Connecting AC Power ................................................................................................................................................ 7
Making Audio Connections........................................................................................................................................ 7
Connecting the Foot Pedals ....................................................................................................................................... 7
Chapter 2: First Session .......................................................................9
A Tour of the Micron ..........................................................................................................9
The Micron’s top panel ......................................................................................................9
Control knob circle ...................................................................................................................................................... 10
Navigating with the transparent control knob and its buttons ............................................................................ 11
Play the Programs ..............................................................................................................12
Navigate through the programs................................................................................................................................. 12
Playing Patterns..................................................................................................................19
Using [latch] .................................................................................................................................................................. 19
Using [tap] ..................................................................................................................................................................... 19
Pattern Types: Arpeggios and Sequences ....................................................................20
2. Send to setup?........................................................................................................................................................... 22
3. Start new setup? ....................................................................................................................................................... 23
4. Pattern program ....................................................................................................................................................... 23
7. Type ..........................................................................................................................................................................24
14. Pattern name ......................................................................................................................................................... 28
18. Store a copy?.......................................................................................................................................................... 29
Store your changes! ...................................................................................................................................................... 29
Playing Rhythms .................................................................................................................31
Using [tap] ..................................................................................................................................................................... 31
2. Send to setup?........................................................................................................................................................... 33
3. Start new setup? ....................................................................................................................................................... 34
6. Record rhythm (real-time)..................................................................................................................................... 35
7. Drum A through Drum H .................................................................................................................................... 36
10. Rhythm name ......................................................................................................................................................... 39
14. Store a copy?.......................................................................................................................................................... 40
Store your changes! ...................................................................................................................................................... 40
1. Parts ..........................................................................................................................................................................44
2. Use as........................................................................................................................................................................ 48
6. FX Type ................................................................................................................................................................... 52
8. Setup name .............................................................................................................................................................. 52
12. Store a copy?.......................................................................................................................................................... 53
Store your changes! ...................................................................................................................................................... 53
Store your changes! ...................................................................................................................................................... 54
What is a “Program”? .........................................................................................................55
Chapter 5: Program Parameters ........................................................55
How the Micron Makes Sound .........................................................................................55
The Oscillators ............................................................................................................................................................. 55
The Pre Filter Mix........................................................................................................................................................ 56
Table of Contents
The Filters ..................................................................................................................................................................... 56
The Post Filter Mix......................................................................................................................................................56
Signal Flow Diagram ................................................................................................................................................... 57
The LFOs ...................................................................................................................................................................... 58
The Envelopes..............................................................................................................................................................59
Playing Programs ...............................................................................................................60
2. Add to Faves? / Remove Fave? ........................................................................................................................... 60
3. Send to Setup? .......................................................................................................................................................... 61
4. Start New Setup?...................................................................................................................................................... 62
15. Mod (Modulation Routing)................................................................................................................................. 79
17. Program name....................................................................................................................................................... 83
20. Store a copy?.......................................................................................................................................................... 84
Store your changes! ...................................................................................................................................................... 84
Exiting program editing .............................................................................................................................................. 85
5. Local Control........................................................................................................................................................... 89
Loading Programs, Rhythms, Patterns, and Setups via MIDI ............................................................................. 96
What's a bundle?........................................................................................................................................................... 96
Compatibility with Alesis Ion programs................................................................................................................... 97
Sharing programs between the Alesis Micron and the Alesis Ion ....................................................................... 97
Updating Software Via MIDI .................................................................................................................................... 97
All Notes Off................................................................................................................................................................ 98
How do I split/layer the keyboard? .......................................................................................................................... 101
What is a MIDI Sequence? ......................................................................................................................................... 101
Where can I get more Programs? .............................................................................................................................. 101
Are Micron programs compatible with Ion programs? ......................................................................................... 101
Recovering from a Crash ............................................................................................................................................104
Checking the Software Version ................................................................................................................................. 104
Cleaning Your Micron................................................................................................................................................. 104
Alesis Contact Information ........................................................................................................................................ 112
4
Introduction
Welcome!
Congratulations on your purchase of the Alesis Micron! The
Micron is a powerful, 8-voice Analog Modeling synthesizer based
on the award-winning sound engine of the larger Alesis Ion.
The Micron has every bit of sound-producing DSP horsepower
contained in the Ion along with a few tricks of its own. The
Micron’s front-panel interface is streamlined to give you full access
to its Analog Modeling power while meeting the demanding
requirements of real-time performance. Not only synth patches
but melodic patterns and drum beats also are available to you in
most cases simply by pressing a button and turning a knob. You
can create sophisticated rhythms combining up to ten different
sounds. You can create really rich setups combining as many as 26
different programs with anywhere from 0 to 26 different rhythms,
all simultaneously active.
This is an exciting time for analog-style synthesizers. After a
period of relative neglect brought on by the appearance of sampleplayback digital synths (which excel at realistic mimicry of various
sound sources), the unique sounds of analog-style synths have
been rediscovered. Analog Modeled basses dominate certain styles
of music, and other analog-type elements – from drums to leads to
pads – are frequently heard in contemporary popular music.
Alesis has been at the center of this resurgence. Our first product
in the line was our A6 Andromeda, a true analog synth considered
by many to be the most powerful non-modular analog synthesizer
ever made. Next came the Alesis Ion, praised as one of the most
powerful and best sounding Analog Modeling synthesizers ever.
Now, the Micron furthers this legacy, taking the Analog Modeled
synthesizer in yet another new direction.
Please be sure to register your Micron at the Alesis website,
www.alesis.com. And since the Micron’s operating system is
upgradeable via MIDI, try to check the site once in a while for
updates and extra goodies.
We hope and trust that you’ll find the Micron to be an inspiring
instrument that you can turn to again and again for new ideas, new
sounds, and new inspiration.
Sincerely,
The people of Alesis
For more effective service
and product update notices,
please register your Micron
online at:
http://www.alesis.com
/support/warranty.htm
5
p
Introduction
Unpacking and Inspection
The shipping carton for your Micron should contain the following
items:
● Micron synthesizer
● AC power adapter
● This instruction manual
● A warranty card
Please log on to the Alesis website at www.alesis.com to register
your new Micron synthesizer. This will help us give you the best
support we possibly can.
How to Use This Manual
We’re sure you’d like to jump in and start using your Micron
quickly. To help you do this, refer to Chapter 1 for hook-up
instructions, and then read Chapter 2 – “First Session.” This will
get you playing in no time. If you have any questions, refer to the
Frequently Asked Questions in Appendix A on page 101.
Chapters 3 through 6 cover the main operating modes of the
Micron – the patterns, rhtyhms, setups, and programs.
For information on using the Micron along with other MIDI
devices, refer to Chapter 8 “MIDI.”
Near the end of the manual are troubleshooting tips and
specifications.
The names for all buttons, knobs, and wheels on the Micron are
formatted throughout the manual so as to be easily identified. Here
are some examples:
[setups] The top panel buttons are bolded and
[bracketed].
(m1) Wheels, knobs, sliders, and rear-panel jacks
are bolded and placed in (parentheses).
Parameters Editable parameters are bolded.
length Specific settings for various parameters are
italicized.
Helpful tips and advice are
highlighted in a shaded box
like this.
When something important
appears in the manual, an
exclamation mark (like the
one shown at left) will appear
with some ex
lanatory text.
6
1 Connections
Connection Diagram
Connecting AC Power
Before making any power connections, make sure the Micron’s
power switch is turned off. Then plug the adapter into the Micron
and into a wall outlet.
Making Audio Connections
• Stereo outputs. Connect two cables from the
Micron’s left and right outputs to two inputs of an amp or
mixer.
• Headphones. Plug a set of headphones into the
headphone jack on the rear panel.
Connecting the Foot Pedals
The Micron has two pedal jacks marked (sustain) and (expr).
Plug a sustain pedal (not included) into the jack marked (sustain).
(sustain) is designed to work with any standard momentary
footswitch. It doesn’t matter whether the footswitch is normally
open or closed, as long as you plug it in before powering up your
Micron; the instrument will calibrate itself.
(expr) is designed to work with a Roland EV-5 pedal or
equivalent.
WARNING: When connecting
audio cables or turning
power on and off, make sure
that the amplifiers in your
system are turned off or the
volume controls are turned
down. If you don’t do this,
you can create loud bursts of
sound that might damage
your speakers.
NOTE: If your sustain pedal
response is backward (i.e.,
notes sustain when your foot
is off the pedal), turn off your
Micron and make sure the
footswitch plug is fully
inserted into the (sustain)
jack. Then, turn the Micron
back on while keeping your
foot off the footswitch.
7
1
Connections
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8
2 First Session
A Tour of the Micron
In this session, we’ll:
● Explore the Micron’s top panel
● Define some key concepts.
● Play some of the Micron’s basic sounds (called programs).
● Learn different ways to navigate the Micron’s programs.
● Explore the built-in patterns.
● Capture and play back some phrases.
● Explore the Micron’s drum sounds and play some rhythms.
● Explore the Micron’s setups. Setups are where programs,
The Micron’s top panel
Volume
The (volume) knob on the far left-hand side of the Micron raises and lowers
the volume. If you don’t hear anything as you play the Micron,
suspect the (volume) knob’s setting.
Real-time controllers
The (m1) and (m2) sliders, (pitch) wheel, and (x/y/z knobs),
located on the left half of the Micron, provide real-time control of
the Micron’s sounds.
patterns, rhythms, and more all come together in powerful,
flexible combinations.
9
2
First Session
Performance buttons
The buttons in this cluster switch octaves, set the tempo, and
perform other performance-related functions.
Display
Information relevant to the current operation is shown here.
Control knob circle
These are the Micron’s most important controls – the control
knob and the buttons that surround it. Pressing one of these
buttons – [programs], [setups], [config], [patterns], or
[rhythms] – puts you into one of the Micron’s primary modes of
operation. Turning the control knob then cycles through options.
Pressing the control knob allows for editing.
Key concepts
Here are the Micron’s most important concepts:
Programs
Programs are the Micron’s sounds, built from its oscillators,
envelopes, filters, modulation matrix, and other analog-style
components.
Rhythms
Rhythms are combinations of drum programs with patterns.
Think of a drum machine with its interchangeable sounds and
patterns. That’s pretty close to what rhythms are.
Patterns
Patterns are repeating melodic and/or rhythmic motifs. Arpeggios
and step sequences are examples of patterns.
Setups
Setups combine multiple programs, rhythms, patterns, and more.
They are the Micron’s most powerful and most sonically
sophisticated element.
10
2
Navigating with the transparent control
knob and its buttons
Use the transparent control knob to the right of the display and its
surrounding circle of buttons to navigate through the Micron’s
options. Most Micron functions involve pressing the buttons and
then turning or pushing this knob.
“Green Light/Red Light”
The buttons circling the control knob glow green when selected
and glow red when the control knob has been pushed (entering
edit mode).
The exception is the [config] button. [config] only glows red,
since it only performs editing functions.
At any one time, only one of the buttons will glow, indicating that
the Micron is operating within that mode.
“Turn”
Turn the control knob to cycle through various options.
“Push”
Push the control knob to edit the option displayed. Push again to
stop editing. See the following visual illustration:
First Session
11
2
First Session
Play the Programs
The Micron’s basic sounds are called “Programs.” Play some of
these programs now.
Find the [programs] button on the right side of the top panel.
Press it; then spin the control knob. Notice how the programs are
organized by category – first basses, then leads, then pads, etc.
Turn the volume up and listen to some of these programs.
Experiment with the (pitch) wheel, the (x/y/z knobs), and the
two sliders. Here are a few points to note:
● The (pitch) wheel glows progressively brighter as you turn it..
● The (x/y/z knobs) do different things depending on the
Program. Sometimes, they increase or decrease the quickness
of the attack. Sometimes, they change the tone by adjusting the
filter resonance. Each time you change Programs, the X/Y/Z knobs reset to their original positions.
● The (m1) slider typically – but not always – adds vibrato.
● The (m2) slider typically – but not always – sweeps the filter
frequency, radically changing the tone.
Play some notes before, during, and after moving the (m2)
slider. You’ll most likely hear the classic analog synthesizer
“filter sweep” sound.
Navigate through the programs
Rotate the control knob enough, and you’ll pass through 13
categories of programs. At the end of the list, all of the programs
are presented alphabetically, regardless of category.
Using the [programs] + white key shortcut
Notice the red text just above the keyboard. This text corresponds
to the 13 categories and also includes the all, uncategorized listing.
To access a category instantly, hold down [programs] and then
press the associated white key.
12
2
Special categories
All
As we’ve already seen, the all category is an alphabetical listing of
all the Programs.
Recent
The Programs you’ve played recently are stored for you
automatically under the Recent category. They are still listed under
their primary categories. This is a duplicate listing to allow for
super-fast access. Note that you cannot directly edit this listing.
You need to select and then play the Programs you want to be
listed here.
Faves
● Adding Programs to Faves
When you find a Program you particularly like, add it to the Faves
(“Favorites”) category. In [programs] mode, press the control
knob to enter edit mode. You will be prompted to Add to faves?
Press the control knob once again to add the Program to the Faves
category.
Press the [programs] button again if you want to cancel this
action and exit the editing screens.
● Removing Programs from Faves
To remove a Program from the Favorites list, call up the program
and press the control knob. You will be asked, Remove fave? Press
the control knob to perform the action.
Switch Octaves
While the Micron is a compact unit, all of its sounds span the full
128-note MIDI range. Use the [octave] buttons to the left of the
display to transpose the keyboard up and down to cover that
range.
Notice how one or the other [octave] lights glows progressively
brighter as you push it. This provides a visual indication of the
current octave setting.
Press both [octave] buttons simultaneously to return to the
default octave setting.
First Session
13
2
First Session
Explore the Built-in Patterns
The Micron features a powerful pattern sequencer with lots of
editing capabilities. We’ll discuss the editing features later. For
now, let’s get our feet wet playing some patterns.
Press the [patterns] button to the left of the display.
Turn the control knob to cycle through various preset patterns.
Play the keyboard to hear them.
[tap]
Tap the [tap] button to the left of the display. Watch and hear
how [tap] controls the tempo. Note that the pattern’s tempo
immediately locks to the speed at which you tap.
To adjust the tempo with finer control (one-tenth of a beat per
minute), hold down the [tap] button and turn the control knob
left or right to slow down or speed up. The display will indicate
the current tempo.
[latch]
Press the [latch] button, also to the left of the display. Remove
your hands from the keyboard. The pattern keeps playing.
Press [latch] again to stop the pattern from playing.
14
2
Explore the Rhythms
Rhythms combine drum/percussion programs with specifically
designed rhythm patterns.
Press [rhythms]. Turn the control knob to cycle through
different rhythms.
● To play a rhythm
Press and hold any key from the bottom of the keyboard up to the
middle G#. (These are the keys labeled from recent through all.)
● To play a rhythm’s individual drum sound
Press one of the white keys from middle A (labeled voice) upward.
The keyboard’s middle A corresponds to the rhythm’s Drum A.
The next higher note, B (labeled osc), corresponds to Drum B.
Proceeding higher, drums C, D, E, etc. are triggered. Any keys
higher than the rhythm’s highest note will do nothing.
● To play a rhythm hands free
Press any key from middle G# down on the keyboard. While
holding down that key, press [latch] to keep the rhythm going.
Press [latch] a second time to stop the rhythm.
● To change the tempo
Tap the [tap] button a few times, or hold down [tap] and turn the
control knob.
● To change to a different rhythm
Turn the control knob to change the rhythm. The newly selected
rhythm will begin to play once the last rhythm reaches the end of
its cycle. (To make the newly selected rhythm begin playing
immediately, press any key from all downward.).
First Session
15
2
First Session
Each rhythm’s sounds, relative sound levels, left/right panning,
rhythmic patterns, time signature, duration, quantization, and
name can be edited. (We’ll leave the editing for a later chapter.)
Explore the Setups
Press [setups] to explore this mode – the most sophisticated
mode of the Micron.
Setups combine the following elements:
● Multiple Programs.
● Multiple Patterns.
● Multiple Rhythms.
● Splits (like placing a rhythm on the left side of the keyboard, a
bass program in the middle, and a lead program up top).
● Latch on/off settings.
● Semitone transpositions.
● Level and left/right panning.
● Effects settings.
● Controller assignments.
Once you’ve mastered setups, you’ve mastered the Micron! In this
first session though, simply press the [setups] button, twirl the
control knob a few times, and listen to the various presets. Be sure
to play throughout the keyboard range to experience the various
splits, layers, and rhythm triggers. These presets will give you a
good sense for some of the different possibilities you can create on
your own.
16
2
Record Some Phrases
You don't have to be in Patterns mode to create a pattern. At any
time, the Micron can capture your playing and use it as a pattern.
Press [programs] to enter Programs mode. Hold down the
[phrase] button and start playing a riff. As soon as you hit the
first note, the [phrase] button will start flashing, indicating that it
is recording what you play. You can release the [phrase] button
any time after you’ve played that first note.
When you are done playing the phrase, press the [phrase] button
again. The button will light, indicating that the Micron is ready to
play your phrase back. Press any key, and you’ll hear your phrase
loop to the tempo.
You can press the [phrase] button to turn phrase playback on or
off. To record a different phrase, just hold down the button and
start playing.
In Setups mode, it gets a little more complicated, since each part
can have its own phrase. But the basic idea is the same -- hold
down the [phrase] button and start playing. Whatever part or
parts you play on will get their own phrases. To record a phrase
and clear all of the other phrases, hold down [phrase] and start
recording when the button is unlit. To add the phrase to the
existing phrases, start recording when the button is
already lit.
A phrase is stored as a pattern named “* Phrase”, which appears
near the beginning of the patterns list. If you record a phrase that
you really like and want to keep, simply find the “* Phrase” pattern
and give it a new name. You will see how to do that in later
chapters.
First Session
17
2
First Session
Connect External Instruments
You can connect external audio sources – other synthesizers,
mixers, guitars, etc. – using the ¼-inch (audio in) jacks on the
back of the Micron. The jacks accept either balanced or
unbalanced cables.
Your external audio can be blended in with the Micron’s internal
sound-producing oscillators. The resulting combination is then
sent through the Micron’s filters and effects.
Use both jacks for stereo input. Use the (left) jack for mono-only
sources (in which case the input will be sent to both the left and
right channels).
A special group of programs – including vocoder programs –
exists just for use with the external inputs. These programs begin
with “*” and are accessible at the beginning of the sfx Program
category.
Whew!
We’ve covered a lot of material. Hopefully now you feel
comfortable navigating around the Micron. Future chapters will
cover editing, MIDI, and other more advanced features. But if
you want to throw this manual on the fire now and simply enjoy
playing your Micron, no one will blame you. You’ve got the basics
well at hand.
See page 65 to learn about
the Micron’s filter
parameters.
18
3 Patterns
Playing Patterns
Patterns are repeated melodic figures that you trigger from the
keyboard.
Press [patterns] near the control knob. To cycle through
different patterns, turn the control knob. The pattern will change,
with the current pattern name shown in the display.
The pattern continues playing as long as you hold down the key.
Using [latch]
Press [latch] to keep the tempo steady as you shift between notes.
Press [latch] again to stop the pattern from playing.
Using [tap]
Tap the [tap] button to increase or decrease the speed of the
pattern. To adjust the tempo with finer control, hold down [tap]
and turn the control knob. The display will indicate the precise
tempo.
Pattern options:
19
3
Patterns
Pattern Types: Arpeggios and
Sequences
A pattern can be set to one of two types: “arpeggio” or
“sequence”.
Arpeggios and sequences both respond to a keypress by playing a
series of notes over a programmed rhythmic pattern. The
difference lies in which notes they play.
An arpeggio loops over whatever notes you are holding down on
the keyboard. If you hold down a chord, the Micron will generate
a melody by playing each note of your chord individually.
A sequence, on the other hand, already has a melody line built in.
So, all you have to do is hold down a single key, and the Micron
will play back that melody relative to that key. Pressing another
key will transpose the sequence.
A pattern can easily be switched from an arpeggio to a sequence,
and vice-versa. The underlying rhythmic pattern is kept the same -
- all that changes is whether the pattern plays the notes you hold
down or the notes it was recorded with.
If the distinction is unclear, choose your favorite pattern, toggle its
“type” parameter between “arpeggio” and “sequence” (see page
24), and try playing it both ways.
Phrases versusPatterns
In Programs and Setups
modes, the Phrase button
lets you quickly record and
repeat a riff or melody line.
Phrases are designed to be
used “live”, when
inspiration strikes as you're
playing.
A phrase is nothing more
than a pattern that was
recorded using the Phrase
button. In fact, the most
recently recorded phrase is
stored as a pattern named
“* Phrase”. If you happen
to record a phrase that you
really like and want to hang
on to, simply find the “*
Phrase” pattern and give it
a new name.
20
3
Editing Patterns
Choose an existing pattern to edit by pressing the [patterns]
button and turning the control knob. Hold down any key to play
the pattern. (Use the [tap] button to change the tempo.)
Once you’ve found a pattern you want to edit, press the control
knob to enter edit mode. Turn the control knob to cycle through
the different options. Press the control knob to toggle in and out
of editing the current parameter.
Here are the pattern editing options:
1. Revert-to-stored? / Unrevert-to-edited?
If you have edited a pattern, you may revert back to the original
version. Press the control knob to revert.
Go back to your edited state by press the control knob a second
time to unrevert.
Use revert and unrevert often in order to compare your changes to
the original pattern. When you’re satisfied with your work, press
[store] to save your changes.
Patterns
Store your pattern
The [store] button will light
once you have edited a
pattern.
Press [store] after you’re
satisfied with your edits.
Otherwise, your changes will
be lost when you turn off your
Micron.
21
3
Patterns
2. Send to setup?
Pressing the control knob at this option sends you to [setups]
mode and allows you to make this pattern a part of the lastselected setup.
If the setup does not have any parts, this pattern is automatically
assigned to the setup’s part A.
If the setup already has one or more parts, you will be able to add
the pattern in one of the following ways:
1. send to part. The setup's part will use this pattern.
Remember that a part uses both a program and a pattern. If the
part's program is set to “(pattern's pgm)”, then the pattern will
sound just as it does in Patterns mode. Otherwise, the setup will
play the pattern using the part's own program.
2. layer. The setup's existing part is duplicated, resulting in a new
part. The pattern is then sent to the new part.
3. split low. The setup’s existing part is split in two at a
particular key.
The Micron prompts for a note on the keyboard at which to
execute the split. The pattern is then sent to the lower part of the
split. Every note below the one you select will use this new pattern.
Every note including and higherthan the note you select will use the
setup’s existing part.
The new part is assigned the next letter after the split part. For
example, if the setup contains parts A, B, C, and D, and part B is
the part that gets split, then part C will be the newly-added part.
All later parts’ letters are incremented by one.
To select the split point, turn the control knob or play a key. You
can use the [octave] buttons if your desired split point is outside
of the current key range.
4. split high. The setup’s existing part is split in two at a
particular key.
As with the split low option, the Micron prompts for a note on the
keyboard at which to execute the split. The pattern is then sent to
the upper part of the split. Every note above the one you select will
use this new pattern. Every note including and lower than the note
you select will use the setup’s existing part.
Send to setup only allows the
option of sending the pattern
to the current setup.
Therefore, you may need to
jump out of pattern editing to
choose a setup before
returning to patterns and
following this procedure.
How part letters change
when “layer,” “split low,”
and “split high” are used
When parts are layered or
split high, the new part is
assigned the next letter after
the targeted part. All
subsequent part letters are
incremented by one.
For example, consider a
setup with four existent parts:
A
B
C
D
If we split part B, the result is
as follows:
A
B (low split of B)
C (high split of B)
D (formerly “C”)
E (formerly “D”)
22
3
To select the split point, turn the control knob or play a key. You
can use the [octave] buttons if your desired split point is outside
of the current key range.
5. add part. The pattern is added as a brand new part. All other
part parameters are set to their default values.
3. Start new setup?
Pressing the control knob at this option creates a new setup named
with the pattern’s name and a “+” in front (e.g. “+Liner” and
“+Bobbetty”) and, if a setup with this name already exists, a
number at the end (e.g. “+Liner2” and “+Bobbetty2”).
4. Pattern program
Choose the program that the pattern will use to play its notes. In
order to quickly jump between program categories, you can hold
down the [patterns] button and press the white keys labeled with
category names.
Another way of setting the pattern’s program is to bring it over
from Programs mode. Press [programs] to enter Programs
mode, and find the program that you want. Then, hold down
[programs] and press [patterns], and the pattern’s program will
be set. This works in the other direction as well -- hold down
[patterns] and press [programs] to bring the pattern’s program
over to Programs mode, perhaps for some quick editing.
5. Length
Select one of 1/4, 1/2, 1, 2 or 4 bars.
The pattern will always play from the first note of the first bar. So,
if you select a value shorter than the current one, the latter parts of
the pattern will be truncated. If you select a value longer than the
current one and the latter part of the pattern does not contain any
notes, the new notes at the end of the pattern will be empty.
Patterns
Length and Grid quantizing
The Micron records your
playing at a very high
resolution. The length and
grid settings that you select
for playing back your
patterns are used to nondestructively quantize those
recordings.
So, if you record a four-bar
pattern and change its length
later to ¼ bar, the Micron
will only play a frac ti on o f
your pattern, but it will
remember the whole thing. If
you want to change the length
back to four bars at any time,
the complete pattern will still
be available.
Similarly, pattern rhythms
are quantized using the grid
setting, but the underlying
information remains
untouched. So, as you cycle
through different grid
settings, you’re likely to hear
different syncopations and
“feels” emerge.
23
3
Patterns
6. Grid
Choose 8, 12, 14, 16, 20, 24, or 32 steps per bar, or choose
unquantized. Shortening the scale decreases the quantizing
resolution. You’re more likely to hear double notes and simpler
syncopations at low values.
Straight-ahead feels tend to result from using 8, 16, and 32 steps
per bar. Swing and shuffle feels tend to result from choosing 12 or
24 steps per bar. But you can create some pretty wild patterns by
using fractions of bars along with less obvious grid values, like 14
and 20.
7. Ty p e
Choose sequence or arpeggio.
8. Span (arpeggios only)
Choose a span ranging from single note – in which the note you
press on the keyboard will be the only note that plays – to one that
plays up, down, or up-and-down through 1, 2, 3, or 4 octaves.
9. Order (arpeggios only)
When you hold down more than one note, you can specify the
order in which they will be arpeggiated:
● The order in which they were initially pressed (called as played).
● Up. The arpeggiator plays the notes you are holding from the
bottom to the top. Once the top note is reached, the arpeggio
begins from the bottom again.
●Down. The arpeggiator plays the notes you are holding from the
top to the bottom. Once the bottom note is reached, the arpeggio
begins from the top again.
●Up+Down Incl. This mixes the up and down settings, playing up
the notes you are holding and repeating the top note and the
bottom note. The incl stands for inclusive.
●Up+Down Excl. This mixes the up and down settings, playing up
the notes you are holding without repeating the top note and the
bottom note. The excl stands for exclusive.
●Octave Jump. The arpeggiator plays the notes you are holding
but plays the first note in two or more octave registers before
playing the second note, which it also plays in two or more octave
registers, etc.
Four Beats per Bar
All Micron patterns have four
beats per bar.
You can still create oddmeter rhythms. It just takes a
little calculation and a
willingness to ignore the
tempo indications given by
the [tap] button.
For instance, one way to
create a ¾ feel is to combine
a length of ½ bar with a grid
of 24 steps. That will give
you a total of 12 steps to work
with.
Sequences contain not only
rhythm
information but also pitch
information.
Use arpeggios for computergenerated patterns.
Use sequences for melodies
and basslines
Octave Jump
To hear Octave Jump in
action, Span should not be set
to “single note.”
(relative volume)
and velocity
.
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3
10. Real-time recording
Once you've reached the “record” parameter, you'll hear the
metronome start to click. Use this "lead-in" time to get yourself
into the groove. (As always, if the tempo isn't right, you can use
the [tap] button to adjust it.)
Once you're ready to play, just start playing. The Micron will begin
recording from the first note of the pattern. Alternately, if you
don't want to play from the first note, you can push the control
knob to kick off the recording.
The pattern will loop continuously, so you can add to it each time
it comes around. When recording in real-time, remember that
playing will never erase anything you've already recorded. To wipe
out a section so you can replay it, hold down the control knob as it
gets played back.
To stop recording, turn the control knob or press a mode button.
You will often want to clear the entire pattern and start over. One
way of doing this is to hold down the control knob and wipe out
the pattern as you record. But a quicker way is to hold down the
[patterns] button and hit the highest note on the keyboard. This
is a shortcut to the “Clear pattern?” option. See page 27.
The Micron records not only the keys you play, but all movements
of the sliders, pitch wheel, and knobs. These controller
movements don't even need to be recorded at the same time as the
keys. A useful technique is to play the keys first, and then when
the recording loops around, play on the controllers to add some
life to your notes. If you do this, you will probably also be using
the “Clear controllers?” option as well, so you can revise your
controller movements until you're satisfied. See page 27.
Patterns
Time display
The Micron displays time as
“bar:beat:tick”. There are
four beats in a bar, and 120
ticks in a beat.
Three-step beats land on
0, 40, and 80.
Four-step beats land on
0, 30, 60, and 90.
Five-step be ats l and on
0, 24, 48, 72, and 96.
Changing the metronome
The metronome you hear
when recording is, in fact,
just another pattern. It is
named “* Metronome”, and
appears near the beginning of
the pattern list. You are free
to edit this pattern all you
like. For example, you can
choose a different program,
or put the clicks on eighth
notes or triplets instead of
quarter notes. A quick way of
disabling the metronome
entirely is to simply rename
this pattern and store it. You
can always bring back the
metronome later with another
rename.
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3
Patterns
11. Step editing
Turn the control knob to cycle through each step. You can
quickly jump to the first step of the pattern by holding down the
[patterns] button and pressing A above middle C (labeled “osc”).
Every aspect of the pattern is editable:
a. Adding and replacing notes and chords
Play one or more keys at any step to add (or replace) that
step’s entry. Pitch, velocity, and length will be recorded, as
will any controller and knob moves you make while the keys
are held down.
If the pattern type is set to “arpeggio”, the pitch will not
actually be used when the pattern is played back, since the
Micron will play the pattern over whatever notes you hold
down. But if you later set the type to “sequence”, your
recorded pitches will reappear.
The cursor will automatically move on to the next step.
b. Removing notes
To remove a note, place the cursor under any step and
double-click the control knob. The note, plus all controller
movements between this note and the next one, will be
removed.
c. Moving notes
To move a note, place the cursor under it. Then press and
hold down the control knob and turn it to the left or right.
Imagine that you are “dragging” the note.
Controllers and step editing
Remember that controller
movements are recorded
while a note is held down.
So, it is perfectly possible to
record a pitch bend while
step editing; just play the note
and turn the pitch wheel.
Removing multiple notes
To remove multiple notes at
once, place the cursor at the
right-most note you want to
remove. Then press down on
the control knob and turn it
all the way to the left before
releasing it.
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3
Patterns
d. Editing velocity
Place the cursor under the note that you want to edit and
press the control knob. Turn the control knob to increase or
decrease the velocity.
You can remove the note by turning the velocity down to
zero.
While you're editing velocity, you can play any key to hear
what the note sounds like at that velocity.
Note: Though the duration of the note is displayed in this
screen, it cannot be edited here.
e. Editing duration.
To edit the duration of a note, move the cursor to it and play
the note with the duration you desire.
The duration value cannot be edited directly, but a rough
indication of the duration can be seen on the upper right side
of the display.
Gauging note velocity and
duration on the display
As you place the cursor under
each note, the top right side
of the display will change.
Higher velocities are
illustrated with higher
Longer note lengths are
illustrated with thicker
Notes can overlap one
another, but that overlap is
not visible on the display.
bars.
bars.
12. Clear controllers?
Press the control knob to erase all slider, pitch wheel, and knob
movements from the pattern, but keep the notes. This is handy if
you recorded some controller movements that you're unhappy
with, and want to try another take without starting the pattern
from scratch.
13. Clear pattern?
Press the control knob to erase all notes and controller movements
from the pattern, but keep the basic pattern parameters. To
quickly jump to this option, hold down the [patterns] button and
press the highest note on the keyboard.
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3
Patterns
14. Pattern name
Since patterns are listed alphabetically, creative naming can help
you move smoothly from one pattern to another.
Turn the control knob to select a position (1 – 14) to edit. Then
press the control knob to edit that position. Edit either by turning
the control knob or pressing notes on the keyboard.
Press a key twice to toggle between upper and lower case.
Inserting and deleting characters
To insert a space in the name, navigate to the position at
which you want to add the space. Hold down the control
knob and turn it clockwise.
To delete a character, navigate past it, hold down the control
knob, and turn it counterclockwise.
In both cases, imagine that you are “dragging” the name
around.
15. Send MIDI sysex?
Choose this option to send the pattern to a computer or other
MIDI storage device using the Micron’s (MIDI OUT) port.
This allows you to back up your patterns to your computer, or
share them with your friends or over the internet. See page 95 for
details on what Sysex is and how to use it.
16. Send syx bundle?
Choose this option to send both the pattern and its program to a
computer or other MIDI storage device using the Micron’s (MIDI OUT) port.
17. Delete pattern?
Delete the pattern using this function, if desired. You will be
prompted to confirm this action.
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3
18. Store a copy?
Unlike many synths, the Micron does not have fixed “banks” of
programs, patterns, and so on, each with a predetermined number
of storage locations. Instead, you may freely create and delete
patterns at any time, just as you would on a computer.
“Store a copy?” is how you create a new pattern. This option
creates a brand new copy of the current pattern, differing only in
name. Now, when you make changes and hit the [store] button,
you will be storing to this new copy.
Whenever you want to start a new pattern from scratch, you will
have to find an existing pattern to base it off of, and then store a
copy. Don't forget to store a copy, or you might accidentally
overwrite the original pattern.
Store your changes!
Be sure to press the [store] button after you’re satisfied with your
changes. Otherwise, your changes will be lost when the Micron is
turned off.
However, keep in mind that you don't lose any changes when you
switch to other modes, so feel free to browse through programs or
setups without storing your pattern. Additionally, if you play a
setup that uses the current pattern, you'll hear your edited version,
even without storing. This is a great way of checking how your
edits sound in the context of a setup, without having to commit to
them.
You can even play other patterns without losing your edits. Just
hit the [patterns] button and turn the control knob. You can
always come back to your edited pattern, just as you left it. The
Micron doesn't discard your edits until you start editing a different
pattern.
Exiting pattern editing
You can exit pattern editing at any time. Simply press any of the
buttons encircling the control knob, including the [patterns]
button a second time.
Patterns
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3
Patterns
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30
4 Rhythms
Playing Rhythms
Press the [rhythms] button next to the control knob.
Press and hold any key on the left side of the keyboard to play a
rhythm.
Play the keys on the right side of the keyboard to play individual
drum sounds. The keyboard’s A above middle C (labeled voice)
corresponds to the rhythm’s Drum A. The next note, B (labeled
osc), corresponds to Drum B, and so on.
Turn the control knob to play different rhythms.
Using [tap]
Tap the [tap] button to increase or decrease the speed of the
pattern. To adjust the tempo with finer control, hold down [tap]
and turn the control knob. The display will indicate the precise
tempo.
Rhythm options:
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4
Rhythms
Editing Rhythms
First, choose an existing rhythm to edit by pressing the [rhythm]
button and turning the control knob. Press any key on the left
half of the keyboard to play the rhythm. Use the [tap] button to
change the tempo.
Once you’ve found a rhythm you want to edit, press the control
knob to enter edit mode. Turn the control knob to cycle through
the parameters. Press it to edit a parameter; press again to exit
parameter editing.
1. Revert-to-stored? / Unrevert-to-edited?
If you have edited a rhythm, you may revert back to the original
version. Press the control knob to revert.
Go back to your edited state by press the control knob a second
time to unrevert.
Use revert and unrevert often in order to compare your changes to
the original rhythm. When you’re satisfied with your work, press
[store] to save your changes.
Store your rhythm
The [store] button will light
once you have edited a
rhythm.
Press [store] after you’re
satisfied with your edits.
Otherwise, your changes will
be lost when you turn off your
Micron.
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4
2. Send to setup?
Pressing the control knob at this option sends you to [setups]
mode and allows you to make this rhythm a beat of the lastselected setup.
If the setup does not have any beats, this rhythm is automatically
assigned to the setup’s beat A.
If the setup already has one or more beats, you will be able to add
the rhythm in one of the following ways:
1. send to beat. The setup’s beat is replaced by the current
rhythm. The setup beat’s level, effects mix, key range, and latch
status are retained.
2. layer. The setup's existing beat is duplicated, resulting in a new
beat. The rhythm is then sent to the new beat.
3. split low. The setup’s existing beat is split in two at a
particular key.
The Micron prompts for a note on the keyboard at which to
execute the split. The rhythm is then sent to the lower beat of the
split. Every note below the one you select will use this new rhythm.
Every note including and higher than the note you select will use the
setup’s existing beat.
The new beat is assigned the next letter after the split beat. For
example, if the setup contains beats A, B, C, and D, and beat B is
the beat that gets split, then beat C will be the newly-added beat.
All later beats’ letters are incremented by one.
To select the split point, turn the control knob or play a key. You
can use the [octave] buttons if your desired split point is outside
of the current key range..
4. split high. The setup’s existing beat is split in two at a
particular key.
As with the split low option, the Micron prompts for a note on the
keyboard at which to execute the split. The rhythm is then sent to
the upper beat of the split. Every note above the one you select will
use this new rhythm. Every note including and lower than the note
you select will use the setup’s existing beat.
Rhythms
Send to setup only allows the
option of sending the rhythm
to the current setup.
Therefore, you may need to
jump out of rhythm editing to
choose a setup before
returning to rhythms and
following this procedure.
How beat letters change
when “layer,” “split low,”
and “split high” are used
When beats are layered or
split high, the new beat is
assigned the next letter after
the targeted beat. All
subsequent beat letters are
incremented by one.
For example, consider a
setup with four existent beats:
A
B
C
D
If we split beat B, the result is
as follows:
A
B (low split of B)
C (high split of B)
D (formerly “C”)
E (formerly “D”)
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4
Rhythms
To select the split point, turn the control knob or play a key. You
can use the [octave] buttons if your desired split point is outside
of the current key range.
5. add part. The rhythm is added as a brand new beat. All
other beat parameters are set to their default values.
3. Start new setup?
Press the control knob to create a new setup. The setup will have
one beat, using this rhythm, but will otherwise be empty. You can
then add parts and additional beats to the setup, either by directly
editing the setup or via the “Send to setup?” option in other
modes.
The setup’s name will be the same as this rhythm’s, except
preceeded with a plus character. This ensures that the new setup
will appear near the beginning of the alphabetized setups list. You
can change the name later if you want to keep the setup, or simply
delete the setup if not.
4. Length
Select one of 1/4, 1/2, 1, 2 or 4 bars.
The rhythm will always play from the first note of the first bar. So,
if you select a value shorter than the current one, the latter parts of
the rhythm will be truncated. If you select a value longer than the
current one and the latter part of the rhythm does not contain any
notes, the new notes at the end of the rhythm will be empty.
5. Grid
Choose 8, 12, 14, 16, 20, 24, or 32 steps per bar, or choose
unquantized. Shortening the scale decreases the quantizing
resolution. You’re more likely to hear double notes and simpler
syncopations at low values.
Straight-ahead feels tend to result from using 8, 16, and 32 steps
per bar. Swing and shuffle feels tend to result from choosing 12 or
24 steps per bar. But you can create some pretty wild rhythms by
using fractions of bars along with less obvious grid values, like 14
and 20.
Length and Grid quantizing
The Micron records your
playing at a very high
resolution. The length and
grid settings that you select
for playing back your
rhythms are used to nondestructively quantize those
recordings.
So, if you record a four-bar
rhythm and change its length
later to ¼ bar, the Micron
will only play a frac ti on o f
your rhythm, but it will
remember the whole thing. If
you want to change the length
back to four bars at any time,
the complete rhythm will still
be available.
Similarly, rhythms are
quantized using the grid
setting, but the underlying
information remains
untouched. So, as you cycle
through different grid
settings, you’re likely to hear
different syncopations and
“feels” emerge.
34
4
6. Record rhythm (real-time)
Once you’ve reached the “record” parameter, you’ll hear the
metronome start to click. Use this “lead-in” time to get yourself
into the groove. (As always, if the tempo isn’t right, you can use
the [tap] button to adjust it.)
Once you’re ready to play, just start playing on the white keys
above middle A. The Micron will begin recording from the first
note of the rhythm. Alternately, if you don’t want to play from the
first note, you can push the control knob to kick off the recording.
The rhythm will loop continuously, so you can add to it each time
it comes around. You can play the entire rhythm at once, or add
to it drum by drum.
When recording in real-time, remember that playing will never
erase anything you’ve already recorded. To wipe out a section so
you can replay it, you can hold down the control knob as it gets
played back. This will wipe the notes for all drums.
However, you frequently will want to wipe out the notes for just a
single drum, leaving the other drums intact. Holding down a black
key will make the Micron wipe the notes of the last drum played
(the drum shown on the display). If you want to replay a particular
drum track, the easiest way is to hold down a black key while you
play that drum. That will wipe the drum’s existing notes as you go,
leaving only the notes that you play. Alternately, you can use the
“Drum: Clear?” option. See page 38.
To stop recording, turn the control knob or press a mode button.
You will often want to clear the entire rhythm and start over. One
way of doing this is to hold down the control knob and wipe out
the rhythm as you record. But a quicker way is to hold down the
[rhythms] button and hit the highest note on the keyboard. As
long as you have less than ten drums, this will jump you to the
“Clear rhythm?” option. See page 39.
Rhythms
Four Beats per Bar
All Micron patterns have four
beats per bar.
You can still create oddmeter rhythms. It just takes a
little calculation and a
willingness to ignore the
tempo indications given by
the [tap] button.
For instance, one way to
create a ¾ feel is to combine
a length of ½ bar with a grid
of 24 steps. That will give
you a total of 12 steps to work
with.
The metronome you hear
when recording is, in fact,
just another pattern. It is
named “* Metronome”, and
appears near the beginning of
the pattern list. You are free
to edit this pattern all you
like. For example, you can
choose a different program,
or put the clicks on eighth
notes or triplets instead of
quarter notes. A quick way of
disabling the metronome
entirely is to simply rename
this pattern and store it. You
can always bring back the
metronome later with another
rename.
35
4
Rhythms
7. Drum A through Drum H
Turn the control knob clockwise to access the Drum A settings.
Each drum holds lots of options:
● Change the drum program.
● Edit the level.
● Edit the pan position.
● Edit the drum’s pattern, including the placement and velocity of
each note.
● Clear the pattern information.
● Remove the drum.
a. Program
Press the control knob once to change the drum program.
In order to quickly jump between program categories, you
can hold down the [rhythms] button and press the white
keys labeled with category names. Although you will almost
always want to use programs from the “Drum” category in
your rhythms, you are free to choose any program you like.
However, if you choose a non-drum, the rhythm will only
play it at middle C. If you want melodic variation, that's what
patterns are for.
Another way of setting the rhythm’s program is to bring it
over from Programs mode. Press [programs] to enter
Programs mode, and find the program that you want. Then,
hold down [programs] and press [rhythms], and the
rhythm’s program will be set. This works in the other
direction as well -- hold down [rhythms] and press
[programs] to bring the rhythm’s program over to Programs
mode, perhaps for some quick editing.
Twirl the control knob to cycle through the programs.
When you’ve found the program you want to use for this
drum, press the control knob.
b. Level
Turn the control knob clockwise to edit the drum’s overall
volume.
c. Pan
Turn the control knob clockwise to edit the drum’s position
in the stereo field.
Switching among dr ums
To quickly switch between the
drums in a rhythm, hold
down the [rhythms] button
and press a white key on the
right side of the keyboard.
For example, if you are
editing drum A level, hold
down [rhythms] and press
the B above middle C to jump
to drum B level. This is
especially useful while step
editing.
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4
d. Pattern
Turn the control knob clockwise to edit the drum’s pattern.
(Remember, this will edit the pattern for just this one drum,
not for all the drums that make up the rhythm setting.) Press
the control knob to edit the pattern. The display will show a
grid like this one:
In the top line, the screen indicates that Drum A is being
edited in Step mode.
The cursor is positioned in bar 1, beat 1, shown as 1:1.
In the bottom line, each of sixteen steps is shown.
Rectangles appear where notes are present.
Turn the control knob to travel amongst the different notes
in the pattern. For patterns that require more than one
screen, keep turning the knob – the display will track your
position in its upper right position.
a. Adding notes
To add a note, press the white key that corresponds to that
particular drum. For instance, drum A is controlled using the
white key labeled voice. Your velocity information will be
recorded, as well as the position of the pitch wheel and
sliders.
Note that you can press multiple keys at once in order to
place multiple drums at a step. In fact, you can enter an
entire rhythm at once simply by playing it on the keys, as long
as each step has at least one drum note.
If you play a key that does not correspond to any drum, the
cursor will advance, but the rhythm will not be changed.
When entering a rhythm, sometimes it’s helpful to
continuously tap on the highest note of the keyboard, to
control the rate at which the cursor advances.
After pressing the key, the cursor will automatically advance
one step.
Rhythms
Time display
The Micron displays time as
“bar:beat:tick”. There are
four beats in a bar, and 120
ticks in a beat.
Three-step beats land on
0, 40, and 80.
Four-step beats land on
0, 30, 60, and 90.
Five-step be ats l and on
0, 24, 48, 72, and 96.
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4
Rhythms
b. Removing notes
To remove a note, press any black key on the right side of the
keyboard. The step will be erased, and the cursor will
advance one step. The note is only removed from the drum
that is displayed on the screen; all other drums are not
affected.
This makes it easy to replace the pattern for a particular drum
without explicitly erasing it beforehand. Simply play the
pattern into the step editor, using a black key as a “rest”.
c. Changing note velocities
Again, you must be in the pattern editing screen for that
particular note’s program.
Place the cursor over the note you want to edit and press the
control knob normally. You will be able to change the
velocity by turning the control knob.
You can remove the note by turning the velocity down to
zero.
While you’re editing velocity, you can play any key to hear
what the note sounds like at that velocity. You will hear all
drums which have notes at the step.
d. Clear?
To keep the program but remove all the notes, choose Clear.
e. Remove?
If this particular drum is unnecessary to your rhythm, remove
it. At the Remove? prompt, press the control knob. This
drum will be removed from the rhythm, and all of the other
drums will be re-lettered accordingly. (For instance, what had
been “Drum B” will become “Drum A,” and what had been
“Drum C” will become “Drum B.”)
8. Add?
After the last drum, you will be prompted with Add? Press the
control knob to add a drum. It will be given the next available
letter.
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4
9. Clear rhythm?
Press the control knob to erase all notes and controller movements
from the rhythm, but keep the basic rhythm parameters. To
quickly jump to this option, hold down the [rhythms] button and
press the highest note on the keyboard.
10. Rhythm name
Since rhythms are listed alphabetically, creative naming can help
you move smoothly from one rhythm to another.
Turn the control knob to select a position (1 – 14) to edit. Then
press the control knob to edit that position. Edit either by turning
the control knob or pressing notes on the keyboard.
Press a key twice to toggle between upper and lower case.
Inserting and deleting characters
To insert a space in the name, navigate to the position at
which you want to add the space. Hold down the control
knob and turn it clockwise.
To delete a character, navigate past it, hold down the control
knob, and turn it counterclockwise.
In both cases, imagine that you are “dragging” the name
around.
11. Send MIDI sysex?
Choose this option to send the rhythm to a computer or other
MIDI storage device using the Micron’s (MIDI OUT) port.
This allows you to back up your rhythms to your computer, or
share them with your friends or over the internet. See page 95 for
details on what Sysex is and how to use it.
12. Send syx bundle?
Choose this option to send both the rhythm and its program to a
computer or other MIDI storage device using the Micron’s (MIDI OUT) port.
Rhythms
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4
Rhythms
13. Delete rhythm?
Delete the rhythm using this function, if desired. You will be
prompted to confirm this action.
14. Store a copy?
Unlike many synths, the Micron does not have fixed “banks” of
programs, patterns, and so on, each with a predetermined number
of storage locations. Instead, you may freely create and delete
rhythms at any time, just as you would on a computer.
“Store a copy?” is how you create a new rhythm. This option
creates a brand new copy of the current rhythm, differing only in
name. Now, when you make changes and hit the [store] button,
you will be storing to this new copy.
Whenever you want to start a new rhythm from scratch, you will
have to find an existing rhythm to base it off of, and then store a
copy. Don't forget to store a copy, or you might accidentally
overwrite the original pattern.
Store your changes!
Be sure to press the [store] button after you’re satisfied with your
changes. Otherwise, your changes will be lost when the Micron is
turned off.
However, keep in mind that you don't lose any changes when you
switch to other modes, so feel free to browse through programs or
setups without storing your rhythm. Additionally, if you play a
setup that uses the current rhythm, you'll hear your edited version,
even without storing. This is a great way of checking how your
edits sound in the context of a setup, without having to commit to
them.
You can even play other rhythms without losing your edits. Just
hit the [rhythms] button and turn the control knob. You can
always come back to your edited rhythm, just as you left it. The
Micron doesn't discard your edits until you start editing a different
rhythm.
Exiting rhythm editing
You can exit rhythm editing at any time. Simply press any of the
buttons encircling the control knob, including the [rhythms]
button a second time.
40
5 Setups
Playing Setups
Press [setups] and spin the control wheel to play different setups.
Since setups often have different elements assigned to different
parts of the keyboard, be sure to play throughout the keyboard
range to experience the splits and combinations.
Setups pull together programs, patterns, and rhythms to produce
lush soundscapes, intricate rhythmic and sonic textures, and
sophisticated keyboard “splits.”
Setup Components
Setups are constructed of two basic elements:
● Parts. Parts hold programs and patterns along with level, pan,
and other settings.
● Beats. Beats hold rhythms along with similar settings.
Editing Setups
Setup editing has a lot of parts, as shown below. On the top level,
it involves:
● Adding and removing programs to setup parts.
● Adding and removing patterns to setup parts.
● Adding and removing rhythms to setup beats.
● Assigning controllers.
● Assigning levels, left/right panning, key ranges, splits, etc.
● Assigning effects types and effects levels per part and beat.
● Naming the setup.
Remember that, in most cases, pressing the control knob twice
quickly (double-clicking) can restore a setting.
Setups depend on programs,
patterns, and rhythms
When you make changes to
[programs], [patterns], or
[rhythms], the setups that
reference them will reflect
those changes.
Polyphony considerations
The Micron allows you to
stack together more sound
sources than its engine can
play. If you find this
happening, consider
restricting the key ranges of
some of your parts and beats
so that fewer voices sound
when you press each note.
Store your setup
The [store] button will light
once you have edited a setup.
Press [store] after you’re
satisfied with your edits.
Otherwise, your changes will
not be saved.
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5
Setups
Take a moment to cycle through these options. Press [setups] and
turn the control knob to select a setup to edit. Then press the
control knob to enter edit mode.
Turn the control knob clockwise to cycle
through the various parts. Parts are labeled as
“Part A,” “Part B,” “Part C,” etc.
After the last part, you will see that you can add a part.
Setup options (1 of 2):
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5
Setups
Turn the control knob further to cycle through all of the beats.
Beats are labeled “Beat A,” “Beat B,” “Beat C,” etc. – just like
parts.
After the last beat, you can add a new beat.
Keep turning the control knob clockwise to cycle through screens
dedicated to the effects. These screens will vary depending on the
effect you choose.
Finally, you’ll see the clear, name, delete, MIDI SysEx, and copy
screens.
Setup options (2 of 2):
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5
Setups
1. Parts
Each part has the following editable parameters:
a. Program
You can make the program dependent on this part’s pattern,
shown on the Micron as (pattern’s pgm). If you do so, the
setup will change programs automatically as the setup is
changed.
Alternately, you can specify that the part use a particular
program.
To use the pattern’s program, spin the control knob all the
way to the left, or else press the control knob twice in quick
succession (double-click).
To specify another program, twist the control knob to find
the program you want. (To jump to a category, hold down
the [setups] button and press one of the lower white keys.)
Another way of setting the part’s program is to bring it over
from Programs mode. Press [programs] to enter Programs
mode, and find the program that you want. Then, hold down
[programs] and press [setups], and the part’s program will
be set. This works in the other direction as well -- hold down
[setups] and press [programs] to bring the part’s program
over to Programs mode, perhaps for some quick editing.
Press the control knob again to accept your selection.
b. Pattern
Select the pattern to be used in this part If you don’t want to
use a pattern, turn the control knob all the way to the left (or
double-click) to select none.
As with programs, you can also set the pattern by bringing it
over from Patterns mode. Press [patterns] to enter Patterns
mode, and find the pattern that you want. Then, hold down
[patterns] and press [setups], and the part’s pattern will be
set. This works in the other direction as well -- hold down
[setups] and press [patterns] to bring the part’s pattern over
to Patterns mode.
Switching amongs t pa rt s and
beats
To quickly switch between the
parts and beats in a setup,
hold down the [setups] button
and press a white key on the
right side of the keyboard.
Parts start at the A above
middle C, and beats start at
the A above that.
For example, if you are
editing part A level, hold
down [setups] and press the
B above middle C to jump to
part B level. If you get lost in
your setup and can't
remember which part is
which, try holding down
[setups] and running your
fingers across the right side
of the keyboard.
Experiment with using one
program for multiple parts
You can assign one program
to a number of different parts.
Varying levels, patterns,
transpositions, and more
across the parts can create
some interesting and musical
results.
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5
Setups
c. Level
Adjust the part’s overall level relative to the other levels and
parts within this setup.
d. Pan
Adjust the part’s left/right pan position.
e. FX Mix
Set the dry/wet effects balance for the part.
A part that is “100% dry” does not use the master effects at
all. On the other hand, if you set a part to “100% wet”, all
you'll hear is what comes out of the master effects. The
correct effects balance to use depends on the particular effect,
but for most effects such as phasers and choruses, “70% dry,
30% wet” is a good place to start.
When using the vocoder, you typically don't want to hear any
dry at all, so set the balance to “100% wet”.
f. Low Key
Carefully assigning parts and beats to different portions of
the keyboard can make the difference between good setups
and awesome ones.
In this screen, set the lowest
keyboard note to which the part
will respond. Any notes lower than the note you select here
will be ignored by this part.
To select a note, turn the control knob or play a key. You
can use the [octave] buttons if your desired note is outside of
the current key range.
g. High Key
Set the highest
keyboard note to which the part will respond.
Any notes higher than the note you select here will be
ignored by this part.
Remember that you can set these keys across the entire MIDI
note number range, not just the Micron’s 37 notes.
Remember that you can always use the [octave] buttons to
adjust the note range of the Micron's keyboard.
Setting the level to zero
Set the level to 0 to turn a
part off without removing it.
Consider using this tactic
works when you’re not
entirely sure whether you
want to keep a part or not.
Use As
Following the pattern screen,
you may encounter a screen
saying “use as,” with your
choices being “instrument”
or “drum.” Go to page 46
for details on this feature.
Effects
All of the parts and beats
within a setup use either no
effect or else a single, shared
effect (which is selected in a
later screen).
Carving out a hole in the
keyboard range
Anarchist types will
inevitably wonder what
happens when you set the low
note higher than the high
note. In such cases, the notes
in between the two will be
silent, but all notes outside of
that range will play, resulting
in a hole in playing range.
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5
Setups
h. Transposition
Adjust the transposition over a four-octave range. This does
not affect the MIDI notes that the part responds to. It
simply
changes the pitch at which the program is played.
i. Latch
Set the latch status of the part to latched or not latched. The
default is not latched.
When latch is on, the part will continue playing after you
remove your hands from the keys, as if the sustain pedal were
held down. To release the latched notes, let up on all of the
keys and then play a new note or chord. To stop the part
entirely, switch to another setup or press a mode button.
Latching is especially useful when you have more parts than
you have hands, or if your parts don't all fit within the
Micron's three-octave key range. If your bassline and pad
parts are latched, you can simply let them play on their own
while you use both hands to play the lead, and then return to
them when it’s time for a chord change.
Latching with the [latch] button is similar. If you hold down
the
[latch] button and play an unlatched part, it will become
latched as long as the button is activated.
j. Controllers
Activate any combination of the (pitch) wheel and the (m1)
and (m2) sliders for this part.
You will often want each controller to affect just a single part.
For example, you might want the (pitch) wheel to bend the
lead, or the (m2) slider to sweep the filter of your pad. To
assign a controller exclusively to the current part, hold down
the [setups] buttons and wiggle the controller. This will not
only enable the controller for this part, but will also disable
the controller in all other parts.
Some transposition tips
The Micron’s compact
keyboard makes transposition
especially important.
Some lush sounds can be
made by combining some
programs at standard pitch
with others transposed an
octave or two higher or
lower, but reduced in level.
Some classic synthesizer
sounds combine one nontransposed part with another
– lower in level – a fifth
above (that’s plus-seven
semitones). While this setting
violates every rule held
sacred by harmony
professors, you may be
among the many who find it
very cool.
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5
k. Knobs
Allow any combination of the x, y, and z knobs to work on
this part. The knobs’ functions are determined by the
settings assigned for this part’s program within the [programs]
screens.
As with controllers, you can assign a knob exclusively to the
current part by holding down the [setups] buttons and
wiggling the knob. This will enable the knob for this part and
disable the knob in all other parts.
As always, when you turn a knob, the display will indicate
which program parameter you’re changing. If you have
multiple parts that respond to the same knob, the display will
only show this information for a single part, but rest assured
that all of the parts are being affected.
l. Pedals
Assign the sustain and/or expression pedal to this part. By
default, they are both assigned.
m. Split?
Split allows you to create a new part by splitting the key range
of the current part. After the split, one part will use the keys
below the split point, and the other part will use the keys
above. The two parts will otherwise be identical.
If you choose to split a part, the Micron will prompt you to
select the key on the keyboard where the split should occur.
To select the split point, turn the control knob or play a key.
You can use the [octave] buttons if your desired split point is
outside of the current key range.
The newly-created part will be assigned the next letter after
the current part’s letter. All subsequent part letters will be
incremented by one.
n. Layer?
Choose layer to duplicate the current part.
The newly-created part will be assigned the next letter after
the current part’s letter. All subsequent part letters will be
incremented by one.
o. Remove?
Choose remove to remove the current part. All subsequent
parts will be re-lettered accordingly.
Setups
Jumping between parts
To jump between par ts , ho ld
down the [setups] button and
press a key on the right side
of the keyboard, starting with
the A above middle C.
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5
Setups
2. Use as
Suppose you come across a rhythm that would fit perfectly in your
setup, but the snare drum doesn’t sound right. You could edit the
rhythm, but that would affect all other setups using that rhythm.
Instead, what you’d like to do is just swap out that particular drum
within this particular setup.
To do this, choose a program to replace the errant snare, and add
it to the setup as a part. As long as the program is in the “drum”
category and there is no pattern assigned, a hidden option will
appear after the pattern parameter: “use as”.
Normally, this parameter is set to “use as instrument,” indicating
that the part is functioning like any other part. But if you change
the parameter to “use as drum A in beat”, all rhythms will
substitute the part's program for their drum A. You can “use as”
any drum from A to J. Once you figure out which drum that snare
is, you can replace it with any program of your choosing.
“Use as” doesn't just affect a drum’s program -- the drum’s level,
pan, and FX mix follow the part’s settings as well. So, if you
actually like the snare’s program but think it’s a bit too loud, “use
as” can help you turn down the level. Or, if you want most of the
rhythm dry, but want to give that snare some extra effects
processing, “use as” will allow you to adjust its FX mix
individually.
3. Add?
After turning the control knob past all of the current parts, you
will be able to add a part. At the add screen, push the control knob
to add a new, empty part.
Note that adding parts using the add feature always adds them after
the last part. To insert a part in between other parts, use the split
or layer functions from within the part editing screens.
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5
4. Beats
Once you are past the part screens, you reach the beat screens.
a. Rhythm
Choose the rhythm to use for this beat. All of the information
for the rhythm – the sounds, panning, relative levels of the
different sounds, and so forth – will be included.
Another way of setting the beat’s rhythm is to bring it over
from Rhythms mode. Press [rhythms] to enter Rhythms
mode, and find the rhythm that you want. Then, hold down
[rhythms] and press [setups], and the beat’s rhythm will be
set. This works in the other direction as well -- hold down
[setups] and press [rhythms] to bring the beat’s rhythm
over to Rhythms mode, perhaps for some quick editing.
b. Level
Set the level of this beat relative to the other beats and parts
within the setup.
c. FX Mix
Set the dry/wet effects balance for the beat. This mix affects
all of the drum in a rhythm equally.
If you want to single out a particular drum, see the “use as”
parameter on page 48.
Setups
Using multiple beats per
setup
A setup can have multiple
beats, just as it can have
multiple parts. Assigning
different beats to different,
small little sections on the
keyboard (using the “low
key” and “high key”
parameters) can provide you
with a lot of variations as you
perform.
Effects
All of the parts and beats
within a setup use either no
effect or else a single, shared
effect (which is selected in a
later screen).
49
Jumping between beats
To jump between beats, hold
down the [setups] button and
press one of the top keys,
starting with the highest A on
the keyboard.
5
Setups
d. Low Key
Carefully assigning parts and beats to different portions of
the keyboard can make the difference between good setups
and awesome ones.
In this screen, set the lowest
will respond. Any notes lower than the note you select here
will be ignored by this part.
To select a note, turn the control knob or play a key. You
can use the [octave] buttons if your desired note is outside of
the current key range.
e. High Key
Set the highest
Any notes higher than the note you select here will be
ignored by this part.
Remember that you can set these keys across the entire MIDI
note number range, not just the Micron’s 37 notes.
Remember that you can always use the [octave] buttons to
adjust the note range of the Micron's keyboard.
f. Latch
Set the latch status of the part to latched or not latched. The
default is not latched.
When latch is on, the part will continue playing after you
remove your hands from the keys, as if the sustain pedal were
held down. To release the latched notes, let up on all of the
keys and then play a new note or chord. To stop the part
entirely, switch to another setup or press a mode button.
Latching is especially useful when you have more parts than
you have hands, or if your parts don't all fit within the
Micron's three-octave key range. If your bassline and pad
parts are latched, you can simply let them play on their own
while you use both hands to play the lead, and then return to
them when it’s time for a chord change.
Latching with the [latch] button is similar. If you hold down
the
[latch] button and play an unlatched part, it will become
latched as long as the button is activated.
keyboard note to which the part
keyboard note to which the part will respond.
Carving out a hole in the
keyboard range
Anarchist types will
inevitably wonder what
happens when you set the low
note higher than the high
note. In such cases, the notes
in between the two will be
silent, but all notes outside of
that range will play, resulting
in a hole in playing range.
50
5
g. Split?
Split allows you to create a new part by splitting the key range
of the current part. After the split, one part will use the keys
below the split point, and the other part will use the keys
above. The two parts will otherwise be identical.
If you choose to split a part, the Micron will prompt you to
select the key on the keyboard where the split should occur.
To select the split point, turn the control knob or play a key.
You can use the [octave] buttons if your desired split point is
outside of the current key range.
The newly-created part will be assigned the next letter after
the current part’s letter. All subsequent part letters will be
incremented by one.
h. Layer?
Choose layer to duplicate the current beat.
The newly-created beat will be assigned the next letter after
the current beat’s letter. All subsequent beat letters will be
incremented by one.
i. Remove?
Choose remove to remove the current beat. All subsequent
beats will be re-lettered accordingly.
5. Add?
After turning the control knob past all of the current beats, you
will be able to add a beat. At the add screen, push the control
knob to add a new beat.
Note that adding beats using the add feature always adds them after
the last beat. To insert a beat in between others, use the split or
layer functions from within the beat editing screens.
Setups
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5
Setups
6. FX Type
Choose an effect to apply to the setup, or turn the control knob all
the way to the left (or double-click the control knob) to bypass the
effects.
If you do choose an effect, the editable parameters associated with
that effect will be shown in subsequent screens.
Each part and beat has an “FX mix” parameter to control how
much of its sound is passed through the master effects section. If
a part or beat is set to “100% dry”, it is unaffected by the setup’s
effects
7. Clear
Choose clear to remove all of the parts and beats from the setup
but to retain the setup’s name.
8. Setup name
Since setups are listed alphabetically, creative naming can help you
move smoothly from one setup to another.
Turn the control knob to select a position (1 – 14) to edit. Then
press the control knob to edit that position. Edit either by turning
the control knob or pressing notes on the keyboard.
Press a key twice to toggle between upper and lower case.
Inserting and deleting characters
To insert a space in the name, navigate to the position at
which you want to add the space. Hold down the control
knob and turn it clockwise.
To delete a character, navigate past it, hold down the control
knob, and turn it counterclockwise.
In both cases, imagine that you are “dragging” the name
around.
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5
9. Send MIDI sysex?
Choose this option to send the setup to a computer or other MIDI
storage device using the Micron’s (MIDI OUT) port.
This allows you to back up your setups to your computer, or share
them with your friends or over the internet. See page 95 for details
on what Sysex is and how to use it.
10. Send syx bundle?
Choose this option to send both the setup and its program,
patterns, and rhythms to a computer or other MIDI storage device
using the Micron’s (MIDI OUT) port.
11. Delete setup?
Delete the setup using this function, if desired. You will be
prompted to confirm this action.
12. Store a copy?
Unlike many synths, the Micron does not have fixed “banks” of
programs, patterns, and so on, each with a predetermined number
of storage locations. Instead, you may freely create and delete
setups at any time, just as you would on a computer.
“Store a copy?” is how you create a new setup. This option creates
a brand new copy of the current setup, differing only in name.
Now, when you make changes and hit the [store] button, you will
be storing to this new copy.
Whenever you want to start a new setup from scratch, you will
have to find an existing setup to base it off of, and then store a
copy. Don't forget to store a copy, or you might accidentally
overwrite the original setup.
Store your changes!
Be sure to press the [store] button after you’re satisfied with your
changes. Otherwise, your changes will be lost when the Micron is
turned off.
However, keep in mind that you don't lose any changes when you
switch to other modes, so feel free to browse through programs or
rhythms without storing your setup.
You can even play other setups without losing your edits. Just hit
the [setups] button and turn the control knob. You can always
come back to your edited setup, just as you left it. The Micron
doesn't discard your edits until you start editing a different setup.
Setups
53
5
Setups
Store your changes!
Be sure to press the [store] button after you’re satisfied with your
changes. Otherwise, your changes will be lost when the Micron is
powered down.
Exiting setup editing
You can exit setup editing at any time. Simply press any of the
other buttons encircling the control knob, including the [setups]
button a second time.
54
6 Programs
What is a “Program”?
A Micron program is a sound built from the Micron’s internal
oscillators, filters, and envelope generators. The Micron’s
programs cover the gamut of classic analog synthesis sounds. If
you’ve heard it before, you will probably find it amongst the
Micron’s presets.
How the Micron Makes Sound
The Micron generates sound by emulating, or “modeling,” the
behavior of an analog synthesizer. Generally, it is helpful to think
in terms of the signal moving from the left side of the top panel to
the right side. The oscillators are fed into the filters, which in turn
are fed into the amplifiers.
As the signal moves through that basic path, you are able to adjust
the mix of the signal at several points, apply various modulations
and envelopes, and add effects. In this way, the Micron can
generate a virtually limitless variety of sounds.
Let’s take a quick look at the Micron’s signal path, from start to
finish.
The Oscillators
The oscillators are where sound is born. You may have heard that
what you perceive as “sound” is simply vibrating air molecules
hitting your eardrums. That vibration has to start somewhere, and
in the Ion, it comes from the oscillators. By varying the frequency of
the vibration, the oscillators can produce different pitches, which
are heard as musical notes. By adjusting the waveform type and shape,
the oscillators can produce various harmonics, which are heard as
different timbres. Each of the Micron’s voices contains three
oscillators.
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6
Programs
The Pre Filter Mix
The outputs of the oscillators, as well as a few other signal sources,
are fed into a virtual mixing board called the Pre Filter Mix. The
job of this mixer is to funnel all of these sources into the inputs of
the next sound processing stage—the filters. For each source, you
can specify its level, which is how loud it should be, and its balance,
which determines how much of it goes to Filter 1 and how much
to Filter 2.
The Filters
The sound produced by the oscillators is very raw, and usually not
suitable to be used directly in an instrument. In order to bring out
the sonic textures you have in mind, you will typically want to
dampen certain harmonics and boost others. This is where the
filters come in. Filters alter the frequency content of the signal,
and can have a drastic effect on the sound. A filter typically allows
you to adjust its cutoff frequency, which represents the range of
harmonics that the filter operates on, as well as its resonance, which
determines how much boost is given to harmonics around the
cutoff frequency. Each of the Micron’s voices contains two filters,
and each filter can be one of eighteen different types, each with its
own character and sonic flavor.
The Post Filter Mix
The outputs of the filters need their own virtual mixing board as
well, and that’s what the Post Filter Mix is for. For each filter
output, as well as a pre filter signal of your choice, you can specify
a level, which is how loud it should be, and a pan, which determines
how much goes to your left speaker and how much to the right.
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6
Output
The sound is getting near the end of its journey, but still has one
more processing stage to go through. In the output stage, the
Micron allows you to apply a drive effect, to give the sound a final
push and add some compression, distortion, or other amplification
effect. You also get to choose the overall level for the sound, as
well as how much of it gets sent to the Micron’s dedicated effects
processor.
Signal Flow Diagram
Programs
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6
Programs
Modulation
At this point, you may think that producing a sound with the
Micron is simply a matter of configuring the parameters for the
oscillators, filters, and mixers, and then hitting a key. And
although it’s true that you can design some nice instruments this
way, generating the really awesome sounds invariably involves
tweaking some of those parameters while a note is playing. The
problem with that, if you’re anything like us, is that you only have
two hands, and you are probably using at least one of them to hit
the notes in the first place. Fortunately, the Micron is willing to
lend you a helping hand—twelve of them, in fact.
The Micron allows you to set up twelve modulation routes. Each of
these is a virtual connection between some physical or internallygenerated source and some program parameter. Basically, a mod
route tells the synth to automatically grab a knob and tweak it
while a note is playing. Although there are quite a few sources that
you can use for your mods, the most common ones involve the
LFOs and the envelopes.
The LFOs
LFO stands for “low frequency oscillator”. Unlike the normal
oscillators, however, the LFOs are not designed for producing
sound. Instead, their purpose is to tweak a program parameter
according to a looping pattern. For example, if you are looking to
add some vibrato to your instrument, you’ll need the pitch to
continuously waver up and down. An LFO is perfect for this
application. Simply hooking up an LFO to the oscillator pitch
parameter will get you the effect you need. Each of the Micron’s
voices contains two LFOs.
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6
The Envelopes
If you hit a note on a piano, you’ll hear a burst of sound energy as
the hammer strikes the string, followed by lower level of loudness
as you hold down the note and let the string ring out, which fades
quickly as soon as you release the note and the damper is applied.
Synthesizer designers model this behavior using ADSR envelopes.
ADSR stands for “attack, decay, sustain, release”, and represents
the different stages that the sound goes through over the life of the
note. Since the most important application of the envelope is to
control the loudness of the sound, the Micron provides one
envelope that is specifically designed for this purpose. This is the
amp envelope. However, envelopes are useful in all sorts of mod
routes, which is why you can hook up any of the Micron’s
envelopes to any modulatable program parameter. Each of the
Micron’s voices contains three envelopes.
Programs
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6
Programs
Playing Programs
Press the [programs] button to enter programs mode. Release the
[programs] button and spin the control knob to cycle through the
programs first by category and then – after you have reached the
last program within the last category – again in alphabetical order.
You can also quickly switch to any category by holding down
[programs] and then pressing the white key on the Micron’s
keyboard labeled with that category.
Note that the “recent” category is generated automatically. The
“faves” category is controlled by you, as detailed in the next
discussion.
Editing Programs
1. Revert-to-Stored? / Unrevert-to-Edited?
If you have edited a program, you may revert back to the original
version. Once you are on this page, press the control knob to
revert.
Go back to your edited state by pressing the control knob a
second time to unrevert.
Use revert and unrevert often in order to compare your changes to
the original program. When you’re satisfied with your work, press
[store] to save your changes.
2. Add to Faves? / Remove Fave?
Press the control knob to enter edit mode. Once you are on this
page, press it again to add this program to the faves (favorites) list.
When you make a program a fave, it is accessible not only in its
own category but also in the faves category.
To remove the program from your faves list, first select it in the
faves category (see the sidebar) and then enter edit mode by
pressing the control knob. “Remove fave?” is the first option you
will see. Press the control knob to confirm the action.
Accessing Faves
Press and hold the
[programs] button and press
the low D key (labeled
“faves”) to access the
programs you’ve stored in the
faves category.
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3. Send to Setup?
Pressing the control knob at this option sends you to [setups]
mode and allows you to make this program a part in the lastselected setup.
Any existing setup already has one or more parts, so you will be
given the option of adding this program to the setup in one of the
following ways:
1. send to part. The setup’s part is replaced by the current
program. The setup part’s level, effects mix, key range, and latch
status are retained. See the sidebar for a description of how the
parts’ letter assignments are affected.
2. layer. The setup’s existing part is duplicated, resulting in a new
part. This new part uses the program’s information but retains the
level, effects mix, and other information of the setup’s original
part. See the sidebar for a description of how the parts’ letter
assignments are affected.
3. split low. The setup’s existing part is split in two at a
particular key.
The Micron prompts for a note on the keyboard at which to
execute the split. The program is then sent to the lower part of the
split. Every note below the one you select will use this new
program, down to that part’s low key setting. Every note including and higherthan the note you select will use the setup’s existing part.
The new part is assigned the letter of the part that was split low.
For example, if the setup contains parts A, B, C, and D, and part B
is the part that is split, then the newly added part will become part
B, and the original part will become part C. All later parts’ letters
are incremented by one.
To select the split point, turn the control knob or play a key. You
can use the [octave] buttons if your desired split point is outside
of the current key range.
4. split high. The setup’s existing part is split in two at a
particular key.
As with the split low option, the Micron prompts for a note on the
keyboard at which to execute the split. The program is then sent
to the upper part of the split. Every note above the one you select
will use this new program, up to that part’s high key setting. Every
Programs
Send to setup only allows the
option of sending the
program to the current setup.
Therefore, you may need to
jump out of program editing
to choose a setup before
returning to programs and
following this procedure.
How part letters change
when “layer,” “split low,”
and “split high” are used
When parts are layered or
split high, the new part is
assigned the next letter after
the targeted part. All
subsequent part letters are
incremented by one.
For example, consider a
setup with four existent parts:
A
B
C
D
If we split part B, the result is
as follows:
A
B (low split of B)
C (high split of B)
D (formerly “C”)
E (formerly “D”)
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Programs
note including and lowerthan the note you select will use the setup’s
existing part.
To select the split point, turn the control knob or play a key. You
can use the [octave] buttons if your desired split point is outside
of the current key range.
5. add part. The program is added as a brand new part across
the entire keyboard range. All other part parameters are set to
their default values as well.
4. Start New Setup?
Pressing the control knob at this option creates a new setup named
with the program’s name and a “+” in front (e.g. “+Repeater” or
“+TranceTube”) and, if a setup with this name already exists, a
number at the end (e.g. “+Repeater2” or “+TranceTube2”). After
doing this, you’ll notice that the program mode button is no long
lit; the Micron has switched into setups mode.
If you have not chosen to start a new setup, then you are still in
programs mode. Turning the control knob further clockwise
scrolls through the many program editing parameters, as follows:
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5. Voice parameters
Polyphony
monophonic
One note at a time.
polyphonic
Up to eight notes at a time.
Unison
one voice/note
the Micron’s voices are distributed evenly amongst up to eight
simultaneously held keys.
two voices/note
Each key triggers two voices, thereby halving the available
polyphony down to four.
four voices/note
Each key triggers four voices and the Micron’s polyphony is
reduced to two simultaneous voices.
all voices/note
Reduces the Micron to monophonic operation, with all available
voices dedicated to a single note.
UsnDetune
Select the pitch range by which unison voices will be detuned.
Higher values lead to a thicker but more out-of-tune sound.
Note: when the polyphony parameter is set to mono and the
unison parameter is set to one voice/note, the UsnDetune
parameter has no effect.
Programs
Mapping the (x/y/z) knobs
Any parameter may be
mapped to the x, y, or z
knobs. When the parameter is
on the screen, simply hold
down the control knob and
wiggle the knob that you want
to map to.
Quick access to editing
To jump to the voice
category, hold down the
[programs] button and press
the key labeled “voice.”
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Programs
Portamento
Set the amount of “glide” between notes:
off
No portamento.
legato only
Portamento will occur only if you play a second key before lifting
up the first key.
always
Portamento will occur even if there is no overlap between the
lifting of one key and the playing of another.
PortaType
Set the type of portamento:
fixed
No matter how far apart the two keys are, it takes the same
amount of time to travel between them. The PortaTime parameter
determines this amount of time.
scaled
With this setting, the PortaTime parameter determines the amount
of time it takes to glide a distance of one octave.
gliss fixed
Identical to fixed, but with the glide stepping chromatically (C, C#,
D, D#, etc.) rather than smoothly.
gliss scaled
Identical to scaled, but with the glide stepping chromatically (C, C#,
D, D#, etc.) rather than smoothly.
PortaTime
Set the base time for portamento to slide from note to note.
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Pitch Wheel
When set to bend all notes, moving the pitch wheel will bend the
pitch of all voices that are sounding, even if they are being
sustained by the (sust pedal) or are in their release stage.
When this parameter is set to bend held notes, only voices for which
the keys are still depressed will allow their pitch to be bent by the
pitch wheel.
AnlgDrft
Set the amount of simulated analog drift, up to 100%.
Analog synthesizers have circuits that drift out of tune over time.
Adding a touch of drift can increase the realism of the Micron’s
analog emulation.
Osc Sync
Set how the oscillators synchronize to one another.
off
The oscillators sound independent of one another.
hard 2 to 1
Hard sync resets oscillator 2 to the beginning of its waveform
whenever oscillator 1 hits the beginning of its waveform. This has
the effect of forcing oscillator 1’s fundamental frequency onto
oscillator 2. This behavior is called “hard sync” because the slave
waveform is “snapped” to zero at the frequency of the master
oscillator, which can create a harsh, rough sound even out of sine
waves.
hard 2+3 to 1
Oscillators 2 and 3 are forced to “hard sync” to oscillator 1.
soft 2 to 1
Every time oscillator 1 begins its cycle, oscillator 2 reverses
direction. The resulting wave has no sharp edges, as it does with
hard sync, but exhibits a mixture of harmonics that can have
interesting sonic properties.
soft 2+3 to 1
Oscillators 2 and 3 are forced to “soft sync” to oscillator 1.
Programs
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Programs
FM Amount
FM, or “frequency modulation,” allows you to use one oscillator to
control the frequency of another. Set the percentage by which the
target oscillator’s frequency is affected by the master oscillator’s
waveform.
FM Type
A. Linear FM types
lin 2 > 1
Oscillator 2 is added to the phase of oscillator 1. Linear FM is the
style used by typical FM music synthesizers. Modulating a sine
wave with another, higher-frequency sine wave produces a
fundamental frequency with a variety of overtones, and this can be
used to reproduce the sounds of many physical musical
instruments.
lin 2+3 > 1
Oscillators 2 and 3 are added to the phase
lin 3 > 2 > 1
Oscillator 3 is added to the phase
waveform is added to the phase of oscillator 1.
With linear FM, the FM Amount controls the “modulation index”,
with a level of 100% providing an index of 32.
B. Exponential FM types
exp 2 > 1
Oscillator 2 modulates the pitch
exp 3 > 2 > 1
Oscillator 3 modulates the pitch
waveform modulates the pitch of oscillator 1.
With exponential FM, the FM Amount controls the range of pitch
modulation, with a level of 100% driving the pitch up and down a
full six octaves.
of oscillator 1.
of oscillator 2. The resultant
of oscillator 1.
of oscillator 2. The resultant
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6. Oscillator parameters
These parameters are repeated for each of the Micron’s three
oscillators.
Waveform
sine
Smooth and pure sound.
tri/saw
A triangle wave, a sawtooth wave, or anything in between. A
triangle wave has a fuller sound than a sine wave, whereas a
sawtooth wave has a harsh sonic character.
pulse
Harmonically the richest of the three waves, pulse can range from a
very full-sounding square wave to a sharp, nasally impulse wave.
Waveshape
This parameter bends the waveform.
For the sine waveform, a shape of zero gives you a pure tone. As
you increase the shape, the sine wave deforms to add higher
harmonics.
For the tri/saw waveform, a shape of zero results in a triangle
wave. As you adjust the shape, the wave leans left or right,
ultimately becoming a down-saw or an up-saw at -100% or 100%
respectively.
For the pulse waveform, the shape parameter controls the pulse
width. A shape of zero gives you a square wave, and decreasing or
increasing the shape will make your wave skinnier or fatter
respectively.
Octave
Transposes the pitch up or down over a +/- three-octave range.
Transpose
Transposes the pitch up or down over a +/- seven-semitone
range.
Pitch
Transposes the pitch over a +/- 99.9-cent range.
Programs
Quick access to editing
To jump to the oscillator
category, hold down the
[programs] button and press
the key labeled “osc.”
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Programs
PWhlRange
Sets the range of the pitch wheel, from 0 semitones (off) to +/- 12
semitones (one full octave).
7. Pre-filter mix parameters
Before the sound sources are sent to the filters, they are mixed
together. Use the pre-filter mix parameters to set the levels for
each of the oscillators, the ring modulation, noise, and external
sources. Also set the amounts of each of these sources to be sent
to filter 1 (f1) and filter 2 (f2)
Also set the noise type to white or pink. White noise has the same
amount of energy across all frequencies, sounding like hiss.
Since there are so many more frequencies higher (in the treble
range) than there are lower (in the bass range), white noise sounds
trebly. Pink noise, on the other hand, progressively reduces the
energy of the higher frequencies to provide an even sound across
the frequency spectrum. Where white noise sounds like hiss, pink
noise sounds like a roar or ocean wave.
White noise has a sharp sound which makes it especially good for
percussive effects, whereas the frequency characteristics of pink
noise are more soothing and pleasant to the human ear.
Quick access to editing
To jump to the pre-filter mix
category, hold down the
[programs] button and press
the key labeled “premix.”
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r.”
8. Filter parameters
Each of the two filters has the following editable parameters:
Type
Choose from a collection of classic and modern filter types.
Freq (Frequency)
Dial in the frequency at which the filter begins to operate.
Res (Resonance)
Add a boost at the current filter frequency. Very high resonance
settings can cause certain filter types to “whistle,” or self-oscillate.
Keytrk (Key tracking)
Set whether the filter frequency rises and falls to match the keys
you play or stays constant regardless of the keys you play. A
setting of 0 means the filter frequency will remain constant across
the keyboard. If the key track parameter is set to +100, the filter
tracks the keyboard perfectly, and with enough resonance, can be
played as if it were an oscillator. Negative settings mean the filter
will grow darker as higher notes are played.
EnvAmt (Envelope Amount)
Set the degree to which the filter frequency will be affected by the
filter envelope. A negative setting inverts the envelope.
Additionally, filter 2 has the following parameter:
Offset
Absolute
The value assigned for filter 2’s frequency setting is applied
normally.
Offset
The value assigned for filter 2’s frequency is locked into a relative
position with filter 1’s frequency. Filter 2’s frequency
automatically rises and falls in step with filter 1’s frequency.
Programs
Quick access to editing
To jump to the filter category,
hold down the [programs]
button and press the key
labeled “filte
Mapping the (x/y/z) knobs
Remember, any parameter
may be mapped to the x, y, or z knobs. When the parameter
is on the screen, simply hold
down the control knob and
wiggle the knob that you want
to map to.
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Programs
9. Post-filter mix parameters
Set the mix levels and left-right pan positions for filter 1, filter 2,
and the pre-filter mix.
Also set the following parameters:
Preflt Src (Pre-Filter Source)
You may not want to send all of the pre-filtered sound sources
through the pre-filter source output. The Micron lets you choose
any of the individual sound sources instead, as well as of course
allowing you to choose the mix originally sent to filter 1 or filter 2.
Here are the options:
osc 1
osc 2
osc 3
fltr 1 input mix
fltr 2 input mix
ring mod
noise
Flt 1 Sign (Filter 1 Polarity)
Choose positive polarity for normal summing of the filter 1 and filter
2 signals. Choose negative polarity to throw the two filters out of
phase with one another, creating peaks and notches at various
frequencies.
Quick access to editing
To jump to the post-filter mix
category, hold down the
[programs] button and press
the key labeled “postmix.”
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10. Output
Drive Type
Select bypass for a clean sound or one of compressor, rms limiter,
tube overdrive, distortion, tube amp, or fuzz pedal.
Drive Level
Set the amount of drive, from 0 to 100%.
Prgrm Level (Program Level)
Set the amount of non-drive level, from 0 to 100%.
FX Type (Effects Type)
Select bypass for no effect, or select one of the built-in effects.
FX Mix (Effects Mix)
Set the level for the effects-processed audio, from 0 to 100%.
FX Param (Effects Parameters)
Different screens appear in this area depending on the effects type
chosen. Set the effect’s parameters here.
Programs
Quick access to editing
To jump to the output
category, hold down the
[programs] button and press
the key labeled “output.”
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Programs
11. Envelopes
For each of the three envelopes, set the attack time and slope
(Atk), the decay time and slope (Dcy), the sustain time and level
(Sust), and the release time and slope (Rel).
The sustain time parameter determines the length of the sustain
stage of the envelope. If you are familiar with analog synths, this
parameter may surprise you, since a traditional synth will remain in
the sustain stage as long as you have the note held down. The
Micron provides this behavior, of course – simply set this
parameter to “hold”, and your note will be sustained until your
finger gets tired. But many physical instruments do not work like
this. A piano, for example, exhibits a distinct attack and decay as
the hammer strikes the string, but the string does not then ring
forever—the volume slowly diminishes until the string is silent.
The Micron allows you to model this behavior by specifying a
sustain time. This is the amount of time it takes for the envelope
level to drop from the sustain level to zero. Once the envelope
has sustained to zero, the envelope has completed and will remain
at zero. When the amp envelope has sustained to zero, that means
the entire note has completed and will no longer use one of the
synth’s voices.
The sustain level parameter specifies the level that the sound settles
into as the envelope completes its decay and moves into the
sustain stage. At 100%, decay becomes inaudible. At 0%, the
decay becomes complete, resulting in silence. Generally, values in
the middle of the range are most useful.
For the filter and pitch/mod envelopes, this parameter can be
negative. Since the subsequent envelope stages always head back
towards zero, a negative sustain level will give you an envelope that
zigs high, zags low, and ends up somewhere in the middle.
Here are the additional envelope parameters:
Quick access to editing
To jump to the envelopes
category, hold down the
[programs] button and press
the key labeled “env.”
Mapping the (x/y/z) knobs
Remember, any parameter
may be mapped to the x, y, or z knobs. When the parameter
is on the screen, simply hold
down the control knob and
wiggle the knob that you want
to map to.
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Velocity (Keyboard Velocity Tracking)
This parameter determines the extent to which the note velocity,
or how hard you hit the key, affects the envelope. When set to
0%, the envelope always comes out full-strength, regardless of
how lightly you hit the key. When set to 100%, the amplitude of
the envelope directly matches the velocity, and very light
keystrokes will result in very weak envelopes. Parameter values in
the middle scale accordingly.
In all cases, a hard keystroke produces a strong envelope. This
parameter just lets you choose the envelope strength for weak
keystrokes.
Reset
on every note
Whenever you press a key, the envelope starts at the beginning.
unless legato
If you play one note while holding down another, the new note’s
envelope starts at the current position of the held note.
Freerun
This parameter determines the how the envelope treats its sustain
portion. If set to off, then the envelope transitions from the attack
stage to the decay stage to the sustain stage, as long as you are
holding the key down. As soon as you take your finger off the key,
the envelope will move into the
“off”“on”
release stage. If this parameter is set to on, then there is no sustain
stage—the envelope transitions from attack to decay to release.
Furthermore, it doesn’t matter how long you hold down the key;
the envelope always follows this fixed-length program.
If you are using the Loop feature of the envelope, this parameter
will have further effects on the envelope behavior, and these will
be discussed below.
Programs
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Programs
Loop
These settings determine how the envelope is used when notes are
held down (sustained).
off
The envelope acts normally. (When the end of the envelope is
reached, the note stops playing.)
attack/decay
The envelope loops through the attack and decay stages. (If
Freerun is on, the envelope will even continue looping after you
release the note. You will usually only want to use this
configuration with your filter or pitch/mod envelopes. If you set
up the amp envelope to loop forever, you’ll only be able to stop it
by playing a lot of other notes at once to steal the voice.)
entire envelope
The envelope loops through the entire envelope. As in
attack/decay, if Freerun is on, the envelope will continue looping
after you release the note.
while note held
The envelope loops through the attack and decay stages, but only
while the note is held down, regardless of the Freerun setting.
Sus Pedal (Sustain Pedal)
on
The Micron treats the sustain pedal as if you are holding notes
down on the keyboard, keeping notes within the sustain section of
the envelope as long as the sustain pedal is held down.
off
The Micron ignores the sustain pedal relative to the envelope. The
envelope only responds to its keyboard (or to an external MIDI
controller).
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12. Low Frequency Oscillator (LFO) settings
TempoSync (Tempo Synchronization)
fixed rate
The LFO rate is independent of the tempo set with the [tap]
button.
follow tempo
The LFO’s rate is a multiple of the tempo set with the [tap]
button.
If TempoSync is off, the rate is adjustable from 0.010 – 1000 Hz
(cycles per second).
If TempoSync is on, the rate represents a fraction of the tempo
set with the [tap] button. When the value is set to x 1 (“times
one”), the LFO will complete its cycle once per quarter note,
relative to the tempo setting. When the value is set to x 2, the LFO
will cycle once per eighth note. A value of x 16 results in an LFO
cycle of 1/64th note, and a value of x 1/ 16 results in an LFO
cycle equivalent to sixteen quarter notes.
Programs
Quick access to editing
To jump to theLow
Frequency Oscillator
category, hold down the
[programs] button and press
the key labeled “LFO.”
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Programs
Reset
mono
The LFO is shared between the voices of a program. It may be at
any point in its cycle when the first key is pressed. New voices will
“ride” that LFO, joining other voices at the exact same point in
the LFO’s cycle. The LFOs in each program are independent of
each other, so they can be running at different speeds.
poly
Each voice’s LFO is completely independent of the others. When
a key is pressed, that voice’s LFO may be at the top of its cycle, at
the bottom, or anywhere else in the cycle when it begins to affect
the voice.
key-mono
The LFO is shared between the voices of a program. When the
first key is pressed, the LFO’s cycle resets to the beginning. When
a second key is pressed, the LFO will reset its cycle to the
beginning and start over.
key-poly
Each voice has its own LFO that resets when the voice is
triggered.
tempo lock
The LFO locks to the master tempo clock, as long as TempoSync
is set to “follow tempo”.
M1 Slider
To place the LFO’s effect on the oscillators under the total control
of the (m1) slider, set this value to 100%. To ignore the (m1)
slider altogether, set the value to 0%. Values in between allow for
limited (m1) control over the LFO.
Remember that it is
possible to have the
LFOs set
independently, so
that one LFO’s Reset
parameter may be set
to poly, for example,
while the other’s is
set to key-mono.
Synchronizing the LFO’s to
your patterns and rhythms
If you want your LFOs to
sync up with your patterns
and rhythms, set TempoSync
to "follow tempo", and set
Reset to "tempo lock".
Why is my LFO not
working?
If you routed an LFO to a
destination in the mod matrix,
but it doesn't seem to have
any effect, check the "m1
slider" parameter. If this
parameter is set to 100%,
then the LFO will only be
active if the m1 slider is up.
If you want the LFO to
always be active, set t his
parameter to 0%.
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13. Sample-and-Hold (S&H) settings
The first three settings – TempoSync, Rate, and Reset – operate
identically to the LFO settings listed above. Here are the
additional S&H settings:
Input
The Input to the Sample & Hold determines the source of the
S&H values. If the source is continuously active, like an LFO,
there will be an endless supply of new values for the Sample &
Hold to feed to its destination in the mod matrix. If the source is
something more static like one of the wheels or pedals, the
destination will receive new values from the Sample & Hold only
after the value of the input is changed and another sample is taken.
The inputs for the S&H generator are the same as the Modulation
Matrix’s modulation sources (discussed later). See page 80 for a
list of those inputs.
Smoothing
This parameter governs the abruptness of the shift from the value
of one sample to the value of the next. A low smoothing value
causes the sample values to change instantly from one value to the
next when the new sample is taken. A high smoothing value causes
the Sample & Hold to “slide” from one value to the next.
Programs
What does Sample & Hold
mean?
Sample & Hold is a term that
originated in the early days of
analog modular synthesizers.
It describes the process by
which a reading, or
“Sample,” is taken at regular
intervals of a particular input
source, such as an LFO. That
Sample becomes a value that
is fed to a destination, such as
filter frequency. The
destination parameter is held
at this value until the “Hold”
period has expired, at which
time another Sample of the
input source is taken and fed
to the destination, and so on.
S&H Smoothing
With Sample & Hold
smoothing set to very high
values, it is possible that very
little or no change may be
heard at the destination. If
you’re not hearing the
desired amount of S&H, try
increasing the smoothing
value.
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Programs
14. Track (Tracking Generator)
The tracking generator lets you create your own curves for the
modulation sources. This allows for non-linear effects. For
instance, as a source increases in amplitude, the destination can be
affected first negatively, then positively, and then negatively again.
The inputs for the tracking generator – like those for the S&H
generator – are the same as the Modulation Matrix’s modulation
sources (discussed later). See page 80 for a list of those inputs.
Grid
The input to the Tracking Generator is quantized to either 12 or
16 points above and below 0.
Point x
After you’ve created your grid, you can cycle through each point
and set its value from -100% to +100%.
An example should help clarify the concept:
At the left, 16 points are indicated. This is the number of positive
points. There are 32 points total, if you count the negative ones.
Indeed, the display shows 32 points – 16 each to the left and right
of the y axis.
Now, what’s displayed is a pretty radical tracking generation. As
you can see, before the midpoint of this source’s range, increasing
values are intercepted by the tracking generator and turned into
wildly non-linear, unexpected results. When the midpoint is
reached, the tracking generator locks the source’s output at 0 (its
middle range). Then, at the eighth positive point, the tracking
generator gradually ramps up the source’s output value. It holds
steady for a while and then begins a gradual descent at the
fourteenth positive point. How does all this sound? Pretty weird.
Remember, without the tracking generator, the source’s output
would function normally – you’d see a diagonal line rising from the
bottom left to the top right, without interruption. The purpose of
the tracking generator is to intercept and regenerate that line.
Quick access to editing
To jump to the tracking
generator category, hold
down the [programs] button
and press the key labeled
“track.”
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15. Mod (Modulation Routing)
For each of the twelve possible modulation routes, set the source,
the destination, the level, and the offset.
The level determines the extent to which the source will affect the
destination.
The offset changes the destination’s value before the modulation
begins.
After the last modulation route, you can add a new route, up to the
maximum twelve routes.
To remove a mod route, select the "Dest" parameter and turn the
control knob all the way to the left. The Micron will ask, "Remove
mod?" Push the control knob to confirm.
Programs
Quick access to editing
To jump to the modulation
routing category, hold down
the [programs] button and
press the key labeled “mod.”
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Programs
Mod sources
Here are the inputs to the modulation matrix:
Source Description
None No effect
Note-On Velocity Velocity (how hard) the key is struck
Release Velocity Velocity that the key is released.
Key Track MIDI Key # used as modulator. MIDI note #60 is equivalent to 0.
M1 Wheel Position Value of M1 Wheel, or incoming MIDI CC#00 message.
M2 Wheel Position value of M2 wheel, or incoming MIDI CC as assigned
P Wheel Position value of P wheel, or incoming MIDI Pitch Bend messages
Sustain Pedal Position (Up/Down) of Sustain pedal, or incoming MIDI CC#64 messages
Expression Pedal Position value of Exp pedal, or incoming MIDI CC as assigned
Amp Env Level Amp Envelope Level
Filter Env Level Filter Env Level
Pitch/Mod Env Level Pitch/Mod Env Level
LFO 1 Sine LFO 1 Sine output
LFO 1 Cosine LFO 1 Sine output, phase shifted 90 degrees
LFO 1 Triangle LFO 1 Triangle output
LFO 1 Cos-Triangle LFO 1 Triangle output, phase shifted 90 degrees
LFO 2 Saw LFO 1 Saw output
LFO 2 Cos-Saw LFO 1 Saw output, phase shifted 90 degrees
LFO 1 Square LFO 1 Square output
LFO 1 Cos-Square LFO 1 Square output, phase shifted 90 degrees
LFO 2 Sine LFO 1 Sine output
LFO 2 Cosine LFO 1 Sine output, phase shifted 90 degrees
LFO 2 Triangle LFO 1 Sine output
LFO 2 Cos-Triangle LFO 1 Sine output, phase shifted 90 degrees
LFO 2 Saw LFO 1 Sine output
LFO 2 Cos-Saw LFO 1 Sine output, phase shifted 90 degrees
LFO 2 Square LFO 1 Sine output
LFO 2 Cos-Square LFO 1 Sine output, phase shifted 90 degrees
S&H Output Output of the Sample and Hold processor.
Voice Random Random modulation source, unique to each voice
Global Random Random modulation Source, common to all voices
Portamento Level Level of Portamento output, as a percentage of the "glide" travel from
Portamento Effect Portamento Level scaled by keyboard position, so that the modulation level
Tracking Generator Output of Tracking Generator, Interpolated
Step Track Output of Tracking Generator, Stepped
MIDI Channel Pressure Monophonic (per-MIDI Channel) Aftertouch, MIDI only
MIDI Aftertouch Polyphonic (per-note) Aftertouch, MIDI only
MIDI CC 1...119 Value of incoming MIDI Continuous Controller messages
starting note to ending note.
follows the note's pitch.
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6
Mod destinations
Here are the possible destinations for the modulation matrix:
Destination Description
None No effect.
Voice Pitch Modulates pitch of all three oscillators
Osc 1 Pitch Full
Osc 2 Pitch Full
Osc 3 Pitch Full
Osc 1 Pitch Narrow
Osc 2 Pitch Narrow
Osc 3 Pitch Narrow
Osc 1 Shape
Osc 2 Shape
Osc 3 Shape
Osc FM Level
Osc 1 Level
Osc 2 Level
Osc 3 Level
Ring Mod Level
Noise Level
Ext In Level
Osc 1 Balance
Osc 2 Balance
Osc 3 Balance
Ring Mod Balance
Noise Balance
Ext In Balance
F1 -> F2 Level
Portamento Rate
Unison Detune
Filter 1 Freq
Filter 1 Res
Filter 1 Env Mod
Filter 1 Keytrack
Filter 2 Freq
Filter 2 Res
Filter 2 Env Mod
Filter 2 Keytrack
LFO 1 Rate
LFO 1 Amplitude Scales the amplitude of LFO 1's output - thus affecting the amount that
Modulates oscillator pitch through entire 10 octave range
Modulates oscillator pitch, constrained to 1 octave
See equivalent Program Parameters
the LFO can modulate anything else.
Programs
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6
Programs
LFO 2 Rate See equivalent Program Parameter
LFO 2 Amplitude Scales the amplitude of LFO 2's output - thus affecting the amount that
S&H Rate
S&H Smoothing
S&H Amplitude Scales the amplitude of the S&H output - thus affecting the amount that
Filter 1 Level
Filter 2 Level
Pre-Filter Level
Filter 1 Pan
Filter 2 Pan
Pre-Filter Pan
Drive Level
Program Level Program output level
Main/Aux Balance
Pan
Amp Env Amplitude Scales the amplitude of the envelope's output - thus affecting the amount
Amp Env Rate Modulates all of the envelope time stages - Attack, Decay, Sustain and
Amp Env Attack
Amp Env Decay
Amp Env Sust Time
Amp Env Sust Level
Amp Env Release
Filter Env Amplitude Scales the amplitude of the envelope's output - thus affecting the amount
Filter Env Rate Modulates all of the envelope time stages - Attack, Decay, Sustain and
Filter Env Attack
Filter Env Decay
Filter Env Sust Time
Filter Env Sust Level
Filter Env Release
P/M Env Amplitude Scales the amplitude of the envelope's output - thus affecting the amount
P/M Env Rate Modulates all of the envelope time stages - Attack, Decay, Sustain and
P/M Env Attack
P/M Env Decay
P/M Env Sust Time
the LFO can modulate anything else.
See equivalent Program Parameter
the S&H can modulate anything else.
See equivalent Program Parameters
See equivalent Part parameters
that the envelope modulates anything else.
Release - simultaneously.
See equivalent Program Parameters
that the envelope modulates anything else.
Release - simultaneously.
See equivalent Program Parameters
that the envelope modulates anything else.
Release - simultaneously.
See equivalent Program Parameters
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6
Programs
P/M Env Sust Level
P/M Env Release
Effects Level
Effects Mix
Effects Parameter A
Effects Parameter B
Effects Parameter C
Effects Parameter D
rameters
16. Category
Place the program in one of the Micron’s pre-defined categories.
17. Program name
Since programs are listed alphabetically, creative naming can help
you move smoothly from one program to another.
Turn the control knob to select a position (1 – 14) to edit. Then
press the control knob to edit that position. Edit either by turning
the control knob or pressing notes on the keyboard.
Press a key twice to toggle between upper and lower case.
Inserting and deleting characters
To insert a space in the name, navigate to the position at
which you want to add the space. Hold down the control
knob and turn it clockwise.
To delete a character, navigate past it, hold down the control
knob, and turn it counterclockwise.
In both cases, imagine that you are “dragging” the name
around.
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6
Programs
18. Delete?
Delete the program using this function, if desired.
19. Send MIDI sysex?
Choose this option to send the pattern to a computer or other
MIDI storage device using the Micron’s (MIDI OUT) port.
This allows you to back up your patterns to your computer, or
share them with your friends or over the internet. See page 95 for
details on what Sysex is and how to use it.
20. Store a copy?
Unlike many synths, the Micron does not have fixed “banks” of
programs, patterns, and so on, each with a predetermined number
of storage locations. Instead, you may freely create and delete
programs at any time, just as you would on a computer.
“Store a copy?” is how you create a new program. This option
creates a brand new copy of the current program, differing only in
name. Now, when you make changes and hit the [store] button,
you will be storing to this new copy.
Whenever you want to start a new program from scratch, you will
have to find an existing program to base it off of, and then store a
copy. Don't forget to store a copy, or you might accidentally
overwrite the original program.
Store your changes!
Be sure to press the [store] button after you’re satisfied with your
changes. Otherwise, your changes will be lost when the Micron is
turned off.
However, keep in mind that you don't lose any changes when you
switch to other modes, so feel free to browse through patterns or
setups without storing your program. Additionally, if you play a
setup that uses the current program, you'll hear your edited
version, even without storing. This is a great way of checking how
your edits sound in the context of a setup, without having to
commit to them.
You can even play other programs without losing your edits. Just
hit the [programs] button and turn the control knob. You can
always come back to your edited program, just as you left it. The
Micron doesn't discard your edits until you start editing a different
program.
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6
Exiting program editing
You can exit program editing at any time. Simply press any of the
buttons encircling the control knob, including the [programs]
button a second time.
Programs
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6
Programs
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86
7 Config
Configuration
Press [config] to set the Micron’s global configuration options.
[config] only glows red, indicating that it is always in edit mode.
Configuration Parameters
1. Contrast
Adjust the LCD screen’s contrast.
If you happen to turn on your Micron and the screen is blank, it’s
possible that your contrast setting was somehow turned down.
Since contrast is the first of the config options, you should be able
to get to it even when navigating blindly. Simply hit the [config]
button, push the control knob, and turn clockwise.
2. Tuning
Adjust the Micron’s global tuning over a plus or minus 200 cent
range.
One cent is equal to 1/100
global tuning can be raised or lowered by up to a whole step.
The Micron’s default tuning is set to A=440 Hertz.
3. Transpose
Shift the placement of the Micron's keyboard with respect to the
128-note MIDI key range. By default, the Micron's keyboard
spans from C4 to C7; this option lets you offset that. You can also
use the [octave] buttons to quickly transpose up and down by
octaves.
This option does not affect how incoming MIDI notes are
interpreted.
th
of a semitone, so this means that the
Double-click to restore
defaults
Configuration options can be
reset by pressing the control
knob twice quickly (doubleclicking).
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7
Config
4. Velocity Curve
Edit the keyboard’s response to your playing velocity.
This option affects the velocity values that are generated when you
play the keyboard; it has no effect on incoming MIDI notes.
Options are linear low, medium and high; exponential low,
medium and high; and logarithmic low, medium and high.
Linear Exponential Logarithmic
Press the control knob to edit the velocity curve. Turn the control
knob to select a new curve. Press the control knob again to accept
the curve setting and return to the main config menu.
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7
5. Local Control
Turn the control knob clockwise once to edit the keyboard’s local
control setting. Options are “on” or “off.”
By default, local control is set to “on.” Set to “on,” the Micron
functions normally – the keyboard, pitch wheel, sliders,
footswitches, and pedal all play the Micron.
Setting local control to “off” disconnects the Micron’s sound
engine from all of these controllers.
Leave local control “on” in most situations. There are three main
exceptions:
a. External Sequencers
Consider turning local control “off” when you use MIDI cables to
connect the Micron to an external sequencer, such as a computerbased or standalone Digital Audio Workstation. When you record
with a sequencer, usually that sequencer “echoes” back whatever
you play into it. So, if you leave local control on, everything you
do play will trigger twice – once as a result of your playing, and
once as the sequencer replays what you’ve just played. This is
generally undesirable.
b. Using the Micron within a multi-controller setup
Imagine a saxophonist who wants to control the Micron with a
MIDI wind controller. At the same time, the saxophonist has a
rack-mounted sound module that she wants to control using the
Micron keyboard. Setting local control off makes sense in this
case, too, as playing the wind controller will trigger the Micron,
and playing the Micron will trigger the sound module.
c. Using the Micron with a MIDI patch bay
If you employ a MIDI patch bay to route controllers and sound
sources, you will probably want to set local control to off.
Config
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7
Config
6. MIDI mode
MIDI mode options are “single-channel” or “multi-channel.”
This setting affects setups. In “single-channel” mode, the Micron
only sends and receives MIDI data over one of the 16 possible
MIDI channels. In “multi-channel” mode, each part and beat
sends and receives MIDI data on a separate channel.
Turn the control knob to select either “single-channel” or “multichannel.”
7. MIDI channel
Your options will differ depending upon the setting chosen earlier
in MIDI mode:
● If the Micron is set to “single-channel” mode, you will be able
to select the MIDI channel.
● If the Micron is set to “multi-channel” mode, you will be able
to select the MIDI channel for the first part. The channel for each
additional part and beat will increment from there. (For instance,
if you set the channel to “4,” then Part A will use MIDI channel 4;
Part B will use MIDI channel 5; etc.
Even in multi-channel mode, the Micron will never use a MIDI
channel lower than the channel specified in this option, so you can
assign the lower channels to other MIDI instruments.
Because there are only sixteen MIDI channels, a setup with more
than sixteen parts and beats will not work well in multi-channel
mode. The parts that would be assigned channels above 16 will
not send or receive MIDI data.
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7
8. MIDI sync
The MIDI sync setting determines how incoming timing signals
sent over MIDI are processed.
The default setting for MIDI sync is “off.” In this mode, any
incoming MIDI timing data is ignored. This allows you to set the
Micron’s tempo normally, using the [tap] button and the control
knob.
When MIDI sync is set to “ext MIDI sync,” the Micron accepts
incoming tempo information from external MIDI devices such as
sequencers. When it receives such information, the tempo from
the external device controls the tempo setting in the Micron.
A third setting, “gen MIDI clock,” generates tempo information
and sends it out via the Micron’s (MIDI OUT) port.
To summarize:
● off: the Micron sets it tempo independent of other devices.
● ext MIDI sync: incoming synchronization from other devices
controls the Micron’s tempo.
● gen MIDI clock: the Micron controls other devices’ tempo.
9. Sysex: send all
Push the control knob to send a SysEx to a computer or other
external device through the (MIDI OUT) port on the back of the
Micron. This SysEx will contain everything you have stored on
your Micron -- every program, setup, rhythm, and pattern. This
can be used to back up all of your data at once, or to share your
entire collection with others.
Config
Tempo gone haywire?
If your tempo seems to have a
mind of its own, see whether
MIDI sync is set to “on.” Set
it to “off” or “gen MIDI
clock” to rectify the situation.
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Config
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92
8 MIDI
What is MIDI?
MIDI is the communication standard for electronic musical
instruments. You can use MIDI to:
● Record what you play on your Micron synthesizer into a
sequencer or computer.
● Play back sequences from a sequencer or computer on your
Micron.
● Store and recall Programs and Setups on a computer.
● Use a computer to edit your Micron’s sounds.
● Use your Micron to control another synthesizer or sound
module.
● Use another keyboard to play your Micron’s sounds.
Some examples of MIDI devices besides your Micron synthesizer
include keyboard controllers, sound modules, drum machines,
sequencers, and computers with MIDI interfaces.
MIDI Connections
The Micron has three MIDI connectors:
●(MIDI IN) is for receiving MIDI information from another
MIDI device.
●(MIDI OUT) is for sending MIDI information to another
device. Depending on your settings, the data from this port can
originate from the Micron itself or simply be echoed from the
(MIDI IN) port.
● (MIDI THRU) echoes whatever is received on the (MIDI
IN) port.
Here are four typical MIDI setups for your Micron, and the
appropriate connections for each of them:
93
8
MIDI
Controller.
With this setup, you can use your Micron to “play” another MIDI
instrument (synthesizer, sound module, drum machine etc.).
Connect a MIDI cable from the Micron’s (MIDI IN) jack to the
MIDI IN of the device you want to control.
For this setup, ensure that the Micron’s Local Control setting is
(in the [config] settings).
ON
IN OUT
Sound Module
Slave.
With this setup, you can use another keyboard to play the sounds
on your Micron. Connect a MIDI cable from the controller’s
MIDI OUT jack to the Micron’s (MIDI IN) jack.
AC
HEADPHONES LEFT MAIN
ON/OFF
PITCH MODULATION
RIGHT MAIN
ABCD
VALUE
PAGE
PAGE
VALUE
MIDI/MIX CHANNEL
EDIT VALUE
DELAY ENVELOPE REVERB
VOLUME FILTER
Slave with pass-through.
This setup allows MIDI signals to pass through the Micron so they
may reach multiple units. This allows one MIDI device to control
several. Attach a cable from the MIDI OUT of the first device to
the (MIDI IN) jack of the Micron; and then attach another cable
from the Micron’s (MIDI THRU) jack to the MIDI IN of the
third device.
OUT
MIDI IN MIDI OUTMIDI THRU
AC
HEADPHONES LEFT MAIN
ON/OFF
RIGHT MAIN
ABCD
EDIT
VALUE
MIX/PROG/EFFECTS
Pure Stereo
PAGE
PAGE
00
BANK: USER
VALUE
STORE
MIDI/MIX CHANNEL
PITCH MODULATION
EDIT VALUE
DELAY ENVELOPEREVERB
VOLUME FILTER
C3
OUT IN
MIDI IN MIDI OUT MIDI THRU
EDIT
MIX/PROG/EFFECTS
00
STORE
C3
PCMCIA EXPANSION SLOT
SUSTAIN PEDAL 1
CHANNEL 11
CHANNEL 12
CHANNEL 13
CHANNEL 14
CHANNEL 15
CHANNEL 16
LEVEL
PITCH EFFECT KEY/MIDI
RANGE
NAME
CONTROLLERS
MOD
VOICE LEVEL
PITCH FILTER AMP/RANGE PITCH ENV FILTER ENV AMP ENV NAME
BRASS WINDS
56
DRUM 7
DRUM 6
CHANNEL 6
CHANNEL 7
MIX
LEZLIEEQ
PITCH DELAY REVERB
OVERDRIVE
MIX
EFFECTS
PROGRAM
12
SYNTH1 SYNTH2 SYNTH3
RHYTHM DRUMS
SEQ SELECT
TRANSPOSE
9
78
TRACK GEN
FILTER LFO
AMP LFO
KEYBOARD SOUND
DRUM 8
DRUM 9
DRUM 10
DRUM SOUND
CHANNEL 9
CHANNEL 8
CHANNEL 10
MIX
6 4 V O I C E E X P A N D A B L E S Y N T H E S I Z E R
SEND 1
SEND 2
SEND 3
SEND 4
CONFIG
SOUND 1 SOUND 2 SOUND 3 SOUND 4
00
01 02 03 04 05 06 07 08 0911
MIX
CHROMATIC ORGAN GUITAR BASS STRINGS
PIANO
Pure Stereo
BANK BANK
BANK: USER
COMPARE GLOBAL
PROGRAM
01234
MOD 1
MOD 2 MOD 3 MOD 4 MOD 5 MOD 6 PITCH LFO
DRUM 1
DRUM 2
DRUM 3
DRUM 4
DRUM 5
CHANNEL 1
CHANNEL 2
CHANNEL 3
CHANNEL 4
CHANNEL 5
THRU
SUSTAIN PEDAL 1
MIX
BANK BANK
COMPARE GLOBAL
PROGRAM
PCMCIA EXPANSION SLOT
CHANNEL 11
CHANNEL 12
CHANNEL 13
CHANNEL 14
CHANNEL 15
CHANNEL 16
SEND 1
SEND 2
SEND 3
SEND 4
CONFIG
SOUND 1 SOUND 2 SOUND 3 SOUND 4
VOICE LEVEL
00
01 02 03 04 05 06 07 08 0911
CHROMATIC ORGAN GUITAR BASS STRINGS
PIANO
01234
56
MOD 1
MOD 2 MOD 3 MOD 4 MOD 5 MOD 6 PITCH LFO
DRUM 1
DRUM 2
DRUM 3
DRUM 4
DRUM 5
DRUM 6
CHANNEL 1
CHANNEL 2
CHANNEL 3
CHANNEL 4
CHANNEL 5
CHANNEL 6
CHANNEL 7
LEVEL
PITCH EFFECT KEY/MIDI
LEZLIEEQ
MOD
PITCH DELAY REVERB
PITCH FILTER AMP/RANGE PITCH ENV FI LTER ENV AMP ENV NAME
SYNTH1 SYNTH2 SYNTH3
BRASS WINDS
9
78
TRACK GEN
FILTER LFO
AMP LFO
DRUM 7
DRUM 8
DRUM 9
DRUM 10
CHANNEL 9
CHANNEL 8
CHANNEL 10
RANGE
NAME
CONTROLLERS
MIX
OVERDRIVE
MIX
EFFECTS
PROGRAM
12
RHYTHM DRUMS
SEQ SELECT
TRANSPOSE
KEYBOARD SOUND
DRUM SOUND
MIX
6 4 V O I C E E X P A N D A B L E S Y N T H E S I Z E R
IN
Sound Module
IN
94
8
Sequencing.
This setup allows you to use your Micron with a MIDI sequencer
or a computer with a MIDI interface. Attach one MIDI cable from
the MIDI OUT of the sequencer or computer to the (MIDI IN)
jack of the Micron. Attach another cable from the Micron’s
(MIDI OUT) jack to the MIDI IN of the sequencer or computer.
For this setup, switch the Micron’s Local Control setting to OFF
(in the [config] settings).
IN
Saving Programs, Setups, Rhythms, and
Patterns via MIDI System Exclusive
The Micron lets you transmit Programs, Setups, Rhythms, and
Patterns to an external device (such as a computer, sequencer,
storage device, or another Micron synthesizer) via MIDI.
MIDI devices use a protocol called “System Exclusive” messaging
(Sysex for short) for transmitting and receiving these
communications.
Use the Send Sysex and Send SysEx Bundle commands from within
the [programs], [setups], [rhythms], or [patterns] modes to
send this information.
To save a SysEx on your computer, you can typically start your
sequencer recording, send the SysEx from the Micron, and then
save the MIDI file in your sequencer. Your sequencer may also
have features for receiving and storing a "SysEx dump" directly.
Consult your sequencer's reference manual
OUT
MIDI
Computer
OUT
IN
95
8
MIDI
Loading Programs, Rhythms, Patterns, and
Setups via MIDI
The Micron doesn’t need to be in a special mode to receive MIDI
SysEx information. Simply connect a MIDI cable from the MIDI
out jack of your MIDI player to the (MIDI IN) port of your
Micron and start the SysEx dump on your MIDI storage device or
computer. If everything is working properly, the Micron display
display will read "Receiving..." and the program, setup, pattern, or
rhythm will be loaded.
What's a bundle?
There are two options for sending a setup, rhythm, or pattern:
“Send MIDI sysex?” and “Send syx bundle?”. The difference has
to do with dependencies.
For example, a setup can depend on patterns and rhythms that are
stored on your Micron. If you send a setup to a friend and his
Micron doesn’t have the patterns and rhythms that your setup
uses, the setup might not sound the same. Similarly, setups,
rhythms, and patterns all depend on programs. If your friend’s
Micron has a different set of programs than yours, nothing you
send him will sound the same.
To solve this problem, you can send a bundle. A SysEx bundle
contains the setup, rhythm, or pattern you are sending, plus
everything it depends on – all of the rhythms, patterns, and
programs that your friend will need to hear your creation exactly as
it sounds on your Micron.
NOTE: Some computers are
not fast enough to transmit
MIDI SysEx data pro pe rly . If
you are experiencing
problems, try adjusting the
settings in your MIDI
software. Some programs
allow you to slow down the
transmit rate so the computer
hardware can keep up with
the software.
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8
MIDI
Compatibility with Alesis Ion programs
The Micron’s programs are 100% compatible with the Alesis Ion.
However, the Micron’s patterns, rhythms, and setups are not
compatible with the Ion.
Sharing programs between the Alesis
Micron and the Alesis Ion
Sending programs from the Micron to the Ion
Connect the Micron’s (MIDI OUT) port to the Ion’s MIDI IN
port. Send programs using the Send SysEx screen from within the
Micron’s [programs] mode.
Sending programs from the Ion to the Micron
Connect the Ion’s MIDI OUT port to the Micron’s (MIDI IN)
port. Send programs from the Ion as directed in the Alesis Ion
reference manual.
Updating Software Via MIDI
The Micron’s operating system software can be upgraded via
MIDI. From time to time Alesis will release updates, which will
add or enhance features. Software updates will be posted to the
Alesis website.
In order to upgrade the Micron’s software, you will need a
computer with a MIDI interface and MIDI sequencing software.
To Upgrade the Software in your Micron:
● Connect the MIDI OUT of the computer to the (MIDI IN) of
the Micron.
● Open the “.syx” or “.mid” software file in your sequencer
program.
●Turn the Micron’s power on while holding both the
[programs] and [setups] buttons.
● After briefly displaying the current operating system version,
the display will read “Ready to receive OS through MIDI.”
● Play the “.syx” or “.mid” file.
97
8
MIDI
All Notes Off
The MIDI command All Notes Off is used to silence a
synthesizer with a note or notes that are stuck on. This is usually
caused when a Note On message is received without a Note Off.
The Micron responds to the All Notes Off message, and can also
send it. Press the [programs] button twice in quick succession
(double-click) to send All Notes Off.
98
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