Alesis Andromeda

Mine has OS version 1.40.12. Seems it still has lots of bugs, but Alesis (ehem, Numark) doesn't want to waste money in a new OS release... a shame!
The presets sound very good, not awesome, but they show some of the power.
But, if you want real power, go and start playing with the knobs and buttons... you will not believe.
The problem is that such synthesis power has a drawback: the programming is not easy, definitely not recommended for the novice.
Anyway, the knobs are grouped and placed in a very intuitive and logical way (at least from my point of view...).
If you have experience in substractive synthesis you could get a bit lost in the beginning, but play a few days with this monster and you'll see...
The manual seems just OK. Not bad organized, but I think it should explain better some points.

16 voices of true analog synthesis is a dream! Some of the new digital VA's have 16-18-20 voices... Well, Virus TI has more than 80, but, you can't compare the sound!!! Access should use more processor power to kill aliasing and improve the really poor audio quality instead of using it to add voices.
The keyboard action is OK for me, but I prefer the hammer action of my S90es.
The built in effects are pretty good. If you are extremely demanding you'll probably use external effects, but for the average user, they are excellent.
This monster has a memory card slot for expansion, but the cards are expensive and difficult to find.
The MIDI seems well implemented, but I haven't used it too much yet.
No sequencer, no CD-burner, no USB, no touchscreen... but who needs them in an analog synth? That's for the workstations!
Where this synth shines is in synthesis: two!!! analog filters (one Moog based and the other Oberheim!!!), ring modulation, 3 envelopes (they are not ADSR, but AD1D2SR1R2!!! with delay and trigger), 3 LFO's, the wonderful ribbon controller, audio inputs, independent voice audio outputs!!! and much much more.
And all this can be used in the modular way. The modulation is really REALLY awesome. You can be tweaking for years and you'll always found something new to try.
The most deep and versatile analog synth I've seen. It is comparable to the Waldorfs (but of course, they are digital and have wavetables and other unique digital features).

Here we are... the sounds...
English is not my native language, so, the nearest word I know in english to define the sound this machine can deliver is AWESOME.
It kicks all the VA's in the market (AFAIK). I have owned (in my old days, when I still was blinded by the VA's) a Virus C, a Virus TI (I sold both of them... they sound dreadfully aliased and "plastic"), Novation Supernova II, and I still have a Waldorf Q, Blofeld, Clavia NordLead 3, G2X and NordWave.
Well, none of them have that HUGE FAT sound, that warmth. The Clavias sound really analog, but they are far. Waldorfs... well, they play a different game, can't be compared, they are unique.
I also have a Prophet 8. It sounds different. I prefer the Andromeda most of the time, but I feel the Prophet a bit more warm...
I can't compare it against the classics (CS80, Oberheims, Rolands...), because I don't have any, but I'm sure it can stand up to them.
This synth can do complex sounds, powerful basses, extremely delicious, warm and silky pads, shearing leads... I don't know what it can't do well! So, you can use this monster for any kind of music, no doubt.
It is very expressive. Considering the huge modulation capabilities, it can be easily considered one of the most expresive synths available.
Seriously, if you want the best analog synth still in production (pre-ordered only), buy an Andromeda.
Of course, the personal taste is the most important point to consider when you buy a musical istrument, so, before buying, try one, and if you don't have one to try, at least, download lots of demos, don't buy before try. Some people prefer the "digital sound" over the analog, others don't like "fat sounds"... don't take my review as an universal true!!!

Well, I have had mine for a few weeks and is working fine.
I heard people saying that many units are sold with manufacturing faults, but it's not my case.
I use it in my home studio only, so I don't think it will suffer the gigs nightmare. If it had to, I would rather use a good case to keep it safe: considering its weight (22Kg) I'm not sure what could happen if I drop it, but certainly I won't try!.
Anyway, it seems well built and sturdy. The back and below covers are metallic, the lateral and top are plastic.
The knobs are BIG, and that may be a problem (it's easier to hit something big), and they feel... too soft!

Since my unit works fine, I haven't had to deal with them.
The OS has some bugs and seems Alesis will never release a new version. That's not fair!

If it were stolen, I would probably become a serial killer or something. I waited 8 months since payment to receive mine! That's a hard torture, but, of course, I would buy a new one, pay the 2700 Euros and wait 8 months again.
It is an expensive synth, but I think it worths every cent! There's nothing similar in the market today (not considering 2nd hand). Extremely versatile and powerful. Endless modulation sources, unbelievable sound...
All I miss in it is a bugless OS.
It is my second real analog synth and has changed completely my mind. I could sell all my VA's without hesitation (well, maybe I would like to keep the Waldorf Q and the NordWave).
If you really like the analog sound, go, try one and you'll probably buy it.

As easy as a synth this complex could be. Sure, there are menus, but it would have to be about 12 feet long if it were truly 1-knob-per-function.

I agree with most people who say the presets are not very good. They're either too big and cumbersome, or they try too hard to replicate 20th century trance sounds. I've heard the soundbanks for free download from Alesis' website are better. If you invested in this synth, though, you really should program your own sounds. So much more rewarding.

TONS of features! In terms of actual synthesis, the number of sound-mangling features is enormous and very satisfying. Just about anything can modulate just about anything else. Sub oscillators are great.

There are a couple of features that I miss, though: no random arpeggiation, and no "smoothed-random" LFO. (Access calls it "sample-and-glide.") You might be able to replicate that using an LFO to modulate another LFO, or using a tracking generator on the S&H. More destinations for the sequencer would be great, too.

There is a SERIOUS problem, though...at least on the one I bought new in November 2008: the mod wheel doesn't stay where I put it when the synth is on an angled stand. My synth is on the second tier of a stand, angled toward me so that I can get to the controls easily from a sitting position. When I push the mod wheel forward any less than about 75%, it falls back to starting position as soon as I let go. That doesn't work for me at all.

Built-in effects are fine--you might want to use better effects if you're a professional in a recording studio, home-studio and gigging musicians can get a lot of the built-in effects.

Expansion via ancient and expensive PCMCIA cards. Be careful, though! You have to get just the right card or it won't work, and details are not forthcoming on the Alesis site or in the manual. It's got to be SRAM, not flash, and 200ns access time or faster. (I dropped $100 on a 250ns card and it won't work.) There's no mention anywhere of whether the card should have or not have attribute memory, and some card sellers say that matters while others say it doesn't. Best of luck to you.

Internal power supply! Yay!

It sounds fantastic...even better when the excessive reverb is turned off. It has a punch and presence that is very hard to get with a VA, even the Ion and the Nord Wave, which I think are the best VAs out there. There's not much else to say about the sound quality...this is one of the best analogs ever made.

I have to give it a bad rating here. The unit I bought (again, brand new in November 2008) had several problems. The mod wheel problem described above is bad. The backlight on the display is so dim that I thought it was not working. There's no facility to change brightness that I can find, just contrast. When I turn off the lights at night I can see that there is a backlight, but it's pretty useless.

Worst, however, is that one note is badly out of tune relative to all others. I reset the whole synth, and I performed the auto-tune function, and the same note sounds clangorous and wrong. It's two As above middle C that sounds bad, every time you hit that note, so it's not one of the 16 voices that's bad. This was the straw that broke the camel's back, and I returned this synth.

Not much to speak of. No FAQs or troubleshooting guides or user fora on the Alesis site. I "registered" to see if that would give me access to some help, but I just got an automated email saying that they'd get back to me about my registration in a few days. The Alesis that designed the Andromeda went bankrupt and is now owned by another company, so I wouldn't expect much help nowadays.

Beautiful synth that sounds fantastic. (I'm so glad it doesn't try to tap into people's nostalgia with wood or faux-wood end cheeks!) I just couldn't deal with the malfunctions, so I returned it. It's a pity. I got a DSI Prophet 08 instead--less powerful, but also sounds great and comes with a better reputation for reliability and customer support. Pity.

Info about this synth is quite big, so I'll not repeat too much.
It is not totally analogue sounding synth as beasts from the past (like Oberheim, Jupiter 8, Moog and similar) or discrete high-end synths from todays (Sunsyn, Omega).
Big issues is low quality of manufacturing, it is cheap IC based analogue made in South Asia with target to get wide audience among hobbists and home studio afficionados.
Again, it was never targeted as high-end, otherwise it would cost at least doble or more.
What you pay you get.
It is very risky to buy it without testing.
It has many knobs and buttons what is good thing, but quality wise it screams cheapo.

It is well packed modern analogue.
It is very, very buggy, seems noone put efforts to clean it last 6 (!!!) years. Such machine can't exist without R&D.
Alesis dropped it completelly, what is shame, indeed.
From 10 synthes 3-4 are always with problems and several more have various smaller problems. It's hard to find fubctionally correct one, but even though it's not guarantee it will work forever (like some other high quality synths like Studio Electronics or Moog).

Sound is somewhere inbetween from virtual synths and analogue synths. Not 100% analogue feel, still better than VA.
There are useable sounds, but most of them are better on real synths.
For some productions it might work, but some VA are so good (Like Virus) that there is no sense to have problematic analogue synth like this one.
Sound is not its strongest point (like tweakability and control), but not bad to completelly forget it. Kind of compromise.
Effects are not very good to my ears, part of sound is lost in digital conversion what is huge pitty.

Very non reliable keyboard.

Non existing.
Example of the worst behaviour in industry, they don't reply to e-mails.

Well box of compromises.
It had potential to became great synth, but all that was spoiled by real bad management of the Andromeda project.
I wouldn't suggest anyone to spend time and there are great alternatives to its sonics with more options (Nord Lead, Virus TI).
Alos, other analogues on the market are simply better (although costlier)

You get what you pay for.

The Andromeda has loads of knobs so its a joy to program. However, this synth is very complex and is not as obvious as some other analogue polysynths. I have been playing synths for 10 years and the Andromeda makes me feel a bit amature. But the huge number of knobs makes up for its complexity and means you can create complex sounds with ease.

I must point out, every time you turn a knob a menu pops up on the display screen. So there is more to the Andromeda than the 72 knobs and 144 buttons point out! This synth is analogue heaven.

The Andromeda boasts a massive number of voices for an analogue polysynths. This aint like the your old OB-XA or Prophet-5, it has 16 voices which is more than enough for an analogue polysynth. Not just that, these voices are the most complete analogue voices availble. They offer 2 VCO's, 5 waveforms (which are mixable!), FM, 'Hard' and 'Soft' sync, ring mod and noise.

One thing i have noticed is that on the Andromeda, nothing is missing. The VCO's are very complete, there are two separate filters per voice, The envelopes a hugely complex and there are 3 separate LFO's per voice. The Andromeda also offers a massive modulation-matrix so there is an endless amount of modulation possabillities.

The built in effects are good but a few (the reverbs) could be a bit better. The analogue distortion sounds awesome and really gives a cutting edge to your sounds.

There is a slot for a card on the rear panel so yes the Andromeda is expandable. These cards offer more memory.

There is loads of memory on the Andromeda and it can save splits and layers as a performance. This is very useful.

I have not used the MIDI yet but it seems well-implanted.

The Andromeda boasts a useful arpeggiator and a 16-step analogue style sequencer, very similar to the old sequencers found on modular systems.

I own a Jupiter-4, CS-40M and have used Juno's, JX's, Jupiter-8's, Prophet-5's and a CS-80. The Andromeda is one of the best sounding analogue synths i have ever used. Its up there with the CS-80, seriously. It can emulate all the old classics plus do all the modern dancy shit. For me, nothing beats the Andromeda.

My Andromeda is very reliable and i gig it every week. As long as you give it a bit of time to warm up, its just fine.

Never needed it.

If this was lost or stolen, i would sell half of my studio to buy another. This is the finest analogue polysynth out there. It sounds truly amazing and is more versatile than any of the old classics.

Just buy one, its worth every peny.

Latest OS.

The andromeda is not the easiest synth to use at first because of the staggering amount of parameters but it is very logical once you get used to it.

My biggest complaint is the jittery nature of the soft knobs for micro adjustment of parameters. A fine adjustment option by way of a shift key would have been a good idea. As it stands now the adjustments are far too coarse.

On the plus side the Andromeda is very well endowed when it comes to adjustable parameters and is very flexible in the way you can change how it sounds.

The presets are terrible IMHO and it is hard to understand what the appeal would be for the type of sounds included. There are better presets available on the net that do the synth more justice.

The manual is very comprehensive and covers most aspects of the synth in great detail.

The synth is packed with features. There is a mind-boggling two OSCs both with subs, three LFOS, Three envelopes, S&H, two filters, arpeggiator, step sequencer, etc. etc. per voice!!!!
Since it has 16 voices one can appreciate the complexity of the sounds this machine is capable of.

The FX are barely passable and are of the Alesis wedge variety. I don't usually use the onboard effects.

The andromeda is extremely versatile sonically. The inclusion of the two filters (One Oberheim SEM 12 db and one Moog filter) make it easy to alter the character of the synth.

Care should be taken when editing patches. The VCAs tend to saturate very quickly making the sound quite rough. If you keep the Mix levels into the VCAs low then the synth takes on a much softer and smoother character. But the option to have the VCAs overdriven is a good thing in itself. One annoying thing is some zipper/aliasing noise from the digital Lfos. But it's not a deal breaker.

The A6 is a very capable Mimic of the classic synths and also quite unique sounding synth in its own right.

I have used an A6 with a few defective voices and care should be taken to check this if you are considering buying one.

Personally, my A6 is very stable and has never giben me any problems.

Never contacted them.

I think the A6 is a modern day classic and I can see it fetching a lot of money in 20 years time. This level of features on a analog synth is unprecedented.

As a synth it does take a lot of time to understand its nuances but once you have that mastered it is an awesome musical instrument.

It may be easy for some, but it was not for me. I come for Guitar background and recently got into Synths. I dived head-first into a bunch of gear this year, Virus TI, PEK, SunSyn, Xbase 999 adn the A6. Now that I've leanred how to use it, it's very powerful. It's the most powerful synth I own (not the best sounding) that's relative depending on the application, i.e. the Sunsyn has better RAW analogue sound.

10 out of 10. ARP, Sequencers, 2 filters, 5 sound sources, routing galore, tweakers dream. This thing is FULL of features. The synth will go in the record books as one of the most incredible analogue synths every made.

10 out of 10. The sounds is Amazing. The pads and strings are some of best I've heard. The base sounds are deep, the leads are sharp. You can make great sounds with this Synth.

The nice feature of this synth is that for what-ever reason, it fits perfectly in a mix. Hardly need to to do anything with the sound.

Pretty rock solid. Has the least problems than any other synth I own.

Never used it.

One of the best Synths ever built.

Ridiculously easy. Finest interface Ive come across in maybe 50 pieces of gear. Ive hardly had to look at the manual. If you have had any prior experience with subtractive synths and modulation the knobs and buttons take you right there to the appropriate menus. If you havent had much experience you may find the complexity of the synth daunting but thats not the synths fault.

I wont repeat the full spec but make some comments about w things. Ill say it again I love the interface a button or knob for just about every parameter, the sound. On the down side, the sequencer lacks individual knobs for steps like on the DSI Evolver Keyboard and i found it a bit fiddly to program, the effects are a bit of an afterthought but Ill forgive Alesis. Short of having a massive modular system you would be hard pressed to have this much tweaking and modulation power, within the limits of subtractive analog synthesis its a very versatile sound maker.

Sounds definately analogue plenty of character of its own. Perhaps lacking the rawness of a Prophet 5 - or is that just distortion and mud - its a relatively polished smooth sound. Sits alongside my JP-8, Prophet 5, DSI Evolver, A-100. Its different and up there with the best

Works fine so far but gives an impression of being a bit plasticy. If it fell on my JP-8 I think the A6 would suffer a crack. So loses a few marks in this category. Having said that, I think spare parts and service would be a lot more feasible with this than your 20-30 year old vintage synths.

Ive not had to deal with Alesis so cant offer an opinion. I think its great they concieved and built this thing and took it to a market. Whoever was responsible for this must have a real love for synth design because it could not have been an assured money spinner.

I would buy another though probably second hand. I got a mint s/h one for about 3/5 new price. Definately worth it. I sold my Waldorf Q, in my opinion the finest VA out there to buy this and dont regret it even though the A6 is more expensive. It has comparable extensive modulation like the Q but its more accessible with the knobs and buttons, and the real analogue sound is more pleasing for me.
I love the user interface and 16 voices, also the different envelope/velocity curves and the ribbon strip. Im also selling my Jupiter 8 which is perhaps silkier and fatter sounding because of reliability issues. Im afraid my old JP-8 will die on me leaving me an expensive lump of metal. The A6 has way more options, though I prefer the JP-8 solid metal and no nonsense sliders to the A6 slightly plastic feel. I wish it had wood or metal on the ends and a 76 note keyboard. Apart from that I love it!

(just a small reply)
the bugslist below ehas been made via the code 404 a6 group, it is not my invention. therefor i'm surprised to hear there seems to be 1 andromeda who's so different from all the others that he doesn't have those bugs !
by the way , no difference has ever been found between the new and old /blue or red a6's. lots of words about this myth have been spent on the above mentioned forumsite about this subject.
lets keep to facts
fr.gr. sunny

Firstly, the article written by Sunny is quite informative and useful for comparative analysis with your own A6--it also illustrates that the A6 is both powerful and complex, but many of the bugs that he has found are not present in mine. That said, I have Serial #00000006 off the assembly line (the red version (or "cranberry"); it was assembled and built before the problems that Alesis had and most every component was made in the USA; the new ones are made in Taiwan, I believe. Anyway, since it does have a pure analog signal path if you bypass the effects, I've found that there are differences between different units, like any other analog synth(at least every analog synth I've ever owned, which would be at least 12). In fact, I have 4 friends around the West Coast of the U.S. that have one, and they all sound slightly different to my ears with the same patch loaded...which is arguably the nature of analog synthesis. Anyway, ease of use for someone that doesn't understand what Sunny wrote below would qualify the A6 as "Difficult". However, if you understand how synthesis really works, then just grab those filter and envelope knobs to modify the existing patches or the ones for download online. Therefore, I'm giving it an 8 in this category, since you either learn how to program it (if you're a newbie to synths) or grab knobs and push buttons (which there are PLENTY of) and start tweaking parameters until you create a patch that works for you.

Much has already been said about this, so I'm not going to rehash what 100 people have already said. It is not a Korg OASYS, but it is a 16 voice, 16 analog output analog synth for $3000 or less! Based on the fact that I've paid that much (or more) for monosynths in the past that had literally 500 less features, I'd say the A6 is pretty killer in this category. But there are some bugs that drive me nuts, which cause some features to be problematic, so it only gets a 7 here.

I find it to be very expressive and have used it for creating songs that fall into Industrial, trance, and ethereal categories, so it works for me. It has a sonic signature that cuts through a mix, even with heavy distorted guitars and real bass in the studio or on stage with a live drummer. It has tons of ways to matrix your signal, and a ribbon controller and an assignable mod wheel...not to mention tons of knobs and buttons. I give it the highest score in this category but still can't give a synth a 10 since I only hear those in my head! Seriously, it sounds as great (but different) as any other classic synth that I've had (or have), but would say that it sounds like somewhat like a Prophet/Jupiter/Voyager(kinda) with a digitally controlled interface and tons of storage. I own or have owned Prophets, Super Jupiter, Jupiter 8, Juno, Waldorf Microwave, Various Moogs, my ATC-1 with all the filter "cards" and every VA synth that I have and still think the A6 is great enough to be a classic. By the way, if you are looking for PCM sounds (as in most synths on the market, which use PCM or VA engines for OSCilators),this is not the synth for you.

Since mine is fairly rare, I have only gigged with it once and would only gig with it at places where the crowd can NOT get close to it. If I played out more often, I'd buy a used one manufactured from the original batches and use that on stage. It has some bugs, but has only locked up on me once since I bought it (shortly after it was released) when used alone or in as a Master MIDI controller with other synths. It is fairly heavy, so get a good touring case for it; a $3000 synth (or whatever they sell them for now) is worthy of a $300 case. Still, I'd carry it in out of venues myself and not let roadies or volunteers slam it down like it's a rack of power amps.

I dealt with Alexis when I first bought mine and they arranged for me to get an updated firmware upgrade that fixed my problems. I haven't had to deal with them since, but they were very friendly. Since they had financial issues, I honestly haven't even looked to see who takes care of their customer support now, but have heard that they're pretty decent.

It won't get stolen since I have it in a "secure location" with armed guards and pitbulls, but if it was damaged, I would get it fixed or buy another. I've been playing guitar since I was 15, and keys since 17, and was too poor in the Eighties to buy the synths that many of my friends/colleagues had at the time, so I built up my collection piece by piece over the last two decades. The sample questions for this category ask many things, so I'm trying to answer some of them; my point is that it is definitely a star in my studio of 100's of soft synths and at least 24 other physical synths, so yes, I would buy another when I start touring again if necessary.

reasonable, steep learning curve, very careful editing required

not fully bugsfree, or not obvious parameters already implemented( be. no midi out from sequenser etc) what's left is a lot though.
big setback: modulation routes are noticably slower than hardware routes, thereby envelops almost not useable as extra modulationsources because of "click"

within it's limits , still lots of sounds possible. bigger than virtual analogs, not so big as old discete components or be jp8

ones hardware is oke ( check the oscillatortuning of all oscillators over different keyboardzones !) it's reliable. however also here , some very weak sides appear be side caps break of while touching them

service stations 9,
support from manufactorer/ bugs resolving software update: 1

lots of questions and uncertainties excist regarding the A6 andromeda.
in this respect it seems to be helpfull to not only read the manual and tips and tricks document carefully, but to also know what not to expect from this very nice synth.
alesis/ numark seems to be unwilling to solve excisting bugs / upgrade the software / give other people the opportunity to do so / even react to letters and other demands of longtime product-users.
seems we'l have to live with it so, hereby a comprehended list of most shortcomings. hope it helps people to get round easier with this machine
sunny

( follow buglist and wishlist a6)


Bug #1

Title: Square wave duty cycle bug
Description: A setting of 52 is currently the true 50% duty cycle,
rather than 50.


Bug #2

Title: Portamento tracking on unison voices
Description: When using portamento (normal mode) on a mono patch with
unison (2) turned on, it seems that only 1 voice is affected - the other
seems to jump right up/down to the destination pitch. Switch port mode
to 'chord', it works as I expected normal to. Is this a bug?
(checked, however not found on my A6)


Bug #3

Title: VCO Pitch slide
Description: When a note is triggered, the Osc audibly "slides" up to
the new pitch, even with fast engine settings.
Can be reproduced:checked, depends on engine settings and
tuningsettings,therefore to me, no real bug, always could get some extra
attention though -


Bug #4

Title: Sequencer hangs while using the sustain pedal.
Description: Using sustain pedal and sequencer concurrently causes stuck
notes until the sustain pedal is depressed again.



Bug #5

Title: Dropped NOTE OFF events in MIX mode when using external sequencer
Description: Notes stick on a midi sequencer with the A6 in mix mode
logic or cubase.


Bug #6

Title: No polyphonic aftertouch from MIDI input
Description: Described as working in the manual, but not implemented.


Bug #7

Title: "Klicky" envelopes
Description: It is almost impossible to create fast and deep bass sounds
without an audible "klick" sound.
Can be reproduced:when minimum attacktime of 6ms, no problem, therefore
to my opinion,"maybe" bug!, sunny -


Bug #8

Title: Corrupt patch in edit buffer requires a soft reset.
Description: Inadverently loading a bad patch into the edit buffed
causes the synth to crash. Power cycle causes an endless booting loop.
Power cycle after a 10 second wait will sometimes clear the problem. At
other times a soft reset is required.

Bug #9

Title: Audible artifacts in PWM
Description: The status of this as a bug is arguable. Using PWM of any
sort creates audible quantization noise or low freqency digital hash in
the output. Easily heard on the factory preset patch PULSE STRINGS or
most patches with PWM enabled. This problem renders all PWM capabilities
of the synth unuseable IMO. Sounds like a crappy VA.
Problem exists whether PWM is being modded from an LFO, a looping
envelope or an external pedal.
Problem can be somewhat worked around using external HPF. Or using
another synth altogether. Can be reproduced:checked,for this reason a
verysmooth lfo/pwm engine setting has been developped with hardly
noticable difference,fm of pw seems to work better, should get a renewed
attention, sunny


Bug #10

Title: Screen redraws getting dropped
Description: Under certain circumstances, the display does not refresh
when switching to another page. I will try to find a scenario when this
can be consistently reproduced. Low priority.
Can be reproduced:too little info provided therefore couldn't be
(checked, maybe its a result of high processor usage whereby the screen
rightfully doesn't get prioriy, sunny)


Bug #11

Title: Fast filter settings noise on key release
Description: the midrange "grating" or "metallic" noise that can be
heard on key release using bass patches with fast filter settings, e.g.
the Venus Bass patch. the same noise is also apparent in many
high-pitched string patches.
Comments: is this not the PWM problem? - mschultz. perhaps, but it
happens even with PWM disabled - chris.pickett
Can be reproduced:checked, wonder if i mean the same noise/ sound as
you, in my case it dissapeared when the release times where set to a
value of 10ms or bigger(which is a bit long i admit), sunny


Bug #12

Title:AUTOTUNE
Description:autotune doesn't work well enough due to hardware/chip
quality, differences often are too big, manualadjustment possibility of
single oscillators would be neccesary( and spare chip/soundboard
replacements)! maybe user definable savable tuningtables would also do
the trick.


Bug #13

Title:releasevelocity
Description:release velocity depending on attackvelocity, specifically,
if struck a note softly, no possibility of release velocity is left, the
two should be uncouppled, b.e. by always letting releasevelocity start
from a standard(127)value and then react depending on the speed of
releasing the key

Bug #14

Title:delay
Description:when fiddling around for some minutes with the envelops and
especially the delaytimes of them , the following happens: delay of
envelope 3 only works propely when also delay on envelop 1 and 2 is set
on times that are bigger then that of the delay of envelope 3 , although
logical in some ways, it's annoying, limiting and unneccesary in most


Bug #15

Title:up/down buttons when saving
Description:when saving a patch in the list, and wanting to select the
place where to save to, the up/down buttons act the other way round (
espec.down instead of up and vise versa)

Bug #16

Title:pw reset
Description: the the wavelevel of the pulse is reset to 50 when changing
the button from on to out and on again, this is inconvenient


Bug #17

Title:Cannot send program data via sysex to edit buffer
Description:When sending a sysex message with opcode 2 (i.e. F0 00 00 0E
1D 02 <editbuf#> <data> F7) the A6 should place the received program in
it's edit buffer. The A6Helper application, written for Alesis, requires
this and the program author's documentation written on behalf of Alesis
suggest this function should work. It does not.


Bug #18__

Title: diverse / 2. objects selected from previous lists
Description: 1 NORM2 envelope mode that's referred to in the manual but
has never functioned differently from NORM1..... number 2. Envelope
Re-triggering/ Implementation of envelope re-triggering in mod-t/g mode







(wishlist)



1) Polyphonic aftertouch response from MIDI Input

2) Random Patch generator (maybe with limitations on VOL. etc)

3) Knob "fine tune" option to have more gradual parameter changes

4) Sequencer "Latch" mode

5) Random Arpeggiator mode

6) When in MONO mode (high/low/last) "note priority" setting

7) Keyboard HOLD function

Cool Send MIDI notes from ARP or SEQ

9) Sync delays to Tempo

10) "Step Entry" on SEQ

11) Portamento time knob should respond to changes while a note is held
down (right now a note retains the original portamento time from when
the key was first pressed, ignoring knob input until the next keypress)

12) Polyphonic FM

13) modulation of the effectparameters, like on" the wedge"

14) split hold for the ribboncontroller

15) being able to adress the mod's of the envelopes and lfo-mod's as
controlroutedestination

16) possibility to retune the 12 keys of an octave to different scales

17) to mark the steps of the sequenzer as it's playing, to know where it is

1Cool Auto-sync to midi clock. (Having the internal clock automatically
sync to

MIDI without having to set it to sync or manual)

19) handling of 4 MB SRAM card

20) Random Patch Generator

21) LED Knobs as Sequencer Use the 8 multi led/knobs as a TR-style
sequencer (the hardware is there!) 16-64 steps

22)Zero Reference Point Option for Ribbon

wherever you first touch it is "zero" and you can modulate up or down
from there

23) Ribbon Controller as Trigger Ability for programs to use ribbon
controller (any value > 0) as trigger, instead of keyboard

24) LFO Speed Up LFO speed up, the silly mode for fast lfo mods and
halving the voice numbers for speed issues

25) Mod Page One page where you could see all modulations at work in one
patch

26) Knobs Range Knobs range can be shifted or when you select a button
you can use the ribbon for fine adjustment

27) Change Default Presets ( make custom default patch and save it)

2Cool Toggling Between( se;ected) Pages

29) Pot Values Also helpful for live would be a function where I could
set the value when the pots react. Now it's just when you go through the
original value or otherwise when you "breathe" at the pot

30) FineTune? Mode A fine tune mode while changing values with whatever
knob (like shift-turn a knob will give smaller steps)

31) Sostenuto Pedal Sostenuto pedal (pedal does not affect notes turned
on *after* sustain pedal is pressed, only ones being held when pedal is
pressed)

32) increase sequencer steps number

33)increase arp programmability

34) Correctly save/load Mix + associated patches via sysex

35) more curves selectionable for aftertouch and velocity responds

36) real time record for sequencer

37) filter FM to be set separately .. so no offset of FM on filter 2 but
a real OSC FM amount to filter

38)Operate at all even divisions of BPM, only within a reasonable range
of course (40bpm-200bpm) but everything from 1 to max would be nice

39) a "Vegas mode" - where all the lights flash randomly on the front Exclamation