Alesis MICRON Analog Modeling Synthesizer Review
Well, I am reviewing this synth a few years after it was released, but that ought to give potential buyers a perspective about the synth from 2010 instead of 2006. The price hasn't changed much since I bought mine almost 5 years ago, so given inflation, you'd have to say it's a better value, but the real question is whether it can compete with all the stuff (soft synths included) that have come along since.
The sounds? Very nice, straight ahead synth sounds you can sonically sculpt extensively with a great assortment of filters and patch parameter settings. It has the same sound engine as the Alesis Ion which won raves for the analog sounding quality of it. And naturally the "virtual analog"-ish-ness of this keyboard also sounds really good. Not exactly analog, but close enough and professional enough to easily fill-in for recording and gigging.
This keyboard does a VERY decent job representing the "vintage" category. I'm not sure what decade the reviewer "Soggy Poodle" was referring to, but plenty of folks would consider synth sounds from late 70s and early 80's Rush and Styx "vintage". From that period, synths were still mostly analog, Yamaha's FM piano tones hadn't flooded the recording studios yet, and good ol' filter sweeps were still fashionable (ala "Tom Sawyer"). Could they have been a little more creative with the programming on this keyboard? Sure, but they did a decently representative job with what they did provide. The big selling point for me in programming the thing is the wide variety of filters available. You can really get some cool sounds (I really like the comb filters) but you have to be brave and creative enough to try something other than the LP filters to learn that.
The synth engine only has 8-note polyphony, which unfortunately leaves it a bit limited for playability, but hey...given the smaller keyboard, it was already obviously limited. Any idiot could have looked at the picture and realized you couldn't play both the octave bass and chordal part of "Jump". Despite the limited 8-note polyphony, it also provides at least 8 multitimbral parts. If I remember correctly, you can actually have more parts than 8, but you're still limited by the max 8 notes being played at any one time.
The weird thing about this keyboard is a lot of the programmed sounds seem to lean towards 70's rock and even progressive rock, and though it would easily work for that, given the rhythm sounds and built-in sequencing, it's probably best suited for more modern loop-based techno.
And how does the Micron stand up now after almost 5 years on the market? Hmmm...I'm also a big user of Propellerhead Reason. And currently for about 0 more than the price of the Micron I can buy a new, el-cheapo laptop, Reason 4.0 and make MUCH more music than I could with just the Micron, and much more easily (something I COULDN'T do for so little money almost 5 years ago). So is the Micron still relevant? Because I already have a laptop and Reason, I'm on the verge of saying "no". But for the gigging or recording musician on a budget and looking to fill out the band's sound pallet a bit (and not wanting to worry about a crashing laptop), this would definitely be one to consider.
As for programming the thing, though I hate to admit it, "Soggy Poodle" was right...this thing is a pain to program. It IS very programmable (lots of tweakable parameters and such), but getting to the parameters, despite being able to also use the keyboard for inputting data, isn't so agreeable. If only Alesis had provided programming software with it, and easy linking to a computer, this would be a 5-star product for sound, programmability, and price. But without a less-difficult programming option (like software even), it really drops the overall rating to a 4.
So to summarize: great value of a product with fine quality sounds and extensive programmability that unfortunately isn't so easy to program. Solid for recording and gigging, but less capable than some only-slightly-more-expensive options. Lastly, I think a decent used one would really be the way to go...more competitive cost-wise, but still delivering the goods.
Alesis MICRON Analog Modeling Synthesizer Feature
- Industry-leading Ion analog-modeling sound engine in a compact package
- 8 voices, each with 3 oscillators, 2 multimode filters, 3 envelope generators, 2 LFOs, sample and hold, and tracking generator
- 4 multi-timbral parts
- Programmable step sequencer and arpeggiator
- Dynamic real-time phrase sequencer
Alesis MICRON Analog Modeling Synthesizer Overview
The Alesis Micron is an 8-voice, 3-octave analog modeling synthesizer, proving that big things really can come in small packages. The Micron's rugged, compact design delivers the power of large synthesizers like the Alesis Ion (the Micron is compatible with Ion programs), making it an exceptional and highly-portable tool, that can be used for incredible sonic results, both in the studio and on-stage. The easy-to-use interface makes creating new textures and instruments extremely fast and intuitive, and with a programmable step and phrase sequencer, arpeggiator, and world class effects, there is very little you can't do with a Micron.
Alesis MICRON Analog Modeling Synthesizer Specifications
Offering a virtually limitless sonic palette, the Alesis MICRON eight-voice analog-modeling synthesizer produces a big sound despite its small size. Whether you use a synth to accompany you on stage or in the studio or you prefer to work with the hundreds of preset Alesis sounds or create your own, the MICRON is a great musical companion.
The MICRON may be small in size, but it produces a big sound (see larger image). |
It offers 8 voices, each with 3 oscillators, 2 multimode filters, 3 envelope generators, 2 LFOs, sample and hold, and tracking generator (see larger image). |
The MICRON has two multi-mode filters, three envelope generators, and two LFOs: the full spectrum of synthesis components for shaping and creating sonorities and textures. For stage and studio-ready quality, the MICRON has 24-bit audio outputs and inputs via balanced connections.
Each of the MICRON's voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor: Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole; Band Pass: ob 2-pole, al 6-pole, octave dual, band limit; High Pass: ob 2-pole, op 4-pole; three Vocal Formants, four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute.
Key Features
- Analog modeling synth engine
- Eight voices, each with three oscillators
- Up to eight multi-timbral parts with stereo effects
- Two multimode filters, three envelope generators, two LFOs, sample and hold, tracking generator
- Dynamic real-time and step sequencers, arpeggiator, and drum machine/rhythm sequencer
- Stereo bus effects including reverbs and delays
- 24-bit 1/4-inch balanced stereo analog outputs and inputs
- 37-key synth-action keyboard with velocity sensitivity
- More than 600 preset sounds
Specifications
- Synthesis: analog modeling (subtractive), noise generator, FM
- Polyphony: up to 8 voices
- Timbrality: up to 8 parts
- Oscillators: 3 per voice with continuously variable waveshapes, sync, linear and exponential FM, Ring Mod, routable modulation matrix per voice.
- Filters: 2 multi-mode resonating filters per voice with 16 filter types
- Modulation: 2 LFOs with multiple wave shapes, sample and hold, tracking generator, freely routable modulation matrix per voice
- Effects: 4 drive effects, 1 per part; master effects
- Sequencing: step sequencer, arpeggiator, drum machine/rhythm sequencer, and phrase sequencer
- Program memory: up to 1,000 programs and multi-timbral setups
- Velocity sensitive: Yes
- Keyboard: 37-key, synth action
- External control: MIDI in/out/thru
- Inputs: 2 balanced 1/4-inch TRS, mic
- Outputs: 2 balanced 1/4-inch TRS, 1/4-inch TRS headphone
- Pedal Inputs: Assignable expression pedal, sustain pedal
*** Product Information and Prices Stored: Oct 12, 2010 11:45:03
