In addition to lead synthesizer sounds, START and STOP controls can be used to simulate attack, decay, and harmonic content of acoustic instruments. 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, though the filter will provide emphasis of that particular frequency band. STOP FREQUENCY - Determines the frequency at which the filter sweep ends. START FREQUENCY - Determines the frequency at which the filter sweep begins. Higher settings will produce a more emphasized filter sound and also add a slight boost to the signal. RESONANCE - Affects the degree of sharpness, or “Q” of the filter. The final four controls comprise the FILTER SWEEP section. It is recommended that you synchronize your playing to the speed setting of the ATTACK DELAY. Different delay times contribute greatly to the characteristic sounds of various instruments. Higher-numbered settings can completely remove the initial attack of the instrument.
#Electro harmonix microsynth full
In all other respects it operates in a similar fashion to a standard distortion device.ĪTTACK DELAY - Determines the time required for the voice signals to reach full volume. Intensity of this voice is also determined by instrument attack or volume. SQUARE WAVE - Controls the output volume of the Square wave. This voice contains a small amount of harmonic distortion for added richness of tone. OCTAVE - Controls the output volume of the Octave. The Sub-Octave effect only tracks single notes. SUB OCTAVE - Controls the output volume of the Sub-Octave. GUITAR - Controls the output volume of the input signal through the filter. Please note the following voice characteristics: Each voice is completely independent and can be mixed with the others in any degree. The next four controls of the Micro Synth comprise the VOICE MIXING section: GUITAR, SUB-OCTAVE (one octave below), OCTAVE (one octave above), SQUARE WAVE. It is best to set the TRIGGER at exactly the sensitivity needed for your playing. This is especially true if full chords are played. If the TRIGGER is set too high, the filter may “stutter” due to multiple triggering. TRIGGER - Determines the input volume at which the filter circuits will “turn on.” It does not affect any other circuitry. When the Status LED is off, the Micro Synth is in True Bypass mode. When the Status LED is lit, the Micro Synthesizer is in effect mode. In all cases, high-numbered control settings increase the level of the given effect.įOOTSWITCH and Status LED - The Footswitch selects either effect mode or True Bypass. OPERATION: The Micro Synth’s controls operate as described below. Please do not touch any other components when the bottom plate is removed or you risk damaging the circuit board or the components. Turning it counter-clockwise will decrease preamp gain. Turning the trim pot clockwise will increase the preamp gain.
Look for the small trim pot in the lower left corner of the circuit board, it is labeled TRIM1 GAIN TRIM.
To access the preamp gain adjustment, remove the bottom plate from the Micro Synth. A screwdriver or alignment tool with a tip width of no more than 1/16” is required. If you will be using another instrument with higher or lower output, it may be necessary to readjust this setting.
PREAMP GAIN ADJUSTMENT: The preamp gain in the Micro Synth has been set at the factory for use with a guitar equipped with single-coil pickups. When combined, these controls offer the user a creative capability that is virtually limitless. In addition, a sophisticated swept filter control allows highly variable frequency adjustments to be applied to the overall output signal. The MICRO SYNTH can modify these signals with envelope control for a variety of “bowed” or “blown” sounds. Its four voices: GUITAR, OCTAVE, SUB OCTAVE AND SQUARE WAVE are completely independent and fully mixable. The Micro Synth can create some of the most popular synthesizer textures at a fraction of the cost for such capabilities. Compact ten-slider layout lets the sonically adventurous guitarist dial in a virtually limitless array of analog synthesizer sounds: from percussive stabs to backwards-sounding bowed effects. From the classic vintage sounds of the great early Moog synthesizer to custom creations, the Microsynth creates fat analog synth sounds heard on classic recordings by some of the finest musicians in the world.
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