Alesis micron setup

You'll be glad to hear Alesis have promised to investigate a means of speeding things up for a future OS revision Generally, operation is made bearable thanks to a succession of shortcuts — and in probably the most useful of these, the keyboard itself is drafted in.

Printed above the white keys are a series of red text labels, 12 of which serve to select program categories with a further 10 designed to drop you neatly into specific edit pages.

It works like this: hold the Programs button plus one of the upper keys — let's say the top 'G' on the keyboard — and right away you're editing the envelope section. Choose the top 'A' instead to edit the LFOs, and so on. Repeatedly pressing the same note jumps quickly through the separate envelopes, LFOs, and so on. Program selection using the shortcut technique is equally nifty. To select a program in for example the brass category, hold the Programs button and the lowest 'B' on the keyboard.

Precise selection of all things brassy is then achieved by turning the Control knob. The keyboard is also employed in a number of other ways, for example when naming patches. With just three assignable knobs on offer, they are going to be used extensively too. Fortunately, the assignment process is really simple: when in the Edit screen of a parameter you wish to assign, push down the Control knob whilst simultaneously turning the x, y or z knobs. That's it! You'll notice that not all parameters can be assigned; in particular, effects settings, such as phaser speed or delay feedback, are excluded.

Once assigned, parameter values are transmitted as MIDI NRPNs Non-Registered Parameter Numbers — see the Ion review for a full explanation and when you touch any of the knobs although not the sliders , a program edit is recognised and the Store button lights up.

Edits remain even after selecting another program, until you begin a new edit. The user interface is rounded off with seven additional buttons to the left of the display.

Of these, Octave select, with plus and minus buttons Tap tempo and Store are easily understood. Latch does exactly what you'd expect, too — it simulates the holding of notes and is ideal for drones or for the permanent looping of arpeggios and bleepy patterns. At this point, I must ask Ion owners not to be jealous, because as I move to describe the final two buttons — Phrase and Accomp — the moment has arrived to explore the Micron's secret identity.

Even with the subtle clues on the panel, you'd hardly expect to find a groovebox without a plethora of dedicated knobs, buttons and flashing lights, would you?

Nevertheless, a scroll through some of the factory Setups the Alesis term for multitimbral arrangements suggests this is exactly the territory that the Micron occupies. You see, as well as an arpeggiator, the Micron features a built-in sequencer and rhythm programmer. As an introduction to pattern creation, the aforementioned Phrase button offers a fast and intuitive means to record musical phrases on the keyboard.

Simply hold it down and as soon as you start playing, your notes — including chords — are captured up to a limit of four bars. If you use the m1 and m2 sliders or the pitch wheel, these movements too are recorded although curiously, not those of the x, y or z knobs.

To finish recording, you simply hit the button again. Now whenever you hit the button, your phrase loops can be transposed via the keyboard.

At this point, a push of the Control knob allows you to select and then edit any of the several hundred factory patterns, alter their length, tweak individual notes, and so on. Each pattern contains a pointer to an associated patch so that when you create new patterns, these can be paired with the most appropriate sounds.

The pattern grid may be non-destructively changed from unquantised to quantised intervals ranging from eight steps per bar to 32 steps per bar with some quirky, shuffle-type intervals along the way.

Although the selection of intervals isn't extensive, there is enough flexibility for most purposes. You can switch freely between arpeggiator and sequencer modes too, with the added bonus that any continuous controllers recorded are still transmitted in the new mode. Sadly there's no way to send only the controllers without accompanying notes but otherwise, the sequencer is hard to fault.

Even with the two-line display, editing individual steps, deleting data and even dragging and dropping notes or whole chords is possible. Rhythms are an alternative way to create non-transposable looping patterns consisting of up to 10 drums, referred to as A-J.

Drums are selected using the rhythm button in conjunction with the keyboard. Each voice has its own level and pan setting, and there are handy shortcuts, including options to send the rhythm to an existing multitimbral setup or to start a new setup. A neat touch is that the looping rhythm can be auditioned at any time by playing any of the lower notes on the keyboard; the individual drums can be played or recorded into the rhythm using the upper keys.

As each percussion voice is selectable from any category — not just drums — you can build up some pretty off-the-wall kits if you wish.

The rhythm grid and lengths are set in the same way as the sequencer, and you soon become familiar with the process of either playing along with the metronome in real-time, or entering notes grid-style via the display. The metronome is a stored pattern, so you can modify this too if you like. The supplied manual describes over Preset programs and 32 multitimbral Setups.

This was clearly inaccurate from a quick trawl through the synth, so I had another look at the Alesis web site and found an updated manual that also addresses several other important omissions. In fact, the Micron offers dynamic memory allocation rather than a fixed set of program numbers. Each time you save a program or a rhythm, the display tells you how much space remains.

In the case of the factory set, there are approximately programs provided, with space for around more. Similarly there are about Setups, over Patterns and Rhythms included, although the space available for more of these is quoted as a percentage. If this seems a little confusing, actually it isn't so bad in reality. Put simply, you can store about Programs, and probably more Setups, Patterns and Rhythms than you'll ever keep track of.

The category system implemented for programs makes a lot of sense in terms of quick retrieval, especially if the sounds you create fall into the preset slots of 'bass', 'lead', 'pad', 'sfx', and so on. The 'All' category gathers together every program in alphabetical order and a special 'recent' category keeps track of patches you played recently, very much like your computer remembers recent documents. Most usefully, 'faves' is an ideal means to gather patches together for a live performance, or simply for quick access.

However, the way categories are implemented means you do not have conventional patch locations to refer to. So if you wish to call up specific patches in Cubase, Logic and the like, this could be an issue. There are underlying bank and program numbers, but these remain unknown until you manually press and hold the relevant Programs, Setups, Patterns or Rhythms button, at which point the display yields the relevant information. You could record the action of program selection into the sequencer, but in order to select sounds from a list, you'd need all this information in advance.

Round the back, the Micron loses one of the Ion's sets of audio outputs, but there are still two inputs, the full set of three MIDI connectors, and provision for connecting expression and sustain pedals. Not bad at all. It shouldn't be too surprising to discover that the factory programs are a varied collection encompassing all that was impressive about the Ion, especially in terms of analogue-type sounds. In fact my only complaint is not with the sounds themselves, but with the seemingly random definition of the x, y and z knobs in many programs.

As knobs are at a premium on the Micron, it's frustrating that these are often defined to control parameters like FM or ring-modulation amount or noise level filter panning is another common alternative. There's nothing for it but to plough through them and reassign each knob to perform more generally useful tasks.

I tended to choose filter or envelope parameters, oscillator waveforms or detune, or portamento amount, for example. Actually, almost anything works better than the choices made for you If the Micron's sounds delight with warm pads, thick basses and biting percussion, it's when you put them all together in multitimbral Setups that a new character begins to emerge.

Perhaps inevitably, this involves a nod in the direction of dance music, but there is also a cross-section of split keyboards, layers and so on. Much of the loop-based stuff is inspiring, and it's both fun and informative to deconstruct the complex patterns, rhythms and keyboard parts.

Setups are organised in alphabetical order with each containing up to 26 parts! Yes, you read that correctly, and yes, this does mean you can quickly exhaust the Micron's eight-note polyphony — especially if you are a layering enthusiast.

But plan things carefully, divide up your programs into zones over the full MIDI range and you gain tremendous flexibility — although you'll be in regular contact with those transpose keys unless you use an external keyboard. Parts are added only as you need them, so there's no scrolling through inactive, unneeded menus.

Each Part refers to a program and optionally, if sequencing is required, a pattern. You can select from the whole range of patterns available or simply pick the one already associated with the Program. Similarly, each part may have a Beat, which is merely a non-transposable rhythm, complete with its own key range, level and effects mix. Parts and Beats may be latched so that they continue to play after you release the keys, and the Accomp key mentioned earlier is provided to turn off all looping patterns and rhythms for the entire setup at a stroke.

As you play each part, you can activate the Latch function independently. The channel number is increased automatically as new parts are created. This means if your base channel is 1 and you exceed 16 parts — as you well might — only the first 16 will be capable of sending or receiving MIDI data. Each part can be set to respond or not to the various performance controllers, and each has its own effects mix for FX1 chorus, flanger, and so on. There's also an overall balance control between FX1 and FX2 reverb, delay.

In details. FM frequency modulation :an oscillator controls the frequency of another with variable depth. Our Verdict " A complicated machine! Synthesis routing system is quite impressive but edit interface and tiny keyboards are awkward.

A LOT of power, trapped in this little silver box. A too soon forgotten machine. Sound quality. Build quality. CONS - deep edit is painful - lacks charm. PROS - cheap now - flexible synthesis. You do not agree with our review? Let us know why in the comment field just below. Akai Miniak - is a Micron repackaging with same engine, but different performance set and vocoder.

Blue Limited edition same machine but different colors. ALESIS Ion bigger with more real-time controls, but essentially the synthesis engine is the same, in fact machines are patch-compatible but FX section, rhythm and patterns.