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m127 - Shouldn't Andromeda A6 be named KING?
Old 14th September 2012
  #1
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Shouldn't Andromeda A6 be named KING? (m127)

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Old 14th September 2012
  #2
Gear Maniac
 
🎧 5 years
I composed and played a 7 min track using drums, leads, bass, bells, pads, rhodes type sounds and arppegiators using my red andy. The engineer was very impressed with it´s sound and background tuning off definitely makes a big difference. This track is going to be used for the publicity of an industrial company here in Colombia. I´ll try to post the track in the next few days.

Andromeda is out of this galaxy jejeje
Old 14th September 2012
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Old 14th September 2012
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Old 14th September 2012 | Show parent
  #5
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Quote:
Originally Posted by Deleted Userc ➡️
why disabling the background tuning "produces a better sound"? If there is any, I don't seem to find it "significant" as many put it.
If you can't hear it, don't use it.

That is the only explanation i can give to you.
Old 14th September 2012 | Show parent
  #6
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not taking anything away from the andy, but i'd rather have a solaris
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  #8
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Quote:
Originally Posted by Deleted Userc ➡️
So, tell me sirr, do you hear it on in the examples I posted above? Yes or no. This is the only explanation I can give to you.
post the same patch with and without (after being left switched on for a day) would be a fair listening test.
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Old 14th September 2012
  #10
Lives for gear
 
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i love my andy but its element is water, sometimes you need fire.
Old 14th September 2012
  #11
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🎧 10 years
There is no doubting that the A6 is a powerful beast (I had one for a short while)) but being a huge fan of Blade Runner I have to say the lead is quite a bit off and I have heard the opening title of Blade Runner sound much more authentic (no offense intended) on a digital synth, a Virus TI:

Old 14th September 2012
  #12
BM0
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I am king of my synth domain. The machines are my pawns.

Andromeda is a cool synth, but there is no greatest synth. That stuff is only relative to each individual. If it is the greatest to you, then it is the greatest synth, to you.
Old 14th September 2012
  #13
Gear Addict
 
🎧 10 years
bloody hell fordy, that's bloody awesome
Old 14th September 2012 | Show parent
  #14
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Quote:
Originally Posted by Deleted Userc ➡️
No. For Mrr. Solaris the difference is too obvious apparently.
Quote me where i say difference is too obvious?
Old 14th September 2012 | Show parent
  #15
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Quote:
Originally Posted by zzzxtreme ➡️
bloody hell fordy, that's bloody awesome
Isn't it! Sadly that's not me by the way.
Old 14th September 2012
  #16
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I think in years to come, the A6 will be as highly regarded as P5 and OBX etc.

Alas, as with any 'newer' synth, there seems to be a huge mental hurdle/stigma for some, that it can't be as good as a vintage matured counterpart.

That is the only obsticle I can honestly see. Perhaps it doesn't have instant 'sweetspot' that for some odd reason people seem to moan about. Its a deep analogue synth that can sound fantastic.

Wish I'd bought one when they were cheaper tbh.
Old 14th September 2012 | Show parent
  #17
Gear Head
 
🎧 10 years
Quote:
Originally Posted by Deleted Userc ➡️
By the way, anyone would like to explain why disabling the background tuning "produces a better sound"? If there is any, I don't seem to find it "significant" as many put it.

As I understand, the function performs said automatic tuning on voices NOT currently in use.
Perhaps someone else has more meaningful data on this?

.
What this does is essentially make the andromeda more like vintage polys, where you hit a button to tune them, and then they may be left to drift slightly with temperature variations over time. Assuming you've tuned it once it's warmed up, these variations should be slight, and should happen very slowly over time. Background tuning will periodically run an algorithm to adjust for this (most likely by using a temperature sensor and some sort of scaled offset), so the tuning will remain much more precise over time.

Another way of getting a similar effect in a more controlled manner is to send a random source through the s&h, sample on new note, and send it to oscillator pitch. That way you won't hear the voice actually drifting (and potentially sounding like an LFO), but it will be slightly out of tune with respect to the other voices.
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  #19
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Old 14th September 2012
  #20
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Quote:
Originally Posted by Deleted Userc ➡️
Thanks. That's my point. I never said I "can't hear it". I said I don't find it significant, especially I don't find it making it way "more gooder" nor way "warmer" as some put it. I was interested in the theory behind the claim, hence my question re "background tuning off".
Dude, i was pulling your leg.

The difference with Background Tuning off, not only that it is *too obvious* but it can actually render some of your Andromeda voices unusable!

This is why an owner with disabled BKG tuning has to auto-tune the machine once a while. Just like an OB-8 or JP-8 owner has to. Otherwise, after a week or two, some of the voices become unusable.

However, after a few hours, the synth sounds much thicker in polyphonic mode with BKG tuning disabled. That is a FACT.
Old 14th September 2012 | Show parent
  #21
BM0
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Quote:
Originally Posted by flat earth ➡️
Wish I'd bought one when they were cheaper tbh.
When was that? If recall, they were $3500 new. I remember keyboard guy at the local shop and myself drooling over one when they got it in.
Old 14th September 2012 | Show parent
  #22
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Quote:
Originally Posted by BM0 ➡️
When was that? If recall, they were $3500 new. I remember keyboard guy at the local shop and myself drooling over one when they got it in.
I mean't on the used market. When I bought my OBXa, I had the choice of a used one at similar price £1300. They are alot more now used.
Old 14th September 2012
  #23
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Mine was exactly $3000 (new). Along with Old School, it is the only synth in my life i actually bought in the store. Definitely a best buy!

Soundwise, great synth! Just wish control modulation is more tight. Maybe someone comes up with CPU upgrade and doubles the resolution depth. i.e. At the moment, staircase S&H above 6Hz is a joke.
Old 14th September 2012 | Show parent
  #24
BM0
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Quote:
Originally Posted by flat earth ➡️
I mean't on the used market. When I bought my OBXa, I had the choice of a used one at similar price £1300. They are alot more now used.
You made a good choice by going with the OBXa IMO. I have an OB8 and would much rather have it than an Andromeda. I don't think I like my analogs being too over-the-top in features. Seem more prone to problems. Leave the craziness to digitals. Although, Oberheim were able to do crazy amounts of features on Matrix/Xpander series.
Old 14th September 2012
  #25
Gear Head
 
🎧 5 years
I paid $3,000 for a new A6 also. Mine was one of the early models. I still have the receipt. After the initial factory run interest in the A6 declined. Their price dropped to $2,200 new. This worried me because it was beginning to look I might own an orphan synth due to all the problems at Alesis.

Tuning was always a problem with this synth. The A6 is sensitive to temperature changes. Some of its tuning irregularity is firmware related. I sold my A6 because I got tired of the tuning issue and various bugs.

The A6 is good synth but not necessarily the best. Your mastery of an instrument is what makes any synth the best. All too often we get caught up in chasing the next best thing, though with newer synths like the JP-80 who can resist?
Old 14th September 2012 | Show parent
  #26
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by Don Solaris ➡️
Dude, i was pulling your leg.


This is why an owner with disabled BKG tuning has to auto-tune the machine once a while. Just like an OB-8 or JP-8 owner has to. Otherwise, after a week or two, some of the voices become unusable.
Don:
When you say once in a while what do you mean? Everytime you turn it on you press autotune more than once? I usually do it once after 30 min and maybe a second time after two or three hours.

It is funny but not only It sounds way much better to me but also when I press background tuning off my andromeda stays more in tune. It sounds funny but I have noticed it. Does somebody else has experienced the same?


And Don, when you say the voices become unusable, if you do not autotune they disable? Can you explain this a little more?
Old 14th September 2012 | Show parent
  #27
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Don Solaris ➡️
However, after a few hours, the synth sounds much thicker in polyphonic mode with BKG tuning disabled. That is a FACT.
andromeda's unison can be used for some really cool tricks

turn off bkg tuning, dial up some unison
then set the voice output pan mod source to S&H, mod amount to 100 and offset to -50
Set the S&H speed to lowest, and turn on keytrig
play a chord
random panning of all the voice for sweet width

another cool trick is turning up filter resonance (filter 1 sounds particularely good with this), doing to same thing with S&H, and setting filter 1 mod source as SH and amount to 20-50. Dial up 8+ voices unison and you get formant madness

A neat little trick is simply using feedback + the highpass filter. Try different combinations of filter feedback + resonance for some really, really scary growls

SH trick + other parameters than change timbre + unison = awesome also
Old 14th September 2012 | Show parent
  #28
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🎧 10 years
Quote:
Originally Posted by Fordy ➡️
I have to say the lead is quite a bit off
sorry to say +1
Old 14th September 2012 | Show parent
  #29
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by flat earth ➡️
I think in years to come, the A6 will be as highly regarded as P5 and OBX etc.

Alas, as with any 'newer' synth, there seems to be a huge mental hurdle/stigma for some, that it can't be as good as a vintage matured counterpart.

That is the only obsticle I can honestly see. Perhaps it doesn't have instant 'sweetspot' that for some odd reason people seem to moan about. Its a deep analogue synth that can sound fantastic.
Who was the brains behind the A6? I'm wondering because I think part of the appeal of some older synths has to do with the designers.

Maybe it's better or different in person, but the graphic design and layout is kinda off putting. I saw a mockup somewhere with the panel vertical and even that made a huge difference in appeal to me.

Can someone do a demo or point me to one of it really bugging out? Or at least really sounding like an Andromeda?

When I see the oscillator count it's got more than a Synthex or Poly Evolver, but I never hear it doing anything particularly interesting with all those those voices. Sounding big and analog is one thing, sound with personality (love it or hate it) is another.

Looking at the specs, I'd love to hear the voices running back into itself with things like the pitch shifter, reverb and resonating filters. You got three inputs, come on! heh I bet you could get some ridiculous wet and blurbly percussion.

I mean, on paper it's a polyphonic modular and even bug music sounds okay in harmony or as massive chords. heh

ETA:

Quote:
Originally Posted by gr8ape ➡️
another cool trick is turning up filter resonance (filter 1 sounds particularely good with this), doing to same thing with S&H, and setting filter 1 mod source as SH and amount to 20-50. Dial up 8+ voices unison and you get formant madness
Yeah! Formant madness is the kinda thing I'd like to hear.
Old 14th September 2012
  #30
BM0
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🎧 10 years
Here is another 16 voice analog (well, 8 voice with only one voice board installed), except this one is 1u and not as common as Andromeda. It doesn't have quite as many features as Andromeda, but it is loaded with a huge modulation matrix, aftertouch, ramps, 3x env, etc. The oscillators and filters are a Curtis design (supposedly the same chip design DSI is now using in their products). It was built about 5 years prior to Andromeda though.



MSR-2 audio sample I made:


There is also the ProSynth version of this, which is only 8 voice.
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