Benutzeranleitung / Produktwartung A6 des Produzenten Alesis
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1 6 - V O I C E R E A L A N A L O G S Y N T H E S I Z E R R EFERENCE M ANUAL For Software Version 1.40.
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A NDROMEDA A6 R EFERENCE M ANUAL 1 Your shipping carton should contain the following items: 1. Andromeda A6 synthesizer 2. AC power cable 3. Sustain Pedal 4. Reference Manual If anything is missing, please contact your dealer or Alesis immediately. Alesis contact information: Alesis Studio Electronics, Inc.
2A NDROMEDA A6 R EFERENCE M ANUAL.
Contents A NDROMEDA A6 R EFERENCE M ANUAL 3 C ONTENTS Important Safety Instructions .................................................................................... 7 Instructions to the User (FCC Notice) ..........................................
Contents 4A NDROMEDA A6 R EFERENCE M ANUAL Chapter 4: Overview of the Andromeda A6 ..........................................................9 3 A Few Basic Concepts .....................................................................................
Contents A NDROMEDA A6 R EFERENCE M ANUAL 5 Post Filter Mix Overview ....................................................................................................... ......... 189 Post Filter Mix Operation ......................................
Contents 6A NDROMEDA A6 R EFERENCE M ANUAL To copy a Mix Channel from another Mix: ................................................................... 245 Effects in Mix Mode.............................................................................
Important Safety Instructions A NDROMEDA A6 R EFERENCE M ANUAL 7 I MPORTANT S AFETY I NSTRUCTIONS 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.
Important Safety Instructions 8A NDROMEDA A6 R EFERENCE M ANUAL 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.
Important Safety Instructions A NDROMEDA A6 R EFERENCE M ANUAL 9 I NSTRUCTIONS DE S ÉCURITÉ I MPORTANTES (F RENCH ) S YMBOLES UTILISÉS DANS CE PRODUIT Ce symbole alèrte l’utilisateur qu’il existe des instructions de fonctionnement et de maintenance dans la documentation jointe avec ce produit.
Important Safety Instructions 10 A NDROMEDA A6 R EFERENCE M ANUAL 14. Faites réparer par un personnel qualifié. Une réparation est nécessaire lorsque l’appareil a été endommagé de quelque sor.
Important Safety Instructions A NDROMEDA A6 R EFERENCE M ANUAL 11 B EIM B ENUTZEN DIESES P RODUKTES BEACHTEN S IE BITTE DIE FOLGENDEN S ICHERHEITSHINWEISE : (G ERMAN ) 1. Lesen Sie die Hinweise. 2. Halten Sie sich an die Anleitung. 3. Beachten Sie alle Warnungen.
Important Safety Instructions 12 A NDROMEDA A6 R EFERENCE M ANUAL I NSTRUCTIONS TO THE U SER 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.
Important Safety Instructions A NDROMEDA A6 R EFERENCE M ANUAL 13 CE D ECLARATION OF C ONFORMITY Please see the Alesis website, www.alesis.com, for the CE Declaration of Conformity.
Important Safety Instructions 14 A NDROMEDA A6 R EFERENCE M ANUAL.
Introduction A NDROMEDA A6 R EFERENCE M ANUAL 15 I NTRODUCTION 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.
Introduction 16 A NDROMEDA A6 R EFERENCE M ANUAL H OW TO U SE THIS M ANUAL S TRUCTURE This manual was designed to take you through the A6 in a logical order of topics. This way, anyone who is new to this type of instrument can read through the book from front to back and get the most basic information first.
Introduction A NDROMEDA A6 R EFERENCE M ANUAL 17 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.
Introduction 18 A NDROMEDA A6 R EFERENCE M ANUAL K EY T ERMINOLOGY While we define terms throughout this manual, and also provide a Glossary at the end, we’d like to list a few terms now that will h.
Introduction A NDROMEDA A6 R EFERENCE M ANUAL 19 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 20 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 1: Getting Started A NDROMEDA A6 R EFERENCE M ANUAL 21 C HAPTER 1 G ETTING S TARTED W HAT Y OU ’ LL N EED The A6’s basic requirements include: 1.
Chapter 1: Getting Started 22 A NDROMEDA A6 R EFERENCE M ANUAL A UDIO C ONNECTIONS After you’ve set up the A6 and plugged it into an AC outlet, connect your A6 to a sound system. Since the A6 does not contain an amplifier or speakers, you’ll need to connect it to some kind of a sound system in order to hear it.
Chapter 1: Getting Started A NDROMEDA A6 R EFERENCE M ANUAL 23 MIDI C ONNECTIONS 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.
Chapter 1: Getting Started 24 A NDROMEDA A6 R EFERENCE M ANUAL As a Slave : If you plan to control the A6 from another MIDI device, you’ll need a MIDI cable connected to its MIDI IN port.
Chapter 1: Getting Started A NDROMEDA A6 R EFERENCE M ANUAL 25 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.
Chapter 1: Getting Started 26 A NDROMEDA A6 R EFERENCE M ANUAL Q UICK S TART : P LAYING Y OUR F IRST P ROGRAM A UTO T UNE 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.
Chapter 1: Getting Started A NDROMEDA A6 R EFERENCE M ANUAL 27 S ELECTING P ROGRAMS You don't have to know what all the knobs do to enjoy the A6; it comes pre- programmed with hundreds of sounds. You can simply listen to these sounds and find out more about them later.
Chapter 1: Getting Started 28 A NDROMEDA A6 R EFERENCE M ANUAL M ASTER V OLUME 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 29 C HAPTER 2: P LAYING 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 30 A NDROMEDA A6 R EFERENCE M ANUAL A B RIEF T OUR OF THE F RONT P ANEL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 31 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.
Chapter 2: Playing the A6 32 A NDROMEDA A6 R EFERENCE M ANUAL I NTERACTING WITH THE D ISPLAY 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 33 B ASIC D ISPLAY F UNCTIONS In its normal operating mode, the display will react to virtually any change you make to any of the front panel controls . When you turn a knob or press a button, the display will recall that parameter’s page and select the parameter for editing.
Chapter 2: Playing the A6 34 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 35 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.
Chapter 2: Playing the A6 36 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 37 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.
Chapter 2: Playing the A6 38 A NDROMEDA A6 R EFERENCE M ANUAL S ELECTING P ROGRAMS AND M IXES 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 39 PROGRAM M ODE P ARAMETERS 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.
Chapter 2: Playing the A6 40 A NDROMEDA A6 R EFERENCE M ANUAL 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 - PRESET 1 This parameter displays the current Mix Bank.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 41 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.
Chapter 2: Playing the A6 42 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 43 S TORING E DITED P ROGRAMS AND M IXES 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.
Chapter 2: Playing the A6 44 A NDROMEDA A6 R EFERENCE M ANUAL 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 .
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 45 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 .
Chapter 2: Playing the A6 46 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 47 S ETTING U P S PLITS AND L AYERS 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.
Chapter 2: Playing the A6 48 A NDROMEDA A6 R EFERENCE M ANUAL S PLITS 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 49 U SING G LOBAL M ODE GLOBAL M ODE P ARAMETERS SOFT KNOB PAGE TAB 12345678 KEYBD TRANSP VCURVE VSENS TXMODE MIDICH AFTCH VSTEAL PED.
Chapter 2: Playing the A6 50 A NDROMEDA A6 R EFERENCE M ANUAL PAGE PARAMETER OPTIONS or RANGE DESCRIPTION TXMODE Sets the control output of the A6 keyboard: KEYBD continued LOCMID The keyboard will play the A6’s voices and transmit MIDI Notes.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 51 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.
Chapter 2: Playing the A6 52 A NDROMEDA A6 R EFERENCE M ANUAL M ASTER C ONTROLS V OLUME 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 .
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 53 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.
Chapter 2: Playing the A6 54 A NDROMEDA A6 R EFERENCE M ANUAL T HE K EYBOARD AND K EYBOARD M ODES 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 55 P ERFORMANCE F EATURES KBD MODE Controls The KBD MODE (“keyboard mode”) functions allow for quick and easy access to three of the most.
Chapter 2: Playing the A6 56 A NDROMEDA A6 R EFERENCE M ANUAL 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).
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 57 PAGE PARAMETER OPTIONS or RANGE DESCRIPTION KBMODE Continued MONOVX Mono Voice 1 ··· 16 ± cents Only available if MONO mode is selected in the POLY parameter, MONOVX selects a specific voice to be played.
Chapter 2: Playing the A6 58 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 59 P ORTAMENTO A Italian term (from a Latin root) that means sliding , portamento causes the A6’s Voices to “slide” (sometimes called “glide”) to the notes being played.
Chapter 2: Playing the A6 60 A NDROMEDA A6 R EFERENCE M ANUAL ON/OFF Button This button simply turns the portamento function on or off. When on, the LED will light.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 61 PAGE PARAMETER OPTIONS or RANGE DESCRIPTION PORTA Continued MODE This parameter is used to select from among three portamento actions: NORMAL Each new voice that is played will have Portamento.
Chapter 2: Playing the A6 62 A NDROMEDA A6 R EFERENCE M ANUAL CURVE: Selecting the Portamento’s Slope Identical to the stages of an envelope, Portamento has a user-selectable property called slope .
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 63 PORT AMENTO SLOPES Rising LINEAR Falling Rising EXPONENTIAL 1 Falling Rising LOGARITHMIC 1 Falling Rising EXPONENTIAL 2 Falling Rising LOG.
Chapter 2: Playing the A6 64 A NDROMEDA A6 R EFERENCE M ANUAL STMODE Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION STMODE Start Mode MODE This page determines where the portamento is sliding from—its start point. LSTKEY When a new note is played, it will “slide” from the last key played.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 65 T HE P ERFORMANCE W HEELS AND R IBBON C ONTROLLER B ACKGROUND The A6 utilizes two performance wheels that are used mainly for pitch bend ( PITCH ) and vibrato ( MOD ).
Chapter 2: Playing the A6 66 A NDROMEDA A6 R EFERENCE M ANUAL P ROGRAMMING THE W HEELS AND R IBBON 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 67 PAGE PARAMETER OPTIONS or RANGE DESCRIPTION PWHEEL Continued TOPCRV Top Curve LINEAR ··· SCURV2 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 68 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 69 T HE CLOCK S ECTION The A6’s Clock is a global function that provides global synchronization as a modulation source to all voices in Programs or Mixes. By global sync we mean that any A6 function that relies on tempo can get its timing from the Clock.
Chapter 2: Playing the A6 70 A NDROMEDA A6 R EFERENCE M ANUAL C LOCK P ARAMETERS DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION CLOCK TEMPO Knob TEMPO 0.458 ··· 500 . 0000 Beats Per Minute The knob adjusts the tempo of the Clock from .
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 71 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.
Chapter 2: Playing the A6 72 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 73 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.
Chapter 2: Playing the A6 74 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 75 Sequencer CONFIG Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION CONFIG Sequencer Configuration LOCBPM 0.46 ··· 600.00 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.
Chapter 2: Playing the A6 76 A NDROMEDA A6 R EFERENCE M ANUAL TRIG Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION TRIG SOURCE Many of the MOD sources such as Mod Wheel, Ribbon, Footswitch, etc. This parameter allows you to select an input that will trigger the sequencer.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 77 PAGE PARAMETER OPTIONS or RANGE DESCRIPTION TRIG Continued 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.
Chapter 2: Playing the A6 78 A NDROMEDA A6 R EFERENCE M ANUAL SYNC Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION SYNC SYNSRC Sync Source Allows you to select the clock source that will drive the sequencer. LOCAL Uses the sequencer’s dedicated clock for its tempo.
Chapter 2: Playing the A6 A NDROMEDA A6 R EFERENCE M ANUAL 79 A RPEGGIATOR Similar to a sequence, an arpeggio is musical term that refers to the playing of notes of a chord one after another instead of playing them simultaneously.
Chapter 2: Playing the A6 80 A NDROMEDA A6 R EFERENCE M ANUAL Arpeggiator CONFIG Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION CNFG Arpeggiator Configuration LOCBPM Beats per Minute .46 ··· 600 The speed or rate of the Arpeggiator displayed in “bpm” or beats per minute.
Chapter 3: Basics of Analog Synthesis A NDROMEDA A6 R EFERENCE M ANUAL 81 C HAPTER 3 B ASICS OF A NALOG S YNTHESIS A N O VERVIEW OF S YNTHESIS The concept of a synthesizer is an instrument that is capable of producing a very wide range of sounds electronically.
Chapter 3: Basics of Analog Synthesis 82 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 3: Basics of Analog Synthesis A NDROMEDA A6 R EFERENCE M ANUAL 83 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.
Chapter 3: Basics of Analog Synthesis 84 A NDROMEDA A6 R EFERENCE M ANUAL 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”.
Chapter 3: Basics of Analog Synthesis A NDROMEDA A6 R EFERENCE M ANUAL 85 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.
Chapter 3: Basics of Analog Synthesis 86 A NDROMEDA A6 R EFERENCE M ANUAL.
Chapter 3: Basics of Analog Synthesis A NDROMEDA A6 R EFERENCE M ANUAL 87 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.
Chapter 3: Basics of Analog Synthesis 88 A NDROMEDA A6 R EFERENCE M ANUAL C OMPONENTS OF AN A NALOG S YNTHESIZER With the preceding information as background, let’s take a look at how our discoveries about sound relate to a physical electronic instrument.
Chapter 3: Basics of Analog Synthesis A NDROMEDA A6 R EFERENCE M ANUAL 89 3. As the keyboard is played, low notes output low frequencies from the oscillators and high notes play high frequencies.
Chapter 3: Basics of Analog Synthesis 90 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 3: Basics of Analog Synthesis A NDROMEDA A6 R EFERENCE M ANUAL 91 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.
Chapter 3: Basics of Analog Synthesis 92 A NDROMEDA A6 R EFERENCE M ANUAL.
Chapter 4: Andromeda A6 Overview A NDROMEDA A6 R EFERENCE M ANUAL 93 C HAPTER 4 O VERVIEW OF THE A NDROMEDA A6 M AKING S ENSE OF A LL T HIS T HEORY : A N O VERVIEW 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.
Chapter 4: Andromeda A6 Overview 94 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 4: Andromeda A6 Overview A NDROMEDA A6 R EFERENCE M ANUAL 95 A6 F UNCTION L IST 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 96 A NDROMEDA A6 R EFERENCE M ANUAL Effects Analog distortion Stereo reverb (Large Hall, Hall, Stereo Hall, Room, Chamber, Ambience, Large Plate, Plate, Hall/Room, Pla.
Chapter 4: Andromeda A6 Overview A NDROMEDA A6 R EFERENCE M ANUAL 97 A6 F UNCTIONS A T - A -G LANCE 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.
Chapter 4: Andromeda A6 Overview 98 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 4: Andromeda A6 Overview A NDROMEDA A6 R EFERENCE M ANUAL 99 (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.
Chapter 4: Andromeda A6 Overview 100 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 4: Andromeda A6 Overview A NDROMEDA A6 R EFERENCE M ANUAL 101 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.
Chapter 4: Andromeda A6 Overview 102 A NDROMEDA A6 R EFERENCE M ANUAL in this section on page 95. FILTER AUDIO INPUTS : see the discussion under the heading “Audio Mixing” earlier in this section on page 95. Audio MAIN outputs: the LEFT and RIGHT 1/4” jacks provide the main stereo output signal for the A6.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 103 C HAPTER 5 P ROGRAM F UNCTIONS P ART 1: O SCILLATORS AND F ILTERS 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.
Chapter 5: Oscillators and Filters 104 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 105 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.
Chapter 5: Oscillators and Filters 106 A NDROMEDA A6 R EFERENCE M ANUAL WAVE Page Parameters DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION WAVE SQR Button + LED SQUARE OFF , ON Turns the Square Wave on or off. PULSE WIDTH WIDTH 0 ··· 100 This parameter sets the width of the Square Wave.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 107 VCO M ODULATION ENV 1 AMOUNT, OSC 2 FM and NZEXT Of major importance in many synthesizer sounds is the ability to modulate the VCOs. The A6 provides each oscillator with several pre-routed and three custom modulations.
Chapter 5: Oscillators and Filters 108 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 109 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”.
Chapter 5: Oscillators and Filters 110 A NDROMEDA A6 R EFERENCE M ANUAL DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION OSC2FM Continued — OSC2FM 0 ··· 100 This soft knob sets the amount of FM for the type(s) selected in the ASSIGN parameter above.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 111 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.
Chapter 5: Oscillators and Filters 112 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 113 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.
Chapter 5: Oscillators and Filters 114 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 115 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.
Chapter 5: Oscillators and Filters 116 A NDROMEDA A6 R EFERENCE M ANUAL F ILTERS The A6’s filters, labeled on the front panel as FILTER 1 and FILTER 2 , provide the harmonic control we introduced in Chapter 3.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 117 H OW F ILTERS A RE D ESIGNED As important as the amount of audio frequencies that pass through the filter is the type of filtering that is employed.
Chapter 5: Oscillators and Filters 118 A NDROMEDA A6 R EFERENCE M ANUAL 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 .
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 119 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.
Chapter 5: Oscillators and Filters 120 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 121 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.
Chapter 5: Oscillators and Filters 122 A NDROMEDA A6 R EFERENCE M ANUAL H OW F ILTERS W ORK 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 123 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 .
Chapter 5: Oscillators and Filters 124 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 125 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.
Chapter 5: Oscillators and Filters 126 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 127 F ILTER P ARAMETER D ESCRIPTIONS 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 128 A NDROMEDA A6 R EFERENCE M ANUAL Main FILTER Parameters DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION FILT 1 or FILT 2 FILTER 1 (12dB) FILTER 2 (24dB) FREQ FREQ Frequency 0.0218 ··· 22.
Chapter 5: Oscillators and Filters A NDROMEDA A6 R EFERENCE M ANUAL 129 DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION FILT 1 or FILT 2 ENV 2 AMOUNT ENV2 0.00 ··· 100 . 00 This parameter is used to set the amount of Envelope 2 modulating the selected filter.
Chapter 5: Oscillators and Filters 130 A NDROMEDA A6 R EFERENCE M ANUAL MOD Parameters DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION MOD1 MOD2 MOD3 MOD 1 MOD 2 MOD 3 — SOURCE Any of the A6’s 79 modulation sources. Use soft knob 1 to scroll through the list of possible modulation sources.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 131 C HAPTER 6 P ROGRAM F UNCTIONS P ART 2: M ODULATION AND E NVELOPES M ODULATION Modulation is quite possibly the most-used operation in a synthesizer. It involves more of the routine day-to-day synth functions than most people are aware of.
Chapter 6: Modulation and Envelopes 132 A NDROMEDA A6 R EFERENCE M ANUAL 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”).
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 133 The LFO section of the A6 also contains an aperiodic mod source called sample-and- hold ( S & H on the front panel).
Chapter 6: Modulation and Envelopes 134 A NDROMEDA A6 R EFERENCE M ANUAL E NVELOPES An envelope is used when you want to make changes in the level or the frequency of a destination over a period of time which can be mere fractions of a second – .001 seconds (or one thousandth of a second) – to several minutes or longer.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 135 E NVELOPE P ARAMETER D ESCRIPTIONS 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.
Chapter 6: Modulation and Envelopes 136 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 137 TIME Page Parameters The TIME page is where the selected envelope’s stage duration ( TIME ) and stage slope ( SHAPE ) parameters are adjusted.
Chapter 6: Modulation and Envelopes 138 A NDROMEDA A6 R EFERENCE M ANUAL TIME TIME Parameters (continued) — SHAPE LINEAR EXP 1 , 2 & 3 LOG 1 , 2 & 3 SCURV1 & 2 Designed after the CURVE f.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 139 SHAPE: Selecting the Stage Slope Each time parameter of an envelope (except Delay) has a user-selectable property called slope .
Chapter 6: Modulation and Envelopes 140 A NDROMEDA A6 R EFERENCE M ANUAL • 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 A NDROMEDA A6 R EFERENCE M ANUAL 141 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 142 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 143 DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION TRIG Continued — POLAR * NEGATIVE The trigger will occur only when the source is “moving in a negative direction.
Chapter 6: Modulation and Envelopes 144 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 145 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).
Chapter 6: Modulation and Envelopes 146 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 147 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.
Chapter 6: Modulation and Envelopes 148 A NDROMEDA A6 R EFERENCE M ANUAL 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 .
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 149 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 .
Chapter 6: Modulation and Envelopes 150 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 151 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.
Chapter 6: Modulation and Envelopes 152 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 153 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 .
Chapter 6: Modulation and Envelopes 154 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 155 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.
Chapter 6: Modulation and Envelopes 156 A NDROMEDA A6 R EFERENCE M ANUAL EXAMPLE 2 User Parameters: Trigger In Level = 75 Trigger Polarity = NEGATIVE EXAMPLE 3 User Parameters: Trigger In Level = 75 T.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 157 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 158 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 159 DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION DYN Continued KEYTRK Key Tracking -100 ··· +100 Key .
Chapter 6: Modulation and Envelopes 160 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 161 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.
Chapter 6: Modulation and Envelopes 162 A NDROMEDA A6 R EFERENCE M ANUAL DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION LOOP Continued — COUNT Continued SUSTAIN The loop will continue to cycle until the key is let go (or the A6 receives a MIDI Note Off).
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 163 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.
Chapter 6: Modulation and Envelopes 164 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 165 E NVELOPE E XAMPLES Now that we’ve covered envelope functions in detail, let’s take a look at a few envelopes that can be created in the A6.
Chapter 6: Modulation and Envelopes 166 A NDROMEDA A6 R EFERENCE M ANUAL EXAMPLE 2: BI-POLAR with OFFSET plus LEVEL Changes DELAY Time OFF (no Dela y sta g e) ATTACK Time 4.82 S Attack SHAPE LOG 1 D1TIME 2.34 S Deca y 1 SHAPE EXP 2 D2LEVL Set to 79 but is effectively 60 after adjusting for Offset D2TIME 4.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 167 EXAMPLE 3: BI-POLAR with Output LEVEL Clipping and RELEASE HOLD DELAY Time OFF (no Delay stage) ATTACK Time 8.67 S Attack SHAPE LINEAR D1TIME 7.58 S Deca y 1 SHAPE LOG 1 D2LEVL Set to 0 but is effectively 60 after adjusting for Offset D2TIME 3.
Chapter 6: Modulation and Envelopes 168 A NDROMEDA A6 R EFERENCE M ANUAL EXAMPLE 4: Classic “ADSR” – Positive Amplitude Envelope with Bypassed Stages DELAY Time OFF (no Dela y sta g e) ATTACK Time 2.
Chapter 6: Modulation and Envelopes A NDROMEDA A6 R EFERENCE M ANUAL 169 EXAMPLE 5: A(S)R – Positive Amplitude Envelope with Additional Bypassed Stages DELAY Time OFF (no Dela y sta g e) ATTACK Time 3.
Chapter 6: Modulation and Envelopes 170 A NDROMEDA A6 R EFERENCE M ANUAL.
Chapter 7: LFOs, S&H and Process A NDROMEDA A6 R EFERENCE M ANUAL 171 C HAPTER 7 P ROGRAM F UNCTIONS P ART 3: LFO S , S AMPLE & H OLD AND P ROCESS L OW F REQUENCY O SCILLATORS As mentioned earlier in this manual, a Low Frequency Oscillator (LFO) primarily provides periodic (repeating pattern) modulation to its assigned destination.
Chapter 7: LFOs, S&H and Process 172 A NDROMEDA A6 R EFERENCE M ANUAL Tip : Tabbing feature: You can select any parameter simply by turning its correspond- ing soft knob, but this action also changes the parameter’s value which isn’t always desirable.
Chapter 7: LFOs, S&H and Process A NDROMEDA A6 R EFERENCE M ANUAL 173 ➠ DELAY Delay Time This parameter sets time that elapses before the LFO begins its oscillation. During this time delay, the LFO is inactive. Range: 0 – 131.075 seconds, adjustable in increments of 2 to 10 milliseconds.
Chapter 7: LFOs, S&H and Process 174 A NDROMEDA A6 R EFERENCE M ANUAL ➠ OFFSET DC Offset This parameter allows you to shift (“offset”) the zero amplitude reference for the LFO wave. This means that, as depicted in the graphs below, you can move the zero line – the point of a wave where it is neither positive or negative – up or down.
Chapter 7: LFOs, S&H and Process A NDROMEDA A6 R EFERENCE M ANUAL 175 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.
Chapter 7: LFOs, S&H and Process 176 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 7: LFOs, S&H and Process A NDROMEDA A6 R EFERENCE M ANUAL 177 arpeggiator, and many more. We’ll cover more about this in Chapter 9, The A6 Modulation Matrix. S AMPLE AND H OLD Sample and Hold is a specialty mod source that generates its modulation by “sampling an input”.
Chapter 7: LFOs, S&H and Process 178 A NDROMEDA A6 R EFERENCE M ANUAL 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 A NDROMEDA A6 R EFERENCE M ANUAL 179 PROCESS M ODULE The PROCESS module contains the Tracking Generator and the Engine Optimizer. T RACKING G ENERATOR (TGEN) The Tracking Generator is used to scale a modulation source.
Chapter 7: LFOs, S&H and Process 180 A NDROMEDA A6 R EFERENCE M ANUAL T RACKING G ENERATOR P ARAMETER D ESCRIPTIONS The A6 has a 16-stage (maximum) Tracking Generator for each voice.
Chapter 7: LFOs, S&H and Process A NDROMEDA A6 R EFERENCE M ANUAL 181 DISPLAY PAGE PANEL LABEL PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION INPUT — 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.
Chapter 7: LFOs, S&H and Process 182 A NDROMEDA A6 R EFERENCE M ANUAL E NGINE O PTIMIZER P ARAMETERS DISPLAY PAGE PARAMETER DISPLAY OPTIONS or RANGE DESCRIPTION ENGINE OSC Oscillator Engine Optimizer Selects Engine Optimizer settings for the Oscillators.
Chapter 8: Pre Filter, Post Filter and Voice Mixes A NDROMEDA A6 R EFERENCE M ANUAL 183 C HAPTER 8 P ROGRAM F UNCTIONS P ART 4: T HE A NDROMEDA ’ S M IXING S YSTEM One of the most useful and exciting features of the A6 is its ability to mix sound signals in a multitude of ways.
Chapter 8: Pre Filter, Post Filter and Voice Mixes 184 A NDROMEDA A6 R EFERENCE M ANUAL PRE FILTER MIX O PERATION 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes A NDROMEDA A6 R EFERENCE M ANUAL 185 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes 186 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes A NDROMEDA A6 R EFERENCE M ANUAL 187 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes 188 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes A NDROMEDA A6 R EFERENCE M ANUAL 189 POST FILTER MIX O VERVIEW 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.
Chapter 8: Pre Filter, Post Filter and Voice Mixes 190 A NDROMEDA A6 R EFERENCE M ANUAL V OICE M IX 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.
Chapter 9: The A6 Modulation Matrix A NDROMEDA A6 R EFERENCE M ANUAL 191 C HAPTER 9: C USTOM M ODULATIONS Chapter 5: Program Functions just presented us with a detailed look at the main programmable f.
Chapter 9: The A6 Modulation Matrix 192 A NDROMEDA A6 R EFERENCE M ANUAL Wheel is assigned by default to control the level of MOD 1 in each oscillator; you don’t have to program that.
Chapter 9: The A6 Modulation Matrix A NDROMEDA A6 R EFERENCE M ANUAL 193 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.
Chapter 9: The A6 Modulation Matrix 194 A NDROMEDA A6 R EFERENCE M ANUAL The different ways to modulate a parameter There are four “levels” of operation that are used to control mod paths in the A.
Chapter 9: The A6 Modulation Matrix A NDROMEDA A6 R EFERENCE M ANUAL 195 MOD BUTTONS WITH SINGLE DESTINATIONS MODULE BUTTON TITLE DESTINATION PARAMETER DESCRIPTION ARPEGGIATOR SYNC/MOD TEMPO modulates.
Chapter 9: The A6 Modulation Matrix 196 A NDROMEDA A6 R EFERENCE M ANUAL MOD BUTTONS WITH MULTIPLE DESTINATIONS (continued) OSC 1 (cont.) OSC2->LIN FM modulates the amount of linear FM modulation f.
Chapter 9: The A6 Modulation Matrix A NDROMEDA A6 R EFERENCE M ANUAL 197 A F EW G ROUND R ULES • The mod paths created from the Mod Matrix are programmable per Program. This means that each of the A6’s 128 Programs can have a unique set of custom mod paths, or none at all.
Chapter 9: The A6 Modulation Matrix 198 A NDROMEDA A6 R EFERENCE M ANUAL T HE C ONTROL R OUTES S ECTION 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.
Chapter 9: The A6 Modulation Matrix A NDROMEDA A6 R EFERENCE M ANUAL 199 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.
Chapter 9: The A6 Modulation Matrix 200 A NDROMEDA A6 R EFERENCE M ANUAL A BOUT S IGNAL F LOW IN A MOD P ATH When you’re programming a modulation, keep in mind that there are many possible level controls between the mod source and its destination.
Chapter 9: The A6 Modulation Matrix A NDROMEDA A6 R EFERENCE M ANUAL 201 A BOUT M ODULATION S OURCES 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.
Chapter 9: The A6 Modulation Matrix 202 A NDROMEDA A6 R EFERENCE M ANUAL.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 203 C HAPTER 10: U SING E FFECTS I NTRODUCTION The A6 features two complete systems of effects: one that produces a variety of analog-generat.
Chapter 10: Using Effects 204 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 205 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 modul.
Chapter 10: Using Effects 206 A NDROMEDA A6 R EFERENCE M ANUAL E DITING E FFECT P ARAMETERS C HOOSING A P ARAMETER P AGE 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 207 MOD: M ODULATING E FFECTS S END /O UTPUT 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.
Chapter 10: Using Effects 208 A NDROMEDA A6 R EFERENCE M ANUAL T UTORIAL : H OW TO E DIT A R EVERB The best way to learn a new piece of gear is to start using it in your studio. This section is designed to teach you how to edit your own effects using normal day-to- day examples.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 209 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.
Chapter 10: Using Effects 210 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 211 D IGITAL E FFECTS A RCHITECTURE This section describes the 28 configuration categories for the Digital Effects system. T HE S IGNAL F LOW T HROUGH THE E FFECTS S ECTION 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 212 A NDROMEDA A6 R EFERENCE M ANUAL S TEREO The Stereo Room, Quad Pitch Shifter and Quad Chorus configurations are special single algorithms that treat the incoming left and right signals differently, but still create a synthesized stereo image from each side, depending on the setting of the Width control.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 213 D UAL E FFECTS : P ARALLEL Parallel configurations consist of two discrete “side-by-side” mono-in/stereo-out effects. These configurations are identified by the presence of a “+” in their name, and by a BLEND control between the input and the effect.
Chapter 10: Using Effects 214 A NDROMEDA A6 R EFERENCE M ANUAL M ULTI C HAIN The Multi Chain configurations provide two or three stereo effects, which are connected in series: one feeding the next in the chain. These configurations are identified by a “ > ” symbol in their name, for example CHRS > RM (Chorus->Room).
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 215 C ONFIGURATIONS & P ARAMETER D ESCRIPTIONS 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.
Chapter 10: Using Effects 216 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 217 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.
Chapter 10: Using Effects 218 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 219 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.
Chapter 10: Using Effects 220 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 221 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.
Chapter 10: Using Effects 222 A NDROMEDA A6 R EFERENCE M ANUAL P ITCH E FFECTS Pitch Configurations The Pitch effects alter the pitch of a signal in various ways to produce “layered” timbres that are more complex than the original signal.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 223 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.
Chapter 10: Using Effects 224 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 225 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.
Chapter 10: Using Effects 226 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 227 T ABLE OF D IGITAL E FFECTS P ARAMETERS 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.
Chapter 10: Using Effects 228 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Stereo Room ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 PAN Input Pan -100.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 229 CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Chamber ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 AND Ambience OUT Effects Output Level 0 - 100% PARAM1 DECAY Reverb Decay Time 1.
Chapter 10: Using Effects 230 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Room + Hall ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 BLEND Input Blend ±100.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 231 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Room + Plate ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 BLEND Input Blend ±100.
Chapter 10: Using Effects 232 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Plate + Hall ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 BLEND Input Blend ±100.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 233 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Mono Delay ➟ CONFIG SEND Send (Input Level from Voice) 0.
Chapter 10: Using Effects 234 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Multi Tap Delay ➟ CONFIG SEND Send (Input Level from Voice) 0.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 235 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Delay:Delay ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 PAN Input Pan -100.
Chapter 10: Using Effects 236 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Quad Chorus ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 PAN Input Pan -100.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 237 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 Quad Pitch Shifter PAN Input Pan -100.
Chapter 10: Using Effects 238 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Delay > Room ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 MIX Input Mix of Room 0.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 239 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Room > Flange ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.
Chapter 10: Using Effects 240 A NDROMEDA A6 R EFERENCE M ANUAL Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Room + Delay ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 BLEND Input Blend ±100.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 241 241 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Room + Chorus ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.
Chapter 10: Using Effects A NDROMEDA A6 R EFERENCE M ANUAL 242 Table of Digital Effects Parameters (continued) CONFIG DISPLAY PARAMETER NAME MOD PAGE DISPLAY PARAMETER NAME RANGE Room > Delay ➟ CONFIG SEND Send (Input Level from Voice) 0.00-100.00 MIX Input Blend 0.
Chapter 11: Mix Mode A NDROMEDA A6 R EFERENCE M ANUAL 243 C HAPTER 11: M IX M ODE 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.
Chapter 11: Mix Mode 244 A NDROMEDA A6 R EFERENCE M ANUAL C OMMON M IX S ETTINGS FOR MIDI S EQUENCERS The easiest way to use the A6 with a MIDI sequencer is to use one of the pre- programmed Mixes in the Preset or User banks. See the Program/Mix chart for the Mix set up for multitimbral use that’s appropriate for your situation.
Chapter 11: Mix Mode A NDROMEDA A6 R EFERENCE M ANUAL 245 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.
Chapter 11: Mix Mode 246 A NDROMEDA A6 R EFERENCE M ANUAL 5. Select the source Mix Channel (1–16) using soft knob 4 ( MIXCHN ). 6. Select the destination Mix Channel (1–16) using soft knob 8 ( MIXCHN ). MIX EDIT MIXCHAN: XX will be shown in the display.
Chapter 12: MIDI Functions A NDROMEDA A6 R EFERENCE M ANUAL 247 C HAPTER 12: MIDI F UNCTIONS MIDI B ASICS Before we delve into the specific MIDI functions of the A6, we’d like to provide a brief background on MIDI for those who may not be familiar with this technology.
Chapter 12: MIDI Functions 248 A NDROMEDA A6 R EFERENCE M ANUAL For some examples in connecting MIDI devices together, see our illustrations in MIDI Connections starting on page 23.
Chapter 12: MIDI Functions A NDROMEDA A6 R EFERENCE M ANUAL 249 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).
Chapter 12: MIDI Functions 250 A NDROMEDA A6 R EFERENCE M ANUAL 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 A NDROMEDA A6 R EFERENCE M ANUAL 251 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 .
Chapter 12: MIDI Functions 252 A NDROMEDA A6 R EFERENCE M ANUAL System Messages: Real-Time Messages Timing Clock. A tempo source (such as a sequencer) emits 24 timing messages (clocks) per quarter note.
Chapter 12: MIDI Functions A NDROMEDA A6 R EFERENCE M ANUAL 253 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.
Chapter 12: MIDI Functions 254 A NDROMEDA A6 R EFERENCE M ANUAL T O SEND AN ENTIRE P ROGRAM OR M IX B ANK OUT AS A MIDI S YSTEM E XCLUSIVE DUMP : Follow the steps above, except in step 4, set the SEND variable to BANK using Soft Knob 4.
Chapter 12: MIDI Functions A NDROMEDA A6 R EFERENCE M ANUAL 255 MIDI AND THE A6 A NDROMEDA 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 256 A NDROMEDA A6 R EFERENCE M ANUAL S ETTING MIDI P ARAMETERS IN G LOBAL M ODE The most common MIDI transmission and reception variables are under the GLOBAL button, on the MIDI page (Soft Button 3).
Chapter 12: MIDI Functions A NDROMEDA A6 R EFERENCE M ANUAL 257 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 258 A NDROMEDA A6 R EFERENCE M ANUAL 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.
Appendix A: Glossary A NDROMEDA A6 R EFERENCE M ANUAL 259 G LOSSARY 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”.
Appendix A: Glossary A NDROMEDA A6 R EFERENCE M ANUAL 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.
Appendix B: Table of Software Modulation Sources A NDROMEDA A6 R EFERENCE M ANUAL 261 M OD S OURCES TABLE OF SOFTWARE MODULATION SOURCES DISPLAYED AS MEANING 1. OFFSET ONLY Fine adjustment amount by the onscreen fader only: no other modulation is present.
Appendix B: Table of Software Modulation Sources A NDROMEDA A6 R EFERENCE M ANUAL 262 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.
Appendix B: Table of Software Modulation Sources A NDROMEDA A6 R EFERENCE M ANUAL 263 47. PGM KEY TRIGGER A trigger that occurs when any note is played.
Appendix B: Table of Software Modulation Sources A NDROMEDA A6 R EFERENCE M ANUAL 264 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.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 265 T ROUBLESHOOTING T HE A UTO -T UNE D ISPLAY 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.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 266 AUTO TUNE Parameters PAGE PARAMETER OPTIONS or RANGE DESCRIPTION TUNE MASTER 354.35 Hz ··· 546.42 Hz Sets the basic tuning reference of the Andromeda for A4 (the A above middle C). The default is 440.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 267 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.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 268 U PGRADING THE O PERATING S YSTEM While the Andromeda's sound-generating electronics are all analog, they are controlled by a digital microprocessor with software, just like a computer.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 269 6. The display will now say, "Press STORE to upgrade OS—any other switch to exit.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 270 T ROUBLESHOOTING C HART 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.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 271 SYMPTOM CAUSE SOLUTION Unit "hangs" (won't respond to top panel) whenever a particular Program, Mix, or Bank is accessed Corrupted data in memory. Replace an individual Program or Mix by a SysEx dump or the COPY feature in STORE mode.
Appendix C: Troubleshooting A NDROMEDA A6 R EFERENCE M ANUAL 272 C LEANING AND M AINTENANCE While your Andromeda A6 should not need much attention, here are some tips for preventive maintenance: • Disconnect the AC power Adapter, then use a damp cloth to clean the A6’s metal and plastic surfaces.
Appendix D: Specifications A NDROMEDA A6 R EFERENCE M ANUAL 273 S PECIFICATIONS MIDI I MPLEMENTATION C HART Function Transmitted Recognized Remarks Basic Channel Default Changed 1 - 16 1 - 16 each 1 -.
Appendix D: Specifications A NDROMEDA A6 R EFERENCE M ANUAL 274 S PECIFICATIONS Polyphony 16-voice, 16-channel multitimbral Synthesis Method True analog subtractive Oscillators 2 oscillators (with sub.
Appendix E: Warranty A NDROMEDA A6 R EFERENCE M ANUAL 275 W ARRANTY 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.
Appendix E: Warranty A NDROMEDA A6 R EFERENCE M ANUAL 276.
Index A NDROMEDA A6 R EFERENCE M ANUAL 277 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 .
Index A NDROMEDA A6 R EFERENCE M ANUAL 278 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 5.
Ein wichtiger Punkt beim Kauf des Geräts Alesis A6 (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie Alesis A6 noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Alesis A6 - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Alesis A6 reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Alesis A6 erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Alesis A6 besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Alesis A6 verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Alesis A6. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Alesis A6 gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
