Microkorg Owner's Manual

Total Page:16

File Type:pdf, Size:1020Kb

Microkorg Owner's Manual E 2 ii Precautions Data handling Location THE FCC REGULATION WARNING (for U.S.A.) Unexpected malfunctions can result in the loss of memory Using the unit in the following locations can result in a This equipment has been tested and found to comply with the contents. Please be sure to save important data on an external malfunction. limits for a Class B digital device, pursuant to Part 15 of the data filer (storage device). Korg cannot accept any responsibility • In direct sunlight FCC Rules. These limits are designed to provide reasonable for any loss or damage which you may incur as a result of data • Locations of extreme temperature or humidity protection against harmful interference in a residential loss. • Excessively dusty or dirty locations installation. This equipment generates, uses, and can radiate • Locations of excessive vibration radio frequency energy and, if not installed and used in • Close to magnetic fields accordance with the instructions, may cause harmful interference to radio communications. However, there is no Printing conventions in this manual Power supply guarantee that interference will not occur in a particular Please connect the designated AC adapter to an AC outlet of installation. If this equipment does cause harmful interference Knobs and keys printed in BOLD TYPE. the correct voltage. Do not connect it to an AC outlet of to radio or television reception, which can be determined by Knobs and keys on the panel of the microKORG are printed in voltage other than that for which your unit is intended. turning the equipment off and on, the user is encouraged to BOLD TYPE. Interference with other electrical devices try to correct the interference by one or more of the following measures: Radios and televisions placed nearby may experience Parameters " " • Reorient or relocate the receiving antenna. reception interference. Operate this unit at a suitable distance Parameters are enclosed in "double quotation marks." • Increase the separation between the equipment and receiver. from radios and televisions. • Connect the equipment into an outlet on a circuit different Handling from that to which the receiver is connected. Symbols , , To avoid breakage, do not apply excessive force to the • Consult the dealer or an experienced radio/TV technician These symbols respectively indicate cautions, advice, and MIDI- switches or controls. for help. related explanations. Unauthorized changes or modification to this system can void Care MIDI-related explanations the user's authority to operate this equipment. CC# is used as an abbreviation for Control Change Number. If the exterior becomes dirty, wipe it with a clean, dry cloth. In MIDI-related explanations, numbers enclosed in square Do not use liquid cleaners such as benzene or thinner, or brackets [ ] are in hexadecimal notation. cleaning compounds or flammable polishes. CE mark for European Harmonized Standards CE mark which is attached to our company's products of AC Display indications Keep this manual mains operated apparatus until December 31, 1996 means it The numerical values of various parameters appearing in this After reading this manual, please keep it for later reference. conforms to EMC Directive (89/336/EEC) and CE mark manual are only for explanatory purposes. They may not Keeping foreign matter out of your equipment Directive (93/68/EEC). necessary match what appears in the display of your And, CE mark which is attached after January 1, 1997 means Never set any container with liquid in it near this equipment. If microKORG. it conforms to EMC Directive (89/336/EEC), CE mark liquid gets into the equipment, it could cause a breakdown, Directive (93/68/EEC) and Low Voltage Directive (73/23/ Knob positions and parameters fire, or electrical shock. EEC). Knob positions and parameter values appearing in this manual Be careful not to let metal objects get into the equipment. If Also, CE mark which is attached to our company's products (p.16 and following) are approximations. There may be slight something does slip into the equipment, unplug the AC of Battery operated apparatus means it conforms to EMC discrepancies between knob positions and parameter values. adapter from the wall outlet. Then contact your nearest Korg Directive (89/336/EEC) and CE mark Directive (93/68/EEC). dealer or the store where the equipment was purchased. * Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners. iii Thank you for purchasing the Korg synthesizer/ Table of Contents vocoder. To ensure trouble-free enjoyment, please read this manual carefully and use the product correctly. Quick Start .................................................... 7 Explains how to get started using the microKORG (listen to the demos, select Precautions ................................................................................iii programs, use the arpeggiator and performance functions), and perform basic editing. Data handling ..............................................................................iii Printing conventions in this manual ...................................................iii Demo songs .................................................................................7 Listening to the demo songs............................................................................... 7 Synth programs .............................................................................8 Introduction................................................... 1 1. Selecting and playing a program .................................................................... 8 2. Modifying the sound ....................................................................................... 8 Explains the features of the microKORG, and the names and functions of each part. Vocoder programs ....................................................................... 10 1. Playing a vocoder program ........................................................................... 10 Main Features ..............................................................................1 2. Modifying the sound ..................................................................................... 10 Front and rear panel .......................................................................2 Arpeggiator................................................................................ 11 Front panel .......................................................................................................... 2 Using the arpeggiator ........................................................................................ 11 Rear panel ........................................................................................................... 4 Editing ........................................................ 12 Preparations.................................................. 5 Explains what you need to know when editing sounds on the microKORG. Explains how to connect external audio devices and the included mic, and how to turn on the power. Basic editing .............................................................................. 12 Basic editing procedure .................................................................................... 12 Connections .................................................................................5 Editing each timbre ........................................................................................... 14 Connections from the audio outputs................................................................... 5 Connections to the audio inputs ......................................................................... 5 Connections to MIDI equipment/computers ....................................................... 5 Editing a synth program ................................... 15 Connecting the included mic ............................................................................... 5 Explains the functions of the synth program parameters adjusted by edit control Turning the power on ......................................................................6 knobs 1–5 for the corresponding setting of the EDIT SELECT 1/2 knobs. 1. The power supply ............................................................................................ 6 2. Turning the power on ...................................................................................... 6 The structure of a synth program ...................................................... 15 3. Turning the power off ...................................................................................... 6 Overview............................................................................................................ 15 iv Table of Contents 1. VOICE — SYNTH/VOCODER ............................................................................................ 16 14. CH PAN A, 15. CH PAN B — VOCODER ...................................................................... 38 2. PITCH — SYNTH/VOCODER ............................................................................................ 17 3. OSC1 (Oscillator 1) — SYNTH/VOCODER .................................................................... 18 Editing the effects and EQ ................................. 39 4. OSC2 (Oscillator 2) — SYNTH ...................................................................................... 22 5. MIXER — SYNTH ............................................................................................................
Recommended publications
  • Tools for Digital Audio Recording in Qualitative Research
    Sociology at Surrey University of Surrey social researchUPDATE • The technology needed to make digital recordings of interviews and meetings for the purpose of qualitative research is described. • The advantages of using digital audio technology are outlined. • The technical background needed to make an informed choice of technology is summarised. • The Update concludes with brief evaluations of the types of audio recorder currently available. Tools for Digital Audio Recording in Qualitative Research Alan Stockdale In a recent book Michael Patton writes, “As a naïveté, can heighten the sense of “being Dr. Stockdaleʼs training is in good hammer is essential to fine carpentry, there”. For discussion of the naturalization cultural anthropology. He is a a good tape recorder is indispensable to of audio recordings in qualitative research, senior research associate at fine fieldwork” (Patton 2002: 380). He see Ashmore and Reed (2000). Education Development Center goes on to cite an example of transcribers in Boston, Massachusetts, at one university who estimated that 20% Why digital? of the tapes given to them “were so badly where he currently serves Audio Quality as an investigator on several recorded as to be impossible to transcribe The recording process used to make genetics education research accurately – or at all.” Surprisingly there analogue recordings using cassette tape is remarkably little discussion of tools and introduces noise, particularly tape hiss. projects funded by the U.S. techniques for recording interviews in the Noise can drown out softly spoken words National Institutes of Health. qualitative research literature (but see, for and makes transcription of normal speech example, Modaff and Modaff 2000).
    [Show full text]
  • How to Tape-Record Primate Vocalisations Version June 2001
    How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates.
    [Show full text]
  • USB Recording Microphone
    FEATURES USING YOUR MICROPHONE Adjusting your microphone’s angle Front Position yourself 1.5 ft. (0.46 m) in front of the microphone with the Insignia Loosen the adjustment knobs to move the microphone to the position you Microphone: want, then retighten the knobs to secure. Captures audio. logo and mute button facing you. Mute button/Status LED: QUICK SETUP GUIDE Lights blue when connected to power. Lights red when muted. Adjustment knob USB Recording 1.5 ft. (0.46 m) Micro USB port: Tilt adjustment knobs: Attaching to a microphone stand Microphone Connect your USB cable (included) Adjust your microphone’s tilt angle. Your microphone’s cardioid recording pattern captures audio primarily from the 1 Unscrew the desk stand’s adjustment knob to remove the microphone. from this port to your computer. front of the microphone. This is ideal for recording podcasts, livestreams, NS-CBM19 Desk stand: voiceovers, or a single instrument or voice. Desk stand Holds your microphone. adjustment knob PACKAGE CONTENTS Side • Microphone • Desk stand Microphone 2 Screw the microphone onto a stand that has a 1/4" threaded adapter. • USB cable • Quick Setup Guide Desk stand adjustment knob Mounting hole: SYSTEM REQUIREMENTS Attaches the microphone Remove the desktop stand to screw Cardioid Windows 10®, Windows 8®, Windows 7®, or Mac OS X 10.4.11 or later to the stand. onto any ¼" threaded stand. recording pattern Mounting hole Before using your new product, please read these instructions to prevent any damage. SETTING UP YOUR MICROPHONE SETTING THE VOLUME The microphone is picking up background noise determined by turning the equipment off and on, the user is encouraged to try to correct the interference by Connecting to your computer Use your computer’s system settings or recording software to adjust the • This cardioid microphone picks up audio from the front and minimizes noise one or more of the following measures: Connect the USB cable (included) from your microphone to your computer.
    [Show full text]
  • The Phase Vocoder: a Tutorial Author(S): Mark Dolson Source: Computer Music Journal, Vol
    The Phase Vocoder: A Tutorial Author(s): Mark Dolson Source: Computer Music Journal, Vol. 10, No. 4 (Winter, 1986), pp. 14-27 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3680093 Accessed: 19/11/2008 14:26 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Computer Music Journal. http://www.jstor.org MarkDolson The Phase Vocoder: Computer Audio Research Laboratory Center for Music Experiment, Q-037 A Tutorial University of California, San Diego La Jolla, California 92093 USA Introduction technique has become popular and well understood.
    [Show full text]
  • ACCESS for Ells 2.0 Headset Specifications
    ACCESS for ELLs 2.0 Headset Specifications The table below outlines features for headsets and recording devices and WIDA’s rationale in recommending those features. Please note that WIDA does not endorse specific brands or devices. Recommended Reason for Recommendation Alternatives not Features Recommended Device: Allows for recording and playback using Separate headphones and Headset the same device. microphone increase the need to ensure proper connection and setup on the computer and thus complicate the testing site set-up. Headset Design: Comfortable when worn for a longer In ear headphones (ear buds) that Over Ear period of time by students of different are placed directly in the ear canal Headphones ages. Weight and size of headphones are more difficult to clean between can be selected based on students’ age. uses by different students. They are Portable headphones are smaller and also not suitable for younger lighter and hence may be suitable for students. Many ear buds come with younger students. Deluxe headphones the microphone attached to the are larger and heavier but have the cord, making capturing the advantage of canceling out more noise. students’ voice more of a challenge. Play Back Mode: The sound files of the assessment are Stereo recorded and played back in stereo. Noise Cancellation Noise cancellation often does not Many headsets with a noise Feature: cancel out the sound of human voices. cancellation feature require a power source (e.g. batteries or USB None connection) and hence complicate the testing site set-up. Type of Connector Some computers have two ports for Many USB-connected headsets Plug: connecting audio-out and audio-in require driver installation, but • Single 3.5 mm separately, while others have one port perform adequately for audio plug (TRRS) for both.
    [Show full text]
  • TAL-Vocoder-II
    TAL-Vocoder-II http://kunz.corrupt.ch/ TAL - Togu Audio Line © 2011, Patrick Kunz Tutorial Version 0.0.1 Cubase and VST are trademarks of Steinberg Soft- und Hardware GmbH TAL - Togu Audio Line – 2008 1/9 TAL-Vocoder-II ........................................................................................................... 1 Introduction ................................................................................................................. 3 Installation .................................................................................................................. 4 Windows .............................................................................................................. 4 OS X .................................................................................................................... 4 Interface ...................................................................................................................... 5 Examples .................................................................................................................... 6 Credits ........................................................................................................................ 9 TAL - Togu Audio Line – 2008 2/9 Introduction TAL-Vocoder is a vintage vocoder emulation with 11 bands that emulates the sound of vocoders from the early 80’s. It includes analog modeled components in combination with digital algorithms such as the SFFT (Short-Time Fast Fourier Transform). This vocoder does not make a direct convolution
    [Show full text]
  • USING MICROPHONE ARRAYS to RECONSTRUCT MOVING SOUND SOURCES for AURALIZATION 1 Introduction
    USING MICROPHONE ARRAYS TO RECONSTRUCT MOVING SOUND SOURCES FOR AURALIZATION Fanyu Meng, Michael Vorlaender Institute of Technical Acoustics, RWTH Aachen University, Germany {[email protected]) Abstract Microphone arrays are widely used for sound source characterization as well as for moving sound sources. Beamforming is one of the post processing methods to localize sound sources based on microphone array in order to create a color map (the so-called “acoustic camera”). The beamformer response lies on the array pattern, which is influenced by the array shape. Irregular arrays are able to avoid the spatial aliasing which causes grating lobes and degrades array performance to find the spatial positions of sources. With precise characteristics from the beamformer output, the sources can be reconstructed regarding not only spatial distribution but also spectra. Therefore, spectral modeling methods, e.g. spectral modeling synthesis (SMS) can be combined to the previous results to obtain source signals for auralization. In this paper, we design a spiral microphone array to obtain a specific frequency range and resolution. Besides, an unequal-spacing rectangular array is developed as well to compare the performance with the spiral array. Since the second array is separable, Kronecker Array Transform (KAT) can be used to accelerate the beamforming calculation. The beamforming output can be optimized by using deconvolution approach to remove the array response function which is convolved with source signals. With the reconstructed source spectrum generated from the deconvolved beamforming output, the source signal is synthesized separately from tonal and broadband components. Keywords: auralization, synthesizer, microphone arrays, beamforming, SMS PACS no.
    [Show full text]
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
    [Show full text]
  • Microkorg S Bedienungsanleitung
    Vielen Dank für den Erwerb des microKORG S Synthesizer/Vocoder. Um Inhalt den problemlosen Betrieb zu gewährleisten, lesen Sie diese Anleitung bitte sorgfältig und bedienen Sie das Produkt in der richtigen Weise. Erste Schritte ......................................................................... 7 Hier werden die ersten Bedienungsschritte mit dem microKORG S erklärt (Anhören der Vorweg.................................................................................... 1 Demo-Songs, Auswählen von Programmen, Einsatz des Arpeggiators und Spielfunktionen) und es werden einfache Bedienungsvorgänge erläutert. Erklärt die Leistungsmerkmale des microKORG S und erläutert die Bezeichnungen und Demo-Songs......................................................................................................................7 Funktionen der einzelnen Bereiche. Anhören der Demo-Songs ............................................................................................. 7 Hauptmerkmale ................................................................................................................. 1 Synth-Programme ............................................................................................................ 8 Voder-und Rückseite ........................................................................................................ 2 1. Programm auswählen und spielen ............................................................................. 8 Vorderseite .....................................................................................................................2
    [Show full text]
  • Estimation of Direction of Arrival of Acoustic Signals Using Microphone
    Time-Delay-Estimate Based Direction-of-Arrival Estimation for Speech in Reverberant Environments by Krishnaraj Varma Thesis submitted to the Faculty of The Bradley Department of Electrical and Computer Engineering Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Science in Electrical Engineering APPROVED Dr. A. A. (Louis) Beex, Chairman Dr. Ira Jacobs Dr. Douglas K. Lindner October 2002 Blacksburg, VA KEYWORDS: Microphone array processing, Beamformer, MUSIC, GCC, PHAT, SRP-PHAT, TDE, Least squares estimate © 2002 by Krishnaraj Varma Time-Delay-Estimate Based Direction-of-Arrival Estimation for Speech in Reverberant Environments by Krishnaraj Varma Dr. A. A. (Louis) Beex, Chairman The Bradley Department of Electrical and Computer Engineering (Abstract) Time delay estimation (TDE)-based algorithms for estimation of direction of arrival (DOA) have been most popular for use with speech signals. This is due to their simplicity and low computational requirements. Though other algorithms, like the steered response power with phase transform (SRP-PHAT), are available that perform better than TDE based algorithms, the huge computational load required for this algorithm makes it unsuitable for applications that require fast refresh rates using short frames. In addition, the estimation errors that do occur with SRP-PHAT tend to be large. This kind of performance is unsuitable for an application such as video camera steering, which is much less tolerant to large errors than it is to small errors. We propose an improved TDE-based DOA estimation algorithm called time delay selection (TIDES) based on either minimizing the weighted least squares error (MWLSE) or minimizing the time delay separation (MWTDS).
    [Show full text]
  • TA-1VP Vocal Processor
    D01141720C TA-1VP Vocal Processor OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS ªª For European Customers CE Marking Information a) Applicable electromagnetic environment: E4 b) Peak inrush current: 5 A CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER- Disposal of electrical and electronic equipment SERVICEABLE PARTS INSIDE. REFER SERVICING TO (a) All electrical and electronic equipment should be QUALIFIED SERVICE PERSONNEL. disposed of separately from the municipal waste stream via collection facilities designated by the government or local authorities. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to (b) By disposing of electrical and electronic equipment alert the user to the presence of uninsulated correctly, you will help save valuable resources and “dangerous voltage” within the product’s prevent any potential negative effects on human enclosure that may be of sufficient health and the environment. magnitude to constitute a risk of electric (c) Improper disposal of waste electrical and electronic shock to persons. equipment can have serious effects on the The exclamation point within an equilateral environment and human health because of the triangle is intended to alert the user to presence of hazardous substances in the equipment. the presence of important operating and (d) The Waste Electrical and Electronic Equipment (WEEE) maintenance (servicing) instructions in the literature accompanying the appliance. symbol, which shows a wheeled bin that has been crossed out, indicates that electrical and electronic equipment must be collected and disposed of WARNING: TO PREVENT FIRE OR SHOCK separately from household waste. HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
    [Show full text]
  • Overview of Voice Over IP
    Overview of Voice over IP February 2001 – University of Pennsylvania Technical Report MS-CIS-01-31* Princy C. Mehta Professor Sanjay Udani [email protected] [email protected] * This paper was written for an Independent Study course. Princy Mehta Overview of Voice over IP Professor Udani Table of Contents ACRONYMS AND DEFINITIONS...............................................................................................................3 INTRODUCTION...........................................................................................................................................5 IMPLEMENTATION OF VOICE OVER IP...............................................................................................6 OVERVIEW OF TCP/IP ...................................................................................................................................6 PACKETIZATION.............................................................................................................................................7 COMPONENTS OF VOIP..................................................................................................................................8 SIGNALING ....................................................................................................................................................8 H.323 .............................................................................................................................................................8 Logical Entities..........................................................................................................................................9
    [Show full text]