cross posted ION review

[mildbill]

i got an ion yesterday and did up a quick review on it that i thought i'd post here also for anyone interested:

 

i've been using synths for quite a few years, so i think it's fair to post some impressions after owning it for only one day, so here goes:

 

for the price - this thing is absolutely fabulous - it defines 'bang for the buck'. if you've been hesitating, don't - if you want it get it.

 

it has some features that are absolutely brilliant.

 

here are 2 quick examples.

 

you can program the pitch wheel so that if you play some keys, then release most of them (but use a pedal or program them so that release velocity gives them a long release stage),

then you can use the pitch wheel to bend just the note or notes that you are still holding. (hope that made sense).

works fabulous and i'll never complain about not having poly-pressure again.

 

another very cool feature is listed under 'portamento type'. i've seen people ask for this on other forums and the ION can do it.

you can program it so that for example, you play a low key, then release it and play a high key. you will hear a 'glissando' (playing each key as it goes up the board) at a rate that's determined by the portamento rate. lots of people look for this to emulate harps, guitars, etc., but few keyboards can do it.

 

ok: more, general, immediate stuff.

i've heard complaints about the keyboard, but it feels like any other synth-action keyboard to me and that fact that it has release velocity more than makes up for any light feel.

 

sound: i have a nord lead 2 and was talked out of trading it for the ion after posting here. i'm glad i kept the NL2.

i prefer its overall sound to that of the ion.

especially the 'sync' function for the oscillators. the ion may sound more analog, but i've grown to like the more digital sound of the NL2 and yamahas AN series.

that said, the ion's sync sounds to me more like my virus c's sync - ok, but not great.

 

comb filters - here again, i have a waldorf micro-q, and it's comb filters walk all over the ions, but the ion has many more options, like vocal formants, the very cool 'phase warp' filter, and one called '8ve dual bandpass' that i really like.

 

all the oscillators go thru the same amp, but there is a workaround by using the mod matrix to modulate each osc's 'level' setting if you need it.

 

speaking of the mod matrix - there are 3 pages devoted to listing the source and destination options and 12 slots are available.

there is also a 16 step 'tracking generator' that can be used to 'overlay' upon the modulators.

think of it as a fancy envelope.

for instance, you can program the tracking gen with 16 different values and then lay it on top of the amp 'envelope attack'. then when you play a sound, it can have a complicated 16 stage attack phase.

 

there doesn't seem to be a 'program mode' per se, you are always in 'setup mode', which consists of 4 different sounds which can be individually turned on, selected, overlapped, or split.

you edit individual programs by pressing one of the 4 'slot' buttons to make that program the one that the disply refers to.

 

another cool thing is that all of the midi CC numbers can be used in the mod matrix as sources, so if you have a controller thingie with lots of sliders and whatnot, you can control a lot of stuff all at once - much more so than trying to turn individual knobs.

 

it's got an 'analog drift' type setting which can be set from 0 to 100, but i like the sound better with it turned off.

 

each of the 4 sounds in a setup can have a 'drive' effect (pick from 6 types), which does a good job of dirtying up and boosting the sound, but they all share a 'global effect'. you can set the amount of each sound that goes to the global effect.

the global effects are pretty decent, but not quite strong enough for my taste.

 

the knobs seem to be very sensitive, so much so that if you so much so as lightly brush up against one, the screen will change and you'll wonder how it happened.

 

there is also an OS update which i downloaded and loaded into the ion (after a little futzing around). it fixes aliasing and gives you 3 new filter types.

 

it has a lot of sophisticated envelope triggring options which i haven't explored yet.

 

overall, this synth has something for everyone. if you don't have any synths yet, remember that this one only has 8 voices, so budget for a cheap rompler to get polyphony.

if you've got other stuff, this will probably blend in well with almost anything.

it sounds good and has enough programming options to keep even experts happy for a long time.

for this price, i can't think of anything better.

 

here's how i'd rate it on a 1 to 10 scale:

 

ease of use: 9

sound: 8

programming options: 10

interface: 9

bang for the buck:10

 

i'll be keeping this one for a 'long time'.

 

(ok: i know i've only had it one day, but i'm an 'old hand' at this and can find my way around quickly - fair enough?)

 

addendum: forgot to mention a couple things about build quality.

the center mod wheel (m1), was very stiff, hard to move, but seems to be loosening up.

and, the 'D enable' button requires a very hard press to get a response - i hope this doesn't mean trouble down the road.

[Dave Bryce]

Originally posted by mildbill:

you can program the pitch wheel so that if you play some keys, then release most of them (but use a pedal or program them so that release velocity gives them a long release stage),

then you can use the pitch wheel to bend just the note or notes that you are still holding. (hope that made sense).

Perfect sense. I believe the first synth to implement this feature was the Kurzweil K2000 - it takes the ability to emulate guitar playing to a different level.

 

When I went from Kurzweil to Alesis in '95, I actually tried to get that feature implemented in the QS series because I really missed it, but they never did.

 

dB

[Byrdman]

Originally posted by mildbill:

here are 2 quick examples.

 

you can program the pitch wheel so that if you play some keys, then release most of them (but use a pedal or program them so that release velocity gives them a long release stage),

then you can use the pitch wheel to bend just the note or notes that you are still holding. (hope that made sense).

 

 

Yes, that is cool. So for example I can play C and F#, release the C and bend the F# up to G.

 

 

another very cool feature is listed under 'portamento type'. but few keyboards can do it.

 

 

My QS8 will slide notes between keys (I have no clue how to do this - its in some of the preprogrammed patches) but, AFAIK, only continously in pitch. Will the ION do it diatonically or just chromatically?

 

 

ok: more, general, immediate stuff.

i've heard complaints about the keyboard, but it feels like any other synth-action keyboard to me and that fact that it has release velocity more than makes up for any light feel.

 

 

That's one of my pet peeves. I wonder how well it can be worked from an external keyboard. Don't have anything that will transmit note-off velocity (a lot of synths transmit note on with velocity zero for note off)

 

speaking of the mod matrix - there are 3 pages devoted to listing the source and destination options and 12 slots are available.

 

 

That's nice. Sounds liek its almost like a "real" anolog synth with a bunch of patch cables (or a VCS3 style cross switch panel using push pins - that was a real nice system but I bet gigging one was a nightmare)

 

 

another cool thing is that all of the midi CC numbers can be used in the mod matrix as sources, so if you have a controller thingie with lots of sliders and whatnot, you can control a lot of stuff all at once - much more so than trying to turn individual knobs.

 

 

OK already, I want one. This is cool.

 

 

[mildbill]

When I went from Kurzweil to Alesis in '95, I actually tried to get that feature implemented in the QS series because I really missed it, but they never did.

 

dB

looks like they did now, and i'm glad - it's a very useful feature.

 

BTW: i tried the 2 new comb filters and they're great - almost to the point of being 'radical'.

 

also, forgot to mention (for others), that it does some very good traditional FM, but watch out when you mix both FM and sync, it can degenerate to chaos rather quickly with higher settings (unless you're into that kind of thing).

 

Will the ION do it diatonically or just chromatically?

hey! what do you think i am, some kind of musical genious? no seriously, i havent listened closely enough to tell. i had a korg Z1 a while back where you could pick the interval, but nothing like that on the ion. the interval thing turned out to be not too musically useful anyways, because it was always a fixed interval ( which is OK if it's half or whole steps), but conflicts with most stuff at other intervals.

 

ok byrdman: i gave a close listen and confirmed it in the manual (duh!), it moves in half-steps.

[kad]

Originally posted by Dave Bryce:

Perfect sense. I believe the first synth to implement this feature was the Kurzweil K2000 - it takes the ability to emulate guitar playing to a different level.

Nope - the DX7II did this.

 

Kirk

[RABid]

Originally posted by kad:

Originally posted by Dave Bryce:

Perfect sense. I believe the first synth to implement this feature was the Kurzweil K2000 - it takes the ability to emulate guitar playing to a different level.

Nope - the DX7II did this.

 

Kirk

I was thinking the Chroma also did this. It had a lot of cool tricks that used sustain pedal, such as the ability to play a chord before a song and not have it sound, then during the song you could hit the sustain pedal and the chord would play while both of your hands were busy playing other parts on other keyboards. Very useful back in the days before sequencers were helping out on stage.

 

Robert

[Ski 1642606170]

Bill, congrats on your new toy. I've often thought of you when reading about the Ion, and I thank God that you finally have a synth with release velocity! Now, if only we could get you something with polyphonic aftertouch, the world would be at peace...

[Mike Martin]

I believe the first synth to implement this feature was the Kurzweil K2000 - it takes the ability to emulate guitar playing to a different level.

Several Ensoniq synths did this too.

[r33k]

Originally posted by mildbill:

i got an ion yesterday and did up a quick review on it that i thought i'd post here also for anyone interested:

 

 

the knobs seem to be very sensitive, so much so that if you so much so as lightly brush up against one, the screen will change and you'll wonder how it happened.

 

 

I have observed this problem on IONs that I've demoed in music stores. It's a real annoyance and for me, totally kills the notion of buying one of these machines, no matter how they sound. I've heard others complain about this problem online and I'm wondering how widespread the problem is and what, if anything, Alesis is doing to fix it.

[Dave Bryce]

Originally posted by Mike Martin:

I believe the first synth to implement this feature was the Kurzweil K2000 - it takes the ability to emulate guitar playing to a different level.

Several Ensoniq synths did this too.

Geez. DX7IIFD, Chroma, Ensoniq synths...guess I may have been mistaken. Hey, I did say "I believe..."

 

I probably should've said "The first place I knowingly came across this feature". That would have been more accurate...

 

dB

[RABid]

Originally posted by Michael Erwin:

I have observed this problem on IONs that I've demoed in music stores. It's a real annoyance and for me, totally kills the notion of buying one of these machines, no matter how they sound. I've heard others complain about this problem online and I'm wondering how widespread the problem is and what, if anything, Alesis is doing to fix it.

I remember noticing this the one time I got to try an Ion for a whole 2 minutes in a music store and remember thinking about the Ensoniq MR7's that had the same problem.

 

Originally posted by Dave Bryce:

Geez. DX7IIFD, Chroma, Ensoniq synths...guess I may have been mistaken. Hey, I did say "I believe..."

 

I probably should've said "The first place I knowingly came across this feature". That would have been more accurate...

 

dB

The important thing is that Ion has it. I dont see any other synths listed that have this feature and are still in production. Its nice to see features of playability becoming available again.

 

Robert

[mate stubb]

Originally posted by Michael Erwin:

Originally posted by mildbill:

the knobs seem to be very sensitive, so much so that if you so much so as lightly brush up against one, the screen will change and you'll wonder how it happened.

 

 

I have observed this problem on IONs that I've demoed in music stores. It's a real annoyance and for me, totally kills the notion of buying one of these machines, no matter how they sound. I've heard others complain about this problem online and I'm wondering how widespread the problem is and what, if anything, Alesis is doing to fix it.

If you follow the Yahoo Groups Ion list, you'll know that it is a major problem that lots of people are having. You don't even have to brush the knobs - the display just suddenly jumps to edit a parameter. Apparently Alesis has traced the problem to a bad batch of encoders and has a replacement procedure that involves replacing the two boards that all the encoders are mounted to.

 

This has definitely caused me to delay considering an Ion purchase until they get it sorted out.

[mildbill]

hey Ski: don't forget about that kurz k2600 i have that has release velocity.

it doesn't respond nearly as nice for me as the Ion tho.

for some reason, the Ion fits my playing style exactly. (even with the limited 49 'crappy keys').

 

the kurz can maybe do the pitch bend thing too, i haven't had the time to find out yet - anyone know?

frankly, the 2600 is pretty complicated and time-consuming, but i love its controller capabilities.

 

as for poly-pressure, i really can take it or leave it.

i had an Ensoniq EPS that had it, but i never really used it that much.

a lot of people ask for it, and i think it would be great if manufacturers implemented it if it's not too expensive.

 

as for bending a pitch or 2 in a held chord, the Ion does it just fine.

the polypressure advantage is that you can also assign it to other parameters besides pitch.

 

i had sort of a 'screen jumping' type problem on my EX5R with it's first set of chips.

it would switch oscillators (in the AN section), when you went to a different screen. weird as hell, but new chips fixed it.

 

so far, 'screen jumping' hasn't been a problem for me with the Ion, it just gives it a little 'character/personality'.

 

Micheal Irwin:

here is what is happening from alesis about the screen jump: (first paragraph):

 

http://alesis.com/downloads/software/Ion/Ion_FirmwareHistory.html

[MortenJ]

I do not have any problems with my ION.

[Jeebus]

Originally posted by MortenJ:

I do not have any problems with my ION.

Are you saying that the screen doesn't jump? Alesis quality control can't be that inconsistent that some screens jump and others do not...

[MortenJ]

Yes my Ion has not have any screen jumps even have it on for 24 hours.

I very happy with ION

[marino]

Originally posted by Rabid:

I was thinking the Chroma also did this. It had a lot of cool tricks that used sustain pedal, such as the ability to play a chord before a song and not have it sound, then during the song you could hit the sustain pedal and the chord would play while both of your hands were busy playing other parts on other keyboards. Very useful back in the days before sequencers were helping out on stage.

 

Robert

That's the sostenuto function, a different but very useful feature. I seem to remember to have programmed a few patches on the Chroma, where you could sustain a chord with a pedal, and play both staccato and pitch-bending afterwards, without affecting the sustained notes...

[mildbill]

one other nice little touch i've noticed with the Ion - when you play and hold a sound, then switch to another sound, the original doesn't cut out (it will keep sustaining).

so many other boards give you that chopped-off sound when you switch - very irritating.

[Dave Bryce]

Originally posted by mildbill:

one other nice little touch i've noticed with the Ion - when you play and hold a sound, then switch to another sound, the original doesn't cut out (it will keep sustaining).

so many other boards give you that chopped-off sound when you switch - very irritating.

IIRC, all Alesis synths do that. Patch remain to some, patch preserve to others.

 

I, too, expect synths to do this, and am very dissapointed when they don't.

 

dB

[mildbill]

the knobs seem to be very sensitive, so much so that if you so much so as lightly brush up against one, the screen will change and you'll wonder how it happened.

this quote is from me, further back up the thread.

let me clarify:

i've only had it a few days. i've never actually seen the screen jump to another screen when i wasn't touching the board.

it may have happened, i can't say for sure.

what i can say is that the knobs on my unit are very 'sensitive'.

the response is 'right here/right now'.

if you reach for one knob and accidently touch or even brush another lightly, the screen will change.

now that i know alesis is looking for any units that jump screens, i will watch mine closely and let them know if it does.

 

it could turn out to be simply a matter of giving people time to discover the 'response characteristics' of their new board.

 

also David Bryce: are you still with Alesis?

i'm curious if you know if alesis and oberheim ever collaborated or shared design info.

i've always been an oberheim fan and alesis seems to have incorporated all of the things i liked best about OB and taken them that extra step further. is there anything to this, or is it just a coincidence?

[Dave Bryce]

Originally posted by mildbill:

also David Bryce: are you still with Alesis?

Not for years, Bill - although I did write some of the programs in the Ion, and I do have one.

 

i'm curious if you know if alesis and oberheim ever collaborated or shared design info.

Sort of...Marcus Ryle, who used to work for Oberheim, had a lot to do with a bunch of Alesis product. His hand is in many of the Alesis synths (and the ADAT too).

 

Strangely, Marcus did not really have anything to do with Andromeda, which ended up with a lot of Oberheim-sort of personality (and an SEM-style multi-mode filter) because that's what we all liked

 

i've always been an oberheim fan and alesis seems to have incorporated all of the things i liked best about OB and taken them that extra step further. is there anything to this, or is it just a coincidence?

Well, it was deliberate for a while, that's for sure.

 

I wasn't on Ion's design team, so I can't say for sure why what went where. I'm thinking it's possible that the QS synths and Andromeda may have had a bit of influence over some of the functions, though...

 

dB

[Jeff Klopmeyer]

Originally posted by mildbill:

i'm curious if you know if alesis and oberheim ever collaborated or shared design info.

i've always been an oberheim fan and alesis seems to have incorporated all of the things i liked best about OB and taken them that extra step further. is there anything to this, or is it just a coincidence?

In addition to the Marcus Ryle connection, there were quite a few engineers at both Alesis and Marcus' outside engineering firm (who collaborated on many Alesis products) that were former Oberheim people. Interesting that you saw the connection.

 

- Jeff

[Dave Bryce]

Originally posted by Jeff Da Weasel:

there were quite a few engineers at both Alesis and Marcus' outside engineering firm (who collaborated on many Alesis products) that were former Oberheim people.

Really? Quite a few? I did not know that...who?

 

I mean, Michel at FFD/Line 6, of course, but I didn't know there were others...

 

dB

[mildbill]

a few things made me think about it. i had a matrix 6 for quite a few years, and it had some features i look for, which alesis stuff has.

 

mod matrix - almost impossible to make something today without it, but it used to be rare.

 

ability for the keyboard to send release velocity - a vital factor for any board in my book (the japanese just don't get it).

waldorf, access, alesis and kurzweil are the only boards i know that can do it.

 

the biggest similarity which is a little unusual is the tracking generator - alesis and oberheim are the only places i've seen it.

 

anyways, like i said, i was just curious.

[Dave Bryce]

Originally posted by mildbill:

mod matrix - almost impossible to make something today without it, but it used to be rare.

 

the biggest similarity which is a little unusual is the tracking generator - alesis and oberheim are the only places i've seen it.

Yeah, I believe those are both Oberheim/Marcus related.

 

The QS engine is basically the same as Sound Designer/Sample Cell, which was also a product of Fast Forward Designs. FFD was the name of Marcus' design company before it evolved into Line 6. I'm pretty sure that he TG and mod matrix made it into the Alesis synths as a result of that...

 

dB

[Peake]

There was an ex-Oberheim employee at Alesis who worked in engineering, but I don't remember if there was any work done on the A6..

[Jeff Klopmeyer]

Originally posted by Dave Bryce:

Originally posted by Jeff Da Weasel:

there were quite a few engineers at both Alesis and Marcus' outside engineering firm (who collaborated on many Alesis products) that were former Oberheim people.

Really? Quite a few? I did not know that...who?

 

I mean, Michel at FFD/Line 6, of course, but I didn't know there were others...

 

dB

I know Linda Kodaira (not an engineer but in that dept.) was ex-Obie, and I'm pretty sure a few others in that group were as well. Also, weren't others on the FFD staff (Carole, for example) in addition to Michel also ex-Oberheimers? And I'm think Ralph Goldheim had some connection as well.

 

Memories...misty water-colored memories...

 

- Jeff

[mildbill]

the envelopes, man, that's what i forgot.

 

alesis and oberheim both use the same oddball, unique, multiple methods of envelope triggering.

the only one i can think of that's missing from the ion is the ability to hold a note/chord and then trigger an envelope from a foot switch - maybe they'll implement it someday?

 

sort of a primitive'sync envelope to tempo' function that's completely at the user's control.

 

i don't mean to interrupt your reminiscing, guys,

just noting some observations about a couple of great companies/products.