Low battery display

3. Turning the power off
After saving any necessary data (such as a program you have edited) turn the power off using the reverse order of the power-on procedure. Never turn the power off while data is being saved (i.e., while Write is executing). Doing so may damage the internal data.
Before you turn on the microKORGs power, you should lower the level of your monitor system or other connected output device.

Quick Start

Listening to the demo songs
The microKORG contains several demo songs. Here's how to listen to the demo songs and hear the sounds of the microKORG.

Demo songs

1 Hold down the SHIFT key and press the ARPEGGIATOR ON/OFF key.
The demo will begin playing. The SHIFT , OCTAVE SHIFT DOWN UP , and , PROGRAM NUMBER key LEDs will light.
2 To switch the demo song during playback, press the OCTAVE SHIFT UP or
DOWN key. You can also use the PROGRAM NUMBER keys to select a demo song.
3 When you press the SHIFT key, demo playback will stop.
The SHIFT , OCTAVE SHIFT DOWNand UP key will go dark, and the microKORG will return to normal playing mode.

Synth programs

1. Selecting and playing a program 2. Modifying the sound
The microKORG contains 128 programs that you can select and play immediately. Programs are arranged in Banks. Each bank contains two Sides, and each side contains eight programs. To select different programs, use the front panel PROGRAM SELECT knob and PROGRAM NUMBER keys. As an example, here's how to select program "b.26". On the microKORG, you can modify the sound to add expression to your performance by turning the edit control knobs , by moving the PITCH or MOD wheels, or by the way that you play the keyboard. Try out various ways to modify the selected program.
1 Press the BANK SIDE key to select "b" as the program side.
The BANK SIDE key will light when side B is selected, and will be dark when side A is selected.
Using the Performance Edit function to modify the sound
When both the upper and lower SYNTH/VOCODER LEDs are lit, the Performance Edit function is active. In this state, the edit control knobs are automatically assigned to control the parameters listed below. Turn these knobs to control the sound in realtime. When using Performance Edit, the display shows the program number. Performance Edit will be cancelled if you turn the EDIT SELECT 1 or EDIT SELECT 2 knob to select a different section, or if you hold down the SHIFT key and press the BANK SIDE key. To enable the Performance Edit function, press the PROGRAM NUMBER key that is lit. When Performance Edit is active, you can edit the sound in the following ways. Knob 1: CUTOFF Adjusts the cutoff frequency of the filter. This will affect the brightness of the sound. Normally, turning the knob toward the left will darken the sound, and turning it toward the right will brighten the sound.

Saw ( Square1 ( Square2 ( Triangle ( Sine ( ): ):
Amplitude changes irregularly (sample & hold)
KEY SYNC [OFF, Timbre, Voice] Specifies how the LFO will be applied to a voice when note-on occurs.
OFF ( ): The LFO phase will not be reset when note-on occurs. (Figure 10-2) Timbre ( ): The LFO phase will be reset at the first note-on that occurs from a state of no keys pressed. Subsequently, modulation will continue to be applied at the same LFO phase even for subsequent note-on's. (Figure 10-3) Voice ( ): The LFO phase will be reset at each note-on, and modulation of differing phases will apply to each voice. (Figure 10-4)
TEMPO SYNC [OFF, ON] Specifies whether the LFO cycle will be synchronized to the tempo or MIDI Clock.

): ): ): ):

Sample&Hold (
FREQUENCY [0.127] Specifies the frequency of the LFO. Figure 10-2 Note on Increasing this value will result in a faster frequency. This parameter will be displayed OFF ( ): The LFO will not be synchronized. and can be set if "TEMPO SYNC" is Figure 10-3 Note on It will operate at the frequency OFF. specified by the "FREQUENCY" parameter. SYNC NOTE [1.1.1.32] Note all off Specifies the proportion of the LFO ON ( ): The LFO will be synchronized to cycle relative to the tempo specified Figure 10-4 the ARPEG.A "TEMPO" or to MIDI by ARPEG.A "TEMPO." (p.65) Clock messages from an external This parameter will be displayed and can be set if "TEMPO SYNC" is 1VOICE device. ON.
If "TEMPO SYNC" is ON, selecting LFO2 Frequency ( ) as "DEST" in PATCH 14 will have no effect.

Note on

1/1( 1/2( 1/4( 1/8(
LFO (Low Frequency Oscillator) The LFO (Low Frequency Oscillator) is an oscillator that produces a relatively slow (lowfrequency) oscillation, and is used to apply cyclic modulation to various aspects of the sound. Some typical ways to use LFO are vibrato (use LFO to raise and lower the pitch), wah (use LFO to raise and lower the cutoff frequency), and tremolo (use LFO to raise and lower the
): Four beats will be one cycle. ): Four beats will be two cycles. ): One beat will be one cycle. ): One beat will be two cycles.

2VOICE

volume).You can select LFO as a Virtual Patch source, select the desired parameter as the destination, and apply modulation to produce various effects. The microKORG provides some dedicated parameters for applying modulation from the LFO; for LFO1 you can use OSC1 "CONTROL 2," and for LFO2 you can use PITCH "VIBRATO INT."
12. PATCH 1, 13. PATCH 2, 14. PATCH 3, 15. PATCH 4
The microKORG provides four Virtual Patch routes that let you create more sophisticated sounds. Each patch lets you select a modulation "SOURCE" (knob 1) and modulation destination "DEST" (knob 2), and specify the intensity of modulation "MOD INT" (knob 3). By using various patchings you can create a wide variety of changes in the sound. For example if you set the modulation source "SOURCE" (knob 1) to LFO2 ( ) and set the modulation destination "DEST" (knob 2) to CutOff ( ), and use "MOD INT" (knob 3) to adjust the depth of the effect, LFO2 will create a cyclic change in tone (a "wah" effect).

SOURCE [FILTER EG, AMP EG, LFO 1, LFO 2, Velocity, KBD Track, Pitch Bend, MOD.Wheel] Selects a modulation source. For example if you select Filter EG ( ), the Filter EG will be the modulation source.
FILTER EG ( ): FILTER EG ): AMP EG AMP EG ( ): LFO 1 LFO 1 ( LFO 2 ( ): LFO 2 ): Velocity ( Velocity (keyboard playing strength) KBD Track ( ): Keyboard tracking (keyboard position)
DEST [Pitch, OSC2 Tune, OSC1 Control 1, Noise Level, CutOff, Amp, Pan, LFO2 Frequency] Selects the parameter (destination) that will be controlled by the modulation. For example if you select Pitch ( ), modulation will be applied to the overall pitch of the timbre.
Pitch ( ): Overall pitch of the timbre OSC2 Tune ( ): OSC2 "TUNE" OSC1 Control 1 ( ): OSC1 "CONTROL 1" ): Noise Level ( MIXER "NOISE LEVEL" CutOff ( ): FILTER "CUTOFF" ): AMP "LEVEL" Amp ( Pan ( ): AMP "PAN" ): LFO2 Frequency ( LFO2 "FREQUENCY"
If LFO "TEMPO SYNC" is ON, selecting LFO2 Frequency will have no effect.
MOD INT [-63.63] Specifies the depth of the effect produced by the modulation source. With a setting of 0, there will be no modulation.
Virtual Patch On modular analog synthesizers, the input or output of each module (oscillator, filter, amp, EG, LFO, and other controllers) was connected ("patched") by a patch cord as desired, allowing you a great deal of freedom in creating the sound. The Korg MS-20 (which went on sale in 1978) also allowed a limited degree of this type of patching. The microKORG lets you perform this patching "virtually" (i.e., without using physical patch cords), so you can assign sources such as EG or LFO to the most important parameters (destinations).
Setting example for "SOURCE" and "DEST"
SOURCE [1] Filter EG/Amp EG Filter EG/Amp EG LFO 1/LFO 2 LFO 1/LFO 2 LFO 1/LFO 2 LFO 1/LFO 2 Velocity Keyboad Track Pitch Bend Modulation Wheel Modulation Wheel DEST [2] Pitch Pan Pitch CutOff Amp Pan Amp Pan Pan CutOff
The Filter EG or Amp EG will vary the pitch of the entire timbre over time. The Filter EG or Amp EG will vary the pan over time. By setting two patches to "MOD INT" settings with the opposite (+/-) value you can create more complex panning. Vibrato will be applied at the LFO1 or LFO2 frequency. Wah will be applied at the LFO1 or LFO2 frequency. Tremolo will be applied at the LFO1 or LFO2 frequency. Auto pan will be applied at the LFO1 or LFO2 frequency. Velocity (keyboard playing strength) will affect the volume. Keyboard position will gradually change the pan; lower notes at the left, and higher notes at the right. PITCH wheel operations or pitch bend change will move the sound between left and right. MOD wheel operations or CC#1 will vary the cutoff frequency.
Pitch Bend ( MOD.Wheel ( wheel

): PITCH wheel ): MOD

The arpeggiator can be used to play a vocoder program. This is a step arpeggiator with six arpeggio types.

Figure v0-1

Modulator
The signal that is input to the AUDIO IN 1 (CONDENSER jack or DYNAMIC jack) will be the modulator. In general, it is most common for a voice to be input to the modulator, but you can create unique effects by inputting rhythm sounds or other waveforms.
Vocoder section (Vocoder sec.)
This consists of two sets of 16 band-pass filters (ANALYSIS FILTER and SYNTHESIS FILTER) and the ENVELOPE FOLLOWER. The audio signal from the AUDIO IN 1 jack (modulator) is input to sixteen

1. VOICE

The "1. VOICE" parameters are the same as for a synth program with a "SINGLE/LAYER" setting of Single (p.16). To use the program as a vocoder program, set "SYNTH/VOCODER" (knob 1) to Vocoder ( )).

2. PITCH

The "2. PITCH" parameters are the same as for a synth program (p.17). They specify the pitch of the carrier.

3. OSC1 SYNTH/VOCODER

Here you can select the waveform of the carrier. The "3. OSC1" parameters are the same as for a synth program (p.18). By selecting a different waveform for "WAVE" (knob 1) you can change the depth of the effect. Normally, you will set OSC 1 "WAVE" to be a triangle wave which contains a rich set of overtones, or VOX WAVE which simulates a waveform similar to that produced by human vocal cords. Alternatively, you can select DWGS ( ), and use "CONTROL 2" to select waveform number 26 (5th Wave3: a fifth interval), and play a chord to obtain rich sounds.
Editing example for a vocoder program
Adjust the audio from the mic input. Turn the EDIT SELECT 1 knob to the AUDIO IN 1 position. Turn knob 2 ("THRESHOLD"). As you turn the knob toward the right, the sound will be cut more readily. Adjust this so that noise is not obtrusive when you are not speaking into the mic. Then adjust knob 1 ("GATE SENSE") so that the vocoder sound that is output is not cut off in an unnatural way. Turning knob 4 ("HPF GATE") toward the right will emphasize the consonants (e.g., "s" sounds) of the input voice. (p.33) Make filter settings. Turn the EDIT SELECT 1 knob to the FILTER position. Turn knob 4 ("EF SENSE") to adjust the sensitivity of the envelope follower. As you turn the knob toward the right, the vocoder output
will rise more smoothly, and the release will become longer. Turning knob 2 ("CUTOFF") or knob 1 ("FORMANT SHIFT") will vary the cutoff frequency of the band pass filter for the carrier, changing the character of the vocoder output. (p.35) Turn the EDIT SELECT 2 knob to the CH LEVEL A or CH LEVEL B position. Turn knobs 14 for CH LEVEL A or CH LEVEL B to adjust the band pass filter output levels for each of the eight channels of the carrier. Turn the EDIT SELECT 2 knob to the CH PAN A or CH PAN B position. Turn knobs 14 for CH PAN A or CH PAN B to adjust the band pass filter output pan for each of the eight channels of the carrier.

OFF ( ): Distortion is off ON ( ): Distortion is on
KBD TRACK [-63.63] Specifies how keyboard tracking will affect the volume. With positive (+) settings, the volume will increase as you play above the note C4 on the keyboard, and will decrease as you play below C4. With negative (-) settings, the volume will decrease as you play above C4 on the keyboard, and will increase as you play below C4.
Keyboard Track operates according to the pitch that is controlled by pitch bend and the "TRANSPOSE" setting. It is not affected by pitch changes produced by vibrato or Virtual Patch.
The "9. AMP EG" parameters are the same as for a synth program (p.28). They specify the shape of the AMP EG, which creates time-variant change in the volume of the internal carrier sound source (OSC 1, NOISE). Virtual Patches are not available when using vocoder programs.
The "10. LFO1" and "11. LFO2" parameters are the same as for a synth program (p.29). Cyclic change produced by the LFO can apply modulation to the internal carrier sound source (OSC 1, NOISE). Virtual Patches are not available when using vocoder programs. 37
12. CH LEVEL A, 13. CH LEVEL B
These parameters set the level for each of the eight band-pass filter channels (SYNTHESIS FILTER) of the carrier (p.35). This lets you adjust the output level of the internal carrier sound source (OSC 1, NOISE).
If desired, you can initialize (127) the level of all band-pass filter channels in a single step. (p.60)

CH 1 LEVEL

[0.127]

CH 2 LEVEL

CH 3 LEVEL

CH 4 LEVEL CH 8 LEVEL

[0.127] [0.127]
CH 5 LEVEL [0.127] CH 6 LEVEL [0.127] CH 7 LEVEL [0.127] These parameters set the output level for each of the eight band-pass filter channels of the carrier.
14. CH PAN A, 15. CH PAN B VOCODER
These parameters set the pan for each of the eight band-pass filter channels (SYNTHESIS FILTER) of the carrier (p.35). This lets you adjust the stereo position of the internal carrier sound source (OSC 1, NOISE).
If desired, you can initialize (center) the pan of all band-pass filter channels in a single step. (p.60)

CH 1 PAN

[L63.Center.R63]

CH 2 PAN

CH 3 PAN

CH 4 PAN

CH 5 PAN [L63.Center.R63] CH 6 PAN [L63.Center.R63] CH 7 PAN [L63.Center.R63] CH 8 PAN [L63.Center.R63] These parameters set the pan for each of the eight band-pass filter channels of the carrier. L63 ( ) is far left, Center ( ) is center, and R63 ( ) is far right.
Editing the effects and EQ
The output from the amp section of a synth program or vocoder program is sent to the modulation effect (MOD FX) delay effect (DELAY FX) equalizer (EQ). ( p.15 Figure 0-1, p.31 Figure v0-1) You can edit the modulation type effect and the delay effect to create the desired sound in the same way as when editing the filter or amp parameters. You can use effects to modify the sound in a variety of ways. Then you can use the two-band EQ to make final adjustments to the tone, before the sound is sent to the L/R outputs. To bypass any of the effects, set the FX depth (or EQ gain) value to zero.

The microKORG's effect structure
Modulation-type effect (MOD FX)
Choose one of three effects: Chorus/Flanger, Ensemble, or Phaser.

Delay effect (DELAY FX)

Choose one of three effects: Stereo Delay, Cross Delay, or L/R Delay.

Equalizer (EQ)

This is a two-band EQ.

16. MOD FX

The modulation effect applies various types of cyclic change to the original sound. You can use it to give the sound greater depth, or to produce the impression that multiple sound sources are being heard simultaneously. You can also use LFO modulation to simulate cyclic changes produced by a performer on an instrument, such as breathing on a wind instrument or the strings of a string instrument. "TYPE" (knob 1 ) selects the type of modulation effect, "EFFECT DEPTH" (knob 3 ) sets the depth and the amount of feedback for the modulation effect. "LFO SPEED" (knob 2 ) sets the speed of modulation.
[Flanger/Chorus, Ensemble, Phaser] Selects the effect type.
LFO SPEED [0.127] EFFECT DEPTH [0.127] Specifies the speed of the modula- Specifies the modulation depth and tion effect LFO. amount of feedback. Increasing this value will deepen the modulation Flanger/Chorus ( ): effect and also increase the amount This effect modulates the delay time of feedback. If you do not wish to of the input signal to add depth and apply the effect, set this to 0. warmth to the sound. Increasing the Excessively high settings of this "EFFECT DEPTH" value will proparameter may cause the output duce a flanger effect.
Ensemble ( ): This effect uses multiple chorus units to add three-dimensional depth and spaciousness to the sound. Phaser ( ): This effect continuously modulates the phase of the sound, creating motion within the sound, a sweeping and twisting sensation.

to be distorted.

17. DELAY
The delay effect simulates the delays that occur when sound travels through air. "TYPE" (knob 1 ) selects the type of delay effect. "DELAY DEPTH" (knob 4 ) sets the delay depth and the amount of feedback. "TEMPO SYNC" (knob 2 ) specifies whether the delay time will be synchronized to the tempo set by the arpeggiator or by an external MIDI clock.

LAST STEP [1.8] TARGET TIMBRE Specifies the number of valid steps [Both, Timbre 1, Timbre 2] (maximum number of steps) for the Selects the timbre(s) that will be step arpeggiator. sounded by the arpeggiator. This can be set only for a Layer program.
Both ( ): Both timbres will be sounded by the arpeggiator. Timbre 1 ( ): Only timbre 1 will be sounded by the arpeggiator. Timbre 2 ( ): Only timbre 2 will be sounded by the arpeggiator.

Figure 20-1

When Resolution =1/8
Overall settings (GLOBAL)
The GLOBAL section lets you can make overall settings for the microKORG. For example, although it is possible to individually adjust the pitch of each synth or vocoder program, you can use the GLOBAL pitch settings ("MASTER TUNE" and "MASTER TRANSPOSE") to adjust the pitch of all programs. When you are playing the microKORG together with other instruments, use "MASTER TUNE" to match the pitch. If you want to transpose the pitch of the song you are playing, you can adjust "MASTER TRANSPOSE." In cases such as when you use multiple programs in a single song, it is convenient to simply adjust the GLOBAL setting instead of adjusting the pitch of each individual program. Here you can also adjust the way in which your keyboard playing dynamics will affect the velocity. If you want your playing dynamics to affect parameters such as volume, set "VELOCITY CURVE" to Curve ( ). Alternatively, you can specify a constant velocity so that volume etc. will not be affected by your playing dynamics. In addition, GLOBAL settings let you specify the MIDI IN/OUT routing within the microKORG, or specify whether the signal input from AUDIO IN will be passed to the output without modification.

GLOBAL structure

21. GLOBAL
Here you can make overall settings for the microKORG. "MASTER TUNE" (knob 1) and "MASTER TRANSPOSE" (knob 2) adjust the pitch. "VELOCITY CURVE" (knob 3) specifies the velocity, "POSITION" (knob 4) specifies the MIDI IN/OUT routing, and "AUDIO IN THRU" (knob 5) specifies whether the input signal from AUDIO IN will be output directly.

MASTER TUNE [30.0.50.0] Adjusts the overall pitch in 0.1 Hz steps over a range of 430.0 Hz to 450.0 Hz, in terms of A4 as the reference pitch. (The highest digit "4" is not displayed.) Use this when you need to tune the pitch of the microKORG to other instruments.
MASTER TRANSPOSE [-12.12] Adjusts the overall pitch in steps of a semitone (100 cents) over a range of one octave upward or downward. Use this when you wish to transpose to suit the song you are playing.
VELOCITY CURVE [Curve, 1.127] Selects how velocity (keyboard playing dynamics) will affect volume and tone. Use the setting that is appropriate for your situation.
Curve ( ): The normal curve. (Figure 21-1)

Figure 21-1

MAX (127)

Figure 21-2

Keyboad

Velocity

(64) Curve (CrV)
ON ( ): Post KBD ( ): The signal will be output. In this position, incoming MIDI 1.127: This setting is not memorized by The fixed velocity you specify here data will be sent to the timbres the Write operation. When the without being affected by the glowill be output regardless of how power is turned on, it will albal or front paneltranspose controls, strongly you play the keyboard. ways be turned OFF. While you and will not trigger the arpeggiator. are editing, ORIGINAL VALUE Data produced by the keyboard will will always remain lit. be converted according to the interMIDI IN nal settings, routed through the Timbre 2 arpeggiator (arpeggiator notes are GLOBAL: Master Transpose Arpeggiator Timbre 1 FRONT PANEL: Octave sent as MIDI data), and then sent GLOBAL: Velocity Curve to the MIDI OUT connector. MIDI OUT (Figure 21-2)
POSITION [Post KBD, Pre TG] Specifies the internal MIDI IN/ OUT routing within the microKORG. This setting will affect the way in which MIDI data is transmitted and received, and how the arpeggiator data is handled.
AUDIO IN THRU [OFF, ON] Specifies whether the signal input from AUDIO IN will be output directly.
OFF ( ): The signal will not be output.

Figure 21-3

MIN (1) ppp (1)

Strength (MIDI Velocity)

fff (127)

FRONT PANEL: Octave

GLOBAL: Master Transpose GLOBAL: Velocity Curve Timbre 2 Timbre 1 Arpeggiator
Pre TG ( ): Incoming MIDI data will be affected by by the global settings, and will act as trigger notes for the () affected by any setting other arpeggiator. Data produced by the than OCTAVE SHIFT (arpeggiator keyboard will be sent to the MIDI notes are NOT sent via MIDI). OUT connector without being () (Figure 21-3)
Using the microKORG with other MIDI devices (MIDI)

Here you can make MIDI-related settings for the microKORG. MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers. The microKORG lets you assign control change numbers to the major parameters that affect the sound, and control these parameters from an external MIDI sequencer while you play the tone generator. You can also operate the assigned knobs 15 or keys to transmit these control changes to control an external MIDI device. You can synchronize the microKORG's arpeggiator, LFO rate, or the delay time of the delay effect to the MIDI Clock of an external MIDI sequencer.

MIDI on the microKORG

Controlling the microKORG's tone generator from an external MIDI device
When you wish to play or control the microKORG's tone generator from an external MIDI keyboard or sequencer etc., use a MIDI cable to connect the MIDI OUT connector of the external MIDI device to the MIDI IN connector of the microKORG.

microKORG

MIDI keyboard
Controlling two or more external MIDI tone generators from the microKORG
You can use the MIDI THRU connector to simultaneously control multiple MIDI devices. (This type of connection should be used to connect no more than three devices. If you wish to connect a larger number of MIDI devices, we recommend that you use a MIDI patch bay as shown in the second diagram below.)
Connecting MIDI devices/computers

MIDI THRU

Controlling an external MIDI tone generator from the microKORG
When you wish to use the microKORG's keyboard, controllers, and arpeggiator etc. to play an external MIDI tone generator, use a MIDI cable to connect the microKORG's MIDI OUT connector to the MIDI IN connector of the external MIDI tone generator.
MIDI keyboard MIDI tone generator
You can also use a MIDI patch bay to control multiple MIDI devices.

MIDI patch bay

MIDI OUT MIDI keyboard

MIDI tone generator

Connecting an external MIDI sequencer or computer etc.
You can play the microKORG's keyboard and record your performance on an external MIDI sequencer/computer (connected via a MIDI interface), and then play back the recorded performance to sound the microKORG's tone generator (i.e., using the microKORG as an input keyboard and MIDI tone generator). To do this, connect the MIDI OUT and MIDI IN connectors of the microKORG and your external MIDI sequencer/computer to each other. Some USB-MIDI interface devices may not be able to transmit/receive the microKORG's MIDI exclusive messages.

Parameters transmitted and received via NRPN
Front panel knobs and keys other than the controls listed above are assigned NRPN (Non Registered Parameter No.). NRPN messages can be used freely by any musical instrument manufacturer or model. NRPN editing is performed using the following procedure.
Use NRPN MSB (CC#99) [Bn, 63, mm] and NRPN LSB (CC#98) [Bn, 62, rr] (n: channel, mm, rr: parameter no. upper and lower bytes) to select the parameter. Use data entry MSB (CC#6) [Bn, 06, mm] (n: channel, mm: parameter value) to specify the value. On the microKORG, only data entry MSB is used.
Controlling the arpeggiator When arpeggiator settings are modified by the front panel keys or knobs, the following NRPN messages are transmitted. When these NRPN messages are received, the corresponding arpeggiator settings will change accordingly. These messages are transmitted and received on the MIDI channel(MIDI CH). For the correspondence between the values of the message and the values of the microKORG parameter, refer to the table. ON/OFF: RANGE: LATCH: TYPE: GATE: [Bn, 63, 00, Bn, 62, 02, Bn, 06, mm] [Bn, 63, 00, Bn, 62, 03, Bn, 06, mm] [Bn, 63, 00, Bn, 62, 04, Bn, 06, mm] [Bn, 63, 00, Bn, 62, 07, Bn, 06, mm] [Bn, 63, 00, Bn, 62, 0A, Bn, 06, mm] (n: channel, mm: parameter value) 53
MSB (Hex) LSB (Hex) ON/OFF 00(00) 02(02) 0: OFF, 127: ON RANGE LATCH TYPE GATE 00(00) 03(03) 0: 1 Octave, 1: 2 Octave, 2: 3 Octave, 3: 4 Octave 00(00) 04(04) 0: OFF, 127: ON 00(00) 10(0A) Refer to separate table (GATE values) Value (transmitted) Value (received) 0.63: OFF, 64.127: ON 0: 1 Octave, 1: 2 Octave, 2: 3 Octave, 3.127: 4 Octave 0.63: OFF, 64.127: ON Refer to separate table (GATE values)
00(00) 07(07) 0: Up, 26: Down, 51: Alt1, 77: Alt2, 102: Random, 127: Trigger 0.21: Up, 22.42: Down, 43.63: Alt1, 64.85: Alt2, 86.106: Random, 107.127: Trigger

GATE values

Value (transmitted, received) 0, 3 4, 9, 14, 17 18, 23, 26 Gate Time [%] 020 Value (transmitted, received) 27 28, 33, 36 37, 42, 47, 52, 53 Gate Time [%] 041 Value (transmitted, received) 56, 61, 66, 71, 74 75, Gate Time [%] 062 Value (transmitted, received) 80, 85, 90, 93 94, 99, 104, Gate Time [%] 083 Value (transmitted, received) 109, 112 113, 118, 123, Gate Time [%] 100
Controlling the VIRTUAL PATCH 14 DESTINATION PATCH1 DESTINATION: [Bn, 63, 04, Bn, 62, 08, Bn, 06, mm ] PATCH2 DESTINATION: [Bn, 63, 04, Bn, 62, 09, Bn, 06, mm] PATCH3 DESTINATION: [Bn, 63, 04, Bn, 62, 0A, Bn, 06, mm] PATCH4 DESTINATION: [Bn, 63, 04, Bn, 62, 0B, Bn, 06, mm] (n: channel, mm: parameter value) Controlling the FC MOD source of a vocoder program FILTER FC MOD SOURCE: [Bn, 63, 04, Bn, 62, 00, Bn, 06, mm] (n: channel, mm: parameter value)

Restoring the factory settings

7-1. PRELOAD ( )

condition. ): 1Program ( Load only data for one program. Program ( ): Load data for all programs (128 programs). ): Global ( Load global data. (p.58) To cancel, press the lit SHIFT key.

Write protect setting

8-1. WRITE PROTECT ( )
Write protect setting The microKORG provides a write protect setting that disables writing to memory, letting you prevent data from being rewritten accidentally. If you want to save data that you have edited, you must first turn write protect off.
Procedure 1 Hold down the SHIFT key and press the 8 key." The display will indicate " 2 Turn the 1 knob to switch write protect on/off. ): OFF ( Data can be written to internal memory. ): ON ( The following writing operations will be prohibited. Writing a program Loading the factory data Receiving a data dump
Restoring the factory settings This operation restores the microKORG's programs and global data settings to the factory-set condition. The factory-set settings are referred to as the "preload data." When you restore the Preload settings, the data within the microKORG will be rewritten to the factory settings. Be sure that you dont mind losing your current data before you restore the factory settings.
Do not touch the microKORG's knobs or keyboard while the Preload operation is being executed, and never turn the power off. Preload cannot be executed if the SHIFT function "WRITE PROTECT is on. You must turn "WRITE PROTECT" off beforehand.
3 When you have made the desired
setting, press the lit 8 key or SHIFT key. The microKORG will return to its normal state.
3 If you selected 1Program (

) in step

2, turn knob 2 to select the program
(A.11b.88) that will be restored to its factory-set condition.
4 ress the blinking 7 key. The Preload
operation will be executed, and the microKORG will return to its normal state. If you have not selected the data to be restored to the factory-set condition (steps 2 or 3), the 7 key will be lit. If you attempt to execute by pressing the 7 key in this state, the display will indicate "---" and the operation will not be executed.

TECHNO/HOUSE

ELECTRONICA

D'n'B/BREAKS

HIPHOP/VINTAGE

S.E./HIT

Parameter List

EDIT SELECT 1/2 Type 5

VOICE PITCH OSC1

(p.16) (p.17) (p.18)

SYNTH/VOCODER SYNTH/VOCODER SYNTH/VOCODER

SYNTH/VOCODER

Synthesizer, Vocoder

SINGLE/LAYER

Single, Layer

VOICE ASSIGN

Mono, Poly, Unison

TRIGGER MODE

Single, Multi

UNISON DETUNE

TRANSPOSE

-24.24

-50.50

PORTAMENTO

BEND RANGE

-12.12

VIBRATO INT

-63.63

Saw, Square, Triangle, Sine, Vox, DWGS Noise, Audio In

0.127 0.127

0.127 1.64 0.127

(p.22)

SYNTH VOCODER SYNTH VOCODER SYNTH VOCODER SYNTH VOCODER SYNTH VOCODER SYNTH/VOCODER SYNTH/VOCODER SYNTH/VOCODER

Saw, Square, Triangle

OSC MOD
OFF, Ring, Sync, RingSync

SEMITONE

AUDIO IN 1

(p.33)

GATE SENSE

THRESHOLD

HPF LEVEL

HPF GATE

Disable, Enable
MIXER MIXER FILTER FILTER
(p.23) (p.34) (p.24) (p.35)

OSC 1 LEVEL

OSC 2 LEVEL

NOISE LEVEL

INST LEVEL
-24dB LPF, -12dB LPF, -12dB BPF, -12dB HPF

CUTOFF

RESONANCE

FILTER EG INT

FORMANT SHIFT

0, 1, 2, -1, -2

E.F.SENSE

0.126, Hold

(p.26) (p.36)

ATTACK

SUSTAIN

RELEASE

EG RESET

OFF, ON

FC MOD AMP AMP

SOURCE

AMP EG, LFO 1, LFO 2, Velocity, KBD Track, Pitch Bend, MOD.Wheel

INTENSITY

(p.27) (p.37)

PANPOT

L63.Center.R63

DISTORTION

KBD TRACK

DIRECT LEVEL

(p.28)

LFO 1 LFO 2

(p.29) (p.29) (p.30)
Saw, Square1, Triangle, Sample&Hold

KEY SYNC

OFF, Timbre, Voice

TEMPO SYNC

FREQUENCY/SYNC NOTE

0.127/1.1.1.32

Saw, Square2, Sine, Sample&Hold
PATCH 1, 2, 3, 4 SYNTH CH LEVEL A
(p.38) (p.38) (p.38) (p.38) (p.40)
FILTER EG, AMP EG, LFO 1, LFO 2, Velocity, KBD Track, Pitch Bend, MOD.Wheel