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class="c79 doc-content"><p class="c369"><span class="c234">USER MANUAL</span></p><p class="c246"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 360.55px; height: 84.03px;"><img alt="" src="images/image8.png" style="width: 360.55px; height: 84.03px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 204.33px; height: 38.01px;"><img alt="" src="images/image10.png" style="width: 204.33px; height: 38.01px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c461">Special Thanks </span></p><p class="c191"><span class="c23">DIRECTION</span><span class="c34"> </span></p><p class="c405"><span class="c43">Frédéric BRUN </span></p><p class="c69"><span class="c43">Philippe CAVENEL </span></p><p class="c161"><span class="c23">ENGINEERING</span><span class="c34"> </span></p><p class="c480"><span class="c43">Olivier DELHOMME (project manager) </span></p><p class="c14"><span class="c43">Kévin ARCAS </span></p><p class="c69"><span class="c43">Thomas AUBERT </span></p><p class="c208"><span class="c23">DESIGN</span><span class="c34"> </span></p><p class="c377"><span class="c43">Sébastien ROCHARD (product Manager) </span></p><p class="c250"><span class="c23">SOUND DESIGN</span><span class="c34"> </span></p><p class="c195"><span class="c43">Jean-Baptiste ARTHUS Clément BASTIAT </span></p><p class="c469"><span class="c43">Jean-Michel BLANCHET </span><span class="c23">TESTING</span><span class="c34"> </span></p><p class="c88"><span class="c43">Nicolas DUBOIS Kévin MOLCARD </span></p><p class="c315"><span class="c43">Aurore BAUD </span></p><p class="c346"><span class="c43">Robert BOCQUIER Claire BOUVET Thierry CHATELAIN </span></p><p class="c315"><span class="c43">Glen DARCEY </span></p><p class="c69"><span class="c43">DesignBox </span></p><p class="c265"><span class="c43">Joey BLUSH </span></p><p class="c346"><span class="c43">Maxime DANGLES Ken FLUX </span></p><p class="c459"><span class="c43">Jean-Gabriel </span></p><p class="c84"><span class="c43">SCHOENHENZ </span></p><p class="c528"><span class="c43">Yannick DANNEL Lionel FERRAGUT Nadine LANTHEAUME Samuel LIMIER </span></p><p class="c240"><span class="c43">Morgan PERRIER Jonas SELLAMI </span></p><p class="c240"><span class="c43">Simon GALLIFET Tom HALL </span></p><p class="c142"><span class="c43">Victor MORELLO </span></p><p class="c35"><span class="c43">Frédéric MESLIN / Fred's Lab </span></p><p class="c14"><span class="c43">Luc WALRAWENS </span></p><p class="c167"><span class="c43">Ed TEN EYCK </span></p><p class="c424"><span class="c43">Arnaud BARBIER Florian MARIN Germain MARZIN Benjamin RENARD </span><span class="c23">BETA TESTING</span><span class="c34"> </span></p><p class="c459"><span class="c43">Gustavo BRAVETTI </span></p><p class="c69"><span class="c43">Andrew CAPON </span></p><p class="c69"><span class="c43">Chuck CAPSIS </span></p><p class="c161"><span class="c23">MANUAL</span><span class="c34"> </span></p><p class="c195"><span class="c43">Gert BRAAKMAN (author) Minoru KOIKE </span></p><p class="c106"><span class="c43">Jeffrey M CECIL Marco CORREIA Ken FLEX PIERCE </span></p><p class="c240"><span class="c43">Vincent LE HEN Randy LEE </span></p><p class="c106"><span class="c43">Boele GERKES Tom HALL </span></p><p class="c142"><span class="c43">Are LEISTAD </span></p><p class="c98"><span class="c43">Charloote METAIS Jose RENDON </span></p><p class="c459"><span class="c43">Terry MARSDEN </span></p><p class="c428"><span class="c43">Holger STEINBRINK Jack VAN </span></p><p class="c320"><span class="c1">Special thanks to Mutable Instruments for providing the Plaits code under MIT license. </span></p><p class="c40"><span class="c1">© ARTURIA SA – 2019 – All rights reserved. </span></p><p class="c262"><span class="c1">11 Chemin de la Dhuy </span></p><p class="c262"><span class="c1">38240 Meylan </span></p><p class="c453 c508"><span class="c1">FRANCE </span></p><p class="c420"><span class="c91">www.arturia.com</span></p><p class="c140"><span class="c1">Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. </span></p><p class="c75"><span class="c1">All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. </span></p><p class="c298"><span class="c1">Product version: 1.0.0 </span></p><p class="c261"><span class="c1">Revision date: 13 March 2019</span></p><p class="c33"><span class="c461">Thank you for purchasing MicroFreak! </span></p><p class="c370"><span class="c1">This manual covers the features and operation of Arturia’s MicroFreak, the latest in a long line of powerful virtual instruments. </span></p><p class="c436 c231 c516"><span class="c1">Be sure to register your product as soon as possible! When you purchased MicroFreak you were sent a serial number and an unlock code by e-mail. These are required during the online registration process. </span></p><p class="c141"><span class="c461">Special Messages </span></p><p class="c77"><span class="c34">Specifications Subject to Change: </span></p><p class="c426"><span class="c1">The information contained in this manual is believed to be correct at the time of printing. However, Arturia reserves the right to change or modify any of the specifications without notice or obligation to update the hardware that has been purchased. </span></p><p class="c190"><span class="c34">IMPORTANT: </span></p><p class="c163"><span class="c1">The instrument, when used in combination with an amplifier, headphones or speakers, may be able to produce sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high level or at a level that is uncomfortable,or a level that exceeds prevailing safety standards for hearing exposure. Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, damages, fire or other risks. If you encounter any hearing loss or ringing in the ears, consult an audiologist immediately. It is also a good idea to have your ears and hearing checked annually.</span></p><p class="c33"><span class="c461">Introduction </span></p><p class="c438"><span class="c1">Congratulations on your purchase of Arturia's MicroFreak! </span></p><p class="c205"><span class="c1">We’d like to thank you for purchasing MicroFreak, our latest product and heir apparent to the role of Best. Synth. Ever. </span></p><p class="c15"><span class="c1">Arturia has a passion for excellence, and MicroFreak is no exception. Listen to the sounds; tweak a few controls; skim through the features, or dive as deep as you like; you will never reach the bottom of it. We are confident that MicroFreak will prove to be an invaluable companion as you sail the waters of your imagination. </span></p><p class="c0"><span class="c1">Be sure to visit the </span><span class="c91">Arturia </span><span class="c1">website for information about all of our other great hardware and software instruments. They have become indispensable, inspiring tools for musicians around the world. </span></p><p class="c104"><span class="c1">Musically yours, </span></p><p class="c342"><span class="c1">The Arturia team</span></p><p class="c33"><span class="c461">Table Of Contents </span></p><p class="c123"><span class="c1">1. </span><span class="c49">Welcome and Introduction.................................................................................................................................... 4 </span><span class="c55">1.1. </span><span class="c11">A fascinating adventure..................................................................................................................................................... 4 </span><span class="c55">1.2. </span><span class="c11">About reading manuals..................................................................................................................................................... 5 </span></p><p class="c409"><span class="c1">2. </span><span class="c49">Installation....................................................................................................................................................................... 6 </span><span class="c55">2.1. </span><span class="c11">Usage Precautions................................................................................................................................................................ 6 </span><span class="c55">2.2. </span><span class="c11">Warning...................................................................................................................................................................................... 6 </span><span class="c55">2.3. </span><span class="c11">Notice............................................................................................................................................................................................ 6 </span><span class="c55">2.4. </span><span class="c11">Precautions include, but are not limited to, the following:........................................................................ 7 </span><span class="c55">2.5. </span><span class="c11">Register your Instrument................................................................................................................................................ 7 </span><span class="c55">2.6. </span><span class="c11">Connecting the MicroFreak to the World.............................................................................................................. 8 </span></p><p class="c169"><span class="c1">3. </span><span class="c49">MicroFreak Overview................................................................................................................................................ 9 </span><span class="c55">3.1. </span><span class="c11">Front panel overview .......................................................................................................................................................... 9 </span><span class="c27">3.1.1. </span><span class="c24">Top Row ............................................................................................................................................................................................................................... 9 </span><span class="c27">3.1.2. </span><span class="c24">Middle Row..................................................................................................................................................................................................................... 13 </span><span class="c27">3.1.3. </span><span class="c24">Bottom Row.................................................................................................................................................................................................................... 15 </span><span class="c55">3.2. </span><span class="c11">Rear Panel Overview ....................................................................................................................................................... 19 </span><span class="c27">3.2.1. </span><span class="c24">Audio outputs ................................................................................................................................................................................................................ 19 </span><span class="c27">3.2.2. </span><span class="c24">Pitch/Gate/Pressure outputs ............................................................................................................................................................................. 19 </span><span class="c27">3.2.3. </span><span class="c24">Clock input/output.................................................................................................................................................................................................. 20 </span><span class="c27">3.2.4. </span><span class="c24">MIDI input/output................................................................................................................................................................................................... 20 </span><span class="c27">3.2.5. </span><span class="c24">USB/DC IN ................................................................................................................................................................................................................... 20 </span><span class="c27">3.2.6. </span><span class="c24">Power switch ............................................................................................................................................................................................................... 21 </span><span class="c27">3.2.7. </span><span class="c24">Power Connector ....................................................................................................................................................................................................... 21 </span><span class="c55">3.3. </span><span class="c11">Signal Flow............................................................................................................................................................................ 22 </span><span class="c1">4. </span><span class="c49">The MicroFreak Presets......................................................................................................................................... 23 </span><span class="c55">4.1. </span><span class="c11">Loading Presets................................................................................................................................................................... 23 </span><span class="c55">4.2. </span><span class="c11">Saving Presets..................................................................................................................................................................... 24 </span><span class="c55">4.3. </span><span class="c11">Tweaking the Preset Configurations .................................................................................................................... 25 </span><span class="c55">4.4. </span><span class="c11">Panel .......................................................................................................................................................................................... 27 </span><span class="c55">4.5. </span><span class="c11">Understanding Digitally-Controlled Analog ..................................................................................................... 27 </span><span class="c1">5. </span><span class="c49">Making Connections................................................................................................................................................ 28 </span><span class="c55">5.1. </span><span class="c11">Control Signals ..................................................................................................................................................................... 28 </span><span class="c55">5.2. </span><span class="c11">The Matrix and its encoder ........................................................................................................................................ 30 </span><span class="c27">5.2.1. </span><span class="c24">Sources and Destinations..................................................................................................................................................................................... 31 </span><span class="c27">5.2.2. </span><span class="c24">Assigning destinations.......................................................................................................................................................................................... 32 </span><span class="c55">5.3. </span><span class="c11">Freaky ideas......................................................................................................................................................................... 35 </span><span class="c1">6. </span><span class="c49">The Digital Oscillator ............................................................................................................................................... 36 </span><span class="c55">6.1. </span><span class="c11">The oscillator as a sound generator ...................................................................................................................... 36 </span><span class="c55">6.2. </span><span class="c11">The Parameter Controls................................................................................................................................................ 37 </span><span class="c55">6.3. </span><span class="c11">Oscillator types: An Overview................................................................................................................................... 38 </span><span class="c27">6.3.1. </span><span class="c24">Basic Waves Oscillator.......................................................................................................................................................................................... 38 </span><span class="c27">6.3.2. </span><span class="c24">Superwave Oscillator ............................................................................................................................................................................................ 38 </span><span class="c27">6.3.3. </span><span class="c24">Wavetable oscillator............................................................................................................................................................................................... 39 </span><span class="c27">6.3.4. </span><span class="c24">Harmonic OSC ........................................................................................................................................................................................................... 39 </span><span class="c27">6.3.5. </span><span class="c24">KarplusStrong............................................................................................................................................................................................................ 40 </span><span class="c27">6.3.6. </span><span class="c24">Pair of classic waveforms (PI.VA)................................................................................................................................................................. 41 </span><span class="c27">6.3.7. </span><span class="c24">Waveshaping oscillator (Fold) (PI.Waveshapr).................................................................................................................................... 42 </span><span class="c27">6.3.8. </span><span class="c24">Two operator FM (PI.FM)..................................................................................................................................................................................... 42 </span><span class="c27">6.3.9. </span><span class="c24">Granular formant oscillator (PI.Grain)....................................................................................................................................................... 43 </span><span class="c27">6.3.10. </span><span class="c24">Chords (PI.Chords)............................................................................................................................................................................................... 44 </span><span class="c27">6.3.11. </span><span class="c24">Vowel and speech synthesis (PI.Speech)............................................................................................................................................... 46 </span><span class="c27">6.3.12. </span><span class="c24">Modal Resonator (PI.Modal)............................................................................................................................................................................. 47 </span><span class="c1">7. </span><span class="c49">The filter: sound in close-up ............................................................................................................................... 48 </span><span class="c55">7.1. </span><span class="c11">Modifying sound.................................................................................................................................................................. 48 </span><span class="c27">7.1.1. </span><span class="c24">Low Pass Filter ............................................................................................................................................................................................................. 49 </span><span class="c27">7.1.2. </span><span class="c24">Band Pass Filter .......................................................................................................................................................................................................... 49 </span><span class="c27">7.1.3. </span><span class="c24">High Pass Filter ........................................................................................................................................................................................................... 49 </span><span class="c27">7.1.4. </span><span class="c24">Cutoff frequency....................................................................................................................................................................................................... 50 </span><span class="c27">7.1.5. </span><span class="c24">Resonance or Q ......................................................................................................................................................................................................... 50 </span><span class="c55">7.2. </span><span class="c11">Animating sound................................................................................................................................................................. 51</span></p><p class="c202"><span class="c27">7.2.1. </span><span class="c24">Cutoff Modulation....................................................................................................................................................................................................... 51 </span><span class="c27">7.2.2. </span><span class="c24">Emphasis/Resonance Modulation.................................................................................................................................................................. 51 </span><span class="c1">8. </span><span class="c49">The LFO............................................................................................................................................................................ 52 </span><span class="c55">8.1. </span><span class="c11">Waveform Shape and Rate ......................................................................................................................................... 52 </span><span class="c27">8.1.1. </span><span class="c24">Shape.................................................................................................................................................................................................................................. 53 </span><span class="c27">8.1.2. </span><span class="c24">Rate..................................................................................................................................................................................................................................... 53 </span><span class="c27">8.1.3. </span><span class="c24">LFO retriggering......................................................................................................................................................................................................... 54 </span><span class="c55">8.2. </span><span class="c11">Freaky Tips and Tricks ................................................................................................................................................... 54 </span><span class="c1">9. </span><span class="c49">The Envelope Generator ...................................................................................................................................... 55 </span><span class="c55">9.1. </span><span class="c11">What does an Envelope Generator do?.............................................................................................................. 55 </span><span class="c55">9.2. </span><span class="c11">Gates and Triggers ........................................................................................................................................................... 56 </span><span class="c55">9.3. </span><span class="c11">Envelope stages.................................................................................................................................................................. 56 </span><span class="c27">9.3.1. </span><span class="c24">Attack................................................................................................................................................................................................................................. 56 </span><span class="c27">9.3.2. </span><span class="c24">Decay/Release........................................................................................................................................................................................................... 56 </span><span class="c27">9.3.3. </span><span class="c24">Sustain............................................................................................................................................................................................................................. 56 </span><span class="c55">9.4. </span><span class="c11">Filter amount ........................................................................................................................................................................ 57 </span><span class="c55">9.5. </span><span class="c11">The Amp Mod button....................................................................................................................................................... 57 </span><span class="c55">9.6. </span><span class="c11">The Cycling Envelope Generator............................................................................................................................. 58 </span><span class="c27">9.6.1. </span><span class="c24">The stages of the Cycling Envelope.............................................................................................................................................................. 58 </span><span class="c27">9.6.2. </span><span class="c24">About Changing Shapes...................................................................................................................................................................................... 59 </span><span class="c27">9.6.3. </span><span class="c24">Using the Legato options ................................................................................................................................................................................... 60 </span><span class="c55">9.7. </span><span class="c11">Freaky Cycling Envelope Suggestions................................................................................................................ 60 </span><span class="c1">10. </span><span class="c49">The Keyboard Section.......................................................................................................................................... 61 </span><span class="c55">10.1. </span><span class="c11">Another look at Gates and Triggers..................................................................................................................... 62 </span><span class="c55">10.2. </span><span class="c11">Keyboard responsiveness......................................................................................................................................... 63 </span><span class="c27">10.2.1. </span><span class="c24">Using Keyboard Responsiveness................................................................................................................................................................. 63 </span><span class="c55">10.3. </span><span class="c11">Glide......................................................................................................................................................................................... 65 </span><span class="c55">10.4. </span><span class="c11">Octave Buttons ................................................................................................................................................................. 66 </span><span class="c55">10.5. </span><span class="c11">Tutorial: modulating LFO speed ............................................................................................................................ 66 </span><span class="c1">11. </span><span class="c49">Using the Icon Strip ................................................................................................................................................ 67 </span><span class="c55">11.1. </span><span class="c11">The Key Hold Button......................................................................................................................................................... 67 </span><span class="c55">11.2. </span><span class="c11">Sequencer and Arpeggiator....................................................................................................................................... 68 </span><span class="c55">11.3. </span><span class="c11">The Touch strip ................................................................................................................................................................... 69 </span><span class="c27">11.3.1. </span><span class="c24">Spice & Dice.................................................................................................................................................................................................................. 69 </span><span class="c27">11.3.2. </span><span class="c24">Bend ................................................................................................................................................................................................................................. 70 </span><span class="c1">12. </span><span class="c49">The Arpeggiator......................................................................................................................................................... 71 </span><span class="c55">12.1. </span><span class="c11">Using Patterns....................................................................................................................................................................... 71 </span><span class="c27">12.1.1. </span><span class="c24">Creating Pattern Variations................................................................................................................................................................................. 72 </span><span class="c27">12.1.2. </span><span class="c24">Transferring Arpeggios to the Sequencer ................................................................................................................................................ 72 </span><span class="c55">12.2. </span><span class="c11">Gates and Triggers revisited ..................................................................................................................................... 72 </span><span class="c55">12.3. </span><span class="c11">Arpeggio Rate...................................................................................................................................................................... 73 </span><span class="c27">12.3.1. </span><span class="c24">Using Sync.................................................................................................................................................................................................................... 73 </span><span class="c55">12.4. </span><span class="c11">Making it Swing ................................................................................................................................................................. 74 </span><span class="c55">12.5. </span><span class="c11">Arpeggio Range ................................................................................................................................................................. 74 </span><span class="c55">12.6. </span><span class="c11">Arpeggiator fun................................................................................................................................................................. 75 </span><span class="c27">12.6.1. </span><span class="c24">Spicing up your Arpeggios................................................................................................................................................................................. 75 </span><span class="c1">13. </span><span class="c49">The Sequencer .......................................................................................................................................................... 76 </span><span class="c55">13.1. </span><span class="c11">Using the Sequencer ....................................................................................................................................................... 77 </span><span class="c27">13.1.1. </span><span class="c24">Selecting and playing a sequence................................................................................................................................................................. 78 </span><span class="c27">13.1.2. </span><span class="c24">The Sequencer and the keyboard................................................................................................................................................................. 78 </span><span class="c27">13.1.3. </span><span class="c24">Recording a sequence .......................................................................................................................................................................................... 79 </span><span class="c55">13.2. </span><span class="c11">The Modulation Tracks .................................................................................................................................................. 81 </span><span class="c27">13.2.1. </span><span class="c24">Step-time recording of modulation .............................................................................................................................................................. 81 </span><span class="c27">13.2.2. </span><span class="c24">Real-time recording of modulation ............................................................................................................................................................ 83 </span><span class="c27">13.2.3. </span><span class="c24">Smoothing................................................................................................................................................................................................................... 83 </span><span class="c55">13.3. </span><span class="c11">Fun with Sequences ...................................................................................................................................................... 84 </span><span class="c27">13.3.1. </span><span class="c24">A hidden feature ...................................................................................................................................................................................................... 84 </span><span class="c27">13.3.2. </span><span class="c24">First experiment: mixing pitches .................................................................................................................................................................. 84 </span><span class="c27">13.3.3. </span><span class="c24">Second experiment: wobbling pitches ..................................................................................................................................................... 85 </span><span class="c27">13.3.4. </span><span class="c24">Third experiment: Hoketus ............................................................................................................................................................................... 85 </span><span class="c1">14. </span><span class="c49">MicroFreak Configuration.................................................................................................................................. 86 </span><span class="c55">14.1. </span><span class="c11">Utility & MIDI Control Center...................................................................................................................................... 87</span></p><p class="c530"><span class="c55">14.2. </span><span class="c11">MIDI Control Center...................................................................................................................................................... 90 </span><span class="c27">14.2.1. </span><span class="c24">MIDI Control Center settings .......................................................................................................................................................................... 90 </span><span class="c1">15. </span><span class="c49">Connecting external gear................................................................................................................................... 94 </span><span class="c55">15.1. </span><span class="c11">CV/GATE FUNCTIONS .................................................................................................................................................... 95 </span><span class="c27">15.1.1. </span><span class="c24">Control voltages: Pitch, Gate and Pressure............................................................................................................................................. 95 </span><span class="c27">15.1.2. </span><span class="c24">MIDI and CV/Gate signals: DAW configuration................................................................................................................................... 97 </span><span class="c55">15.2. </span><span class="c11">Clock sources/destinations....................................................................................................................................... 97 </span><span class="c55">15.3. </span><span class="c11">The MicroFreak and your Modular System.................................................................................................... 98 </span><span class="c1">16. </span><span class="c49">Cheat Sheet................................................................................................................................................................. 99 </span><span class="c1">17. </span><span class="c49">Software License Agreement ...................................................................................................................... 100 </span><span class="c1">18. </span><span class="c49">Declaration of Conformity.............................................................................................................................. 102</span></p><p class="c7"><span class="c18 c80">1. WELCOME AND INTRODUCTION</span><span class="c18"> </span></p><p class="c164"><span class="c1">Congratulations on your purchase of the Arturia MicroFreak! </span></p><p class="c239 c360 c476"><span class="c1">The MicroFreak is a compact, versatile, semi-modular synthesizer with many unique features that will spark your imagination and creativity in a new way. It enables you to experiment with modular sound construction without the hassle of patch cords. </span></p><p class="c380 c231 c522"><span class="c1">Its core is an advanced digital oscillator with newly developed control options. The classic Analog Filter guarantees a warm sound. Together they offer the best of two worlds: digital and analog. </span></p><p class="c194 c239 c336"><span class="c1">In addition to a standard envelope, a cycling envelope provides you with modulation options only found on high-end modular systems. </span></p><p class="c15"><span class="c1">The center point of the MicroFreak is a versatile matrix patchboard that has options similar to the matrix of its elder brother, the MatrixBrute. The Matrix allows you to take control and route modulation sources to a great number of destinations. </span></p><p class="c239 c360 c504"><span class="c1">Another unique feature of the MicroFreak is an expressive touch capacitor keyboard that responds to your finger pressure. Couple this with the paraphonic playing option, an arpeggiator, and assignable matrix destinations, and you will understand why the MicroFreak will soon be your favorite performance synthesizer. </span></p><p class="c94"><span class="c1">Be sure to visit the </span><span class="c91">Arturia </span><span class="c1">website and check for the latest firmware, download the MIDI Control Center, and check out the tutorials and FAQs. Get ready to explore synthesis in new ways. </span></p><p class="c104"><span class="c1">Musically yours, The Arturia team. </span></p><p class="c253"><span class="c9">1.1. A fascinating adventure </span></p><p class="c206"><span class="c1">As soon as you start experimenting with the MicroFreak, you'll be faced with many questions: How do I make connections, what does the Filter do, what is an Envelope Generator? </span></p><p class="c194 c239 c360"><span class="c1">The answers to these question come slowly: by reading forums online, comparing user experiences and most importantly, by diving in. </span></p><p class="c15"><span class="c1">Whatever you do, take the time to get to know the MicroFreak inside out. It will help you to avoid a situation where you sit in front of your system tweaking knobs randomly, without understanding what's happening, but hoping that something magical will happen. This is a certain recipe for losing interest very fast. </span></p><p class="c61"><span class="c1">To sustain the fascination you feel, learn the functions of the MicroFreak one by one and test your knowledge continuously. It's the only way to experience the reward that comes with being able to create the sounds as you imagine them. </span></p><p class="c378"><span class="c19">Arturia - User Manual MicroFreak - Welcome and Introduction 4</span></p><p class="c118"><span class="c9">1.2. About reading manuals </span></p><p class="c57"><span class="c1">Reading manuals can be much more than familiarizing yourself with an instrument. Yes, it is excellent for learning, but it serves another purpose that is much less understood: creating the base for inspiration. </span></p><p class="c94"><span class="c1">Inspiration can flourish when you have many little pieces of knowledge "online". Having many pieces of information available enables you to interconnect and crosslink them; it widens the scope of your creativity. It helps to look at the current state of your knowledge as something that needs to be maintained and expanded. Reading a manual, again and again, causes a shift in what you absorb from it. You are building a living model of the instrument in your brain. </span></p><p class="c0"><span class="c1">Reading a manual the first time helps you to get acquainted with the parameters of an instrument; what does a knob do and how does it affect the sound or other parameters of the instrument? Second and third readings give you a better understanding of the structure of an instrument/plugin. Beyond that, reading becomes a source of creative input that inspires you to think of new ways to use the instrument. </span></p><p class="c170"><span class="c19">5 Arturia - User Manual MicroFreak - Welcome and Introduction</span></p><p class="c188"><span class="c18 c80">2. INSTALLATION</span><span class="c18"> </span></p><p class="c275"><span class="c9">2.1. Usage Precautions </span></p><p class="c206"><span class="c1">The MicroFreak uses an external power adapter. Do not use any power supply or adapter other than the one provided by Arturia. Arturia accepts no responsibility for damage caused by use of an unauthorized power supply. </span></p><p class="c44"><span class="c1">The MicroFreak has a touch capacitive keyboard. It can be used with a power bank, but for it to be fully functional the MicroFreak must be properly grounded. It's why we recommend that you use the three pin wall plug provided by Arturia. </span></p><p class="c203"><span class="c1">Use the included adapters (1/8" TRS jack to 5-pin DIN, grey) to connect your external MIDI devices to the MicroFreak. </span></p><p class="c107"><span class="c9">2.2. Warning </span></p><p class="c57"><span class="c1">Do not place this product in a place or position where one might walk on, trip over, or roll anything over power cords or connecting cables. The use of an extension cord is not recommended. However if you must use one, make sure that the cord has the ability to handle the maximum current needed by this product. Please consult a local electrician for more information on your power requirements. This product should be used only with the components supplied or recommended by Arturia. When used with any components, please observe all safety markings and instructions that accompany the accessory products. </span></p><p class="c107"><span class="c9">2.3. Notice </span></p><p class="c189"><span class="c1">The manufacturer’s warranty does not cover service charges incurred due to a lack of knowledge relating to how a function or feature works (when the unit is operating as designed); reading the manual is the owner's responsibility. Please study this manual carefully and consult your dealer before requesting service. </span></p><p class="c321"><span class="c19">Arturia - User Manual MicroFreak - Installation 6</span></p><p class="c153"><span class="c9">2.4. Precautions include, but are not limited to, the following: </span></p><p class="c133"><span class="c1">• Read and understand all the instructions. </span></p><p class="c2"><span class="c1">• Always follow the instructions on the instrument. </span></p><p class="c325"><span class="c1">• Before cleaning the instrument, always remove the electrical plug from the outlet, as well as the USB cable. When cleaning, use a soft and dry cloth. Do not use gasoline, alcohol, acetone, turpentine or any other organic solutions; do not use liquid cleaner, spray or cloth that’s too wet. </span></p><p class="c37"><span class="c1">• Do not use the instrument near water or moisture, such as a bathtub, sink, swimming pool or similar place. Do not place the instrument in an unstable position where it might accidentally fall over. </span></p><p class="c37"><span class="c1">• Do not place heavy objects on the instrument. Do not block openings or vents of the instrument; these locations are used for ventilation to prevent the instrument from overheating. Do not place the instrument near a heat vent or any place of poor air circulation. </span></p><p class="c397"><span class="c1">• Use only the provided AC adapter, as specified by Arturia. </span></p><p class="c92"><span class="c1">• Make sure the line voltage in your location matches the input voltage specified on the AC power adapter. </span></p><p class="c452"><span class="c1">• Do not open and insert anything into the instrument, as this could cause a fire or electrical shock. </span></p><p class="c397"><span class="c1">• Do not spill any kind of liquid onto the instrument. </span></p><p class="c410"><span class="c1">• In the event of a malfunction, always take the instrument to a qualified service center. You will invalidate your warranty if you open and remove the cover, and improper testing may cause electrical shock or other malfunctions. </span></p><p class="c397"><span class="c1">• Do not use the instrument when thunder and lightning are present. </span></p><p class="c2"><span class="c1">• Do not expose the instrument to hot sunlight. </span></p><p class="c2"><span class="c1">• Do not use the instrument when there is a gas leak nearby. </span></p><p class="c92"><span class="c1">• Arturia is not responsible for any damage or data loss caused by improper operations to the instrument. </span></p><p class="c268"><span class="c1">• Arturia recommends the use of shielded and less than 3 meters long cables for Audio, and ferrite equipped CV/Gate cables. </span></p><p class="c107"><span class="c9">2.5. Register your Instrument </span></p><p class="c57"><span class="c1">Registering your instrument establishes your legal ownership, which entitles you to access the Arturia Technical Support service, and to be informed of updates. Additionally, you can subscribe to the Arturia newsletter to be informed of Arturia-related news as well as promotional offers. Connect to your </span><span class="c91">Arturia account</span><span class="c1">, go to the section “My Registered Products”, and add the MicroFreak synthesizer by entering its serial number, as printed on the sticker located under the machine. </span></p><p class="c337"><span class="c19">7 Arturia - User Manual MicroFreak - Installation</span></p><p class="c153"><span class="c9">2.6. Connecting the MicroFreak to the World </span></p><p class="c353 c239"><span class="c1">Always power-off all audio gear before making any connections. Failing to do so may damage your speakers, the MicroFreak synthesizer, or other audio equipment. After completing all connections, set all levels to 0. Power-on the various devices, with audio amplifier or monitoring system last, then raise the volumes to a comfortable listening level. </span></p><p class="c104"><span class="c1">Here is an overview of the MicroFreak synthesizer’s connectors: </span></p><a id="t.e08b61ffd745d97b6637f0e25aeef2d0d5041b6c"></a><a id="t.0"></a><table class="c122"><tr class="c3"><td class="c237" colspan="1" rowspan="1"><p class="c6"><span class="c108">Purpose </span></p></td><td class="c160" colspan="1" rowspan="1"><p class="c17"><span class="c108">Connector type</span></p></td></tr><tr class="c3"><td class="c237" colspan="1" rowspan="1"><p class="c85"><span class="c43">Audio output </span></p></td><td class="c160" colspan="1" rowspan="1"><p class="c17"><span class="c43">6.35 mm (1/4'') TS or TRS jack</span></p></td></tr><tr class="c3"><td class="c237" colspan="1" rowspan="1"><p class="c36"><span class="c43">Headphones </span></p></td><td class="c160" colspan="1" rowspan="1"><p class="c85"><span class="c43">1/8" TRS jack (signal is mono)</span></p></td></tr><tr class="c3"><td class="c237" colspan="1" rowspan="1"><p class="c6"><span class="c43">MIDI input & output </span></p></td><td class="c160" colspan="1" rowspan="1"><p class="c85"><span class="c43">1/8" TRS jack (see note below)</span></p></td></tr><tr class="c3"><td class="c237" colspan="1" rowspan="1"><p class="c36"><span class="c43">USB </span></p></td><td class="c160" colspan="1" rowspan="1"><p class="c17"><span class="c43">Standard USB type B</span></p></td></tr><tr class="c3"><td class="c237" colspan="1" rowspan="1"><p class="c36"><span class="c43">Power </span></p></td><td class="c160" colspan="1" rowspan="1"><p class="c36"><span class="c43">DC input: internal 2.1 mm, external 5.5 mm</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c487"><span class="c8"></span><span class="c76">!: Please use the included adapter (1/8" TRS jack to 5-pin DIN, gray) to connect your external MIDI</span><span class="c62"> devices to the MicroFreak </span></p><p class="c475"><span class="c19">Arturia - User Manual MicroFreak - Installation 8</span></p><p class="c188"><span class="c18 c80">3. MICROFREAK OVERVIEW</span><span class="c18"> </span></p><p class="c171"><span class="c1">You're probably anxious to start exploring your MicroFreak, so in this chapter, we'll guide you through the front panel and explain what the knobs on the front panel do. If you are new to synthesis, it may help to read the chapters about the </span><span class="c91">Digital Oscillator [p.36]</span><span class="c1">, the </span><span class="c91">Filter [p.48] </span><span class="c1">and the </span><span class="c91">Envelope Generator [p.55]</span><span class="c1">. These are the basic building blocks of synthesis. </span></p><p class="c107"><span class="c9">3.1. Front panel overview </span></p><p class="c379"><span class="c1">The first thing you'll notice about the MicroFreak is how small and compact it is. </span><span class="c34">3.1.1. Top Row </span></p><p class="c408"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 438.66px; height: 65.91px;"><img alt="" src="images/image9.png" style="width: 438.66px; height: 65.91px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span><span class="c1">Top Row </span></p><p class="c158"><span class="c20">3.1.1.1. The Matrix </span></p><p class="c301"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 282.44px; height: 86.86px;"><img alt="" src="images/image5.png" style="width: 282.44px; height: 86.86px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The matrix </span></p><p class="c71"><span class="c1">The Modulation Matrix is an electronic patchbay that routes MicroFreak modulation sources to modulation destinations. When turning the white matrix modulation knob, the connection indicator LED moves to different patch points. Once you've reached the last point on the last row, then the LED cycles back to the first point of the matrix, which makes it easier to jump to your destination point. </span></p><p class="c15"><span class="c1">Think of this as a grid of patch cords, each with an attenuator that allows for positive or negative modulation. Every parameter that it would make sense to modulate - pretty much anything with a knob - can be a destination. </span></p><p class="c473"><span class="c1">• The modulation sources are in rows 1 to 5, and destinations are in columns 1 to 7. • Destinations 1 to 4 are hardwired, and destinations 5, 6, and 7 are freely assignable. </span></p><p class="c364 c463"><span class="c1">Next to the matrix, you see the Matrix encoder, which enables you to select a connection point and when clicked, set the modulation amount for a connection. </span></p><p class="c527"><span class="c19">9 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c127"><span class="c20">3.1.1.2. Paraphonic </span></p><p class="c436 c460 c536"><span class="c1">The MicroFreak is a paraphonic four-voice synthesizer. You can trigger the voices independently when this knob is lit. Their sound will be similar as they all share the same analog filter. The amplitude (volume) of each voice can be different on the MicroFreak, which is not possible on most paraphonic synthesizers. You might call the MicroFreak paraphony a form of extended paraphony. The MicroFreak has internal, invisible VCA envelopes that shape the volume of the individual voices together with the Main Envelope. These internal voice envelopes also are available on the matrix when you choose a polyphonic destination, such as the Oscillator parameters. </span></p><p class="c238 c460"><span class="c1">Some of the sources in the MicroFreak are capable of generating signals polyphonically: the Main Envelope, Pressure, the Keyboard, and the Arpeggiator. When you apply these polyphonic sources to polyphonic destinations such as the Oscillator parameters (Type, Wave, Timbre and Shape) each voice receives its own modulation. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 98.00px; height: 128.00px;"><img alt="" src="images/image4.png" style="width: 98.00px; height: 128.00px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">Selecting paraphonic </span></p><p class="c54"><span class="c1">mode </span></p><p class="c482"><span class="c20">3.1.1.3. Panel Select </span></p><p class="c338"><span class="c1">Panel toggles between the physical and loaded preset positions of knobs. When Panel mode is active the position of the knobs reflects the sound you hear. Panel mode is the mode to use if you are looking to get 1:1 feedback of parameters and the sound you are editing. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 57.00px; height: 101.00px;"><img alt="" src="images/image7.png" style="width: 57.00px; height: 101.00px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">Panel Select </span></p><p class="c404"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 10</span></p><p class="c127"><span class="c20">3.1.1.4. The Display and the Preset encoder </span></p><p class="c301"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 126.22px; height: 72.05px;"><img alt="" src="images/image6.png" style="width: 126.22px; height: 72.05px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The Preset manager </span></p><p class="c278"><span class="c1">The low-power OLED display is a constant source of information. It will display valuable information about the knobs you turn and the buttons you push. </span></p><p class="c4"><span class="c1">The Preset Encoder next to the display enables you to browse through the MicroFreak presets. It will display the name of the preset and its category. The first 128 slots are filled with factory presets. The last 128 presets are empty for you to fill with your sound design. When empty their default name is "Init" and the default category is "Lead". </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: You can overwrite the factory presets, so the total number of writable preset locations is 256.</span><span class="c62"> </span></p><p class="c458"><span class="c20">3.1.1.5. Save </span></p><p class="c149"><span class="c1">Saving your work every now and helps to keep you mentally sane. </span></p><p class="c382"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 69.00px; height: 85.00px;"><img alt="" src="images/image2.png" style="width: 69.00px; height: 85.00px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">Saving Presets </span></p><p class="c407 c418"><span class="c1">The "Save" button allows you to do so. It involves several steps that we've outlined in the </span><span class="c91">Presets chapter [p.24]</span><span class="c1">. </span></p><p class="c509"><span class="c8"></span><span class="c76">!: You can't save when you're in Utility mode. First deactivate Utility and then proceed with saving</span><span class="c62"> your Preset. </span></p><p class="c529"><span class="c19">11 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c127"><span class="c20">3.1.1.6. Utility </span></p><p class="c301"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 67.00px; height: 89.00px;"><img alt="" src="images/image1.png" style="width: 67.00px; height: 89.00px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">Access to the Utility </span></p><p class="c54"><span class="c1">settings </span></p><p class="c239 c336 c502"><span class="c1">In Utility you change the Global settings of your MicroFreak and some settings specific for each preset: the Preset Volume, the Bend Range, Pressure mode, and many other settings. </span></p><p class="c179"><span class="c20">3.1.1.7. Master Volume </span></p><p class="c271"><span class="c1">The Master volume sets the Global volume of your MicroFreak. If you need one preset to be louder than another you can set its relative volume in Utility: select Utility>Preset>Preset volume. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 100.00px; height: 116.00px;"><img alt="" src="images/image3.png" style="width: 100.00px; height: 116.00px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The Volume knob </span></p><p class="c226"><span class="c1">Master Volume affects both the line level and the headphone level of your MicroFreak. </span></p><p class="c416"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 12</span></p><p class="c51"><span class="c34">3.1.2. Middle Row </span></p><p class="c168"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 438.66px; height: 51.98px;"><img alt="" src="images/image11.png" style="width: 438.66px; height: 51.98px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span><span class="c1">Middle row of the Microfreak </span></p><p class="c158"><span class="c20">3.1.2.1. Keyboard glide </span></p><p class="c239 c258"><span class="c1">Glide is a musical tool that enables you to make gradual pitch changes. When you go from one key to the next on the keyboard, the pitch changes are abrupt. Glide smoothens the transition. This knob enables you to set a glide amount. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 99.00px; height: 117.00px;"><img alt="" src="images/image12.png" style="width: 99.00px; height: 117.00px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The Glide knob </span></p><p class="c71"><span class="c1">The value you select with the Glide knob sets the time for the pitch to glide from one note/pitch to another. With this knob fully counter-clockwise, there is no glide, and the pitch transitions are instant. Turning this knob clockwise increases the glide effect. At the maximum setting, it takes approximately 4 seconds to glide from the lowest C of the MicroFreak keyboard to the highest C (two octaves above). For a more detailed explanation of Glide refer to </span><span class="c91">chapter 10 [p.65]</span><span class="c1">. </span></p><p class="c179"><span class="c20">3.1.2.2. Digital oscillator </span></p><p class="c224"><span class="c1">The Digital Oscillator is the heart of the MicroFreak. It's a digital circuit that generates the core sound of this instrument. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 204.33px; height: 79.24px;"><img alt="" src="images/image14.png" style="width: 204.33px; height: 79.24px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The Digital Oscillator </span></p><p class="c70"><span class="c1">The other parts of the MicroFreak - the Analog Filter, the Envelopes, and the LFO - exist only to shape/mangle/wobble the sound of Digital Oscillator. The Type, Wave, Timbre, and Shape knobs enable you to control the actual parameters of </span><span class="c91">the Digital Oscillator [p.36] </span><span class="c1">itself. </span></p><p class="c501"><span class="c19">13 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c127"><span class="c20">3.1.2.3. Analog filter </span></p><p class="c224"><span class="c1">The Analog Filter enables you to emphasize or suppress the harmonics contained in the sound of the Digital Oscillator. Simply put, the filter changes the timbre of the oscillator. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 204.33px; height: 102.52px;"><img alt="" src="images/image15.png" style="width: 204.33px; height: 102.52px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The Analog Filter </span></p><p class="c71"><span class="c91">The Analog Filter [p.48] </span><span class="c1">is like a magnifying glass that reveals everything that is present in the sound of the Digital Oscillator. Or to use a better analogy; it is a searchlight that moves over the waveform generated by the Digital Oscillator, dynamically revealing its harmonic content. It can sweep over the sound with a broad beam or with a very focused, narrow beam. The focus of this beam is called Resonance. The point where the filtering becomes effective is called the cutoff point. </span></p><p class="c15"><span class="c1">The are three types of filters in the MicroFreak: a Low Pass Filter (LPF), a Band Pass Filter (BPF), and a High Pass Filter (HPF). The Low Pass Filter attenuates (weakens) or removes frequencies above the cutoff frequency. The Band Pass Filter attenuates (weakens) or removes frequencies above and below the cutoff frequency. The High Pass Filter attenuates (weakens) or removes frequencies below the cutoff frequency. </span></p><p class="c179"><span class="c20">3.1.2.4. Cycling Envelope </span></p><p class="c174"><span class="c1">The Cycling Envelope Generator is an excellent tool for generating complex modulation signals. An envelope is often used to control the loudness of a sound, but it can be used for many other purposes. The Cycling Envelope is a general purpose envelope, the output of which you can use to modulate all destinations on the Matrix. </span></p><p class="c22"><span style="overflow: hidden; display: inline-block; margin: 0.00px 0.00px; border: 0.00px solid #000000; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px); width: 204.33px; height: 64.22px;"><img alt="" src="images/image13.png" style="width: 204.33px; height: 64.22px; margin-left: 0.00px; margin-top: 0.00px; transform: rotate(0.00rad) translateZ(0px); -webkit-transform: rotate(0.00rad) translateZ(0px);" title=""></span></p><p class="c33"><span class="c1">The Cycling Envelope Generator </span></p><p class="c220"><span class="c1">Unlike a standard envelope that cycles through its stages only once, </span><span class="c91">the Cycling Envelope [p.58] </span><span class="c1">can retrigger itself after the last stage has finished. </span></p><p class="c374"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 14</span></p><p class="c51"><span class="c34">3.1.3. Bottom Row </span></p><p class="c59"><img><span class="c1">Bottom row of the MicroFreak </span></p><p class="c158"><span class="c20">3.1.3.1. Octave select </span></p><p class="c301"><img></p><p class="c33"><span class="c1">Octave select </span></p><p class="c226"><span class="c1">Enables you to select the active octave range for the keyboard. </span></p><p class="c498"><span class="c20">3.1.3.2. Shift </span></p><p class="c301"><img></p><p class="c33"><span class="c1">The shift button </span></p><p class="c248 c239"><span class="c1">Holding Shift allows you to change a number of functions, some are printed printed in blue on the panel others are more hidden. for a complete overview please refer to chapter 16: </span><span class="c91">Cheat sheet [p.99]</span><span class="c1">. </span></p><p class="c526 c535"><span class="c1">• Toggle between Arp / Seq (activates either the Arpeggiator or the Sequencer) • Set a swing rate </span></p><p class="c74"><span class="c1">• Control the shape of the Attack stage of the Cycling Envelope </span></p><p class="c53"><span class="c1">• Control the shape of the Fall stage of the Cycling Envelope </span></p><p class="c131"><span class="c1">In addition you can use Shift to transpose sequences, reload them or copy an Arpeggio to a sequence. Please refer to </span><span class="c91">chapter 12 [p.76] </span><span class="c1">and </span><span class="c91">chapter 13 [p.71] </span><span class="c1">for details </span></p><p class="c400"><span class="c19">15 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c127"><span class="c20">3.1.3.3. Arp|Seq (Arpeggiator/Sequencer) </span></p><p class="c224"><span class="c1">The Arpeggiator generates notes based on the keys you have pressed and plays them back according to the settings of the Pattern buttons and the Oct | Mod range button. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Arpeggiator and the Sequencers </span></p><p class="c218"><span class="c1">The </span><span class="c91">Sequencer [p.76] </span><span class="c1">and the </span><span class="c91">Arpeggiator [p.71] </span><span class="c1">share several features. We will focus on those features in later chapters. </span></p><p class="c221"><span class="c1">Arp | Seq lets you toggle between the Arpeggiator or the Sequencer. </span></p><p class="c239 c319"><span class="c1">Oct | Mod sets the range for the Arpeggiator. When the Sequencer is active, it enables you to select one of four sequencer modulation tracks. </span></p><p class="c194 c239 c360"><span class="c1">The Rate knob sets the speed of the Arpeggiator or the Sequencer. In synced mode, it locks to the selected clock source. </span></p><p class="c488"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 16</span></p><p class="c127"><span class="c20">3.1.3.4. LFO </span></p><p class="c233 c244"><span class="c1">An LFO is a low-frequency oscillator that can produce various waveforms at sub-audio frequencies (0.05Hz up to 100Hz). The MicroFreak provides one LFO with six waveforms. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The LFO </span></p><p class="c239 c330"><span class="c1">You select a waveform with the Shape button: sine, triangle, rising sawtooth, square, random stepped (also referred to as sample & hold), and random gliding (or smoothed random). </span></p><p class="c10"><span class="c1">• Sine rises and falls between its minimum and maximum values </span></p><p class="c449"><span class="c1">• Triangle rises and falls in more of a linear way between its minimum and maximum values </span></p><p class="c197"><span class="c1">• Sawtooth rises linearly to its maximum value and then drops suddenly to its minimum value </span></p><p class="c245"><span class="c1">• Square rises and falls suddenly between its minimum and maximum values • Random stepped rises and falls suddenly between values that are generated at random </span></p><p class="c384"><span class="c1">• Random gliding rises and falls gradually between values that are generated at random </span></p><p class="c44"><span class="c1">The Rate control knob doubles as a Sync switch. It sets the LFO rate’s operating mode. It can be slaved to the Sequencer/Arpeggiator tempo clock (Seq) or set to Free mode (i.e., the LFO rate depends solely on the Rate knob setting). </span></p><p class="c179"><span class="c20">3.1.3.5. The General Envelope Generator </span></p><p class="c271"><span class="c1">The Envelope Generator is one of the basic building blocks of MicroFreak. It enables you to shape the overall loudness of a tone or the timbre of a sound. It's a sound sculpting tool. It can be patched to all destinations on the Matrix, including the destinations you create yourself. The first three knobs - Attack, Decay/Release, and Sustain - affect the Filter by default. The last knob, Filter Amt, enables you to set the amount by which the Filter will be affected by the Envelope. Their functions are described extensively in the </span><span class="c91">Envelope Generator [p.55] </span><span class="c1">chapter. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Envelope Generator </span></p><p class="c239 c351"><span class="c1">When the Amp Mod switch is active, the Envelope will also affect the loudness of the VCA and thus shape the overall loudness of the MicroFreak. </span></p><p class="c199"><span class="c19">17 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c127"><span class="c20">3.1.3.6. Keyboard section </span></p><p class="c365 c433"><span class="c1">The keyboard section consists of the keyboard and an Icon Strip with access to the Arpeggiator and Sequencer controls, and a touch strip with a Bend icon and two Spice and Dice icons that enable you to create variations on the Sequencer and Arpeggiator patterns. </span></p><p class="c44"><span class="c1">The keyboard of the MicroFreak is touch capacitive and has 25 keys. When played the keys generate gate, a pitch, and pressure. It covers a two-octave range, which can be extended using the Octave Down/Up buttons. </span></p><p class="c263"><span class="c8"></span><span class="c76">!: There's a setting in </span><span class="c213">Utility [p.86] </span><span class="c76">that allows you to select whether the keyboard generates pressure</span><span class="c62"> or velocity. </span></p><p class="c396"><img></p><p class="c33"><span class="c1">The Keyboard </span></p><p class="c239 c248"><span class="c1">Depending on the settings in Utility or the MIDI Control Center, the keyboard provides either aftertouch or velocity control. It can also be used as a fully polyphonic MIDI controller for other devices via the USB and MIDI out connectors on the rear panel. </span></p><p class="c179"><span class="c20">3.1.3.7. The Icon strip </span></p><p class="c499"><span class="c1">Right above the keyboard, you'll see a strip with eight mysterious-looking icons. </span></p><p class="c209"><span class="c1">Using these icons, you can access the most intriguing parts of the MicroFreak; its Arpeggiator, Pattern Generator, Sequencer, and the three live controls: Spice, Dice, and Bend. </span></p><p class="c117"><img><span class="c1">The icon strip </span></p><p class="c364 c387"><span class="c1">The Spice and Dice icons enable you to create variations on the sequencer and arpeggio pattern. Dice acts on the gates and triggers of the currently playing arpeggio or sequence. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">Spice & Dice </span></p><p class="c13"><span class="c1">Spice sets the amount of variety. For detailed info about the Icon strip refer to the </span><span class="c91">Keyboard [p.61] </span><span class="c1">chapter. How to use the Arpeggiator and the Sequencer is explained in chapters </span><span class="c91">11 [p.71] </span><span class="c1">and </span><span class="c91">12 [p.76]</span><span class="c1">. </span></p><p class="c348"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 18</span></p><p class="c153"><span class="c9">3.2. Rear Panel Overview </span></p><p class="c429"><img><span class="c1">Rear Panel Overview </span></p><p class="c225"><span class="c34">3.2.1. Audio outputs </span></p><p class="c93"><span class="c1">The headphone output is a standard 3.5 mm TS or TRS jack. The output of the MicroFreak is monaural. Connecting a stereo headphone will merely provide the identical sound on the left and right sides (i.e., mono). </span></p><p class="c22"><img></p><p class="c33"><span class="c1">Audio output </span></p><p class="c260"><span class="c1">The Line output is a 6.35 mm TRS jack. It's output is monaural. Use this output to connect to your amplifier or mixer. Line out is symmetrical/balanced type output. This is a symmetrised TRS jack, connecting a TRS jack will improve the signal-to-noise ratio. </span></p><p class="c119"><span class="c34">3.2.2. Pitch/Gate/Pressure outputs </span></p><p class="c243"><span class="c1">These are typically used together to send electrical signals to an external device such as Arturia’s powerhouse monophonic analog synthesizers (MatrixBrute, MiniBrute/SE, and the MicroBrute) or a Eurorack modular system. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">CV, Gate and Pressure </span></p><p class="c54"><span class="c1">outputs </span></p><p class="c71"><span class="c1">The CV output sends a control voltage you can use to control external oscillators. Gate can trigger external devices. Pressure generates either a pressure voltage or a velocity voltage depending on the settings in </span><span class="c91">Utility [p.86]</span><span class="c1">: Utility>Preset>Press mode. </span></p><p class="c505"><span class="c19">19 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c51"><span class="c34">3.2.3. Clock input/output </span></p><p class="c30"><span class="c1">You can use Clock input/output to sync the MicroFreak to external synthesizers or modular systems. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">Clok input and output </span></p><p class="c264"><span class="c8 c97"></span><span class="c76">♪: The use of a TRS jack provides both clock and start signals. A TS jack provides only clock signals.</span><span class="c62"> </span></p><p class="c299"><span class="c34">3.2.4. MIDI input/output </span></p><p class="c166"><img></p><p class="c33"><span class="c1">MIDI input and output </span></p><p class="c220"><span class="c1">Use the included MIDI adapters (1/8" TRS jack to 5-pin DIN, grey) to send and receive controller data and MIDI data to/from external MIDI-compatible devices. </span></p><p class="c119"><span class="c34">3.2.5. USB/DC IN </span></p><p class="c242"><span class="c1">This connector provides the power and data connections to a computer. It can also be used with a standard USB mobile phone charger (5V, 500mA), allowing you to use your controller presets and sequences even without a computer present. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The USB connector </span></p><p class="c71"><span class="c1">The USB port is also used to connect the MicroFreak to Arturia's MIDI Control Center. This software enables you to configure various settings, update the firmware of the MicroFreak and to manage your presets. </span></p><p class="c41"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 20</span></p><p class="c51"><span class="c34">3.2.6. Power switch </span></p><p class="c239 c318"><span class="c1">If you want to turn the unit off without disconnecting the USB cable, use this recessed switch. The power switch toggles between OFF and USB power / DC power. When both are connected, DC is used. If you plug in DC power the MicroFreak will reset. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The On/Off switch </span></p><p class="c78"><span class="c1">Note: The power requirements of the MicroFreak are so low that you can power it with the same power bank you use to recharge your phone or tablet when you're in a place without power outlets. </span></p><p class="c119"><span class="c34">3.2.7. Power Connector </span></p><p class="c365 c360 c444"><span class="c1">The power connector connects the MicroFreak to the mains outlet. Please only use the Power Supply provided by Arturia. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The power connector </span></p><p class="c220"><span class="c1">It was designed specifically to provide the ground needed for the capacitive keyboard to operate properly. </span></p><p class="c419"><span class="c19">21 Arturia - User Manual MicroFreak - MicroFreak Overview</span></p><p class="c153"><span class="c9">3.3. Signal Flow </span></p><p class="c99"><span class="c1">Working with the MicroFreak becomes a lot easier when you understand how signals flow in the machine. </span></p><p class="c238"><span class="c1">The Digital Oscillator generates a waveform, which is then sent to the Filter and an analog VCA. The main Envelope is hardwired (a fixed connection) with the VCA. When you press the "Amp Mod" button the main envelope controls the internal analog VCA. When off, the keyboard Gate signal controls the VCA. </span></p><p class="c511"><img><span class="c1">The signal flow of the MicroFreak </span></p><p class="c239 c336 c520"><span class="c1">In Paraphonic mode with Amp Mod ON the envelope is duplicated several times depending on the number of voices you have specified in Utilty. These envelopes control a number of internal digital VCAs that only become active in Paraphonic mode. </span></p><p class="c15"><span class="c1">The main envelope is also hardwired to control the Filter cutoff frequency by means of the Filter Amount knob. As soon as you turn the Filter Amount knob you'll notice that the "envelope to filter" connection point on the Matrix lights up. </span></p><p class="c132"><span class="c19">Arturia - User Manual MicroFreak - MicroFreak Overview 22</span></p><p class="c7"><span class="c18 c80">4. THE MICROFREAK PRESETS</span><span class="c18"> </span></p><p class="c365 c360 c454"><span class="c1">We at Arturia invite to create your own presets. There are so many fantastic sounding synths these days with an overwhelming number of presets that it is easy to get lost in an endless search for the magic sound. In the end, the best sound preset is the one you create yourself, because only you know what sort of sound you're after. And as a bonus, you teach yourself the skills you need to create sounds that match your sonic ideal. So....let's get started! </span></p><p class="c86"><span class="c9">4.1. Loading Presets </span></p><p class="c239 c451"><span class="c1">Turn the Preset encoder to load a preset. To get started you can select one of the 128 factory presets. However, you may want to keep those intact if you have limited experience with the MicroFreak or with music synthesis in general. In that case, select one of the presets in the range 129 to 256 to save your sounds. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">the Preset encoder </span></p><p class="c239 c514"><span class="c1">Make sure that the Panel button is OFF when you browse presets. When the Panel button is ON, you will hear the preset as it was once saved but with the current positions of the Front panel knobs. More about the Panel button later in this chapter. </span></p><p class="c194 c239 c360"><span class="c1">You can now tweak the preset to give it your flavor. If you like what you hear, remember to save it. </span></p><p class="c239 c360 c470"><span class="c1">Warning! If you turn the encoder to load another preset, you'll lose the changes you made to the original Preset. So use the encoder with care: by default, switching presets clears any modifications done on the previously loaded preset, without a warning message. If you don't like this behavior, you can change a setting in Utility called "Click to Load". With that setting ON you can scroll through presets without losing the modifications of the preset you are currently working on. It's only when you click the encoder that the new preset will load and your modifications saved. Press Utility>Browsing>Click to Load to change this setting. </span></p><p class="c95"><span class="c8"></span><span class="c76">!: There's a nifty trick that enables you to erase the content of the current preset quickly: press the</span><span class="c62"> preset encoder quickly three times in a row. This will reset the preset to its initial empty state. It is also </span></p><p class="c383"><span class="c62">an excellent way to clear existing presets. </span></p><p class="c350"><span class="c19">23 Arturia - User Manual MicroFreak - The MicroFreak Presets</span></p><p class="c118"><span class="c9">4.2. Saving Presets </span></p><p class="c130"><span class="c1">You probably know what it is like to ruin a brilliant patch with one wrong decision and to discover that you can't go back to that moment because you forgot to save your patch. That's why we've put the Save button right next to the browsing encoder. Press the Save button to enter "save" mode. Once in save mode, you can: </span></p><p class="c10"><span class="c1">• Save a preset to the current slot or </span></p><p class="c53"><span class="c1">• Save to different location. </span></p><p class="c172"><span class="c1">If you want to save it to a different location turn the encoder to select a location and press the encoder to select the new location. The display will respond with "Click to save": you can now select a category by turning the Encoder. You can change the category to any of the nine available types: Bass, Brass, Keys, Lead, Pad, Percussion, Sequence, SFX, and Strings. </span></p><p class="c60"><span class="c1">Click once more after selecting the Category and dial in a name for the preset. The Save button will now blink to indicate that you're doing something new; you're about to change the name of the preset. </span></p><p class="c15"><span class="c1">Turning the encoder will guide you through the alphabet, first in Upper case then in Lower case and finally through the numbers 0 to 9. To enter a space turn the encoder all the way to the left. </span></p><p class="c126"><span class="c8"></span><span class="c76">!: To edit a character in an existing name push+turn the preset encoder. To quickly scroll through the</span><span class="c62"> characters options hold [shift] and turn the encoder. </span></p><p class="c239 c328"><span class="c1">Click to make a letter selection final; this brings you to the next field in the name where you can repeat your selection until you have a complete preset name. Now press "Save" to save the preset with its new name. </span></p><p class="c443"><span class="c1">When you save your patch to a preset location, everything related to that preset gets saved: </span></p><p class="c53"><span class="c1">• the position of the knobs </span></p><p class="c2"><span class="c1">• sequences and the modulation tracks </span></p><p class="c92"><span class="c1">• the configuration changes you made in Utility that are specific for this preset (Utility>Preset) </span></p><p class="c352"><span class="c8"></span><span class="c76">!: Spice & Dice settings are not saved with a preset. !: If you see a message saying "Memory protect</span><span class="c62"> is on", select Utility>Misc>Mem Protect and set it to OFF. </span></p><p class="c455"><span class="c19">Arturia - User Manual MicroFreak - The MicroFreak Presets 24</span></p><p class="c118"><span class="c9">4.3. Tweaking the Preset Configurations </span></p><p class="c57"><span class="c1">In Utility, you'll find settings that you use to change the standard configuration of the current preset. These settings are saved with the preset. That means that each preset can be made to behave uniquely; one preset can be paraphonic, respond to pressure, and have a sequence length of five; another sequence can be monophonic and have a sequence length of 32. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: The two sequences that are part of each preset will always have the same length.</span><span class="c62"> </span></p><p class="c239 c506"><span class="c1">Changing these settings can make all the difference. For example, you've created a sequence and used one of the modulation tracks to add a varying amount of glide to some of the steps. By changing some of the Utility>Preset settings, you can explore alternative options: </span></p><p class="c194 c267"><span class="c1">• What difference does it make when I change the Glide setting from Time to Rate? Utility>Preset>Glide Mode </span></p><p class="c222"><span class="c1">• Does Resetting the Envelope make the sequence snappier? Utility>Preset>Envelope reset </span></p><p class="c222"><span class="c1">• Will changing the sequence smooth settings create a different mood? Utility>Preset>Seq (1-4) smooth </span></p><p class="c324"><span class="c19">25 Arturia - User Manual MicroFreak - The MicroFreak Presets</span></p><p class="c230"><span class="c1">The following parameters are saved with the Preset: </span></p><p class="c493"><span class="c8"></span><span class="c76">!: The last two columns show whether the parameter can be edited in Utility and/or the MIDI Control</span><span class="c62"> Center. </span></p><p class="c415"><span class="c1">x = available </span></p><p class="c40"><span class="c1">0 = not available </span></p><a id="t.a73b705591c2cdfcc3c56b77a4fee8f0bf289bfb"></a><a id="t.1"></a><table class="c122"><tr class="c3"><td class="c47" colspan="1" rowspan="1"><p class="c33"><span class="c108">Category </span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c6"><span class="c108">Parameter </span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c6"><span class="c108">Description </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c33"><span class="c108">Utility </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c33"><span class="c108">MCC</span></p></td></tr><tr class="c485"><td class="c47" colspan="1" rowspan="1"><p class="c6"><span class="c43">Preset </span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Saved with Preset</span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td></tr><tr class="c136"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c72"><span class="c43">Preset Volume [-12 to +12]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c36"><span class="c43">Relative preset volume </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c279"><span class="c43">Bend Range [0 … 24]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c36"><span class="c43">From zero to two octaves </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c430"><span class="c43">LFO retrig [OFF, ON, Legato]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c305"><span class="c43">Retrigger mode: retrig off, retrig when receiving keyboard trigger, no trig when playing legato</span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c279"><span class="c43">Envelope legato [OFF, ON]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c36"><span class="c43">Envelope legato On, OFF </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c524"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c72"><span class="c43">Press mode [Aftertouch, </span></p><p class="c389"><span class="c43">Velocity]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Selects Pressure mode </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c136"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c72"><span class="c43">Press amp mode [0 … 10]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c33"><span class="c43">Sets how much velocity or pressure affect volume output </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c286"><span class="c43">Glide mode [Time, Sync, Rate]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c147"><span class="c43">Set either a time-based, a synced or a rate-based glide effect</span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c229"><span class="c43">Seq Length [4 … 64]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Set sequence length </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c136"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c83 c204"><span class="c43">Spice/Dice reset [OFF, ON]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c36"><span class="c43">Reset Spice & Dice effect on keyboard trigger </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c460 c519"><span class="c43">Default gate length [5 … 85]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c83"><span class="c43">Sets the length of gates output by the arp/seq when Spice is at 0. Dice and Spice modify this length</span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c136"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c83 c204"><span class="c43">Seq 1 smooth [OFF, ON]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Set sequence smoothing for sequencer MOD track 1 </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c83 c204"><span class="c43">Seq 2 smooth [OFF, ON]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Set sequence smoothing for sequencer MOD track 2 </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c12"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c83 c204"><span class="c43">Seq 3 smooth [OFF, ON]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Set sequence smoothing for sequencer MOD track 3 </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr><tr class="c136"><td class="c47" colspan="1" rowspan="1"><p class="c26"><span class="c43"></span></p></td><td class="c42" colspan="1" rowspan="1"><p class="c204 c532"><span class="c43">Seq 4 smooth [OFF, ON]</span></p></td><td class="c175" colspan="1" rowspan="1"><p class="c17"><span class="c43">Set sequence smoothing for sequencer MOD track 4 </span></p></td><td class="c115" colspan="1" rowspan="1"><p class="c85"><span class="c43">x </span></p></td><td class="c101" colspan="1" rowspan="1"><p class="c17"><span class="c43">0</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c33"><span class="c19">Arturia - User Manual MicroFreak - The MicroFreak Presets 26</span></p><p class="c118"><span class="c9">4.4. Panel </span></p><p class="c139"><span class="c1">So why does the same preset sound different with the Panel Button ON or the Panel button OFF? It is because when you activate Panel, the sound you hear is the result of the current settings of the knobs on the Panel (knob say-knob do). In the OFF position you hear the preset with the knobs in the position when you saved the preset. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Panel button </span></p><p class="c329"><span class="c9">4.5. Understanding Digitally-Controlled Analog </span></p><p class="c57"><span class="c1">Unlike analog synths, every module in the MicroFreak is controlled digitally, even its analog filter. It's the best of both worlds: the warmth and hands-on control of real analog, with the ability to save and recall patches and settings. </span></p><p class="c0"><span class="c1">Because of that, the instrument's knobs and sliders aren't controlling voltages directly; they are knobs that instruct the digital circuitry how to manage the analog voltages and the parameters of the digital modules. A consequence of this is that the knob positions you see on the panel don't necessarily reflect the actual settings after you load a Preset sound. </span></p><p class="c61"><span class="c1">The MIDI Control Center software, therefore, offers three methods to match the physical knob position with the digital value it represents: in Hook mode, you must sweep the knob until it catches its actual position before it has any effect. Jump mode means the voltage jumps to the knob position as soon as you move it, and Scaled mode scales the range of the knob based on the stored value and the physical distance to either extreme. </span></p><p class="c4"><span class="c1">Summary: The knobs and sliders don't necessarily reflect the underlying settings. There are some different behavior settings in the MIDI Control Center, but in the default mode, you must sweep the knob past its actual setting to "hook" it. The Panel button mentioned above will bypass the current preset and give you a sound based on the actual positions of the knobs and sliders. </span></p><p class="c239 c257"><span class="c1">Freaky idea: Creating a song structure If you want to create a song structure, save several presets that make up the song, assign them to consecutive slots in the MIDI Control Center, and load the newly sorted presets back into the MicroFreak. </span></p><p class="c356"><span class="c19">27 Arturia - User Manual MicroFreak - The MicroFreak Presets</span></p><p class="c188"><span class="c18 c80">5. MAKING CONNECTIONS</span><span class="c18"> </span></p><p class="c275"><span class="c9">5.1. Control Signals </span></p><p class="c206"><span class="c1">The Matrix is the place where you connect the control signals from the various modules on the MicroFreak together. Control signals differ from audio signals in that they are much slower and are uniquely suited for control. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The MicroFreak Matrix </span></p><p class="c239 c276"><span class="c1">Control signals are slowly moving waves, usually in the range from zero to 100 Hz, that can be used to modulate the digital oscillator, the analog filter, and other destinations in the MicroFreak. </span></p><p class="c239 c360 c376"><span class="c1">A number of modules on the MicroFreak are dedicated to generating Control signals. Each does that in a specific manner: </span></p><p class="c114"><span class="c1">• The LFO creates slow, regular waves. When you connect an LFO to an oscillator you will hear the pitch of the oscillator going up and down. The LFO is capable of generating frequencies up to 100 Hz. </span></p><p class="c37"><span class="c1">• An envelope creates a single wave that peaks and then gradually diminishes and dies. When you connect an envelope to the pitch input of the oscillator, you will hear a sudden rise in pitch followed by a slow descent. The Cycling Envelope can be set to repeat. In this mode it becomes a second LFO, capable of generating complex modulation signals. </span></p><p class="c44"><span class="c1">A special case is a gate signal. A Gate is a signal rising at Note On, and falling at Note Off. It is useful to start an envelope. The keyboard of the MicroFreak generates gate signals that start the envelope of the MicroFreak. </span></p><p class="c221"><span class="c1">To summarize: </span></p><p class="c304"><span class="c1">There are three kinds of Control Signals: triggers, gates and waves. </span></p><p class="c392"><span class="c1">• Triggers are very short signal spikes. They are used to start an envelope generator, an LFO, or a sequencer. Clocks generate triggers… </span></p><p class="c37"><span class="c1">• A gate is somewhat longer: its purpose is to keep something going, like the hold stage of an envelope generator. Keyboards generate a gate when you press and hold a key. </span></p><p class="c465"><span class="c1">• A waveform is a signal that can have any duration; it usually cycles from high to low and vice versa. On the MicroFreak the LFO and the two envelopes create slow waveforms. </span></p><p class="c194 c239"><span class="c1">Control signals are to a MicroFreak sound designer/performer what color and line are to a painter. </span></p><p class="c109"><span class="c1">As you become more knowledgable about the MicroFreak you will be able to create and route more and more complex control signals. Your ability to create complex control signals is what makes you unique as an analog performer/composer. MicroFreak will offer you plenty of opportunities to create a personal style. </span></p><p class="c201"><span class="c19">Arturia - User Manual MicroFreak - Making Connections 28</span></p><p class="c120"><span class="c8"></span><span class="c76">!: for advanced users: On an analog synthesizer or modular system all modulation is done using</span><span class="c62"> Control Voltages. In mostly digital synthesizers such as the MicroFreak all modulation is done using </span></p><p class="c112"><span class="c62">digital signals that mimic the behavior of analog Control Voltages. In this manual we therefore use the term Control Signal when discussing modulation. If your background is in the analog world you're welcome to substitute "Voltage" for "Signal" whenever you read it. </span></p><p class="c272"><span class="c19">29 Arturia - User Manual MicroFreak - Making Connections</span></p><p class="c153"><span class="c9">5.2. The Matrix and its encoder </span></p><p class="c491"><span class="c1">The Matrix is the place where you link all these signals together. </span></p><p class="c89"><span class="c1">Classic synthesizers are great, but many have a major drawback: a fixed signal flow. As a rule, sounds are generated by an Oscillator, then continue to a Filter where it can be shaped further, and at the end of the chain there is a VCA, a voltage controlled amplifier that amplifies the sound. The MicroFreak is no exception here, but there is one major difference: Matrix enables you to break the standard connections and create new ones that override these connections. </span></p><p class="c44"><span class="c1">The thing that makes a synthesizer flexible is the ability to route the modulation signals (Triggers, Gates, LFO Waves, and Envelopes) to the modules that shape the sound (the Digital Oscillator and the Filter). </span></p><p class="c44"><span class="c1">The Matrix is the main switchboard where you make and break these connections. It is the key to unlocking the timbral secrets of the MicroFreak. Mastering the Matrix will help you to create sounds that fit your musical taste. </span></p><p class="c15"><span class="c1">The Matrix consists of two parts: the switchboard and the encoder. You use the encoder to select and create connections and to set the amount of modulation that will flow through the connection link. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Matrix and its Encoder </span></p><p class="c239 c360 c395"><span class="c1">To select a point on the Matrix where you connect a source to a destination, turn the encoder until you are at the right position and press the encoder. You can scroll forward or backward; at the end of the Matrix it cycles back to the beginning. </span></p><p class="c221"><span class="c1">At any moment the Matrix gives you feedback about the connections you have made: </span></p><p class="c53"><span class="c1">• LED OFF = no routing is made OR the amount is set at 0 </span></p><p class="c2"><span class="c1">• LED ON = routing is made between the two objects </span></p><p class="c228"><span class="c1">• LED blinking = you have selected a routing and are editing its modulation strength </span></p><p class="c15"><span class="c1">The display is a second source of information: when turning the encoder to select a point, the display will show information about the connection you can make at that point and the current level of modulation intensity. </span></p><p class="c435"><span class="c1">When you press the encoder you switch to edit mode. Now you can set the amount of modulation, and the colors of the display will invert: from white on black to black on white. Also, all LEDs on the Matrix will turn off and only the LED of the connection you are editing will be lit. When changing the modulation amount you'll hear its effect immediately. </span></p><p class="c46"><span class="c1">In addition to being a place where you route signals, the Matrix also serves as a mixer. You could for example control the pitch of the oscillator with the Key/Arp source and with the LFO. The two modulations are added together. If you select rectangle as the LFO waveform, your sequence will transpose up and down with the Rate you've set for the LFO. </span></p><p class="c75"><span class="c1">Setting any modulation routing to a zero value will disable the LED and the Matrix will show it as not connected. </span></p><p class="c300"><span class="c19">Arturia - User Manual MicroFreak - Making Connections 30</span></p><p class="c233 c343"><span class="c1">To clear a Matrix point and reset its modulation intensity to zero, hold and press the encoder for a minimum of two seconds. </span></p><p class="c221"><span class="c1">To summarize: </span></p><p class="c50"><span class="c1">1. To create a routing, turn the encoder. </span></p><p class="c14 c447"><span class="c1">2. To select a point: </span></p><p class="c388 c453"><span class="c1">◦ Press the encoder </span></p><p class="c471"><span class="c1">◦ This will change the screen to show MATRIX AMOUNT </span></p><p class="c14 c388"><span class="c1">◦ The amount value in the screen will highlight </span></p><p class="c403"><span class="c1">◦ Turn the encoder to set a positive or negative modulation amount. </span></p><p class="c14 c227"><span class="c1">3. To disable a routing and reset its modulation amount: </span></p><p class="c484"><span class="c1">◦ Turn the encoder to select the routing you want to clear </span></p><p class="c223"><span class="c1">◦ Press and hold the encoder switch for 2 seconds to set the value to 0. </span></p><p class="c151"><span class="c34">5.2.1. Sources and Destinations </span></p><p class="c111"><span class="c1">The Matrix has 35 patch points. When you activate a point on the matrix you connect a source with a destination. The five sources are on the left and the seven destinations are in the top row. </span></p><p class="c221"><span class="c1">The sources are: </span></p><a id="t.fa949ccf7fadcf69cfa71a0d947ab59489fa4a82"></a><a id="t.2"></a><table class="c122"><tr class="c3"><td class="c176" colspan="1" rowspan="1"><p class="c85"><span class="c108">Source </span></p></td><td class="c100" colspan="1" rowspan="1"><p class="c6"><span class="c108">Description</span></p></td></tr><tr class="c3"><td class="c176" colspan="1" rowspan="1"><p class="c17"><span class="c43">CycEnv </span></p></td><td class="c100" colspan="1" rowspan="1"><p class="c17"><span class="c43">output of the Cycling Envelope Generator</span></p></td></tr><tr class="c3"><td class="c176" colspan="1" rowspan="1"><p class="c36"><span class="c43">ENV </span></p></td><td class="c100" colspan="1" rowspan="1"><p class="c17"><span class="c43">output of the Envelope Generator</span></p></td></tr><tr class="c3"><td class="c176" colspan="1" rowspan="1"><p class="c36"><span class="c43">LFO </span></p></td><td class="c100" colspan="1" rowspan="1"><p class="c17"><span class="c43">output of the Low-Frequency Oscillator</span></p></td></tr><tr class="c3"><td class="c176" colspan="1" rowspan="1"><p class="c36"><span class="c43">PRESSURE </span></p></td><td class="c100" colspan="1" rowspan="1"><p class="c36"><span class="c43">Pressure output (either pressure or velocity depending on the setting in Utility)</span></p></td></tr><tr class="c3"><td class="c176" colspan="1" rowspan="1"><p class="c36"><span class="c43">KEY / ARP </span></p></td><td class="c100" colspan="1" rowspan="1"><p class="c85"><span class="c43">The combined output of the keyboard, arpeggiator and sequencer</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c230"><span class="c1">The first four destinations are Pitch, Wave, Timbre, and Cutoff. </span></p><p class="c154"><span class="c1">Pitch, Wave, and Timbre are modulators that enable you to modify the sound of the Digital Oscillator, the basic sound source of MicroFreak. Cutoff modulates the cutoff frequency of the Filter. Sound generated by the Digital Oscillator will pass through the Analog Filter, which enables you to remove or emphasize certain frequencies within the sound. More on that in </span><span class="c91">The Filter chapter [p.48]</span><span class="c1">. </span></p><p class="c177"><span class="c19">31 Arturia - User Manual MicroFreak - Making Connections</span></p><p class="c51"><span class="c34">5.2.2. Assigning destinations </span></p><p class="c93"><span class="c1">The final three destinations (Assign1, Assign2 and Assign3) are a special case; we've left it to you to define destinations for them. This option is one of the things that makes the MicroFreak unique. We introduced this feature on the MatrixBrute, the older brother of the MicroFreak. We've since then learned how powerful this feature is. </span></p><p class="c44"><span class="c1">The fixed destinations on the Matrix can only cover a small number of possible destinations on the MicroFreak. With the assignable destinations you can turn (almost) every knob on the MicroFreak into a destination for modulation control. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: The exceptions are: Master Volume and the Preset Encoder</span><span class="c62"> </span></p><p class="c148"><span class="c1">An example: </span></p><p class="c439 c365"><span class="c1">You want to modulate the Shape of an oscillator with the LFO. Wave and Timbre are already fixed destinations on the Matrix; Shape is not. To add Shape as a destination select the LFO Assign1 crossing on the Matrix using the encoder. The LED will blink on that position. Now press the encoder to enter edit mode. Hold the Assign1 button (located above the Assign1 text) and turn the the shape knob. The Screen will now confirm that you have set the destination to parameter 3 of the oscillator, which happens to be Shape. You can now set the modulation amount. Press the encoder once more to leave edit mode. </span></p><p class="c104"><span class="c1">Possible modulation destinations: </span></p><a id="t.8f5b80113f0d8a6321d240b7afca03d2f4253e8c"></a><a id="t.3"></a><table class="c122"><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c6"><span class="c108">Parameter </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c108">Description</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">Glide </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulate Glide amount</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">Oscillator Type </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">Note: This only updates when a note is triggered, not while it is playing</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">Oscillator Wave </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the wave of the currently selected oscillator</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">Oscillator Timbre </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the timbre of the currently selected oscillator</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">Oscillator Shape </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the shape of the currently selected oscillator</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c36"><span class="c43">Filter Resonance </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the bandwidth of the Filter</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c36"><span class="c43">Envelope ATTACK </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the attack stage of the Standard envelope</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c36"><span class="c43">Envelope DECAY </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the decay stage of the Standard envelope</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c36"><span class="c43">Envelope SUSTAIN </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the sustain stage of the Standard envelope</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c36"><span class="c43">Envelope FILTER AMOUNT </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the amount of signal send from Envelope to AMP</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c36"><span class="c43">LFO RATE </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates LFO rate</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c85"><span class="c43">Arp&Seq RATE </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates Arp&Seq RATE</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">CYCLING Envelope RISE </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the rise stage of the Cycling Envelope</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">CYCLING Envelope FALL </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the fall stage of the Cycling Envelope</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">CYCLING Envelope HOLD </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c6"><span class="c43">modulates the hold stage of the Cycling Envelope</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c17"><span class="c43">CYCLING Envelope AMOUNT </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c17"><span class="c43">amount of CycEnv send to the Matrix</span></p></td></tr><tr class="c3"><td class="c52" colspan="1" rowspan="1"><p class="c6"><span class="c43">Matrix Modulation Amount </span></p></td><td class="c56" colspan="1" rowspan="1"><p class="c17"><span class="c43">Sets the modulation amount of a Matrix point</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c230"><span class="c1">This last option deserves a bit more explanation: </span></p><p class="c375"><span class="c19">Arturia - User Manual MicroFreak - Making Connections 32</span></p><p class="c16"><span class="c1">Once you've setup a modulation point in the Matrix you can modulate the intensity of the modulation happening at the point with another source. Yes, you're modulating a modulation! </span></p><p class="c75"><span class="c1">An example: you've setup the LFO to modulate the frequency of the oscillator. In other words you've created vibrato. How do you modulate the intensity of this vibrato? </span></p><p class="c303"><span class="c1">• Use the encoder to move to the intersection point CyEnv>Assign1 on the Matrix </span></p><p class="c425"><span class="c1">• Press and hold the Assign1 button. The display will invite you to move to a destination point you want to modulate </span></p><p class="c341"><span class="c1">• Move to the LFO>Pitch point where you already created the vibrato modulation </span></p><p class="c231 c236"><span class="c1">Press the encoder. The destination is now fixed. Move back to the Pitch>Assign1 point and press the encoder. The values you enter now will cause the Cycling Envelope to modulate vibrato depth. Select whatever freaky setting suits you. Experiment with changing the settings of the Cycling Envelope. </span></p><p class="c216"><span class="c8"></span><span class="c76">!: It is not possible to assign SHIFT + Knob parameters such as Cycling Envelope shapes. Neither can</span><span class="c62"> you assign control buttons (Shift, Amp MOD LFO MODE) or Icon buttons (Spice, Dice, etc.) </span></p><p class="c497"><span class="c19">33 Arturia - User Manual MicroFreak - Making Connections</span></p><p class="c311"><span class="c8 c97"></span><span class="c76">: In paraphonic mode all voices will be assigned simultaneously as a destination.</span><span class="c62"> </span></p><p class="c148"><span class="c1">To summarize: </span></p><p class="c448 c456"><span class="c1">• The Matrix is where you route sources to destinations. It's also the place where you mix several sources together to control one common destination. </span></p><p class="c197"><span class="c1">• The encoder is bipolar; you can set up positive or negative modulation and set modulation strength. </span></p><p class="c277"><span class="c19">Arturia - User Manual MicroFreak - Making Connections 34</span></p><p class="c153"><span class="c9">5.3. Freaky ideas </span></p><p class="c368 c478"><span class="c1">It's mostly not good practice to modulate a destination at full force. The right amount of modulation adds subtleness and expression to your patches. If you get this right, the Matrix is a treasure trove of unusual finds. Some ideas below: </span></p><p class="c162"><span class="c1">Change pitch scope: </span></p><p class="c339 c239"><span class="c1">Without making any connections on the Matrix the keyboard or a sequence will already modulate the pitch of the oscillator with 1v per octave. If you take a sequence and add that already existing modulation on the Matrix (route Key/Arp to Pitch), you can drastically change the pitch scope of the sequence. Steps that were one semitone in the original sequence will now be 2 or even four semitones. When you apply negative modulation, the step distance will shrink to microtonal proportions. </span></p><p class="c135"><span class="c1">Summing modulation signals: </span></p><p class="c173"><span class="c1">Both envelopes: the Standard Envelope and the Cycling Envelope are sources for modulation in the Matrix. You take advantage of that by mixing their output to control the same destination. Why would you do that? By mixing the control voltages, you create a complex envelope that can control the filter or arpeggio rate in unexpected ways. </span></p><p class="c135"><span class="c1">Another summing idea: </span></p><p class="c64"><span class="c1">When you sum two modulations to control one destination the result will usually be unexpected and surprising, like when you mix the Cycling Envelope and the LFO that you are using to modulate the Filter Cutoff frequency. You're using the Matrix as a modulation mixer in this type of patch. </span></p><p class="c200"><span class="c1">Modulating the Digital Oscillator: </span></p><p class="c309"><span class="c1">This will probably become one of the most used techniques on the MicroFreak: modulate Wave, Timbre and Shape of the Digital Oscillator with the (unsynced) LFO and Cycling Envelope. By letting them control different aspects of the Digital Oscillator with different speeds you can create ever-changing timbre patterns that never repeat. </span></p><p class="c261"><span class="c1">Regular automatic transpositions: </span></p><p class="c154"><span class="c1">For automatic transpositions of a sequence modulate Pitch with the Random wave of the LFO, or with a slow-moving square wave if you need more regular automatic transpositions. The square-wave technique will also work with a sequence. </span></p><p class="c200"><span class="c1">Modulating Modulation: </span></p><p class="c239 c339"><span class="c1">As mentioned before you can modulate the amount of modulation of a connection point on the Matrix with the Sequencer modulation tracks. You assign a matrix point by holding any assign button, then move the matrix encoder. The moment you release the assign button, the matrix point will be set as a destination. Again the LFO and Cycling Envelope are ideal means to modulate these points. </span></p><p class="c200"><span class="c1">Modulating Cycling Envelope Rise and Fall times: </span></p><p class="c407 c448"><span class="c1">You can use the LFO output on the Matrix to control the speed of the LFO or the Cycling Envelope to control its own rise or fall times or amount. </span></p><p class="c162"><span class="c1">Circular routings: </span></p><p class="c89"><span class="c1">One more before you get dizzy: It's easy to make circular routings using the Matrix: for example, let the LFO modulate the Rise or Fall time of the Cycling Envelope and then let the Cycling Envelope control its own level. </span></p><p class="c181"><span class="c1">The EMS Synthi was famous for this kind of circular routings, mostly because this technique enables you to create sounds that are unique and difficult to replicate. </span></p><p class="c281"><span class="c19">35 Arturia - User Manual MicroFreak - Making Connections</span></p><p class="c188"><span class="c18 c80">6. THE DIGITAL OSCILLATOR</span><span class="c18"> </span></p><p class="c171"><span class="c1">The Digital Oscillator is the very heart of the MicroFreak. It's the digital circuit that generates the core sound of this instrument. The other parts of the MicroFreak - the Analog Filter, the Envelopes, and the LFO - exist only to shape/mangle/wobble the sound of the Digital Oscillator. </span></p><p class="c4"><span class="c1">The Oscillator in the MicroFreak is unique in that it can emulate many different synthesis models. In the history of electronic music, many gifted sound engineers developed unique ways of generating sounds. Voltage Controlled Oscillators, the pitch of which could be controlled with an external voltage, FM oscillators that created timbres by modulating two or more oscillators, Harmonic oscillators that used combinations of harmonics to create complex timbres. You'll find many of these Oscillator models in the MicroFreak, and we hope you'll have as much fun with them as the engineers who designed them. </span></p><p class="c15"><span class="c1">At Arturia, we are fans of </span><span class="c91">Mutable Instruments</span><span class="c1">. They permitted us to implement some of their open source Oscillator designs in the MicroFreak, for which we are very grateful as they add a lot to sonic potential of the MicroFreak. </span></p><p class="c60"><span class="c1">Oscillators come in two flavors; analog and digital. Digital oscillators have advantages over analog oscillators: they are capable of generating a much broader palette of waveforms and are more flexible and stable than their analog counterparts. Analog filters, on the other hand, have something special to them. </span></p><p class="c399"><span class="c1">The MicroFreak offers you the best of both worlds: a digital oscillator and an analog filter. </span><span class="c9">6.1. The oscillator as a sound generator </span></p><p class="c103"><span class="c1">When you hear a sound, you hear air vibrating against the eardrum of your ear. As humans, we can hear frequencies in the range of 20 to 20,000 Hz. As you age your ability to hear high frequencies will gradually diminish. At 65 you'll probably hear only frequencies up to 6000 Hz. But that is enough to be able to enjoy timbral variations in music. </span></p><p class="c327"><span class="c1">The ear can perceive sound around 50 Hz as bass (think huge organ pipes), but around 30 Hz it's difficult for the ear to hear a sound as a pitch; it's perceived as a low rumble. In electronic music, low-frequency sounds are often used as voltage or control signals to modulate another module. An LFO is an oscillator specifically designed to generate frequencies in this range. The LFO in the MicroFreak can generate signals in the range from 0.1Hz to 100Hz. Please refer to the </span><span class="c91">LFO chapter [p.52] </span><span class="c1">for details. </span></p><p class="c373"><span class="c8"></span><span class="c76">!: Modulation is not limited to this range; some audio oscillator models in the MicroFreak use a second</span><span class="c62"> oscillator to modulate their own frequency. </span></p><p class="c396"><img></p><p class="c33"><span class="c1">TheDigital Oscillator </span></p><p class="c288"><span class="c1">The Digital Oscillator can play notes in the range from C-1 to C7. Although the MicroFreak keyboard spans only two octaves, you can shift the range it plays up and down. </span></p><p class="c194 c364"><span class="c1">*Freaky idea: * Applying a (very) small dose of randomness to the pitch of the digital oscillator will make someone who listens to your track sit up and pay attention. </span></p><p class="c489"><span class="c19">Arturia - User Manual MicroFreak - The Digital Oscillator 36</span></p><p class="c153"><span class="c9">6.2. The Parameter Controls </span></p><p class="c491"><span class="c1">The parameter controls help to make the Digital Oscillator come alive in different ways. </span></p><p class="c436 c510"><span class="c1">Type: Type enables you to select an oscillator model. Each type has a specific character. A unique feature of the MicroFreak is that you can change the oscillator type with modulation. If you modulate the oscillator type with the LFO, it will change from one model to another very quickly, creating bizarre changes in timbre. Type can also be modulated with the Envelopes, the LFO, Keyboard pressure, the Sequencer and the Arpeggiator. </span></p><p class="c194 c239 c360"><span class="c1">When changing the Oscillator Type, you'll see a graphic representation of that Type and its current values in the display. </span></p><p class="c235"><span class="c1">For each Oscillator Type, we selected three parameters that you can use to modify the basic sound: Wave, Timbre, and Shape. What these parameters do will depend very much on the oscillator type, but looking at the display will help you understand what the knobs do: turn a parameter knob, and the display will tell you what is being changed. What makes it musically exciting is that you can select each of these parameters as a modulation destination in the Matrix. Animating the parameters using the Matrix will make your sounds come alive in unexpected and fascinating ways. </span></p><p class="c394"><span class="c19">37 Arturia - User Manual MicroFreak - The Digital Oscillator</span></p><p class="c153"><span class="c9">6.3. Oscillator types: An Overview </span></p><p class="c398"><span class="c34">6.3.1. Basic Waves Oscillator </span></p><p class="c313"><span class="c1">Description: Every sound consists of a series of harmonics. The first harmonic is the fundamental. The fundamental determines the pitch you hear. The second harmonic is twice as high in pitch, the third three times, and so on. If you're a guitar player it's easy to create harmonics; if you put the finger on the exact middle of the string, you'll hear the second harmonic. If you divide the string into three parts, you'll hear the third harmonic. The second and up harmonics determine the timbre of the sound. The 2nd, 4th, 6th, 8th, etc., are even harmonics. The odd harmonics (3rd, 5th, 7th, 9th, etc.) sometimes add a more dissonant timbre to a wave. A square wave contains only odd harmonics; a sawtooth, only even harmonics. Because a sawtooth contains only even harmonics, it is an ideal wave to emulate bowed string instruments. When a bow moves over the string, the string will stick to the bow periodically and then slip to the next position on the bow. This is what creates a sawtooth-like wave. </span></p><p class="c15"><span class="c1">The basic waveforms that were developed in the early days of synthesis: sine, the triangle, square, and the sawtooth, proved very useful for sound synthesis because they each have a specific mix of even and odd harmonics. The sine wave is the simplest wave: it has no harmonics, only a fundamental. In a Triangle wave odd and even harmonics are distributed evenly. A square wave is all odd harmonics, and to some ears it sounds more musical than a sawtooth, which contains all harmonics. </span></p><p class="c221"><span class="c1">This oscilliator emulates two of these basic waveforms: the square and the sawtooth. </span></p><p class="c481 c239 c360"><span class="c1">Tip: If you need a sine wave you can use the filter to remove all harmonics from the wave — and as an alternative, set resonance on the Filter to maximum. The Filter will then self oscillate and produce a pure sine wave. </span></p><p class="c247 c239"><span class="c1">Wave: Continuous morph from a square to a sawtooth to two sawtooths. Acts on Waveform symmetry. </span></p><p class="c247 c239"><span class="c1">Timbre: Morphs between square (pulse width), or phasing between the two copies of a sawtooth wave. There is no effect when Wave is at 50 (sawtooth). </span></p><p class="c135"><span class="c1">Shape: Adds a sine wave sub-oscillator. </span></p><p class="c151"><span class="c34">6.3.2. Superwave Oscillator </span></p><p class="c166"><img></p><p class="c450"><span class="c1">The Superwave Oscillator </span></p><p class="c54"><span class="c1">Model </span></p><p class="c231 c381"><span class="c1">Description: This is a digital waveform animator that creates copies of a waveform and detunes them. Detuning them creates a very fat, lush sound. Unlike more traditional waveform animators that multiply a sawtooth wave, this model allows you to select from four different waveforms. </span></p><p class="c135"><span class="c1">Wave: Selection of the waveform to be multiplied: Saw, Sqr, Tri, Sin </span></p><p class="c342"><span class="c1">Timbre: Sets the detuning amount. </span></p><p class="c342"><span class="c1">Shape: Sets the amplitude of the detuned waves. </span></p><p class="c534"><span class="c19">Arturia - User Manual MicroFreak - The Digital Oscillator 38</span></p><p class="c51"><span class="c34">6.3.3. Wavetable oscillator </span></p><p class="c166"><img></p><p class="c295"><span class="c1">The Wavetable Oscillator </span></p><p class="c54"><span class="c1">Model </span></p><p class="c102"><span class="c1">Description: In the early '80s advances in computer technology made it possible to scan through waveforms stored in memory. A waveform consists of short snippets called samples. 256 samples form a cycle of the wave. Each wave table stores 32 cycles. When you move the Timbre knob, you move through these cycles. </span></p><p class="c63"><span class="c1">Once you have a waveform stored in memory, you can do things with it that are not possible with an analog oscillator. For example, you can change its pitch by changing the speed with which you read the waveform from memory. </span></p><p class="c472"><span class="c1">Wave: The Wave knob enables you to select a wave from the 16 waves stored in the table. Timbre: Allows you to browse the 32 cycles. </span></p><p class="c385"><span class="c1">Shape: Activates a chorus, which adds a chorus effect to the wavetable. </span></p><p class="c407 c500"><span class="c1">Tip: To hear the real sonic power of this oscillator, modulate the wave parameter with the LFO or the Cycling Envelope. This modulation technique is called wavesequencing. </span></p><p class="c119"><span class="c34">6.3.4. Harmonic OSC </span></p><p class="c166"><img></p><p class="c295"><span class="c1">Harmonic Oscillator </span></p><p class="c54"><span class="c1">Model </span></p><p class="c66"><span class="c1">Description: Harmonic oscillators recreate sound by creating and summing harmonics. By varying the amplitude of the individual harmonics, the timbre changes. The Harmonic Oscillator is unique in that is does not only sum up to eight harmonices but sums complete waveforms. This results in more complex sounds than possible with traditional harmonic oscillators. </span></p><p class="c233 c269"><span class="c1">Wave: When turning the wave knob you morph through different tables of harmonic amplitudes and switch between these. Higher values provide tones with richer harmonic content. </span></p><p class="c204 c251"><span class="c1">Timbre: When turning the timbre knob you morph between a sine and a triangle wave. A harmonic derived from a sine wave will sound different from a harmonic built from a triangle wave. </span></p><p class="c135"><span class="c1">Shape: Adds chorus to the oscillator sound, making it wider. </span></p><p class="c285"><span class="c19">39 Arturia - User Manual MicroFreak - The Digital Oscillator</span></p><p class="c459"><span class="c34">6.3.5. KarplusStrong </span></p><p class="c479"><img><span class="c1">Karplus Oscillator Model </span></p><p class="c239 c336 c466"><span class="c1">Description: Karplus-Strong is the name of the sound synthesis method developed by Kevin Karplus and Alex Strong at Stanford University. They discovered that you could create a realistic sounding drum and plucked string sounds by looping a short noise burst through a filtered delay. Nowadays we refer to their method as physical modeling. In physical modeling you recreate the physical characteristics of an instrument using digital techniques; the bow position of a string instrument, the force you use to hit an instrument, and the diffusion and damping factor of the materials the instrument made of. </span></p><p class="c194 c239 c336"><span class="c1">In physical modeling, an exciter creates vibrations in a resonator. The exciter can either be a bow or a strike. The resonator can emulate many different instrument shapes. </span></p><p class="c247 c364"><span class="c1">Wave: Set the amount of Bow that is applied on top of the strike. It results in a continuous tone, whereas the Strike alone creates a decaying tone. </span></p><p class="c239 c360 c363"><span class="c1">Timbre: This controls where and how hard the resonator is struck; it has no effect on the bowed part of the sound. Shape: Sets the amount of resonance by controlling the decay of the resonator. </span></p><p class="c159"><span class="c19">Arturia - User Manual MicroFreak - The Digital Oscillator 40</span></p><p class="c239 c280"><span class="c1">The oscillator models listed below have been developed by </span><span class="c91">Mutable Instruments</span><span class="c1">. They permitted us to implement some of their open source Oscillator designs in the MicroFreak, for which are very grateful as they add a lot to its sonic potential. </span></p><p class="c4"><span class="c1">These models feature waveforms that were introduced in 2018 with the Plaits Module of Mutable Instruments. Plaits is one of the most popular oscillator modules in the Eurorack world. </span></p><p class="c94"><span class="c1">In the descriptions below we describe the functions of the Oscillator models in a basic way. For in-depth info about Plaits and its waveforms, please refer to </span><span class="c91">https://mutable instruments.net/modules/plaits/manual/</span><span class="c1">. </span></p><p class="c263"><span class="c8"></span><span class="c76">!: The names of the knobs on the MicroFreak will differ from the names used in the Plaits oscillator</span><span class="c62"> documentation. </span></p><a id="t.a2faf8262192a606ec6918c367c0672ad9cb6c6e"></a><a id="t.4"></a><table class="c122"><tr class="c3"><td class="c87" colspan="1" rowspan="1"><p class="c6"><span class="c108">MicroFreak name </span></p></td><td class="c68" colspan="1" rowspan="1"><p class="c6"><span class="c108">Plaits name</span></p></td></tr><tr class="c3"><td class="c87" colspan="1" rowspan="1"><p class="c85"><span class="c43">Wave </span></p></td><td class="c68" colspan="1" rowspan="1"><p class="c36"><span class="c43">Harmonics</span></p></td></tr><tr class="c3"><td class="c87" colspan="1" rowspan="1"><p class="c85"><span class="c43">Timbre </span></p></td><td class="c68" colspan="1" rowspan="1"><p class="c85"><span class="c43">Timbre</span></p></td></tr><tr class="c3"><td class="c87" colspan="1" rowspan="1"><p class="c17"><span class="c43">Shape </span></p></td><td class="c68" colspan="1" rowspan="1"><p class="c6"><span class="c43">Morph</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c51"><span class="c34">6.3.6. Pair of classic waveforms (PI.VA) </span></p><p class="c166"><img></p><p class="c295"><span class="c1">Classic Waveforms </span></p><p class="c54"><span class="c1">Oscillator Model </span></p><p class="c193 c231 c436"><span class="c1">Description: An emulation of the classic synthesis waveforms triangle, sawtooth and square wave. </span></p><p class="c135"><span class="c1">Wave: Sets the detuning between the two waves. </span></p><p class="c81"><span class="c1">Timbre: Morphs through a variable square, from narrow pulse to full square to hard sync formants. </span></p><p class="c134"><span class="c1">Shape: Morphs through a variable saw, from triangle to saw with an increasingly wide notch. </span></p><p class="c269 c293"><span class="c1">Freaky tip: Wave sets a detuning amount between the oscillators. If you combine this with keyboard/arpeggio modulation you'll hear interesting scale variations happening. On the Matrix create the routing: Key/Arp>Wave. </span></p><p class="c393"><span class="c19">41 Arturia - User Manual MicroFreak - The Digital Oscillator</span></p><p class="c369"><span class="c34">6.3.7. Waveshaping oscillator (Fold) (PI.Waveshapr) </span></p><p class="c331"><img></p><p class="c266"><span class="c1">Waveshaper Oscillator </span></p><p class="c326"><span class="c1">Model </span></p><p class="c193"><span class="c1">Description: This Oscillator model is a combination of a waveshaper and a wavefolder. A waveshaper acts on the rise and the fall stage of a wave. It can make the rise time of a triangle wave steeper, turning that triangle into a falling Saw wave. It can also change the curve of the rise and fall stages. Each of these changes will affect the number and the amplitude of the harmonics that the Oscillator produces. More harmonics means a richer (sometimes sharper) sound. The original model was based on a feature found in the Serge waveshaper. </span></p><p class="c194"><span class="c1">A wavefolder folds a wave back on itself. Usually, when you boost the amplitude of a digital waveform it will start clipping; the top of the waveform will be cut off. A wavefolder prevents this from happening by folding the wave. </span></p><p class="c292"><span class="c1">Wave: Sets the waveshaper waveform. </span></p><p class="c196"><span class="c1">Timbre: Sets wavefolder amount. </span></p><p class="c196"><span class="c1">Shape: Sets waveform asymmetry. </span></p><p class="c344"><span class="c34">6.3.8. Two operator FM (PI.FM) </span></p><p class="c331"><img></p><p class="c266"><span class="c1">Two operator Oscillator </span></p><p class="c326"><span class="c1">Model </span></p><p class="c193"><span class="c1">Description: FM synthesis has its origins in the work of Dr John Chowning at Stanford University in the late 1960s. The first FM synthesiser was a mainframe computer! Think of a room full of refrigerators, and you'll have an idea of what that was like. </span></p><p class="c194"><span class="c1">Dr Chowning's theory was that an entire range of acoustic instrument emulations would be possible by modulating a waveform with others that are tuned to the harmonic series. He discovered that deviations from the harmonic series (i.e., inharmonic relationships) resulted in bell-like tones and other intricate sounds. Many of the timbres that came easily to FM synthesis had proven difficult for the reigning generation of analog synthesizers to reproduce. </span></p><p class="c457"><span class="c1">This model, despite being a simple implementation of FM, is still capable of creating a wide range of sounds. It consists of two sine-wave oscillators, each modulating the phase of the other. </span></p><p class="c292"><span class="c1">Wave: Sets the frequency ratio between the oscillators. </span></p><p class="c196"><span class="c1">Timbre: Sets the modulation index. </span></p><p class="c125"><span class="c1">Shape: Sets a feedback amount, in the form of operator 2 modulating its own phase. </span><span class="c19">Arturia - User Manual MicroFreak - The Digital Oscillator 42</span></p><p class="c51"><span class="c34">6.3.9. Granular formant oscillator (PI.Grain) </span></p><p class="c166"><img></p><p class="c295"><span class="c1">Granular formant </span></p><p class="c54"><span class="c1">Oscillator Model </span></p><p class="c102"><span class="c1">Description: Granular synthesis is a synthesis method developed fairly recently. It's a technique whereby a wave is chopped in tiny pieces called "particles", which are then rearranged, multiplied and added in multiple ways. In this model, the particles are rearranged into formants and filtered waveforms. </span></p><p class="c135"><span class="c1">Wave: Sets the frequency ratio between formants one and two. </span></p><p class="c342"><span class="c1">Timbre: Sets the formant frequency. </span></p><p class="c81"><span class="c1">Shape: Sets formant width and shape. This controls the shape of the window by which a sum of two synchronized sine oscillators is multplied. </span></p><p class="c391"><span class="c19">43 Arturia - User Manual MicroFreak - The Digital Oscillator</span></p><p class="c51"><span class="c34">6.3.10. Chords (PI.Chords) </span></p><p class="c166"><img></p><p class="c295"><span class="c1">Chords Oscillator Model </span></p><p class="c193 c364 c336"><span class="c1">Description: In Chords mode, the Digital Oscillator is transformed into a four-voice oscillator capable of playing chords. The fun thing is that it's possible to modulate the chord. </span></p><p class="c60"><span class="c1">Chords add emotion to music. A single melodic line can evoke many emotions, but when you add chord notes from the scale of the melody to that melodic line, the emotion will become much stronger. When you add notes from the major scale the melody sounds forceful and happy; add notes from the minor scale, and that same melodic line will suddenly sound sad. At least, that might be your response if you were born in a culture dominated by western music. In other cultures, your response to major and minor scales may be different. </span></p><p class="c15"><span class="c1">The first note of a chord is the Root. The third note in a scale determines the feel of a chord; if it is three half-steps removed from the root, the chord is a minor chord. Four half-steps removed from the root makes it a major chord. When you add more voices to a chord, you are essentially fine-tuning and shaping the minor and major feel further. </span></p><p class="c126"><span class="c8"></span><span class="c76">: If you want to know more about this fascinating subject, search for music theory on a search</span><span class="c62"> engine or YouTube. </span></p><p class="c239 c317"><span class="c1">Paraphony deactivates in this mode; the last key pressed is the root note, and only one chord can be playing. </span></p><p class="c104"><span class="c1">Knob functions: </span></p><p class="c342"><span class="c1">Wave: Chord selection </span></p><p class="c53"><span class="c1">• Octave </span></p><p class="c2"><span class="c1">• 5th </span></p><p class="c2"><span class="c1">• sus4 </span></p><p class="c2"><span class="c1">• m(inor) </span></p><p class="c2"><span class="c1">• m(inor)7 </span></p><p class="c2"><span class="c1">• m(inor)9 </span></p><p class="c2"><span class="c1">• m(inor)11 </span></p><p class="c2"><span class="c1">• 6th and 9th added </span></p><p class="c2"><span class="c1">• M(ajor)9 </span></p><p class="c2"><span class="c1">• M(ajor)7 </span></p><p class="c2"><span class="c1">• M(ajor) </span></p><p class="c239 c360 c481"><span class="c1">Timbre: Changes the inversion and the frequency range of the chord. The chord stays the same, but the pitches are combined differently when you move the Timbre knob or modulate it externally. </span></p><p class="c104"><span class="c1">If the chord is a triad: </span></p><p class="c5"><span class="c19">Arturia - User Manual MicroFreak - The Digital Oscillator 44</span></p><a id="t.1a36cfab8666a5ebb97be23838aa14dc8f7ff00d"></a><a id="t.5"></a><table class="c122"><tr class="c3"><td class="c32" colspan="1" rowspan="1"><p class="c85"><span class="c108">Value </span></p></td><td class="c21" colspan="1" rowspan="1"><p class="c17"><span class="c108">Chord type</span></p></td></tr><tr class="c3"><td class="c32" colspan="1" rowspan="1"><p class="c17"><span class="c43">0 to 25 </span></p></td><td class="c21" colspan="1" rowspan="1"><p class="c6"><span class="c43">root position</span></p></td></tr><tr class="c3"><td class="c32" colspan="1" rowspan="1"><p class="c33"><span class="c43">25 to 50 </span></p></td><td class="c21" colspan="1" rowspan="1"><p class="c17"><span class="c43">first inversion: the lowest note moves up an octave; bass note takes third position</span></p></td></tr><tr class="c3"><td class="c32" colspan="1" rowspan="1"><p class="c17"><span class="c43">50 to 75 </span></p></td><td class="c21" colspan="1" rowspan="1"><p class="c17"><span class="c43">second inversion: the lowest note moves up an octave; bass note takes the fifth position</span></p></td></tr><tr class="c3"><td class="c32" colspan="1" rowspan="1"><p class="c33"><span class="c43">75 to 100 </span></p></td><td class="c21" colspan="1" rowspan="1"><p class="c6"><span class="c43">root+1octave: the lowest note moves up an octave to the root position but an octave higher</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c308"><span class="c1">If the chord is a seventh chord: </span></p><a id="t.c4279dda35a1527c4f91c10e5a2215fc96fc656c"></a><a id="t.6"></a><table class="c122"><tr class="c3"><td class="c48" colspan="1" rowspan="1"><p class="c85"><span class="c108">Value </span></p></td><td class="c184" colspan="1" rowspan="1"><p class="c6"><span class="c108">Position</span></p></td></tr><tr class="c3"><td class="c48" colspan="1" rowspan="1"><p class="c17"><span class="c43">0 to 20 </span></p></td><td class="c184" colspan="1" rowspan="1"><p class="c36"><span class="c43">Root position</span></p></td></tr><tr class="c3"><td class="c48" colspan="1" rowspan="1"><p class="c17"><span class="c43">20 to 40 </span></p></td><td class="c184" colspan="1" rowspan="1"><p class="c17"><span class="c43">first inversion: the lowest note moves up an octave; bass note takes third position</span></p></td></tr><tr class="c3"><td class="c48" colspan="1" rowspan="1"><p class="c85"><span class="c43">40 to 60 </span></p></td><td class="c184" colspan="1" rowspan="1"><p class="c17"><span class="c43">second inversion: the lowest note moves up an octave; bass note takes the fifth position</span></p></td></tr><tr class="c3"><td class="c48" colspan="1" rowspan="1"><p class="c17"><span class="c43">60 to 80 </span></p></td><td class="c184" colspan="1" rowspan="1"><p class="c17"><span class="c43">third inversion: the lowest note moves up an octave; bass note takes the seventh position</span></p></td></tr><tr class="c3"><td class="c48" colspan="1" rowspan="1"><p class="c33"><span class="c43">80 to 100 </span></p></td><td class="c184" colspan="1" rowspan="1"><p class="c6"><span class="c43">root+1octave: the lowest note moves up an octave to the root position but an octave higher</span></p></td></tr></table><p class="c26"><span class="c38"></span></p><p class="c26"><span class="c38"></span></p><p class="c280 c380"><span class="c1">Shape: Sets the waveform. The first half of the knob goes through a selection of "string machine like" raw waveforms (different combinations of the organ and string “drawbars”); the second half of the knob scans a small wavetable containing 16 waveforms. </span></p><p class="c257 c239"><span class="c1">Freaky tip: Instant gratification! Modulate chord selection (the Wave knob) with the random pattern wave of the LFO. It's the next-to-last LFO wave option. On the Matrix select LFO>Wave and set modulation strength anywhere between 50 and 100. </span></p><p class="c440"><span class="c19">45 Arturia - User Manual MicroFreak - The Digital Oscillator</span></p><p class="c51"><span class="c34">6.3.11. Vowel and speech synthesis (PI.Speech) </span></p><p class="c166"><img></p><p class="c295"><span class="c1">Vowel and speech </span></p><p class="c54"><span class="c1">synthesis Oscillator Model </span></p><p class="c102"><span class="c1">Description: In the late '70s Texas Instruments began to research speech synthesis. With the results of their research, Texas Instruments created Speak & Spell, the very first talking toy. It soon became clear that synthesising the human voice was not easy. We create speech by cleverly using the throat and tongue to form vowels and consonants. A vowel is a sound that you produce with an unrestricted sound flow like Aaah, Uuuh and Iiiiii. Consonants are all other sounds that delimit and shape vowels. </span></p><p class="c322"><span class="c1">Wave: The wave knob will first scan through formants (from 0 to around 100), then through libraries of colors, numbers, letters, and words. </span></p><p class="c135"><span class="c1">Timbre: The timbre knob will act on the speech itself. It shifts the formants up or down. </span></p><p class="c81"><span class="c1">Shape: The shape knob will scan through subsets of words; the contents of the subset will depend on the library that was selected with wave knob. </span></p><p class="c221"><span class="c1">Some examples : </span></p><p class="c53"><span class="c1">• Set the wave knob to maximum </span></p><p class="c2"><span class="c1">• Set the timbre knob to 40 </span></p><p class="c2"><span class="c1">• Set the shape knob at 30 </span></p><p class="c25"><span class="c1">Now play a middle C, and you’ll hear the word “Filter.” To add to the fun press the "Paraphonic" button to play the word filter with four voices! </span></p><p class="c221"><span class="c1">Another example: </span></p><p class="c53"><span class="c1">• Set the wave knob to 60 </span></p><p class="c2"><span class="c1">• Set the timbre knob to 46 </span></p><p class="c2"><span class="c1">• Set the shape knob at 17 </span></p><p class="c298"><span class="c1">Now play a middle C, and you’ll hear the word “One.” </span></p><p class="c304"><span class="c1">To create a singing count song: </span></p><p class="c53"><span class="c1">• activate Arpeggio mode by pressing Arp|Seq </span></p><p class="c157"><span class="c1">• assign oscillator shape parameter to the LFO (press Assign1 and turn the Shape control) </span></p><p class="c397"><span class="c1">• set the modulation amount to about 80 </span></p><p class="c2"><span class="c1">• select the triangle wave on the LFO and set LFO speed to about 80Hz </span></p><p class="c304"><span class="c1">There's your song! </span></p><p class="c533"><span class="c19">Arturia - User Manual MicroFreak - The Digital Oscillator 46</span></p><p class="c51"><span class="c34">6.3.12. Modal Resonator (PI.Modal) </span></p><p class="c166"><img></p><p class="c295"><span class="c1">Modal Resonator </span></p><p class="c54"><span class="c1">Oscillator Model </span></p><p class="c102"><span class="c1">Description: A modal resonator imitates how sound is amplified in the things that surround us. Everything (without exception) responds with a complex sound consisting of many harmonics (subpitches) when you hit it. Usually, that response is so soft that we don't hear it; the sound is soft because the energy of your hit is absorbed/dampened by the material of the object you hit. But some objects, such as the kettle in which you're boiling water or the pipes of a central heating unit, will respond really well. Musical instruments have been designed to respond in a (usually) pleasing way to being struck or, in the case of a stringed instrument, playing them with a bow. The shape of an instrument determines which harmonics you will hear. Its shape will amplify certain harmonics and dampen others. This technique can imitate many instrument bodies, from woodwinds to strings to drums. </span></p><p class="c0"><span class="c1">Real world instruments you excite with a bow, a drumstick, or with your breath in the case of a woodwind instrument. The modal resonator needs a signal, an exciter, to make it come alive. </span></p><p class="c61"><span class="c1">The modal resonator mimics this behavior. The extraordinary thing about a Digital Resonator is that it can change the shape it mimics on the fly when you turn a knob or modulate it externally with the LFO, the Envelope, or one of the other sources on the Matrix. It changes its internal harmonic structure. </span></p><p class="c15"><span class="c1">Another important quality of a modal resonator is that it enables you to control the damping of the generated sound. How we hear an object that is hit will very much depend on the damping qualities of the material from which it was built. Drummers know all about this, and often use their hand to muffle the sound of their drum. Guitarists know how to dampen the sound of strings with the palm of their hand. </span></p><p class="c155"><span class="c1">Here again, the extraordinary thing about the Modal Resonator is that it can mimic the damping characteristics of an instrument on the fly when you turn a knob or modulate it with a Matrix source. </span></p><p class="c135"><span class="c1">Wave: amount of inharmonicity, or material selection. </span></p><p class="c342"><span class="c1">Timbre: excitation brightness and dust density. </span></p><p class="c342"><span class="c1">Shape: damping, decay time (energy absorption). </span></p><p class="c481 c239 c336"><span class="c1">Freaky idea: The MicroFreak is paraphonic. When you arpeggiate or sequence chords and modulate the damping simultaneously, you can selectively dampen certain steps in your sequence/arpeggio. </span></p><p class="c314"><span class="c19">47 Arturia - User Manual MicroFreak - The Digital Oscillator</span></p><p class="c7"><span class="c18 c80">7. THE FILTER: SOUND IN CLOSE-UP</span><span class="c18"> </span></p><p class="c171"><span class="c1">A filter enables you to have a look at sound, at any sound in detail. It's not an overstatement to say that nearly every track you hear in the media has been filtered in some way or another. Frequencies were removed or boosted, instruments suppressed in a mix, frequency ranges made more prevalent to capture your attention. A filter can emphasize or suppress the harmonics contained in a sound. In doing so, it changes its timbre. Traditionally filters are used in combination with oscillators. The MicroFreak filter can emphasize or suppress the harmonics of the Digital Oscillator. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Analogue Filter </span></p><p class="c71"><span class="c1">The Analog Filter is like a magnifying glass that reveals everything that is present in the sound of the Digital Oscillator. Or to use a better analogy: it is a searchlight that moves over the waveform generated by the Digital Oscillator dynamically, revealing its harmonic content. It can sweep over a sound with a broad beam or with a very focused, narrow beam; this is referred to as Q or resonance. </span></p><p class="c15"><span class="c1">Any sound consists of sine wave frequencies, each with different loudness. These frequencies are usually not random but appear as "families"; they have a common ground: the fundamental frequency. The vibrating fundamental frequency creates related frequencies called harmonics. Some of these frequencies are even, some are odd. The mix of odd and even harmonics largely determines the characteristic of the sound. A filter is a circuit that allows frequencies/harmonics to resonate in specific ways. It will favor certain frequencies and be hostile to others. </span></p><p class="c86"><span class="c9">7.1. Modifying sound </span></p><p class="c353 c239"><span class="c1">The are three types of Filter in the MicroFreak: a Low Pass Filter (LPF), a Band Pass Filter (BPF), and a High Pass Filter (HPF). The Low Pass Filter attenuates (weakens) or removes frequencies above the cutoff frequency. The Band Pass Filter attenuates frequencies above and below the cutoff point. The High Pass Filter attenuates (weakens) or removes frequencies below the cutoff frequency. </span></p><p class="c221"><span class="c1">The Type button enables you to switch between the three filter types. </span></p><p class="c186"><span class="c1">An open filter, with the cutoff frequency set to maximum, will allow all frequencies to pass through. When you lower the cutoff frequency in Low Pass mode the high frequencies will start to disappear; frequencies that lie above the cutoff frequency are attenuated. Lower it further, and the midrange will disappear. Close it completely, and only silence remains. In a Highpass filter this works in the opposite way: with Cutoff to maximum all frequencies will be removed. Lower the cutoff point and frequencies that lie above the cutoff frequency will pass through. In Bandpass mode the frequencies in the proximity of the cutoff point are audible. Resonance sets the width of the audible frequency range. </span></p><p class="c412"><span class="c19">Arturia - User Manual MicroFreak - The filter: sound in close-up 48</span></p><p class="c51"><span class="c34">7.1.1. Low Pass Filter </span></p><p class="c45"><span class="c1">A Low Pass Filter removes frequencies from a sound source. It is the primary component in subtractive synthesis and widely used in every contemporary music style. What gives the Low Pass Filter its unique qualities is that it focuses on the harmonics around a cutoff point. Modulating the cutoff frequency of a filter varies the timbre of sound over time. It can be considered to be a sophisticated equalizer that selectively reduces the high frequencies of a sound. </span></p><p class="c216"><span class="c8"></span><span class="c76">!: For the technically inclined: the MicroFreak filter has a 12dB roll-off. This means that it is somewhat</span><span class="c62"> less obtrusive than its 24dB cousin, which has a much steeper slope. The 12dB filter will do more </span></p><p class="c307"><span class="c62">justice to the oscillators of the MicroFreak, which have rich and complex harmonics (grains, wavetables/ shapers, FM, etc.) </span></p><p class="c406"><span class="c34">7.1.2. Band Pass Filter </span></p><p class="c111"><span class="c1">The Band Pass Filter is like a narrow beam that allow only a small range of frequencies to pass through the Filter. With the resonance knob you set the width of the frequency range that is allowed to pass through. With the resonance knob completely counter-clockwise all frequencies are allowed to pass through. Turn it slowly to the right and the range of frequencies allowed to pass will become smaller. In the clockwise position the filter will start to self oscillate, and can be used as a sine wave oscillator. In that position it will block all sound from the Digital Oscillator. </span></p><p class="c119"><span class="c34">7.1.3. High Pass Filter </span></p><p class="c111"><span class="c1">The High Pass Filter works in the opposite way of the Low Pass Filter. It removes frequencies below the cutoff point. When you raise the cutoff frequency the low frequencies will start to disappear; frequencies that lie below the cutoff frequency will be attenuated. Raise it further and the midrange will disappear, leaving only the highest harmonics of the Digital Oscillator. </span></p><p class="c44"><span class="c1">The High Pass Filter is somehow less popular than its cousin, the Low Pass Filter. Maybe this is because its effect is not as notable or spectacular as that of the Low Pass Filter, and yet it can be used to great effect for accenting certain beats in an arpeggio or a bass loop. </span></p><p class="c15"><span class="c1">A popular application of the High Pass Filter is to clean up the sound in a mix. Say you you've programmed a solo sound on your MicroFreak and while mixing it with a bass sound from another synth you notice that the low end of your sound interferes with the bass. You could then use the High Pass Filter to remove some low end from your solo sound to make it stand out in the mix. </span></p><p class="c104"><span class="c1">Let's have a look at the controls that are at your disposal: </span></p><p class="c53"><span class="c1">• Cutoff frequency </span></p><p class="c2"><span class="c1">• Resonance </span></p><p class="c401"><span class="c19">49 Arturia - User Manual MicroFreak - The filter: sound in close-up</span></p><p class="c51"><span class="c34">7.1.4. Cutoff frequency </span></p><p class="c259"><span class="c1">The cutoff frequency is the point where the actual filtering takes place. Early users of filters discovered that they could alter the sonic properties of a filter by feeding the output of the filter back into itself. Creating such a feedback loop results in a resonance peak around the cutoff frequency. In the MicroFreak filter, you control this effect with the resonance knob. The amount of resonance can be controlled manually, or by the LFO or the Envelopes. To achieve this, you have to assign it to your favorite control in the Matrix. </span></p><p class="c0"><span class="c1">Filters differ in how they remove frequencies above the cutoff point. It is possible to design a filter that will reduce the frequencies above the cutoff frequency in a very drastic way; if the cutoff point is at 500 Hz, it will make a frequency of 501 Hz inaudible. The result of such filtering is very unmusical. Instead, filters are designed to dampen frequencies gradually. </span></p><p class="c0"><span class="c1">In the above example, it would mean that the 501 Hz frequency is still audible but somewhat reduced in amplitude. A frequency of 550 Hz will probably also be audible but will be even more reduced in amplitude. This is referred to as the roll-off of a filter. Some filters have a steep roll-off, others a more gradual roll-off. The number of its poles determines the steepness of filter's roll-off; four-pole filters have a roll-off that is much steeper than two pole filters. The MicroFreak filter has a roll-off of 12dB per octave. </span></p><p class="c239 c282"><span class="c1">The Cutoff knob enables you to control the filter cutoff point manually. In its fully counter clockwise position, the frequency cutoff point is approximately 30Hz. As you rotate the knob clockwise the frequency cutoff point will increase until, in its fully clockwise position, it exceeds 15kHz. </span></p><p class="c119"><span class="c34">7.1.5. Resonance or Q </span></p><p class="c65"><span class="c1">A second setting to complement the cutoff frequency: Resonance. It is sometimes called “Emphasis” or “Q” – for Quality of filtering. </span></p><p class="c261"><span class="c1">Resonance </span></p><p class="c239 c252"><span class="c1">The Resonance knob increases the amount of resonance; it amplifies frequencies close to the cutoff frequency. When you add resonance by turning the resonance knob clockwise the filter becomes increasingly selective, the sound begins to “ring” and will severely color any signal passing through it. As stated above, in its extreme position the Filter will go into self-oscillation. </span></p><p class="c182"><span class="c19">Arturia - User Manual MicroFreak - The filter: sound in close-up 50</span></p><p class="c118"><span class="c9">7.2. Animating sound </span></p><p class="c365 c445"><span class="c1">As seen above a lowpass filter modifies sound by removing frequencies above the cutoff point. Doing this manually is not very effective, although it helps in getting a grasp of what is happening. What turns the filter into a compelling musical tool is changing the cutoff point and its resonance dynamically. In the MicroFreak you do this by using an LFO, an Arpeggiator, or an Envelope to control the cutoff frequency and resonance of the filter. Please refer to the </span><span class="c91">LFO [p.52]</span><span class="c1">, </span><span class="c91">Arpeggiator [p.71] </span><span class="c1">and </span><span class="c91">Envelope [p.55] </span><span class="c1">chapters for more details. </span></p><p class="c119"><span class="c34">7.2.1. Cutoff Modulation </span></p><p class="c111"><span class="c1">Varying the cutoff point, the point where the filter starts removing frequencies from the sound spectrum, changes the timbre of the sound. The most effective and musically pleasing way to modulate the cutoff frequency is using an envelope generator. The MicroFreak is "hardwired" to do this. Right next to the sustain control of the main envelope you'll see a knob named Filter Amt (Amount). That's where you determine how much the envelope will modulate the cutoff frequency of the Filter. </span></p><p class="c95"><span class="c8"></span><span class="c76">!: You'll notice that when you change the setting of the Filter Amount knob, the corresponding point</span><span class="c62"> on the Matrix will light up. As an alternative, you can also fine-tune the filter amount on the Matrix. </span></p><p class="c156"><span class="c34">7.2.2. Emphasis/Resonance Modulation </span></p><p class="c427 c239"><span class="c1">With the Resonance knob, you set the width of the band with which the filter attenuates the incoming signal. By increasing the emphasis amount, you will focus the filter and force it to pass only frequencies in the vicinity of the frequency cutoff point. It boosts the frequencies near the cutoff point of the filter. </span></p><p class="c261"><span class="c1">Freaky idea: Seq>Cutoff Modulation </span></p><p class="c129"><span class="c1">A sequencer modulation track can be a useful tool to modulate the filter cutoff point. In step mode you can assign a different modulation amount to each step of the sequence. </span></p><p class="c345"><span class="c19">51 Arturia - User Manual MicroFreak - The filter: sound in close-up</span></p><p class="c188"><span class="c18 c80">8. THE LFO</span><span class="c18"> </span></p><p class="c302"><span class="c1">An LFO (short for Low-Frequency Oscillator) can produce various waveforms at sub-audio level. These waveforms can then be used to modulate other parts of the MicroFreak. </span></p><p class="c104"><span class="c1">For example: </span></p><p class="c53"><span class="c1">• the pitch of the Oscillator </span></p><p class="c53"><span class="c1">• the cutoff frequency of the Filter </span></p><p class="c53"><span class="c1">• the emphasis of the Filter </span></p><p class="c53"><span class="c1">• the stages of an Envelope </span></p><p class="c239 c347"><span class="c1">A well-known application of LFO modulation is the filter sweep; the LFO waveform is used to move/animate the cutoff point of a Low Pass Filter. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The MicroFreak LFO </span></p><p class="c260"><span class="c1">This is a good moment to understand what the other LFO waves do. Try switching to the Triangle wave and the rising Saw wave; you'll hear how the sweep changes shape. The Rectangle wave will cycle between a low and a high state, so it's not very useful for learning about overtones. It can have its uses if you want to toggle an oscillator between two pitches. Depending on the modulation amount you set on the Matrix it will make the pitch jump two or four steps on the scale or, if you increase the amount of modulation even further, a full octave. </span></p><p class="c107"><span class="c9">8.1. Waveform Shape and Rate </span></p><p class="c239 c353"><span class="c1">The Shape button allows you to choose one of six different waveforms: sine, triangle, rising sawtooth, rectangle (square), random (sample & hold) and random gliding (or smoothed random). </span></p><p class="c373"><span class="c8"></span><span class="c76">!: The square wave has a 50% duty cycle, which is tech-talk for saying that it is on (high) for 50% of</span><span class="c62"> the time. </span></p><p class="c436 c460 c517"><span class="c1">The last two LFO waves are a special case. The Random wave does what its name implies: it creates random modulations. You've probably heard this sound a thousand times before. In early Sci-fi movies, this was that standard sound to accompany a futuristic computer with many blinking lights. If you have an overwhelming urge to hear this, select the Random wave on the LFO, set LFO speed to about 25 Hz and move the selection point on the Matrix to the LFO>Pitch crossing. Press the Matrix knob and set the modulation amount to about 400. There it is! </span></p><p class="c297"><span class="c19">Arturia - User Manual MicroFreak - The LFO 52</span></p><p class="c183"><span class="c1">The last wave of the LFO is a slewed random wave. Whereas in the first Random wave the pitch changes abruptly from one pitch to another, here the changes are more gradual. Again, to understand what this wave does it's a good idea to have it control the pitch of the oscillator. It will probably result in an ugly wavering sound, but as a learning tool, nothing beats it. This technique is a useful in-between step for any modulation you want to apply. It enables you to fine-tune the modulation amount before applying it to a modulation target. </span></p><p class="c119"><span class="c34">8.1.1. Shape </span></p><p class="c116"><span class="c1">The Shape button enables you to switch between the different LFO waves. </span></p><p class="c439 c365 c460"><span class="c1">*Note: *On the MicroFreak all modulations on the Matrix are bipolar, which means that it can go negative and positive and thus control the modulation target in the positive range and the negative range. It is a feature that gives you more sound design options. Many synths (especially the older ones) will only allow you to modulate a target in the positive direction. There's a downside to this: if you modulate a target, for example the Analog Filter with a slow-moving negative-going value, it's entirely possible that for a while you'll hear nothing. </span></p><p class="c119"><span class="c34">8.1.2. Rate </span></p><p class="c116"><span class="c1">The Rate knob sets the speed of the LFO (0.06Hz up to 100Hz). </span></p><p class="c173"><span class="c1">By default, the LFO is not synced to the clock of the MicroFreak and will not follow changes in speed of the MicroFreak clock. By pressing the Rate encoder of the LFO you enable LFO sync. </span></p><p class="c104"><span class="c1">If Sync is "off" the values in the OLED window will be displayed in Hz. </span></p><p class="c365 c439"><span class="c1">When set to Sync, the LFO will sync proportionally to the clock of the MicroFreak or your DAW in a one-to-one relationship. When Sync is on, and the LFO is linked to the currently active clock, the values are displayed as division values: ranging from 8/1 all the way up to 1/32, with in-between values of 4/1, 2/1, 1/1, 1/2, 1/2t, 1/4, 1/4t, 1/8, 1/8t, 1/16 and 1/16t. </span></p><p class="c365 c360 c477"><span class="c1">What's the meaning of these mysterious numbers? They indicate how the LFO will sync to an external clock. The clock could either be the internal clock of the MicroFreak, the clock of your DAW, or an external MIDI source. The most common way to count time is 24PPQ, 24 pulses per quarter note. 1PPQ is the smallest counting unit. It determines the maximum resolution of the Sequencer. When the LFO is set to 8/1, which is its slowest rate, a cycle of the LFO completes in 8 pulses, which is 1/4 of a quarter note. With each step up the LFO speed doubles, except when the rate is 1/2t, 1/4t and 1/8t where the LFO syncs in triplet mode. When set to 1/4 one LFO period equals a quarter note. </span></p><p class="c28"><span class="c1">Understanding this will help you to match the speed of the LFO to the MicroFreak Sequencer or the tempo of your DAW. </span></p><p class="c194 c368"><span class="c1">In synced mode these settings enable you to crreate complex rhythms, where the LFO responds to an external rhythm in multiples or divisions of an external clock. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">♪: MicroFreak displays the sync ratio in the display.</span><span class="c62"> </span></p><p class="c82"><span class="c1">If necessary, you can uncouple the LFO from the MicroFreak tempo by disabling sync. In unsynced mode, the LFO ranges from 0.1Hz to 100Hz (default: 1Hz). </span></p><p class="c124"><span class="c19">53 Arturia - User Manual MicroFreak - The LFO</span></p><p class="c51"><span class="c34">8.1.3. LFO retriggering </span></p><p class="c242"><span class="c1">There are situations where you would like to retrigger the LFO everytime you press a key on the keyboard or the arpeggiator/sequencer generates a gate signal. As an example: you want to create a preset in which the LFO adds a little "bump" pitch rise every time you play a key. You can accomplish this by activating LFO retrigger mode in Utility. Go to Utility and change: Utility>Preset>LFO Retrig and set it to ON. </span></p><p class="c107"><span class="c9">8.2. Freaky Tips and Tricks </span></p><p class="c478 c494"><span class="c1">• Try using the LFO to modulate both the filter cutoff and the envelope attack / decay times. Modulating the filter cutoff is simple; it's a standard connection on the Matrix. To modulate the envelope attack and decay times you'll have to assign them explicitly on the Matrix. Please refer to the Chapter about the </span><span class="c91">Matrix [p.30] </span><span class="c1">for details. </span></p><p class="c114"><span class="c1">• When you mix in some randomness with the filter cutoff it will add a fuzzy effect to the sound. Applying randomness to the decay or sustain stage of one of the Envelopes will add some variety to any rhythmic pulse. </span></p><p class="c221"><span class="c1">You can use this trick to revive anything that sounds stale. </span></p><p class="c439 c494"><span class="c1">• Another useful trick is to use the sine or the sawtooth wave of the LFO to control the level of an envelope. If you then play an arpeggio, this will result in cyclic crescendos and diminuendos. Even more interesting is to control the rise and fall times of the Cycling Envelope with a very slow LFO and apply the resulting envelope to other destinations. </span></p><p class="c114"><span class="c1">• The rising Sawtooth can be useful to modulate the decay time of the Standard or Cycling envelopes. It will add realism to drum or bell-like sounds. Remember that you can change the shape of the envelope attack and fall stage of the Cycling Envelope dynamically from linear to exponential. More about this in the </span><span class="c91">Envelope [p.55] </span><span class="c1">chapter. </span></p><p class="c192"><span class="c1">• An easy way to animate a sequence or arpeggio is the add a tiny bit of pitch modulation each time a note starts. You could do this the simple way by activating sync on the LFO. Next, select the random wave and apply it to the pitch of the oscillator on the Matrix. Carefully adjust the modulation amount. To make sure that the modulation only happens in the first phase of the attack, modulate the modulation knob of the matrix with a very short envelope of the Cycling Envelope set to ENV in such a way that the LFO modulation is silent after the initial attack. </span></p><p class="c114"><span class="c1">• When you assign Glide amount as a destination to be modulated by the LFO on the Matrix, one trick is to use the LFO to turn glide on and off (set its amount to zero). In synced mode, you can make the LFO activate Glide every other sequencer step or every fourth step. </span></p><p class="c423"><span class="c19">Arturia - User Manual MicroFreak - The LFO 54</span></p><p class="c188"><span class="c18 c80">9. THE ENVELOPE GENERATOR</span><span class="c18"> </span></p><p class="c239 c360 c464"><span class="c1">The Envelope Generator is one of the basic building blocks of MicroFreak. It enables you to shape the overall loudness or the timbre of a sound. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Envelope Generator </span></p><p class="c220"><span class="c1">It's a sound-sculpting tool. It can be patched to all destinations on the Matrix, including the destinations you create yourself. </span></p><p class="c107"><span class="c9">9.1. What does an Envelope Generator do? </span></p><p class="c130 c360"><span class="c1">Traditional instruments have a particular envelope (and timbre) that make it possible to recognize them immediately. An organ attains full volume instantly, remains high for as long as a key is depressed, and decays very quickly. A piano has a slower attack and a longer decay. A string section will reach full volume gradually, and the volume mostly fades gradually as well. </span></p><p class="c94"><span class="c1">In Electronic Music envelope generators are also used to modulate the frequency content of sound. The most famous example, one you've probably heard a thousand times before without realizing what it was, is the Filter sweep. </span></p><p class="c104"><span class="c1">If you want to hear this on the MicroFreak: </span></p><p class="c53"><span class="c1">• on the filter set the Cutoff to minimum and Resonance to maximum </span></p><p class="c53"><span class="c1">• set Amp Mod on the Envelope to ON </span></p><p class="c386"><span class="c1">• on the Envelope set attack to 1.7s, decay to 7.7s, sustain to 90%, and filter amount to 70 </span></p><p class="c238"><span class="c1">You should now hear the filter sweep the overtones of the oscillator. The effect is more pronounced if you try this with an oscillator model that is rich in harmonics (overtones). What's happening is that the filter dynamically selects a narrow harmonic band on the oscillator. Try some oscillator models and notice the vast difference in the way the filter affects these models. </span></p><p class="c239 c274"><span class="c1">With the MicroFreak you can go beyond these traditional envelopes and develop new ways to sculpt the timbre and amplitude (volume) of a sound. </span></p><p class="c143"><span class="c19">55 Arturia - User Manual MicroFreak - The Envelope Generator</span></p><p class="c153"><span class="c9">9.2. Gates and Triggers </span></p><p class="c413"><span class="c1">By itself, an envelope generator does nothing; it needs a trigger or a gate to get started. </span></p><p class="c173"><span class="c1">It is essential to understand that gates and triggers are two different things. A trigger is a very short pulse that can be used to sync modules to each other, or in the case of the MicroFreak, to start the LFO or the Envelopes. A gate is usually longer: anywhere from a few milliseconds to a few seconds. </span></p><p class="c44"><span class="c1">With the MicroFreak the keyboard is the primary source of gates. When your finger touches the keyboard and you hold it there for a moment, you generate a gate. The gate starts the envelope cycle and the first stage, the Attack, begins. The envelope then continues to the Decay/Release stage and the Sustain stage. It will remain in the Sustain stage for as long as your finger touches the keyboard. Lift your finger, and the level will decrease to zero. The speed of this decrease depends on the setting of the Decay/Release knob. </span></p><p class="c107"><span class="c9">9.3. Envelope stages </span></p><p class="c130"><span class="c1">The Envelope Generator of MicroFreak has three stages: Attack, Decay/Release and Sustain. Technically speaking it is an ADS envelope because the Sustain stage can be held indefinitely when the Envelope Generator is used in conjunction with the keyboard. </span></p><p class="c119"><span class="c34">9.3.1. Attack </span></p><p class="c318 c239"><span class="c1">In the attack stage of the envelope cycle, the sound rises from its minimum to its maximum, either slow or fast depending on the position of the Attack knob. Attack sets the time, from 0 ms to 10 seconds, the envelope takes to reach its initial level. </span></p><p class="c119"><span class="c34">9.3.2. Decay/Release </span></p><p class="c446 c239 c367"><span class="c1">Decay/Release adjusts the time, again from 0ms to 13 seconds, that it takes the voltage to go from its attack level to the sustain level after the attack stage is completed. </span></p><p class="c119"><span class="c34">9.3.3. Sustain </span></p><p class="c128"><span class="c1">The sustain stage starts when the Decay/Release stage has ended. Sustain is the level at which the signal settles after it decays. This level is usually lower than the initial level (hence "decay"); however, it can also be the same - in which case the Decay setting does not affect the envelope. Set it to a low level if you're programming percussive sounds. </span></p><p class="c411"><span class="c19">Arturia - User Manual MicroFreak - The Envelope Generator 56</span></p><p class="c153"><span class="c9">9.4. Filter amount </span></p><p class="c366 c239 c360"><span class="c1">The Standard Envelope can control both the filter cutoff frequency and the amplitude. When the Amp button is unlit, the envelope will control the filter cutoff frequency. </span></p><p class="c194 c233"><span class="c1">When the Amp Mod button is lit, the envelope will control both the volume and the filter cutoff of your preset. </span></p><p class="c194 c239 c336"><span class="c1">Filter Amount adjusts the level of control the envelope will send to the filter to control its frequency. </span></p><p class="c94"><span class="c1">Filter Amount is an excellent modulation destination if you want to dampen your sound gradually. The easiest way to achieve this is to control the Filter Amt with the LFO. The LFO wave you select will determine how the cutoff frequency will be affected. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: Filter amount is a bipolar control.</span><span class="c62"> </span></p><p class="c67"><span class="c9">9.5. The Amp Mod button </span></p><p class="c239 c332"><span class="c1">As stated above the keyboard and the sequencer generate gates that control the volume of the internal VCA (Voltage Controlled Amplifier) directly. It's a rather crude effect. Finger on keyboard> sound on, finger off keyboard> sound off. When you enable the Amp|Mod button (it's lit) you activate the Envelope generator, which will then use these gates to create much more pronounced envelopes. The output of the Envelope generator (whether lit or unlit) is sent directly to the filter to control its cutoff frequency. You set the amont of this control with the Filter Amt knob. In addition, its output is available in the Matrix to control other modules of the MicroFreak. </span></p><p class="c216"><span class="c8"></span><span class="c76">!: There's a setting in Utility that enables you to define whether or not the envelope will retrigger when</span><span class="c62"> it receives a trigger from the keyboard, the Arpeggiator or the Sequencer. Select Utility>Preset>Envelope </span></p><p class="c256"><span class="c62">reset. </span></p><p class="c217"><span class="c19">57 Arturia - User Manual MicroFreak - The Envelope Generator</span></p><p class="c153"><span class="c9">9.6. The Cycling Envelope Generator </span></p><p class="c130 c360"><span class="c1">The Cycling Envelope Generator is a great tool for generating complex modulation signals. Unlike a standard envelope that cycles through its stages only once, the cycling envelope can retrigger itself after the last stage has finished. The Cycling Envelope then becomes a complex LFO capable of creating wave shapes that cannot be generated with a standard LFO. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Cycling Envelope Generator </span></p><p class="c260 c360"><span class="c1">Another unique feature of this Envelope generator is that you can change the shape of the Rise and Fall stages and thus create a multitude of different Envelope shapes. Since the rise/ fall and hold levels can be modulated, the envelope shape can change in real time. More about this in the next paragraph. </span></p><p class="c119"><span class="c34">9.6.1. The stages of the Cycling Envelope </span></p><p class="c116"><span class="c1">The Cycling Envelope has three stages: </span></p><p class="c439 c507"><span class="c1">• The Rise stage controls the time that the envelope will take to reach its maximum volume once you have pressed a key on the keyboard (or trigger the envelope using the Arp/Seq). </span></p><p class="c358"><span class="c1">• In the Fall/Shape stage, you set the time that the envelope will take to diminish to zero. </span></p><p class="c137"><span class="c1">• The Hold/Sustain stage is part of the Fall/Shape stage, it sets the level of the hold stage. </span></p><p class="c194 c407"><span class="c1">The Mode button enables you to select one of three modes: Env (standard envelope mode), Run, and Loop. </span></p><p class="c215"><span class="c1">• In Standard Envelope mode, the envelope will cycle once through its stages and stop at the end of the Fall stage. </span></p><p class="c165"><span class="c1">• In Run mode, the envelope (now an LFO) is free running. It resets when the MicroFreak receives a MIDI start command. </span></p><p class="c37"><span class="c1">• In Loop mode, the envelope (now an LFO) resets when a trigger is detected from either the keyboard, the sequencer or the arpeggiator. It syncs to the external trigger. </span></p><p class="c221"><span class="c1">The envelope will retrigger itself when the end of the Fall time is reached. </span></p><p class="c173"><span class="c1">In standard mode, the envelope starts when it receives a gate from the keyboard or an external source. The Rise stage is the attack stage. The Sustain stage will remain high as long you press a key on the keyboard. When you let go of the key, the gate ends, and the envelope will continue to the Fall stage. </span></p><p class="c39"><span class="c1">In Run and Loop modes, the Rise stage is the attack stage and Hold will keep the level of the Cycling Envelope high for the duration you've set with the Hold knob. When the Hold period ends the envelope will continue to the Fall stage. </span></p><p class="c187"><span class="c19">Arturia - User Manual MicroFreak - The Envelope Generator 58</span></p><p class="c120"><span class="c8"></span><span class="c76">!: To get a feel for the effect of changes you make to the stages of the envelope, connect it to the</span><span class="c62"> pitch of the Digital Oscillator. </span></p><p class="c198"><span class="c1">• Move the selection point on the Matrix to the CycEnv->Pitch point. </span></p><p class="c2"><span class="c1">• Press the encoder and set the modulation level to about 20. </span></p><p class="c284"><span class="c1">• On the Cycling Envelope Generator set Rise to about 200 ms, hold to 0, fall to 0ms and amount to 50%. </span></p><p class="c194 c233"><span class="c1">You'll hear the pitch go up and then slowly fall to its starting point. This setup also illustrates the effect of the Amount knob. Decrease Amount and the pitch rise will less noticeable. </span></p><p class="c269 c360 c365"><span class="c1">Tip: Try modulating the pitch of the Digital Oscillator with the Cycling Envelope in loop mode. If you select very low values for Rise, Fall and Hold, the Cycling Envelope will cycle at a very high rate and will function as a complex LFO. By changing the Rise, Fall and Hold time you can change the waveshape of this "LFO". </span></p><p class="c104"><span class="c1">In Run mode the pitch of the oscillator will change continuously. </span></p><p class="c152"><span class="c1">To hear the effect in Loop mode, the Cycling Envelope must be triggered externally by the keyboard or the Arpeggiator/Sequencer. To hear its effect activate the Arpeggiator, set the speed of the Arpeggiator to about 55 bpm, and press a chord. You'll hear how the Cycling Envelope retriggers every time the Arpeggiator moves to the next step. </span></p><p class="c119"><span class="c34">9.6.2. About Changing Shapes </span></p><p class="c414"><span class="c1">As we've mentioned before; a unique feature of this envelope is that it is possible to modulate the shape of the Rise and Fall stages. To make changes to these stages hold the Shift button and turn the Rise or Fall button. Turning it to the left will make the shape more logarithmic, turning the encoder to the right will make the shape more exponential. There's a dead zone in the middle where the shape is linear. The info screen will display "LINEAR" when you're in that zone. </span></p><p class="c291"><img><span class="c1">Velocity curves </span></p><p class="c512"><span class="c8"></span><span class="c76">!: In case you're not familiar with the terms logarithmic, linear, and exponential, they are terms that</span><span class="c62"> describe the curve of a line. A curve is said to be exponential when it is slow to rise and picks up speed </span></p><p class="c521"><span class="c62">when nearing its endpoint. A logarithmic curve is the opposite of this, eager to rise and slow to finish. A linear line is a straight line from beginning to end. When applied to an envelope these slopes will give the envelope a particular character: an exponential rise and a logarithmic fall will create the impression of a somewhat sluggish envelope. If you reverse these stages and combine a logarithmic rise with an exponential fall, the envelope will seem to start more aggressively and will seem reluctant to end the Fall stage. </span></p><p class="c29"><span class="c19">59 Arturia - User Manual MicroFreak - The Envelope Generator</span></p><p class="c51"><span class="c34">9.6.3. Using the Legato options </span></p><p class="c318 c239"><span class="c1">Legato is the name for the most common keyboard playing technique. It's when you put your fingers down on the keyboard one by one, connecting each new note to the previous one without a break. It is the opposite of staccato playing where you lift your finger(s) from keyboard before pressing a new key. </span></p><p class="c238"><span class="c1">A setting in Utility enables you to define how the Envelope and the Cycling Envelope will behave when you play legato. When set to OFF the envelopes will restart every time you add a note to the first key you hold down. When set to ON only the first key you press will start the Envelope; the second and next key presses will use the contour of this first Envelope. This applies to both mono and parophonic playing. </span></p><p class="c107"><span class="c9">9.7. Freaky Cycling Envelope Suggestions </span></p><p class="c150"><span class="c1">The real magic starts when you bring the Rise, Hold and Fall knobs under voltage control. You can use the Matrix to modulate these knobs with an LFO or with pressure. Pressure especially will give you a lot of control over the Rise and Fall stages of the envelope. </span></p><p class="c421"><span class="c8"></span><span class="c76">!: Keep in mind that using the Matrix encoder you can make both positive-going and negative-going</span><span class="c62"> voltages. If, for example, you apply a negative-going voltage to the Fall stage, the Fall stage becomes </span></p><p class="c383"><span class="c62">shorter when you apply more pressure. </span></p><p class="c365 c513"><span class="c1">The Amount knob enables you to control the impact the Cycling Envelope will have on the modules that are its target. Especially when modulating the analog filter with the Cycling Envelope, it's crucial to send just the right amount of voltage/control. Sending too much or too little control to a destination can mean the difference between an average or fantastic sound. Knobs like the Amount knob that reduce the strength of a signal are called Attenuators. Attenuators play an essential role in the fine-tuning of a volume or a timbre. </span></p><p class="c180"><span class="c1">The Matrix makes it possible to create very complex dynamic envelopes. An intriguing option is to use the Cycling Envelope to control stages of the Main Envelope. Controlling the Attack will change the attack slope. Controlling the Decay will vary the length of the envelope. You can take this a lot further by creating modulation chains in the Matrix. </span></p><p class="c210"><span class="c1">Other patch ideas: </span></p><p class="c386"><span class="c1">• The LFO set to a slow sine wave controls the Rise time of the Cycling Envelope (assign link in Matrix) </span></p><p class="c467"><span class="c1">The Cycling Envelope controls the sustain of the Main Envelope (create a link in Matrix) </span></p><p class="c267 c468"><span class="c1">• The LFO set to a chaotic, random wave controls the Amount of the Cycling Envelope (assign link in Matrix) </span></p><p class="c422"><span class="c1">The Cycling Envelope controls the decay/release or sustain time of the Main Envelope (assign link in Matrix). </span></p><p class="c393"><span class="c19">Arturia - User Manual MicroFreak - The Envelope Generator 60</span></p><p class="c7"><span class="c18 c80">10. THE KEYBOARD SECTION</span><span class="c18"> </span></p><p class="c239 c492"><span class="c1">One of the first capacitive keyboards was introduced with the Synthi EMS. It remained relatively unknown because very few people could afford to buy one. Don Buchla developed another type of capacitive keyboard, and in 1972 he introduced the Buchla Easel with such a keyboard. Buchla infused it with much of the knowledge he had about making controllers: it was solid; the keys did not move but were touch sensitive, and could produce accurate and reproducible pressure output, tactile feedback and voltage controlled portamento. The capacitive keyboard became the hallmark of the Easel. But again, very few people could afford to buy one. Now, many decades later, the Arturia MicroFreak reintroduces the capacitive keyboard. </span></p><p class="c31"><span class="c1">The MicroFreak has a touch capacitive keyboard of 25 keys. On closer inspection, you'll see hundreds of copper-colored little dots on the surface of the keyboard. These dots will register your touch as pressure or as velocity. Which of the two it will be is up you to decide. You can adjust the setting in Utility or in the MCC. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Touch Capacitive Keyboard </span></p><p class="c138"><span class="c1">A capacitive keyboard creates a sense of connectedness with the instrument that a standard keyboard cannot. When you put your finger on the keyboard, that finger becomes part of the electrical circuit of the keyboard. By changing the surface area of your finger that is in contact with the keyboard, you change the internal resistance of the keyboard. It will conduct more or less electricity depending on the position of your finger. To generate a pressure voltage, you place your finger on a key and then gradually put more of the skin of your finger on the key. With just your finger surface you can get to about 30% of the full pressure range, and adding more finger pressure with get you to a 100% value. Using the capacitive keyboard helps to define the MicroFreak as a performance instrument. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">A key in </span></p><p class="c54"><span class="c1">close-up </span></p><p class="c290"><span class="c8"></span><span class="c76">!: If the skin on your fingers is very dry the keyboard may not respond as expected. A simple test</span><span class="c62"> is to lick your fingers! If the response improves you could research more permanent solutions such </span></p><p class="c121"><span class="c62">as staying hydrated, buying a skin moisturizer, etc. But of course, never put liquids of any sort on the MicroFreak. </span></p><p class="c249"><span class="c19">61 Arturia - User Manual MicroFreak - The Keyboard Section</span></p><p class="c402"><span class="c1">When touched the keys will generate a gate, a pitch control "voltage" and a pressure control "voltage". These voltages are available in the Matrix and can be used to modulate any destination in the top row of the Matrix. They are also available at the back of the MicroFreak, where you can use them to control a modular system or an external synthesizer with voltage inputs. </span></p><p class="c334"><span class="c1">Tip: It's a good idea to clean this keyboard now and then with a soft, damp cloth. Try not to use abrasives as this might damage the keyboard. A dirty keyboard may lead to unexpected musical results. If that's what you're after you can ignore this advice. </span></p><p class="c86"><span class="c9">10.1. Another look at Gates and Triggers </span></p><p class="c57"><span class="c1">In the </span><span class="c91">Envelope chapter [p.55] </span><span class="c1">we touched briefly on the subject of gates and triggers. These also play an important role when you play the keyboard. In the MicroFreak the keyboard is the primary source of gates. </span></p><p class="c4"><span class="c1">When your finger touches the keyboard and you hold it there for a moment, you generate a gate. The gate ends when you lift your finger. When the Amp | Mod button next to the Envelope is off, the internal Amp will "listen" to what happens on the keyboard; when it detects your finger it will go high in a rather abrupt way. It is an ON/OFF thing, but there are ways to tweak that responsiveness that bring the unique character of this keyboard to light. </span></p><p class="c306"><span class="c19">Arturia - User Manual MicroFreak - The Keyboard Section 62</span></p><p class="c118"><span class="c9">10.2. Keyboard responsiveness </span></p><p class="c130"><span class="c1">There are a number of ways to fine-tune the responsiveness of the keyboard. First, there's the option to change the keyboard setting from pressure to velocity as we mentioned above. To change from Pressure to Velocity or vice-versa, go to Utiliy>Preset>Press Mode and select either Pressure or Velocity. Changing this setting will result in a different dynamic response. </span></p><p class="c15"><span class="c1">The second option is to go to Utility>Preset>Amp Mode and adjust the value of the responsiveness. The range is 0 to 10. At zero the pressure value will always be the same no matter how hard or soft you press the keys. At a value of 10 pressure has its maximum effect. Adjusting responsiveness may be necessary when you play the MicroFreak in a very damp or arid environment. </span></p><p class="c194 c239 c360"><span class="c1">A third way to maximize responsiveness is to assign the envelope sustain knob in the Matrix as a modulation target, with Press as the source. </span></p><p class="c239 c270"><span class="c1">Because our hearing is much more sensitive to pitch changes than to volume changes, it's a good idea to use pitch when making adjustments to keyboard responsiveness. </span></p><p class="c94"><span class="c1">Here’s how you go about this. Select an empty preset and in the Matrix, assign pressure to pitch with the maximum amount. Now place your finger at a 90° angle on one note’s upper side. Then, lower your finger in such a way that more and more flesh of your finger touches the key. When you cover more surface a higher pressure value will be sent, and the pitch will rise. </span></p><p class="c0"><span class="c1">If you keep your finger at 90° and start to do a hard press from there, as you would do in standard “aftertouch” fashion, you’ll never reach the max pressure value, because of the touch plate keyboard design. </span></p><p class="c312"><span class="c1">Tip: Press parameters are saved with a preset. This means you can store a different setting with each preset. If you need to change keyboard responsiveness in the middle of a set, you could create two presets with an identical sound but with the first set to velocity and press amount 5 and the second to pressure and press amount 10. </span></p><p class="c119"><span class="c34">10.2.1. Using Keyboard Responsiveness </span></p><p class="c239 c427"><span class="c1">The subtle instability of a capacitive touch keyboard makes timbre and pitch interesting modulation targets. Modulating the rise- and fall times of the Cycling Envelope can also produce impressive results. </span></p><p class="c194 c239 c360"><span class="c1">The Assign buttons on the Matrix open up a particularly fascinating range of targets. How about: </span></p><p class="c10"><span class="c1">• modulating the Oscillator type with pressure </span></p><p class="c410"><span class="c1">• modulating a combination of Wave, Timbre and Shape with pressure. When carefully applied you can achieve very abrupt and dynamic timbre changes using this modulation trick. </span></p><p class="c397"><span class="c1">• modulating Glide with pressure or velocity </span></p><p class="c73"><span class="c1">• modulating attack and decay times of the envelopes. This is probably the most "natural" way to use pressure for modulation. </span></p><p class="c221"><span class="c1">There's another thing worth knowing: </span></p><p class="c355"><span class="c1">You can use Keyboard Pressure or Velocity to control your modular setup. There's a setting in Utility that you can use to specify the output voltage generated by the keyboard: go to Utility>CV/Gate>Pressure Range. The selectable range is 0V to 10V. The keyboard voltage is available at the back of the MicroFreak at the Pressure output. You could use it to open up an external filter, modulate the speed of a sequencer, modify the damping of a resonator or whatever else is at your disposal. </span></p><p class="c287"><span class="c19">63 Arturia - User Manual MicroFreak - The Keyboard Section</span></p><p class="c120"><span class="c8"></span><span class="c76">!: Not all Eurorack modules are able to handle 10V input; some will clip the voltage when it rises</span><span class="c62"> above a certain maximum. </span></p><p class="c357"><span class="c19">Arturia - User Manual MicroFreak - The Keyboard Section 64</span></p><p class="c118"><span class="c9">10.3. Glide </span></p><p class="c99"><span class="c1">The Glide knob is technically speaking also part of the keyboard controls so we'll discuss it here. </span></p><p class="c60"><span class="c1">Glide is a musical tool that enables you to make gradual pitch changes. When you go from one key to the next on the keyboard, the pitch changes will be abrupt. Glide smoothens this transition. The amount of glide you set with the Glide knob sets the time for the pitch to glide from one note/pitch to another. The glide time is variable from "off" to about 10 seconds. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Glide knob </span></p><p class="c71"><span class="c1">You'll find glide everywhere in music: in the vocal phrases of Indian music, or the complex and refined string bending techniques of a sitar player. In Western music, this form of phrasing is called Melisma. </span></p><p class="c95"><span class="c8"></span><span class="c76">!: The Glide setting in Utility enables you to define whether the Glide knob introduces a time-based , a</span><span class="c62"> time synced or a rate-based glide effect. A time-based glide generates a glide that is fixed. A rate-based </span></p><p class="c383"><span class="c62">glide generates a glide that is relative to the rate set with the Arp/Seq rate. </span></p><p class="c105"><span class="c1">When set to Time Glide can vary from zero to 10 seconds as explained above. In Synced mode you can select how glide will sync, with sync values being: 1/32T, 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2T, 1/2 and 1/1. </span></p><p class="c194 c436 c231"><span class="c1">In Rate mode you set how fast Glide will rise or fall within an octave: at 0 MS, the change will be immediate, at 10 Ms the change will be more gradual. </span></p><p class="c15"><span class="c1">A nice trick is to modulate the amount of glide with keyboard pressure. Define Glide as a modulation target in the Matrix and pressure as the source. By carefully adjusting the amount of modulation with the matrix attenuvertor you can optimize the glide effect. </span></p><p class="c94"><span class="c1">Experiment with selecting various LFO waveforms as the modulation source. Each LFO waveform will have a different effect on the intensity and slope of the glide. Setting the LFO to Sync will ensure that each note has a different glide shape applied to it. Increasing or decreasing the LFO rate will cause the LFO to sync to varying rates of the internal clock. This will also affect the speed of the glide effect. </span></p><p class="c214"><span class="c1">Freaky tip: Glide is also a good target to modulate with the modulation tracks of the sequencer: </span></p><p class="c10"><span class="c1">• Turn on the Sequencer (Shift + Arp | Seq). </span></p><p class="c2"><span class="c1">• Select sequencer A or B. </span></p><p class="c254"><span class="c1">• Press Record and step-record a melody. At the end of your sequence, the sequencer will turn off recording automatically. </span></p><p class="c137"><span class="c1">• Now press Record again and move the glide knob wherever you want a glide effect to appear in the sequence. </span></p><p class="c185"><span class="c19">65 Arturia - User Manual MicroFreak - The Keyboard Section</span></p><p class="c118"><span class="c9">10.4. Octave Buttons </span></p><p class="c239 c283"><span class="c1">Using the OCTAVE buttons you can transpose the output of the keyboard up or down by octaves. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Octave buttons </span></p><p class="c335"><span class="c1">To be exact, the range is three octaves up and three octaves down. We've included a little nicety, that you might not notice with knowing to look for it: the rhythm with which the Octave buttons blink increases when you move further from the zero octave point. So at -3 and +3 octaves it flashes at maximum speed. Knowing this can help you to remember where you are (pitch-wise) on a poorly-lit stage. The keyboard itself is two octaves but the whole pitch range is eight octaves, which should facilitate all but the most extreme musical adventures. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: Octave shift is saved with the preset.</span><span class="c62"> </span></p><p class="c483"><span class="c9">10.5. Tutorial: modulating LFO speed </span></p><p class="c316"><span class="c1">A creative use of the keyboard is to control the rate of the LFO with a pressure voltage. The keyboard registers how much of your finger is in contact with the keyboard; more contact will result in more pressure voltage, and vice versa. </span></p><p class="c15"><span class="c1">To achieve this with the MicroFreak, define one of the Assignable destinations on the Matrix to the LFO Rate and connect the pressure output of the keyboard to this newly created patch point. </span></p><p class="c442"><span class="c19">Arturia - User Manual MicroFreak - The Keyboard Section 66</span></p><p class="c7"><span class="c18 c80">11. USING THE ICON STRIP</span><span class="c18"> </span></p><p class="c212"><span class="c1">Just above the keyboard, you'll find an area with function icons and a touch strip. </span><img><span class="c1">The icon strip </span></p><p class="c144"><span class="c1">The function icons on the left allow you to control the workings of the </span><span class="c91">Arpeggiator [p.71] </span><span class="c1">and the </span><span class="c91">Sequencer [p.76]</span><span class="c1">. We'll cover those in other chapters. In the remainder of this chapter, we'll discuss the Hold button and the icons on the right side of the Icon strip: Spice, Dice, and Bend. Lastly, we'll talk about the touch strip and how it can be used to spice up your sound. </span></p><p class="c86"><span class="c9">11.1. The Key Hold Button </span></p><p class="c145"><span class="c1">The Key Hold button will lock a key or a chord, enabling you to tweak the buttons on the MicroFreak with both hands. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: The HOLD state is not saved with the preset.</span><span class="c62"> </span></p><p class="c434"><img></p><p class="c33"><span class="c1">The Hold Icon </span></p><p class="c248 c239"><span class="c1">Pressing it once activates Key Hold. Whatever keys you hold down on the keyboard will remain active, even after you lift your fingers. When Key Hold is active, additional notes you play will be added to the keys/chord currently playing. </span></p><p class="c94"><span class="c1">In Arp mode, pressing Hold enables you to press some keys and have the arpeggiated notes play until either Arp mode is turned off or the Key Hold button is disabled. Playing new keys will turn off currently playing notes and replace them with the new notes you play. </span></p><p class="c96"><span class="c8"></span><span class="c76">!: Hold does not work with external MIDI. If you need to hold external MIDI note(s), send the</span><span class="c62"> MicroFreak a Sustain message. </span></p><p class="c508 c518"><span class="c1">In Sequencer mode, Hold has several functions. </span></p><p class="c382"><img></p><p class="c33"><span class="c1">The alternative functions </span></p><p class="c54"><span class="c1">of the Hold Icon </span></p><p class="c372"><span class="c19">67 Arturia - User Manual MicroFreak - Using the Icon Strip</span></p><p class="c459 c526"><span class="c1">• In Step-record mode, it adds a tie or silence. </span></p><p class="c2"><span class="c1">• In Real-time recording mode, it clears the content in real time. </span></p><p class="c462"><span class="c1">• Used in combination with the Seq Mod or A or B button it becomes a “Clear Seq Mod” or “Clear Sequence” button. </span></p><p class="c349"><span class="c1">• When the sequencer is disabled, it resumes its regular Key Hold function. </span></p><p class="c340"><span class="c1">Tip: In addition to creating exciting arpeggios, Key Hold is a great tool when building a generative, self-evolving patch. A self-evolving preset is one that continually changes timbre or pitch in an automated way without the use of a sequencer: for example, by modulating pitch with several sources simultaneously, such as the LFO and the Cycling Envelope. If the LFO and Cycling Envelope each have an independent Rate, the resulting pitch will never be the same. </span></p><p class="c86"><span class="c9">11.2. Sequencer and Arpeggiator </span></p><p class="c366 c365 c367"><span class="c1">Next to the Hold icon you'll see four buttons: Up | A, Order | B, Random | 0, and Pattern | >. These offer extensive Arpeggiator and Sequencer functionality. </span></p><p class="c22"><img></p><p class="c474"><span class="c1">Arpeggio and Sequencer control Icons </span></p><p class="c146"><span class="c1">We've devoted separate chapters to these buttons to do them justice. Please refer to </span><span class="c91">the Arpeggiator [p.71] </span><span class="c1">and </span><span class="c91">the Sequencer [p.76] </span><span class="c1">chapters for more details. </span></p><p class="c359"><span class="c19">Arturia - User Manual MicroFreak - Using the Icon Strip 68</span></p><p class="c118"><span class="c9">11.3. The Touch strip </span></p><p class="c233 c366"><span class="c1">There are three functions on the touch strip. By pressing the corresponding icon, you select either Spice & Dice or Bend. </span></p><p class="c22"><img></p><p class="c390"><span class="c1">Spice & Dice and Bend </span></p><p class="c273"><span class="c34">11.3.1. Spice & Dice </span></p><p class="c116"><span class="c1">Spice & Dice are inseparable twins. You can't use one without the other. </span></p><p class="c304"><span class="c1">You can have a lot of fun with Spice & Dice without understanding how they work. </span></p><p class="c173"><span class="c1">Dice acts on the gates and triggers of the currently playing Arpeggio or Sequence. It randomizes all aspects of these targets and changes the distance between two triggers. It also shortens or lengthens gates or leaves them out. </span></p><p class="c194 c239 c360"><span class="c1">You change these values by clicking on the icon and touching the touch strip. You can do this dynamically by tapping various positions on the touch strip. </span></p><p class="c104"><span class="c1">How do you apply them? </span></p><p class="c339 c239"><span class="c1">With Dice and the touch strip, you set the amount of randomness that will be applied to the currently playing Arpeggio or Sequence. Zero on the touch strip equals no effect; maximum on the touch strip equals maximum randomness. </span></p><p class="c90"><span class="c1">You'll hear nothing yet; you need to add Spice to make the Dice setting take effect. To add spice click on the Spice icon and slide your finger to the right on the touch strip. The more Spice you add, the more result you'll hear when you go back to "throwing" the Dice. Here again, you can apply the effect dynamically by tapping different places on the touch strip. You can also do this the other way around: set an amount of Spice, then select Dice and "roll" it by tapping on the touch strip. Repeatedly tapping on different positions will change the kind of variation applied to the triggers but with the constant intensity that you set with Spice. </span></p><p class="c231 c238"><span class="c1">In short: Spice & Dice are to triggers and gates what Pattern does to pitches. Where pattern randomizes the pitches of your chord, Spice & Dice will randomize its gates and triggers. Together they can change a sequence or an arpeggio beyond recognition. </span></p><p class="c113"><span class="c8 c97"></span><span class="c76">!: For the more technically-inclined readers we'll add a more in-depth explanation:</span><span class="c62"> </span></p><p class="c239 c204 c515"><span class="c1">Spice & Dice change the Status of a Sequence or Arpeggio. We'll use a sequence to illustrate this. All steps in a sequence have a gate length. The default length of these gates will depend on what you have set in Utility. </span></p><p class="c15"><span class="c1">The default gate length is 45, which is about in the middle between 0 and 100. A step with a length of 0 is silent; a step with a length of 100 is a tie (i.e, it will proceed to the next step without a noticeable pause). Anything in between has a gate length percentage. We call this string of gate lengths the Status. In a new sequence, all steps will have the default gate length. </span></p><p class="c232"><span class="c19">69 Arturia - User Manual MicroFreak - Using the Icon Strip</span></p><p class="c140"><span class="c1">Increasing Spice will introduce a deviation from the default gate length. At maximum Spice, the gate lengths correspond to what is currently defined in the Status. In between, the gate lengths linearly morph from the default gate length to the current Status value. </span></p><p class="c4"><span class="c1">When Dice is active (the icon is lit) pressing the touch strip will modify the Status. Every time your finger touches the strip a new value (bipolar) is added to the gate length of each step. Because the value is bipolar some gates will become shorter and some longer. The actual change introduced will depend on where you touch the strip. Pressing close to the left side will apply a slight modification to each step. Touching the strip close to the right side will completely reshuffle the Status. </span></p><p class="c4"><span class="c1">When releasing the finger, the last gate length sequence that was heard (which was a sum of Status and the Dice effect) now becomes the new Status, which will - in turn - be modified when you roll the Dice again. </span></p><p class="c371"><span class="c8"></span><span class="c76">!: Spice & Dice settings are not saved with a preset; they are intended to spice up your live playing.</span><span class="c62"> What they generate is unique and can never be repeated. Unless of course....you remember to record </span></p><p class="c256"><span class="c62">your playing into a DAW. </span></p><p class="c362"><span class="c34">11.3.2. Bend </span></p><p class="c368 c446"><span class="c1">Bending is a technique where you bend the pitch of a note up-or downward. Press the Bend icon to enable Bend. </span></p><p class="c22"><img></p><p class="c178"><span class="c1">The Bend Strip </span></p><p class="c239 c360 c503"><span class="c1">The Bend strip is where you perform your pitch bending tricks. The middle of the strip is the neutral point; if you touch the strip there nothing will happen. If you move your finger to the right or left, you will hear the pitch go up and down. So far it's not much different from bending with a wheel. Unlike with a wheel, you can place your finger directly on another point of the strip. The pitch will then jump instantly to that pitch. </span></p><p class="c4"><span class="c1">Another thing that makes the MicroFreak unique is that you can specify how the Bend strip will react to your touch. When in standard mode (which is the default) the bend strip will behave as described above. In relative mode it doesnot matter where you touch the strip, your movement will be added or subtracted from the current pitch. To activate relative mode go to Utility>Misc>Relative bend and set it to ON. </span></p><p class="c239 c247"><span class="c1">Tip: On the strip you'll see six double-ues tilted 90 degrees. They will help you to create more accurate pitch bends. </span></p><p class="c46"><span class="c1">By default the bend range is set to 24 chromatic steps: twelve from the center to the left and twelve from the center to the right. In Utility or the MCC you can set the range to other distances, with a maximum of 48 steps (= four octaves). Select Utility>Preset>Bend to change the default range. </span></p><p class="c4"><span class="c1">Tapping the strip enables you to alternate between two pitches quickly. It's a playing technique only possible on bend strips. It makes a pitch bend wheel look primitive. When you lift your finger the pitch will drift back to the neutral point in the middle. Another advantage of the strip is that is ideal for applying natural sounding vibrato to a pitch by wiggling your finger on the strip. </span></p><p class="c239 c323"><span class="c1">Tip: Musical traditions other then western music have a much richer tradition when it comes to pitch bending. Try listening to some Indian music. Maybe you'll come to appreciate the complex and very musical pitch bending techniques used by singers and performers on instruments like the sarod and the sitar. </span></p><p class="c289"><span class="c19">Arturia - User Manual MicroFreak - Using the Icon Strip 70</span></p><p class="c7"><span class="c18 c80">12. THE ARPEGGIATOR</span><span class="c18"> </span></p><p class="c464 c239 c360"><span class="c1">An Arpeggiator breaks up a chord into individual notes: play a chord on the keyboard, and the arpeggiator will play them back one by one. </span></p><p class="c310"><span class="c1">To activate the Arpeggiator press the Arp | Seq button. It lights up in white to show it's active in Arpeggio mode. The button acts as a toggle switch; when you press it a second time you turn the Arpeggiator off. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Arpeggiator </span></p><p class="c146"><span class="c1">A fun way to start the Arpeggiator is to press and hold a chord after pressing the Hold icon. When you now activate the Arpeggiator, it will kick in and arpeggiate that chord. </span></p><p class="c360 c431"><span class="c1">Just above the keyboard you'll find four icons; Up, Order, Random, and Pattern. These are used to select how the Arpeggiator will play the chord you're playing on the keyboard. </span></p><p class="c22"><img></p><p class="c474"><span class="c1">The Arpeggiator pattern icons </span></p><p class="c495"><span class="c1">• Up will play the notes of your chord from left to right or bottom to top, depending on your point of view. The order in which you press the keys does not matter. The arpeggiator will always play the individual notes from left to right. </span></p><p class="c114"><span class="c1">• Order will play the notes of your chord in the exact order you played them. You can use this to good effect by repeatedly playing the same chord but changing the order in which your fingers touch the keyboard. </span></p><p class="c10"><span class="c1">• Random will play the notes of your chord in random order. </span></p><p class="c253"><span class="c9">12.1. Using Patterns </span></p><p class="c211"><span class="c1">Click Pattern to put the Arpeggiator in a semi-random mode. Keys you press in a legato fashion on the keyboard are used by the Pattern algorithm to generate arpeggio patterns. Each time you press a key the MicroFreak will generate a new pattern. It's a bit like having a third sequencer. </span></p><p class="c255"><span class="c19">71 Arturia - User Manual MicroFreak - The Arpeggiator</span></p><p class="c230"><span class="c1">You have some control over the patterns that are generated: </span></p><p class="c207"><span class="c1">• The pattern algorithm picks notes within the available octaves as defined by the Oct | Mod button; press this button a few times to select the arpeggio range. </span></p><p class="c296"><span class="c1">• The lowest note you play on the keyboard will appear twice as often in the sequence as the second and higher notes of the chord you play. In other words, the root note of the chord is emphasized. </span></p><p class="c110"><span class="c1">• The length of the arpeggio generated by the Pattern algorithm can be set in the preset utility parameters: Utility>Preset>Seq length. The length you set here will also define the length of the Sequencer and the Spice & Dice mode. The default length is 16. The minimum length is 4, the maximum lenght 64. </span></p><p class="c15"><span class="c1">When you find a particularly interesting pattern, press the Hold button and refrain from touching the keyboard; if you were to touch the keyboard again the Pattern algorithm would create a new Pattern, replacing your current pattern. You also have the option to turn your pattern into a sequence; refer to the paragraph below for details. </span></p><p class="c0"><span class="c1">Pressing the Hold button while the arpeggio is playing will allow you to lift your fingers from the keyboard. The arpeggio will continue, and you'll have an extra hand to tweak knobs. Deactivate Hold to clear the pattern. </span></p><p class="c119"><span class="c34">12.1.1. Creating Pattern Variations </span></p><p class="c239 c336 c437"><span class="c1">It easy to create variations on a pattern; just add or remove a finger. Every time you do this a new random pattern will be generated. </span></p><p class="c95"><span class="c8"></span><span class="c76">!: You can't save these patterns with the Preset. They are a performance feature. Once you lift your</span><span class="c62"> fingers from the keyboard the pattern is gone forever. </span></p><p class="c156"><span class="c34">12.1.2. Transferring Arpeggios to the Sequencer </span></p><p class="c239 c354"><span class="c1">Arpeggios are great for discovering melodic grooves that work. The MicroFreak has a nifty feature that enables you to transfer an Arpeggio pattern to a sequencer. It works like this: </span></p><p class="c10"><span class="c1">• Press the Arp | Seq button to activate the arpeggiator </span></p><p class="c92"><span class="c1">• Experiment until you find an arpeggio you like (this works in Paraphonic mode too!) </span></p><p class="c452"><span class="c1">• Press Shift + Up|A or Order|B to transfer the Arpeggio to one of the two sequencers </span></p><p class="c441"><span class="c1">• Press Shift Arp | Seq to activate the sequencer, select the sequencer you selected in previous step, and press play to hear the Arpeggio, now turned sequence. </span></p><p class="c86"><span class="c9">12.2. Gates and Triggers revisited </span></p><p class="c130 c231"><span class="c1">Each time you press a key you generate a gate. The gate stays high for as long as you hold the keys. The Arpeggiator and the Sequencer generate gates. For you to hear this the Amp|Mod button next to the Envelope generator must be OFF. If it were on, the gates of the Arpeggiator/Sequencer would trigger the Envelope, which would then take over and instruct the internal amplifier how to amplify the sound. </span></p><p class="c0"><span class="c1">In its OFF position the Arpeggiator/Sequencer creates the gates. You can set the length of these gates in Utility: Utlity>Preset>Default gate length. To hear the effect of setting the gate length, turn the Amp | Mod button off, hold down a chord, and tweak the gate length setting in Utility. </span></p><p class="c496"><span class="c19">Arturia - User Manual MicroFreak - The Arpeggiator 72</span></p><p class="c118"><span class="c9">12.3. Arpeggio Rate </span></p><p class="c353 c239"><span class="c1">The Rate knob determines the speed of your arpeggios. When the Sync LED is "Off", Rate changes are displayed as BPM (Beats Per Minute). The default rate is 120.0 bpm. In this mode the Arpeggiator will operate independently from the internal clock or an external clock source. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Arpeggiator and the Rate knob </span></p><p class="c71"><span class="c1">When Sync is "ON", the Arpeggiator will sync to the internal clock, and the Rate values are shown as divisions from this clock. While moving the Rate knob keep an eye on the OLED display: it will display the tempo value in tempo divisions. The Division Rate tells you how the arpeggiator is currently synced to the clock. For example, if it reads 1/2 (one over two), it will play a note with a length of two beats. If the display reads 1/4 the Arpeggiator plays quarter notes (four notes per measure). It's useful to remember this, because this way of syncing is the same for an arpeggio and the sequences. The available time divisions are listed below: </span></p><p class="c10"><span class="c1">• 1 whole note </span></p><p class="c53"><span class="c1">• ½ note </span></p><p class="c53"><span class="c1">• ½ note triplet </span></p><p class="c53"><span class="c1">• ¼ note </span></p><p class="c53"><span class="c1">• ¼ note triplet </span></p><p class="c53"><span class="c1">• 1/8 note </span></p><p class="c53"><span class="c1">• 1/8 note triplet </span></p><p class="c53"><span class="c1">• 1/16 note </span></p><p class="c53"><span class="c1">• 1/16 note triplet </span></p><p class="c53"><span class="c1">• 1/32 note </span></p><p class="c53"><span class="c1">• 1/32 note triplet </span></p><p class="c333"><span class="c8 c97"></span><span class="c76">!: 1/4th corresponds to a standard metronome tick.</span><span class="c62"> </span></p><p class="c299"><span class="c34">12.3.1. Using Sync </span></p><p class="c58"><span class="c1">Of all the skills you can master in music, mastering sync is one of the most important. Sync is what happens when two or more units (effects, oscillators, filters, voices) synchronize their rhythms to each other. Sync is also how we humans link to the flow of music. If you want to capture the attention of your listeners you have to understand how to make captivating sync patterns. </span></p><p class="c523"><span class="c19">73 Arturia - User Manual MicroFreak - The Arpeggiator</span></p><p class="c183"><span class="c1">The MicroFreak can sync to your DAW or external synth in different ways: its Rate dial allows you to sync proportionally; at double speed, at half-speed, or somewhere in between. The MicroFreak has two modules that can be synced: the LFO and the Sequencer. In synced mode, you can use them to create accents or rhythmic shifts. </span></p><p class="c86"><span class="c9">12.4. Making it Swing </span></p><p class="c57"><span class="c1">Hold SHIFT and turn the Rate encoder to set a Swing amount. If you've listened to music before (it's unlikely you haven't) you have heard swing. It's when musicians play just before or after the beat. This is often used in Jazz and South American music. It awakens an emotion of freedom, of not being forced into a fixed rhythm. It is particularly effective when you mix "straight" notes with "swung" notes. To activate Swing, hold the blue SHIFT button and press Rate. The swing range goes from 50% - 75%. By default, it is 50%. </span></p><p class="c86"><span class="c9">12.5. Arpeggio Range </span></p><p class="c57"><span class="c1">By default the Arpeggiator will play the notes you hold down and stay within the limits of an octave. The Oct | Mod button will extend the notes beyond that range. By changing the octave range, the Arpeggiator will also play notes in the octaves above or below the chord you play. Press the Oct | Mod button to change the Range. </span></p><p class="c22"><img></p><p class="c33"><span class="c1">The Arpeggiator and range </span></p><p class="c294"><span class="c1">Octave range settings: </span></p><p class="c53"><span class="c1">• "1" only notes held down on the keyboard are played </span></p><p class="c53"><span class="c1">• "2" held down notes plus the same notes repeated one octave above. </span></p><p class="c53"><span class="c1">• "3" held down notes plus the same notes repeated two octaves above. </span></p><p class="c432"><span class="c1">• "4" held down notes plus the same notes repeated three octaves above. </span></p><p class="c239 c360 c486"><span class="c1">The Arpeggiator has another Freaky feature that becomes appearent when you press the Octave Up or Down button (to the left of the Shift button) while playing an arpeggio. On most arpeggiators pressing the octave down or up button will transpose all currently held notes in the arpeggio an octave down or up. The MicroFreak Arpeggiator will keep the pitch of your arpeggio intact. If you change the octave down or up the new notes you play will be added to the arpeggio in the new octave range. </span></p><p class="c241"><span class="c19">Arturia - User Manual MicroFreak - The Arpeggiator 74</span></p><p class="c118"><span class="c9">12.6. Arpeggiator fun </span></p><p class="c57"><span class="c1">It's possible to use the arpeggiator as a modulation source. However, the effect will be subtle; you'll have to set the modulation amount reasonably high for the modulation to have an impact. It will help to extend the range of the arpeggiation before applying its modulation to destinations on the matrix. Combining it to modulate two destinations will work even better. An example: </span></p><p class="c10"><span class="c1">• Set oscillator type to PI.Waveshaper </span></p><p class="c2"><span class="c1">• Activate the envelope generator by pressing Amp | Mod </span></p><p class="c526 c531"><span class="c1">• Set Attack to 0 ms, Decay to 100 ms, Sustain to 30% and Filter Amt to max • In the Key|Arp row on the Matrix link Assign1 to glide with modulation amount to about 0.2 </span></p><p class="c74"><span class="c1">• Set glide to anywhere between 1/32 and 1/16 </span></p><p class="c2"><span class="c1">• Link Assign2 to the envelope attack with mod amount 10 </span></p><p class="c92"><span class="c1">• Press the Pattern icon to create a new arpeggio pattern every time you lift a finger from the keyboard. </span></p><p class="c238"><span class="c1">To make your pattern even more interesting, press the Spice icon and set the amount of Spice with the touch strip. Then press the Dice icon and touch the touch strip to roll the Dice. This will apply a varying amount of glide to the arpeggio and slow down the attack when the arpeggiator is in the top octaves. </span></p><p class="c135"><span class="c1">Tip: An (external) delay is an arpeggiator's best friend. </span></p><p class="c151"><span class="c34">12.6.1. Spicing up your Arpeggios </span></p><p class="c361"><span class="c1">Use the Bend strip to change the pitch of your arpeggio. </span></p><p class="c493"><span class="c8"></span><span class="c76">!: If you need strong pitch variation you might want to change the default bend range in Utility</span><span class="c62"> (Utility>Preset>Bend range) or in the MCC. If you set it to 12, you can control the pitch of your arpeggio </span></p><p class="c417"><span class="c62">within an octave range by tapping on the Bend strip. For this to work Relative Bend must be OFF. You can check this in Utility>Misc>Relative bend>OFF. </span></p><p class="c239 c336 c525"><span class="c1">Freaky idea: One of the most overlooked applications of an arpeggiator is merely playing one note instead of a chord. When you set the Arpeggio to medium speed, you can create rhythms by rhythmically lifting and replacing your finger on the keyboard. You can take this idea further to create Hoketus. Hoketus is the name for a technique where you repeat one note over and over and never change its pitch, but you do change all the other parameters of the note: its timbre (LFO->Filter Cutoff), the Attack, Sustain and Decay stages of the note and its volume (keyboard pressure). </span></p><p class="c219"><span class="c1">Another Freaky idea: You can also change the pitch using a tiny amount of pitch modulation from an LFO or the Cycling Envelope generator. You then emulate a monochord, a medieval instrument which has 30 or more strings all tuned to the same pitch but with now and then a string tuned one pitch above or below the base pitch. </span></p><p class="c490"><span class="c19">75 Arturia - User Manual MicroFreak - The Arpeggiator</span></p></body></html>