User manual KORG MICRO-PRESET M-500SP OVERLAY

[. . . ] 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. [. . . ] 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. BPF Frequency Cutoff Low resonance value High resonance value 24 6. TYPE FILTER -- SYNTH 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 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. Figure 6-2 It is used when you wish to emphaBPF (Band Pass Filter) size 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 Cutoff this to create a bandwidth-limited sound similar to sound heard from a small radio or a telephone. 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 Figure 6-3 you wish to make the sound thinHPF (High Pass Filter) ner. With negative (-) settings, the volume will decrease as you play above the C4 note on the keyboard, and will increase as you play below C4. 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. 27 9. AMP EG -- SYNTH/VOCODER Here you can make settings for the AMP EG, which applies time-variant change to the volume (Figure 9-1). By making AMP EG settings, you can make the volume change as time passes. Create the desired volume curve by adjusting the ADSR parameters; ATTACK (knob 1), DECAY (knob 2), SUSTAIN (knob 3), RELEASE (knob 4). You can use AMP EG as a Virtual Patch source to modulate parameters other than volume. (p. 30) ATTACK [0. . . 127] Specifies the time from note-on (when the key is pressed) until the attack level (maximum value of the envelope) is reached. DECAY [0. . . 127] Specifies the time from when the attack level is reached until the sustain level (SUSTAIN) is reached. SUSTAIN [0. . . 127] Specifies the volume that will be maintained after the decay time has elapsed, as long as you continue holding the key. Figure 9-1 Level Note on RELEASE [0. . . 127] Specifies the time from note-off (when the key is released) until the level reaches 0. EG (Envelope Generator) To a significant extent, each sound has its own distinctive volume curve. For example when you play a note on a piano, the note begins at the maximum volume, and gradually diminishes. When you release your finger from the key, the sound will disappear quickly with a brief decay. Volume curves such as this are an important aspect of how we identify the sound of a specific instrument. This type of change also occurs in the tone and pitch, as well as in the volume. However since these EGs can be used as Virtual Patch sources, you are also free to use them to vary the pitch or numerous other aspects of the sound. [. . . ] ¡p. 48 Does the MIDI channel of the data transmitted from the external MIDI device match the MIDI channel of the microKORG?¡p. 49 Does not respond correctly to MIDI messages sent from an external device Is the SHIFT function "MIDI FILTER" for that type of MIDI message set to Enable?p. 60 Transpose, velocity curve, and arpeggiator data is not recognized correctly Is Global "POSITION" set appropriately?¡p. 47 Can't edit If the display does not switch to the parameter indication when you turn the edit control knobs 1­5, Performance Edit may be active. [. . . ]