Overview:
I love the fact that it was out of tune the first time I played it
(until I auto tuned it, of course), driving home the concept that yes
this is indeed true analog front to back! I blew through some presets
(love those classic synth sounds), played with the analog sequencer and
arpeggiator a bit, and started tweaking sounds. I actually read the
manual cover to cover (a first, I think) and was blown away by the depth
and flexibility available for programming sounds (this synth is much
more than repackaged old technology). The front panel is logically laid
out and allows for anyone with little analog/subtractive synth
background to jump right in to tweaking sounds.
I like the overall sound and character of the Andromeda, but it initially seemed to lack a well defined bottom end. However, I did find several sounds with great low end (particularly "Series 900", "70's lead", and several other basses and leads). I originally assumed they received their phatness from being detuned and stacked in mono mode, but was surprised that they actually only used one or two voices, not all 16. Switching to poly mode didn't reduce their phatness, but did create sound that was a bit overpowering (no surprise). So, I assume the mono setting was merely for playing technique, and the other, more midrangy presets were designed to show off the sequencer and arpeggiator (and not swamp your mix). BTW, I could enjoy the bass a little more if Alesis hadn't dropped the S1 Active sub ... wink wink, nudge nudge, Alesis (I currently use a pair of M1 actives for monitors).
Since the heart of a synth tends to be its filters, I spent some time playing with the different filters and their corresponding configurations. I programmed a quick "Wet Brass" to evaluate the resonance and found it to be delightfully "wet". The 2-pole filter resonance control seems to be linear (and not so noticeable until you reach the top of the range). The 4-pole filter resonance control seems to be exponential. Basically, I thought the filters were quite flexible and cool sounding. As for how close they emulate the SEM and Moog filters, I can't really say, since I don't have either to do side by side comparisons against the Andromeda and it's been a few years since I've played with either a SEM or Moog filter.
As with any synth though, you'll really have to hear it yourself to judge whether or not you like its sonic character (as you've probably heard a million times in this news group).
Features I love and would like to see on every subtractive synth (in no particular order):
Features I wish were left out or are missing (listed from somewhat annoying to barely annoying):