Korg MICRO Manual Do Utilizador

Oscillator 1 (OSC1) lets you choose from seven types of oscillator algo-
rithm such as the sawtooth wave or square wave familiar from analog syn-
thesizers, as well as formant wave, noise, and PCM/DWGS, and also lets 
you select the input signal from the AUDIO IN jack. You can also apply 
cross modulation, unison, or VPM (Variable Phase Modulation) to a basic 
analog synthesizer waveform such as sawtooth or square wave.
Oscillator 2 (OSC2) lets you choose a waveform from four types of oscilla-
tor algorithms such as sawtooth wave or square wave, and it can also be 
used as a modulation-type oscillator to create the sync modulation or ring 
modulation that is distinctive of analog synthesizers.
The noise generator (NOISE) produces white noise. You can use this to 
simulate breath noise in a wind instrument sound, or to produce sound 
effects.

This section lets you adjust the volume level of oscillator 1 (OSC1), oscilla-
tor 2 (OSC2), and noise generator (NOISE), and sends the resulting mix to 
the filters (FILTER).

The filter varies the brightness of the sound by removing or boosting certain 
portions of the frequency spectrum of the sound generated by the oscillator. 
Filter settings will have a large impact on the character of the sound. There 
are two filters for each timbre, and you can create a wide range of sounds 
by choosing from four routings (types of connection) for these filters. In 
addition, you can use envelope generator 1 (EG1) to vary the cutoff fre-
quency of each filter over time.

This section consists of the amp (AMP) and pan (PAN) settings. The amp 
specifies the volume, and the pan specifies the stereo position of the 
sound. You can also use envelope generator 2 (EG2) to vary the volume 
over time.

Drive and waveshaping both give the tone a hard-edged character. Adjust-
ing the cutoff or resonance of the filter can produce significant changes.

An envelope generator applies time-variant change to parameters that 
make up the sound. Each envelope generator defines the “shape” of the 
time-variant change using four parameters: attack time, decay time, sustain 
level, and release time. EG1 is assigned to control the filter cutoff fre-
quency, and EG2 is assigned to control the amp volume. You are free to 
assign EG3 to any desired parameter by using a virtual patch. EG1 and 
EG2 can also be used with a virtual patch as an envelope source for other 
parameters.

An LFO (Low Frequency Oscillator) applies cyclic change to parameters 
that make up the sound. Each timbre has two LFOs, each giving you a 
choice of five waveforms. For some waveforms that can be selected for 
oscillator 1 (OSC1), LFO1 is assigned as “control 2” (OSC1 Control 2), and 
LFO2 is assigned as a pitch modulation source via the modulation wheel. 
You can also use a virtual patch to assign the LFO as a modulation source 
for other parameters.

The virtual patch functionality lets you use not only EG or LFO but also 
sources such as velocity (keyboard playing strength) and keyboard tracking 
(the keyboard region that you play) as modulation sources to control the 
parameters that make up the sound. This gives you a great deal of freedom 
in creating original sounds. For each timbre, you can create virtual patch 
settings for six parameters.

Each timbre contains a two-band EQ. You can use this to adjust the tonal 
balance between the two timbres; for example you might accentuate a 
sound that would otherwise be lost in the mix, or to restrain a sound that 
stands out too much.

Each program contains two master effects. By applying these effects to the 
final mixed sound of the two timbres, you can add the finishing touch to the 
overall program.