@ -89,14 +89,16 @@ To select items in the menu, the preset encoder must be turned. On the right sid
If you want to leave a menu point or change to a higher menu, the volume encoder must be operated.
__Hint__:
You can translate MD with different options and accordingly some features may or may not be available. This also depends on what kind of microcontroller you use. In this manual the standard options are used. These are:
---
> __Hint__:
> You can translate MD with different options and accordingly some features may or may not be available. This also depends on what kind of microcontroller you use. In > this manual the standard options are used. These are:
If you use the *dual-timbral* engine, in many menus a small <imgsrc="../../images/LCD_characters_green/small_2_inv.png"width="12"/> will appear (right of the <imgsrc="../../images/LCD_characters_green/small_1_inv.png"width="12"/>) instead of the key. To switch between the two engines and change their parameters, simply press the preset encoder.
### Sound/Bank selection
@ -141,6 +143,11 @@ The place in the stereo image can be adjusted here (MIDI-CC 10)
MD comes with some effects. Basically, each MD instance has its own resonant low-pass filter, (mono) Chorus and a separate (mono) delay (max. 250/500 ms). This is followed by the placement in the stereo image (see panorama) and a stereo reverb. A complete picture of the generation of the audio signal is stored in the [Repository](https://codeberg.org/dcoredump/MicroDexed/src/branch/master/doc/MicroDexed-Audio-FlowChart.png).
---
> __Note on effects menu:__
> It is possible to deactivate the effects at compile time. If this was done, then no effects menu is available!
---
###### (Mono-)Chorus
A simple chorus created on the mix of the original signal and a pitch-modulated original signal. The effect is only audible when frequncy, depth and level are all somehow greater than 0.
@ -160,22 +167,22 @@ Parameter:
* Feedback (0-100)
* Level (0-100)
Dedicated MIDI controller numbers:
* Time: MIDI-CC 105
* Feedback: MIDI-CC 106
* Level: MIDI-CC 107
> Dedicated MIDI controller numbers:
> * Time: MIDI-CC 105
> * Feedback: MIDI-CC 106
> * Level: MIDI-CC 107
###### Filter
The filter is a resonant 4-pole low-pass filter.
Parameter:
* Cutoff
* Resonance
* Cutoff (0-100)
* Resonance (0-100)
Dedicated MIDI controller numbers:
* Cutoff: MIDI-CC 104
* Resonance: MIDI-CC 103
> Dedicated MIDI controller numbers:
> * Cutoff: MIDI-CC 104
> * Resonance: MIDI-CC 103
###### (Stereo) Reverb (Master effect)
@ -187,8 +194,8 @@ Parameter:
* Level (0-100)
* Reverb Send (0-100)
Dedicated MIDI controller numbers:
* Level: MIDI-CC 91
> Dedicated MIDI controller numbers:
> * Level: MIDI-CC 91
###### EQ (Master effect)
@ -200,31 +207,50 @@ Parameter:
##### Controller
The controller section is responsible for the settings of the different midi controllers.
The controller section is responsible for the settings of the different MIDI controllers.
###### Pitchbend
The pitchbend influences the pitch enhancement. The range specifies the maximum number of half notes by which the pitch is changed when the pitchbend wheel is activated (0=off). Step specifies the number of steps to reach the target pitch, where 0 means a smooth, almost inaudible change.
The pitch of the note can be raised or lowered using the Pitch Bend control (Usually a dedicated wheel or joysitck on a master keyboard). The range can be set up to 1octave on both directions (up/down). *Range* setting defines the highest possible variation: from one semitone to a full octave.
*Steps* define if the control is continuous (step = 0) or by discrete values (steps) of 1, 2 ... 12 semitones.
Parameter:
* Range (0-12)
* Step (0-12)
###### Other controllers (Modulation wheel/Aftertouch/Foot contoller/Breath controller)
The other MIDI controllers all have the same modification possibilities. The allocation of modulation can affect different destinations: PITCH (pitch envelope), AMP (loudness envelope), EG (TBD: What is a good explanation of this?). It is possible to specify targets or any combination of targets but to be able to hear an effect, the voice must be configured accordingly.
###### Other controllers (Modulation-Wheel/Aftertouch/Foot-Contoller/Breath-Controller)
The other MIDI controllers all have the same modification possibilities. The allocation of modulation can affect different destinations: PITCH (pitch envelope), AMP (loudness envelope), EG (see note below). It is possible to specify targets or any combination of targets but to be able to hear an effect, the voice must be configured accordingly.
Parameter:
* Range (0-99)
* Assign (NONE/PITCH/AMP/EG)
* Assign (PITCH/AMP/EG or any combination)
* Mode (LINEAR/REVERSE LINEAR/DIRECT)
Dedicated MIDI controller numbers:
* Modulation wheel: MIDI-CC 1
* Aftertouch: -
* Foot contoller: MIDI-CC 4
* Breath controller: MIDI-CC 2
> Dedicated MIDI controller numbers:
> * Modulation wheel: MIDI-CC 1
> * Foot contoller: MIDI-CC 4
> * Breath controller: MIDI-CC 2
---
> __Note on target EG:__
>
> When a controller is routed to EG (aka EG Bias), the *Range* value will define how much the controller will affect each operators output level (depending on a parameter which is internal to the sound engine’s preset, this will have a different effect, and on many cases, no effect at all).
>
> On MD, this internal parameter is called AMD (for *A*mplitude *M*odulation *D*epth) and the controller routed to EG will only have an effect on the operators when their individual *AMD* is set to a value greater than 0.
>
> If those operators are carriers, the controller routed to EG will control the overall volume of the sound.
>
> If those operators are modulators, the controller routed to EG will affect the modulation indexes, which have an effect on the harmonic content of the sound (the higher the modulators level, the richer the harmonics, leading to a brighter sound).
>
> If carriers and modulators have an *AMD* setting with a value greater than 0, then the controller routed to EG will affect, at the same time, volume and brightness of the sound.
>
> If, inside the voice-preset, *AMD* is set to 0 for all operators, then the controller will have no effect.
>
> 
>
>> Note on changing *AMD*: You can easily change all voice parameters by using an external MIDI-SYSEX editor (see Appendix).
---
##### MIDI
In this menu everything concerning MIDI control is set.
@ -247,20 +273,52 @@ The setup menu contains all other parameters that are necessary for this voice.
##### Portamento
TBD
Portamento allows the pitch to slide continuously from one note to the next one.
Parameters:
* Mode (FINGERED/FULL)
* Glissando (ON/OFF)
* Time (0-99)
Dedicated MIDI controller numbers:
* Portamento On-Off: MIDI-CC 65
> Dedicated MIDI controller numbers:
> * Portamento On-Off: MIDI-CC 65
---
> __Note on portamento:__
>
> Each musical instrument has a specific way to produce notes. Some have frets, keys, pistons and will produce discrete notes inside a scale… In european temperament, those notes are usually a chromatic scale (C, C#, D, D#, ...).
>
> On these instruments, it is uneasy, or even impossible, to produce a note between those. The pitch will then abruptly switch from one note to another, it will only vary by steps, and no intermediate pitch will be produced.
>
> On other instruments, such as violin or trombone, the pitch of the note can vary continuously, depending on the exact position of the finger on a string, or the length or the air column inside the pipe: this allows the pitch to slide continuously from one note to the next one. This is known as portamento.
> Depending on the instrumentist technique, this slide can be fast or slow. On MD, this speed is defined by the *Time* parameter. Higher values for portamento rate will produce a fast slide when lower values will result in a slower slide.
>
> In monophonic setting, the choice is given to have a constant (*Full*) portamento (all notes are concerned) or a *Fingered* portamento, which will only happen when you keep the initial key pressed, when playing a new key (legato).
>
> *Glissando* is different in that instead of producing a continuous slide between the pitches of the subsequent notes, it will play all the notes of the scale which are between those 2 notes, like a pianist gliding his finger on the keyboard, or a guitarist on his fretted guitar neck.
> A glide between C3 and E3 will play subsequently C3, C#3, D3, D#3, E3, when a portamento would result in a continuous rising of the pitch, from C3 to E3.
---
##### Polyphony
You can reduce the maximum of parallel heared voices if needed. If you recognize glitches in sound maybe reducing the polyphony by one can help to avoid these glitches.
Parameters:
* Polyphony (0-20, see note below)
---
> __Hint for polyphony:__
> Maximum polyphony depends on the used Teensy and the used clock speed at compile time. Setting the polyphony to 0 means that no sound will be produced. In *Monophonic* mode you need at least a polyphony of 2.
---
##### Transpose / Fine-tune
With these parameters you can adjust the pitch. By means of *Transpose* this is done in semitone steps (+/- 24 semitone) and by *Fine-Tune* in +/- 99 cent.
