Korg Microkorg Owner's Manual - zZounds.com

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6. FILTER — SYNTH The filter controls the tonal character of the sound produced by the oscillator. It determines the tone by allowing only the desired portion of the sound to pass. "TYPE" (knob 1) selects the type of filter (i.e., the way in which it will cut the frequency). "CUTOFF" (knob 2) sets the frequency at which the cut will occur. Normally, turning this knob toward the right will brighten the sound, and turning it toward the left will darken the sound. "RESONANCE" (knob 3) emphasizes the frequency region near the cutoff frequency, adding a distinctive character to the sound. Other parameters in this section let you specify the depth of the modulation applied by the filter EG, and the way in which keyboard tracking will affect the cutoff frequency. 24 TYPE [-24dB LPF, -12dB LPF, -12dB BPF, -12dB HPF] Selects the type of filter -24dB LPF ( ): The -24 dB LPF (-24 dB/octave Low Pass Filter) is the most common type of filter; it passes the frequencies that are below the cutoff frequency, and cuts the frequencies that are above (➝Figure 6-1). Lowering the cutoff frequency will make the tone darker and more mellow. -12dB LPF ( ): The -12 dB LPF (-12 dB/octave Low Pass Filter) has a more gentle slope than the -24 dB LPF, producing a more natural-sounding effect. (➝"-24 dB LPF")(➝Figure 6-1) Figure 6-1 LPF (Low Pass Filter) Cutoff -12dB/oct -24dB/oct Frequency CUTOFF [0...127] Sets the cutoff frequency. Increasing this value will raise the cutoff frequency. "CUTOFF" can be varied by time-variant change produced by Filter EG, by keyboard playing dynamics (velocity), and by note location (keyboard tracking). If the "CUTOFF" value is set too low, the volume may be extremely low, or you may hear no sound at all. Figure 6-4 The effect of resonance LPF HPF BPF Low resonance value RESONANCE [0...127] Sets the resonance of the filter. This will emphasize the overtones near the cutoff frequency specified by "CUTOFF," adding a distinctive character to the sound. Increasing this value will increase the effect. (➝Figure 6-4) Since movement of the "CUTOFF" knob will affect the overtones that are boosted by resonance, it is best to adjust "CUTOFF" and "RESO- NANCE" in conjunction with each other. High resonance value FILTER EG INT [-63...63] This specifies how time-variant modulation from the Filter EG will be applied to the cutoff frequency (➝Figure 6-5). The cutoff frequency will change over time according to the Filter EG settings, modifying the tone. For example, you can use this to create a sound that gradually begins to brighten when you press the key, and then gradually becomes darker. This INT (Intensity) parameter specifies the depth (sensitivity) to which the Filter EG will affect the cutoff frequency. With a setting of 0, the Filter EG will not affect the cutoff frequency. Increasingly positive (+) settings will allow the Filter EG to have a correspondingly greater effect on the cutoff frequency. (➝Figure 6-6) Increasingly negative (-) settings will allow a correspondingly greater effect in the opposite direction. (➝Figure 6-7) FILTER KEY TRACK [-63...63] This specifies how keyboard tracking (the keyboard location that you play) will affect the cutoff frequency. For example if the sound played by the C4 key has the desired tone but higher notes no longer have resonance or are too mellow-sounding, you can adjust keyboard tracking to make compensations so that the cutoff frequency will rise for higher notes. With positive (+) settings, the cutoff frequency will rise as you play upward from the C4 note, and fall as you play downward. With negative (-) settings, the cutoff frequency will fall as you play upward from the C4 note, and rise as you play downward. With a setting of +48, the change in cutoff frequency will be proportionate to the change in pitch. With a setting of 0, keyboard tracking will not affect the cutoff frequency.
6. FILTER — SYNTH TYPE -12dB BPF ( ): -12dB/oct BPF (Band Pass Filter) allows a frequency band in the region of the cutoff frequency to pass, and cuts the remaining frequencies. It is used when you wish to emphasize only a specific portion of the frequency range.(➝Figure 6-2) Use this when you want to emphasize 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. Figure 6-2 BPF (Band Pass Filter) Cutoff Frequency FILTER KEY TRACK Keyboard Track operates according to the pitch that is controlled by pitch bend, and transpose. It is not affected by pitch changes produced by vibrato or Virtual Patch. -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 thinner. However if the cutoff frequency is raised excessively, the volume will decrease significantly. (➝Figure 6-3) For example you can use the HPF to purposely attenuate the low-frequency region of a sound that will be played together with other lowfrequency instruments, in order to differentiate that sound from the other instruments. Figure 6-3 HPF (High Pass Filter) Cutoff Frequency 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 Figure 6-6 Cutoff Cutoff Cutoff frequency specified by “Cutoff” Figure 6-7 Cutoff frequency specified by “Cutoff” Cutoff Note on Attack Time Sustain Level Decay Time Int=+32 Note on Note off Note on Int=–32 Note off Note off Release Time Int=+63 Note on Note off Note on Int=–63 Note off Time Int=0 Time Int=0 Time 25
Page 1: E 1
Page 4 and 5: Thank you for purchasing the Korg s
Page 6 and 7: Table of Contents Using the microKO
Page 8 and 9: Front and rear panel Front panel
Page 10 and 11: Front and rear panel ○ ○ ○
Page 12 and 13: Turning the power on ○ ○ ○
Page 14 and 15: Synth programs ○ ○ ○ ○ ○
Page 16 and 17: 10 Vocoder programs ○ ○ ○ ○
Page 18 and 19: Editing ○ ○ ○ ○ ○ ○ ○
Page 20 and 21: Basic editing ○ ○ ○ ○ ○
Page 22 and 23: 1. VOICE — SYNTH/VOCODER These se
Page 24 and 25: 3. OSC1 (Oscillator 1) — SYNTH/VO
Page 26 and 27: 3. OSC1 (Oscillator 1) — SYNTH/VO
Page 28 and 29: 4. OSC2 (Oscillator 2) — SYNTH He
Page 32 and 33: 7. FILTER EG — SYNTH Here you can
Page 34 and 35: 9. AMP EG — SYNTH/VOCODER Here yo
Page 36 and 37: 12. PATCH 1, 13. PATCH 2, 14. PATCH
Page 38 and 39: 1. VOICE — SYNTH/VOCODER The "1.
Page 40 and 41: TAP EM-1 1 2 3 4 5 7 8 9 10 11 12 1
Page 42 and 43: 7. FC MOD — VOCODER These paramet
Page 44 and 45: 12. CH LEVEL A, 13. CH LEVEL B —
Page 46 and 47: 16. MOD FX — SYNTH/VOCODER The mo
Page 48 and 49: 18. EQ — SYNTH/VOCODER This is a
Page 50 and 51: 19. ARPEG. A — SYNTH/VOCODER Here
Page 52 and 53: Overall settings (GLOBAL) GLOBAL st
Page 54 and 55: TAP EM-1 1 2 3 4 5 7 8 9 10 11 12 1
Page 56 and 57: MIDI on the microKORG a second time
Page 58 and 59: Messages transmitted and received b
Page 64 and 65: Saving Data Saving your edited sett
Page 66 and 67: Initializing CH LEVEL and CH PAN -V
Page 68 and 69: Data dump 6-1. MIDI DATA DUMP ( ) D
Page 70 and 71: Other SHIFT key functions TIMBRE SO
Page 72 and 73: Troubleshooting 66 Before you suspe
Page 74 and 75: Index Symbols -12dB BPF 25 -12dB HP
Page 76 and 77: IMPORTANT NOTICE TO CONSUMERS This
Page 78 and 79: Parameter List EDIT SELECT 1/2 Type

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