User Manual
Table Of Contents
- Table of Contents
- Introduction
- Preparations
- Quick Start
- Editing
- Editing a synth program
- The structure of a synth program
- 1. VOICE — SYNTH/VOCODER
- 2. PITCH — SYNTH/VOCODER
- 3. OSC1 (Oscillator 1) — SYNTH/VOCODER
- 4. OSC2 (Oscillator 2) — SYNTH
- 5. MIXER — SYNTH
- 6. FILTER — SYNTH
- 7. FILTER EG — SYNTH
- 8. AMP (Amplifier) — SYNTH
- 9. AMP EG — SYNTH/VOCODER
- 10. LFO 1, 11. LFO 2 — SYNTH/VOCODER
- 12. PATCH 1, 13. PATCH 2, 14. PATCH 3, 15. PATCH 4 — SYNTH
- Editing a vocoder program
- The structure of a vocoder program
- 1. VOICE — SYNTH/VOCODER
- 2. PITCH — SYNTH/VOCODER
- 3. OSC1 — SYNTH/VOCODER
- 4. AUDIO IN 1 — VOCODER
- 5. MIXER — VOCODER
- 6. FILTER — VOCODER
- 7. FC MOD — VOCODER
- 8. AMP — VOCODER
- 9. AMP EG — SYNTH/VOCODER
- 10. LFO 1, 11. LFO 2 — SYNTH/VOCODER
- 12. CH LEVEL A, 13. CH LEVEL B — VOCODER
- 14. CH PAN A, 15. CH PAN B — VOCODER
- Editing the effects and EQ
- Editing the arpeggiator
- Overall settings (GLOBAL)
- Using the microKORG with other MIDI devices (MIDI)
- Saving Data
- SHIFT functions
- Appendix
- Voice Name List
- Parameter List
- SHIFT Function List
- DEMO Song List
- MIDI Implementation Chart
25
TYPE
-12dB BPF ( ):
-12dB/oct BPF (Band Pass Filter)
allows a frequency band in the re-
gion of the cutoff frequency to pass,
and cuts the remaining frequencies.
It is used when you wish to empha-
size only a specific portion of the
frequency range.(➝Figure 6-2)
Use this when you want to empha-
size just a specific region of the
sound. For example, you can use
this to create a bandwidth-limited
sound similar to sound heard from
a small radio or a telephone.
Filter oscillation
If you raise the resonance to a high value, it will oscillate (produce a
sound) at the frequency specified by the cutoff frequency. You can use
filter oscillation ("self-oscillation") as a sound source. If the filter is
oscillating, the "CUTOFF" parameter that normally adjusts the tone will
instead control the pitch of the oscillation. This can be used in a variety of
ways. Whistling is a typical example, and can be produced by adjusting
the ADSR parameters of the filter EG. You can also try setting "FILTER EG
INT" to a negative value. Another possibility is to select the MOD wheel
or LFO 1/2 as a source in Virtual Patch, and use it to control "CUTOFF" as
a destination.
Figure 6-5
Time
Note on
Note off
Cutoff
Sustain Level
Attack
Time
Decay
Time
Release Time
Figure 6-6
Note on
Note off
Note on
Note off
Cutoff
Int=+32
Int=0
Int=+63
Time
Cutoff frequency
specified by
“Cutoff”
Figure 6-7
Cutoff frequency
specified by
“Cutoff”
Note on
Note off
Note on
Note off
Cutoff
Int=–32
Int=0
Int=–63
Time
6. FILTER — SYNTH
FILTER KEY TRACK
Keyboard Track operates ac-
cording to the pitch that is con-
trolled by pitch bend, and trans-
pose. It is not affected by pitch
changes produced by vibrato or
Virtual Patch.
Figure 6-2
BPF (Band Pass Filter)
Cutoff
Frequency
-12dB HPF ( ):
-12dB/oct HPF (High Pass Filter)
allows frequencies above the cutoff
frequency to pass, and cuts the
lower frequencies. Use this when
you wish to make the sound thin-
ner. However if the cutoff frequency
is raised excessively, the volume
will decrease significantly. (➝Fig-
ure 6-3)
For example you can use the HPF
to purposely attenuate the low-fre-
quency region of a sound that will
be played together with other low-
frequency instruments, in order to
differentiate that sound from the
other instruments.
Figure 6-3
HPF (High Pass Filter)
Cutoff
Frequency