Page 1
micron
Reference Manual
Page 2
Page 3
Table Of Contents
Introduction ............................................................................................ 5
Welcome! ....................................................................................................................................................................... 5
Unpacking and Inspection................................................................................................6
How to Use This Manual....................................................................................................6
Connection Diagram ................................................................................................................................................... 7
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
Volume........................................................................................................................................................................... 9
Real-time controllers.................................................................................................................................................... 9
Performance buttons ................................................................................................................................................... 10
Display ...........................................................................................................................................................................10
Control knob circle ...................................................................................................................................................... 10
Key Concepts........................................................................................................................10
Programs........................................................................................................................................................................ 10
Patterns .......................................................................................................................................................................... 10
Rhythms......................................................................................................................................................................... 10
Setups ............................................................................................................................................................................. 10
Navigating with the transparent control knob and its buttons ............................................................................ 11
Play the Programs ..............................................................................................................12
Navigate through the programs................................................................................................................................. 12
Switch Octaves ....................................................................................................................13
Explore the Built-in Patterns..........................................................................................14
Explore the Rhythms ........................................................................................................15
Explore the Setups..............................................................................................................16
Record Some Phrases......................................................................................................... 17
Connect External Instruments ........................................................................................18
Whew! .....................................................................................................................................18
1
Chapter 3: Patterns................................................................................ 19
Playing Patterns..................................................................................................................19
Using [latch] .................................................................................................................................................................. 19
Using [tap] ..................................................................................................................................................................... 19
Pattern Types: Arpeggios and Sequences ....................................................................20
Editing Patterns ..................................................................................................................21
1. Revert-to-stored? / Unrevert-to-edited?............................................................................................................. 21
2. Send to setup?........................................................................................................................................................... 22
3. Start new setup? ....................................................................................................................................................... 23
4. Pattern program ....................................................................................................................................................... 23
5. Length....................................................................................................................................................................... 23
6. Grid........................................................................................................................................................................... 24
7. Type ..........................................................................................................................................................................24
8. Span (arpeggios only) ............................................................................................................................................. 24
9. Order (arpeggios only) ........................................................................................................................................... 24
10. Real-time recording .............................................................................................................................................. 25
11. Step editing ............................................................................................................................................................ 26
12. Clear controllers? .................................................................................................................................................. 27
13. Clear pattern? ........................................................................................................................................................27
14. Pattern name ......................................................................................................................................................... 28
15. Send MIDI sysex?................................................................................................................................................. 28
Page 4
Table Of Contents
16. Send syx bundle?................................................................................................................................................... 28
17. Delete pattern? ...................................................................................................................................................... 28
18. Store a copy?.......................................................................................................................................................... 29
Store your changes! ...................................................................................................................................................... 29
Exiting pattern editing.................................................................................................................................................29
Chapter 4: Rhythms...............................................................................31
Playing Rhythms .................................................................................................................31
Using [tap] ..................................................................................................................................................................... 31
Editing Rhythms .................................................................................................................32
1. Revert-to-stored? / Unrevert-to-edited?............................................................................................................. 32
2. Send to setup?........................................................................................................................................................... 33
3. Start new setup? ....................................................................................................................................................... 34
4. Length....................................................................................................................................................................... 34
5. Grid........................................................................................................................................................................... 34
6. Record rhythm (real-time)..................................................................................................................................... 35
7. Drum A through Drum H .................................................................................................................................... 36
8. Add?..........................................................................................................................................................................38
9. Clear rhythm? .......................................................................................................................................................... 39
10. Rhythm name ......................................................................................................................................................... 39
11. Send MIDI sysex?................................................................................................................................................. 39
12. Send syx bundle?................................................................................................................................................... 39
13. Delete rhythm?...................................................................................................................................................... 40
14. Store a copy?.......................................................................................................................................................... 40
Store your changes! ...................................................................................................................................................... 40
Exiting rhythm editing ................................................................................................................................................ 40
Chapter 5: Setups ................................................................................... 41
Playing Setups .....................................................................................................................41
Setup Components ..............................................................................................................41
Editing Setups......................................................................................................................41
1. Parts ..........................................................................................................................................................................44
2. Use as........................................................................................................................................................................ 48
3. Add?..........................................................................................................................................................................48
4. Beats.......................................................................................................................................................................... 49
5. Add?..........................................................................................................................................................................51
6. FX Balance, FX Type 1, FX Type 2 .................................................................................................................... 52
7. Clear .......................................................................................................................................................................... 52
8. Setup name .............................................................................................................................................................. 52
9. Send MIDI sysex?................................................................................................................................................... 53
10. Send syx bundle?................................................................................................................................................... 53
11. Delete setup? ......................................................................................................................................................... 53
12. Store a copy?.......................................................................................................................................................... 53
Store your changes! ...................................................................................................................................................... 53
Store your changes! ...................................................................................................................................................... 54
Exiting setup editing .................................................................................................................................................... 54
2
Chapter 6: Programs .............................................................................55
What is a “Program”? .........................................................................................................55
How the Micron Makes Sound .........................................................................................55
The Oscillators ............................................................................................................................................................. 55
The Pre Filter Mix........................................................................................................................................................ 56
The Filters ..................................................................................................................................................................... 56
The Post Filter Mix......................................................................................................................................................56
Output............................................................................................................................................................................ 57
Signal Flow Diagram ................................................................................................................................................... 57
Page 5
Table of Contents
Modulation............................................................................................................................58
The LFOs ...................................................................................................................................................................... 58
The Envelopes..............................................................................................................................................................59
Playing Programs................................................................................................................59
Editing Programs ................................................................................................................60
1. Revert-to-Stored? / Unrevert-to-Edited? ........................................................................................................... 60
2. Add to Faves? / Remove Fave? ........................................................................................................................... 60
3. Send to Setup? .......................................................................................................................................................... 60
4. Start New Setup?...................................................................................................................................................... 62
5. Voice parameters .................................................................................................................................................... 62
6. Oscillator parameters ............................................................................................................................................. 66
7. Pre-filter mix parameters ....................................................................................................................................... 67
8. Filter parameters .....................................................................................................................................................68
9. Post-filter mix parameters ..................................................................................................................................... 70
10. Output .................................................................................................................................................................... 71
FX1 Effects...................................................................................................................................................................72
FX2 Effects...................................................................................................................................................................79
11. Envelopes .............................................................................................................................................................. 84
12. Low Frequency Oscillator (LFO) settings........................................................................................................ 87
13. Sample-and-Hold (S&H) settings ...................................................................................................................... 89
14. Track (Tracking Generator) ................................................................................................................................ 90
15. Mod (Modulation Routing)................................................................................................................................. 91
16. Category ................................................................................................................................................................. 95
17. Program name....................................................................................................................................................... 95
18. Delete?.................................................................................................................................................................... 95
19. Send MIDI sysex?................................................................................................................................................. 96
20. Store a copy?.......................................................................................................................................................... 96
Store your changes! ...................................................................................................................................................... 97
Exiting program editing .............................................................................................................................................. 97
Chapter 7: Configuration ..................................................................... 99
Configuration.......................................................................................................................99
Configuration Parameters ................................................................................................99
1. Contrast .................................................................................................................................................................... 99
2. Tuning ...................................................................................................................................................................... 99
3. Transpose................................................................................................................................................................. 99
4. Velocity Curve......................................................................................................................................................... 100
5. Local Control........................................................................................................................................................... 100
7. MIDI channel.......................................................................................................................................................... 102
8. MIDI sync................................................................................................................................................................ 103
9. Store Protect............................................................................................................................................................ 103
10. Sysex: send all....................................................................................................................................................... 103
Chapter 8: MIDI ...................................................................................... 105
What is MIDI?.......................................................................................................................105
MIDI Connections ...................................................................................................................................................... 105
Saving Programs, Setups, Rhythms, and Patterns via MIDI System
Exclusive........................................................................................................................................................................ 107
Loading Programs, Rhythms, Patterns, and Setups via MIDI ............................................................................. 108
What’s a bundle? .......................................................................................................................................................... 108
Compatibility with Alesis Ion programs................................................................................................................... 108
Sharing programs between the Alesis Micron and the Alesis Ion ....................................................................... 109
Updating Software Via MIDI .................................................................................................................................... 109
All Notes Off................................................................................................................................................................ 109
3
Page 6
Table Of Contents
Appendix A: Frequently Asked Questions .......................................111
There are category labels (“bass”, “lead”, “pad”) above the keys. How do I
use them?....................................................................................................................................................................... 111
There are program parameter labels (“voice”, “osc”, “filter”) above the
keys. How do I use them? ......................................................................................................................................... 111
How do I add a program to the “faves” category?................................................................................................. 111
How do I assign a program parameter to one of the knobs? ............................................................................... 111
How do I record a new pattern?................................................................................................................................ 112
I was recording a pattern and made a mistake. How do I clear the pattern
and start over?............................................................................................................................................................... 112
How do I split and layer the keyboard?.................................................................................................................... 113
How do I change the program in a setup Part? ...................................................................................................... 113
How can I quickly see which programs are in which setup Parts?...................................................................... 114
How do I add a rhythm to my setup?....................................................................................................................... 114
How do I assign different programs to different MIDI channels, so I can
play multiple programs at once from my PC’s sequencer? ................................................................................... 114
How do I set which MIDI channels my Micron is using? .................................................................................... 115
How can I select a program/setup/ pattern/rhythm through MIDI? ............................................................... 115
Why isn’t my Micron responding to MIDI program change messages? ............................................................ 115
How do I set the tempo? ............................................................................................................................................ 116
Why isn’t my Micron syncing to MIDI clock? ........................................................................................................ 116
When I press [store], my Micron says, “Cannot store. Protection is on.”
How do I turn protection off? ................................................................................................................................... 116
How can I compare my edited program (or pattern, or rhythm, or setup) to
what I last stored? ........................................................................................................................................................ 116
The [store] button is dimly lit. What does this mean? .......................................................................................... 117
How do I send the individual notes of a pattern or rhythm through MIDI? .................................................... 117
A note is stuck on! How do I make my Micron turn it off? ................................................................................ 117
How do I use the vocoder? ........................................................................................................................................ 117
Recovering from a Crash ............................................................................................................................................120
Checking the Software Version ................................................................................................................................. 120
Restoring the Factory Defaults .................................................................................................................................. 120
Cleaning Your Micron................................................................................................................................................. 120
4
Specifications..........................................................................................127
Sound Engine ............................................................................................................................................................... 127
Audio Input................................................................................................................................................................... 127
Audio Output ............................................................................................................................................................... 127
Audio Performance...................................................................................................................................................... 127
Physical .......................................................................................................................................................................... 127
Warranty/Contact Alesis....................................................................... 129
Alesis Limited Warranty.............................................................................................................................................. 129
Alesis Contact Information ........................................................................................................................................ 130
Page 7
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 Modeling
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
Page 8
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 Error!
Bookmark not defined..
Chapters 3 through 6 cover the main operating modes of the
Micron–the patterns, rhythms, 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
Page 9
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). If
you have a sustain and/or expression pedal (they are not included
with the Micron), plug these pedals into their respective jacks.
(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
Page 10
1
Connections
This page intentionally left blank.
8
Page 11
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,
check 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
Page 12
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. Pushing
the control knob allows you to edit these options.
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.
Patterns
Patterns are repeating melodic and/or rhythmic motifs. There are
two types of patterns—arpeggios and sequences (see chapter 3 for
more about arpeggios and sequences).
Rhythms
Rhythms are combinations of sequenced drum programs. Think
of a drum machine with its interchangeable sounds and sequences.
Setups
Setups combine multiple programs, rhythms, patterns, and more.
They are the Micron’s most powerful and most sonically
sophisticated element.
10
Page 13
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 first
pressed indicating that you’re in “play mode,” and the control
knob can be used for selecting. When the control knob is pushed,
the buttons glow red, indicating that you are in “edit mode” and
that the control knob can be used for editing.
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
Page 14
2
First Session
Play the Programs
The Micron’s basic sounds are called “Programs.” Try playing
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.
● 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
If you rotate the control knob enough, you’ll pass through 13
categories of programs. At the end of the list, all of the programs
are presented alphabetically, regardless of category.
Notice the red text just above the keyboard. This text
corresponds to the 13 categories and also includes the all,
uncategorized listing. To jump to a category instantly, hold
down [programs] and then press the associated white key.
To jump to a category
instantly, hold down
[programs] and then press
the associated white key.
12
Page 15
2
Special categories
All
As we’ve already seen, the all category is an alphabetical listing of
all the Programs.
Recent
The ten most recently played Programs 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 asked to Add to faves? Press
the control knob once again to add the Program to the Faves
category. There is no limit to the number of faves you can have.
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
Page 16
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
Page 17
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.
First Session
15
Page 18
2
First Session
Each rhythm’s drum 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. 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 on the right).
● Latch on/off settings.
● Semitone transpositions.
● Level and left/right panning.
● Effects settings.
● Controller assignments.
First, 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.
The Micron was designed to make it easy to compose and modify
your own Setups. Try creating your own setup. Follow these
steps:
Go into Programs and find a bass sound you like.
Push the control knob and select “start new setup”
Now go back to Programs and find a lead instrument you like.
Push the control knob and choose “add to setup?” Then select “Split
A high?”
Now go into the “Rhythms” section and find a rhythm you like.
Now hold down the [rhythms] button and push the [setups]
button. This adds the beat to your setup.
Start jamming.
16
Page 19
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.
The patterns that you capture in real time are called “phrases.”
● Phrases within Programs mode
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.
The last phrase you have recorded 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. See page 52
● Phrases within Setups mode
Phrases are most useful in Setups mode because you can use a
rhythm or pattern to keep time as you play.
Phrases get a little more complicated in Setups mode, since each
part can have its own phrase. But the basic idea is the same–hold
down the [phrase] button and start playing. Whatever 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.
The latest phrases you have recorded in Setups mode are stored as
patterns “* Phrase PartA”, “* Phrase PartB”, etc. Again, rename
the phrase patterns that you want to keep.
Try recording a phrase for yourself. Go to the “Bass/LeadSplit”
preset under the Setups menu and record bass and lead phrases.
The lower half of the keyboard plays the bass and upper keys play
the lead. Then play back your phrases by hitting any note on the
keyboard.
First Session
If you cannot store because
storage protection is on, see
page 103 for more
information.
More on Phrases wi th i n
Setups: How Phrases are
associated to Parts
The first note you play in a
phrase determines the part
with which the phrase will be
associated.
For example, consider a
bass/lead split setup with the
bass (Part A) on the lower
half of the keyboard and the
lead (Part B) on the upper
half.
If you begin you r phr as e l ow
on the keyboard–even if you
eventually play some high
keys–the phrase created will
be associated with Part A.
If you begin your phrase high
on the keyboard–even if you
eventually play some low
keys–the phrase created will
be associated with Part B.
What if your set up pl ay s mor e
than one program when you
press the first note in your
phrase? In that case, the
phrase will be associated to
the lowest-lettered program
that uses that first note.
17
Page 20
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. This doesn’t happen
automatically, though. You need to adjust some program
parameters to send external audio into the mix. See page 72 for
more about these 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
Page 21
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.
Press a key to play a pattern. The pattern continues playing as
long as you hold down the key.
Using [latch]
Press [latch] to let the pattern continue playing after you release
the key.
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
Page 22
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 key press 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 versus Patterns
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
Page 23
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.
You can revert and unrevert to compare your changes with 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
Page 24
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:
send to part
1.
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.
layer
2.
part. The pattern is then sent to the new part.
split low
3.
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 higher than 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.
split high
4.
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.
. The setup’s part will use this pattern. Remember
. The setup’s existing part is duplicated, resulting in a new
. The setup’s existing part is split in two at a particular
. The setup’s existing part is split in two at a
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
Page 25
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.
add part
5.
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.
. The pattern is added as a brand new part. All other
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
Page 26
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. Type
Choose sequence or arpeggio. See page 20 for the differences.
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.
Ignore the display’s “6 + 6”
grouping. Think “4 + 4 + 4”
instead.
Arpeggios or Sequences?
Arpeggios contain rhythm
and velocity
information.
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
.
24
Page 27
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 and pitch wheel. 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.
25
Page 28
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 “voice”).
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 wheel and slider 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 hold down the
control knob and turn it all
the way to the left before
releasing it.
26
Page 29
3
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.
12. Clear controllers?
Press the control knob to erase all slider and pitch wheel
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.
Patterns
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.
27
Page 30
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 107 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.
28
Page 31
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. If you intentionally want to discard your edits and revert
to the version you last stored, you can use the “Revert -> Stored?”
option. See page 32.
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
29
Page 32
3
Patterns
This page intentionally left blank.
30
Page 33
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:
31
Page 34
4
Rhythms
Editing Rhythms
First, choose an existing rhythm to edit by pressing the [rhythms]
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.
32
Page 35
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:
send to beat
1.
rhythm. The setup beat’s level, effects mix, key range, and latch
status are retained.
layer
2.
beat. The rhythm is then sent to the new beat.
split low
3.
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.
split high
4.
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.
. The setup’s beat is replaced by the current
. The setup’s existing beat is duplicated, resulting in a new
. The setup’s existing beat is split in two at a particular
. The setup’s existing beat is split in two at a
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”)
33
Page 36
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.
add part
5.
beat parameters are set to their default values.
. The rhythm is added as a brand new beat. All other
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. 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
Page 37
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).
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.
Ignore the display’s “6 + 6”
grouping. Think “4 + 4 + 4”
instead.
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.
35
Page 38
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.
Twirl the control knob to cycle through the programs.
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 nondrum, 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.
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 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.
36
Page 39
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 at bar 1, beat 1, tick 0, shown as 1:1:0.
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
A above middle C, 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.
37
Page 40
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 relettered 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.
38
Page 41
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 107 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
39
Page 42
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
Page 43
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 to the original
factory 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.
41
Page 44
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):
42
Page 45
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):
43
Page 46
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 pattern 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 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 doubleclick) 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 ge t
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.
44
Page 47
5
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
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.
keyboard note to which the part will
Setups
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.
45
Page 48
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 threeoctave 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.
46
Page 49
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.
47
Page 50
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.
48
Page 51
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 drums 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).
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.
Silencing the beats
If you want to disab le a
setup’s beats, pre ss
[accomp]. This turns all the
beats off. Press [accomp] a
second time to reactivate the
49
Page 52
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 keyboard note to which the beat will
respond. Any notes lower than the note you select here will be
ignored by this beat.
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 keyboard note to which the beat will respond. Any
notes higher than the note you select here will be ignored by this
beat.
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 beat to latched or not latched. The default
is not latched.
When latch is on, the beat will continue playing after you remove
your hands from the keys. If you play a key that is mapped to a
different latched beat, this beat will stop and the new one will play
instead. To stop the beat entirely, hit the [accomp] button or
switch to another mode.
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 threeoctave 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 beat, it will become latched
as long as the button is activated.
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
Page 53
5
g. Split?
Split allows you to create a new beat by splitting the key range of
the current part. After the split, one beat will use the keys below
the split point, and the other beat will use the keys above. The two
beats will otherwise be identical.
If you choose to split a beat, 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 beat will be assigned the next letter after the
current part’s letter. All subsequent beat 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
51
Page 54
5
Setups
6. FX Balance, FX Type 1, FX Type 2
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.
52
Page 55
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 107 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
Page 56
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
Page 57
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. Oscillators generate the raw
sounds. The oscillators are then 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.
55
Page 58
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.
56
Page 59
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
57
Page 60
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.
58
Page 61
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. “Env1” is
the amp envelope. “Env2” is the filter envelope. “Env3” is the
pitch/modulation envelope.
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.
Programs
Envelope assignme n ts
Envelopes can affect different
parameters depending on the
modulation routes you assign.
59
Page 62
6
Programs
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.
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.
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.
send to part
. The setup’s part’s is replaced by the current
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.
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.
60
Page 63
6
2.
layer
. The setup’s existing part is duplicated, resulting in a new
part. This new part uses the program 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.
split low
3.
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 higher than 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.
split high
4.
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
note including and lower than 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.
add part
5.
entire keyboard range. All other part parameters are set to their
default values as well.
. The setup’s existing part is split in two at a particular
. The setup’s existing part is split in two at a
. The program is added as a brand new part across the
Programs
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”)
61
Page 64
6
Programs
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:
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 unison parameter is set to one voice/note, the
UsnDetune parameter has no effect.
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.”
62
Page 65
6
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.
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.
Programs
63
Page 66
6
Programs
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.
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.
64
Page 67
6
FM Type
A. Linear FM types
lin 2 > 1
Oscillator 2 is added to the phase
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
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. Linear FM is the
of oscillator 1.
of oscillator 2. The resultant
of oscillator 1.
of oscillator 1.
of oscillator 2. The resultant
Programs
65
Page 68
6
Programs
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.
Quick access to editing
To jump to the oscillator
category, hold down the
[programs] button and press
the key labeled “osc.”
66
Page 69
6
Transpose
Transposes the pitch up or down over a +/- seven-semitone
range.
Pitch
Transposes the pitch over a +/- 99.9-cent range.
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.
Programs
Quick access to editing
To jump to the pre-filter mix
category, hold down the
[programs] button and press
the key labeled “premix.”
67
Page 70
6
f
Programs
8. Filter parameters
Each of the two filters has the following editable parameters:
Type
Choose from a collection of classic and modern filter types:
bypass
No filter. This setting is useful for previewing the un-filtered
signal.
lowpass ob_2pole
Modeled on the lowpass output of the multi-mode filter built into
a classic synthesizer expander module.
lowpass tb_3pole
Modeled on the filter from a little silver bass synthesizer whose
sound has become ubiquitous in many styles of electronic music.
lowpass mg_4pole
Modeled on the filter found in the most famous monophonic
analog synth ever made. The filter, with a steep cutoff and deep
resonance, earned much credit for its fat sound. This filter will
self-oscillate at high resonance settings.
lowpass rp_4pole
Modeled on the filter in a very popular semi-modular synth. This
filter will clip (distort) when fed a loud input level.
lowpass jp_4pole
Modeled on the lowpass filter from a popular 8-voice synth noted
for its very colorful case and colorful, versatile sound. Compare
its sound to the mg or rp filters.
lowpass al_8pole
Unique to the Micron. 8 poles give this filter an extremely steep
cutoff.
bandpass ob_2pol
Modeled on the bandpass output of the ob multi-mode filter.
bandpass al_6pol
Unique to the Micron. This filter sounds like an exaggerated
version of the ob bandpass.
Quick access to editing
To jump to the filter category,
hold down the [programs]
button and press the key
labeled “
ilter.”
68
Page 71
6
bandpass 8vedual
Unique to the Micron. Two 2-pole bandpass filters, spaced 1
octave apart.
bandpass bndlimit
Unique to the Micron. A 2-pole highpass filter and a 2-pole
lowpass filter in series, limiting the signal to everything in between
them. The resonance control adjusts the bandwidth.
highpass ob_2pol
Modeled on the highpass output of the ob multi-mode filter.
highpass op_4pol
Unique to the Micron. A 4-pole highpass filter.
vocal formant 1
Unique to the Micron. Formant filters are modeled on the human
voice. This 3-band (3 bandpass filters) version emulates the “ah”
and “oo” vowel sounds.
vocal formant 2
Unique to the Micron. A 3-band formant filter which emulates
the “oh” and “ee” vowel sounds.
vocal formant 3
Unique to the Micron. A 5-band formant filter based on an
idealized model of the vocal tract.
comb 1 - 4
Unique to the Micron. The comb filter creates multiple resonant
peaks and notches that are not harmonically related.
phase warp
Unique to the Micron. This is based on an analog phaser effect.
Eight allpass filters in series create four harmonically related
notches in the frequency response.
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.
Programs
69
Page 72
6
Programs
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.
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)
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.
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.
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.
Quick access to editing
To jump to the post-filter mix
category, hold down the
[programs] button and press
the key labeled “postmix.”
70
Page 73
6
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)
This simple but very important parameter controls how loud your
program is. When set to zero, the program is silent, whereas a
setting of 100% will play it full-blast. If you hear your sound
clipping, this is a good parameter to reach for. You can also use
this parameter to equalize the loudness of the various programs
you create, so they all sound about the same level as you flip
through them, regardless of their individual oscillator, filter, and
mixer settings.
FX Mix (Effects Mix)
Sets the wet/dry mix for the effects-processed audio, from 0 to
100%.
FX Balance (Effects Balance)
Sets the balance between the Micon’s two effects modules and
determines how much of each is heard.
FX1 Type (Effects 1 Type)
Select bypass for no effect, or select one of the built-in pitch effects
(chorus, theta flanger, thru-0 flanger, super phaser, string phaser,
or 40-band vocoder).
FX1 Param (Effects Parameters)
Different screens appear in this area depending on the effects type
chosen. Set the effect’s parameters here.
FX2 Type (Effects 2 Type)
Select bypass for no effect, or select one of the built-in delay effects
(mono delay, stereo delay, split L/R delay, hall reverb, plate
reverb, room reverb).
FX2 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.”
Two Effects modules
The Micron contains two
independent effects modules.
You can choose one effect
from each module.
FX1 contains pitch-based
effects–chorus, flangers,
phasers, and a 40-band
vocoder.
FX2 contains delay and
reverb effects.
See the following pages for
additional detail.
71
Page 74
6
Programs
FX1 Effects
The Effects 1 module provides six different pitch-based effects.
You can choose to use any one of these effects.
Chorus
A chorus effect uses an LFO to modulate the pitch of the input
signal, which is then added back to the dry signal. In small doses
this will create the illusion of multiple voices playing at once. Turn
up the Feedback and Depth for more pronounced “shimmering”
and “watery” sounds.
A. Feedback
This is the amount of the chorus output added back
into the input to produce a deeper effect.
Range: 0 - 100%
B. Manual Delay
This is the base delay time that is modulated by the
LFO to create the Flange effect. It determines the
frequencies of the notches and peaks.
Range: 0 – 100%
C. LFO Rate
This is the rate of the Low Frequency Oscillator.
Range: 0.010Hz – 4.800Hz, or 1/16 (4
whole notes) to 16 (64
enabled
D. LFO Depth
This adjusts the magnitude of the LFO modulation.
When set to 0%, the LFO has no effect on the
notch frequencies.
Range: 0 – 100%
E. LFO Shape
This selects between the two LFO shapes.
Range: sine wave, triangle wave
F. LFO Tempo Sync
This selects whether the LFO rate is synchronized
to the Micron’s tempo. When “follow tempo” is
selected, the LFO Rate parameter is displayed as a
multiple of the Tempo.
Range: fixed rate, follow tempo
th
note) if Tempo Sync is
72
Page 75
6
Theta Flanger
The Theta Flanger is a combination of phaser and flanger effects.
The input is filtered through a 32-stage phaser, and then fed to the
input of a flanger. The sound is very interesting and musical.
A. Feedback
This is the amount of the flanger output added back
into the input to produce a deeper effect.
Range: –100% to 0 to +100%
B. Manual Delay
This is the base delay time that is modulated by the
LFO to create the Flange effect. It determines the
frequencies of the notches and peaks.
Range: 0 – 100%
C. LFO Rate
This is the rate of the Low Frequency Oscillator.
Range: 0.010Hz – 4.800Hz, or 1/16 (4
whole notes) to 16 (64
enabled
D. LFO Depth
This adjusts the magnitude of the LFO modulation.
When set to 0%, the LFO has no effect on the
notch frequencies.
Range: 0 – 100%
E. LFO Shape
This selects between the two LFO shapes.
Range: sine wave, triangle wave
F. LFO Tempo Sync
This selects whether the LFO rate is synchronized
to the Micron’s tempo. When “follow tempo” is
selected, the LFO Rate parameter is displayed as a
multiple of the Tempo.
Range: fixed rate, follow tempo
th
note) if Tempo Sync is
Programs
73
Page 76
6
Programs
Thru Zero Flanger
A Flange effect using two delay lines (per stereo side) to emulate
the classic flange effect produced using two analog tape machines.
Because there are two delay lines in constant motion, the delay
time can fall through zero to become negative. This has a unique
sound that can’t be replicated with a standard, single-delay flanger.
A. Feedback
This is the amount of the flanger output added back
into the input to produce a deeper effect.
Range: –100% to 0 to +100%
B. Manual Delay
This is the base delay time that is modulated by the
LFO to create the Flange effect. It determines the
frequencies of the notches and peaks.
Range: 0 – 100%
C. LFO Rate
This is the rate of the Low Frequency Oscillator.
Range: 0.010Hz – 4.800Hz, or 1/16 (4
whole notes) to 16 (64
enabled
D. LFO Depth
This adjusts the magnitude of the LFO modulation.
When set to 0%, the LFO has no effect on the
notch frequencies.
Range: 0 – 100%
E. LFO Shape
This selects between the two LFO shapes.
Range: sine wave, triangle wave
F. Tempo Sync
This selects whether the LFO rate is synchronized
to the Micron’s tempo. When “follow tempo” is
selected, the LFO Rate parameter is displayed as a
multiple of the Tempo.
Range: fixed rate, follow tempo
th
note) if Tempo Sync is
74
Page 77
6
Super Phaser
The classic phaser effect is created by ganging multiple all-pass
filter stages to create “notches,” or sharp dips in the frequency
spectrum. The frequencies of these all-pass filters are usually
modulated by an LFO to create a dramatic sweeping sound. The
Super Phaser follows this classic formula but allows you to select
from 4 to 64 all-pass stages for a wide variety of timbres.
A. Feedback
This is the amount of the phaser output added back
into the input to produce a deeper effect.
Range: –100% to 0 to +100%
B. Notch Frequency
This is the frequency of the first (lowest) notch, unmodulated by the LFO.
Range: 0 – 100%
C. LFO Rate
This is the rate of the Low Frequency Oscillator.
Range: 0.010Hz – 4.800Hz, or 1/16 (4
whole notes) to 16 (64
enabled
D. LFO Depth
This adjusts the magnitude of the LFO modulation.
When set to 0%, the LFO has no effect on the
notch frequencies.
Range: 0 – 100%
E. LFO Shape
This selects between the two LFO shapes.
Range: sine wave, triangle wave
F. Stages
This selects how many all-pass filter stages, and thus
notches are used.
Range: 4, 8, 16, 32, 48, 64
G. Tempo Sync
This selects whether the LFO rate is synchronized
to the Micron’s tempo. When “follow tempo” is
selected, the LFO Rate parameter is displayed as a
multiple of the Tempo.
Range: fixed rate, follow tempo
th
note) if Tempo Sync is
Programs
75
Page 78
6
Programs
String Phaser
This effect is based on the phaser built into a classic analog string
synthesizer. It has 14 stages, and uses combination of positive and
negative feedback to produce a rich and complex sound.
A. Feedback
This is the amount of the phaser output added back
into the input to produce a deeper effect.
Range: 0 - 100%
B. Notch Frequency
This is the frequency of the first (lowest) notch, unmodulated by the LFO.
Range: 0 – 100%
C. LFO Rate
This is the rate of the Low Frequency Oscillator.
Range: 0.010Hz – 4.800Hz, or 1/16 (4
whole notes) to 16 (64
enabled
D. LFO Depth
This adjusts the magnitude of the LFO modulation.
When set to 0%, the LFO has no effect on the
notch frequencies.
Range: 0 – 100%
E. LFO Shape
This selects between the two LFO shapes.
Range: sine wave, triangle wave
F. Tempo Sync
This selects whether the LFO rate is synchronized
to the Micron’s tempo. When “follow tempo” is
selected, the LFO Rate parameter is displayed as a
multiple of the Tempo.
Range: fixed rate, follow tempo
th
note) if Tempo Sync is
76
Page 79
6
40-band vocoder
A vocoder uses two sets of band-pass filters (filter banks) to
impart the characteristics of one sound source onto another. The
analysis filter bank determines the level of the input at several
different frequencies. These levels are used to modulate the
output levels of the corresponding frequencies of the synthesis
filter bank. The most common use of this is to send a synthesizer
signal into the synthesis input and a voice (recorded or live via a
microphone) into the analysis input to get a “talking synthesizer”
effect.
A. Analysis Gain
Also sometimes referred to as “Analysis Sensitivity,”
this adjusts the gain of the input to the analysis filter
bank.
Range: -100% - +100%
B. Sibilance Boost
This adjusts the level of a high-pass shelving filter at
the input to the analysis filter bank. This will
increase or decrease the sibilant frequencies
(consonant sounds) to improve intelligibility or
change the tonality of the vocoder.
Range: 0% - 100%
C. Decay
This adjusts how quickly the synthesis filters will
react to the input signal. A faster response (lower
setting) will usually be more intelligible, but slower
decay times (higher setting) can be more musical.
Range: 0 - 100%
D. Band Shift
This shifts the frequencies of the Synthesis filter
bank, relative to the analysis filters. The result is a
pseudo pitch-shift effect.
Range: -100% - +100%
E. Synthesis Input
This selects which signal is sent to the synthesis
filter bank.
Range: Effects Send, Audio In Left,
Audio In Stereo
Programs
77
Page 80
6
Programs
F. Analysis Signal In
This selects which signal is sent to the analysis filter
bank.
Range: Effects Send, Audio In Right,
Audio In Stereo
G. Analysis Mix
This adjusts how much of the analysis signal is
mixed into the output.
Range: 0 - 100%
78
Page 81
6
FX2 Effects
The Effects 2 module provides six different delay and
reverberation effects. You can choose to use any one of these
effects.
Mono Delay
Delay takes the original signal, waits a specified period of time, and
then plays it back, over and over.
Mono delay sums the Micron’s input to mono before applying the
delay effect. The result is a less complex but more “focused”
sound.
Mono delay allows for a maximum delay time that is twice as long
as that used by stereo delay and L/R delay.
A. Delay Time
This is the amount of time that the delay waits
before regenerating the sound.
Range: 1 ms – 680 ms, or x1 (quarter
note) – x16 (64
“follow tempo”
B. Regeneration Percentage
This is the volume of every regeneration relative to
the volume of the regeneration that preceded it. At
zero, a “slapback” effect occurs–the original signal is
repeated just once.
Range: 0 – 100%
C. Brightness
As the delayed signal decays over time, it is often
advantageous to “darken” the sound by
progressively removing more and more high
frequencies with each regeneration. 100%
represents no reduction in brightness.
Range: 0 – 100%
D. Sync
The delay can either follow the Micron’s tempo or
can occur according to a fixed number of
milliseconds. When “follow tempo” is selected, the
Delay Time parameter is displayed as a multiple of
the Tempo.
Range: fixed time, follow tempo
th
note) when Sync is set to
Programs
79
Page 82
6
Programs
Stereo Delay
Stereo delay operates similarly to Mono delay only in true stereo.
The maximum delay time is half that available to Mono delay.
A. Delay Time
This is the amount of time that the delay waits
before regenerating the sound.
Range: 1 ms – 340 ms, or x1 (quarter
note) – x16 (64
“follow tempo”
Note: Quarter note delays at 120 BPM (or slower) cannot be
heard because the delay is greater than 340 ms.
B. Regeneration Percentage
This is the volume of every regeneration relative to
the volume of the regeneration that preceded it. At
zero, a “slapback” effect occurs–the original signal is
repeated just once.
Range: 0 – 100%
C. Brightness
As the delayed signal decays over time, it is often
advantageous to “darken” the sound by
progressively removing more and more high
frequencies with each regeneration. 100%
represents no reduction in brightness.
Range: 0 – 100%
D. Sync
The delay can either follow the Micron’s tempo or
can occur according to a fixed number of
milliseconds. When “follow tempo” is selected, the
Delay Time parameter is displayed as a multiple of
the Tempo.
Range: fixed time, follow tempo
th
note) when Sync is set to
80
Page 83
6
Split Left/Right Delay
This stereo delay allows you to set the left and right delay times
independently. Unlike the other delays, it does not allow for
tempo synchronization.
A. Left Delay Time
This is the amount of time that the left-channel
delay waits before regenerating the sound.
Range: 1 ms – 340 ms
B. Regeneration Percentage
This is the volume of every regeneration relative to
the volume of the regeneration that preceded it. At
zero, a “slapback” effect occurs–the original signal is
repeated just once.
Range: 0 – 100%
C. Brightness
As the delayed signal decays over time, it is often
advantageous to “darken” the sound by
progressively removing more and more high
frequencies with each regeneration. 100%
represents no reduction in brightness.
Range: 0 – 100%
D. Right Delay Time
This is the amount of time that the left-channel
delay waits before regenerating the sound.
Range: 1 ms – 340 ms
Programs
81
Page 84
6
Programs
Hall Reverb
Reverberation simulates acoustic spaces, providing a dense set of
echoes similar to those generated by a room’s walls, floor, and
ceiling.
Hall reverb simulates the reverb of a concert hall (which you can
think of as an extremely large room).
A. Diffusion
The higher the diffusion, the more “washy” and
indistinct the reverberated sound will be.
Range: 0 – 100%
B. Decay
This percentage represents how quickly the reverb
decays over time. Lower values equate to faster
decay.
Range: 0 – 100%
C. Brightness
As the reverberation decays over time, it is often
advantageous to “darken” the sound by
progressively removing more and more high
frequencies with each regeneration. 100%
represents no reduction in brightness.
Range: 0 – 100%
D. Color
This parameter adds harmonic content for a richer
sound.
Range: 1 ms – 340 ms
82
Page 85
6
Plate Reverb
This reverb algorithm mimics the behavior of plate reverb units.
A plate reverb is a large (roughly 3 foot x 6 foot) and thin (roughly
th
inch) steel sheet, with a driver attached at its center to
1/64
vibrate it and contact microphones attached further away to pick
up the resulting vibration.
Plate reverb is the classic reverb sound heard on recordings up
until the early 1980’s, when digital reverbs hit the scene.
The parameters for the plate reverb are the same as those for the
hall reverb.
Room Reverb
This reverb is very much like hall reverb, but it emulates a smaller
space.
Again, the parameters for this reverb are identical to those for the
hall and plate reverbs.
Programs
83
Page 86
6
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:
Envelope types
“Env1” is the Amplitude
envelope.
“Env2” is the Filter
envelope.
“Env3” is the Pitch/
Modulation envelope, though
its assignment can vary. All
envelopes can be used to
modulate any parameter in
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.
84
Page 87
6
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 release stage.
“off” “on”
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
85
Page 88
6
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 goes into the release stage when the note is released.
86
Page 89
6
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 the Low
Frequency Oscillator
category, hold down the
[programs] button and press
the key labeled “LFO.”
It’s bipolar. (No it’s not.
Yes it is. No it’s not.)
Synthesizer LFOs can be
either “unipolar” (rising and
falling in the >= 0 range) or
“bipolar” (rising and falling
through both positive and
negative values).
The Micron’s LFOs are
bipolar. You can make them
act like unipolar designs by
programming a
counteracting positive offset
in the modulation matrix.
(Just don’t change the LFO
modulation amount once
you’ve done this, or your
offset won’t be accurate
anymore.)
87
Page 90
6
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 resets when the master tempo clock hits the “1,” as long
as TempoSync is set to “follow tempo”.
M1 Slider
To place the LFO’s amplitude 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%.
88
Page 91
6
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 92 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
decreasing the smoothing
value.
89
Page 92
6
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 92 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.”
90
Page 93
6
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, double-click on “Dest.” 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.”
91
Page 94
6
Programs
Mod sources
Here are the inputs to the modulation matrix:
Source Description
(none) No effect
Aftertch Polyphonic (per-note) Aftertouch, MIDI only
Env 1 Amp Envelope Level
Env 2 Filter Envelope Level
Env 3 Pitch/Modulation Envelope Level
ExpPedal Position value of Exp pedal, or incoming MIDI CC as assigned
Keytrack MIDI Key # used as modulator. MIDI note #60 is equivalent to 0.
KeytrackXt Same as Key Track but with the output multiplied by four.
LFO1 Saw LFO 1 Saw wave output
LFO1CSaw LFO 1 Saw wave output, phase shifted 90 degrees
LFO1 Sin LFO 1 Sine wave output
LFO1CSin LFO 1 Sine wave output, phase shifted 90 degrees
LFO1 Sqr LFO 1 Square wave output
LFO1CSqr LFO 1 Square wave output, phase shifted 90 degrees
LFO1 Tri LFO 1 Triangle wave output
LFO1CTri LFO 1 Triangle wave output, phase shifted 90 degrees
LFO2 Saw LFO 2 Saw wave output
LFO2CSaw LFO 2 Saw wave output, phase shifted 90 degrees
LFO2 Sin LFO 2 Sine wave output
LFO2CSin LFO 2 Sine wave output, phase shifted 90 degrees
LFO2 Sqr LFO 2 Square wave output
LFO2CSqr LFO 2 Square wave output, phase shifted 90 degrees
LFO2 Tri LFO 2 Triangle wave output
LFO2CTri LFO 2 Triangle wave output, phase shifted 90 degrees
M1Slider Position Value of M1 slider, or incoming MIDI CC#00 message.
M2Slider Position value of M2 slider, or incoming MIDI channel pressure message
P Wheel Position value of Pitch wheel, or incoming MIDI Pitch Bend messages
PortaEfx Portamento Level scaled by keyboard position, so that the modulation level
PortaLvl Level of Portamento output, as a percentage of the “glide” travel from
Pressure Monophonic (per-MIDI Channel) Aftertouch, MIDI only
RndmGlbl Random modulation source, common to all voices
RndmVoic Random modulation source, unique to each voice
S/H Output of the Sample and Hold processor
SusPedal Position (Up/Down) of Sustain pedal, or incoming MIDI CC#64 messages
Track Output of Tracking Generator, Interpolated
TrackStp Output of Tracking Generator, Stepped
Velocity Velocity (how hard) the key is struck
VelociUp Velocity that the key is released.
CC 1...119 Value of incoming MIDI Continuous Controller messages
follows the note’s pitch.
starting note to ending note.
92
Page 95
6
Mod destinations
Here are the possible destinations for the modulation matrix:
Destination Description
Pitch Modulates pitch of all three oscillators through entire 10 octave range
PtchNar Modulates pitch of all three oscillators, constrained to 1 octave
FM Amnt See equivalent Program Parameter
Osc1Pit Modulates oscillator 1 pitch through entire 10 octave range
Osc1Nar Modulates oscillator 1 pitch, constrained to 1 octave
Osc1Shp Modulates oscillator 1 shape
Osc2Pit Modulates oscillator 2 pitch through entire 10 octave range
Osc2Nar Modulates oscillator 2 pitch, constrained to 1 octave
Osc2Shp Modulates oscillator 2 shape
Osc3Pit Modulates oscillator 3 pitch through entire 10 octave range
Osc3Nar Modulates oscillator 3 pitch, constrained to 1 octave
Osc3Shp Modulates oscillator 3 shape
Osc1Lvl
Osc2Lvl
Osc3Lvl
RingLvl
NoisLvl
ExInLvl
Osc1Bal
Osc2Bal
Osc3Bal
RingBal
NoisBal
ExInBal
F1F2Lvl
PortaTm
UnsnDtn
Flt1Frq
Flt1Res
Flt1Env
Flt1Ktk
Flt2Frq
Flt2Res
Flt2Env
Flt2Ktk
Flt1Lvl
Flt2Lvl
PfltLvl
See equivalent Program Parameters
Programs
93
Page 96
6
Programs
Flt1Pan
Flt2Pan
PfltPan
DrivLvl
PgmLvl Program output level
Pan
FxMix Effects amount
Fx1 A
Fx1 B
Fx1 C
Fx1 D
Env1Amp Scales the amplitude of the envelope’s output - thus affecting the amount
Env1Rat Modulates all of the envelope time stages - Attack, Decay, Sustain and
Env1Atk
Env1Dcy
Env1STm
Env1SLv
Env1Rel
Env2Amp Scales the amplitude of the envelope’s output - thus affecting the amount
Env2Rat Modulates all of the envelope time stages - Attack, Decay, Sustain and
Env2Atk
Env2Dcy
Env2STm
Env2SLv
Env2Rel
Env3Amp Scales the amplitude of the envelope’s output - thus affecting the amount
Env3Rat Modulates all of the envelope time stages - Attack, Decay, Sustain and
Env3Atk
Env3Dcy
Env3STm
Env3SLv
Env3Rel
LFO1Rat See equivalent Part parameters
LFO1Amp Scales the amplitude of LFO 1’s output - thus affecting the amount that
LFO2Rat See equivalent Program Parameter
See equivalent Effect 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
the LFO can modulate anything else.
94
Page 97
6
LFO2Amp Scales the amplitude of LFO 2’s output - thus affecting the amount that
the LFO can modulate anything else.
S/H Rat
S/H Sm
S/H Amp Scales the amplitude of the S&H output - thus affecting the amount that
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.
18. Delete?
Delete the program using this function, if desired.
See equivalent Program Parameter
the S&H can modulate anything else.
Programs
95
Page 98
6
Programs
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 107 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.
96
Page 99
6
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.
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
97
Page 100
6
Programs
This page intentionally left blank.
98
Loading...