USER MANUAL _MICROFREAK
Special Thanks DIRECTION Frédéric BRUN Nicolas DUBOIS Kévin MOLCARD Philippe CAVENEL Jeffrey HORTON Jean-Gabriel SCHOENHENZ Olivier DELHOMME (Project Thomas AUBERT Thierry CHATELAIN Frédéric MESLIN / Fred's Manager) Aurore BAUD Yannick DANNEL Lab Jérôme BLANC (Vocoder Timothée BEHETY Lionel FERRAGUT Antoine MOREAU Robert BOCQUIER Nadine LANTHEAUME Noise Engineering Claire BOUVET Samuel LIMIER Luc WALRAWENS Sébastien ROCHARD Glen DARCEY Morgan PERRIER (Product Manager) DesignBox
© ARTURIA SA – 2020 – All rights reserved. 26 avenue Jean Kuntzmann 38330 Montbonnot-Saint-Martin FRANCE www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use.
Thank you for purchasing MicroFreak! This manual covers the features and operation of Arturia’s MicroFreak, the latest in a long line of powerful virtual instruments. Be sure to register your product as soon as possible! When you purchased MicroFreak you were sent a serial number and an unlock code by e-mail. These are required during the online registration process.
Introduction Congratulations on your purchase of Arturia's MicroFreak! We’d like to thank you for purchasing MicroFreak, our latest product and heir apparent to the role of Best. Synth. Ever. Arturia has a passion for excellence, and MicroFreak is no exception. Listen to the sounds; tweak a few controls; skim through the features, or dive as deep as you like; you will never reach the bottom of it.
Table Of Contents 1. Welcome and Introduction.................................................................................................................................... 3 1.1. A fascinating adventure ..................................................................................................................................................... 3 1.2. About reading manuals............................................................................................................................
12.7. Arpeggiator fun ................................................................................................................................................................. 75 13. The Sequencer .......................................................................................................................................................... 76 13.1. Using the Sequencer ..........................................................................................................................
1. WELCOME AND INTRODUCTION Congratulations on your purchase of the Arturia MicroFreak! The MicroFreak is a compact, versatile, semi-modular synthesizer with many unique features that will spark your imagination and creativity in a new way. It enables you to experiment with modular sound construction without the hassle of patch cords. The MicroFreak comes in two versions: the standard Microfreak and the MicroFreak Vocoder edition with a white casing and a gooseneck microphone.
To sustain the fascination you feel, learn the functions of the MicroFreak one by one and test your knowledge continuously. It's the only way to experience the reward that comes with being able to create the sounds as you imagine them. 1.2. About reading manuals Reading manuals can be much more than familiarizing yourself with an instrument. Yes, it is excellent for learning, but it serves another purpose that is much less understood: creating the base for inspiration.
2. INSTALLATION 2.1. Usage Precautions The MicroFreak uses an external power adapter. Do not use any power supply or adapter other than the one provided by Arturia. Arturia accepts no responsibility for damage caused by use of an unauthorized power supply. The MicroFreak has a touch capacitive keyboard. It can be used with a power bank, but for it to be fully functional the MicroFreak must be properly grounded. It's why we recommend that you use the three pin wall plug provided by Arturia.
• Do not spill any kind of liquid onto the instrument. • In the event of a malfunction, always take the instrument to a qualified service center. You will invalidate your warranty if you open and remove the cover, and improper testing may cause electrical shock or other malfunctions. • Do not use the instrument when thunder and lightning are present. • Do not expose the instrument to hot sunlight. • Do not use the instrument when there is a gas leak nearby.
3. MICROFREAK OVERVIEW You're probably anxious to start exploring your MicroFreak, so in this chapter, we'll guide you through the front panel and explain what the knobs on the front panel do. If you are new to synthesis, it may help to read the chapters about the Digital Oscillator [p.34], the Filter [p.48] and the Envelope Generator [p.55]. These are the basic building blocks of synthesis. 3.1. Front panel overview The first thing you'll notice about the MicroFreak is how small and compact it is. 3.1.1.
3.1.1.2. Paraphonic The MicroFreak is a paraphonic four-voice synthesizer. You can trigger the voices independently when this knob is lit. Their sound will be similar as they all share the same analog filter. The amplitude (volume) of each voice can be different on the MicroFreak, which is not possible on most paraphonic synthesizers. You might call the MicroFreak paraphony a form of extended paraphony.
3.1.1.4. The Display and the Preset encoder The Preset manager The low-power OLED display is a constant source of information. It will display valuable information about the knobs you turn and the buttons you push. The Preset Encoder next to the display enables you to browse through the MicroFreak presets. It will display the name of the preset and its category. Of the 256 presets, the first 128 slots are filled with factory presets and 32 templates you can use as a starting point for sound design.
3.1.1.6. Utility Access to the Utility settings In Utility you change the Global settings of your MicroFreak and some settings specific for each preset: the Preset Volume, the Bend Range, Pressure mode, and many other settings. 3.1.1.7. Master Volume The Master volume sets the Global volume of your MicroFreak. If you need one preset to be louder than another you can set its relative volume in Utility: select Utility>Preset>Preset volume.
3.1.2. Middle Row Middle row of the Microfreak 3.1.2.1. Keyboard glide Glide is a musical tool that enables you to make gradual pitch changes. When you go from one key to the next on the keyboard, the pitch changes are abrupt. Glide smoothens the transition. This knob enables you to set a glide amount. The Glide knob The value you select with the Glide knob sets the time for the pitch to glide from one note/ pitch to another.
3.1.2.3. Analog filter The Analog Filter enables you to emphasize or suppress the harmonics contained in the sound of the Digital Oscillator. Simply put, the filter changes the timbre of the oscillator. The Analog Filter The Analog Filter [p.48] is like a magnifying glass that reveals everything that is present in the sound of the Digital Oscillator. Or to use a better analogy; it is a searchlight that moves over the waveform generated by the Digital Oscillator, dynamically revealing its harmonic content.
3.1.3. Bottom Row Bottom row of the MicroFreak 3.1.3.1. Octave select Octave select Enables you to select the active octave range for the keyboard. 3.1.3.2. Shift The shift button Holding Shift allows you to change a number of functions, some are printed in blue on the panel, others are more hidden. For a complete overview please refer to Appendix C: Cheat sheet [p.126].
3.1.3.3. ARP|Seq (Arpeggiator/Sequencer) The Arpeggiator generates notes based on the keys you have pressed and plays them back according to the settings of the Pattern buttons and the Oct | Mod range button. The Arpeggiator and the Sequencers The Sequencer [p.76] and the Arpeggiator [p.70] share several features. We will focus on those features in later chapters. Arp | Seq lets you toggle between the Arpeggiator or the Sequencer. Oct | Mod sets the range for the Arpeggiator.
3.1.3.4. LFO An LFO is a low-frequency oscillator that can produce various waveforms at sub-audio frequencies (0.05Hz up to 100Hz). The MicroFreak provides one LFO with six waveforms. The LFO You select a waveform with the Shape button: sine, triangle, rising sawtooth, square, random stepped (also referred to as sample & hold), and random gliding (or smoothed random).
3.1.3.6. Keyboard section The keyboard section consists of the keyboard and an Icon Strip with access to the Arpeggiator and Sequencer controls, and a touch strip with a Bend icon and two Spice and Dice icons that enable you to create variations on the Sequencer and Arpeggiator patterns. The keyboard of the MicroFreak is touch capacitive and has 25 keys. When played the keys generate gate, a pitch, and pressure. It covers a two-octave range, which can be extended using the Octave Down/Up buttons.
3.2. Rear Panel Overview Rear Panel Overview 3.2.1. Audio outputs The headphone output is a standard 3.5 mm TS or TRS jack. The output of the MicroFreak is monaural. Connecting stereo headphones will merely provide the identical sound on the left and right sides (i.e., mono). Audio output The Line output is a 6.35 mm TRS jack. It's output is monaural. Use this output to connect to your amplifier or mixer. Line out is symmetrical/balanced type output.
3.2.3. Clock input/output You can use Clock input/output to sync the MicroFreak to external synthesizers or modular systems. Clok input and output ♪: The use of a TRS jack provides both clock and start signals. A TS jack provides only clock signals. 3.2.4. MIDI input/output MIDI input and output Use the included MIDI adapters (1/8" TRS jack to 5-pin DIN, gray) to send and receive controller data and MIDI data to/from external MIDI-compatible devices. 3.2.5.
3.2.6. Power switch If you want to turn the unit off without disconnecting the USB cable, use this recessed switch. The power switch toggles between OFF and USB power / DC power. When both are connected, DC is used. If you plug in DC power the MicroFreak will reset. The On/Off switch Note: The power requirements of the MicroFreak are so low that you can power it with the same power bank you use to recharge your phone or tablet when you're in a place without power outlets. 3.2.7.
3.3. Signal Flow Working with the MicroFreak becomes a lot easier when you understand how signals flow in the machine. The Digital Oscillator generates a waveform, which is then sent to the Filter and an analog VCA. The main Envelope is hardwired (a fixed connection) with the VCA. When you press the "Amp Mod" button the main envelope controls the internal analog VCA. When off, the keyboard Gate signal controls the VCA.
4. THE MICROFREAK PRESETS We at Arturia invite to create your own presets. There are so many fantastic sounding synths these days with an overwhelming number of presets that it is easy to get lost in an endless search for the magic sound. In the end, the best sound preset is the one you create yourself, because only you know what sort of sound you're after. And as a bonus, you teach yourself the skills you need to create sounds that match your sonic ideal. So....let's get started! 4.1.
Note: At this stage you can still change you mind about saving the preset. When you press "Save" once more, the Save process will be aborted and the screen will flash the message "Save Cancelled". If you just want to save the changes you made to preset in the current location long press "save" to store your changes. The display will respond with "Preset saved" If you want to save it to a different location turn the encoder to select a location and press the encoder to select the new location.
4.3. Tweaking the Preset Configurations In Utility, you'll find settings that you can use to change the standard configuration of the current preset. These settings are saved with the preset. That means that each preset can be made to behave uniquely; one preset can be paraphonic, respond to pressure, and have a sequence length of five; another sequence can be monophonic and have a sequence length of 32. Note: The two sequences that are part of each preset will always have the same length.
The following parameters are saved with the Preset: Note: The last two columns show whether the parameter can be edited in Utility and/or the MIDI Control Center.
4.4. Panel The purpose of the Panel button is to be certain that the sound you hear matches the current knob positions on the panel. When you press it, the current knob positions will be applied to the preset. You’ll now hear the preset as it sounds with the current knob positions and can continue to edit the preset knowing that the knob positions match with the sound you hear. After loading a preset, what you’ll hear is the sound of the preset as is was stored in memory along with its knob positions.
4.5. Understanding Digitally-Controlled Analog Unlike analog synths, every module in the MicroFreak is controlled digitally, even its analog filter. It's the best of both worlds: the warmth and hands-on control of real analog, with the ability to save and recall patches and settings. Because of that, the instrument's knobs and sliders aren't controlling voltages directly; they are knobs that instruct the digital circuitry how to manage the analog voltages and the parameters of the digital modules.
5. MAKING CONNECTIONS 5.1. Control Signals The Matrix is the place where you connect the control signals from the various modules on the MicroFreak together. Control signals differ from audio signals in that they are much slower and are uniquely suited for control. The MicroFreak Matrix Control signals are slowly moving waves, usually in the range from zero to 100 Hz, that can be used to modulate the digital oscillator, the analog filter, and other destinations in the MicroFreak.
As you become more knowledgable about the MicroFreak you will be able to create and route more and more complex control signals. Your ability to create complex control signals is what makes you unique as an analog performer/composer. MicroFreak will offer you plenty of opportunities to create a personal style. Note for advanced users: On an analog synthesizer or modular system all modulation is done using Control Voltages.
The display is a second source of information: when turning the encoder to select a point, the display will show information about the connection you can make at that point and the current level of modulation intensity. When you press the encoder you switch to edit mode. Now you can set the amount of modulation, and the colors of the display will invert: from white on black to black on white. Also, all LEDs on the Matrix will turn off and only the LED of the connection you are editing will be lit.
5.2.2. Assigning destinations The final three destinations (Assign1, Assign2 and Assign3) are a special case; we've left it to you to define destinations for them. This option is one of the things that makes the MicroFreak unique. We introduced this feature on the MatrixBrute, the older brother of the MicroFreak. We've since then learned how powerful this feature is. The fixed destinations on the Matrix can only cover a small number of possible destinations on the MicroFreak.
Possible modulation destinations: Parameter Description Glide modulates Glide amount Oscillator Type modulates oscillator type Oscillator Wave modulates the wave of the currently selected oscillator Oscillator Timbre modulates the timbre of the currently selected oscillator Oscillator Shape modulates the shape of the currently selected oscillator Filter Cutoff modulates the cutoff frequency of the Filter Filter Resonance modulates the bandwidth of the Filter Envelope ATTACK modulates the at
To summarize: • The Matrix is where you route sources to destinations. It's also the place where you mix several sources together to control one common destination. • The encoder is bipolar; you can set up positive or negative modulation and set modulation strength. 5.3. Freaky ideas It's mostly not good practice to modulate a destination at full force. The right amount of modulation adds subtleness and expression to your patches. If you get this right, the Matrix is a treasure trove of unusual finds.
Modulating Cycling Envelope Rise and Fall times: You can use the LFO output on the Matrix to control the speed of the LFO or the Cycling Envelope to control its own rise or fall times or amount. Circular routings: One more before you get dizzy: It's easy to make circular routings using the Matrix: for example, let the LFO modulate the Rise or Fall time of the Cycling Envelope and then let the Cycling Envelope control its own level.
6. THE DIGITAL OSCILLATOR The Digital Oscillator is the very heart of the MicroFreak. It's the digital circuit that generates the core sound of this instrument. The other parts of the MicroFreak - the Analog Filter, the Envelopes, and the LFO - exist only to shape/mangle/wobble the sound of the Digital Oscillator. Oscillators come in two flavors; analog and digital.
TheDigital Oscillator The Digital Oscillator can play notes in the range from C-2 to G8. Although the MicroFreak keyboard spans only two octaves, you can shift the range it plays up and down. Freaky idea: Applying a (very) small dose of randomness to the pitch of the digital oscillator will make someone who listens to your track sit up and pay attention. 6.2. The Parameter Controls The parameter controls help to make the Digital Oscillator come alive in different ways.
6.3. Oscillator types: An Overview 6.3.1. Basic Waves Oscillator (BasicWaves) Classic Waveforms Oscillator Model Description: Every sound consists of a series of harmonics. The first harmonic is the fundamental. The fundamental determines the pitch you hear. The second harmonic is twice as high in pitch, the third three times, and so on. If you're a guitar player it's easy to create harmonics; if you put the finger on the exact middle of the string, you'll hear the second harmonic.
6.3.2. Superwave Oscillator (SuperWave) The Superwave Oscillator Model Description: This is a digital waveform animator that creates copies of a waveform and detunes them. Detuning them creates a very fat, lush sound. Unlike more traditional waveform animators that multiply a sawtooth wave, this model allows you to select from four different waveforms. Wave: Selection of the waveform to be multiplied: Saw, Square, Triangle and Sinus Detune: Sets the detuning amount.
6.3.4. Harmonic OSC (Harmo) Harmonic Oscillator Model Description: Harmonic oscillators recreate sound by creating and summing harmonics. By varying the amplitude of the individual harmonics, the timbre changes. The Harmonic Oscillator is unique in that is does not only sum up to eight harmonices but sums complete waveforms. This results in more complex sounds than possible with traditional harmonic oscillators.
6.3.5. KarplusStrong (KarplusStr) Karplus Oscillator Model Description: Karplus-Strong is the name of the sound synthesis method developed by Kevin Karplus and Alex Strong at Stanford University. They discovered that you could create a realistic sounding drum and plucked string sounds by looping a short noise burst through a filtered delay. Nowadays we refer to their method as physical modeling.
6.3.6. Virtual Analog (V.Analog) Virtual Analog Model Description: An emulation of the classic synthesis waveforms triangle, sawtooth and square wave. Detune: Sets the detuning between the two waves. Shape: Morphs through a variable square, from narrow pulse to full square to hard sync formants. Wave: Morphs through a variable saw, from triangle to saw with an increasingly wide notch. Freaky tip: Detune sets a detuning amount between the oscillators.
6.3.8. Two operator FM (Two Op.FM) Two operator Oscillator Model Description: FM synthesis has its origins in the work of Dr John Chowning at Stanford University in the late 1960s. The first FM synthesiser was a mainframe computer! Think of a room full of refrigerators, and you'll have an idea of what that was like. Dr Chowning's theory was that an entire range of acoustic instrument emulations would be possible by modulating a waveform with others that are tuned to the harmonic series.
6.3.10. Chords (Chords) Chords Oscillator Model Description: In Chords mode, the Digital Oscillator is transformed into a four-voice oscillator capable of playing chords. The fun thing is that it's possible to modulate the chord. Chords add emotion to music. A single melodic line can evoke many emotions, but when you add chord notes from the scale of the melody to that melodic line, the emotion will become much stronger.
Freaky tip: Instant gratification! Modulate chord selection (the Wave knob) with the random pattern wave of the LFO. It's the next-to-last LFO wave option. On the Matrix select LFO>Wave and set modulation strength anywhere between 50 and 100. 6.3.11. Vowel and speech synthesis (Speech) Vowel and speech synthesis Oscillator Model Description: In the late '70s Texas Instruments began to research speech synthesis.
6.3.12. Modal Resonator (Modal) Modal Resonator Oscillator Model Description: A modal resonator imitates how sound is amplified in the things that surround us. Everything (without exception) responds with a complex sound consisting of many harmonics (subpitches) when you hit it. Usually, that response is so soft that we don't hear it; the sound is soft because the energy of your hit is absorbed/dampened by the material of the object you hit.
6.3.13. Noise Oscillator (Noise) Noise Oscillator Model Description: This oscillator provides a mix between a noise source and a sine/triangle/ sawtooth oscillator. Noise Particles are tiny noise fragments that originate when noise is sampled down. Wave: Noise source selection: from particle noise to white noise to metallic noise. When you turn the wave knob from counter-clock-wise to clockwise the resulting wave will morph between particle noise, white noise and metallic noise.
6.3.15. SAWX Oscillator (Sawx) SAWX Oscillator Model Description: SAWX is an oscillator model that creates sonic variations by manipulating a sawtooth wave. It (among others) enables you to extend the harmonic content of the standard sawtooth by modulating the phase of a sawtooth with subsampled white noise. The resulting wave is then enhanced with chorus, which effectively adds time-shifted copies of the sawtooth.
6.3.17. Vocoder Oscillator (Vocoder) Vocoder Oscillator Model Description: This oscillator is designed to act as the carrier for the Vocoder. Its waves have rich overtones. You select this waveform with the Wave encoder. Wave: At the zero position, or knob turned all the way counter-clockwise, it generates a Sawtooth waveform. At around 11% the sawtooth changes to a pulse width waveform with a duty cycle of 50%.
7. THE FILTER: SOUND IN CLOSE-UP A filter enables you to have a look at sound, at any sound in detail. It's not an overstatement to say that nearly every track you hear in the media has been filtered in some way or another. Frequencies were removed or boosted, instruments suppressed in a mix, frequency ranges made more prevalent to capture your attention. A filter can emphasize or suppress the harmonics contained in a sound. In doing so, it changes its timbre.
7.1.1. Low Pass Filter A Low Pass Filter removes frequencies from a sound source. It is the primary component in subtractive synthesis and widely used in every contemporary music style. What gives the Low Pass Filter its unique qualities is that it focuses on the harmonics around a cutoff point. Modulating the cutoff frequency of a filter varies the timbre of sound over time. It can be considered to be a sophisticated equalizer that selectively reduces the high frequencies of a sound.
7.1.4. Cutoff frequency The cutoff frequency is the point where the actual filtering takes place. Early users of filters discovered that they could alter the sonic properties of a filter by feeding the output of the filter back into itself. Creating such a feedback loop results in a resonance peak around the cutoff frequency. In the MicroFreak filter, you control this effect with the resonance knob. The amount of resonance can be controlled manually, or by the LFO or the Envelopes.
7.2.1. Cutoff Modulation Varying the cutoff point, the point where the filter starts removing frequencies from the sound spectrum, changes the timbre of the sound. The most effective and musically pleasing way to modulate the cutoff frequency is using an envelope generator. The MicroFreak is "hardwired" to do this. Right next to the sustain control of the main envelope you'll see a knob named Filter Amt (Amount).
8. THE LFO An LFO (short for Low-Frequency Oscillator) can produce various waveforms at sub-audio level. These waveforms can then be used to modulate other parts of the MicroFreak. For example: • the pitch of the Oscillator • the cutoff frequency of the Filter • the emphasis of the Filter • the stages of an Envelope A well-known application of LFO modulation is the filter sweep; the LFO waveform is used to move/animate the cutoff point of a Low Pass Filter.
Note: On the MicroFreak all modulations on the Matrix are bipolar, which means that it can go negative and positive and thus control the modulation target in the positive range and the negative range. It is a feature that gives you more sound design options. Many synths (especially the older ones) will only allow you to modulate a target in the positive direction.
8.3. Freaky Tips and Tricks • Try using the LFO to modulate both the filter cutoff and the envelope attack / decay times. Modulating the filter cutoff is simple; it's a standard connection on the Matrix. To modulate the envelope attack and decay times you'll have to assign them explicitly on the Matrix. Please refer to the Chapter about the Matrix [p.28] for details. • When you mix in some randomness with the filter cutoff it will add a fuzzy effect to the sound.
9. THE ENVELOPE GENERATOR The Envelope Generator is one of the basic building blocks of MicroFreak. It enables you to shape the overall loudness or the timbre of a sound. The Envelope Generator It's a sound-sculpting tool. It can be patched to all destinations on the Matrix, including the destinations you create yourself. 9.1. What does an Envelope Generator do? Traditional instruments have a particular envelope (and timbre) that make it possible to recognize them immediately.
With the MicroFreak the keyboard is the primary source of gates. When your finger touches the keyboard and you hold it there for a moment, you generate a gate. The gate starts the envelope cycle and the first stage, the Attack, begins. The envelope then continues to the Decay/Release stage and the Sustain stage. It will remain in the Sustain stage for as long as your finger touches the keyboard. Lift your finger, and the level will decrease to zero.
9.5. The Amp Mod button As stated above the keyboard and the sequencer generate gates that control the volume of the internal VCA (Voltage Controlled Amplifier) directly. It's a rather crude effect. Finger on keyboard> sound on, finger off keyboard> sound off. When you enable the Amp|Mod button (it's lit) you activate the Envelope generator, which will then use these gates to create much more pronounced envelopes.
The Mode button enables you to select one of three modes: Env (standard envelope mode), Run, and Loop. • In Standard Envelope mode, the envelope will cycle once through its stages and stop at the end of the Fall stage. • In Run mode, the envelope (now an LFO) is free running. It resets when the MicroFreak receives a MIDI start command. • In Loop mode, the envelope (now an LFO) resets when a trigger is detected from either the keyboard, the sequencer or the arpeggiator. It syncs to the external trigger.
9.6.2. About Changing Shapes As we've mentioned before; a unique feature of this envelope is that it is possible to modulate the shape of the Rise and Fall stages. To make changes to these stages hold the Shift button and turn the Rise or Fall button. Turning it to the left will make the shape more logarithmic, turning the encoder to the right will make the shape more exponential. There's a dead zone in the middle where the shape is linear. The info screen will display "LINEAR" when you're in that zone.
The Amount knob enables you to control the impact the Cycling Envelope will have on the modules that are its target. Especially when modulating the analog filter with the Cycling Envelope, it's crucial to send just the right amount of voltage/control. Sending too much or too little control to a destination can mean the difference between an average or fantastic sound. Knobs like the Amount knob that reduce the strength of a signal are called Attenuators.
10. THE KEYBOARD SECTION One of the first capacitive keyboards was introduced with the Synthi EMS. It remained relatively unknown because very few people could afford to buy one. Don Buchla developed another type of capacitive keyboard, and in 1972 he introduced the Buchla Easel with such a keyboard.
When touched the keys will generate a gate, a pitch control "voltage" and a pressure control "voltage". These voltages are available in the Matrix and can be used to modulate any destination in the top row of the Matrix. They are also available at the back of the MicroFreak, where you can use them to control a modular system or an external synthesizer with voltage inputs. Tip: It's a good idea to clean this keyboard now and then with a soft, damp cloth.
10.2.1. Using Keyboard Responsiveness The subtle instability of a capacitive touch keyboard makes timbre and pitch interesting modulation targets. Modulating the rise- and fall times of the Cycling Envelope can also produce impressive results. The Assign buttons on the Matrix open up a particularly fascinating range of targets. How about: • modulating the Oscillator type with pressure • modulating a combination of Wave, Timbre and Shape with pressure.
Note: The Glide setting in Utility enables you to define whether the Glide knob introduces a time-based , a time synced or a rate-based glide effect. A time-based glide generates a glide that is fixed. A rate-based glide generates a glide that is relative to the rate set with the Arp/Seq rate. When set to Time Glide can vary from zero to 10 seconds as explained above. In Synced mode you can select how glide will sync, with sync values being: 1/32T, 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2T, 1/2 and 1/1.
10.5. Tutorial: modulating LFO speed A creative use of the keyboard is to control the rate of the LFO with a pressure voltage. The keyboard registers how much of your finger is in contact with the keyboard; more contact will result in more pressure voltage, and vice versa. To achieve this with the MicroFreak, define one of the Assignable destinations on the Matrix to the LFO Rate and connect the pressure output of the keyboard to this newly created patch point.
11. USING THE ICON STRIP Just above the keyboard, you'll find an area with function icons and a touch strip. The icon strip The function icons on the left allow you to control the workings of the Arpeggiator [p.70] and the Sequencer [p.76]. We'll cover those in other chapters. In the remainder of this chapter, we'll discuss the Hold button and the icons on the right side of the Icon strip: Spice, Dice, and Bend. Lastly, we'll talk about the touch strip and how it can be used to spice up your sound. 11.1.
In Sequencer mode, Hold has several functions. The alternative functions of the Hold Icon • In Step-record mode, it adds a tie or silence. • In Real-time recording mode, it clears the content in real time. • Used in combination with the Seq Mod or A or B button it becomes a “Clear Seq Mod” or “Clear Sequence” button. • When the sequencer is disabled, it resumes its regular Key Hold function.
11.3. The Touch strip There are three functions on the touch strip. By pressing the corresponding icon, you select either Spice & Dice or Bend. Spice & Dice and Bend 11.3.1. Spice & Dice Spice & Dice are inseparable twins. You can't use one without the other. You can have a lot of fun with Spice & Dice without understanding how they work. Dice acts on the gates and triggers of the currently playing Arpeggio or Sequence.
Increasing Spice will introduce a deviation from the default gate length. At maximum Spice, the gate lengths correspond to what is currently defined in the Status. In between, the gate lengths linearly morph from the default gate length to the current Status value. When Dice is active (the icon is lit) pressing the touch strip will modify the Status. Every time your finger touches the strip a new value (bipolar) is added to the gate length of each step.
12. THE ARPEGGIATOR An Arpeggiator breaks up a chord into individual notes: play a chord on the keyboard, and the arpeggiator will play them back one by one. To activate the Arpeggiator press the Arp | Seq button. It lights up in white to show it's active in Arpeggio mode. The button acts as a toggle switch; when you press it a second time you turn the Arpeggiator off. The Arpeggiator A fun way to start the Arpeggiator is to press and hold a chord after pressing the Hold icon.
You have some control over the patterns that are generated: • The pattern algorithm picks notes within the available octaves as defined by the Oct | Mod button; press this button a few times to select the arpeggio range. • The lowest note you play on the keyboard will appear twice as often in the sequence as the second and higher notes of the chord you play. In other words, the root note of the chord is emphasized.
12.3. Arpeggio Rate The Rate knob determines the speed of your arpeggios. When the Sync LED is "Off", Rate changes are displayed as BPM (Beats Per Minute). The default rate is 120.0 bpm. In this mode the Arpeggiator will operate independently from the internal clock or an external clock source. The Arpeggiator and the Rate knob When Sync is "ON", the Arpeggiator will sync to the internal clock, and the Rate values are shown as divisions from this clock.
12.3.1. Using Sync Of all the skills you can master in music, mastering sync is one of the most important. Sync is what happens when two or more units (effects, oscillators, filters, voices) synchronize their rhythms to each other. Sync is also how we humans link to the flow of music. If you want to capture the attention of your listeners you have to understand how to make captivating sync patterns.
The Arpeggiator has another freaky feature that becomes appearent when you press the Octave Up or Down button (to the left of the Shift button) while playing an arpeggio. On most arpeggiators pressing the octave down or up button will transpose all currently held notes in the arpeggio an octave down or up. The MicroFreak Arpeggiator will keep the pitch of your arpeggio intact. If you change the octave down or up the new notes you play will be added to the arpeggio in the new octave range.
12.7. Arpeggiator fun It's possible to use the arpeggiator as a modulation source. However, the effect will be subtle; you'll have to set the modulation amount reasonably high for the modulation to have an impact. It will help to extend the range of the arpeggiation before applying its modulation to destinations on the matrix. Combining it to modulate two destinations will work even better.
13. THE SEQUENCER The sequencer of the Microfreak is like a hidden gem. At first look you may not even notice it is there, but once you've discovered what it can do it becomes indispensable for creating sound on the MicroFreak. The Sequencer of the MicroFreak is paraphonic. Paraphonic means that it can record and play back up to four voices, sharing the same filter, simultaneously. For more info about Paraphony [p.8] refer to the MicroFreak overview. The Sequencer is a fascinating musical tool.
13.1. Using the Sequencer If you look carefully at the Icon strip, you'll see text printed at the bottom of each icon divided by a vertical stripe: Up | A, Order | B, Random | 0, and Pattern | >. Which function is activated depends on the state of the Arp | Seq button above it. When the Arp | Seq button is lit in white, the first five icons are linked to the Arpeggiator; the active functions are "Hold", "Order", "Random" and "Pattern".
Many presets in the MicroFreak have sequence patterns embedded in them; some of those patterns will be paraphonic and others will use only one voice. When in Paraphonic mode all voices in the sequence will play back; with Paraphony "OFF" only the lowest note of a step will be played. Notes you play on the keyboard will always have a higher priority than the notes the sequencer plays.
13.1.3. Recording a sequence In a sequence pattern you record: • A length (shared between both sequences) • Notes, Velocities for each step + Tie or Silence status • Up to four parameters that you record in the Modulation tracks Note: Gate length is saved in the sequence. You set a Global gate length for each preset in Utility. This enables you to create several identical presets with different gate lengths. 13.1.3.1.
13.1.3.2. Editing a sequence Once you have entered the desired notes you can fine-tune the sequence, either by changing the notes you've stored in a step or by adding modulation to a step: • select the sequence you want to edit (A or B) • make certain that "play" is turned off and press record • turn the Rate/Swing encoder to "scrub" through the sequence. The MicroFreak will play back all data stored in a step including modulation events you have stored in the modulation tracks [p.82].
13.1.3.4. Copying a sequence To copy a sequence from A to B or from B to A, first press the source sequence hold it and press the destination sequence. It's a good idea to practice this first with sequences that are non-critical for your musical career (;-). Say you want to copy sequence A to sequence B: • Hold the icon of sequence A • Press the icon of sequence B to complete the copy. Keep an eye on the display it should confirm that you've made the copy correctly.
13.2. The Modulation Tracks Without a doubt, the most exciting feature of the Sequencer are its four modulation tracks. A sequence pattern record notes (the pitch of a note) and velocities (the strength with which you hit the key); modulation tracks record knob positions. In Step-recording mode the modulation tracks enable you to take snapshots of knobs and record these snapshots along with a sequencer step.
The Rate knob By turning the Rate knob, you can step through the sequence and edit the modulation tracks. The note stored in a step will trigger/sound when you pass over a step, and the modulation stored with that step will be performed. This helps to remember where you are and what you've created so far. If necessary, you can change the modulation stored in a step by turning the corresponding knob. You can also press the Oct | Mod button to navigate through active modulation tracks.
To clear the modulation in a track, press the Oct | Mod button several times until the light of the track you want to erase blinks. Then hold Oct | Mod button and press the Hold icon. Note: A quick way to clear all modulation tracks is to hold the Oct | Mod button and press the Hold icon repeatedly. 13.2.2. Real-time recording of modulation Modulation recording in real time is similar to recording in step mode. The only difference is that both Play and Record need to be active.
13.3.1. A hidden feature There's a hidden feature in the sequencer modulation tracks. The Modulation tracks of Sequencer A and B share modulation consequences, and you can take advantage of that. Say you've created a modulation track for sequencer A, which plays an eight-step sequence that changes the oscillator type on the first and the 4th step. If you switch to sequencer B in the sixth step, you'll hear that it plays with the oscillator type that was selected in sequence A on step four.
13.3.3. Second experiment: Hoketus Hoketus is an ancient technique. It's when you restrict yourself to using only one pitch in a running sequence, but change everything else: timbre, attack, decay, pressure, rhythm. The MicroFreak can lift this technique to new heights because it has modulation options that composers and performers in ancient times could only dream of. • Create a 16-step sequence where each step has the same pitch.
14. MICROFREAK CONFIGURATION The MicroFreak has many settings that you may want adjust, and please don't hesitate to do so. It's not like the temperature setting on a fridge that you set once and then forget about it. Changes in these settings can make all the difference. The right settings will help you to develop a personal synthesis style.
14.1. Utility & MIDI Control Center x = available 0 = not available Category Parameter Description Preset Utility MCC x 0 x 0 Root select: C, C#, D, D#, E, F, F#, G, G#, A, A#, B x 0 From zero to two octaves x 0 x 0 Envelope resets on keyboard trigger x 0 Selects Pressure mode x 0 Determines how velocity will affect volume output x 0 x 0 Defines amount of spread between the four voices x 0 Defines nr.
Category Parameter Description Utility MCC Input chan [All, 1 … 16, Sets the default channel on which the MicroFreak None] receives MIDI x x x x x x x x Defines whether Arp/Seq is transmitted over MIDI x x Thru [Off, On] When "On", MIDI In data is echoed to the MIDI Out. x x Knob send CCs [Off, Defines whether knobs send CC data. CC data On] enables you to control external synths.
Category Parameter Description Utility MCC x x x x Description Utility MCC Deviation from global tuning in Cents x x x x Browsing Knob catch [Jump, Hook, Scaled] Click to load [Off, On] Category Parameter Different methods to match the physical knob position with the digital value it represents Sets whether scrolling through presets loads them immediately or whether an additional click is needed to load them Master tuning Cent offset [-50 … 50] A Reference [427.4452.
Category Parameter Description Utility MCC x x x x x x x x Sets the keyboard response curve for Aftertouch x x Sets the keyboard response curve for Velocity x x Start bend at point where you touch the Bendstrip x x x x x x Misc Mem protect "Off" enables you to overwrite all presets. If set to "Factory only" [Off/ you cannot overwrite factory presets. If "On" your presets are Factory also protected agains accidental overwrites.
14.2. MIDI Control Center The MIDI Control Center is an application that you download from the Arturia site to your computer. There are versions for both macOS and Windows systems. With the MIDI Control Center you can: • move presets from the MicroFreak to your computer or from your computer to the MicroFreak • change settings on the MicroFreak The MIDI Control Center manual has general descriptions of the features that are common to all Arturia products.
Local control - Local off means all the panel controls and the keyboard are transmitted over MIDI, but they're disconnected from the MicroFreak. This is convenient if you're working with a DAW; you'll hear the keyboard and controls on the MicroFreak when its track is selected, and MIDI is being sent back to trigger it, but you won't hear it when DAW tracks assigned to other instruments are selected. You can then play other instruments from the MicroFreak without it playing along.
CV Gate format (S-Trig, V-Trig 5V, V-Trig 12V) - Defines the gate voltage level the MicroFreak will output at the Gate out. CV Press range Pressure range [1V … 10V] - Sets the pressure voltage range the MicroFreak will output at the Pressure out. CV 0V reference 0V reference [C-1 … G8] - refers to which note will output zero volt when pitch format is set to 0V/Oct. CV 1V reference - 1V reference [C-1 … G8] - refers to which note will output one volt when pitch format is set to Hz/V.
Velocity curve - This lets you adjust the keyboard response to your playing style and preference. Velocity curve settings 95 • Linear (the default) has an even response across the dynamic range • Log requires the least amount of force to play louder notes, but it's harder to control the dynamics at lower levels • Exponential is less jumpy at lower dynamic levels, but it takes more force to reach high dynamic levels.
15. USING SCALES Scales express emotion in music. A single melodic line can evoke many emotions, but when you add chord notes from the scale of the melody to that melodic line, the feeling will become much stronger. When you add notes from the major scale, the melody sounds forceful and happy; add notes from the minor scale, and that same melodic line will suddenly seem sad. At least, that might be your response if you were born in a culture dominated by western music.
Creating Scales in this way is an age-old trick. Scales created this way are referred to as church modes, forgotten for centuries but rediscovered by jazz musicians in the sixties. They are now widely used in western music. 15.1. Scale settings The Scale option in Utility enables you to select one of eight scales. If you select a scale in Utility>Misc>Scale everything you play on MicroFreak keyboard, every sequence, every arpeggio will play in that scale; it's a global setting.
15.2. The Scale Root Starting a scale on a different note will drastically change the mood of that scale. If we do not start the C major scale on the 'C' but on the 'D"'instead it will sound different because the intervals are now heard in a different order. In C major starting on 'C', it was: T-T-ST-T-T-T-T-ST.
16. PARAPHONIC CHORD MODE Paraphonic Chord Mode lets you experiment with chord transpositions in new ways. It's a unique new MicroFreak feature. To Initiate Paraphonic Chord Mode: • Press the Paraphonic button; it will blink to tell you that you're in Paraphonic mode • Hold down the Paraphonic button and play a chord • Lift your fingers from the keyboard • Let go of the Paraphonic button. It should stay on and blink slowly. This confirms that you are in Paraphonic mode.
16.2. Adjusting the default Unison settings By default, all four voices of the Microfreak will be used in Unison mode. To change this go to Utility>Preset>Unison count and change the number of voices assigned to Unison mode. By assigning three voices, one voice remains available to play the keyboard in duo-phonic mode. To Change the default spread of the voice in unison mode go to Utilty>Preset>Unison>Spread and adjust the value you find there. 16.3.
17. CONNECTING EXTERNAL GEAR The MicroFreak offers many ways to connect with other types of equipment, from vintage to modern. You'll find all of these connections at the back of the MicroFreak. MicroFreak Rear Panel Below are examples of potential setups: ...with a computer MicroFreak-Computer connection The MicroFreak is a USB class-compliant controller, so at its most basic level, it can be connected to any computer with a USB port and used as an input device for various applications.
And of course, MicroFreak can send and receive MIDI data using the USB port of your computer. MIDI to Modular 17.1. CV/GATE FUNCTIONS The MicroFreak provides direct access to some of the best music technology the world has produced in the last six decades: USB, MIDI, Clock and CV/Gate out connectors are all present on its rear panel in a space not much larger than a pencil. In this section, we’ll focus on the features of the MicroFreak CV/Gate circuitry. 17.1.1.
CV Gate setting in the MIDI Control Center Gate signals can also have different output ranges (S-Trig, V-Trig 5V, V-Trig 10V). These too can be changed in Utility>CV/Gate>Gate Format or in the MIDI Control Center. The Keyboard sensitivity parameter allows you to adjust the CV pressure range. This can be important when using the keyboard CV output to match that of an external modular synth. By default the control voltages that appear at the output adhere to the 1v per octave standard.
The Pitch control voltage (CV Pitch Format) can be set to: • 1 Volt/octave (0-10V) • Hertz per Volt (needed for systems where a change of 1 volt results in a change in pitch of a fixed number of hertz (cycles per second), rather than a fixed musical interval). • 1.2 Volt/octave (a Buchla specific standard) CV setting in the MIDI Control Center 17.2.
17.4. About Local Control The MicroFreak generates sound when you press a key on the keyboard. By default keyboard and sound engine are connected. This mode is known as Local ON. There are situations where you do not want them connected, for example when you control the MicroFeak externally via MIDI. When turned OFF the keyboard will only transmit its gates to the MIDI out, the gates will have no effect on the sound engine. The MicroFreak will appear to be dead.
17.6. Tutorial 1: Using MIDI to control the MINI V VST synth In this tutorial, we will use the MicroFreak to control the Filter frequency of the Arturia MINI V VST. Although this example features the MINI V it can be used to learn how to control any knob on any VST from the V series that you want to receive MIDI on channel 4. First, make certain that the MicroFreak and the MINI V VST receive and transmit on the same MIDI channel.
17.7. Tutorial VCVRACK 2: Using MIDI to control Modules on Another option is to control MIDI-enabled software on your computer. In the example below, we'll use the arpeggiator of the MicroFreak to control an oscillator on VCVRACK a free virtual Modular system you can download from https://vcvrack.com • Connect the USB output on your MicroFreak to a USB port on your computer. • Open VCVRACK. It will open a demo which is perfect for our example. • In the first position, you see a MIDI-CV module.
17.8. Using MIDI CC# codes for control The MicroFreak encoders transmit CC# data via MIDI when you turn them. MIDI CC# codes allow you to control parameters on external synths and modular systems. CC# control codes differ from note related MIDI messages. They are small strings of numbers that are specifically designed to control parameters on an external MIDI device, on a Modular hardware system or a Software Modular system such as VCV Rack.
17.9. Tutorial 3: sending CC# codes from the MicroFreak As seen in the first tutorial it also works the other way around, when you turn a knob on the MicroFreak it will transmit a CC# code. If you know the CC# of a dial, a slider or switch on the MicroFreak you can use that CC# to control any external parameter. In this third tutorial, we'll link the Cyclic Envelope of the MicroFreak to the Envelope in the demo patch of VCVRACK.
This works both ways, you can use the output of VCRACK, a sequencer or any other module on your Modular system to control parameters on your MicroFreak. To control the MicroFreak from your Modular system you need a module such as the BEFACO VCMC to translate the analogue signals of your Modular system to MIDI CC# format. Note: As with Note and Velocity values, CC# codes operate in the range 0-127. 17.10. MIDI CC# values: an overview Please refer to Appendix D for an overview of of the MicroFreak CC# codes.
18. APPENDIX A: EXTERNAL CONTROL SPEECH OSCILLATOR: INTERNAL AND The Speech Oscillator can generate 6 categories of sound. First select a category with the Wave encoder, then select a a word from this category with the Shape encoder. To fine-tune the timbre of a selected word use the time encoder. Categories and Shapes can also be selected externally from your DAW or from a controller capable of sending CC codes.
Shape: numbers zero 0,0 0 one 10,0 13 two 19,0 25 three 28,0 36 four 37,0 47 five 46,0 59 six 55,0 70 seven 64,0 82 eight 73,0 93 nine 82,0 105 ten 91,0 116 Arturia - User Manual MicroFreak - Appendix A: Speech Oscillator: internal and external control 112
Shape: letters and phonetics 113 a alpha 0,0 0 b bravo 4,0 5 c charlie 8,0 10 d delta 12,0 15 e echo 16,0 20 f foxtrot 20,0 25 g golf 24,0 30 h hotel 27,0 35 i india 31,0 40 j juliet 35,0 44 k kilo 39,0 49 l lima 43,0 54 m mike 47,0 59 n november 50,0 64 o oscar 54,0 69 p papa 58,0 74 q quebec 62,0 79 r romeo 66,0 84 s sierra 70,0 88 t tango 74,0 93 u uniform 77,0 98 v victor 81,0 103 w whisky 85,0 108 x xray 89,0 113 y yankee 93,0
Synth terms: analog 0,0 0 circuit 5,0 6 clock 10,0 12 control 14,0 18 digital 19,0 24 electronic 23,0 29 filter 28,0 35 frequency 32,0 41 generator 37,0 47 instrument 41,0 52 knob 46,0 58 machine 50,0 64 modular 55,0 70 modulator 60,0 76 operator 64,0 81 oscillator 69,0 87 patch 73,0 93 sequencer 78,0 99 synthesizer 82,0 104 vca 87,0 110 voltage 91,0 116 waveform 96,0 122 Arturia - User Manual MicroFreak - Appendix A: Speech Oscillator: inter
19. APPENDIX B: THE MICROFREAK VOCODER 19.1. An Introduction to Vocoding You might be surprised to learn how "old" vocoders are. The first vocoder was patented in 1939 by Bell labs. It was intended to speed up telephone connections. It took forty years before the first vocoders with a musical application appeared. In the seventies it quickly gained popularity because of its robotic sounding qualities. Kraftwerk was one of the first groups to use it in their song "Autobahn".
19.2. How does Vocoder work? You've probably experimented with the filter on the MicroFreak already; if you set it to BPF (Bandpass mode) it will emphasize certain frequencies of the wave you send to it. Imagine sending a wave to 16 bandpass filters simultaneously. That is what happens in the MicroFreak vocoder; the vocoder analyzes incoming sounds using a large number of tuned bandpass filters. To mimic your voice accurately the MicroFreak vocoder has to track the loudness of your voice.
19.2.3. The Vocoder Oscillator The perfect carrier is a wave with rich overtones. The Vocoder Oscillator produces three waveforms that work particularly well as the carrier for the vocoder. You select this waveform with the Wave encoder. The Digital Oscillator At the zero position, or knob turned all the way counter-clockwise, it generates a Sawtooth waveform. At around 11% the sawtooth changes to a pulse width waveform with a duty cycle of 50%.
Selecting the frequency range to which the vocoder responds also helps to tune it to male and female voices. Or, when using an instrument as a modulator, to match the vocoder to the frequency range of that instrument. Understanding this will make you a true vocoder virtuoso. 19.2.3.2. Shape Encoder The Shape knob sets the bandwidth of each filter. Higher settings produce a narrower filter frequency response.
19.5. Select a Vocoder Preset The standard MicroFreak comes with several template presets to help you get started with creating certain types of sounds. They start at preset 129 with the Square Poly template. The MicroFreak Vocoder Limited edition 16 new Vocoder presets in memory locations 304-320. The presets will help you to get the best possible vocoding results. Select and load a preset by turning the Preset knob.
19.7. Vocoder Configuration The Vocoder has settings that you may want to adjust, and please don't hesitate to do so. It's not like the temperature setting on a fridge that you set once and then forget about it. Changes in these settings can make all the difference for the result you'll obtain with it. Below an overview of the Utility settings that are specific for the Vocoder.
The second option: Utility>Preset>Hiss Volume enables you to set the level of 'Hiss' mixed in with the modulator signal (your voice) and also affects the white noise replacement level for switched mode. The mixed-in value ranges from -20db to + 0db. 19.8. Global Vocoder settings To make the most of your vocoder is good to fine-tune it to your voice and the microphone type you use.
19.8.3.1. Noise Gate It is rarely completely silent in your studio. There is maybe an old fan in the corner or a faulty display of a vintage synth with a soft whine. Audio engineers call this the noise floor. They have funny names for many things, but they're ok once you get to know them better. When the vocoder becomes active, we'll have to amplify the microphone signal many times, but we do not want to amplify the noise of the fan.
19.8.3.3. Connecting external gear In the previous section, we've discussed setting gain levels when using the vocoder microphone. What if you want to use an external source as a modulator? It may come as a surprise but you can use any audio source as modulator: a guitar, a drum machine, a mobile phone, an Ipad or the output from a Eurorack system. You'll have to adjust the output level of your source to the input level of the MicroFreak. The output level of external sources will almost always be too high.
You can now connect the device you want to use as modulator to the mic branch of the splitter. See connecting the device below. Note: It is not a good idea to directly connect a eurorack module to the splitter. Eurorack signals are very hot and could easily overload or even damage the MicroFreak. Instead, take the signal from the headphone output of a eurorack (sub)mixer that has a headphone output or line level outputs and connect this output to the mic branch of the splitter.
19.8.4. MIDI Control Center The MIDI Control Center is an application that you download from the Arturia site to your computer. There are versions for both macOS and Windows systems. With the MIDI Control Center you can: • move presets from the MicroFreak to your computer or from your computer to the MicroFreak • change settings on the MicroFreak The MIDI Control Center manual has general descriptions of the features that are common to all Arturia products.
20. APPENDIX C: CHEAT SHEET Category Key combination Function Shift + Preset Encoder Quick select of “A”, “a”, "0 and “.” character ranges Long press on Save Quick save Press Preset Encoder three times Resets the current Preset to Init state Preset Category Key combination Function Matrix Encoder Keep depressed for 0.
Category Sequencer Key Function combination (Record must be off) Up | A + Hold (hold for 1 Clear sequence A second) Order | B + Hold (hold for 1 Clear sequence B second) Oct | Mod + Hold Oct | Mod + Hold Sequencer Erase current Modulation track Hold Oct \ | Mod and press the "Hold” icon to erase the next modulation track. Press Hold repeatedly if you want to clear all modulation tracks.
21. APPENDIX D: CC# VALUES 21.1. What are CC# values? When you draw notes in the MIDI editor of your DAW, you create MIDI data. With each note you add, you create a note-on message, a gate message, a note-off message and a velocity value, etc., all associated with a particular MIDI note number. The velocity value imitates how hard a key is struck on a MIDI keyboard.
129 Parameter CC number Spice 2 Glide 5 Oscillator Type 9 Oscillator Wave 10 Oscillator Timbre 12 Oscillator Shape 13 Filter Cutoff 23 Cycling Env Amount 24 Filter Amount 26 Cycling Env Hold 28 Envelope Sustain 29 Keyboard Hold (toggle) 64 Filter Resonance 83 ARP/SEQ rate (free) 91 ARP/SEQ rate (sync) 92 LFO rate (free) 93 LFO rate (sync) 94 Cycling env rise 102 Cycling env fall 103 Envelope Attack 105 Envelope Decay 106 Arturia - User Manual MicroFreak - Appendi
22. SOFTWARE LICENSE AGREEMENT In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to use this copy of the SOFTWARE. All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”). Arturia permits you only to copy, download, install and use the software in accordance with the terms and conditions of this Agreement.
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23. DECLARATION OF CONFORMITY USA Important notice: DO NOT MODIFY THE UNIT! This product, when installed as indicate in the instructions contained in this manual, meets FCC requirement. Modifications not expressly approved by Arturia may avoid your authority, granted by the FCC, to use the product. IMPORTANT: When connecting this product to accessories and/or another product, use only high quality shielded cables. Cable (s) supplied with this product MUST be used. Follow all installation instructions.
