Andromeda Tips and Tricks

l'adresse à changé, même si elle est mentionnée dans le forum, voici le lien pour ceux qui veulent s'intéresser à la bête: https://www.wohmart.com/a6/tandt/A6TipsAndTricks.html#0x11x2xENVELOPESx%20xoutline

voici encore d'autres pages:
http://www.matrixsynth.com/2007/07/andromeda-a6-tips-and-tricks.html

Sinon pour ceux qui ont un andromeda et qui ont le soucis des potentiomètres qui ont des valeurs non stable je recommande vivement l'OS 1.40.13 qui règle tous ces ennuis disponible ici:

https://www.wohmart.com/a6/patches/A6V14013.zip

voici les notes:

------------------------------------------------------------------
A6 Beta OS Release Notes
5/30/02
Brian Shim
Alesis


Note: This software is a beta release!! If you use this software, please understand
that it is still in the testing stage. For the official release, see the Alesis
website.


Changes in V1.40.13:
-------------------
1. FIXED SYSEX GLOBAL DATA UPLOAD TO A6 DOESNíT WORK
Uploading of Global Sysex data should work properly now.

2. ADDED UPLOAD MESSAGES TO SYSEX UPLOADS OF GLOBAL DATA, PROG, AND MIX EDIT BUFFERS


Changes in V1.40.11:
-------------------
1. FIXED "ENVELOPE NORMAL MODE 2 DOESN'T WORK AS DESCRIBED IN MANUAL"
Envelope normal mode 2 should work as described in the manual now.

2. ADDED FILT/OSC ENGINE OPTIMIZER SETTING: ULTRA FAST
There is a new engine optimizer setting of ULTRA fast. This is for extremely percussive
sounds. Note that there may be clicks and other artifacts when using this setting, so
use it only when required. Also, units with pre-1.40.11 software will "see" this setting
as the NORMAL engine optimizer setting.

3. WHEN TURNING OFF UNISON X USING THE BUTTON, IT WILL REMEMBER THE NUMBER OF UNISON
VOICES WHEN TURNING IT BACK ON.
When you turn off Unison X using the button, it will remember the number of unison
voices when you turn it back on using the button. If you turn it on right after
changing patches, it will default to 2.

pour ce qui est des sons,

pour ceux qui recherchent de l'expérimentation: voici la banque que je conseille:
https://www.wohmart.com/a6/patches/BKEHEW_Patches_20000523.zip

avec le descriptif:
https://www.wohmart.com/a6/patches/BKEHEW_Patches_20000523.txt

--
So - the Andromeda is obviously a serious synth, regardless of other past or
present competition. It sounds a lot like some classic and even some modern
synths. I am really interested in duplicating sounds of the past (mostly for
convenience, and as a test of the Andy's flexibility) but it has potential to
make completely unheard sounds; especially as it has much of the power of a
MIDI, programmable MODULAR synth (and polyphonic).... not to mention the
multitimbral options... so much to be thankful for.

It is not a hard synth to work, and the front panel stuff makes most things
easy. It is NOT intuitive, but neither is an old Prophet or Minimoog - we are
just used to working them that we know "what to do". With a few simple ideas,
(mixers, filter options, modulation uses) you can REALLY work this thing.
Beyond that, if you get into the Tracking Generator, crazy cross-modulated
things, and the weirder stuff (filter feedback, audio Filter modulation,
BandPass invert, specialized dynamic control) you can make some sounds that are
even hard to UNDERSTAND...

It seems common with Andromeda owners that they lose LOTS of sleep when they
get this thing. I, too, have seen many sunrises while working this instrument.
It was great to be asked to beta test it, and help develop its preset sounds.
But, had I not been involved, this is the kind of synth that would make me sell
off old synths (I did) and even think about getting a second A6 (not that I
need it but I like it so much.)

I am happy that the old synth sounds can be done pretty well on the A6. In
fact, it can do some things (like the old Polymoog "Vox Humana" patch) that
were not possible to do (or sounded wrong) on other synths. But the Andromeda's
great contribution lies in two areas:

1) It has modulation options to create both wild exotic sounds and subtle,
almost organic sounds. It is really fun to hold one note and hear the A6 do
incredible tricks of sound. It also fun (but less obvious) to have an analog
synth that has the tiny captivating details that make acoustic instruments so
good, not just having the simple basic tones of old analog synths.

2) It has responsive capabilities that make it an expressive INSTRUMENT to be
played. The danger of the A6 is to always program sounds, and I like this, as I
do playing video games or painting. But SOUNDS are best when they are musically
useful. It would be nice to have a Preset-Only Andromeda (those WERE the good
old days!) and just let people PLAY it. It is the MOST responsive keyboard
synth I have ever played - as it is totally tweakable to fit your touch.
Volume, filters, attacks, overtones, mixes, envelope times, effects - all
respond beautifully, if you set them to do so. You may not have had these
results yet, but they are there if you learn to control them. When I first got
it - this is what amazed me (and a synth guru I know) - how well it responded
to touch.

Here are some notes for the patch bank I have created. Some of them are
modifications of the original issued Preset sounds I made.

Sometimes the power of this thing has to be SHOWN to you - it took me a while
to learn what it does well. Hopefully these programs will demonstrate a bit
more - and this text will show you what to listen for...

_______________________________________________________________________


OOO - INTRODUCING ANDY

I wanted to show how good the A6 sounds WITHOUT tricks: no effects, unison, or
thick modulations. This is just Oscillators through Filters, a good test of how
it stacks up against the old synths. It's easy to make the A6 sound very
bright, but I kept this dark, as people would expect "analog" to sound that
way. Touch sensitivity set to make it feel "heavier".

005 - PATCH THIS

This is what a modular synth (and the Andromeda) are capable of when complex
routing and modulation are used). Even when I did this, I only used about a
THIRD of what was possible to mutate the sound.

007 - Zen Master 2

One of my favorites - sometimes the A6 doesn't sound "like an analog synth", or
even like a synth at all. On big speakers, this patch has a serious amount of
bass. True subsonics. Also - even though onboard effects are "cheezy" and we
all have great outboard gear - it would be impossible to make a patch like this
without them. Learn to tweak the effects as much as you do synth sounds and
make them work for you.

Similar stuff -
069 - SCIENCE FRICTION

010 - THE GLASSES

So - one of the greatest tricks is to use randomness in synths; We like
acoustic strings, choirs, even drums because they sound different EVERY time
they play a note. In a group or section, everyone plays a little different and
they do so on every note. This causes nice natural motion of the pitch, tones,
and vibrato. Keyboards like Mellotrons and Chamberlins have pretty drastic
variations from note to note - each has a different "sample" per key. One is
brighter, has more vibrato, attacks differently, etc. That's why when people
hear Mellotrons, they are fascinated by the sound, even if it doesn't REALLY
sound like real strings.

This randomness can be added to ANY A6 parameter. The obvious source is the
Sample and Hold section, but EACH of the LFOs has a RANDOM waveform that can be
used, too. Very subtle changes applied to filter frequency, pitch, vibrato
amounts and speed, mix levels, even panning add great character to a sound. It
is one of my goals to make more "Mellotronish" sounds that have the character
of organic instruments. Not to copy real instruments, but to make even synth
sounds that have this variety and interest to the ear.

Try THE GLASSES and see what MOD1 on Osc. 2 does: It is a TINY amount of
randomness of pitch from LFO2. When it is ON, it adds a nice subtle shifting
that makes chords and single notes slightly more animated and "real sounding".
Turn it off and thick chords sound more stiff and flat. It is a very subtle
effect, but try adding more - it can get out of hand too easily...

Other sounds that use this randomness principle:
039 - DIRTY PIPE
058 - FLOUTS
072 - GO AWAY
083 - WOOD AND WIND
088 - GENTLE MEN
094 - TALISMAN
095 - SCREEN PRESENCE
096 - WATCHER 73
100 - SOFT MATTRESS
101 - HIGHSTRINGENSEMBLE
109 - HARMONIA
110 - SPACIAL EVENT
116 - REPLICATED
120 - FRENCH TONGUE
121 - LULLABY ROSE
124 - RED TAPE

013 - DARK SIDE OF

An expressive "old" sound. Try using the ribbon and mod wheels. Especially nice
is the Pitch wheel controlling pitch AND the filter.

018 - SAD SCENE

One of my favorites - a really musical sound, with lots of internal animation.

019 - HUMANA NUMANA

("Poly New Man" on the original Preset) The classic Polymoog "Vox Humana" patch
as made famous by Gary Numan. Not the trickiest sound in the world, but I have
yet to hear another synth do it right. Another very musical patch.

020 - FOOLED AGAIN?

Pete did it with a Lowrey organ into an EMS VCS3 - the square wave chopped off
the volume and the LFO sine wave swept the filter up and down. Now you can do
it (plus the reverb) in one keyboard... just play chords that slowly shift (A
major, D min and D major, mostly. Left hand back and forth between D and E bass
note)

032 - HEAVEN OR ?

Another good "what is it?" sound that is neither "analog" or "sample" sounding.

035 - SWITCHED ON 2

Demonstrates the touch response nicely. Very controllable with fingers only. I
like #042 even better...

036 - MODWHEEL THEREMIN

You will only get sound if you use the Mod Wheel - it acts like a volume pedal.

038 - ROLL A QUARTER

I knew the Envelopes were powerful, so this patch would be possible. Hold down
a note for full length... It is ENV1 modulating the speed of LFO2. Change the
slope of ENV Attack to anything other than EXP3 - it feels wrong. EXP1 is too
slow, EXP3 is too fast. It took a lot of tweaking to get the times and slopes
right between ENV1/LFO2 and the VCA volume from ENV3.

040 - STARPEGGIOS

Try all combinations of the ribbon, Mod Wheel, and Pitch Wheel. Even Aftertouch
pressure has an effect.

048 - RIBBON CRYING

You have to play a note first WHILE the ribbon is touched (there is no Trigger
from the ribbon). Then, all you need is the ribbon. And try more notes on the
keyboard simultaneously - all those voices follow the ribbon.

057 - CELLPHONETROUBLE

In Europe, Mobile Phone Trouble. It just sounded like that...

059 - 'SICHORDIA

Basic harpsikeyboard sound. I was trying to recreate the effect of a real
harpsichord when you let up a key and the tangent (plucker quill) hits and
stops the string. It's a subtle effect but makes it more acoustically
interesting.

060 - DESERT MOON

Hit one note and let it run. Only the AMAZING Envelope shapes of the Andromeda
made this possible. Who's awful solo album did I name this after?

069 - SCIENCE FRICTION

I love this one - very weird and unexpected.

074 - SUPER APPLES

Kind of an homage to Subotnick's Buchla stuff. BTW -"The Wild Bull" is a MUCH
better record.

084 - PSYCHO RIBBON

One of my favorite patches. Hold a low octave in one hand and sometimes use the
ribbon for accents... a fun time waster.

094 - TALISMAN

Named after my favorite song from AIR. When they recorded it, they used a
double-track of Rhodes and Wurlitzer. This is good for that mellow electric
piano stuff.

099 - ELECTRONIC MUSIC

One of my favorite periods of music - the early experimental synth days. Note a
few things are happening at once....

101 - HIGHSTRINGENSEMBLE

The old string synth sound is HARD to fake, but this closely resembles that old
classic. Especially the highest C is great to hold over slow ballads.

112 - RIBBON KAMIKAZE

Again - hit a note (or more) on the keyboard then use the ribbon. After that,
the ribbon is all you need. Also use the Mod Wheel and Pitch Wheel while
playing the ribbon.

118 - FRANKEN STEIN

Actually a brilliantly simple patch originally by Mr. Winter. This one,
however, also plays the jumping-around bit at the end if you hold it long
enough.

125 - CINEMATIC

Hold a big major chord with as many fingers as you can find... and wait. BTW -
the movie people STOLE this sound from a Beaver and Krause album - it's even in
the same key!