Modelled Analogue Synthesizer
Reviews : Keyboard
Less really is more — the
'smaller' name suggests a cut-down follow-up to 2003's Ion synth, but in
fact the Micron includes most of the spec of its predecessor, and has
added effects and a built-in sequencer too.
Original Photos: Mike Cameron
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At the end of my 2003 review of Alesis's Ion, I said
that if a rack version of this synth were to appear, I would find it
hard to resist. However when Alesis forged ahead in their chosen
direction, it was to re-cast the Ion not as a rack unit, but as a
second, even smaller keyboard: the Micron.
In the trimming process, most of the Ion's
expensive, high-resolution knobs have been lost, and its graphical
screen has been replaced by a workmanlike two-line job. But that isn't
the whole story. The Micron features a dedicated effects chip offering
reverb and delay, plus a highly versatile multitimbral mode, a built-in
sequencer and a rhythm programmer. These gains add up to an instrument
with a unique personality. It would be wrong to dismiss the Micron as
merely a budget Ion.
On unpacking the Micron, you are immediately struck by its size. Shaped rather like a packet of chewing gum, this thing is really
small. In fact, if you are habitually saved from gear-buying frenzy due
to lack of space, I'll just innocently mention that its dimensions are
approximately 58 x 20 x 7cm.
The Micron possesses the full synthesis power of the
Ion (and is compatible with Ion patches), so I suggest now is a perfect
time for a refresher courtesy of that Ion review (see SOS September 2003, or head for www.soundonsound.com/sos/sep03/articles/alesision.htm).
Alternatively, check out the 'Micron Sound Engine' box opposite). If
you're now suitably awed, we'll take the obligatory tour around the
Micron's flat red/silver exterior. I'm pleased to report that the Ion's
twin audio inputs have survived intact, although the audio outputs have
(understandably) been reduced to a single stereo pair. Alongside the
three MIDI ports are inputs for a sustain pedal and an assignable
expression pedal. A headphone socket and the connector for the
inevitable external power supply complete the tidy rear panel.
The Micron's three-octave keyboard feels light and
springy, offering velocity and release velocity action, but sadly no
aftertouch. Performance controls are limited to three assignable
360-degree knobs (labelled x, y, and z), a horizontal pitch-bender
(complete with glowing backlighting) and two horizontal assignable
sliders, labelled m1 and m2. The sideways action of the wheel and
sliders takes a little getting used to, but I did warm to them, and they
feel durable enough to withstand plenty of wiggling.
The opaque plastic Control knob is the Micron's
focal point. Around it is a ring of tiny buttons that represent the five
available modes. These are Programs, Setups, Config, Rhythms and
Patterns. When selected, the buttons light up green, the colour changing
to red when you enter Edit mode. Since the Config button is only used
to edit various global settings, it is always red when selected.
You push the Control knob to enter Edit mode,
initiate actions or to navigate to editable fields. Turning the knob
can, according to mode, select patches, scroll through edit pages or
perform value updates. In use — and you're going to use this knob
constantly — it has a slight 'give' and its notched operation is ideal
for fine value adjustments. My only misgiving was that in certain edit
screens, it took way too long to increment values to their extremes. For
example, adjusting a modulation matrix amount from 0 percent right up
to 100 percent took more than 40 full spins, by which time I'd almost
forgotten why I was doing it! 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.
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Should you wish to explore this feature further (and
I'd be disappointed if you didn't), hitting the Patterns button lists
all stored patterns including your newly created phrase (helpfully
allocated the name '* Phrase'). 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.
Pattern lengths range from a quarter of a bar to
four bars and are optimised for 4/4 signatures. 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. Sequences, rhythms and arpeggios are
transmitted over MIDI, although you need to set the Micron to Local Off
mode first.
The supplied manual describes over 500 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 600
programs provided, with space for around 400 more. Similarly there are
about 150 Setups, over 240 Patterns and 300 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 1000 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.
Sounds & Multitimbrality
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.
MIDI channels within a Setup are allocated according
to the base channel defined in the Config menu. 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).
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.
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Effects
As I write this review, the Micron leads the Ion in
its ability to reproduce rhythms and sequences, but I'd say that it's a
safe bet these will be added in a future Ion OS update. However, the
Micron still has one trump card in its hand, provided courtesy of a
dedicated DSP chip, which takes it beyond the scope of the Ion. Rejoice,
because the Micron has 'proper' effects.
If you recall, the Ion included chorus, a flanger, a
vocoder and drive effects, but on the Micron, these are supplemented by
a second processor capable of a selection of three reverbs (hall, plate
and room) or three delays — one mono and two stereo algorithms. The
longest delay time is 680ms, which is halved in stereo operation.
Although this is not over-generous, it's still very welcome. Delays can
be synchronised to the current tempo or can be set absolutely.
The quality of these effects is fine, and although
you can't access their parameters in the modulation matrix or assign
them for knobby control, they add a polished sheen to the Micron right
out of the box. Sure, you probably have a better reverb available in
your studio, but for the gigging musician they could prove invaluable.
Conclusions
Summing up is easy. The Micron sounds fabulous;
rich, lush, powerful, warm... everything you would hope for. Equally, it
can be harsh, dirty or percussive. It is compact, solidly made and has
more programming potential than anything this tiny has a right to. At
the price, it's almost too good to be true.
By including effects and a surprisingly flexible
sequencer/rhythm programmer, the Micron can perform backing-type duties
currently beyond the scope of the Ion. Of course, what you lose compared
to the Ion is obvious at a glance. The Micron's user interface has a
whole range of ingenious shortcuts but these can't replace a bank of
dedicated knobs, especially for lengthy programming sessions. With no
software editor currently in the pipeline from Alesis, it's a comfort to
know you can edit everything using the small display and available
controls.
But then, perhaps you don't care about extensive
editing — not everyone does. In this case, you could download a
shed-load of ready-made Ion sounds from Alesis's web site, make a few
tweaks and away you go.
Ultimately, it's a clear choice. At this end of the
spectrum, the Novation K-Series is the most serious hardware
competition. The Micron scores with its superior 'core' synthesis — ie.
the quality of its analogue modelling, range of filters and modulation
matrix. The Novations score in polyphony, effects, user interface and
keyboard action. Actually, though, in some ways the Micron's biggest
competition could come from the Ion itself. Once you test the sound
quality of the Micron, coughing up the extra wonga for better access may
become too tempting. For the time being, the Micron is tasty, almost as
cheap as chips, and just as fattening!
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