Korg Microkorg Manual
Korg Microkorg-_, size: 0
State-of-the-art analog modeling and multi-band vocoding are finally available in a compact, portable instrument. With 37 keys and 128 user-rewritable programs, the microKORG Synthesizer/Vocoder is perfect for the performer, producer, computer musician or beginner looking for an affordable synthesizer. The new microKORG delivers the quality sounds and features you expect from Korg at a price that will astound you.
Part Numbers: KRMICRO, MICROKORG, MICROKORG XL, MICROKORG-XL, MICROKORGXL, MICROKORGXL 580312, Micro-KORG, microKORG, microKORGXL, microkorgxl
UPC: 04959112068773, 0603384024770, 4959112024779, 4959112068773, 603384024770
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User reviews and opinions
|email@example.com||6:26am on Friday, September 24th, 2010|
|Wow!! Lots of sounds , great synth leads , squeltchy basses , and nice arpeggiator. Never seen a bad review anywhere!!!|
|sapphire||8:11am on Thursday, July 8th, 2010|
|It shoots lasers and makes coffee in the morning, Fun To Play","Good Sound","Touch Sensitive Keys","Versatile|
Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
Connections... 5 Connections from the audio outputs.. 5 Connections to the audio inputs... 5 Connections to MIDI equipment/computers.. 5 Connecting the included mic... 5 Turning the power on... 6 1. The power supply.... 6 2. Turning the power on... 6 3. Turning the power off... 6
Basic editing... 12 Basic editing procedure... 12 Editing each timbre... 14
Editing a synth program.. 15
Explains the functions of the synth program parameters adjusted by edit control knobs 15 for the corresponding setting of the EDIT SELECT 1/2 knobs.
The structure of a synth program.. 15 Overview... 15
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 12. VOICE SYNTH/VOCODER.... 16 PITCH SYNTH/VOCODER.... 17 OSC1 (Oscillator 1) SYNTH/VOCODER... 18 OSC2 (Oscillator 2) SYNTH... 22 MIXER SYNTH.... 23 FILTER SYNTH.... 24 FILTER EG SYNTH.... 26 AMP SYNTH..... 27 AMP EG SYNTH/VOCODER.... 28 LFO 1, 11. LFO 2 SYNTH/VOCODER... 29 PATCH 1, 13. PATCH 2, 14. PATCH 3, 15. PATCH 4 SYNTH.. 30 14. CH PAN A, 15. CH PAN B VOCODER... 38
Editing the effects and EQ.. 39
Explains the function of the effect and EQ parameters adjusted by edit control knobs 15 for the corresponding setting of the EDIT SELECT 1/2 knobs.
The microKORG's effect structure... 39 Overview... 39 16. MOD FX SYNTH/VOCODER.... 40 17. DELAY SYNTH/VOCODER.... 41 18. EQ SYNTH/VOCODER.... 42
Editing a vocoder program.. 31
Explains the function of the vocoder program parameters adjusted by edit control knobs 15 for the corresponding setting of the EDIT SELECT 1/2 knobs.
Editing the arpeggiator. 43
Explains the function of the arpeggiator parameters adjusted by edit control knobs 15 for the corresponding setting of the EDIT SELECT 1/2 knobs.
The structure of a vocoder program.. 31 Overview... 31 1. VOICE SYNTH/VOCODER.... 32 2. PITCH SYNTH/VOCODER.... 32 3. OSC1 SYNTH/VOCODER... 32 4. AUDIO IN 1 VOCODER... 33 5. MIXER VOCODER.... 34 6. FILTER VOCODER.... 35 7. FC MOD VOCODER.... 36 8. AMP VOCODER.... 37 9. AMP EG SYNTH/VOCODER... 37 10. LFO 1, 11. LFO 2 SYNTH/VOCODER... 37 12. CH LEVEL A, 13. CH LEVEL B VOCODER.. 38
The structure of arpeggiator... 43 Overview... 43 19. ARPEG. A SYNTH/VOCODER... 44 20. ARPEG. B SYNTH/VOCODER... 45
Overall settings (GLOBAL).. 46
Explains the function of the Global parameters adjusted by edit control knobs 15 for the corresponding setting of the EDIT SELECT 1/2 knobs.
GLOBAL structure.. 46 Overview... 46 21. GLOBAL.... 47
Using the microKORG with other MIDI devices (MIDI). 48
Explains how to make connections with other MIDI devices, and explains the function of the MIDI parameters adjusted by edit control knobs 15 for the corresponding setting of the EDIT SELECT 1/2 knobs.
Data dump.... 62 Restoring the factory settings... 63 Write protect setting... 63 Other SHIFT key functions... 64
Vocoder parameters These are the parameters for a Vocoder program. Synth parameters These are the parameters for a Synth program.
AUDIO IN 2 A Synth program can use an audio signal from an external device connected here as the oscillator 1 waveform. A Vocoder program uses this input signal as the external carrier for the vocoder. VOLUME 2 knob Adjusts the input level from the LINE jack. LINE jack Connect a synthesizer or audio device here.
AUDIO IN 1 A Synth program can use an audio signal from a synthesizer or external device connected here as the oscillator 1 waveform. A Vocoder program can use an audio signal from a mic etc. connected here as the modulator audio. MIC/LINE switch If a mic is connected to the DYNAMIC or CONDENSER jack, set this switch to the MIC position. If an external sequencer or audio device is connected, set this switch to the LINE position. VOLUME 1 knob Adjusts the input level from the DYNAMIC or CONDENSER jack. CONDENSER jack Connect a condenser mic to this jack. DYNAMIC jack Connect a dynamic mic, synthesizer, or audio device to this jack. If both the DYNAMIC jack and the CONDENSER jack are connected, the audio signal from the CONDENSER jack will take priority.
OUTPUT L/MONO, R jacks Connect these to your powered monitors, stereo amp, mixer, or multi-track recorder. If you want to use the microKORG in monaural, connect the L/MONO jack. HEADPHONES jacks Connect a pair of headphones to this jack (1/4" stereo).
Power switch Switches the power on/off. (p.6) AC adaptor jack Connect the included AC adaptor to this jack. After connecting the AC adaptor to the microKORG, plug it into an AC outlet.
MIDI Use these connectors to connect the microKORG to an external MIDI device so that MIDI data can be exchanged. MIDI THRU connector Received MIDI data is re-transmitted without change from this connector. Use this when you want to connect multiple MIDI devices to the same "stream" of data. MIDI OUT connector MIDI IN connector This connector This connector receives transmits MIDI data. MIDI data.
Mic holder You can attach the included mic to this holder (p.5).
The diagram below shows basic connections for the microKORG. Make substitutions as appropriate for your equipment.
want to use an external sequencer, rhythm machine, or audio source as the carrier of the vocoder, connect that device to AUDIO IN 2 (p.34). If you want to process the waveform of a synthesizer or sampler, connect a mic or the output jack of your external device to the AUDIO IN 1 and 2 jacks (p.21).
TRIGGER MODE [Single, Multi] Specifies whether the EG and LFO will be retriggered when you play the next key while still holding down the previous key. You can edit this if "VOICE ASSIGN" is Mono or Unison.
Single ( ): The EG and LFO will not be retriggered by the second or subsequent key. Use this setting if you want to play legato. Multi ( ): The EG and LFO will be retriggered each time you press a key.
UNISON DETUNE [0.99] Specifies the amount of detuning (in steps of one cent) between the notes sounded by Unison mode. You can edit this if "VOICE ASSIGN" is set to Unison. The detuning method will depend on the number of unison voices.
Note on Note on
The maximum polyphony is four voices (four notes). In the case of a Layer program, these four voices are divided between timbres 1 and 2, so only two keys can be played in a layered program.
"VOICE ASSIGN" and polyphony for a Layer program Timbre 1 Timbre 2 VOICE ASSIGN Mono Poly Polyphony 1 voice 3 voices VOICE ASSIGN Poly Poly Polyphony 2 voices 2 voices VOICE ASSIGN Unison Mono Polyphony 2 voices 1 voices
These settings specify the pitch of the oscillator. Use "TRANSPOSE" (knob 1) and "TUNE" (knob 2) to set the desired pitch. These settings are shared by oscillators 1 and 2. In this section you can also set the portamento time, and specify how the PITCH and MOD wheels will affect the pitch.
TRANSPOSE [-24.24] TUNE [-50.50] Adjusts the pitch of the oscillator in Adjusts the pitch of the oscillator in semitone (100 cent) steps. one-cent steps. The range is two octaves upward or downward.
Changes made by the front panel OCTAVE SHIFT buttons actually shift the pitches assigned to the keyboard (or keys) in one-octave steps, and do not affect the pitch of the oscillator that is sounding. Nor are such settings saved by the Write operation. If you wish to change the pitch of the oscillator itself, you must use this "TRANSPOSE" setting to specify the pitch.
PORTAMENTO [0.127] Specifies the speed of the portamento effect (a smooth change in pitch from one note to the next note of a different pitch). With a setting of 0, there will be no portamento effect. Increasing this value will cause the pitch change to occur over a longer time.
If "VOICE ASSIGN" is set to Mono or Unison, and if "Trigger" is set to Single, portamento will not apply to the first-sounded note.
BEND RANGE [-12.12] Specifies the amount of pitch change in semitones that will occur when the pitch wheel is operated. This value specifies the amount of change that will occur when you move the pitch wheel all the way to the away from you.
VIBRATO INT [-63.63] Specifies the depth of vibrato that will be applied when you move the MOD (modulation) wheel all the way away from yourself.
The LFO2 modulates the pitch of the oscillator, raising and lowering it to create vibrato.
OSC1 (Oscillator 1)
The oscillator generates the waveform that is the basis of the sound. The timbre has two oscillators. The settings in this section are for oscillator 1. "WAVE" (knob 1) selects the basic waveform for oscillator 1, and "CONTROL 1" (knob 2) and "CONTROL 2" (knob 3) modify the waveform. For example if you set "WAVE" to Saw ( ), adjusting the "CONTROL 1" value will modify the sound, changing the waveform as shown in figure 3-1. Adjusting "CONTROL 2" will apply LFO1 modulation to the waveform specified by "CONTROL 1," producing additional change.
WAVE [Saw, Square, Triangle, Sine, Vox, DWGS, Noise, Audio In] Selects the waveform for oscillator 1.
Saw Wave ( ): This is a sawtooth wave. This waveform is shaped like the tooth of a saw, and contains a rich overtone spectrum. You can use this to create numerous instrumental sounds such as string and brass sounds, or typical analog synth sounds such as synth bass or synth brass. Square Wave ( ): This is a square wave. It has a rectangular shape, and strictly speaking is actually square only when the top and bottom of the waveform have the same width (a "pulse width" of 50%). If the pulse width is other than 50%, this is also called a pulse wave. A square wave is used for woodwind sounds such as clarinet, and for wooden percussion sounds. A pulse wave is used for plucked-string sounds and reed-type sounds.
CONTROL 1 [0.127/ ] CONTROL 2 [0.127/1.64] Adjusts a parameter specific to the Adjusts a parameter specific to the selected waveform. selected waveform. CONTROL 1 has no effect if "WAVE" is set to DWGS.
CONTROL 1 [0.127]: Adjusting this value will modify the waveform. A setting of 0 will produce a conventional sawtooth wave, and a setting of 127 will produce a sawtooth wave one octave higher. (Figure 3-1) CONTROL 2 [0.127]: Figure 3-1 LFO1 is used to apply modulation to the waveform specified by "CONTROL 1." The "CONTROL 2" 0 setting specifies the depth of the modulation produced by LFO1. For example by setting LFO1 "WAVE" to Triangle ( ) and adjusting the LFO speed, you can produce a detune-like effect. CONTROL 2 [0.127]: Figure 3-2 LFO1 is used to apply PWM (pulse width modulation)* 3-1 to the pulse width specified by "CONTROL 1." The "CONTROL 2" setting specifies 0 the depth of the modulation produced by LFO1. For example by setting LFO1 "WAVE" to Triangle ( ) and adjusting the LFO speed, you can add depth to the sound.
These parameters specify the volume. The sound that is created by passing through the oscillator and filter is amplified by the amp. "LEVEL" (knob 1) adjusts the volume. "KBD TRACK" (knob 4) adjusts how keyboard tracking will affect the volume, and "DISTORTION" (knob 3) specifies whether the sound will be distorted. You can use "PANPOT" (knob 2) to set the pan (stereo position of the sound).
LEVEL [0.127] Adjusts the volume of the timbre.
PANPOT [L63.Center.R63] DISTORTION [OFF, ON] Adjusts the location of the sound in Specifies whether distortion will be applied to the output of the timbre. If the "SINGLE/LAYER" is Layer, the stereo field. this setting will adjust the volume L63( ) is far left, Center ( ) The degree of distortion is adjusted balance between timbre 1 and tim- is center, and R63 ( ) is far right. by the output level of each oscillator in the MIXER. bre 2. 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 C4 note on the keyboard, and will decrease as you play below C4. With negative (-) settings, the volume will decrease as you play above the C4 note on the keyboard, and will increase as you play below C4.
Here you can make settings for the AMP EG, which applies time-variant change to the volume (Figure 9-1). By making AMP EG settings, you can make the volume change as time passes. Create the desired volume curve by adjusting the ADSR parameters; ATTACK (knob 1), DECAY (knob 2), SUSTAIN (knob 3), RELEASE (knob 4). You can use AMP EG as a Virtual Patch source to modulate parameters other than volume. (p.30)
SUSTAIN [0.127] Specifies the volume that will be maintained after the decay time has elapsed, as long as you continue holding the key.
Level Note on
EG (Envelope Generator) To a significant extent, each sound has its own distinctive volume curve. For example when you play a note on a piano, the note begins at the maximum volume, and gradually diminishes. When you release your finger from the key, the sound will disappear quickly with a brief decay. Volume curves such as this are an important aspect of how we identify the sound of a specific instrument. This type of change also occurs in the tone and pitch, as well as in the volume. On a synthesizer, this type of change is produced by an EG. The microKORG has dedicated EGs for the filter and for the amp. However since these EGs can be used as Virtual Patch sources, you are also free to use them to vary the pitch or numerous other aspects of the sound. Some example settings are shown below.
Level Note on Note off
The "EG RESET" parameter is available only when "VOICE ASSIGN" is Poly, or when "VOICE ASSIGN" is Mono or Unison and "TRIGGER" is Multi.
Attack: 0 Decay: 100 127
Sustain: 0 Release: 525
Attack: 0 Decay:
Sustain: 127 Release: 0
Attack: 40 Decay: 50
Sustain: 75 Release: 50
10. LFO 1, 11. LFO 2
The timbre has two LFOs (Low Frequency Oscillator). The cyclic change produced by an LFO can modulate various aspects of the sound such as the pitch, tone, or volume. Use "WAVE" (knob 1) to select the LFO waveform, knob 2 to select the key sync method, "TEMPO SYNC" (knob 3) to synchronize the LFO cycle to the tempo, and "FREQUENCY"/"SYNC NOTE" (knob 4) to specify the frequency. LFO1 and LFO2 can be used as Virtual Patch sources to apply modulation to a variety of parameters. (p.30)
WAVE (LFO1) [Saw, Square1, Triangle, Sample&Hold] WAVE (LFO2) [Saw, Square2, Sine, Sample&Hold] Selects the LFO waveform.
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.
): ): ): ):
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 [126.96.36.199] 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.
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.
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  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  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
LFO2 Frequency MOD wheel operations or CC#1 will vary the LFO2 speed.
Editing a vocoder program
A vocoder is a device that analyzes the character (the frequency response of each band) of a "modulator" signal (typically a human voice from a mic), and applies a filter with the analyzed characteristics to the "carrier" signal (typically a waveform produced by an oscillator), imposing a vocal character on that waveform, and making it seem as though the instrument is talking. The microKORG contains an eight-channel vocoder (sixteen filters in pairs). In addition to simulating the classic vocoder sounds of the past, you can modify the character of the sound, or edit the level of each frequency band to create truly original vocoder sounds. As shown in figure v0-1, a vocoder program consists of a carrier (the signal that is modified), a modulator (the signal that modulates the carrier), a vocoder section, effects, and arpeggiator.
The structure of a vocoder program
bandpass filters (ANALYSIS FILTER), and the ENVELOPE FOLLOWER detects the volume envelope (time-variant change) of each frequency band. Then, the signal from the internal tone generator or the AUDIO IN 2 jack (carrier) is input to the other set of 16 band-pass filters (SYNTHESIS FILTER), and processed by the envelopes detected by the ENVELOPE FOLLOWER to modulate the carrier with the features of the voice, producing the impression that the instrument or sound is talking (vocoder effect). It is also possible to use the "FORMANT SHIFT" or "CUTOFF" parameters to change each frequency of the carrier band-pass filter. This will cause the frequency response curve to be raised or lowered while preserving the character of the modulator, and will dramatically affect the tone.
The output from the vocoder section is sent to the modulation effect (MOD FX) delay effect (DELAY) equalizer (EQ). For the modulation effect you can choose from three effects such as chorus. For delay, you can choose from three types of delay, including stereo delay. The equalizer is a two-band equalizer.
The carrier signal that is processed by the vocoder effect can be the microKORG's internal waveform selected by OSC 1 and NOISE, or a waveform that is input from AUDIO IN 2 (LINE jack). Suitable choices for the carrier waveform are sawtooth waves which contain a rich array of overtones, and the VOX WAVE which has a character similar to human vocal cords. The volumes of OSC1/NOISE/AUDIO 2 IN are adjusted by the MIXER, and the combined signal is output to the Vocoder section.
CH 1 LEVEL
CH 2 LEVEL
CH 3 LEVEL
CH 4 LEVEL CH 8 LEVEL
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
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.
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.
LATCH [OFF, ON] Specifies how the arpeggiator will operate when you take your hand off of the keyboard.
SWING [-100.100] Specifies the percentage (%) by which even-numbered notes of the arpeggio will be shifted in timing relative to the first note. OFF ( ): The arpeggiator will stop playing (Figure 20-1) when you take your hand off of the keyboard.
ON ( ): The arpeggiator will continue playing even if you take your hand off of the keyboard.
KEY SYNC [OFF, ON] Specifies whether the arpeggiator will be synchronized to the keyboard. If this is ON, the arpeggiator will always start from the beginning of the arpeggio pattern when you play the keyboard. If you are performing together with other instruments, you can use this function to ensure that the arpeggio pattern is aligned with the beginning of the measure.
OFF ( ): Sync off (not synchronized). ON ( ): Sync on (synchronized).
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.
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.
Arpeggios do not start
Is the arpeggiator turned on (ON/OFF key lit)? p.11 Is the MIDI "CLOCK" setting correct? p.51
Cant input sound
Is the input source connected to the AUDIO IN 1 CONDENSOR jack or DYNAMIC jack, or to the AUDIO IN 2 LINE jack? p.10, 21, 34 If you are inputting to AUDIO IN 1 or AUDIO IN 2, is the VOLUME 1 or VOLUME 2 knob turned up? p.10, 21, 34 If you are inputting to AUDIO IN 1, is the MIC/LINE switch set appropriately? p.4 If using a vocoder program, have you connected the modulator audio source to the AUDIO IN 1 CONDENSER jack or DYNAMIC jack? p.10 If you have connected an input device to the AUDIO IN 1 CONDENSER jack and also to the DYNAMIC jack, the input from the CONDENSER jack will take priority, and no signal can be input from the DYNAMIC jack. p.4
No response to MIDI messages sent from an external device
Is the MIDI cable connected correctly? p.48 Does the MIDI channel of the data transmitted from the external MIDI device match the MIDI channel of the microKORG? p.49
Does not respond correctly to MIDI messages sent from an external device
Is the SHIFT function "MIDI FILTER" for that type of MIDI message set to Enable? p.60
Transpose, velocity curve, and arpeggiator data is not recognized correctly
Is Global "POSITION" set appropriately? p.47
If the display does not switch to the parameter indication when you turn the edit control knobs 15, Performance Edit may be active. p.8, 12 If you are unable to use the edit control knobs 15 to edit the parameter value, did you remember to turn the knob to a position that matches the displayed value? p.13
Can't control two timbres on separate MIDI channels
The microKORG uses only one MIDI channel to transmit and receive. You cannot use two MIDI channels to play the two timbres independently.
Specifications and options
Tone generator system: Analog modeling synthesis system Synth programs: Number of timbres: maximum 2 (when using Layer) Maximum polyphony: 4 voices Structure: 2 oscillators + noise generator: sawtooth wave, square wave, triangle wave, sine wave, Vox wave, DWGS x 64, Noise, Audio In (8 types) PWM function, OSC Sync function, Ring Mod. function, OSC Sync + Ring Mod. function Multimode filters: -24 dB/oct LPF, -12 dB/oct LPF, -12 dB/oct BPF, -12 dB/oct HPF (4 types) Filter EG, Amp EG, LFO1, LFO2 (LFO: six waveforms, synchronizable to arpeggiator or external MIDI clock) Vocoder programs: Maximum polyphony: 4 voices Structure: 8 channel vocoder, adjustable level and pan for each channel, Formant Shift function 1 oscillator + noise generator (8 types) Filter EG, Amp EG, LFO1, LFO2, (LFO: six waveforms, synchronizable to arpeggiator or external MIDI clock) Keyboard: 37 notes (mini keyboard, velocity sensitive, no aftertouch) Effects: Modulation effect: flanger/chorus, phaser, ensemble (3 types), Delay: stereo, cross, L/R (3 types), Equalizer Arpeggiator:UP, DOWN, ALT1/2, Random, Trigger (6 types), Step Arpeggiator function Programs: total 128 programs (A/B side x 8 banks x 8 programs) Inputs AUDIO IN 1 CONDENSER jack (with MIC/LINE switch) Connector +5V mini-phone jack AUDIO IN 1 (LINE) Input impedance: 39 [k] Maximum input level: -3.5 [dBu] (VOLUME 1: Max) AUDIO IN 1 (MIC) Input impedance: 22 [k] Maximum input level: -33 [dBu] (VOLUME 1: Max) AUDIO IN 1 DYNAMIC jack (with MIC/LINE switch) Connector 1/4" phone jack (unbalanced)
Edit Sync 14 Editing 12 Editing each timbre 14 Editing example for a vocoder program 32 Effect 39 EG 28 Envelope Follower 31, 35 Envelope Generator 28 EQ 42 Equalizer 42 Exchanging timbres 59
Noise 20, 23 Note-on/off 52 NRPN 53
Band-pass filter 31, 35 bAt 6 Battery 6
Realtime Messages 55 Release time 9 Resonance 9, 20, 24, 35 Restoring the factory settings 63 Retrigger 16 Ring Modulation 22
Keyboard tracking 9, 24, 27, 37
OCTAVE SHIFT UP and DOWN keys 9 Original parameter values of a program 13 OSCOSCOscillator 15, 18 Oscillator Sync 22 Output 47
Carrier 31 Compare 64 Computer 50 Connection 5, 48 Consonant 33
Layer program 16 Legato 16 Level 38 LFO 29 LFO1 18
Saving 58 Sawtooth wave 18, 22 SHIFT functions 59 Sine wave 19 Solo 14 Source 30, 36 Square wave 18, 22 Step 45 Step arpeggiator 11 Switch between EDIT SELECT 1/Synchronize 29, 41, 45, 51, 65 Synth program 8, 16 SYNTHESIS FILTER 31 System exclusive messages 55
Unison 16 Using an external input as the carrier of the voco 34
Velocity 9, 47 Vibrato 29 Virtual Patch 30 Vocoder 31 Vocoder program 10, 16 Volume 27, 37 Volume balance 23 Vox wave 19
Tempo 9, 44 Three attributes of sound 15 Timbre 15, 16 Timbre solo function 64 Timbre(s) that will be sounded by the arpeggiator 45 Transpose 47 Tremolo 29 Triangle wave 19, 22
Wah 29 Write protect setting 63
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside. WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could invalidate the manufacturer's or distributor's warranty. Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer's or distributor's warranty.
15-12, Shimotakaido 1-chome, Suginami-ku, Tokyo, Japan 2002 KORG INC.
Printed in China
Voice Name List
BANK TRANCE No. (MIDI) A.11 (0) A.12 (1) A.13 (2) A.14 (3) A.15 (4) A.16 (5) A.17 (6) A.18 (7) A.21 (8) A.22 (9) A.23(10) A.24(11) A.25(12) A.26(13) A.27(14) A.28(15) A.31(16) A.32(17) A.33(18) A.34(19) A.35(20) A.36(21) A.37(22) A.38(23) A.41(24) A.42(25) A.43(26) A.44(27) A.45(28) A.46(29) A.47(30) A.48(31) A.51(32) A.52(33) A.53(34) A.54(35) A.55(36) A.56(37) A.57(38) A.58(39) A.61(40) A.62(41) A.63(42) A.64(43) A.65(44) A.66(45) A.67(46) A.68(47) A.71(48) A.72(49) A.73(50) A.74(51) A.75(52) A.76(53) A.77(54) A.78(55) A.81(56) A.82(57) A.83(58) A.84(59) A.85(60) A.86(61) A.87 (62) A.88 (63) Name Trancey Arpeg. Acid Saw Bass Unison Saw Lead Unison HPF+LPF Weepy Lead Slippy Pad Sweep Poly Pad Filter Strings Auto House Burnin' Rave X-Mod Perc. House Bass Distorted Bass Acid Square Bass Sync Bass Hard House Lead Sequence Pad Bleeps Perc. Gated Sync Bass Flap & Sweep Reverse Lead IDM Pad Flanger 5th Pad Voice /A/ 2 Step Bass Techstep Ring Bass Valve Kick Bass Drive Bass Blade Bass Sweep Sync Lead Science Lead Gated Chord Dirty Bass MG Bass 1 R&B Lead PWM Strings Reed Piano British Organ Synth Clav Tape Choir Elektric Arpeg. Water Edge 80's Synth Bass Reverse Sync Lead Bright Poly Synth Poly Synth Warm 4th Pad Octave Strings Killa Beez Diginator Stutter Invaders Ring Chord Sweep min Chord Noisy Hit 4 OSC m7 Chord Male-Ahhh Male-Eeee Male-Ahhh 5th Vocoder Ensemble Vocoder Chorus Vocoder 5th Bass Vocoder Voice Changer Category Arpeggio Bass Synth Lead Synth Lead Synth Lead Synth Synth Strings/Pad Arpeggio Arpeggio Arpeggio Bass Bass Bass Bass Synth Lead Arpeggio Arpeggio Bass Arpeggio Synth Lead Strings/Pad Strings/Pad Strings/Pad Bass Bass Bass Bass Bass Synth Lead Synth Lead Synth Bass Bass Synth Lead Strings/Pad KBD KBD KBD Strings/Pad Arpeggio Arpeggio Bass Synth Lead Synth Synth Strings/Pad Strings/Pad S.E. S.E. S.E. S.E. Hit Hit Hit Hit Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Single/Layer Layer Single Single Layer Single Single Single Single Layer Layer Single Single Single Single Single Single Layer Single Single Single Single Single Single Single Layer Single Layer Single Layer Single Single Single Layer Single Single Single Single Single Single Single Single Layer Single Single Single Single Single Single Single Layer Single Single Single Single Layer Layer Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Tempo Arpeggio On On Off On Off Off Off Off On On On Off Off Off Off Off On On Off On Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off On On On Off Off Off Off Off Off On Off Off Off Off Off Off Off Off Off Off Off Off Off Off BANK TRANCE No. (MIDI) B.11 (64) B.12 (65) B.13 (66) B.14 (67) B.15 (68) B.16 (69) B.17 (70) B.18 (71) B.21 (72) B.22 (73) B.23 (74) B.24 (75) B.25 (76) B.26 (77) B.27 (78) B.28 (79) B.31 (80) B.32 (81) B.33 (82) B.34 (83) B.35 (84) B.36 (85) B.37 (86) B.38 (87) B.41 (88) B.42 (89) B.43 (90) B.44 (91) B.45 (92) B.46 (93) B.47 (94) B.48 (95) B.51 (96) B.52 (97) B.53 (98) B.54 (99) B.55(100) B.56(101) B.57(102) B.58(103) B.61(104) B.62(105) B.63(106) B.64(107) B.65(108) B.66(109) B.67(110) B.68(111) B.71(112) B.72(113) B.73(114) B.74(115) B.75(116) B.76(117) B.77(118) B.78(119) B.81(120) B.82(121) B.83(122) B.84(123) B.85(124) B.86(125) B.87(126) B.88(127) Name Synth Harp Acid Ring Bass Unison Ring Lead Phaser Lead Synth Pizz Euphoric Synth Flashin' Pad Stream Pad S&H Signal Dirty Motion Short Ring Perc. Organ Bass Unison SQU Bass Detune Bass Short Synth Bass NRG Stab Noize Blasts Future Perc. Rhythmic Pad Pump Organ Lazy Pitch BPF 4th Pad Future Pad Shadow Pad X-Mod Bass Pipe Bass Reverse Bass RingSync Bass HPF Sweep Bass Nu Skool Drop Modulation Lead Grimey Storm Dark Bass MG Bass 2 Sub Bass 70's Funk Lead Rock Organ Perc. Organ Phaser Clav String Machine Analog Bell Stairs Pad Triangle Lead Random Comp Stab Saw Square Comp Detuned Comp Old Strings Time Zone SFX Domin8or Thunder Cry HPF m7 Chord M3rd Chord Hardcore Hit Artcore M7 Chord Female-Ahhh Kid-Eeey Kid-Ahhh (Wow) Vocoder Pulse Vocoder SQU Vocoder Wah Vocoder Vox Wave Vocoder DWGS Category Arpeggio Bass Synth Lead Synth Lead Synth Synth Strings/Pad Strings/Pad Arpeggio Arpeggio Arpeggio Bass Bass Bass Bass Synth Lead Arpeggio Arpeggio Synth Synth Synth Strings/Pad Strings/Pad Strings/Pad Bass Bass Bass Bass Bass Bass Synth Lead Arpeggio Bass Bass Bass Synth Lead KBD KBD KBD Strings/Pad Arpeggio Arpeggio Synth Lead Synth Synth Synth Synth Strings/Pad S.E. S.E. S.E. S.E. Hit Hit Hit Hit Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Single/Layer Single Single Single Single Layer Single Single Single Single Layer Layer Single Single Single Single Layer Layer Single Single Single Single Single Single Single Layer Single Single Single Single Single Single Single Single Single Single Single Single Single Single Single Single Layer Single Single Single Single Single Single Single Single Layer Single Layer Layer Layer Layer Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Tempo Arpeggio On Off On Off Off Off Off Off On On On Off Off Off Off Off On On Off Off Off Off Off Off Off Off Off Off Off Off Off On Off Off Off Off Off Off Off Off On On Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off Off
1. Hold down the [EXIT/SHIFT] button and press the [ARP ON] button.
The demo performance will begin.
1. Turn the [PROGRAM GENRE] dial to ROCK/POP. 2. Turn the [PROGRAM CATEGORY] dial to BASS.
The display will indicate the name of the selected program. NOTE The program will change when you switch the bank or number.
2. You can use the  knob to switch songs during the demo. 3. Press the [EXIT/SHIFT] button to end the demo performance.
3. Play the keyboard to hear the sound.
You can use the [OCTAVE] lever to change the assigned pitch range. ( p. 15 Using the [OCTAVE] lever to switch octaves)
4. Use the [BANK SELECT] lever to switch sounds.
While playing the keyboard, compare the sounds of the two banks to see which one you like best.
Playing a vocoder program
A vocoder modifies the signal from an oscillator or other source (the carrier) by applying the spectral characteristics of an external input source such as a human voice (the modulator). The most common way to use a vocoder is to produce a talking instrument effect by taking the input of your voice from the mic while you hold down a chord on the keyboard. However you can also obtain interesting results by using audio input sources other than a human voice, such as rhythm sounds or anything you like. Heres how to connect a mic and try out the vocoder.
5. Adjust the mic input level.
While vocalizing into the mic, turn the AUDIO IN [LEVEL] knob toward the right as far as possible without allowing the CLIP indication to appear in the level meter shown to the right of the display. NOTE If you want to audition the audio input directly, hold down the [EXIT/ SHIFT] button and press the [VOCODER] button ( p. 13). To hear different vocoder effects, try vocalizing in different ways and changing the chord you play. NOTE If youre unable to hear the effect, adjust the VC CARRI page TMBR1.LVL parameter or the VC AMP page VC LEVEL parameter ( p. 55, p. 56). NOTE Some vocoder programs will produce sound when you simply play the keyboard; theres no need to vocalize into the mic.
1. Turn the rear panel AUDIO IN [LEVEL] knob all the way to MIN. 2. Connect the mic to the front panel AUDIO IN [MIC] jack ( p. 9 Connecting the included mic). 3. Set the rear panel [XLR/LINE] switch to XLR. 4. Select a vocoder program.
With the factory settings, category 8 or program A18, A28 etc. contains vocoder programs. When you select a vocoder program, the [VOCODER] button LED will light.
Listening to the audio input (AUDIO IN THRU)
If you hold down the [EXIT/SHIFT] button and press the [VOCODER] button, the audio input signal from the AUDIO IN [MIC] jack or the AUDIO IN [LINE] jack will be sent from the OUTPUT [L/MONO], [R] jacks without modification. To return to the normal state, hold down the [EXIT/SHIFT] button and press the [VOCODER] button once again.
This section lets you adjust the volume level of oscillator 1 (OSC1), oscillator 2 (OSC2), and noise generator (NOISE), and sends the resulting mix to the filters (FILTER).
Filters (FILTER 1, FILTER 2)
The filter varies the brightness of the sound by removing or boosting certain portions of the frequency spectrum of the sound generated by the oscillator. Filter settings will have a large impact on the character of the sound. There are two filters for each timbre, and you can create a wide range of sounds by choosing from four routings (types of connection) for these filters. In addition, you can use envelope generator 1 (EG1) to vary the cutoff frequency of each filter over time.
Virtual patch (VIRTUAL PATCH)
The virtual patch functionality lets you use not only EG or LFO but also sources such as velocity (keyboard playing strength) and keyboard tracking (the keyboard region that you play) as modulation sources to control the parameters that make up the sound. This gives you a great deal of freedom in creating original sounds. For each timbre, you can create virtual patch settings for six parameters.
Each timbre contains a two-band EQ. You can use this to adjust the tonal balance between the two timbres; for example you might accentuate a sound that would otherwise be lost in the mix, or to restrain a sound that stands out too much.
This section consists of the amp (AMP) and pan (PAN) settings. The amp specifies the volume, and the pan specifies the stereo position of the sound. You can also use envelope generator 2 (EG2) to vary the volume over time.
Master effects (MASTER FX)
Each program contains two master effects. By applying these effects to the final mixed sound of the two timbres, you can add the finishing touch to the overall program.
Drive and waveshaping both give the tone a hard-edged character. Adjusting the cutoff or resonance of the filter can produce significant changes.
The arpeggiator automatically generates an arpeggio (broken chord) when you hold down a chord on the keyboard. For programs that use two timbres, you can apply the arpeggiator to either or both timbres. This is a step arpeggiator with six arpeggio types.
If the parameter value does not change when you turn the knob
In some cases when youve used the [KNOB FUNCTION SELECT] dial to choose a section to edit, turning knobs  may not change the value of the parameter. This is because the Full Edit mode GLOBAL page KNOB. MODE parameter is set to CATCH. With this setting, the actual value of the parameter youre editing (the value shown in the display) will not change unless it matches the position of the knob. If KNOB.MODE is set to CATCH, the knob position and the value will be linked only when the knob position reaches the actual value. This prevents the unnatural change that might be produced by a sudden change in the value. If the Full Edit mode GLOBAL page KNOB.MODE parameter is set to JUMP, the actual value will immediately jump to the knob position the instant you move the knob.
Suppose that youve turned knob  to edit a certain parameter, and that the knob is in the position shown. Then suppose that you use the [KNOB FUNCTION SELECT] dial to switch sections and edit the parameter thats assigned to knob , and that the actual value of that parameter is the position indicated by the triangle in the illustration. (The actual value will be displayed if you move the knob slightly.) The parameter value will not change until you turn the knob to that position. Once the knob has reached the position corresponding to the actual value, the parameter value and the knob position will be linked, and the value will change as you turn the knob.
Restoring an edited program value to its original setting
When you set a value to the same value stored in the original preset program or saved program, the ORIGINAL VALUE LED will light. After editing a value, you can restore that value to its original setting by turning knobs  to the value that makes the ORIGINAL VALUE LED light-up. If youre in Full Edit mode, the ORIGINAL VALUE LED will light-up when the setting of knob  matches the original value. If youve been editing, but then select a different program and then reselect the program you had been editing, the values will return to the preset program or stored program value. NOTE Settings affecting the entire microKORG XL or MIDI-related settings (GLOBAL) are made using the same procedure as when editing a program; use the [KNOB FUNCTION SELECT] dial to select the Full Edit mode section, and then use the knobs to edit the values. These settings will also revert to their un-edited state if you turn off the power, so you must Write them if you want to keep the changes you make.
Editing the two timbres
You can use two timbres in a program. The parameters of each timbre are organized into the NAMEEQ pages. To edit these parameters, you must first select the timbre that you want to edit (the [TIMBRE 1] or [TIMBRE 2] LED will light). NOTE The COMMON page VOIC.MODE parameter affects the entire program.
If KNOB MODE is set to CATCH
Suppose that knob  is in the position shown in the illustration.
Using two timbres (Layer)
If youre using two timbres, you can choose one of three modes in which to use them. Here well set the VOIC.MODE to LAYER. With LAYER mode, both timbres will sound simultaneously when you play a key. For details on the other modes, refer to page 32 VOIC.MODE.
1. Use the [KNOB FUNCTION SELECT] dial to select FULL EDIT.
If the actual value of the parameter was at the position shown by the triangle, turning the knob slightly will make a symbol appear in the display. This symbol means that the actual value is toward the left of the position indicated by the knob. Conversely, if the actual value is toward the right of the knob position, a symbol will appear in the display.
2. Use knob  to select the COMMON page, use knob  to select VOIC. MODE, and use knob  to select LAYER.
Selecting the timbre to edit
When you edit a program that uses two timbres, youll need to select which timbre you want to edit. Use the [TIMBRE SELECT] lever to choose which timbre that you want to edit.
The LED of the selected timbre will light-up, and that timbre will be the one affected by your editing. NOTE The TIMBRE SELECT LED wont light if the COMMON page VOIC.MODE parameter is SINGLE. The LED of the timbre being edited will light if youve selected LAYER, SPLIT, or MULTI as the voice mode ( p. 32).
4. Use knob  to select one of the VC CARRIVC BAND pages, and then use knobs  and  to edit the vocoder parameters.
When the vocoder is the selected object for editing, knob  will select vocoder parameter pages.
Editing the vocoder
Youll use the VC FILTVC BAND pages to edit the parameters of the sixteen bandpass filters (analysis filter and synthesis filter) and the envelope follower.
The best choice for the carrier is a waveform that contains a large number of overtones, such as a sawtooth wave or fixed-width pulse wave. You can edit these parameters in the VC CARRI page. NOTE If you want to input a sawtooth wave as the carrier, first edit timbre 1 so that the OSC1 page WAVE parameter is set to SAW; then in the vocoder settings, use the VC CARRI page TMBR1.LVL parameter to adjust the input level of timbre 1.
NOTE If you press the [VOCODER] button to make the LED light, set the
[KNOB FUNCTION SELECT] dial to Full Edit and turn knob  to raise the VC AMP page DIRCT.LVL parameter, the input audio will be output directly. Raise this value if you want to hear the input audio while you make adjustments. NOTE If you have difficulty hearing the effect, press the [VOCODER] button to make the LED light, set the [KNOB FUNCTION SELECT] dial to Full Edit, and turn knob  to adjust the VC CARRI page TMBR1.LVL parameter or the VC AMP page VC LEVEL parameter.
A human voice is typically used as the modulator, but you can also obtain interesting results by using rhythm sounds or some other audio source. As the modulator, the microKORG XL lets you choose either an external input such as mic or rhythm (AUDIO IN) or timbre 2. You can edit these parameters in the VC.MOD page.
Processing an external audio input
You can use the filter, amp, EGs, and LFOs etc. to modify a signal from an external synthesizer, rhythm machine, or audio device in the same ways that you modify an oscillator waveform. NOTE Before you connect an external device, power-off the microKORG XL and any external devices including amps or powered speakers, and make connections before you turn the power on again. NOTE You can use the external input as the carrier of the vocoder.
Selecting the vocoder for editing
The process of editing the vocoder settings is essentially the same as when editing a timbre, but youll need to turn on the vocoder function and select it for editing.
1. Select a synth program. 2. Press the [VOCODER] button.
The LED above the [VOCODER] button will light-up, and the vocoder function will turn on. The vocoder will also be selected as the object of your editing.
1. Set the [KNOB FUNCTION SELECT] dial to FULL EDIT. 2. Use knob  to select the OSC1 page, knob  to select WAVE, and knob  to select AUDIO IN.
3. Set the [KNOB FUNCTION SELECT] dial to FULL EDIT.
microKORG XL 3. Connect an audio signal from your external device to the input, and adjust the AUDIO IN [LEVEL] knob as high as possible without allowing the CLIP indicator to appear in the display. 4. Play the keyboard while listening to the sound. 5. Edit the filter, amp, EG, LFO, and effect settings to modify the sound.
Note all off
WAVE (LFO1).. [SAW, SQUARE, TRIANGLE, S&H, RANDOM] WAVE (LFO2)..[SAW, SQUARE+, SINE, S&H, RANDOM]
Selects the LFO waveform.
VOICE: The LFO phase will be reset at each note-on, and modulation of differing phases will apply to each voice.
BPM SYNC...[OFF, ON]
Amplitude changes irregularly (Sample & Hold)
Specifies whether the LFO cycle will be synchronized to the internal tempo or to an external MIDI Clock. OFF: The LFO will not be synchronized. It will operate at the frequency specified by the FREQ parameter.
ON: The LFO will be synchronized to the [TEMPO] knob or to MIDI Clock messages from an external device. NOTE If BPM SYNC is On, selecting LFO1FREQ or LFO2FREQ as DEST in PATCH 16 will have no effect.
PATCH 1, PATCH 2, PATCH 3, PATCH 4, PATCH 5, PATCH 6
To let you create even more sophisticated sounds, the microKORG XL provides six virtual patches. Each patch consists of three parameters: the source of the modulation (SOURCE), the destination to which that modulation will apply (DEST), and the intensity of that modulation effect (INTENSITY). You can produce a variety of changes in the sound by combining these parameters. For example by setting SOURCE to LFO2, DEST to CUTOFF1, and specifying the amount of effect using INTENSITY, you can produce a cyclic change in tone (wah effect) produced by LFO2.
Specifies the frequency of the LFO. Increasing this value will result in a faster frequency. NOTE This parameter will be displayed and can be set only if BPM SYNC is OFF.
This specifies the ratio of the LFO frequency relative to the tempo specified by the [TEMPO] knob. The specified value (note value) corresponds to one cycle. For example if this is set to 1/4, one cycle of the LFO will occupy one beat. If this is set to 3/4, one cycle of the LFO will occupy three beats. NOTE This parameter will be displayed and can be set only if BPM SYNC is ON.
P.BEND (Pitch Bend)..[DISABLE, ENABLE]
Selects whether pitch bend messages will be transmitted and received. DISABLE: Pitch bend messages will not be transmitted or received. ENABLE: Pitch bend messages will be transmitted and received.
SYS EX (System Exclusive).. [DISABLE, ENABLE]
Selects whether MIDI system exclusive messages will be transmitted and received. DISABLE: MIDI system exclusive messages will not be transmitted or received. ENABLE: MIDI system exclusive messages will be transmitted and received.
If youve selected #016+/ (CC#16+/), #017+/ (CC#17+/), #019+/ (CC#19+/), #020+/ (CC#20+/), or #021+/ (CC#0216+/)
MIDI.CTRL (MIDI Control)
In this page you can specify the function that is assigned for modulation sources MIDI1, MIDI2, and MIDI3 used in a virtual patch. NOTE If the selected function is assigned to a different parameter, an asterisk * is shown at the right of the value.
When a control change message is received from a slider (value 0127) on an external MIDI device, the center position of the slider (control change value 64) 0 will produce a modulation effect of 0 on the microKORG XL. If youve selected #016, #017, #019, #020, or #021, 0 setting the slider etc. to a position of 0 (control change value 0) will produce a modulation effect of 0 on the microKORG XL. Choose the type of setting that will produce the desired result on the microKORG XL when you operate the sliders or other controllers of your external MIDI device.
MIDI1.SRC.[P.BEND#119, #016+/, #017+/, #019+/, #020+/, #021+/]
Selects the function that will be assigned to modulation source MIDI1 used in a virtual patch. The factory-set default setting is CC#16.
CC MAP (MIDI Control Change No. Map)
Here you can assign control change numbers to the most important parameters. When you use performance editing or program editing, using the knob for these parameters will transmit the control change message that is assigned here. When the assigned control change message is received, the value of the corresponding parameter will change ( p. 83 2.MIDI messages).
Selects the function that will be assigned to modulation source MIDI2 used in a virtual patch. The factory-set default setting is CC#02.
About the delay time
TM RATIO (Time Ratio)
For delay effects, the actual delay time will be the delay time multiplied by the TM RATIO. For example, If BPM SYNC: Off, L DELAY: 0800ms, R DELAY: 0400 ms, and TM RATIO: 50%, then the actual delay time will be 400 ms in the left channel and 200 ms in the right channel. If BPM SYNC: On, L DELAY: 1/4, R DELAY: 1/8, and TM RATIO: 50%, then the actual delay time will be an eighth note in the left channel and a sixteenth note in the right channel.
Delay time when BPM SYNC is Off
If BPM SYNC is Off, youll be able to set the delay time in msec units. If the specified delay time multiplied by the TM RATIO would exceed the allowable range, a indication will appear at the right of the TM RATIO and the delay time value, and the delay time will be set to the maximum possible value.
Delay time when BPM SYNC is On
If BPM SYNC is On, the delay time will synchronize with the tempo specified by the [TEMPO] knob (or by an external MIDI clock). Since the tempo will follow the arpeggiator, this is useful for a live performance. If BPM SYNC is On, youll be able to set the delay time as a note value. For example, If BPM SYNC: On, TM RATIO: 100%, L DELAY: 1/8, and R DELAY BASE NOTE: 3/16, then the delay time will be an eighth note in the left channel and a dotted eighth note in the right channel. If the specified delay time multiplied by the TM RATIO would exceed the allowable range, a indication will appear at the right of the TM RATIO, and the delay time will be set to one half of the setting. If this would still exceed the maximum possible value, the delay time will be further shorted to 1/4, 1/8, 1/16, and so on.
Compressor - Sensitivity Wet Sensitivity=100
2. Effect Parameters
[Parameter name] : These are the parameters that can be assigned to [CTRL-1] or [CTRL-2]. ( p. 63 Effect knob assignments)
1. COMPRESR (Stereo Compressor)
This effect compresses the input signal to regulate the volume level and give a punchy effect. This is useful when applied to sounds that have a strong attack. You can link the left and right channels or make them operate independently.
Stereo In - Stereo Out Left Dry / Wet
Adjusts the shape of the LFO waveform. p. 66 LFO.SHAPE
TM RATIO..[BPM SYNC OFF: 000.5400.0% (OVER) /BPM SYNC ON: 012.5400.0% (OVER)]
Sets each delay time as a proportion relative to the L DELAY, and R DELAY values. The available range will depend on whether BPM SYNC is ON or OFF. For example if TM RATIO is 50%, L DELAY is 500 msec, and R DELAY is 1200 msec, the delay times will be 250 msec, 500 msec, and 600 msec respectively. If the delay times in conjunction with the TM RATIO setting exceed the limit, TM RATIO will indicate.
Specifies whether the LFO will be reset at note-on. NOTE This parameter will be displayed and can be set if MOD SRC is LFO. p. 67 KEY SYNC (LFO KeySync)
Specifies the starting position of the waveform. NOTE This parameter will be displayed and can be set if KEY SYNC is ON.
6. DELAY (Stereo Delay)
This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing.
L DELAY, R DELAY (L, R Delay Time). [0001400ms, 1/64 1/1]
These set the left and right channel delay times. If BPM SYNC is Off, these delay times are set in msec units. If BPM SYNC is On, these delay times are set as a timing resolution relative to the tempo specified by the [TEMPO] knob or MIDI clock.
Sets the amount of feedback for the left and right channels. The amount of feedback for the right channel is linked with the proportion of the left and right delay times so that the decay times of the left and right channels will stay the same.
Sets each delay time as a proportion relative to the L DELAY, C DELAY, and R DELAY values. p. 70 TM RATIO
HI DAMP... [000100%]
Sets the damping amount in the high range.
L DELAY, C DELAY, R DELAY (L, C, R Delay Time).... [00001400ms, 1/64 1/1]
These set the L, C, and R delay times. The delay time is determined by these settings and the TM RATIO value. p. 70 L DELAY, R DELAY (L, R Delay Time)
Sets the width of the stereo image of the effect sound. The stereo image is widest with a value of 127, and the effect sound of both channels is output from the center with a value of 0.
MOD.DEPTH (Modulation Depth) FEEDBACK
HI DAMP (High Damp)...[000100%]
Sets the feedback damping amount in the high range.
Sets the amount of feedback for the left and right channels.
13. VIBRATO (Stereo Vibrato)
This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.
Stereo In - Stereo Out
This switches the phase of the output and feedback.
Right LFO LFO Shape LFO Spread
Sets the LFO frequency as a proportion of the tempo set by the [TEMPO] knob. p. 66 SYNC.NOTE (LFO Sync Note) NOTE This parameter will be displayed and can be set if LFO SYNC is ON.
MOD.DEPTH (Modulation Depth)
Selects LFO Waveform. p. 66 LFO WAVE (LFO Waveform)
p. 66 LFO.SHAPE
Sets the starting location of the waveform. p. 67 INI.PHASE (LFO Init Phase) NOTE This parameter will be displayed and can be set if KEY SYNC is ON.
TYPE... [BLUE, U_VB]
Selects the phaser type.
... .. 
Sets the frequency to which the effect is applied.
MOD.DEPTH (Modulation Depth) RESO (Resonance)
Sets the resonance amount.
PHASE... [+, ]
Switches the phase of the output and feedback.
LFO.SPRD (LFO Spread)...[180+180]
14. PHASER (Stereo Phaser)
This effect creates a swell by shifting the phase. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Resonance High Damp
Right LFO Spread LFO LFO Shape
15. TREMOLO (Stereo Tremolo)
This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.
KEY SYNC (LFO KeySync)...[OFF, ON]
16. RING MOD (Stereo Ring Modulator)
This effect creates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation. Matching the oscillator frequency with a note number will produce a ring modulation effect in specific key ranges.
AMP DRIVE/WS EG1
VC MOD VC CARRI
FRMNT.SFT FC.OFFSET RESO FC.MOD.INT EF SENS VC LEVEL DIRCT.LVL off off off off off off off 0.25: 2, 26.51: 1, 52.76: 0, 77.102: +1, 103.127: +2 0/1: 63, 2: 62.63: 1, 64: 0, 65: +1.127: +63 0.127 0/1: 63, 2: 62.63: 1, 64: 0, 65: +1.127: +63 0.126, 127: HOLD 0.127 0.127 0.25: 2, 26.51: 1, 52.76: 0, 77.102: +1, 103.127: +2 0/1: 63, 2: 62.63: 1, 64: 0, 65: +1.127: +63 0.127 0/1: 63, 2: 62.63: 1, 64: 0, 65: +1.127: +63 0.126, 127: HOLD 0.127 0.127
OSC 2 SEMITONE values
The following table shows how the control change values transmitted/ received by the OSC2 page SEMITONE setting correspond to the value of the parameter.
Value (transmitted, received) 0.2 3.5 6, 7 8.10 11.13 14, 15 16.18 19, 20 21.23 24.26 27, 28 29.31 32, 33 34.36 37.39 40, 41 42.44 45.47 48, 49 50.52 53, 54 55.57 58.60 61, 62 63.65 SEMITONE Value (transmitted, received) 0 66, 67 68.70 71.73 74, 75 76.78 79, 80 81.83 84.86 87, 88 89.91 92.94 95, 96 97.99 100, 101 102.104 105.107 108, 109 110.112 113, 114 115.117 118.120 121, 122 123.125 126, 127 SEMITONE +1 +2 +3 +4 +5 +6 +7 +8 +9 +10 +11 +12 +13 +14 +15 +16 +17 +18 +19 +20 +21 +22 +23 +24
TYPE BAL values
The following table shows how the control change values transmitted/ received by the FILT1 page TYPE BAL setting correspond to the value of the parameter.
Value (transmitted, received) TYPE BAL 127 24LPF Intermediate the characters between 24LPF and 12LPF. 12LPF Intermediate the characters between 12LPF and HPF. HPF Intermediate the characters between HPF and BPF. BPF Intermediate the characters between BPF and THRU. THRU
SYNC.NOTE value when LFO 1/2 or DELAY BPM SYNC = ON
If BPM SYNC is on, the FREQ parameter of LFO 1/2 and the delay parameter of the master effects will change to SYNC.NOTE. In conjunction with this, the correspondence between the parameter value and the control change value transmitted/received when you operate a knob will change as follows.
Value (transmitted, received) 0.7 8.14 15.22 23.29 30.37 38.44 45.52 53.59 60.67 68.74 75.82 83.89 90.97 98.104 105.120127 LFO Sync Note 8/1 4/1 2/1 1/1 3/4 1/2 3/8 1/3 1/4 3/16 1/6 1/8 1/12 1/16 1/24 1/32 1/64 DELAY Sync Note 8/1 4/1 2/1 1/1 3/4 1/2 3/8 1/3 1/4 3/16 1/6 1/8 1/12 1/16 1/24 1/32 1/64
NOTE The sounds A18, A28, A48, A58, A68, A78, A88, B18, B28, B48, B58,
B68, B78, and B88 are programs that use the mic input (audio input). In order to play these sounds, you must connect a mic or external audio device to the microKORG XL and play the keyboard while sound is being input. NOTE With the factory settings, the Timbre 2 MIDI channel is set to 9 for programs whose Voice Mode is set to Multi.
3. Demo Song
No. Song Name RADIOTEK CLUBSTAR SNOW BADGIRLZ TRANCER EVOLTION TLKBOXER DEEPSEA PUZZLES PREVIEW Author KORG Henning Verlage KORG KORG Henning Verlage Henning Verlage KORG KORG KORG H.V. x KORG
All Demo Songs: 2008 KORG Inc. All rights reserved.
4. Specifications and options
Sound generation system MMT (Multiple Modeling Technology) Programs Number of timbres Maximum 2 (when using Layer, Split, or Multi) Polyphony 8 voices (up to 4 when the vocoder is selected) Synth Oscillator 1 Waveform Modulation Oscillator 2 Waveform Modulation Wave shaping WS type 2 oscillator + noise generator SAW, PULSE, TRIANGLE, SINE, FORMANT, NOISE, PCM/DWGS, AUDIO IN WAVEFORM, CROSS, UNISON, VPM SAW, PULSE, TRIANGLE, SINE RING, SYNC, RING+SYNC DRIVE , DECIMATOR, HARDCLIP, OCT SAW, MULTI TRI, MULTI SIN, SUB OSC SAW, SUB OSC SQU, SUB OSC TRI, SUB OSC SIN, LEVEL BOOST
Multi-mode filters Filter 1 -24 dB/oct LPF -12 dB/oct LPF, HPF, BPF, Thru Filter 2 LPF, HPF, BPF Vocoder 16-band vocoder, adjustable level and pan for each band, Formant Shift function, Formant Hold function Keyboard Effects Timbre Master Arpeggiator Programs 37-note (Natural Touch Mini Keyboard, velocity sensitive, no aftertouch) 2-band EQ Master effects (17 effect algorithms) UP, DOWN, ALT1/2, Random, Trigger (6 types), Step Arpeggiator function 128 programs (banks A/B x 8 genres x 8 categories)
AUDIO IN [LINE] jack, AUDIO IN [MIC] jack (with AUDIO IN [MIC/XLR] switch) AUDIO IN [LINE] jack Maximum input level +19 dBu Input source impedance 8 ohms Connector 1/4" phone jack (unbalanced) AUDIO IN [MIC] jack Maximum input level -11 dBu Input source impedance 14 k-ohms Connector XLR (balanced) Output L/MONO, R jacks Maximum output level +6 dBu @ 10 k-ohm load Output source impedance 1 k-ohm Connectors 1/4" phone jacks (unbalanced) HEADPHONE jack Maximum output level 36 + 36 dBu @ 33 ohms load Output source impedance 10 ohms Connector 1/4" stereo phone jack MIDI IN, OUT USB connector B type Display Custom LCD Power supply DC9V When using batteries Six AA batteries Battery life Approximately 4 hours or more (using alkaline batteries) Dimensions 556 x 231 x 73 mm / 21.89 x 9.09 x 2.87 inches Weight 2 kg / 4.41 lbs Included items AC Adapter, Gooseneck microphone * Specifications and appearance are subject to change without notice for improvement.
URC-287 Rc7 KV-36FS70K IC-W2A Jukebox LE20S51B Velo 8 Xl Manual BJ-200E 42PF9967D S-2100 Cappucino GE872 SCX-4220 RF-22192R VPC-HD700 TD-3KV UX-W30CL Equium A80 Asko 1400 HP 33S Authentique Amex 601 80 V Stylus C45 Yamaha CS2X CQ-C8351N ESI45010X Pokewalker Abit BF6 SP2504C-KIT Sport-2006 Magnia 3100 Array Review EVO T20 Dect1080 32-3820 BAR310HG 170-1 Blackberry Mail ZF650 KV-21CT1E SA1942 02 BC 506 Studioworks 78I PSR-40 Manual C2050 Area 51 NX7220 Kxtg4011 K2900 CP2500 HT462SZ PDX-D3S LN46A850s1F Mic LG VF68 Urc-4880 Doro TH80 32PFL7562D-10 HEM-711AC Hcb-700 Vocoder 96340 Panel GC1815 LD-2120SH Hxsu012BA P2B-IDE MX 700 RDP-980 Geist Multimedia 20 Cdmix3 DVX-100 Xerox 6204 PS63C7000YW 14PV340 Synthesizer Vocoder Review CLX-3175WK Shcc6026 EUF2300 A45-S150 Xl Review KH 05 P4S-XE VSX-806RDS Butler 2410 2243SWX CLP-300-ELS MFC-6490CW PTC-IIE RQ-L11 Roland FP-7 AWT1045AA Tapco MIX W377G DMC-TZ5 L1026 Sdirect M228WD-BZ AR01 2 1 Xl 37 65 M Perfection 640 275000
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