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2•6 Reference Guide
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2•6 Reference Guide
ues, subtracting them from or adding them to the
normal decay of the Sound.
Assignable values: -63 (maximum rate) ... 0 (un-
changed) ... +63 (minimum rate).
RELEASE: This parameter is used to adjust the
amount of time a sound continues to play after
the key has been released. This “release time”
increases as the parameter value decreases
(negative). Maximum release times can last for
more than twenty thirty seconds after a key has
been released.
The modifications are expressed as relative val-
ues, subtracting them from or adding them to the
normal release of the Sound.
Assignable values: -63 (maximum rate) ... 0 (un-
changed) ... +63 (minimum rate).
FILTER CUTOFF: In it’s simplest form, this is
the sound’s most important tone control. Cut-Off
is one half of the main filter controls, (the other
being “Resonance”). Usually these two are used
in combination for powerful manipulation of a
sound’s tonal character. As the parameter value
is decreased (negative) the filter “closes” allow-
ing less of the original sound to pass through.
This generally has the effect of making the sound
warmer and less “fizzy”. Increasing the param-
eter value (positive) “opens” the filter, increasing
the brilliance of the sound. The action of the filter
varies according to the type of filter contained in
the Sound.
Low-pass - Cuts into the higher frequen-
cies. As a result, if you use Sounds with a
low harmonic content, the notes at the high-
er end will be cut. This parameter regulates
the “brilliance” of the Sound. Lowering the
cutoff frequency produces a mellow sound
while an increase produces a bright sound.
High-pass - Cuts into the lower frequencies,
making the sound brighter. The higher the val-
ue, the “lighter” the sound.
Band-pass - Allows the entire band to pass.
Modifies the phase of the Sound and is use-
ful when two oscillators that read the same
Wave are used.
Parametric boost - Enhances the frequen-
cies around the cutoff frequency, rendering a
sound brighter and stronger at the higher end.
Parametric cut - Attenuates the frequencies
around the cutoff frequency. Higher values
renders the sound weaker at the high end.
Assignable values: -63 (maximum decrease of
the cutoff frequency) ... 0 (unchanged) ... +63
(maximum increase of the cutoff frequency).
RESONANCE: This parameter, the second es-
sential element of filter control, introduces com-
plex harmonic overtones which are added to the
final sound. Sometimes these overtones can only
be produced when the Filter Cut-Off setting is low
enough. Try setting the Resonance parameter
fairly high and then modifying the Cut-Off param-
eter while you play. The distinctive sound of a
resonating filter is one of the key elements in
many classic synthesizer sounds.
Assignable values: -63 (least intensity) ... 0 (un-
changed) ... +63 (highest intensity).
Note: The higher values of resonance causes the
filter to enter into “auto-oscillation”. If used wisely,
the auto-oscillation can create very suggestive syn-
thetic sounds, but can also increase the output level
excessively, causing disturbing distortion.
LFO RATE: This parameter can be used to ad-
just the speed of the “vibrato” or modulation in a
sound. It is designed to be used in conjunction
with the LFO DEPTH parameter.
Assignable values: -63 (minimum rate) ... 0 (un-
changed) ... +63 (maximum rate).
LFO DEPTH: This parameter is used to set the
amount of “vibrato” or modulation applied to a
sound. If the current sound includes some type
of modulation or vibrato, you can use this param-
ues, subtracting them from or adding them to the
normal decay of the Sound.
Assignable values: -63 (maximum rate) ... 0 (un-
changed) ... +63 (minimum rate).
RELEASE: This parameter is used to adjust the
amount of time a sound continues to play after
the key has been released. This “release time”
increases as the parameter value decreases
(negative). Maximum release times can last for
more than twenty thirty seconds after a key has
been released.
The modifications are expressed as relative val-
ues, subtracting them from or adding them to the
normal release of the Sound.
Assignable values: -63 (maximum rate) ... 0 (un-
changed) ... +63 (minimum rate).
FILTER CUTOFF: In it’s simplest form, this is
the sound’s most important tone control. Cut-Off
is one half of the main filter controls, (the other
being “Resonance”). Usually these two are used
in combination for powerful manipulation of a
sound’s tonal character. As the parameter value
is decreased (negative) the filter “closes” allow-
ing less of the original sound to pass through.
This generally has the effect of making the sound
warmer and less “fizzy”. Increasing the param-
eter value (positive) “opens” the filter, increasing
the brilliance of the sound. The action of the filter
varies according to the type of filter contained in
the Sound.
Low-pass - Cuts into the higher frequen-
cies. As a result, if you use Sounds with a
low harmonic content, the notes at the high-
er end will be cut. This parameter regulates
the “brilliance” of the Sound. Lowering the
cutoff frequency produces a mellow sound
while an increase produces a bright sound.
High-pass - Cuts into the lower frequencies,
making the sound brighter. The higher the val-
ue, the “lighter” the sound.
Band-pass - Allows the entire band to pass.
Modifies the phase of the Sound and is use-
ful when two oscillators that read the same
Wave are used.
Parametric boost - Enhances the frequen-
cies around the cutoff frequency, rendering a
sound brighter and stronger at the higher end.
Parametric cut - Attenuates the frequencies
around the cutoff frequency. Higher values
renders the sound weaker at the high end.
Assignable values: -63 (maximum decrease of
the cutoff frequency) ... 0 (unchanged) ... +63
(maximum increase of the cutoff frequency).
RESONANCE: This parameter, the second es-
sential element of filter control, introduces com-
plex harmonic overtones which are added to the
final sound. Sometimes these overtones can only
be produced when the Filter Cut-Off setting is low
enough. Try setting the Resonance parameter
fairly high and then modifying the Cut-Off param-
eter while you play. The distinctive sound of a
resonating filter is one of the key elements in
many classic synthesizer sounds.
Assignable values: -63 (least intensity) ... 0 (un-
changed) ... +63 (highest intensity).
Note: The higher values of resonance causes the
filter to enter into “auto-oscillation”. If used wisely,
the auto-oscillation can create very suggestive syn-
thetic sounds, but can also increase the output level
excessively, causing disturbing distortion.
LFO RATE: This parameter can be used to ad-
just the speed of the “vibrato” or modulation in a
sound. It is designed to be used in conjunction
with the LFO DEPTH parameter.
Assignable values: -63 (minimum rate) ... 0 (un-
changed) ... +63 (maximum rate).
LFO DEPTH: This parameter is used to set the
amount of “vibrato” or modulation applied to a
sound. If the current sound includes some type
of modulation or vibrato, you can use this param
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Edit Song 6•31
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Edit Song 6•31
PROGRAMMABLE EVENTS AND PARAMETERS
The «Status» column shows the type of event.
One or more parameters can be modified for each
event. The table shown opposite lists the events
and parameters which can be modified.
START PARAMETERS (F1)
Enters the edit of the Song’s start parameters.
Press F1 again to return to the edit of the suc-
cessive parameters.
SHOW... (F2)
Recalls a dialog window where it is possible to
select the events that will be displayed by the
Event List.
Set the events that you want to mask to OFF.
INS: (X) (F3)
Inserts the specified event type at the cursor po-
sition. To position the inserted event precisely,
modify its locator (the parameters to the left of
the Status).
STATUS VALUE
TEMPO Metronomic Tempo. If the
Tempo Rec option is enabled
during the recording, all tempo
variations are recorded.
[20 … 250]
PERFORMANCE Change of Performance
[1 … 8]
VOLUME Volume variation via MIDI
(through the Common channel)
or by means of the Volume
Pedal. Does not record
Volume changes made with the
M.VOL slider.
[0 … 127]
EFF. DEVICE Selection of a DSP device.
SEL. Corresponds to CC18.
EFF. TYPE Type of effect assigned to the
selected DSP. Corresponds to
CC48. The tables of the
assignable effects are in the
Appendix.
EFF. DEVICE General Effect Volume of the
VOLUME effect type assigned to the
DSP. The Effect Sends
(amount of effect applied) for
each track is regulated in the
Microscope by means of the
Control Change messages
CC91 & CC93.
PROGRAMMABLE EVENTS AND PARAMETERS
The «Status» column shows the type of event.
One or more parameters can be modified for each
event. The table shown opposite lists the events
and parameters which can be modified.
START PARAMETERS (F1)
Enters the edit of the Song’s start parameters.
Press F1 again to return to the edit of the suc-
cessive parameters.
SHOW... (F2)
Recalls a dialog window where it is possible to
select the events that will be displayed by the
Event List.
Set the events that you want to mask to OFF.
INS: (X) (F3)
Inserts the specified event type at the cursor po-
sition. To position the inserted event precisely,
modify its locator (the parameters to the left of
the Status).
STATUS VALUE
TEMPO Metronomic Tempo. If the
Tempo Rec option is enabled
during the recording, all tempo
variations are recorded.
[20 … 250]
PERFORMANCE Change of Performance
[1 … 8]
VOLUME Volume variation via MIDI
(through the Common channel)
or by means of the Volume
Pedal. Does not record
Volume changes made with the
M.VOL slider.
[0 … 127]
EFF. DEVICE Selection of a DSP device.
SEL. Corresponds to CC18.
EFF. TYPE Type of effect assigned to the
selected DSP. Corresponds to
CC48. The tables of the
assignable effects are in the
Appendix.
EFF. DEVICE General Effect Volume of the
VOLUME effect type assigned to the
DSP. The Effect Sends
(amount of effect applied) for
each track is regulated in the
Microscope by means of the
Control Change messages
CC91 & CC93.
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