list. Detailed descriptions will be covered throughout this manual.
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, Flange>Delay>Room, Room+Delay, Room+Chorus, Room+Flange, Room>Delay) Display 240 x 64 multi-function back-lighted LCD Master Control
Chapter 4: Andromeda A6 Overview A6 FUNCTIONS AT-A-GLANCE Memory The A6 contains enough memory for three banks of 128 Programs and two banks of 128 Mixes. The Preset banks contain the 256 Preset Programs and 128 Preset Mixes we created for the A6 and are stored in semipermanent memory called Flash memory. The User bank contains 128 Programs in programmable memory that you can modify to your liking, or use to store your own Programs (128 memory locations) and Mixes (128 of those, too).
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 refer to them throughout the rest of this manual as VCFs or by their panel labels FILTER 1 and FILTER 2.
Chapter 4: Andromeda A6 Overview (AMP)) of the sound wave, an Envelope can also be routed to a VCO for pitch changes. For this purpose, ENV 1 is routed to the frequency of OSC 2. via a rotary front-panel control; it can also be routed to OSC 1. The Tracking Generator, found on the A6’s front panel under the PROCESS label and as a MOD source in many display windows, is a circuit that is used to “reshape” a modulation source. A good example of this is using the Track Gen to reshape the keyboard control.
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.
Chapter 4: Andromeda A6 Overview Effects 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.
Chapter 4: Andromeda A6 Overview in this section on page 95. see the discussion under the heading “Audio Mixing” earlier in this section on page 95. FILTER AUDIO INPUTS: Audio outputs: the LEFT and RIGHT 1/4” jacks provide the main stereo output signal for the A6. They are fed by the MASTER VOLUME control after the final voice mix is set by the LEVEL control in the VOICE MIX section. MAIN AUX OUT: these two auxiliary audio outputs are mono 1/4” jacks that supplement the MAIN stereo outs.
Chapter 5: Oscillators and Filters CHAPTER 5 PROGRAM FUNCTIONS PART 1: OSCILLATORS AND FILTERS 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. For the rest of the manual, we’ll be cross-referencing portions of the previous four Chapters as appropriate.
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. OSCILLATOR PARAMETER DESCRIPTIONS The following two tables summarize the Pages of parameters for the Andromeda’s two oscillators. Notice that most of the parameters are present in both VCOs.
Chapter 5: Oscillators and Filters 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 counterclockwise. As you turn a knob clockwise, its frequency increases. As you turn the knob counter-clockwise, its pitch is lowered.
Chapter 5: Oscillators and Filters WAVE Page Parameters DISPLAY PAGE WAVE PANEL LABEL SQR Button + LED PARAMETER DISPLAY SQUARE OPTIONS or RANGE DESCRIPTION OFF, ON Turns the Square Wave on or off. PULSE WIDTH WIDTH 0 ··· 100 This parameter sets the width of the Square Wave. When the SQR parameter above is on, the graphic display depicting the Pulse Width will change when you turn the PULSE WIDTH control or soft knob 2. — LEVEL 0 ··· 100 Sets the output level of the SQR wave.
Chapter 5: Oscillators and Filters VCO MODULATION 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 VIEW page first: ENV1 AMOUNT, OSC 2 FM (found in Osc 1 only) and NZEXT (Noise/External).
Chapter 5: Oscillators and Filters Since there is only one front panel knob for ENV 1 control, the LIVE parameter allows the selection of which oscillators were affected by turning the ENV1 AMOUNT knob. This way you can have one oscillator set to a constant value while the other would be controlled by the ENV1 AMOUNT knob. Or you can have the ENV1 AMOUNT knob control both oscillators. The soft knobs control the ENV1 AMOUNT settings regardless of the LIVE settings.
Chapter 5: Oscillators and Filters OSC 2 FM Parameters Using a VCO as a Mod Source The frequency of OSC 1 can be modulated by OSC 2, hence the term “OSC 2 FM”, or “frequency modulation by Oscillator 2”. Using this modulation is a bit more involved than simply turning the OSC 2 FM knob clockwise to increase the amount of OSC 2 modulating OSC 1 although amount is the main parameter of FM.
Chapter 5: Oscillators and Filters DISPLAY PAGE OSC2FM Continued PANEL LABEL — PARAMETER DISPLAY OSC2FM OPTIONS or RANGE DESCRIPTION 0 ··· 100 This soft knob sets the amount of FM for the type(s) selected in the ASSIGN parameter above. If a combination of two or more types are assigned, notice that the amounts change together and by the same amount. Also notice that this soft knob has the same function as the OSC 2 FM knob in the OSC 1 section.
Chapter 5: Oscillators and Filters NZEXT Oscillator Modulation Parameters Similar in principle to OSC 2 FM, NZEXT modulation allows you to use four of 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.
Chapter 5: Oscillators and Filters Soft buttons 3 through 7, however, are active and allow you to display their respective modulations. Soft buttons 3, 4 and 5 correspond to the MOD 1, MOD 2 and MOD 3 buttons in the VCO sections and display their respective pages when pressed. Soft button 6 PWMOD corresponds to the PWM buttons in the VCO sections and soft button 7 FMMOD corresponds to the MOD button on the OSC 2 FM knob on OSC 1.
Chapter 5: Oscillators and Filters MODULATION DESTINATIONS: VCOs PARAMETER DISPLAYED AS DEFINITION 1. FREQUENCY The frequency of OSC 1 or OSC 2. 2. SQR WAVE LEVEL The output level of the selected VCO’s square wave. 3. PULSE WIDTH The pulse width of the selected VCO’s square wave. 4. OSC2 -> PWM (Oscillator 1 only) The output of OSC 2 feeding into the pulse width modulation of OSC 1 . 5. OSC2 -> LIN FM (Oscillator 1 only) The output of OSC 2 feeding into the linear frequency modulation of OSC 1 .
Chapter 5: Oscillators and Filters FMMOD Parameters This is the page where the OSC 2 FM function (see page 109) is modulated. In other words, you can modulate the amount of OSC 2 modulating OSC 1 with the parameters on this page. Referring to the table on the previous page, you have the same SOURCE, LEVEL, OFFSET and ENABLE parameters as the other mods. The difference is that FMMOD has the following three destinations: MODULATION DESTINATIONS: FM MOD PARAMETER DISPLAYED AS 114 DEFINITION 1.
Chapter 5: Oscillators and Filters 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. This is where SYNC is used.
Chapter 5: Oscillators and Filters FILTERS The A6’s filters, labeled on the front panel as FILTER 1 and FILTER 2, provide the harmonic control we introduced in Chapter 3. Unlike earlier analog synthesizers that utilized only one VCF, the A6 uses two filters that afford excellent flexibility in harmonic filtering. This accomplished by routing the output of FILTER 1 into FILTER 2 so that A6 is “filtering a filter”.
Chapter 5: Oscillators and Filters HOW FILTERS ARE DESIGNED 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. Filter Modes A filter determines what harmonics pass through it by its mode.
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 FREQ knob determines the center frequency of the band: harmonics just above and below this center frequency make up the band; harmonics to the extreme above and below are filtered out.
Chapter 5: Oscillators and Filters 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.
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”. Abbreviated “dB”, the decibel is a standard of measuring amplitude.
Chapter 5: Oscillators and Filters 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 FILTER 2 breaks into oscillation and will output a sine wave near the same loudness as the VCOs. You can then “tune” this sine wave to a particular key.
Chapter 5: Oscillators and Filters HOW FILTERS WORK 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. The A6’s audio sources, before being routed to the filters, have their levels set in the PRE FILTER MIX section. 2.
Chapter 5: Oscillators and Filters 3. The three outputs of FILTER 1 – its Low Pass signals, High Pass signals and 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; you adjust the amount of each filter with its level control in the POST FILTER MIX section. (This is why FILTER 1 is called a multimode filter.) b.
Chapter 5: Oscillators and Filters 4. The composite output of the PRE FILTER MIX, the Band Pass output of FILTER 1 or the Notch output of the of the POST FILTER MIX can be selected as the input of FILTER 2 for additional 4-pole low pass filtering. The F2 INPUT button is used to route these signals into FILTER 2.
Chapter 5: Oscillators and Filters 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 FILTER 2 is then routed to the POST where its level is set and routed to the VOICE MIX section for final output. FILTER MIX 5. Envelope shaping is accomplished by ENV 2 (FILTER).
Chapter 5: Oscillators and Filters 7. The sine wave outputs of both OSC 1 and OSC 2, plus the output of the RING MOD are routed directly to the POST FILTER MIX whose levels are controlled by the PRE FILTER knob. This signal path permits the mixing of these three signals 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.
Chapter 5: Oscillators and Filters FILTER PARAMETER DESCRIPTIONS Although FILTER 1 and FILTER 2 perform quite differently, their display parameters are similar in function if not in location.
Chapter 5: Oscillators and Filters Main FILTER Parameters DISPLAY PAGE PANEL LABEL FILT 1 FILTER 1 (12dB) PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION or FILT 2 FILTER 2 (24dB) FREQ FREQ Frequency RESONANCE FILT 2 (only) F2 INPUT RES INPUT 0.0218 ··· 22.3482 (Fil 1) 44.6960 (Fil 2) 0 ··· 100.00 This parameter is used to set the frequency of the selected filter (in kilohertz). This parameter is used to set the amount of resonance of the selected filter.
Chapter 5: Oscillators and Filters DISPLAY PAGE FILT 1 PANEL LABEL ENV 2 AMOUNT PARAMETER DISPLAY ENV2 or OPTIONS or RANGE DESCRIPTION 0.00 ··· 100.00 This parameter is used to set the amount of Envelope 2 modulating the selected filter. FILT 2 OFFSET -100.00 ··· This parameter sets the offset for ENV 2. +100.00 KEY TRACK KEYTRK -100.00 ··· +100.00 OFFSET -127 ··· +127 FILT 1 (none) CV IN 0.00 ··· 100.
Chapter 5: Oscillators and Filters MOD Parameters DISPLAY PAGE PANEL LABEL MOD1 MOD 1 MOD2 MOD 2 MOD3 MOD 3 PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION — SOURCE Any of the A6’s 79 modulation sources. Use soft knob 1 to scroll through the list of possible modulation sources. — LEVEL -100 ··· +100 This parameter sets the amount of modulation that will affect the selected destination. Keep in mind that negative values invert the action of the selected source.
Chapter 6: Modulation and Envelopes CHAPTER 6 PROGRAM FUNCTIONS PART 2: MODULATION AND ENVELOPES MODULATION 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. Otherwise, you wouldn’t be able to hear it. This section will cover modulation principles and define a number of terms.
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” is the key concept in understanding modulation. The “something” is called the modulation destination (or simply the destination). It is “what’s being modulated”.
Chapter 6: Modulation and Envelopes The LFO section of the A6 also contains an aperiodic mod source called sample-andhold (S & H on the front panel). This classic analog mod, discussed in detail later, provides yet another random modulation typically based on a noise source rather than a periodic waveform.
Chapter 6: Modulation and Envelopes ENVELOPES 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) – to several minutes or longer. For level modulation, the changes an envelope makes to the destination is by modifying its amplitude (its amount or signal level) during a time period that you can set.
Chapter 6: Modulation and Envelopes ENVELOPE PARAMETER DESCRIPTIONS 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 the VIEW button on the desired envelope and then use any of the display’s soft knobs and buttons to work with a specific parameter as well as its dedicated panel controls.
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” – the envelope continues according to the settings of the Release1 and Release2 parameters. This “normal” envelope cycle can be modified extensively, but we’ll use this basic example as a good place to start.
Chapter 6: Modulation and Envelopes TIME Page Parameters The TIME page is where the selected envelope’s stage duration (TIME) and stage slope (SHAPE) parameters are adjusted. 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. Sometimes you just want to review the current settings of the parameters on a page without changing anything.
Chapter 6: Modulation and Envelopes TIME — SHAPE TIME Parameters (continued) LINEAR Designed after the CURVE function of the PORTA EXP 1, 2 & 3 function, SHAPE refers to the slope (acceleration or deceleration attributes) of the envelope’s LOG 1, 2 & 3 Attack, Decay 1, Decay 2, Release 1 and Release SCURV1 & 2 2 stages. This parameter is active at all times for all time parameters except DELAY.
Chapter 6: Modulation and Envelopes 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.
Chapter 6: Modulation and Envelopes • An EXP (exponential) slope, however, accelerates towards the target level: it 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.
Chapter 6: Modulation and Envelopes 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.
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 TRIG and RETRIG pages come in. An envelope starts its cycle when it receives a trigger. The most typical and oftenused trigger source is the keyboard: a key or keys played on the keyboard instruct the envelopes to start their cycles.
Chapter 6: Modulation and Envelopes DISPLAY PAGE TRIG PANEL LABEL — PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION POLAR* NEGATIVE The trigger will occur only when the source is “moving in a negative direction.” This means that a trigger is generated when the LEVEL setting is reached, but only if the source is decreasing in amplitude. BIPOLAR The trigger occurs when the LEVEL is reached but the source can be either increasing or decreasing in amplitude.
Chapter 6: Modulation and Envelopes Envelope Modes The envelope MODE parameter on the TRIG page determines how an envelope is 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.
Chapter 6: Modulation and Envelopes NORM 1 A 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” to the Release 1 stage. Also, if the key is let go then immediately played again, the envelope will resume from its current level. Start: The envelope is started by the beginning of a Note On event.
Chapter 6: Modulation and Envelopes NORM 1, EXAMPLE 2 EXAMPLE 2a This is a NORM 1 envelope with the Note Off occurring during the ATTACK stage. The envelope “jumps” to the RELEASE 1 stage and proceeds into the RELEASE 2 level. The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the ATTACK stage is complete. After removing the bypassed stages from the graph, the envelope shape looks more like the one here on the right.
Chapter 6: Modulation and Envelopes NORM 2 A NORM 2 envelope is very similar to a NORM 1. The main difference is that a NORM 2 envelope jumps to the Release 2 stage (instead of the Release 1 stage in NORM 1) if the 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. Sustain: 1.
Chapter 6: Modulation and Envelopes NORM 2, EXAMPLE 2 EXAMPLE 2a This is a NORM 2 envelope with the Note Off occurring during the ATTACK stage. The envelope “jumps” directly to the RELEASE 2 stage and proceeds to 0. The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the ATTACK stage is complete. After removing the bypassed stages from the graph, the envelope shape looks more like the one here on the right.
Chapter 6: Modulation and Envelopes NORM 2, EXAMPLE 3 EXAMPLE 3a This is a NORM 2 envelope with the Note Off occurring during the DECAY 1 stage. The envelope “jumps” directly to the RELEASE 2 stage and proceeds to 0. The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the DECAY 1 stage is complete. After removing the bypassed stages from the graph, the envelope shape looks more like the one here on the right.
Chapter 6: Modulation and Envelopes FRERUN The 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.
Chapter 6: Modulation and Envelopes 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. See EXAMPLE 1. b.
Chapter 6: Modulation and Envelopes SUSREL, EXAMPLE 2 This is a SUSREL envelope with the Note Off occurring during the SUSREL stage, but before the RELEASE 2 stage was reached. The key concept to note here is that a Note Off or Pedal Off occurring during the SUSREL stage causes the envelope to jump directly to the RELEASE 2 stage. SUSREL, EXAMPLE 3 EXAMPLE 3a This is a SUSREL envelope with the Note Off occurring during the DECAY 2 stage.
Chapter 6: Modulation and Envelopes SUSREL, EXAMPLE 4 This is a SUSREL envelope with the Note Off occurring during the DECAY 1 stage. If a Sustain Pedal On occurs, the envelope “jumps” to the SUSREL stage and proceeds into RELEASE 2. If the Sustain Pedal Off occurs during the SUSREL stage, the envelope will jump to RELEASE 2 for its final decay to 0. The gray lines in the illustration above indicate the envelope stages that are bypassed when a Note Off occurs before the DECAY 1 stage is complete.
Chapter 6: Modulation and Envelopes MOD-TG The MOD-TG (“modulation trigger-gate”) envelope mode is very similar in function to the NORM 1 mode, except that the envelope is triggered by a user selectable modulation input instead of the keyboard. Start: The envelope is started by an On level from the selected modulation source. Progress: During the Modulation Source On, the envelope proceeds normally through Delay, Attack, Decay1, and Decay2 stages to the Sustain stage. Sustain: 1.
Chapter 6: Modulation and Envelopes 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.
Chapter 6: Modulation and Envelopes EXAMPLE 2 User Parameters: Trigger In Level = 75 Trigger Polarity = NEGATIVE EXAMPLE 3 User Parameters: Trigger In Level = 75 Trigger Polarity = BIPOLAR EXAMPLE 4 User Parameters: Trigger In Level = -45 Trigger Polarity = POSITIVE 156 ANDROMEDA A6 REFERENCE MANUAL
Chapter 6: Modulation and Envelopes In EXAMPLEs 5, 6 and 7, the envelope looks at the LFO for absolute values: positive or negative attributes are ignored – just the level of 75 is used.
Chapter 6: Modulation and Envelopes DYN Page Parameters The DYN 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.
Chapter 6: Modulation and Envelopes DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY DYN KEYTRK Continued Key Tracking OPTIONS or RANGE DESCRIPTION -100 ··· +100 Key Tracking allows you to dynamically alter the time settings of the selected envelope’s stages (except Delay and Attack) by the Note Number that triggered this envelope. When positive settings are used, the high notes add time to D1, D2, R1 and R2 time settings, making the envelope take longer to complete.
Chapter 6: Modulation and Envelopes Positive Values: If KEYTRK and RELMOD are set to 100, the envelope stage times will double in speed with each octave above Middle C, and halve in speed with each octave below Middle C. Negative Values: If KEYTRK and RELMOD are set to -100, the envelope will double in speed with each octave below Middle C, and halve in speed with each octave above Middle C. Negative values have reverse effect of positive settings.
Chapter 6: Modulation and Envelopes 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. By the same token, for a loop’s end functions, the loop finishes at the completion of the last stage before the loop end stage.
Chapter 6: Modulation and Envelopes DISPLAY PAGE LOOP PANEL LABEL — Continued PARAMETER DISPLAY COUNT OPTIONS or RANGE DESCRIPTION SUSTAIN Continued INFINITE The loop will continue to cycle until the key is let go (or the A6 receives a MIDI Note Off). If you’re using a sustain pedal, the loop will cycle as long as the pedal is down. The loop will cycle infinitely. There are, however, differences between infinite looping of ENV 3 and ENVs 1 and 2.
Chapter 6: Modulation and Envelopes Some Important Notes About Envelope Looping • You can think of the Smooth parameter as another envelope “stage”. It has Time (the SMOOTH parameter) and Slope (the SSHAPE parameter) properties just like the 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.
Chapter 6: Modulation and Envelopes MOD Pages In addition to the modifications offered by the TRIG and DYN pages, each envelope 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 MOD 1, MOD 2 and MOD 3 pages. This provides outstanding versatility in customizing the envelopes to a particular need.
Chapter 6: Modulation and Envelopes ENVELOPE EXAMPLES 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. The following five examples are just a few of the endless variations that can be accomplished on the A6, but illustrate the flexibility of these powerful modulations.
Chapter 6: Modulation and Envelopes EXAMPLE 2: BI-POLAR with OFFSET plus LEVEL Changes Time ATTACK Time Attack SHAPE DELAY OFF (no Delay stage) 4.82 S LOG 1 D1TIME 2.34 S Decay1 SHAPE EXP 2 D2LEVL Set to 79 but is effectively 60 after adjusting for Offset D2TIME 4.50 S Decay2 SHAPE SUSTAIN Level R1TIME EXP 1 23 2.92 S Release1 SHAPE LINEAR R2LEVL Set to 72 but is effectively 50 after adjusting for Offset R2TIME 3.
Chapter 6: Modulation and Envelopes EXAMPLE 3: BI-POLAR with Output LEVEL Clipping and RELEASE HOLD Time ATTACK Time Attack SHAPE DELAY OFF (no Delay stage) 8.67 S LINEAR D1TIME 7.58 S Decay1 SHAPE LOG 1 D2LEVL Set to 0 but is effectively 60 after adjusting for Offset D2TIME 3.70 S Decay2 SHAPE SUSTAIN Level Set to -59 but is effectively -9 after adjusting for Offset R1TIME 2.
Chapter 6: Modulation and Envelopes EXAMPLE 4: Classic “ADSR” – Positive Amplitude Envelope with Bypassed Stages DELAY Time Time OFF (no Delay stage) ATTACK 2.60 S Attack SHAPE LOG 3 D1TIME Set to 0 which bypasses this stage Bypassed: can be set to anything but is ignored Bypassed: can be set to anything but is ignored Decay1 SHAPE D2LEVL D2TIME 1.
Chapter 6: Modulation and Envelopes EXAMPLE 5: A(S)R – Positive Amplitude Envelope with Additional Bypassed Stages Time ATTACK Time Attack SHAPE OFF D1TIME Set to 0 which bypasses this stage Bypassed: can be set to anything but is ignored Bypassed: can be set to anything but is ignored Set to 0 which bypasses this stage Bypassed: can be set to anything but is ignored Bypassed: superceded by the ATTACK stage Set to 0 which bypasses this stage Bypassed: can be set to anything but is ignored Bypassed: can
Chapter 6: Modulation and Envelopes 170 ANDROMEDA A6 REFERENCE MANUAL
Chapter 7: LFOs, S&H and Process CHAPTER 7 PROGRAM FUNCTIONS PART 3: LFOS, SAMPLE & HOLD AND PROCESS LOW FREQUENCY OSCILLATORS 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.
Chapter 7: LFOs, S&H and Process Tip: Tabbing feature: You can select any parameter simply by turning its corresponding 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.
Chapter 7: LFOs, S&H and Process Delay Time This parameter sets time that elapses before the LFO begins its oscillation. During this time delay, the LFO is inactive. ➠ DELAY Range: 0 – 131.075 seconds, adjustable in increments of 2 to 10 milliseconds. Initial Phase This parameter sets the initial phase portion where the LFO waveform starts. Here’s how an LFO’s wave phase is described and adjusted: ➠ PHASE One cycle of an LFO’s wave equals a 360º “phase” (cycle).
Chapter 7: LFOs, S&H and Process 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. This is the equivalent of adding a fixed direct current voltage to an alternating wave.
Chapter 7: LFOs, S&H and Process 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’ oscillation. This page allows you to do more than that.
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. SYNSRC Synchronization Source LOCAL CLOCK MIDI the selected LFO runs independently of the Master Clock at a speed determined by its RATE control.
Chapter 7: LFOs, S&H and Process arpeggiator, and many more. We’ll cover more about this in Chapter 9, The A6 Modulation Matrix. SAMPLE AND HOLD 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 – a reading of the sine wave’s current amplitude is taken at regular intervals, the amplitude is held for a period of time – and the result is output as a mod source.
Chapter 7: LFOs, S&H and Process In both examples, the RESULT is the output of the Sample and Hold generator and will modulate the selected destination when S & H LEVEL is used as a mod source.
Chapter 7: LFOs, S&H and Process PROCESS MODULE The PROCESS module contains the Tracking Generator and the Engine Optimizer. TRACKING GENERATOR (TGEN) The Tracking Generator is used to scale a modulation source. It allows you to "redraw" any modulation source to your own custom curves. For example, normally you could modulate the level of a sound using velocity; the harder you play, the louder the sound gets.
Chapter 7: LFOs, S&H and Process TRACKING GENERATOR PARAMETER DESCRIPTIONS The A6 has a 16-stage (maximum) Tracking Generator for each voice. The parameters are described in detail below. 1 SOFT KNOB 2 3 4 5 6 7 8 PAGE TAB OUTPUT INLVL INPUT SOURCE DISPLAY PAGE PARAMETER DISPLAY OUTPUT INLVL Input Level STAGE STAGE QUANTZ SIZE ENABLE LEVEL OFFSET ENABLE -100 ··· +100 CURVE OUTLVL TGen Output Level 180 This "sets the X point" of the Tracking Generator.
Chapter 7: LFOs, S&H and Process DISPLAY PAGE INPUT PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION — MOD SOURCE LIST Any of the A6’s 79 modulation sources. Use soft knob 1 to scroll through the list of possible sources as input for the Tracking Generator. — LEVEL -100 ··· +100 This parameter sets the amount of input that will go into the Tracking Generator. Keep in mind that negative values invert the action of the selected source.
Chapter 7: LFOs, S&H and Process ENGINE OPTIMIZER PARAMETERS DISPLAY PAGE PARAMETER DISPLAY ENGINE OSC OPTIONS or RANGE DESCRIPTION Selects Engine Optimizer settings for the Oscillators. Oscillator Engine Optimizer NORMAL This is the default setting. It is suitable for the vast majority of sounds that the A6 produces. FAST PITCH CHANGES This setting is suitable for programs that require extremely fast changes in Oscillator frequency.
Chapter 8: Pre Filter, Post Filter and Voice Mixes CHAPTER 8 PROGRAM FUNCTIONS PART 4: THE ANDROMEDA’S MIXING SYSTEM 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes PRE FILTER MIX OPERATION OSC and SUB OSC Controls The output levels of both VCOs going to the Filters are controlled by their respective OSC 1 and OSC 2 knobs. Each VCO also provides a sub-oscillator output and its level is controlled by the SUB OSC knob. Each sub-oscillator outputs a square wave from its respective VCO, tuned one octave below its SEMITONE setting.
Chapter 8: Pre Filter, Post Filter and Voice Mixes Modulator, using the sine waves of OSC 1 and OSC 2 is a good place to start because 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes AUDIO EXT IN You can process external audio sources through the A6. Examples of audio sources you can use include an electric guitar, a high-impedance microphone, a digital sampler, an audio CD player or cassette player, just to name a few. You may want to process your external audio by the A6’s Filters. And since the Filters can be modulated, you can also shape the external source by an envelope and add a host of other mod sources if needed.
Chapter 8: Pre Filter, Post Filter and Voice Mixes Signal Routing through the Filters The PRE FILTER MIX outputs of OSC 1 and OSC 2 (along with their respective SUB OSC signals), the RING MOD and NOISE EXT can be routed through the A6 using the following procedures. Please note that the PRE FILTER MIX output always goes to FILTER 1 unless, of course, is on.
Chapter 8: Pre Filter, Post Filter and Voice Mixes turn up FILT 1 HP, effectively giving you a “HIGHPASS” input to FILTER 2 instead of a notch. - When using BP as the input to FILTER 2, you can invert the bandpass filtering by pressing the BP INVERT button in the POST FILTER MIX module. 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 RING MOD signal as in the above examples.
Chapter 8: Pre Filter, Post Filter and Voice Mixes POST FILTER MIX OVERVIEW The POST FILTER MIX module contains five knobs that control the output of the Filters going to the VOICE MIX plus the unfiltered signal levels of OSC 1 and OSC 2 SINE waves and the RING MOD signal. POST FILTER MIX , like the PRE FILTER MIX module, includes a number of MOD buttons that are used to route mod sources to their respective destinations.
Chapter 8: Pre Filter, Post Filter and Voice Mixes VOICE MIX The VOICE MIX module contains the final mixing stages of the A6. The mixed output of this module feeds the instrument’s MASTER VOLUME knob on the left of the instrument that controls the final output of the A6. VOICE MIX is where the relative levels and panning – the placement of voices left-to-right in the stereo image – are set as part of a Program or Mix.
Chapter 9: The A6 Modulation Matrix CHAPTER 9: CUSTOM MODULATIONS Chapter 5: Program Functions just presented us with a detailed look at the main programmable functions of the A6’s modules that comprise a Program: OSC 1 and and FILTER 2, the PRE FILTER MIX, POST FILTER MIX and VOICE MIX audio mixing modules, plus the modulation source modules of the LFOs, ENV 1, ENV 2 and ENV 3.
Chapter 9: The A6 Modulation Matrix Wheel is assigned by default to control the level of MOD 1 in each oscillator; you don’t 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? PERFORMANCE CONTROL OF MODS Once you’ve set up a modulation, you have two options: 1. 2.
Chapter 9: The A6 Modulation Matrix 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: • • • • • the SOURCE is VOX KEY NUMBER, which means the modulation will rise and fall as you play higher and lower on the keyboard. the LEVEL is +46.00. If it were 0.
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. First level mods such as PWM and OSC2 FM are commonly used and are easily accessed from the front panel.
Chapter 9: The A6 Modulation Matrix MOD BUTTONS WITH SINGLE DESTINATIONS MODULE BUTTON TITLE ARPEGGIATOR SEQUENCER PORTA S&H SYNC/MOD SYNC/MOD MOD MOD OSC 1 PWM (Pulse Width Modulation) PWM (Pulse Width Modulation) MOD MOD MOD MOD OSC 2 PRE FILTER MIX EFFECTS POST FILTER MIX DESTINATION PARAMETER DESCRIPTION TEMPO TEMPO PORTA RATE SAMPHOLD RATE OSC 1 Pulse Width modulates the clock rate of the arpeggiator modulates the clock rate of the sequencer modulates the portamento rate modulates the RAT
Chapter 9: The A6 Modulation Matrix MOD BUTTONS WITH MULTIPLE DESTINATIONS (continued) OSC 1 (cont.
Chapter 9: The A6 Modulation Matrix A FEW GROUND RULES • 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 STORE button, just like any other Program or Mix parameter. • When there are multiple MOD buttons in a module, you can actually assign multiple sources to the same destination.
Chapter 9: The A6 Modulation Matrix THE CONTROL ROUTES SECTION 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. Think of them as a sort of “behind the scenes” modulation route.
Chapter 9: The A6 Modulation Matrix 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.
Chapter 9: The A6 Modulation Matrix ABOUT SIGNAL FLOW IN A MOD PATH 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. In the Andromeda, this flexibility allows you to do things that are difficult or impossible on other synths.
Chapter 9: The A6 Modulation Matrix ABOUT MODULATION SOURCES 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 VOX prefix are per Voice, and are per-note functions. • Sources with a PGM prefix, later in the list, are per Program, or are ‘global’ and will affect all voices at once in the same way.
Chapter 9: The A6 Modulation Matrix 202 ANDROMEDA A6 REFERENCE MANUAL
Chapter 10: Using Effects CHAPTER 10: USING EFFECTS INTRODUCTION 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.
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. CONFIG – There are two Configuration buttons, one for the Analog Distortion system and one for the Digital Effects system. A configuration is an arrangement of one or more effects. Each Analog Distortion and each Digital Effect in the A6 use one configuration at a time.
Chapter 10: Using Effects MOD page Soft button 8 brings you to the MOD page. As with any of the other modulation 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 DFX DFX DFX SEND LEFT SEND RIGHT SEND L&R PAN Note that modulating these will have no effect if that parameter doesn’t exist in the particular configuration. For example, there is no PAN in the Large Hall configuration.
Chapter 10: Using Effects EDITING EFFECT PARAMETERS CHOOSING A PARAMETER PAGE 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 PARAM1, PARAM2, etc. In a multieffect each parameter page is named after the effect “block” it controls: PLATE1 PLATE2 etc. The total number of Parameter pages depends on which Effect Type the Program uses.
Chapter 10: Using Effects MOD: MODULATING EFFECTS SEND/OUTPUT Pressing an effect’s MOD button on the top panel, or pressing soft button 8 (MOD) while 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.
Chapter 10: Using Effects TUTORIAL: HOW TO EDIT A REVERB 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-today examples. Remember that programs are subjective and these are just guidelines. If the program sounds weird when you’re all done, change it - that’s what the soft knobs are for! You can use the following section to edit any Program or Mix in the Andromeda.
Chapter 10: Using Effects The Diffusion parameter (soft knob 6) sets how smooth the decay will be. Used in 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. 9. Set the Diffusion (DIFF) to 78%. SET THE REVERB PREDELAY Our next step is editing the Pre-delay parameters on PARAM2. (We’ll come back to the Bass Boost parameters once the program is structured better.) 10.
Chapter 10: Using Effects Now we’re ready to go back to the PARAM1 page, parameters 2 and 3. Bass Boost can 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. Press soft button 2 (PARAM1) to return to that page. 16. Using the soft knobs, set BOOST to 100 and BASSF to 0.237.
Chapter 10: Using Effects DIGITAL EFFECTS ARCHITECTURE This section describes the 28 configuration categories for the Digital Effects system. THE SIGNAL FLOW THROUGH THE EFFECTS SECTION OUTPUT AUX/MAIN SWITCH VOICE MIX PAN VCA (ENV 3) VOICE MIX LEVEL MAIN ANALOG DISTORTION MAIN OUT DFX1 SEND OUTPUT DFX2 DIGITAL EFFECTS SEND PAN/BLEND* MAIN OUT OUT (in some configurations) As you can see in the flow chart above, the effects section gets its input from the Voice Mix Level pot.
Chapter 10: Using Effects STEREO 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.
Chapter 10: Using Effects DUAL EFFECTS: PARALLEL 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 BLEND control between the input and the effect. In each case, the left output of the Blend control is routed to one effect, while the right output is routed to the other. The stereo outputs of both effects are then summed together to the outputs.
Chapter 10: Using Effects MULTI CHAIN 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 CHRS > RM (Chorus->Room). These individual effect types provide excellent sound quality but are less processorintensive than their Single configuration equivalents, since the Digital Signal Processor is accommodating more than one effect at a time.
Chapter 10: Using Effects CONFIGURATIONS & PARAMETER DESCRIPTIONS 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. REVERBS 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.
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. The reverse reverb is a useful effect for percussive sounds -adding space without washing out the instrument.
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. The BASSF parameter selects the highest frequency which will be boosted, and the BOOST parameter sets the amount of boost, up to 6 dB. Pre-delay (PDTIME) All the reverb effects have pre-delay parameters.
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.
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” reverb.
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. GATE essentially sets the threshold of the expander. When set to zero, there is no cutoff by the gate and the reverb decays normally; higher values of GATE will "chop off" the reverb at earlier and earlier points.
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.
Chapter 10: Using Effects PITCH EFFECTS 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.
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. It is useful for creating parallel harmonies, detuning, chorusing, and special effects.
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. Feedback (FDBK) This is the amount of regeneration (output fed back to the input) in the Chorus/Flanger, from -99 to 99%. Negative values produce out-of-phase feedback, which has a thinner, hollow sound.
Chapter 10: Using Effects 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” of a flanger from the same point whenever it is triggered, and then runs until the next time you trigger it.
Chapter 10: Using Effects TRIG This selects which input to monitor to begin triggering. The choices are 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. When the flanger is triggered, it won’t trigger again until the input signal falls below the Release level then goes above the Attack level.
Chapter 10: Using Effects TABLE OF DIGITAL EFFECTS PARAMETERS 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 NAME DISPLAY MOD Large Hall ➟ PAGE CONFIG PARAM1 PARAM2 PARAM3 Hall Reverb ➟ CONFIG PARAM1 PARAM2 PARAM3 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) OUT Effects Output Level 0 - 100% DECAY Reverb Decay Time 1.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Stereo Room DISPLAY MOD ➟ PAGE CONFIG PARAM1 PARAM2 PARAM3 Room Reverb ➟ CONFIG PARAM1 PARAM2 PARAM3 228 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) PAN Input Pan -100.0- +100.00 OUT Effects Output Level 0 - 100% DECAY Reverb Decay Time 1.33 - 229 sec LPF Input Low Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects CONFIG NAME MOD DISPLAY Chamber ➟ PAGE CONFIG AND Ambience PARAM1 PARAM2 PARAM3 Large Plate ➟ CONFIG AND Plate PARAM1 PARAM2 PARAM3 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) OUT Effects Output Level 0 - 100% DECAY Reverb Decay Time 1.33 - 229 sec LPF Input Low Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Room + Hall DISPLAY MOD ➟ PAGE CONFIG ROOM1 ROOM2 PARAMETER DISPLAY HALL2 230 RANGE 0.00-100.00 SEND Send (Input Level from Voice) BLEND Input Blend ±100.00 RM OUT Room Output Level 0 - 100% HL OUT Hall Output Level 0 - 100% DECAY Room Reverb Decay Time 1.00 - 75.8 sec LPF Room Input Low-Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Room + Plate DISPLAY MOD ➟ PAGE CONFIG ROOM1 ROOM2 PARAMETER DISPLAY PLATE2 RANGE 0.00-100.00 SEND Send (Input Level from Voice) BLEND Input Blend ±100.00 RM OUT Room Output Level 0 - 100% PL OUT Hall Output Level 0 - 100% DECAY Room Reverb Decay Time 1.00 - 75.8 sec LPF Room Input Low-Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME DISPLAY MOD Plate + Hall ➟ PAGE CONFIG PLATE1 PLATE2 HALL1 HALL2 Nonlinear ➟ CONFIG PARAM1 PARAM2 232 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) BLEND Input Blend ±100.00 PL OUT Room Output Level 0 - 100% HL OUT Hall Output Level 0 - 100% DECAY Plate Reverb Decay Time 567 msec - 61.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Mono Delay DISPLAY MOD PAGE ➟ CONFIG PARAM1 PARAM2 PARAM3 Ping Pong Delay ➟ CONFIG PARAM1 PARAM2 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Multi Tap Delay DISPLAY MOD PAGE ➟ CONFIG PARAM1 PARAM2 PARAM3 PARAM4 PARAM5 234 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Delay:Delay DISPLAY MOD PAGE ➟ CONFIG L-DLY1 L-DLY2 R-DLY1 R-DLY2 Stereo Chorus/Flanger ➟ CONFIG PARAM1 PARAM2 PARAM3 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) PAN Input Pan -100.0- +100.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Quad Chorus DISPLAY MOD ➟ PAGE CONFIG PARAM1 PARAM2 PARAM3 PARAM4 PARAM5 Chorus:Chorus ➟ CONFIG L-CHRS1 L-CHRS2 R-CHRS1 R-CHRS2 236 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) PAN Input Pan -100.0- +100.00 OUT Effects Output Level 0 - 100% 1RATE Chorus/Flange Rate (1st tap) 0 – 6.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Quad Pitch Shifter DISPLAY MOD ➟ PAGE CONFIG PARAM1 PARAM2 PARAM3 PARAM4 Lezlie > Room ➟ CONFIG LEZLE1 ROOM1 ROOM2 PARAMETER DISPLAY PARAMETER NAME RANGE SEND Send (Input Level from Voice) PAN Input Pan -100.0- +100.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Delay > Room DISPLAY MOD PAGE ➟ CONFIG DELAY1 DELAY2 DELAY3 ROOM1 ROOM2 Chorus > Room ➟ CONFIG CHORS1 CHORS2 CHORS3 PARAMETER DISPLAY ROOM2 238 RANGE SEND Send (Input Level from Voice) MIX Input Mix of Room 0.00-100.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Room > Flange DISPLAY MOD ➟ PAGE CONFIG ROOM1 ROOM2 FLANG1 FLANG2 PARAMETER DISPLAY Flange > Delay > Room (MULTI 3) ➟ CONFIG FLANG1 FLANG2 DELAY ROOM1 ROOM2 RANGE 0.00-100.00 SEND Send (Input Level from Voice) MIX Input Mix of Room 0.00-100.00 OUT Effect Chain Output Level 0 - 100% DECAY Room Reverb Decay Time 100 -8153 LPF Room Input Low-Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Room + Delay DISPLAY MOD PAGE ➟ CONFIG ROOM1 ROOM2 DELAY1 DELAY2 DELAY3 240 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) BLEND Input Blend ±100.00 RM OUT Room Output Level 0 - 100% DL OUT Delay Output Level 0 - 100% DECAY Room Reverb Decay Time 1.00 –81.53 secs. LPF Room Input Low-Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Room + Chorus DISPLAY MOD PAGE ➟ CONFIG ROOM1 ROOM2 CHORS1 CHORS2 CHORS3 PARAMETER DISPLAY ➟ CONFIG ROOM1 ROOM2 FLANG1 FLANG2 RANGE 0.00-100.00 SEND Send (Input Level from Voice) BLEND Input Blend ±100.00 RM OUT Room Output Level 0 - 100% CH OUT Chorus Output Level 0 - 100% DECAY Room Reverb Decay Time 1.00 –81.53 secs. LPF Room Input Low-Pass Filter off, 29Hz - 41.
Chapter 10: Using Effects Table of Digital Effects Parameters (continued) CONFIG NAME Room > Delay DISPLAY MOD ➟ PAGE CONFIG ROOM1 ROOM2 DELAY1 DELAY2 DELAY3 242 PARAMETER DISPLAY PARAMETER NAME RANGE 0.00-100.00 SEND Send (Input Level from Voice) MIX Input Blend 0.00-100.00 OUT Effect Chain Output Level 0.00-100.00 DECAY Room Reverb Decay Time 1.00 –81.53 secs. LPF Room Input Low-Pass Filter off, 29Hz - 41.
Chapter 11: Mix Mode CHAPTER 11: MIX MODE The basics of Mix Mode operation including how to select a Mix, change a Program within a Mix, and the complete list of Mix Parameters can be found in Chapter 2, pages 39 through 42. Setting up Splits and Layers is covered on pages 47 and 48. WHAT IS A MIX? Mix Mode is one of the most powerful features of the Andromeda.
Chapter 11: Mix Mode COMMON MIX SETTINGS FOR MIDI SEQUENCERS The easiest way to use the A6 with a MIDI sequencer is to use one of the preprogrammed 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: TO MAKE A CUSTOM MULTITIMBRAL MIX: 1. 2. Press the MIX button. Select a Mix to start with using the PROGRAM GROUP/NUMBER, and BANK keys.
Chapter 11: Mix Mode Set Controller parameters At this point, it should be self-explanatory to go on to the CNTL page and decide 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. Repeat on other Mix Channels To add other Mix Channels, simply repeat steps 3-11 above, selecting different channels in step 3.
Chapter 11: Mix Mode 5. 6. 7. 8. Select the source Mix Channel (1–16) using soft knob 4 (MIXCHN). Select the destination Mix Channel (1–16) using soft knob 8 (MIXCHN). MIX EDIT MIXCHAN: XX will be shown in the display. Press soft button 3 (COPY). A window will pop up asking you to press STORE to copy the effect. Press STORE. EFFECTS IN MIX MODE Effects, both Digital and Analog Distortion, are stored per Mix, and can be copied from Programs or other Mixes.
Chapter 12: MIDI Functions CHAPTER 12: MIDI FUNCTIONS MIDI BASICS 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.
Chapter 12: MIDI Functions For some examples in connecting MIDI devices together, see our illustrations in MIDI Connections starting on page 23. This MIDI Chapter will take these basic 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. MIDI MESSAGES The are two types of MIDI messages that are communicated through your network of MIDI cables: Channel and System.
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. Where a Note On message communicates when a note is to be played, this message tells when the key has been released.
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.
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 – and by it’s Voice Assignment – Poly or Mono. The Omni On or Omni Off messages determine how many channels will be recognized when the instrument or device is receiving MIDI data.
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. Many devices subdivide this clock signal internally for higher resolution (e.g., 96 pulses per quarter note). Start.
Chapter 12: MIDI Functions End-of-System-Exclusive Message. This byte is sent at the completion of a System Exclusive message and that tells all units in a MIDI rig that a Program or Sample dump in progress has completed. System Messages: Exclusive Messages System Exclusive. This message (called SysEx for short) is considered “exclusive” because different manufacturers send and receive data over MIDI which is intended only for that manufacturer’s equipment.
Chapter 12: MIDI Functions TO SEND AN ENTIRE PROGRAM OR MIX BANK OUT AS A MIDI SYSTEM EXCLUSIVE DUMP: Follow the steps above, except in step 4, set the SEND variable to BANK using Soft Knob 4. To verify that your sysex file has been received from the A6 properly, you should check the size of the file at its destination.
Chapter 12: MIDI Functions MIDI AND THE A6 ANDROMEDA 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 MIDI Implementation Chart is provided in Appendix C that lists the MIDI functions supported by the A6.
Chapter 12: MIDI Functions SETTING MIDI PARAMETERS IN GLOBAL MODE 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 OPTIONS or RANGE DESCRIPTION OFF Determines on which MIDI Channel a Program Change command will select a new Mix. 1 ··· 16 When set to OFF, a MIDI Program Change will select a Program Mix Channel from within a Mix.
Chapter 12: MIDI Functions 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.
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. These moves can be played back to recreate your performance. Most of the A6 Program and Mix parameters can be controlled by MIDI NRPN data.
Appendix A: Glossary GLOSSARY All Notes Off a command that is transmitted to all devices in a MIDI system that prevents notes from becoming stuck on. Amplitude the level of a signal, its “intensity” (or lack of it) or the “signal strength”. Channel one of sixteen separate “paths” that Voice and Mode data can travel on. Channel Messages data that communicates Voice and Mode messages on a specific, user-selected Channel.
Appendix A: Glossary 260 MIDI OUT the port on a device that transmits the MIDI data generated by the device. MIDI THRU the port on a device that passes received MIDI data to the next device in the chain. Mix a performance mode where two or more Programs are played at the same time. Mix mode is where you make settings for splits and layers plus numerous combinations of Programs, and keyboard/MIDI control.
Appendix B: Table of Software Modulation Sources MOD SOURCES TABLE OF SOFTWARE MODULATION SOURCES DISPLAYED AS MEANING 1. OFFSET ONLY Fine adjustment amount by the onscreen fader only: no other modulation is present. 2. VOX KEY NUMBER The key or MIDI Note Number for the voice being played. 3. VOX KEY ON VEL The key or MIDI Note Velocity amount for the voice being played. 4. VOX KEY OFF VEL The key or MIDI Note Release Velocity amount for the voice being played. 5.
Appendix B: Table of Software Modulation Sources note, a rising level will occur. The level of this source depends on the difference between the notes played. 27. PORTA RAW LEVEL A bipolar rising or falling source that represents the direction of Portamento. If you play a legato note below the first played note, a slow rise to full output will occur, starting from zero. If you play above the first played note, a slow descent from full output to zero will occur.
Appendix B: Table of Software Modulation Sources 47. PGM KEY TRIGGER A trigger that occurs when any note is played. This is commonly used for triggering the Sequencer and Arpeggiator. 48. EXT TRIGGER 1 A trigger that occurs when the audio input level at the Voice 15 External Audio Input jack rises above a set threshold. A “triggered wah” effect can be obtained if Envelope 2 is used to sweep the Filter(s) and this trigger is used to trigger Envelope 2. 49.
Appendix B: Table of Software Modulation Sources of Envelope 3. 67. ENV 3 DECAY 2 A trigger that occurs at the beginning of the Decay 2 stage of Envelope 3. 68. ENV 3 SUSTAIN A trigger that occurs at the beginning of the Sustain level of Envelope 3. 69. ENV 3 RELEASE 1 A trigger that occurs at the beginning of the Release 1 stage of Envelope 3. 70. ENV 3 RELEASE 2 A trigger that occurs at the beginning of the Release 2 stage of Envelope 3. 71.
Appendix C: Troubleshooting TROUBLESHOOTING THE AUTO-TUNE DISPLAY The basics of AUTO TUNE were covered in Chapter 1: pressing the button twice 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.
Appendix C: Troubleshooting AUTO TUNE Parameters PAGE PARAMETER TUNE MASTER OPTIONS or RANGE 354.35 Hz ··· 546.42 Hz AUTO DESCRIPTION Sets the basic tuning reference of the Andromeda for A4 (the A above middle C). The default is 440.00 Hz, which is the modern concert reference. You can set it to A=440 by pressing the INC/DEC keys simultaneously. BKTUNE ON/OFF When ON, the Andromeda will constantly tune unused oscillators in the background.
Appendix C: Troubleshooting The 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 NOTUNE in the Oscillator Pulse Width column shows that the Pulse Width has not gone through an Auto Tune process. The TOOHI in the 5th band of Filter 2 shows that Auto Tune was not able to bring this band into range.
Appendix C: Troubleshooting UPGRADING THE OPERATING SYSTEM While the Andromeda's sound-generating electronics are all analog, they are controlled by a digital microprocessor with software, just like a computer. 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.
Appendix C: Troubleshooting 6. The display will now say, "Press STORE to upgrade OS—any other switch to exit." Press STORE. 7. Now press PLAY on your sequencer. It is normal for many sequencers to "freeze" 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.
Appendix C: Troubleshooting TROUBLESHOOTING CHART 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. SYMPTOM CAUSE SOLUTION The display does not light up when the ON/OFF switch is turned on. No power. Check that the power cable is plugged in properly.
Appendix C: Troubleshooting SYMPTOM Unit "hangs" (won't respond to top panel) whenever a particular Program, Mix, or Bank is accessed CAUSE Corrupted data in memory. SOLUTION Replace an individual Program or Mix by a SysEx dump or the COPY feature in STORE mode. If the entire User bank is corrupted, turn the unit on while pressing soft button 3. This erases the contents of the User bank and reinitializes the Global parameters as well.
Appendix C: Troubleshooting CLEANING AND MAINTENANCE While your Andromeda A6 should not need much attention, here are some tips for preventive maintenance: 272 • 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® or Fantastik®.
Appendix D: Specifications SPECIFICATIONS MIDI IMPLEMENTATION CHART Function Basic Channel Mode Note Number Default Changed Default Messages Altered Transmitted Recognized 1 - 16 1 - 16 each Mode 3 1 - 16 1 - 16 each Mode 3 X X True Voice ******** 33-96 33-96 Velocity Note On Note Off O O O X After Touch Keys Ch’s X O X O X O O O O1 0 - 127 ******** O1 0 - 127 0 - 127 O O X X X X Control Change Prog Change 0 - 120 True # System Exclusive Memorized ******** 33-96 Pitch Be
Appendix D: Specifications SPECIFICATIONS 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 Mix Memory 128 user-defined Audio Outputs 16 mono outputs, one for each of 16 voices (eight 1/4" TRS jacks) Stereo
Appendix E: Warranty WARRANTY This product is warranted by Alesis to the original purchaser against defects in material and workmanship for a period of 1 year for parts and labor from the date of purchase. Please retain a copy of your dated sales receipt for proof of warranty status should repairs be necessary. REFER ALL SERVICING TO ALESIS We believe that your Andromeda A6 should provide years of trouble-free use. However, should problems occur, DO NOT attempt to service the unit yourself.
Appendix E: Warranty 276 ANDROMEDA A6 REFERENCE MANUAL
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 CNTL 42 Controllers 42,100 Continuous 51, 249,257 Contrast 36 Control Routes 198-199 Compare Button 37 Copy 44-45 Decrement Arrow 36 Delay Effects 220-221 Detune 55-57 Digital Effects 204-206,211242 Archit
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 Power 102 Power Up Modes 269 Process 179 Progressor 77 Program 18.