User manual KORG M1R

[. . . ] However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: · Reorient or relocate the receiving antenna. · Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. · Consult the dealer or an experienced radio/TV technician for help. [. . . ] (This is set by "OSC Mod" (knob [2]). ) Knob [1] Wave (Waveform Select) [Saw, Square, Triangle, Sine] Selects a waveform for oscillator 2. Mixer page "OSC 1 Lvl" (knob [1]). Knob [2] OSC2 Mod (Oscillator 2 Modulation Type) [Off Ring, Sync, Rng+Sync] Selects the type of oscillator modulation that will be produced in conjunction with oscillator 1. However, you can detune oscillator 2 from oscillator 1 using the "OSC Semi" and "OSC2Tune" parameters to create harmony and detune effects. Ring: Ring modulation generates the sum and difference of the oscillator 1 and 2 waveforms. By adjusting "OSC Semi" and "OSC2Tune" you can create metallic sounds that contain little sense of pitch. For example you can set "OSC2Semi" to 24, and adjust "OSC2Tune" to produce a clear bell-like sound. The effect will be easier to detect if you lower "OSC 1 Lvl" and raise "OSC 2 Lvl. " You can also create interesting effects by using Virtual Patch to modulate "OSC2Tune" from LFO or EG. Sync: This type of modulation forcibly synchronizes the phase of oscillator 2 to the phase of oscillator 1, and is useful for creating lead-synth type sounds (Figure 6-2). () Knob [3] OSC2Semi (Oscillator 2 Semitone) [­24. . . 24] Specifies the detuning (pitch difference) relative to oscillator 1, in semitone steps over a range of plus or minus two octaves. If you want to use the sound of oscillator 2 as a component in the oscillator 1 overtone structure, try setting it one octave or a fifth higher than oscillator 1. If you want to use oscillator 2 in harmony, you can try intervals such as a third, fourth, or fifth. LPF12 (­12dB/oct), LPF24 (­24dB/oct): Low Pass Filter (p. 33 "LFP:"). THRU: The sound will output directly, without passing through the filter. Knob [4] Routing1 [Single, Serial, Parallel, Indiv] Specifies the routing (connection) between filter 1 and filter 2. Parallel: Filter 1 and filter 2 are connected in parallel (Figure 8-3). Indiv: Filter 1 is applied to oscillator 1, and filter 2 is applied to oscillator 2 and noise (Figure 8-4). Figure 8-1: Filter1 Resonance The effect of resonance Figure 8-2: Serial Figure 8-3: Parallel Figure 8-4: Indiv OSC1 OSC1 Filter1 OSC1 Filter1 OSC2 Filter2 Filter2 Noise LPF OSC2 Filter1 Filter2 OSC2 HPF Noise Noise BPF Low resonance value High resonance value 32 8. FILTER1-A LPF: LPF (Low Pass Filter) is the most common type of filter; it passes the frequencies below the cutoff frequency and cuts the region above. Raising the cutoff frequency ("Cutoff1" value) will produce a brighter tone. LPF (Low Pass Filter) -12dB/oct -24dB/oct Frequency Cutoff HPF: HPF (High Pass Filter) passes the frequencies above the cutoff frequency and cuts the region below. However, raising the cutoff frequency too far will drastically reduce the volume. HPF (High Pass Filter) Frequency Cutoff BPF: BPF (Band Pass Filter) passes the frequencies in the region of the cutoff frequency, and cuts all other frequency regions. Use this when you want to emphasize just a specific portion of the sound. BPF (Band Pass Filter) Frequency Cutoff 33 9. FILTER1-B Here you can set the values of the filter 1 parameters. Knob [1] EG1 Int1 (EG1 Intensity/Filter1) [­63. . . 63] This specifies how time-variant modulation from the EG1 will be applied to the cutoff frequency (Figure 9-1). The cutoff frequency will change over time according to the EG1 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. [. . . ] p. 8 Is the connected monitor system powered-on, and is the volume raised? Is the MASTER VOLUME knob set to a position where sound will be output?Filter page "E. F. Sens" set to Hold (FORMANT HOLD) while there was no input to the [AUDIO INPUT 1] or [MIC] jack ?p. 58 If you are unable to use the knobs [1]­[4] to edit vocoder parameters, is the [VOCODER] button blink for the vocoder you want to edit? [. . . ]