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WAVE
CONTROL 1 [0...127]:
You can modify the waveform by
adjusting this value.
A setting of 0 will produce a triangle
wave, and a setting of 127 will pro-
duce a waveform with a pitch that
is one octave and a fifth higher.
(➝Figure 3-3)
CONTROL 2 [0...127]:
LFO1 is used to apply wave form
modulation to the waveform speci-
fied by "CONTROL 1." The "CON-
TROL 2" setting specifies the depth
of the modulation produced by
LFO1.
Figure 3-3
0 63 127
Sine Wave ( ):
This is a sine wave. This waveform
contains only the fundamental, and
no overtones at all. It can be used
to create claves or bass drum
sounds. In some synth programs,
oscillator 2 is used to perform cross
modulation*
3-2
(➝Figure 3-4), creat-
ing a more complex overtone struc-
ture.
Cross modulation by a sine wave
cannot be applied to a vocoder pro-
gram.
Since a sine wave contains no
overtones, the filter will not
modify its tone.
CONTROL 1 [0...127]:
On a synth program, this adjusts the
depth of cross modulation.
On a vocoder program, this modi-
fies the waveform.
CONTROL 2 [0...127]:
On a synth program, this adjusts the
depth of additional modulation
applied by LFO1 to the cross modu-
lation specified by "CONTROL 1."
On a vocoder program, this adjusts
the depth of modulation applied by
LFO1 to the waveform that you se-
lected by "CONTROL 1."
Figure 3-4
OSC2
OSC1
X-mod Depth + X-mod Depth Mod
OSC1 Output
*3-2: Cross Modulation
This is a type of oscillator modula-
tion available on analog synthesizers
of the past. Normally, a low-fre-
quency signal (such as from an LFO)
is used as the modulation source for
an oscillator, but Cross Modulation
lets you use another oscillator as the
modulation source, creating sounds
with a complex overtone structure
that would not normally be produced
otherwise. On the microKORG, you
can use oscillator 2 to apply cross
modulation if a sine wave is selected
for oscillator 1. Gradually raise the
"CONTROL 1" level, and notice how
the sound changes. This can produce
distorted sounds, or sounds with a
metallic character.
You can produce an even wider vari-
ety of effects by adjusting the OSC2
"SEMITONE" or "TUNE" parameters.
You can also achieve interesting re-
sults by applying sync modulation
and cross modulation at the same
time.
Vox Wave ( ):
This simulates a waveform similar
to human vocal cords. Even if the
oscillator pitch is changed, the fre-
quency spectrum will be main-
tained, which makes this effective
when used for vocal-type sounds or
as a vocoder oscillator.
Select HPF or BPF as the filter, and
adjust "Cutoff" to create a vocal-
type sound.
CONTROL 1 [0...127]:
Adjusting this value will modify the
waveform. (➝Figure 3-5)
CONTROL 2 [0...127]:
LFO1 is used to apply modulation
to the waveform specified by
"CONTROL 1." CONTROL 2 sets
the depth of the modulation ap-
plied by LFO1.
Figure 3-5
0 63 127
3. OSC1 (Oscillator 1) — SYNTH/VOCODER
Triangle Wave ( ):
This is a triangle wave, which has
weaker overtones and a stronger
fundamental than a sawtooth wave
or square wave. It is suitable for
mellow bass sounds.
CONTROL 1 CONTROL 2