Alesis ANDROMEDA A6 User Manual (English)

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Andromeda Tips and Tricks

Version 2.01

Default Chapter2
- Table of Contents2
Introduction to the Andromeda Tips and Tricks Archive8
- Welcome8
Oscillators and Pre-MIX10
- The Square Bug10
- Thickening up Oscillator Sound10
- Using Vco Intervals to Get Huge Sounds10
- Negative Vs. Positive Sawtooth10
- The Fat, Deep Sawtooth Sound10
- The Fat, Deep Square Squelch11
- Another Interesting Sawtooth Shape11
- Pwm Tricks for Thicker Sounds11
- Tinkly Pad Sounds11
- Thinner Pwm Method from Mike Peake11
- Modulating Lfo with Key Scaling11
- A Nice Thick Oscillator Method12
- A Trick to Get Lower Frequencies in an Oscillator12
- Square Level Note - Setting the same as the Sawtooth12
- Sub Oscillator Mixing Note12
- Sub Oscillator Level Note12
- Phase Cancellation12
- Pwm Lfo Setting Fun13
- Pre-MIX Levels13
- A Possible Cause for Clicks - and a Solution13
- Changing the Voice Rotation13
- Oscillator Sync14
- A Way to Modulate Ring Mod Patches14
- Hints for Creating a Punchy Pwm Sound14
- Stepping Notes in Unison with Unique Arpeggiator Patterns each15
- External Audio, Noise, Filter Feedback15
- Another Way to Do Unison-X16
- Mike Peake Explains the Unison X (Unison Detune) Basics16
- Mike Peake Explains Chord Mode16
- Modulating Oscillators with Noise17
- Pwmod, Fmmod Page17
- Keep in Mind - Osc Frequency Limit and Filter Keytracking Limit17
- Keep in Mind - Pitch Wheel17
- Keep in Mind - Osc Fm (Tuning and Using)17
- Keep in Mind - Portamento Modulation17
- Keep in Mind - Ring Modulation17
- Keep in Mind - the Octave Light18
- Keep in Mind - Vco Semitone Knob will Step18
- More than You Wanted to Know about Soft Sync18
Filters and Post-MIX20
- The Two Filters Explained20
- Serial Vs. Parallel20
- A Note if You Do Not Like the Filter Knob Sweep Range20
- Getting a Better Filter Sweep21
- Filter 1 Width (Variable State Filters Explained)21
- Improving Filter 2'S Sound by Running Filter 1 in Notch Mode21
- Working Around the Filter 2 Resonance Bass Drop21
- Filter Fm22
- Modulating Filter Fm with Noise, Without Hearing Noise22
- Improving Filter Sweep Range22
- Filter Keytracking Hints22
- Making Two Filters Track each Other23
- Getting a Better Kick out of the Filters23
- Resonance and Bass23
- Using Resonance for Growl23
- Using a Notch Filter24
- Bandpass Vs. Using the High Pass Filter 1 and Low Pass Filter 2 in Series24
- About the Bandpass Invert Button24
- Getting the Filter to Scream24
- Preventing Clipping on the Filters25
- More Ripping Filter Techniques25
- Filter Feedback25
- Adding White Noise25
- Formant Effects25
- Filter Bypass (Making Extremely Bright Sounds)26
- Post-MIX Levels26
- Using the Pre-Filter Knob26
- Advanced - How to Use Filter 1 or Filter 2 Twice in Parallel26
- Really Fake 18Db Technique27
- Example on How to Make a Fat Sound27
Lfos and S&H29
- Setting up Lfo and S/H Triggers29
- Getting a Fast Lfo (Greater than 25Hz)29
- Polarity30
- Pulse Width30
- Lfo Trigger Modes30
- To Enable Freerunning Lfos31
- About Lfo Triggers31
- Vibrato31
- S&H Trigger Modes31
- Global S&H31
- S&H Once Per Keypress31
- Lfo Sync and the Bpm Knob31
- Lfo Sync: the Tixprd Parameter (1/2 Note Sync, ¼ Note Sync, Etc.)32
- Randomness and the Lfo32
- Global Lfos Vs. Per Voice32
Envelopes, Voice MIX, Triggers, and the Vca33
- Tuning the Vca33
- Simulating a Freerun Vca Envelope33
- Locking Envelope Knobs33
- Looping Envelope Hints33
- Using the Envelope Shapes34
- Turning off an Envelope Stage34
- Bipolar Envelopes34
- Setting Legato Envelopes (Ala Minimoog Glide)34
- Increasing Envelope Attack with Velocity34
- Setting up Random Panning34
- Colin's Guide to Random Panning35
- Panning Based on Number of Notes Played35
- Quick Reference - Dynamics35
- Quick Reference - Looping35
- Quick Reference - Envelope Modes36
- Creating Tremelo36
- A Possible Way of Doing a Gated Sound36
- Fast Envelopes (by Avoiding Modulation)36
- Improving Envelope 3 Clarity36
- Filter Sustain Hint36
- Colin's Notes on the Shapes and Sound37
- Setting up Envelope Triggers37
- Alternate Triggering Techniques38
The Mysterious Croutes, Info on Modulations39
- Modulation Tutorial 10139
- What Are Croutes40
- Note: the Croutes Use Only the Slow Loop40
The Arpeggiator and the Sequencer41
- Sequencer Tutorial 10141
- The Clock Start Parameter Explained42
- Syncing the Andromeda to External Clock42
- Arpeggiator Latch43
- Random Sequencer Mode43
- Simulating Sequencer Slide43
- Rezo's Input Quantize Trick43
- Advanced Trigger Mode Techniques43
- For those with Problems Changing Banks in Logic44
MIX Mode Tips45
- Quick MIX Mode Guide45
- Fun with the 16 MIX Mode Edit Buffers46
- V1-16 Vs. CV Filter in MIX Mode46
- Issues with V15/V16 Functionality in MIX Mode46
- Using A6 as Master Keyboard Warning47
- F1 MIX Parameter (and Other Post / Pre Filter Mixes)47
- Copying an Fx47
- Hard Allocating MIX Mode Voices47
- Copying MIX Programs to the User Program Bank47
- Affecting All Parameters in MIX Mode at Once47
- Preventing Voice Stealing48
- A Warning on Monophonic Voice Allocations48
- Using the A6 as a Master Controller48
MIDI Settings49
- Transmit Mode49
- Velocity Curve49
- Controllers49
- Loading the os Via MIDI49
- Saving and Loading Patches Via Sysex49
- Sysex Program Suggestions49
- If You Are Still Having Trouble with Sysex50
- Global MIDI Sync50
- Using External MIDI CC Controllers50
- Transmitting / Receiving Programs50
- Transmitting MIDI Knobs50
Effects Tips52
- Emulating more Lexicon-Like Sounds52
- Panning a Delay52
- Effects and Clipping52
- Instant Stereo Delay52
- Effects 10153
Tips for Designing Bass Sounds54
- Resonance and Bass54
- Envelopes54
- The Fat, Deep Sawtooth Sound54
- Filter Feedback55
- Dub Bass Design Hints from Colin55
- Getting Better Bass from Mike Peake55
- Setting the Engine Optimizer55
- Gain Possible Clarity by Running the Filters in Series56
- Colin's Notes on the Shapes and Sound56
Tips for Designing Wet Sounds57
- The Two Filters Explained57
- Feed the Resonant 12Db Highpass into a 24Db Resonant Lowpass57
- Feed 12Db Lowpass into a 24Db Open Filter, with Feedback58
- Filter Feedback in Place of Resonance58
- Working Around the Filter 2 Resonance Bass Drop58
- Post-MIX Levels and Pre-MIX Levels59
- Preventing Clipping on the Filters59
- The Fat, Deep Square Squelch60
Getting a Better Minimoog Sound61
- Use Filter 261
- Run Filter 2 in Series with Filter 161
- Run Filter 1 in Series with Filter 2, Set Filter 1 Cutoff to 22Khz61
- Use Log1 Envelope Slopes61
- Use the Fast Pitch and Snappy Envelopes in the Engine Optimizer61
- Posted by Consequence61
- Randomizing Hints from Mike Peake61
- Michael Calaroso's Minimoog Squelch Filter Trick62
- Colin's Technique for Adding some Minimoog Snap63
- Michael Caloroso's Filter Feedback Tip64
- Suggestions by Consequence64
- Mike Peake's Suggestions64
- MIX Levels64
Tips for Designing Pad Sounds66
- Bandpass -> Lowpass Pads66
- Using the Filters for a Jean-Michel Jarre Style Phased Pad67
- Setting the Engine Optimizer67
- Real Time Keytracking68
Designing Strings, Choirs, Acoustic Inst, Effects69
- Formant Effects69
- Thinner Pwm Method from Mike Peake69
- Thicker Strings with Unison Detune69
- Acoustic "Piano" Simulation Tips69
- String Synthesizer Simulation71
- Pwm Tricks for Thicker Sounds71
Tips for Designing Effects Sounds72
- Create a Better Storm Sound72
Tips for Designing Drum Sounds74
- First, Let's Introduce a Good Tutorial74
- Using Portamento on the Vco to Do Your Attack74
- Some Notes on Playing the Portamento75
- Inverting Envelopes and Getting the most Speed out of Envelopes75
- Use Envelope Delay to Add a Percussive Snap75
- Use Freerun Envelopes to Improve Drum Sound Clarity75
- Getting a Better Kick out of the Filters (Take Advantage of Slower Mod Routes!)75
- Use Negative Envelopes for Drum Sounds76
- Noise Techniques for Analog Snares and Cymbals76
- Colin Describes His 808 Sounds76
- My First Tr-808 Sound77
- Setting the Engine Optimizer78
Tips for Warming up Your A679
- Turn off Background Tuning, or (Optionally) Temperature Tuning79
- Use the Random Function80
- Also Use some Keytracking Modulation to the Vcos80
- Use Sample and Hold to Produce a Random Modulation on the Oscillator80
- Use a Slow Random Lfo Waveform80
- Other Tips Posted by Brian Kehew80
- Making the Andromeda Sound Big81
The Andromeda Patch Archives82
Troubleshooting Beyond the Standard Methods84
- Software Reset84
- Hardware Reset84
- Corrupt Patch84
- Diagnostic Mode84
- Problems with Loading the os84
- If You Still Hear Sounds with All Filters off84
- If a Voice Is Shut off During Tuning85
Technical Stuff86
- Microtuning and Music Perception86
- Why the Moog Filter (Filter 2) Attenuates Bass86
- Filters Just Aren't Perfect88
- Temperature Tuning88
- Solving Ground Loop Problems89
The Last Tip Page92
- Current os Version92
- Unison X Button Bug92
- Ribbon Techniques92
- Locking the Display93
- Making the Knobs Not Jump to the Current Value93
- Navigating the Menus Better93
- Locking the Controls93
- Jumping to Common Default Values93
- Quick Reference - Copying Patches93
- Setting Which Voice a Monophonic Sound Uses94
- Voice Stealing94
- Patch Remain94
- Notes on External Cards for Patch Storage94
- Initializing an Sram Card95
- Overwriting a Preset Bank with a User Bank95
- Create a New Program95
- Methods of Selecting a Program95
- External Inputs (CV and Audio)95
- External Modulations97
- Using the CV Inputs97
- CV Inputs Must be Triggered by Another Method98
- External Output Quick Reference99
- Preventing External Inputs from Causing Sound Jumps99
- Preventing the Screen from Jumping99
- Using Voice 15/16 as a Schmitt Trigger99
- Use Aux Outs for a Slightly Purer Signal Path100
- Voice Random Explained100
- Global Volume Override with a Pedal100
- Alternate Knobs100
- Speeding up Patch Naming101
- Run out of Things to Do101
- Hoover Emulation102
- Sysex and the A6102
- For Fun - the Andromeda Light Easter Egg103
- For Fun - the History of the A6 Name103
- For Fun - some Factory Sound Designers104

Other manuals for Alesis ANDROMEDA A6

Reference Manual280 pages

Service Manual131 pages

Using18 pages

Supplementary Guide9 pages

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Alesis ANDROMEDA A6 Specifications

General

Type	Analog
Synthesis Type	Subtractive
Polyphony	16 Voices
Modulation	Extensive modulation matrix
Arpeggiator	Yes
Oscillators	2 per voice
LFO	2 per voice
Filter	2 multi-mode filters per voice
Effects	Chorus, Flanger, Delay, Reverb
Keyboard	61-key, velocity-sensitive
MIDI	In, Out, Thru
Outputs	Stereo outputs, headphone output