Electro Harmonix Microsynth manual

Electro Harmonix Microsynth
9.2 · 1
PDF manual
 · 2 pages
English
manualElectro Harmonix Microsynth
OPERATING INSTRUCTIONS —
Congratulations on your purchase of the Electro-Harmonix Micro Synthesizer! You have purchased a
very powerful tool for musical expression. Please take a few minutes to familiarize yourself with the
Micro Synthesizer’s controls and how they work.
The
Micro Synthesizer can create many of the most popular analog lead synthesizer voicings at a
fraction of the normal cost for such capabilities. Its four voices: GUITAR, OCTAVE, SUB-OCTAVE, and
SQUARE WAVE are completely independent and fully mixable. The MICRO SYNTHESIZER can modify
these signals with envelope control for a variety of “bowed” or “blown” sounds. In addition, a
sophisticated swept filter control allows highly variable frequency adjustments to be made to the
signal. When combined, these controls offer the user a creative capability that is virtually limitless.
POWER ADAPTOR: Your unit comes equipped with a 24 volt/100 mA tip-positive, external power
supply (European models come equipped with a 24V DC/30 mA tip positive adaptor). USE ONLY THE
POWER ADAPTOR SUPPLIED. Using the wrong adaptor can cause serious bodily injury. Using the
wrong adaptor may also damage your unit and will void your warranty.
PREAMP GAIN ADJUSTMENT: The preamp gain in the Micro Synthesizer has been set at the factory
for use with a guitar equipped with single-coil pickups. If you will be using another instrument with
higher or lower output, it may be necessary to readjust this setting. For this purpose, an access port
has been provided in the upper right hand corner of the case bottom. A screwdriver or alignment
tool with a tip width of no more than 1/16" is required. Plug the AC power adaptor (supplied) into the
MICRO SYNTHESIZER and then into a power outlet. Make sure the power switch on the unit is in
the “on” position. Set the GUITAR slider control to 10, the STOP FREQ slider control to 5, and all
other controls to minimum. Insert the screwdriver through the access port until it seats firmly in the
trim control inside the unit. Play your instrument with hard strokes. If the output signal distorts,
turn the trim control counterclockwise until the distortion stops. If there is no distortion, tune the
trim control clockwise until distortion occurs, and then back off slightly. This adjustment can be
made in effect or bypass mode.
OPERATION: The Micro Synthesizer’s controls operate as described below. In all cases,
high-numbered control settings increase the level of the given effect.
FOOTSWITCH Selects either the effect signal or the unaltered guitar signal.
This unaltered signal may be boosted slightly depending on the gain trim
control adjustment described above.
TRIGGER Determines the input volume at which the filter circuits will
“turn on”. It does not affect any other circuitry. If the TRIGGER is set too high,
the filter may “stutter” due to multiple triggering. This is especially true if
full chords are played. It is best to set the TRIGGER at exactly the sensitivity
needed for your playing. This allows the further possibility of playing
synthesizer-type leads with filtering against softer, unfiltered chords.
The next five controls of the Micro Synthesizer comprise the VOICE MIXING section: GUITAR,
SUB-OCTAVE (one octave below), OCTAVE (one octave above), SQUARE WAVE, and ATTACK DELAY. Each
voice is completely independent and can be mixed with the others in any degree. Please note the
following voice characteristics:
GUITAR This is the dry instrument input signal.
SUB OCTAVE Only tracks single notes.
OCTAVE Only tracks single notes. This voice contains a small amount of
harmonic distortion for added richness of tone.
SQUARE WAVE Intensity of this voice is also determined by instrument
attack or volume. In all other respects it operates in a similar fashion to
a standard distortion device.
ATTACK DELAY Determines the time required for the voice signals to reach
full volume. Higher-numbered settings can completely remove the initial attack
of the instrument. Different delay times contribute greatly to the characteristic
sounds of various instruments. It is recommended that you synchronize your
playing to the speed setting of the ATTACK DELAY.
The final five controls comprise the FILTER SWEEP section.
RESONANCE – Affects the degree of sharpness, or “Q” of the filter. Higher
settings cover a greater frequency range and also add a slight boost to the signal.
START FREQUENCY Determines the frequency at which the filter sweep begins.
STOP FREQUENCY Determines the frequency at which the filter sweep ends.
This is also the “resting frequency” of the filter, and if START and STOP controls
are set at the same level no sweep will occur, but the filter will provide emphasis
of that particular frequency band. In addition to lead synthesizer sounds,
START and STOP controls can be used to simulate attack, decay, and harmonic
content of acoustic instruments.
RATE Determines the speed at which the filter sweeps from START FREQUENCY
to STOP FREQUENCY. It is recommended that RATE be synchronized with your
playing speed.
SOUND TEMPLATES The sample settings included with these instructions will help you
get familiar with your MICRO SYNTHESIZER and its controls. Once you‘ve tried all the
sample settings, feel free to experiment and develop your own unique palette of sounds.
You can record your new settings in the blank templates provided.

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