1-3-4 Micro Tuning List. Yamaha MX88, MOX6, CP40, MOXF6, MOXF8, CP4, MOX8Synthesizer, MX61, MOX8, MX49
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Voice Parameters
1-3-4 Micro Tuning List
Equal Temperament The "compromise" tuning used for most of the last 200 years of Western music, and found on most electronic keyboards.
Each half step is exactly 1/12 of an octave, and music can be played in any key with equal ease. However, none of the intervals are perfectly in tune.
Pure Major This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure.
This means that other intervals will be correspondingly out of tune.
You need to specify the key (C - B) you will be playing in as the Micro
Tuning Root parameter.
Pure Minor
Werckmeist
The same as Pure Major, but designed for minor scales.
You need to specify the key (C - B) you will be playing in as the Micro
Tuning Root parameter.
Andreas Werckmeister, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key.
Each key has a unique character.
You need to specify the key (C - B) you will be playing in as the Micro
Tuning Root parameter.
Kimberger
Vallot&Yng
1/4 shift
1/4 tone
1/8 tone
Indian
Arabic
Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to allow performances in any key.
You need to specify the key (C - B) you will be playing in as the Micro
Tuning Root parameter.
Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning, in which the first six fifths are lowered by the same amount.
You need to specify the key (C - B) you will be playing in as the Micro
Tuning Root parameter.
The normal equal-tempered scale, shifted up 50 cents.
Twenty-four equally-spaced notes per octave.
Play twenty-four notes to move one octave.
Forty-eight equally-spaced notes per octave.
Play forty-eight notes to move one octave.
Usually observed in Indian music.
White keys only.
Usually observed in Arabic music.
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Table of contents
- 4 Voice Parameters
- 4 Basic Terms
- 4 1-1-1 Definitions
- 5 Synthesis Parameters
- 5 1-2-1 Oscillator
- 8 1-2-2 Pitch
- 9 1-2-3 Pitch EG (Pitch Envelope Generator)
- 13 1-2-4 Filter
- 16 1-2-5 Filter Type
- 22 1-2-6 Filter EG (Envelope Generator)
- 26 1-2-7 Filter Scale
- 27 1-2-8 Amplitude
- 31 1-2-9 Amplitude EG (Envelope Generator)
- 33 1-2-10 Amplitude Scale
- 34 1-2-11 LFO (Low-Frequency Oscillator)
- 41 Operational Parameters
- 41 1-3-1 General
- 41 1-3-2 Play Mode
- 42 1-3-3 Portamento
- 43 1-3-4 Micro Tuning List
- 44 1-3-5 Arpeggio
- 47 1-3-6 Controller Set
- 48 1-3-7 Effect
- 50 1-3-8 EQ (Equalizer)
- 52 Effects
- 52 Basic Terms
- 52 2-1-1 Definisions
- 52 Effect Types
- 52 2-2-1 Reverb
- 52 2-2-2 Delay
- 53 2-2-3 Chorus
- 53 2-2-4 Flanger
- 53 2-2-5 Phaser
- 54 2-2-6 Tremolo & Rotary
- 54 2-2-7 Distortion
- 54 2-2-8 Compressor
- 54 2-2-9 Wah
- 55 2-2-10 Lo-Fi
- 55 2-2-11 Tech
- 55 2-2-12 Vocoder
- 55 2-2-13 Misc
- 56 Effect Parameters
- 56 2-3-1 A
- 56 2-3-2 B
- 56 2-3-3 C
- 57 2-3-4 D
- 58 2-3-5 E
- 59 2-3-6 F
- 60 2-3-7 G
- 60 2-3-8 H
- 60 2-3-9 I
- 61 2-3-10 L
- 62 2-3-11 M
- 63 2-3-12 N
- 63 2-3-13 O
- 63 2-3-14 P
- 64 2-3-15 R
- 64 2-3-16 S
- 65 2-3-17 T
- 65 2-3-18 V
- 65 2-3-19 W
- 66 Overview
- 66 3-1-1 About MIDI
- 66 3-1-2 MIDI channels
- 67 3-1-3 MIDI ports
- 67 3-1-4 MIDI messages
- 68 Channel Messages
- 68 3-2-1 Note On/Off
- 68 3-2-2 Pitch Bend
- 68 3-2-3 Program Change
- 68 3-2-4 Control Change
- 71 3-2-5 Channel Mode message
- 71 3-2-6 Channel After Touch
- 71 3-2-7 Polyphonic After Touch
- 72 System Messages
- 72 3-3-1 System Exclusive Messages
- 72 3-3-2 System Common Message
- 72 3-3-3 System Realtime Messages