Reference Manual

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Table Of Contents

Introduction...7
Welcome!...7 Unpacking and Inspection.. 8 How to Use This Manual... 8
Important Safety Instructions.9
Important Safety Instructions (English). 9 Safety symbols used in this product..9 Please follow these precautions when using this product:..9 Instructions de Scurit Importantes (French)... 10 Symboles utiliss dans ce produit...10 Veuillez suivre ces prcautions lors de lutilisation de lappareil:...10 Lesen Sie bitte die folgende Sicherheitshinweise (German).. 11 Sicherheit Symbole verwendet in diesem Produkt..11 Folgen Sie bitte diesen Vorkehrungen, wenn dieses Produkt verwendet wird:...11 CE Declaration Of Conformity.. 12 FCC Compliance Statement.. 12
Chapter 1: Connections..13
Connecting AC Power...13 Making Audio Connections...13 Connecting the Foot Pedals...13 Connection Diagram...14

Chapter 2: Overview..15

A Tour of the Front Panel.. 15 The display....15 LED functions...17 Button functions...17 All Notes Off: the [home] button...18 Knob functions....18 Performance controls...18
Chapter 3: Global Parameters..19
What does Global mean?...19 The Global parameters...19 LCD Contrast....19 Keyboard Curve...19 LCD Mode....19 Master Tune...20 Transpose....20 Octave....20 MIDI Sync....20 Tempo Source....21 MIDI Bank Select...21 Mod Wheel 2 CC...21 Exp Pedal CC...21 Exp Pedal Curve...22 Arp Send MIDI...22
Arp Retrigger...22 Analog Drift....23 Last Part Enable...23 P/M Wheel LEDs....23 Pgm Write Protect....23
Chapter 4: Parts and Setups..25
What is a Setup?...25 Programs vs. Parts....25 How the Effects are Shared...25 Storing a Program or Setup...26 Naming a Program or Setup...27 Character chart...28 Sending a Program or Bank via Sys-Ex...29 Special cases...30 Sending One Setup or All Setups via Sys-Ex..31 Sending All Programs and Setups via Sys-Ex.32 Storing and Recalling Setups...32 Compare Mode... 33 Part Parameter Descriptions.. 33 Program Bank....33 Program....33 MIDI Channel....34 MIDI/Local....34 Low Key....34 High Key...34 Out Level....35 Out Balance...35 EFX Level...35 Pan...35 Sust Pedal Enable...36 Exp Pedal Enable...36 Pitch Wheel Enable...36 Mod 1 Wheel Enable....36 Mod 2 Wheel Enable....37 Transpose....37 Octave....37
Chapter 5: Program Parameters..39
How the Ion Makes Sound.. 39 The Oscillators...39 The Pre Filter Mix....39 The Filters...39 The Post Filter Mix...40 Output....40 Signal Flow Diagram...40 Modulation... 41 The LFOs...41 The Envelopes...41 Program Parameter Descriptions.. 42 Voice: the [unison] button...42 Voice [edit]: Unison voices...42 Voice [edit]: Unison detune..42 Voice [edit]: P Wheel mode...43

Table of Contents

Voice: the [porta] button...43 Voice [edit]: Portamento type...43 Voice [edit]: Portamento time...44 Voice [edit]: Portamento trigger...44 Voice: the [mono/poly] button..44 LFO [edit]: Rate...44 LFO [edit]: Sync...45 LFO [edit]: Reset...45 LFO [edit]: M1 to LFOx...46 LFO: the [1] button...46 LFO: the [2] button...46 LFO: the [s&h] button...46 Sample & Hold (S&H).. 47 S&H [edit]: Rate...47 S&H [edit]: Sync...47 S&H [edit]: Input...47 S&H [edit]: Reset...49 S&H [edit]: Smoothing...49 Tempo... 49 Tempo: the [tap] button..49 The Arpeggiator... 50 Arp [edit]: Pattern...50 Arp [edit]: Length...50 Arp [edit]: Octave Range...50 Arp [edit]: Octave Span...51 Arp [edit]: Note Order...51 Arp [edit]: Tempo Multiplier...52 Arp [edit]: Program Tempo...52 Arp: the [on] button...52 Arp: the [latch] button...52 The Oscillators... 53 Osc [edit]: Waveform....53 Osc [edit]: Shape...53 Osc [edit]: Octave...54 Osc [edit]: Pitch Semitone...54 Osc [edit]: Pitch Fine Tune..54 Osc [edit]: Pitch Wheel Range..55 Osc 1 [edit]: FM Level...55 Osc 1 [edit]: FM Type...55 Osc 1 [edit]: FM Config..56 Osc 1 [edit]: Sync Osc...56 Osc 1 [edit]: Sync Type...56 Osc 1: the [osc sync] button...57 The Pre Filter section... 57 Pre Filter Mix [edit]: Osc 1 Level..57 Pre Filter Mix [edit]: Osc 2 Level..57 Pre Filter Mix [edit]: Osc 3 Level..57 Pre Filter Mix [edit]: Ring Mod Level..57 Pre Filter Mix [edit]: External Input Level...58 Pre Filter Mix [edit]: Noise Level..58 Pre Filter Mix [edit]: Osc 1 Balance...58 Pre Filter Mix [edit]: Osc 2 Balance...58 Pre Filter Mix [edit]: Osc 3 Balance...59 Pre Filter Mix [edit]: Ring Mod Balance..59

Helpful tips and advice are highlighted in a shaded box like this.
When something important appears in the manual, an exclamation mark (like the one shown at left) will appear with some explanatory text.
Important Safety Instructions
Important Safety Instructions (English)
Safety symbols used in this product
This symbol alerts the user that there are important operating and maintenance instructions in the literature accompanying this unit.
This symbol warns the user of uninsulated voltage within the unit that can cause dangerous electric shocks.
This symbol warns the user that output connectors contain voltages that can cause dangerous electrical shock.
Please follow these precautions when using this product:
1. 2. 3. 4. 5. 6. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a damp cloth. Do not spray any liquid cleaner onto the faceplate, as this may damage the front panel controls or cause a dangerous condition. 7. Install in accordance with the manufacturer's instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Use only attachments or accessories specified by the manufacturer. 12. Use only with a cart, stand, bracket, or table designed for use with professional audio or music equipment. In any installation, make sure that injury or damage will not result from cables pulling on the apparatus and its mounting. If a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as when the power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. This unit produces heat when operated normally. Operate in a well-ventilated area with at least six inches of clearance from peripheral equipment. 16. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 17. Do not expose the apparatus to dripping or splashing. Do not place objects filled with liquids (flower vases, soft drink cans, coffee cups) on the apparatus. 18. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

CE Declaration Of Conformity
See our website at: http://www.alesis.com

FCC Compliance Statement

This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: -- Reorient or relocate the receiving antenna. -- Increase the separation between the equipment and receiver. -- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. -- Consult the dealer or an experienced radio/TV technician for help.

1 Connections

Connecting AC Power
Before making any power connections, make sure the Ions power switch is turned off. 1. Plug the female end of the power cable into the Ions power socket. 2. Plug the male (plug) end into a properly grounded power outlet.
WARNING: Make sure the outlet is properly grounded. Plugging the Ion into an ungrounded outlet can be hazardous.

Making Audio Connections

There are a couple ways to hook up your Ion synthesizers audio outputs: Stereo. Connect two cables from the Ions left and right outputs to two inputs of an amp or mixer. Headphones. Plug a set of headphones into the headphone jack on the rear panel.

The Global mode parameter tempo source is found on Global mode page 3, Soft button 2.

Overview

The Edit pages Any time a knob is moved or a button is pressed, the Ion enters Edit mode and displays a screen with parameters related to that knob or button. The appearances of the pages can vary quite a bit, but there are some things they have in common: There can be up to three parameters displayed on any page. If the desired parameter does not have a front panel knob, select it using a Soft button and turn the data knob to edit the value. Sometimes there are several pages of parameters related to a given function. You will know this is the case by looking on the bottom line of the page, as in the example below:
The numbers at the bottom of the page tell you how many pages there are, and which page you are on. In the above example, there are five pages available, and you are on page 1. When more than one page is available, you can navigate to the additional pages using the [page ] and [ page] buttons. Note that the arrow in the left corner is grayed out. That means that there are no more pages available in that direction. The Global pages When the [global] button is pressed, the Ion will enter Global mode. There are multiple Global pages, and each contains parameters related to the way the Ion is configured. Select the desired parameter using a Soft button and turn the data knob to edit the value. These settings do not change from one Program or Setup to the next. For a complete description of the Global mode parameters, see Chapter 3. The Mod Matrix pages When the [mod matrix] button is pressed, the Ion will enter Edit mode for the active Program and display parameters related to the Mod Matrix. This is also where the Tracking Generator is found. These are two of the most powerful features of the Ion, allowing flexibility and control over nearly every aspect of the sound. For a complete description of the Mod Matrix and the Tracking Generator, see Chapter 6.
Remember: if there are two or more pages of parameters related to a given function, use the [page ] and [ page] buttons to access the other pages.

Overview LED functions

The Ions front panel has lots of LED lights. They serve many purposes: Two LEDs serve as speed indicators: the rate LED and the tempo LED. The rate LED may blink at a different speed depending on which of three functions has been selected in the LFO section: [lfo 1], [lfo 2], or [s&h]. The mod LEDs indicate that an edit has been made in the Mod Matrix that affects one or more of the parameters in the section where the mod LED is lit. If it isnt obvious at first which parameter is being modded, press the [mod matrix] button and look at the lists of sources and destinations. For more information on the Mod Matrix, see Chapter 6. The loop LED is similar to the mod LEDs in that it indicates that the loop parameter has been activated inside the selected envelope. More information about looping the envelopes can be found on pages 71-72.

Parts and Setups

Inserting and deleting characters using the keyboard The two lowest black keys perform a special function. The Db key will insert a space, taking all letters to the right of and including the vertical column and pushing them to the right. Once a letter exceeds the right-most side, it is erased. The Eb key will delete a space, taking all letters to the right of and including the vertical column and pulling them to the left. Once a letter enters the vertical column, it is erased. The complete cast of characters The following chart includes all of the characters that are available when creating a name.

Character chart

A ! | a B ? ~ b C. ^ c D , : d E + ; e F & f G = 0 g H @ 1 h I $ 2 i J # 3 j K % 4 k L 5 l M ` 6 m N ' 7 n O \ 8 o P / 9 p Q ( q R ) r S < s T > t U { u V } v W X [ ] w x Y _ y Z * z
Parts and Setups Sending a Program or Bank via Sys-Ex
The second page of Store mode contains features related to storing a Program or bank of Programs on an external device via MIDI, such as a computer with a librarian program, a MIDI data filer, or even another Ion. Sending a single Program The first thing to do is press the [store] button above the data knob, if youre not already in Store mode. Next, use the [page ] button to navigate to page 2. Youll see a page that looks like this:
The processes for transmitting Programs and Setups over MIDI are slightly different. We will cover the process for Programs in this section. The process for transmitting Setups is documented on page 31.
The from location over Soft button 1 should be the same as the number of the Program you were editing. The to location must be selected carefully. When you press the [store] button the second time, a little marker is placed in the Program data that tells the Ion to put the Program in the to location when it is sent back via MIDI. This is fine if youre expecting it, but if you arent it can be difficult to find the Program that was sent over. You may not remember what the original location of the Program was when you sent it out. Theres a solution to this dilemma, but well write about that in the section called Special Cases on the next page. We have other things we need to cover first. Be sure the Program number in the from category is the one you want to send out. If it isnt, use the data knob or [select] buttons to select the proper Program. Then use Soft button 2 to select the destination to which your MIDI device will send the Program when it is retransmitted. Once you have selected the source (from) and the destination (to), press the [store] button a second time. The sys-ex data for that Program will be sent out the Ions MIDI jack. Sending an entire Bank The process for sending an entire Bank over MIDI is much the same as sending out a single Program. From page 2 of Store mode, use the [select] buttons or data knob to change the from value until it reaches Program 127 in the current Bank. Then turn the data knob one more value clockwise to the all option. Use the [bank] buttons to select the

Program Parameters S&H [edit]: Reset
The S&H Reset parameter dictates how the Sample & Hold responds when the first key is pressed, and then determines how it will react to overlapping keypresses. For a full description of the Reset parameter, see the LFO [edit]: Rate section on page 45.
S&H [edit]: Smoothing
Page: Soft Button: Range: Default: 1-100% 100%
With Sample & Hold smoothing set to very high values, it is possible that very little or no change may be heard at the destination. If youre not hearing the desired amount of S&H, try increasing the smoothing value.
This parameter governs the abruptness of the shift from the value of one sample to the value of the next. A low smoothing value causes the sample values to change instantly from one value to the next when the new sample is taken. A high smoothing value causes the Sample & Hold to slide from one value to the next.
The tempo knob is command central for anything that may be linked to tempo: the arpeggiator, an LFO, the Sample & Hold generator, or one of the time-based effects such as the rate of a chorus. The most obvious of these is the arpeggiator, so if you would like to see what the tempo knob does, activate the arpeggiator, hold down some notes, and turn the knob. Rotating the knob clockwise speeds up the arpeggiator, and rotating it counter-clockwise will slow the arpeggiator down. A tempo value is stored with each program. Turning the tempo knob calls up arpeggiator Edit page 3 with the program tempo parameter selected. The tempo range is from 50-250 bpm (beats per minute). For more information about the arpeggiator, see the next page.
In a Setup, the program in Part A determines the tempo for all four parts. However, this will not be the case if the Global tempo source parameter is set to Global. In this case, the Tempo will be the same for all Programs and Setups. For more information, see Chapter 3Global Parameters.

Tempo: the [tap] button

The square backlit button under the tempo knob blinks according to the Tempo setting. But it serves as more than a visual metronome: if you tap the button at the desired tempo, it will adjust the Tempo setting to match what you are doing.

Arpeggiators are often heard sending a cascade of notes from a high note to a low note, or from low notes to high notes. It is possible to have this happen without moving your hands, thanks to the Octave Range parameter.
For example, set the Octave Range value to 0, turn on the arpeggiator and hold down three notes. You should hear those three notes being cycled by the arpeggiator. Next, change the Octave Range value to 1. Now you should hear the original three notes followed by the same notes an octave higher. If you change the Octave Range to 2, you will hear the original notes, the same notes one octave higher, and then the same notes another octave higher. Then the cycle will repeat.

Arp [edit]: Octave Span

Page: Soft Button: Range: Default: up, down, centered centered
Note: You will hear no change in the Octave Span parameter unless the Octave Range parameter is set to a value of at least 1 (as detailed in the previous parameter description).
The Octave Span parameter determines whether the extra octaves of arpeggiation that are caused by the Octave Range parameter will sound below the notes that are held, above them, or both. For example, set the Octave Range value to 1, the Octave Span parameter value to up, turn on the arpeggiator and hold down three notes. You should hear those three notes followed by the same notes an octave higher. If you change the Octave Span to down, you will hear the original notes, and then the same notes one octave lower. If you change the Octave Span to centered, you will hear the notes you are holding played one octave lower than the original notes, and then you will hear the notes you are holding, followed by the same notes an octave higher. Then the cycle will repeat.

Arp [edit]: Note Order

Page: Soft Button: Range: Default: forward, reverse, trigger, r-n-r in, r-n-r x, oct jump forward
As if the Arpeggiator werent enough fun already, you can change the direction and other aspects of the arpeggiation to make the results less predictable. Heres a description of each setting: forward The Arpeggiator plays the notes you are holding from the bottom to the top. Once the top note is reached, the arpeggio begins from the bottom again. The Arpeggiator plays the notes you are holding from the top to the bottom. Once the bottom note is reached, the arpeggio begins from the top again. The Arpeggiator keeps track of which notes you played first and plays them back in that order. When the last note has been played, the arpeggio starts again. This stands for rock & roll inclusive. It mixes the forward and reverse settings, playing up and down the notes you are holding and repeating the top note and the bottom note.

reverse

trigger

r-n-r in

r-n-r x This stands for rock & roll exclusive. It also mixes the forward and settings, but with one difference: it plays up and down the notes you are holding without repeating the top note and the bottom note. The Arpeggiator plays the notes you are holding, but plays the first note in two or more octave registers before playing the second note, which it also plays in two or more octave registers, etc.

This section ranks with the oscillators as being the biggest contributor to the sound of the Ion. Even identical oscillator settings will sound radically different as you change the filter types. We have gone to great length to emulate the classic filter sounds of the most famous analog synthesizers. There are 18 choices here, with 17 filter types and a filter bypass choice available: bypass No filter. This setting is useful for previewing the un-filtered signal. mg 4-pole lowpass Modeled on the filter found in the most famous monophonic analog synth ever made. The filter, with a steep cutoff and deep resonance, earned much credit for its fat sound. This filter will self-oscillate at high resonance settings.
ob 2-pole lowpass Modeled on the lowpass output of the multi-mode filter built into a classic synthesizer expander module. ob 2-pole bandpass Modeled on the bandpass output of the ob multi-mode filter. ob 2-pole highpass Modeled on the highpass output of the ob multi-mode filter. rp 4-pole lowpass Modeled on the filter in a very popular semi-modular synth. This filter will clip (distort) when fed a loud input level. tb 3-pole lowpass Modeled on the filter from a little silver bass synthesizer whose sound has become ubiquitous in many styles of electronic music. jp 4-pole lowpass Modeled on the lowpass filter from a popular 8-voice synth noted for its very colorful case and colorful, versatile sound. Compare its sound to the mg or rp filters. 8-pole lowpass Unique to the Ion. 8 poles give this filter an extremely steep cutoff. 8ve dual bandpass Unique to the Ion. Two 2-pole bandpass filters, spaced 1 octave apart. 6-pole bandpass Unique to the Ion. This filter sounds like an exaggerated version of the ob bandpass. phase warp Unique to the Ion. This is based on an analog phaser effect. Eight allpass filters in series create four harmonically related notches in the frequency response. comb filter 1 Unique to the Ion. The comb filter creates multiple resonant peaks and notches that are not harmonically related. comb filter 2 Similar to comb filter 1, but the signal is additionally filtered to reduce the metallic sound.
vocal formant 1 Unique to the Ion. Formant filters are modeled on the human voice. This 3-band (3 bandpass filters) version emulates the ah and oo vowel sounds. vocal formant 2 Unique to the Ion. A 3-band formant filter which emulates the oh and ee vowel sounds. vocal formant 3 Unique to the Ion. A 5-band formant filter based on an idealized model of the vocal tract. band limit Unique to the Ion. A 2-pole highpass filter and a 2-pole lowpass filter in series, limiting the signal to everything in between them. The resonance control adjusts the bandwidth.

Filter [edit]: Frequency

Page: Soft Button: Range: Default: 20 Hz 20 KHz or -4.0 to 4.0 octaves 20 KHz or +4.0 octaves

Env [edit]: Decay Slope

This parameter lets you specify the slope for the decay stage of the envelope. The slopes are similar to those for the attack: a linear slope is a straight line, a +exp slope starts out fast and trails off, like a capacitor, and a exp slope starts out slow and builds up speed as it goes.
Program Parameters Env [edit]: Sustain Level
Page: Soft Button: Range: Default: 0 100% or -100% 100% 100%
Unlike the attack stage, which always brings the envelope level up to 100%, the decay stage can be told to leave the envelope level wherever you like. The Sustain Level parameter lets you specifiy what the level should be as the envelope completes its decay and moves into the sustain stage. You may set this to 100% to make the decay stage flat, or 0% to make the sustain stage flat, but more often youll leave it somewhere in the middle. This allows you to model the dynamics of a note being struck and then ringing out. For the filter and pitch/mod envelopes, this parameter can even be negative. Since the subsequent envelope stages always head back towards zero, a negative sustain level will give you an envelope that zigs high, zags low, and ends up somewhere in the middle. This parameter can also be adjusted by pressing the appropriate envelope button and turning the sust level knob.

Env [edit]: Sustain Time

Page: Soft Button: Range: Default: 0.5 ms 30 sec, hold hold
This parameter determines the length of the sustain stage of the envelope. If you are familiar with analog synths, this paramter may surprise you, since a traditional synth will remain in the sustain stage as long as you have the note held down. The Ion provides this behavior, of coursesimply set this parameter to hold, and your note will be sustained until your finger gets tired. But many physical instruments do not work like this. A piano, for example, exhibits a distinct attack and decay as the hammer strikes the string, but the string does not then ring foreverthe volume slowly diminishes until the string is silent. The Ion allows you to model this behavior by specifying a sustain time. This is the amount of time it takes for the envelope level to drop from the sustain level to zero. Once the envelope has sustained to zero, the envelope has completed and will remain at zero. When the amp envelope has sustained to zero, that means the entire note has completed and will no longer use one of the synths voices. This parameter can also be adjusted by pressing the appropriate envelope button and turning the sust time knob.

Program Parameters m Env [edit]: Release Time
Page: Soft Button: Range: Default: 2.0 ms 30 sec, hold 2.0 ms
This parameter determines the length of the release stage of the envelope. This is the amount of time from when you release a note to when the envelope level reaches zero. The starting level of the release stage is whatever the envelope level was when the note was released. Unless your note has fully sustained to zero and disappeared (or the Freerun parameter is active, as youll see below), releasing a note will immediately move all envelopes to the release stage. Once the amp envelope has gone through its release time, that means the note has completed and will no longer use one of the synths voices. This parameter also can be adjusted by pressing the appropriate envelope button and turning the release knob. A setting of hold means that after the key is released, the envelope will stay at its current level indefinitely. The note will continue to sound until the voice is stolen or the Release Time value is reduced, allowing the sound to fade out.
Env [edit]: Release Slope
Keep in mind that the Release Slope setting affects the slope for both the sustain and release stages.
This parameter lets you specify the slope for both the sustain and the release stages of the envelope. The slopes are similar to those for the attack and decay stages: a linear slope is a straight line, a +exp slope starts out fast and trails off, and a exp slope starts out slow and builds up speed as it goes.
Env [edit]: Keyboard Velocity Track
Page: Soft Button: Range: Default: 100% 0 100%
This parameter determines how much the note velocity, or how hard you hit the key, affects the envelope. When set to zero, the envelope always comes out full-strength, regardless of how lightly you hit the key. When set to 100%, the amplitude of the envelope directly matches the velocity, and very light keystrokes will result in very weak envelopes. Parameter values in the middle scale accordingly. In all cases, a hard keystroke produces a strong envelope; this parameter just lets you choose the envelope strength for weak keystrokes.
Program Parameters Env [edit]: Reset
Page: Soft Button: Range: Default: reset reset, legato
This parameter determines where your envelope starts when you play a note. When set to reset, the envelope always starts from the beginning of the attack stage, no matter what. But when set to legato, if you play a note while holding down another note, the envelope starts from the same position that the held notes envelope. For a program in mono voice mode, this means that playing legato (playing a new note before releasing the previous note) makes the voice transpose to each notes pitch over a continuous envelope, while playing staccato (releasing each note before playing the next one) makes each note attack individually. This behavior allows you a great deal of expressive control as you play. For a program in poly voice mode, all notes will share the same envelope, and this envelope will be reset only if you play a note with no other notes held down. This feature is especially useful with the filter envelope. Not only will it ensure that filter sweeps happen in unison across all of the notes you play, but you can prevent the filter from sweeping at all as long as you have a note held down, so you can keep this effect under your hat until youre ready to bring it out.

Env [edit]: Freerun

Page: 4 Soft Button: 2 Range: release, freerun Default: release This parameter determine the sustaining behavior of the envelope. If set to release, then the envelope transitions from the attack stage to the decay stage to the sustain stage, as long as you are holding the key down. As soon as you take your finger off the key, the envelope will move into

Release mode

Note On Note Off Note On

Freerun mode

the release stage. If this parameter is set to freerun, then there is no sustain stagethe envelope transitions from attack to decay to release. Furthermore, it doesnt matter how long you hold down the key; the envelope always follows this fixed-length pattern. If you are using the
Loop feature of the envelope, this parameter will have further effects on the envelope behavior, and these will be discussed below.

Env [edit]: Loop

Page: Soft Button: Range: Default: off decay, zero, hold, off
Under normal circumstances, youll want your envelope to go straight through its stages, from attack to decay to sustain and/or release. But sometimes, youll want the envelope to loop back on itself and go through some stages more than once. Thats what this parameter is for. When set to decay, the envelope will go through its attack and decay stages like usual, but will then loop back to the beginning of the attack stage. It will continue looping through the attack and decay stages as long as the note is held. If the envelope is in Freerun mode, it will even continue looping after you release the note. You will usually only want to use this configuration with your filter or pitch/mod envelopes; if you set up the amp envelope to loop forever, youll only be able to stop it by playing a lot of other notes at once to steal the voice.

Loop decay: Release mode

Note On Note Off

Loop decay: Freerun mode

Note On
When Loop is set to zero, the envelope will loop through the attack, decay, and sustain stages as long as the note is held down. When the note is released, the envelope will loop through the attack, decay, and release stages. If you set your sustain and release times to different values, this will allow your envelope to have different cycle times depending on whether the note is held down or not. Setting sustain time to Hold will even cause your envelope to start looping only after the note has been released! When Freerun is active, the envelope will skip the sustaining and go straight to the attack, decay, release loop.
Be careful! Setting Loop to zero will always cause your envelope to loop forever, regardless of the Freerun parameter.

Loop zero: Release mode

Loop zero: Freerun mode
When Loop is set to held, the behavior will be identical to zero as long as the note is held down, but when the note is released, the envelope will move to the release stage and finish up. This is the only mode in which an envelope in Freerun mode reponds to a note being released.

Effects 40-Band Vocoder

A vocoder uses two sets of band-pass filters (filter banks) to impart the characteristics of one sound source onto another. The analysis filter bank determines the level of the input at several different frequencies. These levels are used to modulate the output levels of the corresponding frequencies of the synthesis filter bank. The most common use of this is to send a synthesizer signal into the synthesis input and a voice (recorded or live via a microphone) into the analysis input to get a talking synthesizer effect. A. Analysis Sensitivity This adjusts the gain of the input to the analysis filter bank. Range: -100% - +100% B. Sibilance Boost This adjusts the level of a high-pass shelving filter at the input to the analysis filter bank. This will increase or decrease the sibilant frequencies (consonant sounds) to improve intelligibility or change the tonality of the vocoder. Range: -100% - +100% C. Decay This adjusts how quickly the synthesis filters will react to the input signal. A faster response (lower setting) will usually be more intelligible, but slower decay times (higher setting) can be more musical. Range: 0 - 100% D. Band Shift This shifts the frequencies of the Synthesis filter bank, relative to the analysis filters. The result is a pseudo pitch-shift effect. Range: -100% - +100% E. Synthesis Signal This selects which signal is sent to the synthesis filter bank. Range: Effects Send, Aux Bus, Ext In Left, Ext In Stereo F. Analysis Signal This selects which signal is sent to the analysis filter bank. Range: Effects Send, Aux Bus, Ext In Right, Ext In Stereo G. Analysis Mix This adjusts how much of the analysis signal is mixed into the output. Range: 0 - 100%

Effects

What is MIDI?
MIDI is the communication standard for electronic musical instruments. You can use MIDI to: Record what you play on your Ion synthesizer into a sequencer or computer. Play back sequences from a sequencer or computer on your Ion. Store and recall Programs and Setups on a computer. Use a computer to edit your Ions sounds. Use your Ion to control another synthesizer or sound module. Use another keyboard to play your Ions sounds. Some examples of MIDI devices besides your Ion synthesizer include keyboard controllers, sound modules, drum machines, sequencers, and computers with MIDI interfaces.

MIDI Connections

The Ion has three MIDI connectors: [MIDI IN] is for receiving MIDI information from another MIDI device. [MIDI OUT] is for sending MIDI information to another device. Depending on your settings, the data from this port can originate from the Ion itself or simply be echoed from the [MIDI IN] port. [MIDI THRU] echoes whatever is received on the [MIDI IN] port. Here are four typical MIDI setups for your Ion, and the appropriate connections for each of them: Controller. With this setup, you can use your Ion to play another MIDI instrument (synthesizer, sound module, drum machine etc.). Connect a MIDI cable from the Ions [MIDI OUT] jack to the MIDI IN of the device you want to control.

Connecting the Foot Pedals
The Micron has two pedal jacks marked (sustain) and (expr). Plug a sustain pedal (not included) into the jack marked (sustain). (sustain) is designed to work with any standard momentary footswitch. It doesnt matter whether the footswitch is normally open or closed, as long as you plug it in before powering up your Micron; the instrument will calibrate itself. (expr) is designed to work with a Roland EV-5 pedal or equivalent.
NOTE: If your sustain pedal response is backward (i.e., notes sustain when your foot is off the pedal), turn off your Micron and make sure the footswitch plug is fully inserted into the (sustain) jack. Then, turn the Micron back on while keeping your foot off the footswitch.

Connections

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2 First Session

A Tour of the Micron
In this session, well: Explore the Microns top panel Define some key concepts. Play some of the Microns basic sounds (called programs). Learn different ways to navigate the Microns programs. Explore the built-in patterns. Capture and play back some phrases. Explore the Microns drum sounds and play some rhythms. Explore the Microns setups. Setups are where programs, patterns, rhythms, and more all come together in powerful, flexible combinations.

The Microns top panel

Volume
The (volume) knob on the far left-hand side of the Micron raises and lowers the volume. If you dont hear anything as you play the Micron, suspect the (volume) knobs setting.

Real-time controllers

The (m1) and (m2) sliders, (pitch) wheel, and (x/y/z knobs), located on the left half of the Micron, provide real-time control of the Microns sounds.

First Session

Performance buttons
The buttons in this cluster switch octaves, set the tempo, and perform other performance-related functions.

Display

Information relevant to the current operation is shown here.

Control knob circle

These are the Microns most important controls the control knob and the buttons that surround it. Pressing one of these buttons [programs], [setups], [config], [patterns], or [rhythms] puts you into one of the Microns primary modes of operation. Turning the control knob then cycles through options. Pressing the control knob allows for editing.

Key concepts

Here are the Microns most important concepts:

Programs

Programs are the Microns sounds, built from its oscillators, envelopes, filters, modulation matrix, and other analog-style components.

Rhythms

Rhythms are combinations of drum programs with patterns. Think of a drum machine with its interchangeable sounds and patterns. Thats pretty close to what rhythms are.

Patterns

Patterns are repeating melodic and/or rhythmic motifs. Arpeggios and step sequences are examples of patterns.

To play a rhythm Press and hold any key from the bottom of the keyboard up to the middle G#. (These are the keys labeled from recent through all.) To play a rhythms individual drum sound Press one of the white keys from middle A (labeled voice) upward. The keyboards middle A corresponds to the rhythms Drum A. The next higher note, B (labeled osc), corresponds to Drum B. Proceeding higher, drums C, D, E, etc. are triggered. Any keys higher than the rhythms highest note will do nothing. To play a rhythm hands free Press any key from middle G# down on the keyboard. While holding down that key, press [latch] to keep the rhythm going. Press [latch] a second time to stop the rhythm. To change the tempo Tap the [tap] button a few times, or hold down [tap] and turn the control knob. To change to a different rhythm Turn the control knob to change the rhythm. The newly selected rhythm will begin to play once the last rhythm reaches the end of its cycle. (To make the newly selected rhythm begin playing immediately, press any key from all downward.).
Each rhythms sounds, relative sound levels, left/right panning, rhythmic patterns, time signature, duration, quantization, and name can be edited. (Well leave the editing for a later chapter.)

Explore the Setups

Press [setups] to explore this mode the most sophisticated mode of the Micron. Setups combine the following elements: Multiple Programs. Multiple Patterns. Multiple Rhythms. Splits (like placing a rhythm on the left side of the keyboard, a bass program in the middle, and a lead program up top). Latch on/off settings. Semitone transpositions. Level and left/right panning. Effects settings. Controller assignments. Once youve mastered setups, youve mastered the Micron! In this first session though, simply press the [setups] button, twirl the control knob a few times, and listen to the various presets. Be sure to play throughout the keyboard range to experience the various splits, layers, and rhythm triggers. These presets will give you a good sense for some of the different possibilities you can create on your own.

Record Some Phrases

You don't have to be in Patterns mode to create a pattern. At any time, the Micron can capture your playing and use it as a pattern. Press [programs] to enter Programs mode. Hold down the [phrase] button and start playing a riff. As soon as you hit the first note, the [phrase] button will start flashing, indicating that it is recording what you play. You can release the [phrase] button any time after youve played that first note. When you are done playing the phrase, press the [phrase] button again. The button will light, indicating that the Micron is ready to play your phrase back. Press any key, and youll hear your phrase loop to the tempo. You can press the [phrase] button to turn phrase playback on or off. To record a different phrase, just hold down the button and start playing. In Setups mode, it gets a little more complicated, since each part can have its own phrase. But the basic idea is the same -- hold down the [phrase] button and start playing. Whatever part or parts you play on will get their own phrases. To record a phrase and clear all of the other phrases, hold down [phrase] and start recording when the button is unlit. To add the phrase to the existing phrases, start recording when the button is already lit. A phrase is stored as a pattern named * Phrase, which appears near the beginning of the patterns list. If you record a phrase that you really like and want to keep, simply find the * Phrase pattern and give it a new name. You will see how to do that in later chapters.

Connect External Instruments
You can connect external audio sources other synthesizers, mixers, guitars, etc. using the -inch (audio in) jacks on the back of the Micron. The jacks accept either balanced or unbalanced cables. Your external audio can be blended in with the Microns internal sound-producing oscillators. The resulting combination is then sent through the Microns filters and effects. Use both jacks for stereo input. Use the (left) jack for mono-only sources (in which case the input will be sent to both the left and right channels). A special group of programs including vocoder programs exists just for use with the external inputs. These programs begin with * and are accessible at the beginning of the sfx Program category.
See page 65 to learn about the Microns filter parameters.
Weve covered a lot of material. Hopefully now you feel comfortable navigating around the Micron. Future chapters will cover editing, MIDI, and other more advanced features. But if you want to throw this manual on the fire now and simply enjoy playing your Micron, no one will blame you. Youve got the basics well at hand.

3 Patterns

Playing Patterns
Patterns are repeated melodic figures that you trigger from the keyboard. Press [patterns] near the control knob. To cycle through different patterns, turn the control knob. The pattern will change, with the current pattern name shown in the display. The pattern continues playing as long as you hold down the key. Pattern options:

Using [latch]

Press [latch] to keep the tempo steady as you shift between notes. Press [latch] again to stop the pattern from playing.

Using [tap]

Tap the [tap] button to increase or decrease the speed of the pattern. To adjust the tempo with finer control, hold down [tap] and turn the control knob. The display will indicate the precise tempo.
Pattern Types: Arpeggios and Sequences
A pattern can be set to one of two types: arpeggio or sequence. Arpeggios and sequences both respond to a keypress by playing a series of notes over a programmed rhythmic pattern. The difference lies in which notes they play. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the Micron will generate a melody by playing each note of your chord individually. A sequence, on the other hand, already has a melody line built in. So, all you have to do is hold down a single key, and the Micron will play back that melody relative to that key. Pressing another key will transpose the sequence. A pattern can easily be switched from an arpeggio to a sequence, and vice-versa. The underlying rhythmic pattern is kept the same - all that changes is whether the pattern plays the notes you hold down or the notes it was recorded with. If the distinction is unclear, choose your favorite pattern, toggle its type parameter between arpeggio and sequence (see page 24), and try playing it both ways.

Controllers and step editing Remember that controller movements are recorded while a note is held down. So, it is perfectly possible to record a pitch bend while step editing; just play the note and turn the pitch wheel.
Removing multiple notes To remove multiple notes at once, place the cursor at the right-most note you want to remove. Then press down on the control knob and turn it all the way to the left before releasing it.
d. Editing velocity Place the cursor under the note that you want to edit and press the control knob. Turn the control knob to increase or decrease the velocity. You can remove the note by turning the velocity down to zero. While you're editing velocity, you can play any key to hear what the note sounds like at that velocity. Note: Though the duration of the note is displayed in this screen, it cannot be edited here. e. Editing duration. To edit the duration of a note, move the cursor to it and play the note with the duration you desire. The duration value cannot be edited directly, but a rough indication of the duration can be seen on the upper right side of the display.
Gauging note velocity and duration on the display As you place the cursor under each note, the top right side of the display will change. Higher velocities are illustrated with higher bars. Longer note lengths are illustrated with thicker bars. Notes can overlap one another, but that overlap is not visible on the display.

12. Clear controllers?

Press the control knob to erase all slider, pitch wheel, and knob movements from the pattern, but keep the notes. This is handy if you recorded some controller movements that you're unhappy with, and want to try another take without starting the pattern from scratch.

13. Clear pattern?

Press the control knob to erase all notes and controller movements from the pattern, but keep the basic pattern parameters. To quickly jump to this option, hold down the [patterns] button and press the highest note on the keyboard.

14. Pattern name

Since patterns are listed alphabetically, creative naming can help you move smoothly from one pattern to another. Turn the control knob to select a position (1 14) to edit. Then press the control knob to edit that position. Edit either by turning the control knob or pressing notes on the keyboard.

8. Add?

After the last drum, you will be prompted with Add? Press the control knob to add a drum. It will be given the next available letter.

9. Clear rhythm?

Press the control knob to erase all notes and controller movements from the rhythm, but keep the basic rhythm parameters. To quickly jump to this option, hold down the [rhythms] button and press the highest note on the keyboard.

10. Rhythm name

Since rhythms are listed alphabetically, creative naming can help you move smoothly from one rhythm to another. Turn the control knob to select a position (1 14) to edit. Then press the control knob to edit that position. Edit either by turning the control knob or pressing notes on the keyboard.

11. Send MIDI sysex?

Choose this option to send the rhythm to a computer or other MIDI storage device using the Microns (MIDI OUT) port. This allows you to back up your rhythms to your computer, or share them with your friends or over the internet. See page 95 for details on what Sysex is and how to use it.

12. Send syx bundle?

Choose this option to send both the rhythm and its program to a computer or other MIDI storage device using the Microns (MIDI OUT) port.

13. Delete rhythm?

Delete the rhythm using this function, if desired. You will be prompted to confirm this action.

14. Store a copy?

Unlike many synths, the Micron does not have fixed banks of programs, patterns, and so on, each with a predetermined number of storage locations. Instead, you may freely create and delete rhythms at any time, just as you would on a computer. Store a copy? is how you create a new rhythm. This option creates a brand new copy of the current rhythm, differing only in name. Now, when you make changes and hit the [store] button, you will be storing to this new copy. Whenever you want to start a new rhythm from scratch, you will have to find an existing rhythm to base it off of, and then store a copy. Don't forget to store a copy, or you might accidentally overwrite the original pattern.
Be sure to press the [store] button after youre satisfied with your changes. Otherwise, your changes will be lost when the Micron is turned off. However, keep in mind that you don't lose any changes when you switch to other modes, so feel free to browse through programs or setups without storing your rhythm. Additionally, if you play a setup that uses the current rhythm, you'll hear your edited version, even without storing. This is a great way of checking how your edits sound in the context of a setup, without having to commit to them. You can even play other rhythms without losing your edits. Just hit the [rhythms] button and turn the control knob. You can always come back to your edited rhythm, just as you left it. The Micron doesn't discard your edits until you start editing a different rhythm.

Finally, youll see the clear, name, delete, MIDI SysEx, and copy screens.
Switching amongst parts and beats To quickly switch between the parts and beats in a setup, hold down the [setups] button and press a white key on the right side of the keyboard. Parts start at the A above middle C, and beats start at the A above that. For example, if you are editing part A level, hold down [setups] and press the B above middle C to jump to part B level. If you get lost in your setup and can't remember which part is which, try holding down [setups] and running your fingers across the right side of the keyboard.

1. Parts

Each part has the following editable parameters: a. Program You can make the program dependent on this parts pattern, shown on the Micron as (patterns pgm). If you do so, the setup will change programs automatically as the setup is changed. Alternately, you can specify that the part use a particular program. To use the patterns program, spin the control knob all the way to the left, or else press the control knob twice in quick succession (double-click). To specify another program, twist the control knob to find the program you want. (To jump to a category, hold down the [setups] button and press one of the lower white keys.) Another way of setting the parts program is to bring it over from Programs mode. Press [programs] to enter Programs mode, and find the program that you want. Then, hold down [programs] and press [setups], and the parts program will be set. This works in the other direction as well -- hold down [setups] and press [programs] to bring the parts program over to Programs mode, perhaps for some quick editing. Press the control knob again to accept your selection. b. Pattern Select the pattern to be used in this part If you dont want to use a pattern, turn the control knob all the way to the left (or double-click) to select none. As with programs, you can also set the pattern by bringing it over from Patterns mode. Press [patterns] to enter Patterns mode, and find the pattern that you want. Then, hold down [patterns] and press [setups], and the parts pattern will be set. This works in the other direction as well -- hold down [setups] and press [patterns] to bring the parts pattern over to Patterns mode.

5. Add?

After turning the control knob past all of the current beats, you will be able to add a beat. At the add screen, push the control knob to add a new beat. Note that adding beats using the add feature always adds them after the last beat. To insert a beat in between others, use the split or layer functions from within the beat editing screens.

6. FX Type

Choose an effect to apply to the setup, or turn the control knob all the way to the left (or double-click the control knob) to bypass the effects. If you do choose an effect, the editable parameters associated with that effect will be shown in subsequent screens. Each part and beat has an FX mix parameter to control how much of its sound is passed through the master effects section. If a part or beat is set to 100% dry, it is unaffected by the setups effects

7. Clear

Choose clear to remove all of the parts and beats from the setup but to retain the setups name.

8. Setup name

Since setups are listed alphabetically, creative naming can help you move smoothly from one setup to another. Turn the control knob to select a position (1 14) to edit. Then press the control knob to edit that position. Edit either by turning the control knob or pressing notes on the keyboard.

9. Send MIDI sysex?

Choose this option to send the setup to a computer or other MIDI storage device using the Microns (MIDI OUT) port. This allows you to back up your setups to your computer, or share them with your friends or over the internet. See page 95 for details on what Sysex is and how to use it.

10. Send syx bundle?

Choose this option to send both the setup and its program, patterns, and rhythms to a computer or other MIDI storage device using the Microns (MIDI OUT) port.

11. Delete setup?

Delete the setup using this function, if desired. You will be prompted to confirm this action.

12. Store a copy?

Unlike many synths, the Micron does not have fixed banks of programs, patterns, and so on, each with a predetermined number of storage locations. Instead, you may freely create and delete setups at any time, just as you would on a computer. Store a copy? is how you create a new setup. This option creates a brand new copy of the current setup, differing only in name. Now, when you make changes and hit the [store] button, you will be storing to this new copy. Whenever you want to start a new setup from scratch, you will have to find an existing setup to base it off of, and then store a copy. Don't forget to store a copy, or you might accidentally overwrite the original setup.
Be sure to press the [store] button after youre satisfied with your changes. Otherwise, your changes will be lost when the Micron is turned off. However, keep in mind that you don't lose any changes when you switch to other modes, so feel free to browse through programs or rhythms without storing your setup. You can even play other setups without losing your edits. Just hit the [setups] button and turn the control knob. You can always come back to your edited setup, just as you left it. The Micron doesn't discard your edits until you start editing a different setup.

Portamento Set the amount of glide between notes: off No portamento. legato only Portamento will occur only if you play a second key before lifting up the first key. always Portamento will occur even if there is no overlap between the lifting of one key and the playing of another. PortaType Set the type of portamento: fixed No matter how far apart the two keys are, it takes the same amount of time to travel between them. The PortaTime parameter determines this amount of time. scaled With this setting, the PortaTime parameter determines the amount of time it takes to glide a distance of one octave. gliss fixed Identical to fixed, but with the glide stepping chromatically (C, C#, D, D#, etc.) rather than smoothly. gliss scaled Identical to scaled, but with the glide stepping chromatically (C, C#, D, D#, etc.) rather than smoothly. PortaTime Set the base time for portamento to slide from note to note.
Pitch Wheel When set to bend all notes, moving the pitch wheel will bend the pitch of all voices that are sounding, even if they are being sustained by the (sust pedal) or are in their release stage. When this parameter is set to bend held notes, only voices for which the keys are still depressed will allow their pitch to be bent by the pitch wheel. AnlgDrft Set the amount of simulated analog drift, up to 100%. Analog synthesizers have circuits that drift out of tune over time. Adding a touch of drift can increase the realism of the Microns analog emulation.
Osc Sync Set how the oscillators synchronize to one another. off The oscillators sound independent of one another. hard 2 to 1 Hard sync resets oscillator 2 to the beginning of its waveform whenever oscillator 1 hits the beginning of its waveform. This has the effect of forcing oscillator 1s fundamental frequency onto oscillator 2. This behavior is called hard sync because the slave waveform is snapped to zero at the frequency of the master oscillator, which can create a harsh, rough sound even out of sine waves. hard 2+3 to 1 Oscillators 2 and 3 are forced to hard sync to oscillator 1. soft 2 to 1 Every time oscillator 1 begins its cycle, oscillator 2 reverses direction. The resulting wave has no sharp edges, as it does with hard sync, but exhibits a mixture of harmonics that can have interesting sonic properties. soft 2+3 to 1 Oscillators 2 and 3 are forced to soft sync to oscillator 1.

7. Pre-filter mix parameters
Before the sound sources are sent to the filters, they are mixed together. Use the pre-filter mix parameters to set the levels for each of the oscillators, the ring modulation, noise, and external sources. Also set the amounts of each of these sources to be sent to filter 1 (f1) and filter 2 (f2) Also set the noise type to white or pink. White noise has the same amount of energy across all frequencies, sounding like hiss. Since there are so many more frequencies higher (in the treble range) than there are lower (in the bass range), white noise sounds trebly. Pink noise, on the other hand, progressively reduces the energy of the higher frequencies to provide an even sound across the frequency spectrum. Where white noise sounds like hiss, pink noise sounds like a roar or ocean wave. White noise has a sharp sound which makes it especially good for percussive effects, whereas the frequency characteristics of pink noise are more soothing and pleasant to the human ear.
Quick access to editing To jump to the pre-filter mix category, hold down the [programs] button and press the key labeled premix.

8. Filter parameters

Each of the two filters has the following editable parameters: Type Choose from a collection of classic and modern filter types. Freq (Frequency) Dial in the frequency at which the filter begins to operate. Res (Resonance) Add a boost at the current filter frequency. Very high resonance settings can cause certain filter types to whistle, or self-oscillate. Keytrk (Key tracking) Set whether the filter frequency rises and falls to match the keys you play or stays constant regardless of the keys you play. A setting of 0 means the filter frequency will remain constant across the keyboard. If the key track parameter is set to +100, the filter tracks the keyboard perfectly, and with enough resonance, can be played as if it were an oscillator. Negative settings mean the filter will grow darker as higher notes are played. EnvAmt (Envelope Amount) Set the degree to which the filter frequency will be affected by the filter envelope. A negative setting inverts the envelope. Additionally, filter 2 has the following parameter: Offset Absolute The value assigned for filter 2s frequency setting is applied normally. Offset The value assigned for filter 2s frequency is locked into a relative position with filter 1s frequency. Filter 2s frequency automatically rises and falls in step with filter 1s frequency.
Quick access to editing To jump to the filter category, hold down the [programs] button and press the key labeled filter.
Mapping the (x/y/z) knobs Remember, any parameter may be mapped to the x, y, or z knobs. When the parameter is on the screen, simply hold down the control knob and wiggle the knob that you want to map to.

P/M Env Sust Level P/M Env Release Effects Level Effects Mix Effects Parameter A Effects Parameter B Effects Parameter C Effects Parameter D arameters

16. Category

Place the program in one of the Microns pre-defined categories.

17. Program name

Since programs are listed alphabetically, creative naming can help you move smoothly from one program to another. Turn the control knob to select a position (1 14) to edit. Then press the control knob to edit that position. Edit either by turning the control knob or pressing notes on the keyboard.

18. Delete?

Delete the program using this function, if desired.

19. Send MIDI sysex?

20. Store a copy?
Unlike many synths, the Micron does not have fixed banks of programs, patterns, and so on, each with a predetermined number of storage locations. Instead, you may freely create and delete programs at any time, just as you would on a computer. Store a copy? is how you create a new program. This option creates a brand new copy of the current program, differing only in name. Now, when you make changes and hit the [store] button, you will be storing to this new copy. Whenever you want to start a new program from scratch, you will have to find an existing program to base it off of, and then store a copy. Don't forget to store a copy, or you might accidentally overwrite the original program.
Be sure to press the [store] button after youre satisfied with your changes. Otherwise, your changes will be lost when the Micron is turned off. However, keep in mind that you don't lose any changes when you switch to other modes, so feel free to browse through patterns or setups without storing your program. Additionally, if you play a setup that uses the current program, you'll hear your edited version, even without storing. This is a great way of checking how your edits sound in the context of a setup, without having to commit to them. You can even play other programs without losing your edits. Just hit the [programs] button and turn the control knob. You can always come back to your edited program, just as you left it. The Micron doesn't discard your edits until you start editing a different program.

Exiting program editing

You can exit program editing at any time. Simply press any of the buttons encircling the control knob, including the [programs] button a second time.

PITCH LFO DRUM 7 CHANNEL 7

Pure Stereo BANK: USER

BANK COMPARE PROGRAM

MOD 1 DRUM 1 CHANNEL 1

MOD 2 DRUM 2 CHANNEL 2

MOD 3 DRUM 3 CHANNEL 3

MOD 4 DRUM 4 CHANNEL 4

MOD 5 DRUM 5 CHANNEL 5

MOD 6 DRUM 6 CHANNEL 6
FILTER LFO DRUM 8 CHANNEL 8

AMP LFO DRUM 9 CHANNEL 9

TRACK GEN DRUM 10 CHANNEL 10
SEQ SELECT KEYBOARD SOUND DRUM SOUND MIX

TRANSPOSE

MODULATION VOLUME FILTER DELAY ENVELOPE

EDIT VALUE REVERB

64 VOICE EXPANDABLE SYNTHESIZER
Slave with pass-through. This setup allows MIDI signals to pass through the Micron so they may reach multiple units. This allows one MIDI device to control several. Attach a cable from the MIDI OUT of the first device to the (MIDI IN) jack of the Micron; and then attach another cable from the Microns (MIDI THRU) jack to the MIDI IN of the third device.

THRU IN Sound Module

Sequencing. This setup allows you to use your Micron with a MIDI sequencer or a computer with a MIDI interface. Attach one MIDI cable from the MIDI OUT of the sequencer or computer to the (MIDI IN) jack of the Micron. Attach another cable from the Microns (MIDI OUT) jack to the MIDI IN of the sequencer or computer. For this setup, switch the Microns Local Control setting to OFF (in the [config] settings).

Computer OUT IN

Saving Programs, Setups, Rhythms, and Patterns via MIDI System Exclusive
The Micron lets you transmit Programs, Setups, Rhythms, and Patterns to an external device (such as a computer, sequencer, storage device, or another Micron synthesizer) via MIDI. MIDI devices use a protocol called System Exclusive messaging (Sysex for short) for transmitting and receiving these communications. Use the Send Sysex and Send SysEx Bundle commands from within the [programs], [setups], [rhythms], or [patterns] modes to send this information. To save a SysEx on your computer, you can typically start your sequencer recording, send the SysEx from the Micron, and then save the MIDI file in your sequencer. Your sequencer may also have features for receiving and storing a "SysEx dump" directly. Consult your sequencer's reference manual
NOTE: Some computers are not fast enough to transmit MIDI SysEx data properly. If you are experiencing problems, try adjusting the settings in your MIDI software. Some programs allow you to slow down the transmit rate so the computer hardware can keep up with the software.
Loading Programs, Rhythms, Patterns, and Setups via MIDI
The Micron doesnt need to be in a special mode to receive MIDI SysEx information. Simply connect a MIDI cable from the MIDI out jack of your MIDI player to the (MIDI IN) port of your Micron and start the SysEx dump on your MIDI storage device or computer. If everything is working properly, the Micron display display will read "Receiving." and the program, setup, pattern, or rhythm will be loaded.

For more effective service and product update notices, please register your Ion online at: http://www.alesis.com/ support/warranty.htm

Warranty/Contact Alesis

made only by a duly authorized Alesis service representative in the country of sale. For warranty information in all other countries please refer to your local distributor.
Alesis Contact Information
Alesis Distribution, LLC Los Angeles, USA E-mail: Website: support@alesis.com http://www.alesis.com
Alesis Micron Reference Manual Revision 1.0 by Fred Morgenstern, Bret Victor, and Randy Lee. Copyright 2004, Alesis Distribution, LLC. All rights reserved Reproduction in whole or in part is prohibited. Micron is a trademark of Alesis Distribution, LLC. Specifications subject to change without notice. 7-51-0166-A 06/14/2004