1
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Precautions
Data handling
THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate
radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful
interference to radio communications. However, there is no
guarantee that interference will not occur in a particular
installation. If this equipment does cause harmful interference
to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to
try to correct the interference by one or more of the following
measures:
Unexpected malfunctions can result in the loss of memory
contents. Please be sure to save important data on an external
data filer (storage device). Korg cannot accept any responsibility
for any loss or damage which you may incur as a result of data
loss.
Location
Using the unit in the following locations can result in a
malfunction.
•
•
•
•
•
In direct sunlight
Locations of extreme temperature or humidity
Excessively dusty or dirty locations
Locations of excessive vibration
Close to magnetic fields
Printing conventions in this manual
Power supply
Please connect the designated AC adapter to an AC outlet of
the correct voltage. Do not connect it to an AC outlet of
voltage other than that for which your unit is intended.
Knobs and keys printed in BOLD TYPE.
Knobs and keys on the panel of the microKORG are printed in
BOLD TYPE.
Interference with other electrical devices
Radios and televisions placed nearby may experience
reception interference. Operate this unit at a suitable distance
from radios and televisions.
Parameters " "
Parameters are enclosed in "double quotation marks."
•
•
•
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different
from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician
for help.
Symbols
,
,
Handling
These symbols respectively indicate cautions, advice, and MIDI-
related explanations.
•
To avoid breakage, do not apply excessive force to the
switches or controls.
Unauthorized changes or modification to this system can void
the user's authority to operate this equipment.
MIDI-related explanations
Care
CC# is used as an abbreviation for Control Change Number.
In MIDI-related explanations, numbers enclosed in square
brackets [ ] are in hexadecimal notation.
If the exterior becomes dirty, wipe it with a clean, dry cloth.
Do not use liquid cleaners such as benzene or thinner, or
cleaning compounds or flammable polishes.
CE mark for European Harmonized Standards
CE mark which is attached to our company's products of AC
mains operated apparatus until December 31, 1996 means it
conforms to EMC Directive (89/336/EEC) and CE mark
Directive (93/68/EEC).
Display indications
Keep this manual
After reading this manual, please keep it for later reference.
The numerical values of various parameters appearing in this
manual are only for explanatory purposes. They may not
necessary match what appears in the display of your
microKORG.
Keeping foreign matter out of your equipment
Never set any container with liquid in it near this equipment. If
liquid gets into the equipment, it could cause a breakdown,
fire, or electrical shock.
And, CE mark which is attached after January 1, 1997 means
it conforms to EMC Directive (89/336/EEC), CE mark
Directive (93/68/EEC) and Low Voltage Directive (73/23/
EEC).
Knob positions and parameters
Knob positions and parameter values appearing in this manual
(p.16 and following) are approximations. There may be slight
discrepancies between knob positions and parameter values.
Be careful not to let metal objects get into the equipment. If
something does slip into the equipment, unplug the AC
adapter from the wall outlet. Then contact your nearest Korg
dealer or the store where the equipment was purchased.
Also, CE mark which is attached to our company's products
of Battery operated apparatus means it conforms to EMC
Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
*
Company names, product names, and names of formats etc.
are the trademarks or registered trademarks of their respective
owners.
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Table of Contents
Thank you for purchasing the Korg
synthesizer/
vocoder. To ensure trouble-free enjoyment, please read this manual
carefully and use the product correctly.
Quick Start .................................................... 7
Explains how to get started using the microKORG (listen to the demos, select
programs, use the arpeggiator and performance functions), and perform basic
editing.
Precautions ................................................................................iii
Data handling ..............................................................................iii
Printing conventions in this manual ...................................................iii
Demo songs ................................................................................. 7
Listening to the demo songs............................................................................... 7
Synth programs............................................................................. 8
1. Selecting and playing a program .................................................................... 8
2. Modifying the sound ....................................................................................... 8
Introduction................................................... 1
Explains the features of the microKORG, and the names and functions of each
part.
Vocoder programs ....................................................................... 10
1. Playing a vocoder program ........................................................................... 10
2. Modifying the sound ..................................................................................... 10
Main Features .............................................................................. 1
Front and rear panel ....................................................................... 2
Front panel .......................................................................................................... 2
Rear panel ........................................................................................................... 4
Arpeggiator................................................................................ 11
Using the arpeggiator........................................................................................ 11
Editing ........................................................ 12
Preparations.................................................. 5
Explains what you need to know when editing sounds on the microKORG.
Explains how to connect external audio devices and the included mic, and how to
turn on the power.
Basic editing .............................................................................. 12
Basic editing procedure .................................................................................... 12
Editing each timbre ........................................................................................... 14
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
Editing a synth program ................................... 15
Explains the functions of the synth program parameters adjusted by edit control
Turning the power on ...................................................................... 6
1. The power supply............................................................................................ 6
2. Turning the power on ......................................................................................6
3. Turning the power off ......................................................................................6
knobs 1–5 for the corresponding setting of the EDIT SELECT 1/2 knobs.
The structure of a synth program...................................................... 15
Overview............................................................................................................ 15
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Table of Contents
14. CH PAN A, 15. CH PAN B — VOCODER ...................................................................... 38
1. VOICE — SYNTH/VOCODER ............................................................................................ 16
2. PITCH — SYNTH/VOCODER ............................................................................................ 17
3. OSC1 (Oscillator 1) — SYNTH/VOCODER .................................................................... 18
4. OSC2 (Oscillator 2) — SYNTH...................................................................................... 22
5. MIXER — SYNTH ............................................................................................................. 23
6. FILTER — SYNTH ............................................................................................................. 24
7. FILTER EG — SYNTH ...................................................................................................... 26
8. AMP — SYNTH ................................................................................................................. 27
9. AMP EG — SYNTH/VOCODER ......................................................................................... 28
10. LFO 1, 11. LFO 2 — SYNTH/VOCODER ......................................................................... 29
12. PATCH 1, 13. PATCH 2, 14. PATCH 3, 15. PATCH 4 — SYNTH ............................ 30
Editing the effects and EQ ................................. 39
Explains the function of the effect and EQ parameters adjusted by edit control
knobs 1–5 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
Editing the arpeggiator .................................... 43
Explains the function of the vocoder program parameters adjusted by edit control
Explains the function of the arpeggiator parameters adjusted by edit control knobs
knobs 1–5 for the corresponding setting of the EDIT SELECT 1/2 knobs.
1–5 for the corresponding setting of the EDIT SELECT 1/2 knobs.
The structure of a vocoder program .................................................. 31
Overview............................................................................................................ 31
The structure of arpeggiator ........................................................... 43
Overview............................................................................................................ 43
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
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 1–5
for the corresponding setting of the EDIT SELECT 1/2 knobs.
GLOBAL structure ........................................................................ 46
Overview............................................................................................................ 46
21. GLOBAL .......................................................................................................... 47
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Table of Contents
Data dump............................................................................................................. 62
Restoring the factory settings............................................................................... 63
Write protect setting ............................................................................................. 63
Other SHIFT key functions .................................................................................... 64
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 1–5 for the
corresponding setting of the EDIT SELECT 1/2 knobs.
MIDI on the microKORG................................................................. 48
Overview............................................................................................................ 48
Connecting MIDI devices/computers ................................................................ 48
MIDI-related settings after connection ............................................................. 49
Appendix ..................................................... 65
Provides a troubleshooting checklist, and other information such as the specifica-
tions of the microKORG.
22. MIDI ................................................................................................................ 51
LFO 1/2 and delay time synchronization ............................................................... 65
Troubleshooting .................................................................................................... 66
Specifications and options.................................................................................... 67
Index ..................................................................................................................... 68
Messages transmitted and received by the microKORG .......................... 52
Saving Data.................................................. 58
Explains how to save a program or Global settings that you edited.
Saving your edited settings ............................................................ 58
Saving a program .............................................................................................. 58
Saving GLOBAL, MIDI, and SHIFT function settings ........................................ 58
SHIFT functions ............................................. 59
Explains functions that use the SHIFT key, such as initializing a program and
restoring the factory settings.
Copying and exchanging timbres — SYNTH .................................................................... 59
Initializing a program ............................................................................................ 59
Initializing CH LEVEL and CH PAN — VOCODER ............................................................ 60
MIDI Filter ............................................................................................................. 60
Assigning control changes.................................................................................... 61
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Main Features
Introduction
1. Analog modeling synthesizer
3. 128 built-in programs
The analog modeling system of the microKORG uses DSP technology to
simulate an analog synthesizer. Starting with a variety of different oscillator
algorithms (such as the sawtooth and square waves familiar to users of analog
synthesizers) you can use the various controls located on the front panel to edit
any sound, or to create sounds of your own. All sound parameters are organized
into “sections”. By selecting the appropriate section and turning the appropriate
knob you can edit sounds quickly, easily and intuitively. You can also modify the
sound in realtime as you perform.
The microKORG contains 128 built-in programs. When shipped, the TRANCE–
S.E./ HIT banks contain 112 synth programs, and the VOCODER bank contains
16 vocoder programs.
4. Process the waveform of an external input source
The waveform of an external audio source can be input via the AUDIO IN 1 and
2 jacks, and processed in the same way as the internal waveforms.
Number of timbres:
maximum 2 (when layer is used)
Maximum polyphony: 4 voices
5. Virtual Patch function
Structure:
2 oscillators + noise generator: sawtooth wave, square wave,
Modulators and controllers such as filter EG, amp EG, LFO 1/ 2, keyboard
tracking, and wheel can be virtually patched (without using actual patch cables)
to parameters such as pitch, cutoff, and amp. This gives you even more creative
flexibility.
triangle wave, sine wave, Vox wave, DWGS x 64, Noise,
Audio In (eight 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 (four types)
Filter EQ, Amp EG, LFO1, LFO2 (LFO: six waveforms, can be
synchronized to the arpeggiator or to external MIDI clock)
6. Effects to add the finishing touch to your sound
For even greater possibilities, the microKORG provides three types of modula-
tion effect, three types of delay, and an equalizer.
The delay effect can be synchronized with the arpeggiator or an external MIDI
clock, allowing numerous applications in live performance.
2. Vocoder
You can connect a mic to one of the microKORG's AUDIO IN 1 jacks, and use it as
a vocoder – a device that imposes the spectral character of a voice (or other audio
signal) on the sound of an oscillator, producing the impression that the oscillator is
speaking.
7. Step Arpeggiator
The microKORG's arpeggiator lets you produce an arpeggio simply by holding
The vocoder consists of eight channels (sixteen filters used in pairs). In addition to
simulating the sounds of classic vocoder units, you can change the filter frequency
and adjust the level and pan of each band to create original vocoder sounds.
down a chord.
You can choose from six arpeggio types, and adjust the duration and spacing of
the arpeggiated notes. You can also specify whether a note will be on or off for
each of up to eight steps, letting you create a broad range of modified rhythms
and other effects.
Maximum polyphony: 4 voices
Structure:
8 channel vocoder, adjustable level/ pan for each channel,
Formant Shift function, 1 oscillator + noise generator (eight types)
Filter EG, Amp EG, LFO1, LFO2 (LFO: six waveforms, can be
synchronized to the arpeggiator or to external MIDI clock)
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Front and rear panel
Front panel
BANK SIDE key
AUDIO IN 1/2 LEDs
Switches between the two sides of each program bank.
(The indicator is dark when side A is selected, and lit
when side B is selected.)
These will light if a signal is being input to the
AUDIO IN jacks. They will light red if an
input overload occurs.
BANK SELECT dial
Selects the program bank.
Items on the front panel that relate
to the Vocoder are printed in green.
This indicator will blink when the microKORG receives
a MIDI program change, or if the BANK SELECT dial
no longer matches the actual bank.
VOLUME knob
Adjusts the volume of the output
from the OUTPUT jacks (L/MONO,
R) and headphone jack.
Display
Indicates the current program number,
the value of the selected parameter, or
other various messages.
ARPEGGIATOR ON/OFF key
Switches the arpeggiator on/ off.
(When on, the key LED will light.)
WRITE key
Saves an edited program or global
setting. (➝p.58)
ARPEGGIATOR TEMPO LED
Blinks at the tempo of the
SHIFT key
By holding down this key and pressing
another key, you can access various
utility functions. (➝p.59)
Also, while this key is lit, it will
function as an EXIT key to exit the
current state and return to normal
operation.
arpeggiator performance. If MIDI
CLOCK is set to External and MIDI
Clock data is being received from
the MIDI IN connector, this LED
will blink at that tempo.
OCTAVE SHIFT UP, DOWN keys
Shifts the pitch range of the
keyboard in steps of an octave, over
a range of +/ -3 octaves.
PROGRAM NUMBER
1, 2, 3, 4, 5, 6, 7, 8 keys
Select program numbers (the LED of
the selected key will light).
You can also use these keys to turn each
of the eight steps of the arpeggio
on/ off, adding variety to an
PITCH wheel
Controls the pitch.
arpeggiated performance. (➝p.11)
In addition, you can hold down the
SHIFT key and press one of these keys
to access various utility functions.
(SHIFT function)
MOD wheel
Controls the depth of modulation.
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Front and rear panel
TIMBRE SELECT/FORMANT HOLD key
ORIGINAL VALUE LED
EDIT CONTROLS 1, 2, 3, 4, 5 knobs
These knobs edit the Performance Edit
parameters or the parameters of the section
selected by the EDIT SELECT 1 and 2
knobs. (➝p.8, 9, 10)
If a Synth program using "layer" is selected,
this key allows you to chose which timbre
will be edited or sounded, or lets you edit
both timbres simultaneously (Sync).
This will light if the value of the parameter
currently being edited matches the value that is
stored in the program. (➝p.13)
(This LED does not function for Performance
Edit.)
If a Vocoder program is selected, this key
switches Formant Hold on, letting you hold
the tone currently produced by the vocoder
without continuing to speak into the mic.
TIMBRE SELECT 1 LED,
TIMBRE SELECT 2 LED
If a Synth program using Layer is selected,
the LED(s) will light to indicate which
timbre(s) will be edited. If a timbre is being
soloed, its LED will blink.
Vocoder parameters
These are the parameters
for a Vocoder program.
If a Vocoder program is selected, the 1 LED
will light if the formants are being held.
Synth parameters
These are the parameters
for a Synth program.
EDIT SELECT 1 dial,
EDIT SELECT 2 dial
These dials select the section to edit.
(➝p.12)
SYNTH/VOCODER 1 LED,
SYNTH/VOCODER 2 LED
These indicate whether the selected
program is a Synth or a Vocoder program.
If both the SYNTH/ VOCODER 1 and 2
LEDs are lit, the Performance Edit function
is enabled.
If only one LED is lit, the EDIT SELECT
knob corresponding to the lit LED will be
the object of your editing. If the object of
editing has not been finalized, the LED will
blink.
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Front and rear panel
Rear panel
AUDIO IN 1
A Synth program can use an audio signal from a synthesizer or external device
connected here as the oscillator 1 waveform.
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.
A Vocoder program can use an audio signal from a mic etc. connected here as the
modulator audio.
AUDIO IN 2
A Synth program can use an audio signal from an
external device connected here as the oscillator 1
waveform.
MIC/LINE switch
CONDENSER jack
Connect a condenser mic to this jack.
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.
A Vocoder program uses this input signal as the
external carrier for the vocoder.
DYNAMIC jack
Connect a dynamic mic, synthesizer, or
audio device to this jack.
LINE jack
VOLUME 2 knob
HEADPHONES jacks
Connect a pair of
headphones to this jack
(1/ 4" stereo).
Connect a synthesizer
or audio device here.
Adjusts the input level
from the LINE jack.
If both the DYNAMIC jack and the
CONDENSER jack are connected, the
audio signal from the CONDENSER jack
will take priority.
VOLUME 1 knob
Adjusts the input level from the
DYNAMIC or CONDENSER jack.
Power switch
MIDI
Mic holder
Switches the power on/ off. (➝p.6)
Use these connectors to connect the microKORG to an external MIDI
device so that MIDI data can be exchanged.
You can attach the included
mic to this holder (➝p.5).
AC adaptor jack
MIDI OUT connector MIDI IN connector
MIDI THRU connector
Received MIDI data is
re-transmitted without
change from this
connector. Use this
when you want to
Connect the included AC adaptor to
this jack. After connecting the AC
adaptor to the microKORG, plug it
into an AC outlet.
This connector
This connector receives
MIDI data.
transmits MIDI data.
connect multiple MIDI
devices to the same
"stream" of data.
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Connections
Preparations
The diagram below shows basic connections for the microKORG. Make substitu-
tions 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
Included mic
the output jack of your external device to the AUDIO IN 1 and 2 jacks (➝p.21).
Connections to MIDI equipment/computers
The keyboard, and controllers etc. of the microKORG can be used to control an
external MIDI tone generator. Conversely, another MIDI keyboard or sequencer can
control the tone generator of the microKORG to produce sound. (➝p.48)
Phones
MIDI OUT
MIDI IN
E
M
-
1
AC adapter (included)
Connect to an AC outlet
Connecting the included mic
A mic for use with the vocoder is included with the microKORG. Here's how to
attach the included mic to the microKORG.
TAP
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
MIDI keyboard, tone generator module, rhythm machine etc.
Powered monitors, etc.
Do not apply excessive force to the neck of the mic, or repeatedly bend it back
and forth any more than necessary. Doing so may cause malfunctions such as
breakage of the internal wiring.
Be sure to turn off the power of all devices before making connections. Failing
to take this precaution may cause your speaker system to be damaged, or may
cause malfunctions.
Grasp the base of the included mic, align the protrusion of the mic with the slit
of the mic holder, and push it into the holder.
1
Do not use excessive force.
Connections from the audio outputs
When removing the included mic, grasp it by the base and pull it out.
Connect the microKORG's OUTPUT L/MONO and R jacks to the input jacks of
your mixer or powered monitor system.
Turn the rear panel AUDIO IN VOLUME 1 knob
to the MIN position, and set the MIC/LINE switch
to the MIC position.
2
3
Neck
In order to take full advantage of the potential of the microKORG, we recommend
that you use stereo outputs.
If you are making monaural connections, use the L/MONO jack.
Mic base
Protrusion
Connect the plug of the included mic to the
AUDIO IN 1 CONDENSER jack.
Slit
Connections to the audio inputs
If you want to use the microKORG as a vocoder, connect a mic or other audio
source to AUDIO IN 1, and use that audio source as the modulator (➝p.10). If you
5
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Turning the power on
1. The power supply
Before you connect the power supply, make sure that the power switch is turned off
(i.e., in the outward position).
2. Turning the power on
Before you turn on the microKORG’s power, you should lower the level of your
monitor system or other connected output device.
1
2
Turn the microKORG's VOLUME knob all the way toward the left.
Connecting the AC adaptor
Firmly insert the plug of the included AC adaptor into the jack. Then connect the
AC adaptor to an AC outlet.
Press the power switch to turn on the power.
The display will indicate the program number.
Never use any AC adaptor other than the included one.
3
4
Turn the microKORG's VOLUME knob toward the right to an appropriate
position.
Inserting/exchanging batteries
The microKORG can also be operated on batteries.
Adjust the volume of your external output device.
1, 3
2
Batteries are not included. You will need to purchase them
separately.
Make sure that the power switch on the microKORG is turned off.
Then open the battery cover located on the bottom of the case.
1
2
Insert six AA alkaline batteries.
Be careful to observe the correct polarity of the batteries.
Close the battery cover.
3
Low battery display “
When the batteries run low, the display will indicate "
”
," and the "." at the far
3. Turning the power off
right will begin blinking. If you continue using the microKORG, the Protect setting
will be turned on automatically, and you will be unable to edit program or global
settings. We recommend that you install new batteries or switch to the AC adaptor
as soon as possible. If this state occurs while you are editing, and you want to save
your settings, connect the AC adaptor and execute the Write operation.
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 execut-
ing). Doing so may damage the internal data.
You can cancel the "
" display by pressing the SHIFT key.
Batteries that have become unusable should be removed from the microKORG
as soon as possible. Leaving such batteries installed may cause malfunctions
(due to battery leakage, etc.). You should also remove the batteries if you will
not be using the microKORG for an extended period of time.
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Demo songs
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.
Hold down the SHIFT key and press the ARPEGGIATOR ON/OFF key.
1
2
The demo will begin playing. The SHIFT , OCTAVE SHIFT DOWN, UP , and
PROGRAM NUMBER key LEDs will light.
To switch the demo song during playback, press the OCTAVE SHIFT UP or
DOWN key.
You can also use the PROGRAM NUMBER 1 –8 keys to select a demo song.
When you press the SHIFT key, demo playback will stop.
3
The SHIFT , OCTAVE SHIFT DOWNand UP key will go dark, and the
microKORG will return to normal playing mode.
1
1, 3
2
2
7
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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 PRO-
GRAM 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 perfor-
mance by turning the edit control knobs 1 –5 , 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.
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 1 –5 are automatically
assigned to control the parameters listed below. Turn these knobs to control the
sound in realtime.
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.
1
Turn the PROGRAM SELECT knob to the TECHNO/HOUSE position.
2
3
The display will indicate "2" as the program bank.
When using Performance Edit, the display shows the program number.
Press the 6 key to select 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.
Notice that the SYNTH/ VOCODER LED for the SYNTH position is lit.
The program will change at the moment you switch either the Side, Bank, or
Number.
Play the keyboard to hear the sound.
4
5
When Performance Edit is active, you can edit the sound in the following ways.
You can use the OCTAVE SHIFT UP or DOWNkeys to shift the pitch range of
the keyboard. (➝p.9)
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.
Program Side
Program Bank
SYNTH/VOCODER
LED
SYNTH/VOCODER LED
TIMBRE SELECT
Edit control knobs 1–5
2
1
3
Program Number
EDIT SELECT 2
PROGRAM NUMBER keys 1–8
5
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Synth programs
In the case of a LPF (Low Pass Filter)
Knob 2: RESONANCE
Using the PITCH and MOD wheels for control
PITCH wheel:
The effect will be applied when you move the wheel away from
or toward yourself. When the wheel is in the center position,
there will be no effect.
Adjusts the resonance of the
filter. This adds a distinctive
character to the sound.
Cutoff
Cutoff
Cutoff
High resonance value
Cutoff
Low resonance value
Knob 3: EG ATTACK
0
Normally this wheel is used as the pitch bender, so that the
pitch will rise when you move the wheel away, and fall when
you move the wheel toward yourself.
(FILTER EG + AMP EG ATTACK)
0
Adjusts the attack time of the filter EG and amp EG. This will affect the amount of
time from note-on (when you press a key) until the attack level is reached. Turning
this knob will adjust the speed at which the filter EG and amp EG will rise.
Normally, turning the knob toward the left will shorten the attack time, and turning
it toward the right will lengthen the attack time.
MOD wheel:
The effect will be applied when you move the wheel away from yourself, and will
not apply when you move the wheel toward yourself.
You can use this wheel to control the vibrato depth (➝p.17), or to adjust the tone by
controlling the cutoff frequency (➝p.30).
Knob 4: EG RELEASE (FILTER EG + AMP EG RELEASE)
Adjusts the release time of the filter EG and amp EG. This will affect the amount of
time from note-off (when you release
Since the PITCH and MODwheels can be used as virtual patch sources, you
can use them to produce a variety of effects other than described above. (➝p.30)
[3]: Attack Time
a: Decay Time
[4]: Release Time
b: Sustain Level
Cutoff
+
a key) until the sound disappears.
Turning this knob will adjust the
release time of the filter EG and amp
EG. Normally, turning the knob
toward the left will shorten the release
time, and turning it toward the right
will lengthen the release time.
Level
Note off
Note on
Using the OCTAVE SHIFT UP and DOWN keys for control
You can use these keys to shift the
Attack Level
Key operation Keyboard range Key LED
Key operation
b
pitches assigned to the keyboard,
in one-octave units over a range of
+/ -3 octaves. (➝p.8, 52)
C6–C9
C5–C8
C4–C7
C3–C6
C2–C5
C1–C4
C0–C3
UP lit red
0
Time
Press
DOWN key
UP lit orange
UP lit green
dark
Press UP key
[3]
a
[4]
DOWN lit green
DOWN lit orange
DOWN lit red
Knob 5: TEMPO
Adjusts the tempo of the arpeggiator, LFO, and DELAY (if "TEMPO SYNC" is ON).
Turning the knob toward the left will slow down the tempo, and turning it toward
the right will speed up the tempo. The ARPEGGIATOR TEMPO LED will blink at
the specified tempo.
Using the keyboard for control
Keyboard Tracking:
Keyboard tracking uses the position of the note on the keyboard to affect the sound.
Normally, this is used to brighten the sound as you play upward, or to create
differences in volume between high and low notes.
If you have selected a Layer program that uses two timbres (one of the TIMBRE
SELECT LEDs is lit), you can choose which timbre will be affected by your
edits. Press the TIMBRE SELECT
key to switch timbres. (➝p.14)
Velocity:
In the EDIT mode, the parameters that are assigned to each knob are also be edited
via the parameters of the section selected by the EDIT SELECT 1 and EDIT
SELECT 2 knobs. For details on each function, refer to p.24 for CUTOFF and
RESONANCE, p.26 and 28 for EG ATTACK and EG RELEASE, or p.44 for TEMPO.
The strength with which you play the keyboard can affect the sound.
Normally, your playing strength will affect the tone and volume.
Since velocity and keyboard tracking can be used as a virtual patch source, you
can use them to produce a variety of effects other than those described above.
(➝p.30)
A sound modified modify using Performance Edit can be written into memory
if desired. (➝p.58)
9
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Vocoder programs
While vocalizing into the mic and using the keyboard to play vocoder sounds,
you can "freeze" the current tone of the vocoder by pressing the FORMANT
HOLD key. This allows you to continue to play the current vocoder sound, even
when you are not vocalizing. This tone will be remembered when you Write the
vocoder program to memory.
6
1. Playing a vocoder program
Here's how to connect the included mic and play a vocoder program.
A vocoder applies the spectral character of an externally-input voice (the "modula-
tor") to an oscillator or other sound (the "carrier"), and outputs the result. In the
most popular use of a vocoder, you can speak or sing into a mic and play chords on
the keyboard, to create the impression that an instrument is speaking or singing.
Alternatively, you can create a variety of interesting effects by inputting audio
signals other than a human voice (such as
Several of the VOCODER bank programs will sound even if you simply play
the keyboard. These programs were written with FORMANT HOLD turned on.
rhythm sounds).
Included mic
2. Modifying the sound
On the rear panel, turn the AUDIO IN 1
VOLUME 1 knob to the MIN position, and
1
In the same way as for a synth program, you can modify the sound of a vocoder
program by turning the edit control knobs 1 –5 , by moving the PITCH and MOD
wheels, and by the way that you play the keyboard. As described on the preceding
pages, try out various changes for the selected program.
set the MIC/LINE
position.
switch to the MIC
1 1, 4 2
Connect the included mic to the AUDIO IN
1 CONDENSER jack.
2
The following Performance Edit operations work differently than for a synth
program.
If you use a mic other than the included
one, connect it to the appropriate jack.
Knob 1: CUTOFF, Knob 2: RESONANCE:
These control the carrier by adjusting the band pass filter cutoff frequency of the
carrier. See page 35.
Select a vocoder program.
3
4
5
Using the procedure described on page 8,
select program "A.84" for this example.
Knob 3: EG ATTACK, Knob 4: EG RELEASE:
Only the amp EG can be controlled.
Also, a vocoder program does not allow you to switch timbres.
With the factory settings, the VOCODER bank contains vocoder programs.
Notice that the SYNTH/ VOCODER LED VOCODER is lit.
Vocalize into the mic, and turn the VOLUME 1 knob toward MAX without
allowing the AUDIO IN 1 LED to light red.
SYNTH/VOCODER
LED
Edit control knobs 1–5
4
6
Raising the AMP "DIRECT LEVEL" value will cause the input sound to be
output directly, so raise the level if you want to hear the input sound while you
make adjustments. (➝p.37)
While vocalizing into the mic, play the keyboard.
Try pronouncing different words and changing the chords you play, and listen
to the vocoder effect.
If you cannot hear the effect, try adjusting the AMP "LEVEL" (knob 1 ) (➝p.37)
or MIXER "OSC 1 LEVEL" (knob 1 ) (➝p.34).
3
10
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Arpeggiator
For example if you selected ARPEG.A in step 4, the parameters shown in the
lower left diagram (below) will be selected as the knob functions. Turning knob
1 will change the tempo of the arpeggio, and turning knob 3 will change the
duration of the arpeggiated notes. Turning knob 4 will switch the arpeggio
pattern, changing the order in which the notes are sounded (➝p.44). (For
details on each parameter, refer to the appropriate page.)
Using the arpeggiator
The arpeggiator is a function that automatically arpeggiates the notes of a chord
you play; i.e., sounds the notes one after the other. The microKORG's arpeggiator
provides six types of arpeggio pattern, and lets you adjust the duration (gate time)
of the notes that are sounded. The microKORG also provides a "step arpeggiator"
that lets you specify the on/ off status of each note in the chord for as many as eight
steps, letting you create an even wider range of arpeggio patterns.
Refer to page 13 for a note regarding cases in which the value does not change.
Using the step arpeggiator to vary the arpeggio
If the EDIT SELECT 2 knob is turned to the ARPEG.A or ARPEG.B position,
the PROGRAM NUMBER 1 –5 keys will act as arpeggiator step keys, and will be
lit (the "on" state) for the number of valid steps.
6
When you play the chord shown above on the keyboard,
the notes will be sounded as shown at the right. (TYPE: UP)
When you press a step key to make the key LED blink (the "off" state), the note
of the corresponding step will change to a rest, and the resulting arpeggio will
change (see the diagram below). The Step Arpeggiator function lets you switch
each step of the arpeggio on/ off in this way to modify the arpeggio that is
sounded.
Select a program. (➝p.8)
1
You can use the arpeggiator with either a synth program or a vocoder program,
but let's select synth program b.58 for this explanation.
To change the number of valid steps in the arpeggio, set the EDIT SELECT 2
knob to ARPEG.B and turn knob 4 . (➝p.45)
Press the ARPEGGIATOR ON/OFF key to make the key LED light.
2
3
Hold down a chord on the keyboard, and the arpeggiator will run.
When you press the ARPEGGIATOR ON/OFF key (the key LED goes dark), the
arpeggio will stop playing.
7
Modifying the arpeggio
Turn the EDIT SELECT 2 knob to the ARPEG.A or ARPEG.B position.
4
Turn the edit control 1 –5 knobs to adjust the arpeggiator parameters, changing
the way that the arpeggiator is sounded.
5
TYPE: UP
LAST STEP: 8
4, 6
5
2, 7
6
11
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Basic editing
Editing
Turn edit control knob 1, 2, 3, 4, or 5 to edit the assigned parameters.
3
Basic editing procedure
For example if you are editing a synth program and set the EDIT SELECT 1
knob to FILTER, the parameters shown below the diagram at the bottom of this
page will be selected as the function of the five edit control knobs. (The left
parameter of each pair is the synth program parameter, and the right parameter
– in green – is the vocoder program parameter.)
All of the editable parameters are organized into "sections". Each section contains
up to five parameters, which are controlled using the edit control knobs 1 – 5. The
two knobs labelled EDIT SELECT 1 and EDIT SELECT 2 are used to select a
section. Notice the six columns of text under the five knobs. The first column
identifies the name of each section, and the following five columns show the
parameter assigned to each of the knobs above. The text to the left side indicates the
parameters used for a synth program. The text to the right side (in green) indicates
the parameters available for a vocoder program.
Turning knob 2 will change the cutoff frequency value, affecting the tone.
Turning knob 3 will change the resonance value, adding a distinctive character
to the tone. (➝p.24)
Go ahead and try editing the AMP EG parameters "ATTACK" and "DECAY"
(➝p.28), the PITCH parameter "PORTAMENTO" (➝p.17), or the MOD FX
(➝p.40) or DELAY (➝p.41) parameters to hear the result. (For details on each
parameter, refer to the appropriate page.)
On the microKORG there are two basic ways for you to create a sound.
•
Select the program that is closest to the sound you want to create, and edit that
program as necessary to change it as desired
If you want to make precise adjustments to a value, hold down the SHIFT key
and press the OCTAVE SHIFT UP or DOWN key (UP, DOWN, and SHIFT keys
will light). Now you can use the UP and DOWN octave keys to step through
the values for the selected parameter.
4
•
Start from an initialized program ("blank slate"), and create the sound from
scratch
Broadly speaking, the procedure is as follows.
To cancel this function, press the lit SHIFT key.
Select the program that you want to start from. (➝p.8)
1
If you press the UP and DOWN keys simultaneously, that parameter will return
to the value it had when you selected it.
If you want to start from scratch, execute the Initialize operation. (➝p.59)
Turn the EDIT SELECT 1 or EDIT SELECT 2 knob to select the section that
includes the parameter you want to edit. (The SYNTH/ VOCODER LED for the
side you are editing will light.)
2
Repeat steps 2–4 as necessary to create the desired sound.
Write the program into memory. (➝p.58)
SYNTH/VOCODER LED
5
6
Consider how the current program differs from the sound you have in mind,
and select the parameter that you want to edit.
BANK SIDE
4
2
ORIGINAL VALUE
3
If you are creating the sound from scratch, note that the
EDIT SELECT 1 and EDIT SELECT 2 knobs access
parameter sections in a logical order for creating the
sound. You can turn the dials in sequence to step through
these parameter sections in the appropriate order.
By holding down the SHIFT key and pressing the BANK
SIDE key, you can switch between EDIT SELECT 1 and
EDIT SELECT 2 as the section to edit.
4
12
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Basic editing
If you select another program or turn the power off before you write, your edits
will be lost.
In the same way as when editing a program, you can make settings for the
entire microKORG or MIDI-related settings by selecting the desired parameter
section and turning knobs 1–5 to make the settings (➝p.47, 51). Changes you
make to these settings will also be lost if you turn the power off, so you must
Write them if you want to keep your changes.
If the parameter value does not change when you turn knobs 1–5
When you use EDIT SELECT 1 or EDIT SELECT 2 to select a section and turn
knobs 1–5 to edit the parameter values, the value in the display will sometimes
continue blinking, and the parameter value will not change.
How to read the pages for each section (➝p.16–)
This occurs when there is a discrepancy between the actual value of the
parameter being edited (the value that is blinking in the display) and the
position of the knob. If the actual value is significantly different from the
position of the knob, and the value changed immediately when you moved the
knob, the sound would change in a sudden and unnatural way.
To prevent this from happening, the knob and parameter will begin changing in
tandem only when the knob position corresponds to the actual value of the
edited parameter (the value in the display will stop blinking).
This indicates the position of
the EDIT SELECT 1/ 2 knob.
The EDIT SELECT 1/ 2 knob
selects the section that will be
edited. In this example, the
FILTER section is selected.
This is the name of the section.
When you have set the EDIT
SELECT 1 or 2 knob to the
FILTER position and would like
to see an explanation of the
parameters, refer to this page. This section applies to
synth programs.
These are the edit control knobs
1—5. The markings printed
around each knob are the
values that will be selected
when you turn that knob. These
positions are approximate.
A summary of this section
is given here.
6. FILTER
—
SYNTH
For example, suppose that you turn knob 1 to edit a parameter,
so that the knob is in the position shown at left.
The filter removes unwanted frequency regions of the sound produced by the oscillator. It determines the tone by allowing only the desired
portion of the sound to pass. "TYPE" (knob 1) selects the type of filter (i.e., the way in which it will cut the frequency). "CUTOFF" (knob 2) sets
the frequency at which the cut will occur. Normally, turning this knob toward the right will brighten the sound, and turning it toward the left
will darken the sound. "RESONANCE" (knob 3) emphasizes the frequency region near the cutoff frequency, adding
a
distinctive character to
the sound. Other parameters in this section let you specify the depth of the modulation applied by the filter EG, and the way in which keyboard
tracking will affect the cutoff frequency.
This area lists the parameters
that are edited by edit control
knobs 1—5 when the above
section is selected. The range of
values for each parameter is
given in square brackets [ ].
Explanations of each parameter
and its values are given below.
Then you use the EDIT SELECT 1 knob to switch to a different
parameter section, and want to edit the parameter assigned to
knob 1. The actual value of this parameter is at the position of
the triangle in the diagram at left. (The actual value will blink
when you turn the knob slightly.) The parameter value will not
change until you turn the knob all the way to that position.
TYPE
[-24dB
-12dB BPF, -12dB HPF]
Selects the type of filter
24dB LPF ):
L
PF, -12dB
L
PF, CUTOFF
Sets the cutoff frequency.
Increasing this value will raise the This will emphasize the overtones modulation from the Filter EG will ing (the keyboard location that you
cutoff frequency. near the cutoff frequency specified be applied to the cutoff frequency p lay) ill affect the cu toff fre-
by "Cutoff," ad d ing d istinctive (➝Figure 6-5). The cutoff frequency quency.
[0...127] RESONANCE
[0...127] FILTER EG INT
[-63...63] FILTER KEY TRACK
[-63...63]
Sets the resonance of the filter.
This sp ecifies how tim e-variant This specifies how keyboard track-
w
(
a
"CUTOFF" can be varied by
The -24 dB LPF (-24 dB/ octave Low
Pass Filter) is the m ost com m on
type of filter; it passes the frequen-
cies that are below the cutoff fre-
quency, and cuts the frequencies
that are above (➝Figure 6-1). Low-
ering the cu toff frequ ency w ill
m ake the tone d arker and m ore
character to the sound. Increasing will change over time according to For example if the sound played by
time-variant change produced
by Filter EG, by keyboard play-
ing dynamics (velocity), and by
Figure 6-4
this value will increase the effect. the Filter EG settings, modifying the C4 key has the desired tone but
(➝Figure 6-4)
the tone. For example, you can use higher notes no longer have reso-
this to create sound that gradu- nance or are too mellow-sounding,
ally begins to brighten when you you can adjust keyboard tracking to
press the key, and then gradually m ake com pensations so that the
a
note location (keyboard track- Since movement of the "CUTOFF"
ing).
knob will affect the overtones that
are boosted by resonance, it is best
to ad just "CUTOFF" and "RESO-
NANCE" in conjunction with each
If the "CUTOFF" value is low-
ered , the volu m e m ay be ex-
becomes darker.
cutoff frequency will rise for higher
This IN T (Intensity) p aram eter notes.
When the knob reaches the position of the actual value, the knob
and parameter value will begin changing in tandem, so that you
can edit the value. (When the knob reaches the actual value, the
value in the display will stop blinking.)
To return to the original parameter values of a program
The edit control ORIGINAL VALUE LED will light to indicate the parameter
values of a preset program or a program that you saved.
If you want to return parameters to their original values, turn knobs 1–5 so that
the ORIGINAL VALUE LED is lit.
If you select another program or re-select the same program while you are
editing, all parameters will return to the values of the preset program or the
previously-saved program.
13
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Basic editing
Listening to only one timbre (Solo)
For a program that uses both timbres, you can use the Solo function to hear just one
timbre. This is convenient when you want to hear just one timbre while you edit.
Editing each timbre
Synth programs can have up to two timbres.
A timbre consists of the parameters of EDIT SELECT 1 VOICE (except for
"SYNTH/ VOCODER" and "SINGLE/ LAYER") through LFO2 sections, and the
parameters of EDIT SELECT 2 PATCH 1–4 sections.
1
2
Hold down the SHIFT key and press the TIMBRE SELECT key.
The TIMBRE SELECT LED for the timbre selected for editing will start blinking,
and only that timbre will sound.
If you want to hear only the other timbre, once again hold down the SHIFT key
and press the TIMBRE SELECT key.
The VOICE section parameters "SYNTH/ VOCODER" and "SINGLE/ LAYER"
apply to the entire program.
The TIMBRE SELECT LED for the other timbre will start blinking, and only that
timbre will sound. The timbre selected for editing will also change at this time.
Using both timbres (Layer)
3
To cancel the Solo function, press the TIMBRE SELECT key.
➝
Set the EDIT SELECT 1 knob to VOICE, and turn knob 2 to select
LAYER ( ).
The Solo state cannot be memorized.
Selecting the timbre to edit
If you are editing a program that uses both timbres, here's how to select the timbre
to edit.
Exchanging and copying the settings of the timbres
(SHIFT function)
You can exchange the settings of the two timbres, or copy the timbre settings from
➝
Press the EDIT SELECT TIMBRE SELECT key to select the timbre that you
another program. (➝p.59)
want to edit. (The corresponding TIMBRE SELECT LED will light.)
Your editing will affect the selected timbre.
You can also edit both timbres simultaneously (Edit Sync).
1
Press and hold the TIMBRE SELECT key for at least two seconds.
Both TIMBRE SELECT LEDs will light, and editing will be synchronized for the
two timbres. The display will indicate the value for timbre 1. The value of
timbre 1 will also be used as the value at which editing begins.
2
To cancel edit sync, press the TIMBRE SELECT key.
SHIFT TIMBRE SELECT
Edit sync will be cancelled, and timbre 1 will be the object of
editing.
You can use the Solo function even while editing is
synchronized.
The state of the edit sync function is not saved.
14
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The structure of a synth program
Editing a synth program
As shown in figure 0-1, a synth program consists of timbres 1/ 2, effects, and the
arpeggiator.
Overview
TIMBRE 1/2
The three attributes of sound: pitch, tone, and volume
Sound has three basic attributes; pitch, tone, and volume.
To control these attributes, the microKORG analog modeling synthesizer provides
"oscillator," "filter," and "amp (amplifier)" sections, just as on the analog synthesiz-
ers of the past.
Each timbre consists of OSC, FILTER, AMP, EG, LFO, and Virtual Patch blocks. You
can create more complex programs by using two timbres together in one program
using the Layer feature.
EFFECTS
The "oscillator" settings vary the pitch, the "filter" settings modify the tone, and the
"amp" settings modify the volume.
The output of timbres 1/ 2 is sent to the modulation effect (MOD FX) ➝ delay effect
(DELAY) ➝ equalizer (EQ).
For the modulation effect you can choose from three types of effect such as chorus.
For the delay, you can choose from three types of delay such as stereo delay. The EQ
is a two-band equalizer.
The microKORG's "oscillator," "filter," and "amp"
On the microKORG, the OSC1, OSC2, and PITCH sections control the "oscillator".
The PITCH section specifies the pitch of the waveform that is the basis of the
sound, and the OSC1 and OSC2 sections select the waveforms. The waveforms
generated here are mixed by the MIXER section.
ARPEGGIATOR
You can apply the arpeggiator to a timbre. If the program uses two timbres, you can
apply the arpeggiator to either or both timbres. This is a step arpeggiator with six
arpeggio types.
The microKORG's FILTER section modifies the tone. Then the AMP section
modifies the volume and outputs the final sound.
These three sections determine the basic sound of the program.
Figure 0-1
EG, LFO, keyboard tracking, virtual patch, controllers
(in the case of Layer)
In addition to the sections described above, the microKORG provides ways in
which the sound can be varied according to time, key range, or various types of
performance expression. These are controlled by modulators and controllers such
as EG (envelope generator), LFO (Low Frequency Oscillator), keyboard tracking,
Virtual Patch, and the PITCH and MOD wheels. You can use these modulators and
controllers to apply change to the basic sound of the program.
Free Assign
Figure 0-1 (at right) shows the structure of a synthesizer sound on the microKORG.
Look at TIMBRE 1, and notice how the signal flows in the order of OSC ➝ FILTER
➝ AMP. Also notice how modulators such as EG and LFO can affect these blocks.
KBD Track
Velocity
Mod. wheel
Pitch bend
15
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1. VOICE
— SYNTH/VOCODER
These settings determine the basic character of the program, and how it will sound.
"SYNTH/ VOCODER" (knob 1) specifies whether the program will be a synth program or a vocoder program. If you want this to be a synth
program, select Synthesizer (
). "SINGLE/ LAYER" (knob 2) specifies whether both timbres will be used (Layer) in the case of a synth
program. Other parameters in this section specify whether the program will sound monophonically/ polyphonically/ unison, and how the
notes will be triggered.
If you simultaneously press more keys than the specified number of voices, the last-pressed key will take priority.
SYNTH/ VOCODER
[Synthesizer, Vocoder]
Switches the currently selected pro-
gram between a Synthesizer pro-
gram and a Vocoder program.
SINGLE/ LAYER
[Single, Layer] VOICE ASSIGN
TRIGGER MODE [Single, Multi] UNISON DETUNE
[0...99]
Specifies how many timbres the
program will use. This cannot be
selected for a vocoder program.
Specifies whether the EG and LFO Specifies the amount of detuning
will be retriggered when you play (in steps of one cent) between the
the next key w hile still hold ing notes sounded by Unison mode.
[Mono, Poly, Unison]
Specifies how the timbre will be
sounded.
down the previous key.
You can edit this if "VOICE AS- SIGN" is set to Unison.
SIGN" is Mono or Unison. The detuning method will depend
You can edit this if "VOICE AS-
Single (
):
Mono (
):
Only one timbre will be used.
The timbre will sound monophoni-
cally. The program will play only
one note at a time.
Synthesizer (
):
The program will be a synth pro-
gram. You can use two oscillators
to create the sound.
Figure 1-1
on the number of unison voices.
Single (
):
Timbre1
Th e EG an d LFO w ill n ot be
retriggered by the second or subse-
quent key. Use this setting if you
want to play legato.
Figure 1-4
Poly (
):
2 voice
99
The program will sound polyphoni-
cally, allowing you to play chords.
The maximum polyphony is four
voices.
Vocoder (
):
The program will be a vocoder pro-
gram . You can use sound input
from a connected mic to produce
"talking" instrument effects.
Unison
Detune
0
Layer (
):
Multi (
):
Two timbres will be used. When
you play the keyboard, both tim-
bres will sound simultaneously.
You can edit each timbre individually.
The EG and LFO will be retriggered
each time you press a key.
Unison (
):
4 voice
99
0
All four voices will sound in uni-
son at the same pitch. Use "UNI-
SON DETUNE" to specify the pitch
difference in steps of one cent.
The parameters for editing will
vary d ep end ing on w hether
Synthesizer or Vocod er is se-
lected here.
Unison
Detune
Figure 1-3
Note on
Note on
Figure 1-2
Timbre2
Timbre1
"VOICE ASSIGN" and polyphony for
a Layer program
EG
Single
Multi
Timbre 1 Timbre 2
Trigger
EG
VOICE ASSIGN Mono
Polyphony 1 voice
VOICE ASSIGN Poly
Poly
The maximum polyphony is four
voices (four notes). In the case of
a Layer p rogram , th ese fou r
voices are divided between tim-
bres 1 and 2, so only two keys can
be played in a layered program.
3 voices
Poly
Polyphony 2 voices 2 voices
Mono
Polyphony 2 voices 1 voices
Trigger
VOICE ASSIGN Unison
16
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2. PITCH
— SYNTH/VOCODER
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] PORTAMENTO
[0...127] BEND RANGE
[-12...12] VIBRATO INT
[-63...63]
Adjusts the pitch of the oscillator in Adjusts the pitch of the oscillator in Sp ecifies th e sp eed of th e Sp ecifies th e am ou n t of p itch Specifies the depth of vibrato that
semitone (100 cent) steps.
The range is two octaves upward or
downward.
one-cent steps.
portamento effect (a smooth change change in semitones that will occur will be applied when you move the
in pitch from one note to the next when the pitch wheel is operated. MOD (modulation) wheel all the
note of a different pitch).
This value specifies the amount of way away from yourself.
With a setting of 0, there will be no change that will occur when you
portamento effect. Increasing this move the pitch wheel all the way
value will cause the pitch change to to the away from you.
occur over a longer time.
Ch an ges m ad e by th e fron t
panel OCTAVE SHIFT buttons
actu ally shift the p itches as-
signed 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 op-
eration. If you wish to change
the pitch of the oscillator itself,
you m u st u se this "TRAN S-
POSE" setting to sp ecify the
pitch.
The LFO2 modulates the pitch of
the oscillator, raising and lower-
ing it to create vibrato.
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.
17
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3. OSC1 (Oscillator 1) — SYNTH/VOCODER
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
CONTROL 1
Adjusts a parameter specific to the Adjusts a parameter specific to the
selected waveform. selected waveform.
CON TROL h as n o effect if
[0...127/ – – –] CONTROL 2
[0...127/ 1...64]
[Saw, Square, Triangle, Sine, Vox,
DWGS, Noise, Audio In]
Selects the waveform for oscillator 1.
1
"WAVE" is set to DWGS.
Figure 3-1
Saw Wave (
):
CONTROL 1
[0...127]: CONTROL 2
[0...127]:
This is a sawtooth wave. This wave- Adjusting this value will modify the LFO1 is used to apply modulation
form is shaped like the tooth of a waveform. to th e w aveform sp ecified by
saw, and contains a rich overtone A setting of 0 will produce a con- "CONTROL 1." The "CONTROL 2"
spectrum. ventional sawtooth wave, and a set- setting specifies the depth of the
You can use this to create numer- ting of 127 will produce a sawtooth modulation produced by LFO1.
0
63
127
ous instrumental sounds such as wave one octave higher.
string and brass sounds, or typical (➝Figure 3-1)
analog synth sounds such as synth
For exam p le by settin g LFO1
"WAVE" to Triangle ( ) and ad-
justing the LFO speed, you can pro-
duce a detune-like effect.
bass or synth brass.
Square Wave (
):
CONTROL 1
[0...127]: CONTROL 2
[0...127]:
*3-1: PWM
Figure 3-2
This is a square wave. It has a rectan- Adjusts the pulse width. A setting LFO1 is used to apply PWM (pulse
gular shape, and strictly speaking is of 0 produces a pulse width of 50% width modulation)*3-1 to the pulse
actually square only when the top and (square wave), and a setting of 127 width specified by "CONTROL 1."
bottom of the waveform have the same produces a pulse width of 0% (there The "CONTROL 2" setting specifies
width (a "pulse width" of 50%). If the will be no sound). The sound will the depth of the modulation pro-
pulse width is other than 50%, this is become "harder" as you adjust this duced by LFO1. For example by
Pulse Width Modulation refers to the
use of a separate signal to vary the
p u lse w id th over tim e. On th e
microKORG, you can use PWM to
modify the tone via LFO1, or via Vir-
tual Patch from modulation sources
LFO2, Filter EG, or Amp EG.
0
63
127
also called a pulse wave.
parameter toward 0%.
setting LFO1 "WAVE" to Triangle
( ) an d ad ju stin g th e LFO
A square wave is used for woodwind (➝Figure 3-2)
sou n d s su ch as clarin et, an d for
wooden percussion sounds. A pulse
w ave is u sed for p lu cked -strin g
sounds and reed-type sounds.
speed, you can add depth to the
sound.
18
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3. OSC1 (Oscillator 1) — SYNTH/VOCODER
WAVE
CONTROL 1
CONTROL 2
Figure 3-3
Triangle Wave (
):
CONTROL 1
[0...127]: CONTROL 2
[0...127]:
You can modify the waveform by LFO1 is used to apply wave form
adjusting this value. modulation to the waveform speci-
A setting of 0 will produce a triangle fied by "CONTROL 1." The "CON-
wave, and a setting of 127 will pro- TROL 2" setting specifies the depth
duce a waveform with a pitch that of the m od u lation prod u ced by
is one octave and a fifth higher. LFO1.
This is a triangle wave, which has
weaker overtones and a stronger
fundamental than a sawtooth wave
or square wave. It is suitable for
mellow bass sounds.
0
63
127
(➝Figure 3-3)
*3-2: Cross Modulation
Figure 3-4
Sine Wave (
):
CONTROL 1
On a synth program, this adjusts the On a synth program, this adjusts the
depth of cross modulation. d epth of ad d itional m od ulation
On a vocoder program, this modi- applied by LFO1 to the cross modu-
[0...127]: CONTROL 2
[0...127]:
X-mod Depth + X-mod Depth Mod
This is a type of oscillator modula-
tion available on analog synthesizers
of the p ast. N orm ally, a low -fre-
quency signal (such as from an LFO)
is used as the modulation source for
an oscillator, but Cross Modulation
lets you use another oscillator as the
modulation source, creating sounds
with a complex overtone structure
that would not normally be produced
otherwise. On the microKORG, you
can use oscillator 2 to apply cross
modulation if a sine wave is selected
for oscillator 1. Gradually raise the
"CONTROL 1" level, and notice how
the sound changes. This can produce
distorted sounds, or sounds with a
metallic character.
This is a sine wave. This waveform
contains only the fundamental, and
no overtones at all. It can be used
to create claves or bass d r u m
sounds. In some synth programs,
oscillator 2 is used to perform cross
modulation*3-2 (➝Figure 3-4), creat-
ing a more complex overtone struc-
ture.
OSC2
OSC1
fies the waveform.
lation specified by "CONTROL 1."
On a vocoder program, this adjusts
the depth of modulation applied by
LFO1 to the waveform that you se-
lected by "CONTROL 1."
OSC1 Output
Cross modulation by a sine wave
cannot be applied to a vocoder pro-
gram.
Since a sine wave contains no
overtones, the filter w ill not
modify its tone.
Figure 3-5
Vox Wave (
):
CONTROL 1
[0...127]: CONTROL 2
[0...127]:
You can produce an even wider vari-
ety of effects by adjusting the OSC2
"SEMITONE" or "TUNE" parameters.
You can also achieve interesting re-
sults by applying sync modulation
and cross modulation at the same
time.
This simulates a waveform similar Adjusting this value will modify the LFO1 is used to apply modulation
to human vocal cords. Even if the waveform. (➝Figure 3-5)
oscillator pitch is changed, the fre-
qu ency sp ectru m w ill be m ain-
tained, which makes this effective
when used for vocal-type sounds or
as a vocoder oscillator.
to th e w aveform sp ecified by
"CONTROL 1." CONTROL 2 sets
the depth of the modulation ap-
plied by LFO1.
0
63
127
Select HPF or BPF as the filter, and
adjust "Cutoff" to create a vocal-
type sound.
19
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3. OSC1 (Oscillator 1) — SYNTH/VOCODER
WAVE
CONTROL 1
CONTROL 1
CONTROL 2
Table 3-1
DWGS (
)
[– – –]: CONTROL 2
[1...64]:
(Digital Waveform Generator System)
:
Selects th e DWGS w aveform .
DWGS List
No. Name
This is waveform data created by
h arm on ic ad d itive syn th esis.
Choose this when you want to cre-
ate sounds with a distinctive "digi-
tal-synth" character, such as synth
bass, electric piano, bell, or horn. 64
types of waveform are provided.
(➝Table 3-1)
No. Name
24 5thWave1
25 5thWave2
26 5thWave3
27 Digi1
28 Digi2
29 Digi3
30 Digi4
31 Digi5
No. Name
47 Clav1
48 Clav2
49 Guitar1
50 Guitar2
51 Guitar3
52 Bass1
53 Bass2
54 Bass3
55 Bass4
56 Bass5
57 Bell1
1
2
3
4
5
6
7
8
9
SynSine1
– – –
DWGS waveform data was first
u sed in th e Korg DW-6000
(which went on sale in 1984),
and has continued to be devel-
oped since that time.
SynSine2
SynSine3
SynSine4
SynSine5
SynSine6
SynSine7
SynBass1
SynBass2
32 Digi6
33 Digi7
34 Digi8
10 SynBass3
11 SynBass4
12 SynBass5
13 SynBass6
14 SynBass7
15 SynWave1
16 SynWave2
17 SynWave3
18 SynWave4
19 SynWave5
20 SynWave6
21 SynWave7
22 SynWave8
23 SynWave9
Noise (
):
CONTROL 1
[0...127]: CONTROL 2
[0...127]:
This generates white noise. Within This sets the cutoff frequency of the This controls the resonance of the
the oscillator, a LPF (Low Pass Fil- LPF. LPF.
ter) is provided to process the noise. Adjusting this will affect the noise If you raise this enough to produce
(➝Figure 3-6). You can use this to waveform.
create percussion sounds, or sound
effects such as surf. This can also be
used in conjunction with another
timbre to simulate the "breath" com-
ponent of a wind instrument sound.
35 Endless*
36 E.Piano1
37 E.Piano2
38 E.Piano3
39 E.Piano4
40 Organ1
41 Organ2
42 Organ3
43 Organ4
44 Organ5
45 Organ6
46 Organ7
58 Bell2
59 Bell3
60 Bell4
61 Voice1
62 Voice2
63 Voice3
64 Voice4
an identifiable pitch, the cutoff fre-
quency will move according to the
keyboard location you play, and the
change will be heard as a pitch.
Figure 3-6
Resonance
LPF
Noise
Genarator
If you want the oscillation pro-
duced by resonance to match the
reference pitch, set "CONTROL
1" to 24.
Cutoff
*: The 35 Endless waveform simulates an endless
scale, in which notes one octave apart have the iden-
tical pitch. You can play an ascending or descend-
ing scale as far as you wish, producing the sensa-
tion that a scale of the same pitch is continuing in-
finitely.
20
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3. OSC1 (Oscillator 1) — SYNTH/VOCODER
WAVE
CONTROL 1
CONTROL 2
Audio In (
):
CONTROL 1
[0...127]: CONTROL 2
[0...127]:
The waveform of the audio signal This adjusts the volume balance LFO1 is used to apply modulation
input from the AUDIO IN 1 or 2 between AUDIO IN 1 and AUDIO to the volu m e balance betw een
jacks will be used instead of an os- IN 2. With a setting of 127 only AU- AUDIO IN 1 and AUDIO IN 2 that
cillator.
DIO IN 1 will be output. With a set- you set by "CON TROL 1." The
This lets you apply filtering to a ting of 0, only AUDIO IN 2 will be "CON TROL 2" settin g sets th e
drum phrase, or synthesize a vocal output.
or guitar sound together with oscil-
lator 2.
depth of this modulation produced
by LFO1.
This lets you create effects in which
the AUDIO IN 1 and 2 inputs are
alternated.
The parameters of the PITCH
section have no effect on the
waveform that is input from the
AUDIO IN 1 or 2 jacks.
Processing an external input audio signal
You can use the filter, amp, EG, and LFO etc. to process the signal from a external
synthesizer, rhythm machine, or audio device in the same way as an oscillator waveform.
In this example, you could connect the microKORG's MIDI OUT to the MIDI IN of
your external MIDI device and set the MIDI channels to match, so that your sound
module or other external MIDI device will produce sound when you play the
keyboard of the microKORG (➝p.49). You can use the microKORG's keyboard to play
the sounds of your external device, and use the EDIT SELECT 1/ 2 knobs and the edit
control knobs 1–5 to modify the sound.
Before you connect an external device, turn off the power of the microKORG and of
any external output devices and power amps.
1
2
3
Turn the rear panel AUDIO IN 2 VOLUME 2 knob to the MIN position.
Connect the output jack of your external device to the AUDIO IN 2 LINE jack.
You can use an external input as the carrier of the vocoder. (➝p.34)
After making connections, turn the power on in the order of your external device, the
microKORG, and finally your powered monitor speaker system.
4
Select a program to initialize, and initialize it.
For this example, select any synth program, and initialize the program as described
on page 59.
5
6
Turn the EDIT SELECT 1 knob to the OSC 1 position, and turn knob 1 ("WAVE") to
select "
" (Audio In).
Input an audio signal from your external device, and turn the VOLUME 2 knob
toward MAX as far as possible without allowing the AUDIO IN 2 LED to light red.
MIDI OUT
MIDI IN
7
8
While inputting an audio signal, play the keyboard.
E
M
-
1
LINE OUT
As described in "Basic editing procedure" (➝p.12), edit the FILTER, AMP, EG, LFO,
and effects to modify the sound.
TAP
tone generator module, rhythm machine,
or audio device
The PITCH-related parameters have no effect on the sound from the AUDIO IN jacks.
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
21
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4. OSC2 (Oscillator 2) — SYNTH
Here you can make settings for oscillator 2.
You can create a variety of sounds by using two oscillators together. For example you can adjust "SEMITONE" (knob 3) and "TUNE (knob 4)
so that one oscillator acts as though it were part of the overtone structure of the other oscillator, set the pitches of the two oscillators to an
interval of harmony, or set both oscillators to the same pitch but slightly detune one of them to create a detuning effect.
You can also use Ring Modulation and Oscillator Sync to create very complex overtone structures. (This is set by "OSC MOD" (knob 2).)
WAVE
[Saw, Square, Triangle] OSC MOD
SEMITONE
[-24...24] TUNE
[-63...63]
*4-1: Ring Modulation:
Selects the waveform for oscillator
2.
Specifies the detuning (pitch differ- Specifies the amount of detune for
ence) relative to oscillator 1, in OSC2 relative to OSC1.
semitone steps over a range of 2 A setting of ±63 produces a pitch
octaves upward or downward.
[OFF, Ring, Sync, RingSync]
Selects the type of oscillator modu-
lation that will be produced in con-
junction with oscillator 1.
This modulation generates a sum and
difference of the oscillator 1 and 2
waveforms.
Saw Wave (
A sawtooth wave. (➝p.18)
):
difference of ±2 octaves, and ±48
produces a pitch difference of ±1
octave. A value near 0 will make
fine adjustments in the pitch.
For example you can select a square
wave for the oscillator, set "TRANS-
POSE" to 0, "SEMITONE" to 24, and
adjust "TUNE" to produce a clear
bell-like sound. The effect will be
easier to detect if you lower "OSC 1
LEVEL" and raise "OSC 2 LEVEL."
You can also create interesting effects
by using Virtual Patch to modulate
OSC 2 TUNE from LFO or EG.
If you want to use the sound of
oscillator 2 as a component in
the oscillator 1 overtone struc-
ture, try setting it one octave or
a fifth higher than oscillator 1. If
you want to use oscillator 2 in
harmony, you can try intervals
such as a third, fourth, or fifth.
OFF (
):
Square Wave (
A square wave. (➝p.18)
):
The sound will be output without
applying oscillator modulation.
You can adjust "SEMITONE" and
"TUN E" to p rod u ce h arm on y,
Triangle Wave (
A triangle wave. (➝p.19)
):
If "OSC MOD" is set to Sync,
adjustments in "Semitone" or
"Tune" will change the pitch of
the overtones. The pitch of the
fundamental will not change.
If you do not hear the sound of d etune, or harmonic-component
oscillator 2, raise the MIXER effects.
"OSC2 LEVEL" (knob 2). If you
want to hear only the sound of
oscillator 2, lower the MIXER
"OSC 1 LEVEL" (knob 1).
Ring (
):
Ring mod ulation *4-1 w ill be ap-
plied. (➝Figure 4-1)
Figure 4-1
OSC2 Wave
OSC2 Output
OSC1 Output
*4-2: Oscillator Sync:
By ad ju sting "SEMITON E" and
"TUN E" you can create metallic
sounds with little sense of pitch.
This is effective for sound effects.
This modulation forcibly synchro-
nizes the phase of oscillator 2 to the
phase of oscillator 1.
OSC1 Wave
Figure 4-2
For example, select sawtooth wave
for oscillator 1 and raise the "OSC 2
LEVEL." Then, edit "SEMITONE" and
"TUNE" to change the pitch, and no-
tice the result. The effect will be more
noticeable if the oscillator 2 pitch is
raised above the oscillator 1 pitch.
You can also produce interesting ef-
fects by using Virtual Patch to modu-
late OSC 2 Tune from LFO or EG.
OSC2 Output
OSC2 Wave
Sync (
):
Oscillator sync *4-2 will be applied.
This is useful for creating synth-
lead sounds. (➝Figure 4-2)
Sync
OSC1 Wave
OSC1 Output
Figure 4-3
RingSync (
This simultaneously applies Ring
and Sync modulation. (➝Figure 4-3)
):
OSC2 Output
OSC2 Wave
Sync
OSC1 Output
OSC1 Wave
22
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5. MIXER
— SYNTH
These parameters adjust the volume balance of the oscillator 1 and 2, and the noise generator.
"OSC 1 LEVEL" (knob 1) sets the output level of oscillator 1, "OSC 2 LEVEL" (knob 2) sets the output level of oscillator 2, and "NOISE
LEVEL" (knob 3) sets the output level of the noise generator.
These settings will be the input level to the filter.
OSC 1 LEVEL
[0...127] OSC 2 LEVEL
[0...127] NOISE LEVEL
[0...127]
Sets the output level of oscillator 1. Sets the output level of oscillator 2. Sets the output level of the noise
generator.
This noise generator generates
white noise. This is independent of
the white noise that can be selected
as a waveform for oscillator 1. This
does not have filter or resonance (as
the oscillator 1 noise generator, but
you can use the FILTER section to
create the same results as the noise
waveform of oscillator 1.
Noise is used to create percussion
instrument sounds, or sound effects
such as surf.
23
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6. FILTER
— SYNTH
The filter controls the tonal character of the sound produced by the oscillator. It determines the tone by allowing only the desired portion of
the sound to pass. "TYPE" (knob 1) selects the type of filter (i.e., the way in which it will cut the frequency). "CUTOFF" (knob 2) sets the
frequency at which the cut will occur. Normally, turning this knob toward the right will brighten the sound, and turning it toward the left
will darken the sound. "RESONANCE" (knob 3) emphasizes the frequency region near the cutoff frequency, adding a distinctive character to
the sound. Other parameters in this section let you specify the depth of the modulation applied by the filter EG, and the way in which
keyboard tracking will affect the cutoff frequency.
TYPE
[-24dB LPF, -12dB LPF, CUTOFF
Sets the cutoff frequency.
Increasing this value will raise the This will emphasize the overtones modulation from the Filter EG will ing (the keyboard location that you
[0...127] RESONANCE
[0...127] FILTER EG INT
[-63...63] FILTER KEY TRACK
[-63...63]
Sets the resonance of the filter.
This specifies how tim e-variant This specifies how keyboard track-
-12dB BPF, -12dB HPF]
Selects the type of filter
-24dB LPF ( ):
The -24 dB LPF (-24 dB/ octave Low
Pass Filter) is the most common
type of filter; it passes the frequen-
cies that are below the cutoff fre-
quency, and cuts the frequencies
that are above (➝Figure 6-1). Low-
ering the cu toff frequ ency w ill
make the tone d arker and more
mellow.
cutoff frequency.
near the cutoff frequency specified be applied to the cutoff frequency p lay) w ill affect the cu toff fre-
by "CUTOFF," adding a distinctive (➝Figure 6-5). The cutoff frequency quency.
character to the sound. Increasing will change over time according to For example if the sound played by
"CUTOFF" can be varied by
time-variant change produced
by Filter EG, by keyboard play-
ing dynamics (velocity), and by
note location (keyboard track- Since movement of the "CUTOFF"
ing).
this value will increase the effect. the Filter EG settings, modifying the C4 key has the desired tone but
(➝Figure 6-4)
the tone. For example, you can use higher notes no longer have reso-
this to create a sound that gradu- nance or are too mellow-sounding,
ally begins to brighten when you you can adjust keyboard tracking to
press the key, and then gradually make compensations so that the
knob will affect the overtones that
are boosted by resonance, it is best
to adjust "CUTOFF" and "RESO-
NANCE" in conjunction with each
other.
If the "CUTOFF" value is set too
low, the volu m e m ay be ex-
tremely low, or you may hear no
sound at all.
becomes darker.
cutoff frequency will rise for higher
This IN T (Intensity) p aram eter notes.
specifies the depth (sensitivity) to
With positive (+) settings, the cut-
which the Filter EG will affect the
cutoff frequency.
-12dB LPF (
):
off frequency will rise as you play
upward from the C4 note, and fall
as you play downward. With nega-
tive (-) settings, the cutoff frequency
will fall as you play upward from
the C4 note, and rise as you play
downward.
Figure 6-4
The -12 dB LPF (-12 dB/ octave Low
Pass Filter) has a more gentle slope
than the -24 dB LPF, producing a
more natural-sounding effect.
(➝"-24 dB LPF")(➝Figure 6-1)
With a setting of 0, the Filter EG will
not affect the cutoff frequency. In-
creasingly positive (+) settings will
allow the Filter EG to have a corre-
spondingly greater effect on the
cutoff frequency. (➝Figure 6-6)
Increasingly negative (-) settings
The effect of resonance
LPF
HPF
Figure 6-1
LPF (Low Pass Filter)
With a setting of +48, the change
in cutoff frequency will be pro-
p ortion ate to th e ch an ge in
pitch. With a setting of 0, key-
board tracking will not affect the
cutoff frequency.
w ill allow
a
corresp on d in gly
greater effect in the opposite direc-
tion. (➝Figure 6-7)
-12dB/oct
-24dB/oct
BPF
Frequency
Cutoff
Low resonance value
High resonance value
24
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6. FILTER
— SYNTH
TYPE
FILTER KEY TRACK
-12dB BPF (
):
Keyboard Track op erates ac-
cording to the pitch that is con-
trolled by pitch bend, and trans-
pose. It is not affected by pitch
changes produced by vibrato or
Virtual Patch.
-12dB/ oct BPF (Band Pass Filter)
allows a frequency band in the re-
gion of the cutoff frequency to pass,
and cuts the remaining frequencies.
It is used when you wish to empha-
size only a specific portion of the
frequency range.(➝Figure 6-2)
Figure 6-2
BPF (Band Pass Filter)
Use this when you want to empha-
size just a specific region of the
sound. For example, you can use
this to create a bandwidth-limited
sound similar to sound heard from
a small radio or a telephone.
Frequency
Cutoff
-12dB HPF (
):
Figure 6-5
Figure 6-6
-12dB/ oct HPF (High Pass Filter)
allows frequencies above the cutoff
frequ ency to pass, and cu ts the
lower frequencies. Use this when
you wish to make the sound thin-
ner. However if the cutoff frequency
is raised excessively, the volume
will decrease significantly. (➝Fig-
ure 6-3)
For example you can use the HPF
to purposely attenuate the low-fre-
quency region of a sound that will
be played together with other low-
frequency instruments, in order to
differentiate that sound from the
other instruments.
Note off
Note on
Sustain Level
Figure 6-3
HPF (High Pass Filter)
Attack
Time
Release Time
Decay
Time
Time
Frequency
Cutoff
Int=+63
Note on
Int=+32
Note on
Cutoff
Note off
Note off
Cutoff frequency
specified by
“Cutoff”
Filter oscillation
Int=0
If you raise the resonance to a high value, it will oscillate (produce a
sound) at the frequency specified by the cutoff frequency. You can use
filter oscillation ("self-oscillation") as a sound source. If the filter is
oscillating, the "CUTOFF" parameter that normally adjusts the tone will
instead control the pitch of the oscillation. This can be used in a variety of
ways. Whistling is a typical example, and can be produced by adjusting
the ADSR parameters of the filter EG. You can also try setting "FILTER EG
INT" to a negative value. Another possibility is to select the MOD wheel
or LFO 1/ 2 as a source in Virtual Patch, and use it to control "CUTOFF" as
a destination.
Time
Figure 6-7
Cutoff
Int=–63
Int=–32
Cutoff frequency
specified by
“Cutoff”
Int=0
Note off
Note off
Note on
Note on
Time
25
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7. FILTER EG
— SYNTH
Here you can make settings for the filter EG, which applies time-variant change to the tone (➝Figure 7-1). Make these settings to specify the
"shape" of the EG, and use the FILTER parameter "FILTER EG INT" to specify the amount of effect that the EG will have (➝p.24). By making
FILTER EG settings, you can make the tone change as time passes. Create the desired tonal curve by adjusting the ADSR parameters;
ATTACK (knob 1), DECAY (knob 2), SUSTAIN (knob 3), RELEASE (knob 4).
For details on how an EG (Envelope Generator) works, refer to AMP EG (➝p.28).
You can use the FILTER EG as a Virtual Patch source modulate a parameter other than the filter cutoff frequency. (➝p.30)
ATTACK
[0...127] DECAY
[0...127] SUSTAIN
[0...127] RELEASE
[0...127] EG RESET
[OFF, ON]
Specifies the tim e from note-on Specifies the time from when the at- Specifies the cutoff frequency that Specifies the time from note-off Specifies whether or not the EG will
(when the key is pressed) until the tack level is reached until the sus- will be maintained after the decay (when the key is released) until the be reset for the second and subse-
attack level (maximum value of the tain level (SUSTAIN) is reached.
envelope) is reached.
time has elapsed, until you release level reaches 0.
the key.
qu ent note-on. If a new note is
played before the previous note has
finished its release stage, the enve-
lope can either start over from zero,
or continue from the current value.
OFF (
):
The note will start from the current
EG level.
ON (
):
The second note-on will start from
a level of 0.
Note on
Note off
Note on (Retrigger)
Figure 7-1
Filter EG and Amplifier EG
Cutoff
When the Filter EG changes the cutoff frequency, the tone will change.
However depending on the volume changes produced by the Amplifier
EG, this can be heard in different ways. For example by changing the
speed at which the tone and volume begin (attack) or decay, you can
significantly vary the character of the tonal change. It is a good idea to
adjust the changes of both the Filter EG (tone) and the Amplifier EG
(volume) as you proceed with editing.
OFF
ON
Note off
Note on
Attack Level
0
[3]
The "EG RESET" parameter is
only available if "VOICE AS-
SIGN" is set to Poly, or if "VOICE
ASSIGN" is set to Mono or Uni-
son and "TRIGGER" is set to
Multi.
Time
[1] [2]
[4]
[1]: Attack Time
[2]: Decay Time
[3]: Sustain Level
[4]: Release Time
26
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8. AMP (Amplifier)
— SYNTH
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] PANPOT
[L63...Center...R63] DISTORTION
[OFF, ON] KBD TRACK
[-63...63]
Adjusts the volume of the timbre.
Adjusts the location of the sound in Specifies whether distortion will be Specifies how keyboard tracking
the stereo field.
) is far left, Center (
applied to the output of the timbre. will affect the volume.
The degree of distortion is adjusted
If the "SINGLE/ LAYER" is Layer,
this setting will adjust the volume L63(
)
With positive (+) settings, the vol-
by the output level of each oscilla-
tor in the MIXER.
balance between timbre 1 and tim- is center, and R63 (
bre 2.
) is far right.
ume will increase as you play above
the C4 note on the keyboard, and
will decrease as you play below C4.
OFF (
):
Distortion is off.
With negative (-) settings, the vol-
u m e w ill d ecrease as you p lay
above the C4 note on the keyboard,
and will increase as you play below
C4.
ON (
):
Distortion is on.
Keyboard Track op erates ac-
cording to the pitch that is con-
trolled by pitch bend, and trans-
pose. It is not affected by pitch
changes produced by vibrato or
Virtual Patch.
27
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9. AMP EG
— SYNTH/VOCODER
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)
ATTACK
[0...127] DECAY
[0...127] SUSTAIN
[0...127] RELEASE
[0...127] EG RESET
[OFF, ON]
Specifies the tim e from note-on Specifies the time from when the at- Specifies the volume that will be Specifies the time from note-off Specifies whether or not the EG will
(when the key is pressed) until the tack level is reached until the sus- maintained after the decay time has (when the key is released) until the be reset for the second and subse-
attack level (maximum value of the tain level (SUSTAIN) is reached.
envelope) is reached.
elapsed, as long as you continue level reaches 0.
holding the key.
qu ent note-on. If a new note is
played before the previous note has
finished its release stage, the enve-
lope can either start over from zero,
or continue from the current value.
EG (Envelope Generator)
Figure 9-1
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.
Level
OFF (
):
The note will start from the current
EG level.
Note off
Note on
ON (
):
Attack Level
0
The second note-on will start from
a level of 0.
[3]
Time
Note on
Note off
Note on (Retrigger)
[1] [2]
[4]
OFF
ON
[1]: Attack Time
[2]: Decay Time
[3]: Sustain Level
[4]: Release Time
Some example settings are shown below.
Piano
Organ
Strings
Level
Level
Level
The "EG RESET" parameter is
available only w hen "VOICE
ASSIGN " is Poly, or w h en
"VOICE ASSIGN" is Mono or
Unison and "TRIGGER" is Multi.
Note off
Note on
Note off
Note off
Note on
Note on
0
Time
0
0
Time
Time
Attack: 0
Decay: 100 – 127 Release: 5–25
Sustain: 0
Attack: 0
Decay: —
Sustain: 127
Release: 0
Attack: 40
Decay: 50
Sustain: 75
Release: 50
28
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10. LFO 1, 11. LFO 2
— SYNTH/VOCODER
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, KEY SYNC [OFF, Timbre, Voice] TEMPO SYNC
[OFF, ON] FREQUENCY
[0...127]
Figure 10-2
Specifies how the LFO will be ap- Specifies whether the LFO cycle Specifies the frequency of the LFO.
plied to a voice when note-on oc- will be synchronized to the tempo Increasing this value will result in
Triangle, Sample&Hold]
Note on
WAVE (LFO2)
[Saw, Square2,
curs.
or MIDI Clock.
a faster frequency.
Sine, Sample&Hold]
Selects the LFO waveform.
This parameter will be displayed
and can be set if "TEMPO SYNC" is
OFF.
OFF (
):
OFF (
):
The LFO phase will not be reset The LFO will not be synchronized.
when note-on occurs.
(➝Figure 10-2)
Figure 10-3
Note on
Note on
Figure 10-1
It w ill operate at the frequ ency
specified by the "FREQUEN CY"
parameter.
Saw (
):
):
SYNC NOTE
[1.1...1.32]
Timbre (
):
Square1 (
Square2 (
Triangle (
Sine (
):
):
Note all off
Specifies the proportion of the LFO
cycle relative to the tempo specified
by ARPEG.A "TEMPO." (➝p.65)
This parameter will be displayed
and can be set if "TEMPO SYNC" is
ON.
The LFO phase will be reset at the
ON (
):
first note-on that occurs from a state The LFO will be synchronized to
of no keys pressed. Subsequently, the ARPEG.A "TEMPO" or to MIDI
modulation will continue to be ap- Clock messages from an external
plied at the same LFO phase even device.
Figure 10-4
):
Note on
1VOICE
2VOICE
Sample&Hold (
):
for subsequent note-on's.
Note on
If "TEMPO SYNC" is ON, select-
ing LFO2 Frequency (
"DEST" in PATCH 1–4 will have
no effect.
Amplitude changes (➝Figure 10-3)
1/1(
1/2(
1/4(
1/8(
): Four beats will be one
cycle.
): Four beats will be two
cycles.
): One beat w ill be one
cycle.
): One beat w ill be tw o
cycles.
) as
irregularly
(sample & hold)
Voice (
):
The LFO phase will be reset at each
note-on, and modulation of differ-
ing phases will apply to each voice.
(➝Figure 10-4)
LFO (Low Frequency Oscillator)
The LFO (Low Frequency Oscillator) is an oscillator that produces a relatively slow (low-
frequency) oscillation, and is used to apply cyclic modulation to various aspects of the sound.
volume).You can select LFO as a Virtual Patch source, select the desired parameter as the
destination, and apply modulation to produce various effects.
Some typical ways to use LFO are vibrato (use LFO to raise and lower the pitch), wah (use LFO The microKORG provides some dedicated parameters for applying modulation from the LFO;
to raise and lower the cutoff frequency), and tremolo (use LFO to raise and lower the
for LFO1 you can use OSC1 "CONTROL 2," and for LFO2 you can use PITCH "VIBRATO INT."
29
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12. PATCH 1, 13. PATCH 2, 14. PATCH 3, 15. PATCH 4
— SYNTH
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).
Virtual Patch
SOURCE
[FILTER EG, AMP EG, DEST [Pitch, OSC2 Tune, OSC1 MOD INT
[-63...63]
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).
Specifies the depth of the effect pro-
duced by the modulation source.
With a setting of 0, there will be no
modulation.
LFO 1, LFO 2, Velocity, KBD Track,
Control 1, Noise Level, CutOff,
Pitch Bend, MOD.Wheel]
Selects a modulation source.
Amp, Pan, LFO2 Frequency]
Selects the parameter (destination)
For example if you select Filter EG that will be controlled by the modu-
), the Filter EG will be the lation.
modulation source. For exam p le if you select Pitch
), modulation will be applied
to the overall pitch of the timbre.
(
(
FILTER EG (
AMP EG (
LFO 1 (
): FILTER EG
): AMP EG
): LFO 1
Pitch (
timbre
): Overall pitch of the
Setting example for "SOURCE" and "DEST"
LFO 2 (
): LFO 2
SOURCE [1]
DEST [2]
Pitch
OSC2 Tune (
): OSC2
):
Velocity (
):
Filter EG/Amp EG
The Filter EG or Amp EG will vary the pitch of the entire timbre over time.
"TUNE"
Velocity (keyboard p layin g
strength)
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.
OSC1 Control 1 (
OSC1 "CONTROL 1"
Filter EG/Amp EG
Pan
KBD Track (
):
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.
LFO 1/LFO 2
LFO 1/LFO 2
LFO 1/LFO 2
LFO 1/LFO 2
Velocity
Pitch
CutOff
Amp
Pan
Noise Level (
):
Keyboard tracking (keyboard posi-
tion)
MIXER "NOISE LEVEL"
CutOff (
OFF"
): FILTER "CUT-
Keyboard Track op erates ac-
cording to the pitch that is con-
trolled by pitch bend, and trans-
pose. It is not affected by pitch
changes produced by vibrato or
Virtual Patch.
Amp (
Pan (
): AMP "LEVEL"
): AMP "PAN"
Amp
LFO2 Frequency (
):
Keyboard position will gradually change the pan; lower notes at the left,
and higher notes at the right.
Keyboad Track
Pitch Bend
Pan
Pan
LFO2 "FREQUENCY"
PITCH wheel operations or pitch bend change will move the sound between
left and right.
If LFO "TEMPO SYNC" is ON,
selecting LFO2 Frequency will
have no effect.
Pitch Bend (
): PITCH wheel
MOD wheel operations or CC#1 will vary the cutoff frequency.
MOD wheel operations or CC#1 will vary the LFO2 speed.
Modulation Wheel
Modulation Wheel
CutOff
MOD.Wheel (
wheel
): MOD
LFO2 Frequency
30
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The structure of a vocoder program
Editing a vocoder program
bandpass filters (ANALYSIS FILTER), and the ENVELOPE FOLLOWER detects the
volume envelope (time-variant change) of each frequency band.
Overview
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.
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).
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.
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.
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.
EFFECTS
The output from the vocoder section is sent to the modulation effect (MOD FX) ➝
delay effect (DELAY) ➝ equalizer (EQ).
Carrier
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.
ARPEGGIATOR
The arpeggiator can be used to play a vocoder program.
This is a step arpeggiator with six arpeggio types.
The volumes of OSC1/ NOISE/ AUDIO 2 IN are adjusted by the MIXER, and the
combined signal is output to the Vocoder section.
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 SYNTHE-
SIS FILTER) and the ENVELOPE FOLLOWER.
The audio signal from the AUDIO IN 1 jack (modulator) is input to sixteen
31
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1. VOICE
— SYNTH/VOCODER
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
— SYNTH/VOCODER
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 (
play a chord to obtain rich sounds.
), and use "CONTROL 2" to select waveform number 26 (5th Wave3: a fifth interval), and
Editing example for a vocoder program
Adjust the audio from the mic input.
will rise more smoothly, and the release will become longer.
1
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 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 1–4 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 1–4 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.
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.
2
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
32
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4. AUDIO IN 1
— VOCODER
These parameters adjust the input from AUDIO IN 1 (the modulator).
Adjust "THRESHOLD" (knob 2) so that noise is not heard when you are not speaking, and adjust "GATE SENSE" (knob 1) so that the
vocoder sound is not cut off unnaturally. Use "HPF LEVEL" (knob 3) to emphasize the consonants (such as "s" sounds) of the input voice.
GATE SENSE
[0...127] THRESHOLD
[0...127] HPF LEVEL
[0...127] HPF GATE
[Disable, Enable]
Specifies the speed of the gate that Specifies the level at which the au- Adjusts the amount of the high-fre- Sp ecifies w hether the high-fre-
w ill op erate accord in g to th e dio signal from the AUDIO IN 1 quency portion of the audio signal quency portion of the signal from
"THRESHOLD" setting.
Lower values for this setting will Increasing this value will cause the that will be mixed into the output vocoder output will be passed only
make the gate operate more quickly, audio signal to be silenced. This lets of the vocoder. during the key-on (note-on) dura-
causing the vocoder sound to decay you eliminate any noise that might Increasing this value will empha- tion, or will always be allowed to
more quickly. be heard when no input signal is size the portion that corresponds to pass.
jack will be silenced.
input from the AUDIO IN 1 jack AUDIO IN 1 that is mixed into the
Higher values for this setting will present.
make the gate operate more gradu-
the consonants of speech or singing.
Disable (
The high-frequency portion of the
signal will always be passed.
This is effective when you are play-
ing a guitar etc. that is connected
via an effect unit to AUDIO IN 2.
):
If this setting is set excessively
ally, causing the vocoder sound to
have a longer decay.
high, the audio signal will also
be cut, and it will be difficult for
the vocoder effect to apply.
If the "THRESHOLD" value is
high, this effect will apply more
readily. If the threshold value is
0, there will be no effect.
Enable (
):
The high-frequency portion of the
signal will be passed only during
the key-on (note-on) duration.
Use this setting if you are applying
the vocoder effect only to an inter-
nal sound source, or if you have
connected a synthesizer etc. to AU-
DIO IN 2. (The signal will be passed
when a MIDI note-on is received.)
33
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5. MIXER
— VOCODER
This sets the output level of the carrier. The level you specify here will be the input level to the band-pass filter (Synthesis Filter) of the
carrier.
OSC 1 LEVEL
Specifies the output level of Oscil- Specifies the output level of the sig- Specifies the output level of the
lator 1 (carrier). nal that is input from AUDIO IN 2. noise generator.
[0...127] INST LEVEL
[0...127] NOISE LEVEL
[0...127]
Included mic
Using an external input as the carrier of the vocoder
Here's how to use a signal input from the AUDIO IN 2 LINE jack as the
vocoder carrier (the signal that is modulated).
As described in the connections for "1. Playing a vocoder program"
1
and "Processing an external input signal" (➝p.10, 21), connect the
included mic to the AUDIO IN 1 CONDENSER jack, and connect the
output jack of your external device to the AUDIO IN 2 LINE jack. Use
the VOLUME 1 and VOLUME 2 knobs to adjust the levels so that the
audio signals are output to AUDIO IN 1 and 2.
When you raise the MIXER "INST LEVEL" (knob 2) value, the input
signal from AUDIO IN 2 will be input to the band pass filter
(synthesis filter) of the carrier.
2
MIDI OUT
MIDI IN
When you raise the MIXER "OSC 1 LEVEL" (knob 1) and play the
keyboard, the OSC 1 waveform will be input to the band pass filter of
the carrier.
3
E
M
-
1
TAP
If you set the AUDIO IN 1 "HPF GATE" (knob 4) to Disable (
the high-frequency portion of the input signal from the AUDIO IN 1
jack will always be output.
),
4
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
MIDI keyboard, tone generator module, rhythm machine etc.
34
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6. FILTER
— VOCODER
By using "FORMANT SHIFT" (knob 1) and "CUTOFF" (knob 2) to shift the cutoff frequency of each band pass filter of the carrier (the
"synthesis filter"), you can raise or lower the frequency response while maintaining the character of the modulator, thus varying the
character of the vocoder output. Both of these knobs do the same thing, and have the same range. FORMANT SHIFT is indexed to shift
from filter to filter, and CUTOFF is continously variable. In addition, you can use "E.F. SENSE" (knob 4) to adjust the sensitivity of the
Envelope Follower for the modulator, in order to vary the smoothness of the attack and the length of the release for the vocoder output.
Table 6-1
Frequency
FORMANT SHIFT
[0, 1, 2, -1, -2]
Shifts the cutoff frequency of each
band-pass filter of the carrier, in
units of filters.
CUTOFF
[-63...63] RESONANCE
[0...127] E.F.SENSE
[0...126, Hold]
Band (CH)
Formant shift 0 Formant shift +2 Formant shift -2
This continuously shifts the cutoff Specifies the amount of resonance Specifies the sensitivity of the En-
frequency of each band-pass filter for each band-pass filter of the car- velope Follower for the modulator.
of the carrier.
[Hz]
39
50
65
80
rier.
Lower settings of this value will al-
1
2
(CH1)
Increasing this value will empha- low the attacks of the input signal
size the regions near each cutoff fre- to be detected more rapidly.
125
185
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
3
4
5
6
7
(CH1)
(CH2)
(CH3)
(CH4)
(CH5)
(CH6)
(CH7)
(CH8)
(CH2)
(CH3)
(CH4)
(CH5)
(CH6)
(CH7)
(CH8)
quency.
If you set this to Hold (
), the
270
350
430
530
630
780
950
1150
1380
1680
2070
2780
3800
5000
6400
8100
10510
12600
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
(CH1)
(CH2)
(CH3)
(CH4)
(CH5)
(CH6)
(CH7)
(CH8)
character of the signal that is being
input at that moment will be held.
Subsequently, the sound will retain
that character regardless of whether
there is any input.
8
9
"FORMANT SHIFT" and "CUTOFF"
Each parameter allows you to vary the character over a range of two steps
upward or downward (a total of four steps upward or downward when
used together). If both of these parameters are at 0, the character will
match the cutoff frequencies of the modulator band pass filters (the
analysis filter).
10
11
12
13
14
15
16
The signal information that is
maintained in the Hold state can
be saved in the program by writ-
ing the program.
BPF
7
BPF BPF
If you set this to H old w hen
there is no input signal present,
there will be no output even if
an audio signal is subsequently
input.
8
9
Frequency
-63
0
+63
Cutoff (range in which BPF 8 will change)
Although the microKORG's editable
band-pass filter has eight channels,
it internally contains sixteen band-
pass filters. These sixteen filters are
arranged in pairs (a pair for each
channel). Table 6-1 shows how the
frequencies adjusted by "FORMANT
SHIFT" and "CUTOFF" correspond to
the frequencies of the sixteen filters.
Formant Shift:+2
This value will automatically be
set to H old if you p ress the
FORMANT HOLD key. Hihger
values will retain more of the
sound’s natural decay.
BPF
7
BPF BPF
8
9
Frequency
+63
-63
0
Cutoff (range in which BPF 8 will change)
35
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7. FC MOD
— VOCODER
These parameters select the modulation source that will vary the cutoff frequency of the carrier band-pass filter (the synthesis filter), and
specify the depth of the modulation. For example if you set the modulation source "SOURCE" (knob 1) to AMP EG (A.EG) and use "INTEN-
SITY" (knob 2) to adjust the depth of the effect, the AMP EG will produce tonal changes.
SOURCE [AMP EG, LFO 1, LFO 2, INTENSITY
[-63...63]
Specifies the depth of the modula-
tion that is applied to the carrier
band-pass filter "CUTOFF."
Velocity, KBD Track,
Pitch Bend, MOD.Wheel]
Selects the modulation source that
will be applied to the carrier band-
pass filter "CUTOFF."
For example if you select AMP EG
(
), the Am p EG w ill be the
modulation source.
AMP EG (
LFO 1 (
): AMP EG
): LFO 1
): LFO 2
):
LFO 2 (
Velocity (
Velocity (keyboard p layin g
strength)
KBD Track (
):
Keyboard tracking (keyboard posi-
tion)
Pitch Bend (
PITCH wheel
):
MOD.Wheel (
MOD wheel
):
36
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8. AMP
— VOCODER
These parameters adjust the volume. "LEVEL" (knob 1) specifies the volume of the internal sound source (OSC 1, NOISE) for the carrier.
"KBD TRACK" (knob 4) specifies how keyboard tracking will affect the volume, and "DISTORTION" (knob 3) specifies whether the sound
will be distorted.
The "DIRECT LEVEL" (knob 2) specifies the output volume level of the sound that is input from AUDIO IN 1.
LEVEL
[0...127] DIRECT LEVEL
[0...127] DISTORTION
[OFF, ON] KBD TRACK
[-63...63]
Specifies the volume level of the in- Specifies the volume level of the au- Specifies whether distortion will be Specifies how keyboard tracking
tern al ton e gen erator (OSC1, d io that is output d irectly from applied to the OSC 1, NOISE, and will affect the volume.
NOISE) for the carrier.
AUDIO IN 1.
AUDIO IN 2 signal.
With positive (+) settings, the vol-
ume will increase as you play above
the note C4 on the keyboard, and
will decrease as you play below C4.
With negative (-) settings, the vol-
u m e w ill d ecrease as you p lay
above C4 on the keyboard, and will
increase as you play below C4.
OFF (
):
Distortion is off
Keyboard Track op erates ac-
cording to the pitch that is con-
trolled by pitch bend and the
"TRANSPOSE" setting. It is not
affected by pitch changes pro-
d u ced by vibrato or Virtu al
Patch.
ON (
):
Distortion is on
9. AMP EG
— SYNTH/VOCODER
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.
10. LFO 1, 11. LFO 2
— SYNTH/VOCODER
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
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12. CH LEVEL A, 13. CH LEVEL B
— VOCODER
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
CH 5 LEVEL
[0...127] CH 2 LEVEL
[0...127] CH 6 LEVEL
[0...127] CH 3 LEVEL
[0...127] CH 7 LEVEL
[0...127] CH 4 LEVEL
[0...127] CH 8 LEVEL
[0...127]
[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 5 PAN
[L63...Center...R63] CH 2 PAN
[L63...Center...R63] CH 6 PAN
[L63...Center...R63] CH 3 PAN
[L63...Center...R63] CH 7 PAN
[L63...Center...R63] CH 4 PAN
[L63...Center...R63] CH 8 PAN
[L63...Center...R63]
[L63...Center...R63]
These parameters set the pan for each of the eight band-pass filter channels of the carrier. L63 (
) is far right.
) is far left, Center (
) is center, and R63
(
38
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The microKORG's effect structure
Editing the effects and EQ
Overview
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.
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.
39
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16. MOD FX
— SYNTH/VOCODER
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.
TYPE
[Flanger/ Chorus, LFO SPEED
[0...127] EFFECT DEPTH
[0...127]
Specifies the speed of the modula- Specifies the modulation depth and
Ensemble, Phaser]
Selects the effect type.
tion effect LFO.
amount of feedback. Increasing this
value will deepen the modulation
effect and also increase the amount
of feedback. If you do not wish to
apply the effect, set this to 0.
Flanger/ Chorus (
):
This effect modulates the delay time
of the input signal to add depth and
warmth to the sound. Increasing the
"EFFECT DEPTH" value will pro-
duce a flanger effect.
Excessively high settings of this
parameter may cause the output
to be distorted.
Ensemble (
):
This effect uses multiple chorus
u nits to ad d three-d im ensional
d ep th and sp aciou sness to the
sound.
Phaser (
):
This effect continuously modulates
the phase of the sound, creating
motion within the sound, a sweep-
ing and twisting sensation.
40
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17. DELAY
— SYNTH/VOCODER
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.
TYPE
[Stereo Delay, TEMPO SYNC
[OFF, ON] DELAY TIME
[0...127] DELAY DEPTH
[0...127]
Specifies whether the delay time Sets the delay time.
will be synchronized to the tempo.
Specifies the delay depth and feed-
back amount. Increasing this value
will make the delay louder and will
also increase the amount of feed-
back.
Cross Delay, L/ R Delay]
Selects the delay type.
This parameter is available only if
"TEMPO SYNC" is OFF.
OFF (
):
Stereo Delay (
):
Delay off (not synchronized). The
delay will operate according to the
"DELAY TIME" value you specify.
This is a stereo delay.(➝Figure 17-1)
Cross Delay (
):
If you do not wish to apply a delay,
set this to 0.
This is a stereo delay where the left
and right channels of feedback are
interchanged. In a Layer program,
it is effective to set the pan of the
two timbres to left and right respec-
tively. (➝Figure 17-2)
SYNC NOTE
[1.32...1.1]
ON (
):
Specifies the ratio of the delay time
relative to the ARPEG.A "TEMPO"
value. (➝p.65)
Excessively high settings of this
parameter may cause the output
to be distorted.
Delay on (synchronized). The delay
will synchronize to the ARPEG.A
"TEMPO" setting or to MIDI Clock
data from an external device.
This parameter is available only if
"TEMPO SYNC" is ON.
L/ R Delay (
):
This is a d elay w here the d elay
sound is output to left and right al-
ternately. (➝Figure 17-3)
Figure 17-1
Stereo Delay
Figure 17-2
Cross Delay
Figure 17-3
L/R Delay
FEEDBACK
DELAY
FEEDBACK
DELAY
FEEDBACK
DELAY
DELAY
DELAY
DELAY
FEEDBACK
FEEDBACK
FEEDBACK
41
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18. EQ
— SYNTH/VOCODER
This is a two-band equalizer. Use EQ FREQ (knobs 1 and 3 to specify the frequency that you want to adjust, and use knobs 2 and 4 to adjust
the gain of each frequency band.
Excessively raising the equalizer gain parameters may cause the output to be distorted.
LOW EQ FREQ. [40Hz...1.00kHz] LOW EQ GAIN
Sets the frequency of the low-range Sets the amount of boost or cut for Sets the frequency of the high-range Sets the amount of boost or cut for
equalizer. the low-range equalizer. equalizer. equalizer.
[-12...12] HI EQ FREQ.[1.00kHz...18.0kHz] HI EQ GAIN
[-12...12]
42
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The structure of arpeggiator
Editing the arpeggiator
Overview
The microKORG's arpeggiator provides six arpeggio types. You can adjust the
duration (gate time) and spacing of the notes played by the arpeggiator. The
arpeggiator settings are adjusted by the ARPEG.A and ARPEG.B parameters.
Each of the up to eight steps produced by the ARPEG.A and ARPEG.B settings can
be switched on/ off using the "step arpeggiator," for even more performance
possibilities. (➝Refer to page 11 for more information about using the step
arpeggiator.)
Selecting the timbre(s) that will be played by the arpeggiator
In a synth program that uses two timbres (Layer), you can select the timbre(s) that
will be sounded by the arpeggiator. This is specified by ARPEG.B "TARGET
TIMBRE" (knob 5 ). You can arpeggiate both timbres, or only timbre 1 or 2.
Synchroning the rate of LFO 1/2 or the delay time of the delay
effect to the arpeggiator tempo
By synchronizing the LFO 1/ 2 rate to the tempo of the arpeggio, you can apply
modulation that is synchronized to the tempo. You can also specify the time
parameter of the delay effect to be a ratio of the tempo, so that the delay time will
remain appropriate even if you change the tempo of the arpeggio. This is particu-
larly convenient for live performances. (➝p.65)
Since the microKORG's arpeggiator can be synchronized to an external MIDI
sequencer, you can control the LFO 1/ 2 rate or the delay time from an external MIDI
sequencer. (➝p.50)
43
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19. ARPEG. A
— SYNTH/VOCODER
Here you can make various arpeggio-related settings. "TYPE" (knob 4 ) selects the arpeggio type. "TEMPO" sets the tempo of the arpeggiator,
and "RESOLUTION" (knob 2 ) specifies the spacing of the notes relative to the tempo. "GATE (knob 3 ) sets the duration of the arpeggiated
notes, and "RANGE" (knob 5 ) specifies the range of pitch (one to four octaves, in one-octave steps) in which the arpeggio will be played.You
may hold down as many keys as you like to create an arpeggiated program.
TEMPO
[20...300] RESOLUTION
[1/ 24...1/ 4] GATE
[0...100] TYPE
[Up, Down, Alternate 1, RANGE
[1...4]
Specifies the tempo of the arpeggio. Specifies the resolution (spacing of Specifies the duration (gate time) of
Increasing this value will speed up the notes) relative to the tempo the arpeggiated notes, as a percent-
Specifies the range of octaves over
which the arpeggio will be played.
Alternate 2, Random, Trigger]
Selects the arpeggio type. (➝Figure
19-1)
the arpeggio tempo.
specified by "TEMPO." (➝p.65)
age (%).
Figure 19-1
Up
With a setting of 0, each note will
be extremely short.
With set to 100, each note will con-
tinue playing until the next step.
1/ 24 (
):
If MIDI "CLOCK" is set to Exter-
nal, or if it is set to Auto when
there is an external input, this
setting will be ignored and the
arpeggiator will synchronize to
the external MIDI Clock.
Up (
):
The arpeggio will be played as six-
teenth note triplets of the specified
tempo.
Notes will be played consecutively
from low to high pitches.
Down
Down (
):
1/ 16 (
):
Notes will be played consecutively
from high to low pitches.
The arpeggio will be played as six-
teenth notes of the specified tempo.
Alternate 1
Alternate 2
Random
Trigger
Alternate 1 (
):
1/ 12 (
):
Up and Down will be alternated.
(The highest and lowest notes will
be sounded once.)
The arp eggio w ill be p layed as
eighth note triplets of the specified
tempo.
Alternate 2 (
):
1/ 8 (
):
Up and Down will be alternated.
(The highest and lowest notes will
be sounded twice.)
The arp eggio w ill be p layed as
eighth notes of the specified tempo.
1/ 6 (
):
Random (
):
The arp eggio w ill be p layed as
quarter note triplets of the specified
tempo.
Notes will be played randomly.
Trigger (
):
The notes you are holding down will
be played simultaneously at the tempo
an d "RESOLUTION " tim in g. Th e
"RANGE" setting will be ignored.
1/ 4 (
):
(➝) than the maximum polyphony of
the timbre, the lowest pitches you are
holding down will be played, up to the
maximum polyphony.
The arp eggio w ill be p layed as
qu arter n otes of th e sp ecified
tempo.
If you are holding down more notes (➝)
44
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20. ARPEG. B
— SYNTH/VOCODER
Here you can make additional arpeggio-related settings. "LAST STEP" (knob 4 ) sets the number of steps in the arpeggio. "LATCH" (knob 1 )
specifies how the arpeggiator will operate when you release the keyboard, "SWING" (knob 2 ) adjusts the sense of swing, and "KEY SYNC"
(knob 3 ) specifies how the arpeggiator will be synchronized to the keyboard. In addition, "TARGET TIMBRE" (knob 5 ) specifies which
timbre(s) of a Layer synth program will be sounded by the arpeggiator.
LATCH
[OFF, ON] SWING
[-100...100] KEY SYNC
[OFF, ON] LAST STEP
[1...8] TARGET TIMBRE
Specifies how the arpeggiator will Sp ecifies the p ercentage (%) by Specifies whether the arpeggiator Specifies the number of valid steps
operate when you take your hand which even-numbered notes of the will be synchronized to the key- (maximum number of steps) for the
[Both, Timbre 1, Timbre 2]
Selects the timbre(s) that will be
sounded by the arpeggiator. This
can be set only for a Layer program.
off of the keyboard.
arpeggio will be shifted in timing board.
step arpeggiator.
relative to the first note.
(➝Figure 20-1)
If this is ON, the arpeggiator will
OFF (
):
always start from the beginning of
the arpeggio pattern when you play
the keyboard. If you are perform-
ing together w ith other instru -
ments, you can use this function to
ensure that the arpeggio pattern is
aligned with the beginning of the
measure.
The arpeggiator will stop playing
when you take your hand off of the
keyboard.
Both (
):
Both timbres will be sounded by the
arpeggiator.
ON (
):
Timbre 1 (
):
The arpeggiator will continue play-
ing even if you take your hand off
of the keyboard.
Only timbre 1 will be sounded by
the arpeggiator.
Timbre 2 (
):
Only timbre 2 will be sounded by
the arpeggiator.
OFF (
):
Sync off (not synchronized).
ON (
):
Sync on (synchronized).
Figure 20-1
When Resolution =1/8
1
2
3
4
5
6
7
8
9
Swing
–50
–25
+25
+50
45
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GLOBAL structure
Overall settings (GLOBAL)
Overview
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.
46
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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] MASTER TRANSPOSE [-12...12] VELOCITY CURVE [Curve, 1...127] POSITION
[Post KBD, Pre TG] AUDIO IN THRU
[OFF, ON]
Adjusts the overall pitch in 0.1 Hz Adjusts the overall pitch in steps of Selects how velocity (keyboard Specifies the internal MIDI IN / Specifies whether the signal input
steps over a range of 430.0 Hz to a semitone (100 cents) over a range playing dynamics) will affect vol- OUT rou ting w ithin the m icro- from AUDIO IN will be output di-
450.0 Hz, in terms of A4 as the ref- of one octave upward or down- ume and tone.
KORG. This setting will affect the rectly.
erence pitch. (The highest digit "4" ward.
Use the setting that is appropriate way in which MIDI data is trans-
OFF (
):
is not displayed.)
Use this when you wish to trans- for your situation. mitted and received, and how the
The signal will not be output.
Use this when you need to tune the pose to suit the song you are play-
pitch of the microKORG to other in- ing.
struments.
arpeggiator data is handled.
Curve (
):
ON (
):
The normal curve. (➝Figure 21-1)
Post KBD (
):
The signal will be output.
In this position, incoming MIDI
d ata w ill be sent to the timbres
without being affected by the glo-
bal or front paneltranspose controls,
and will not trigger the arpeggiator.
Data produced by the keyboard will
be converted according to the inter-
nal settings, routed through the
arpeggiator (arpeggiator notes are
sent as MIDI data), and then sent
to the MIDI OUT connector.
1...127:
This setting is not memorized by
the Write operation. When the
power is turned on, it will al-
ways be turned OFF. While you
are editing, ORIGINAL VALUE
will always remain lit.
The fixed velocity you specify here
will be output regardless of how
strongly you play the keyboard.
Figure 21-1
Figure 21-2
MIDI IN
MAX
(127)
Timbre 2
GLOBAL: Master Transpose
FRONT PANEL: Octave
GLOBAL: Velocity Curve
Keyboad
Arpeggiator
Timbre 1
Velocity
(64)
MIDI OUT
(➝Figure 21-2)
Pre TG (
):
Curve (CrV)
Figure 21-3
MIDI IN
Incoming MIDI data will be affected
by by the global settings, and will
act as trigger n otes for th e
arpeggiator. Data produced by the
keyboard will be sent to the MIDI
OUT connector without being (➝)
MIN (1)
ppp
Strength
(MIDI Velocity)
fff
(127)
(➝) affected by any setting other
than OCTAVE SHIFT (arpeggiator
notes are NOT sent via MIDI).
(➝Figure 21-3)
GLOBAL: Master Transpose
GLOBAL: Velocity Curve
Keyboad
FRONT PANEL: Octave
MIDI OUT
(1)
Timbre 2
Timbre 1
Arpeggiator
47
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MIDI on the microKORG
Using the microKORG with
other MIDI devices (MIDI)
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.
Overview
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 instru-
ments 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.
microKORG
MIDI IN
MIDI OUT
MIDI keyboard
The microKORG lets you assign control change numbers to the major parameters
that affect the sound, and control these parameters from an external MIDI se-
quencer while you play the tone generator. You can also operate the assigned knobs
1–5 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.
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.)
microKORG
MIDI OUT
MIDI IN
MIDI THRU
MIDI IN
Connecting MIDI devices/computers
E
M
-
1
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.
TAP
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
MIDI keyboard
MIDI tone generator
You can also use a MIDI patch bay to control multiple MIDI devices.
MIDI IN
microKORG
MIDI OUT
MIDI IN
MIDI OUT
MIDI OUT
microKORG
MIDI OUT
MIDI IN
E
M
-
1
MIDI patch bay
MIDI keyboard
TAP
MIDI IN
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
E
M
-
1
MIDI tone generator
TAP
MIDI tone generator
1
2
3
4
5
7
8
9
10
11
12
13
14
15
16
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MIDI on the microKORG
"MASTER TRANSPOSE," "VELOCITY CURVE," OCTAVE SHIFT, and arpeggiator
Connecting an external MIDI sequencer or computer etc.
settings. (➝p.47)
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.
•
Normally when controlling an external MIDI tone generator from the
microKORG, you will set "POSITION" to Post KBD (
listed above will affect the MIDI data that is transmitted.
). The various settings
The received data will be processed as "MASTER TRANSPOSE": 0, "VELOCITY
CURVE": Curve (
Normally when controlling the microKORG's tone generator from an external
MIDI device, you will set "POSITION" to Pre TG ( ). The various settings
), and OCTAVE SHIFT: 0.
Some USB-MIDI interface devices may not be able to transmit/ receive the
microKORG's MIDI exclusive messages.
•
listed above will affect the MIDI data that is received (with the exception of
"OCTAVE SHIFT," which will be processed as 0).
computer
MIDI OUT
MIDI interface
MIDI OUT
MIDI IN
MIDI IN
The transmitted data will be processed as "MASTER TRANSPOSE": 0 and
"VELOCITY CURVE": Curve (
).
SHIFT function "MIDI FILTER" settings
microKORG
You can specify whether program change, pitch bend, control change, and system
exclusive messages will be transmitted or received. (➝p.60)
SHIFT function "CONTROL CHANGE" settings
MIDI-related settings
You can assign control change numbers to the major parameters that affect the
sound, and use an external MIDI device to perform the same operations as when
the knobs and keys of the microKORG are operated. Conversely, you can operate
the microKORG's knobs and keys to control an external MIDI device. (➝p.61)
MIDI channel setting
In order to exchange data with a connected external MIDI device, you must set the
microKORG's MIDI channel to match the MIDI channel of the external MIDI
device.
MIDI "LOCAL" setting when connecting an external MIDI
sequencer or computer
If notes are sounding doubled when the microKORG is connected to an external
MIDI sequencer or computer, turn the Local setting off (MIDI "LOCAL" OFF).
(➝p.51)
1
Set the MIDI channel of the microKORG.
Set the EDIT SELECT 2 dial to the MIDI position, and use knob 1 ("MIDI CH")
to set the MIDI channel. (➝p.51)
2
Set the MIDI channel of the connected external MIDI device.
(➝For information on setting the MIDI channel of the external MIDI device,
refer to the owner's manual of that device.)
If the microKORG is connected to an external MIDI sequencer or computer, and the
Echo Back setting of the external MIDI sequencer or computer is turned on while
the microKORG's Local Control setting is also on, the performance data generated
when you play the microKORG's keyboard will be sent to the external MIDI
sequencer, and will also be echoed-back to sound the microKORG's tone generator
GLOBAL "POSITION" setting
The microKORG's GLOBAL "POSITION" lets you specify how MIDI IN/ OUT will
be internally routed. This will affect how the MIDI data will be affected by the
49
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MIDI on the microKORG
a second time. To prevent each note from being sounded twice, once directly from
the keyboard and once from the echoed-back note, you must turn the microKORG's
Local Control setting off.
Synchronizing the arpeggiator
The MIDI "CLOCK" setting specifies whether the microKORG's arpeggiator will be
the master (the controlling device) or slave (the controlled device).
For information on synchronization-related settings of your external MIDI
device, refer to the manual of your device.
Recording the MIDI output from the microKORG's arpeggiator
onto an external MIDI sequencer or computer
Connect the microKORG's MIDI OUT connector to the MIDI IN connector of your
external MIDI sequencer / computer, and connect the microKORG's MIDI IN
connector to the MIDI OUT connector of your external MIDI sequencer / computer.
(➝p.49)
Using the microKORG as master and the external MIDI device as slave
Connect the microKORG's MIDI OUT connector to the external MIDI device's MIDI
IN connector (➝p.48). If you set MIDI "CLOCK" to Internal (
), the microKORG
will be the master, and will transmit MIDI timing clock messages.
Make settings on your external MIDI device so it will receive external MIDI clock
data. The external MIDI device (sequencer, rhythm machine, etc.) will operate at the
tempo specified by the ARPEG.A "TEMPO" setting.
Then turn the microKORG's Local Control off (MIDI "LOCAL" OFF), and turn on
the echo back setting of your external MIDI sequencer / computer.
Recording the note data from the arpeggiator onto an external MIDI sequencer /
computer
Using the external MIDI device as master and the microKORG as slave
Connect the microKORG's MIDI IN connector to the external MIDI device's MIDI
Set the microKORG's GLOBAL "POSITION" to Post KBD (
).
OUT connector (➝p.48). If you set MIDI "CLOCK" to External (
microKORG will be the slave.
), the
Turn on the microKORG's arpeggiator, play the keyboard, and record the note data
on your external MIDI sequencer / computer. If the GLOBAL "POSITION" is set to
Post KBD, the MIDI note data produced by the arpeggiator will be output from the
microKORG, and recorded. (➝p.47)
The microKORG's arpeggiator will operate at the tempo of the external MIDI device
(sequencer, rhythm machine, etc.).
Turn the microKORG's arpeggiator off during playback.
If you set MIDI "CLOCK" to Auto (
), the microKORG will automatically
function using the External setting if MIDI clock is being received from an
external MIDI device connected to the MIDI IN connector. Otherwise, the
microKORG will function using the Internal setting.
Recording only the arpeggio-triggering notes on an external MIDI sequencer /
computer, and running the microKORG's arpeggiator during playback
Set the microKORG's GLOBAL "POSITION" to Pre TG (
).
Turn on the microKORG's arpeggiator, play the keyboard, and record the note data
on your external MIDI sequencer / computer. If GLOBAL "POSITION" is set to Pre
TG (
), only the notes you actually play on the keyboard will be transmitted as
MIDI data, and the MIDI note data generated by the arpeggiator will not be
transmitted. However, the MIDI note data echoed back from the external MIDI
sequencer / computer (whose echo back setting is turned on) will trigger the
microKORG's arpeggiator, producing an arpeggio. (➝p.47)
Turn the microKORG's arpeggiator on during playback.
50
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22. MIDI
Here you can make MIDI-related settings for the microKORG.
MIDI CH
[1...16] LOCAL
[OFF, ON] CLOCK [Internal, External, Auto]
Specifies the MIDI channel.
When you wish to transmit pro-
gram changes or system exclusive
messages via MIDI, set the global
MIDI channel to match the MIDI
channel of the connected MIDI de-
vice.
Switch the local on/ off setting.
Specifies how the microKORG will
synchronize with a connected exter-
nal MIDI device (sequencer, rhythm
machine, etc.). If the LFO 1/ 2 or
DELAY "TEMPO SYNC" is ON, the
LFO rate and delay time will also
synchronize in the same way as the
arpeggiator.
OFF (
):
With this setting, controllers such as
th e keyboard an d m od u lation
w heel w ill be internally d iscon-
nected from the tone generator sec-
tion.
This setting prevents notes from
being sounded in duplicate when a
sequencer is connected and the per-
formance data is echoed back from
the sequencer. (Echo back is when
the performance data transmitted
by playing the microKORG is re-
transmitted back to the microKORG
from the sequencer.)
(➝)
Auto (
):
Internal (
):
The microKORG will automatically
function using the External setting
if MIDI clock messages are being
received from an external MIDI de-
vice connected to the MIDI IN con-
nector. Normally it will function us-
ing the Internal setting.
The arpeggiator will be determined
by the internal clock (specified by
"TEMPO"). Select this setting if you
are using the microKORG by itself,
or if you are using the microKORG
as the master (controlling device) so
that an external MIDI device will
synchronize to the MIDI clock mes-
sages from the microKORG.
ON (
):
When making settings for syn-
chronizing external MIDI de-
vices, refer to the owner's manu-
als for the devices you are using.
Select this setting when you are us-
ing the microKORG by itself.
External (
):
The microKORG's arpeggiator will
synchronize to the MIDI clock mes-
sages received from an external
MIDI device connected to the MIDI
IN connector.
(➝)
51
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Messages transmitted and received by the microKORG
➝ MIDI channels
➝ Pitch bend
Pitch bend change [En, bb, mm]
(n: channel, bb: lower digits of value, mm: upper digits of value)
When pitch bend change messages are received, a pitch bend will occur according to
the PITCH "BEND RANGE" value. Pitch bend can also be used in a Virtual Patch for a
synth program, or as an FC MOD modulation source for a vocoder program. In this
case, the message will act as a modulation source where mm=64, bb=00 will be 0
(center value) for the range of -127 - +127. (This message is received on the timbre
channel.)
MIDI uses sixteen channels (1-16). MIDI messages can be transmitted and received
when the channel of the receiving device matches the channel of the transmitting
device.
MIDI messages such as note-on/ off and pitch bend are transmitted and received on
the MIDI channel specified by the MIDI "MIDI CH" setting.
➝ Note-on/off
Note-on [9n, kk, vv], Note-off [8n, kk, vv]
When you move the PITCH wheel on the microKORG, pitch bend change messages
are transmitted on the MIDI channel("MIDI CH").
If you want pitch bend changes to be transmitted and received, set the SHIFT function
(n: channel, kk: note number, vv: velocity)
When you play the keyboard of the microKORG, note-on/ off messages are
transmitted.The note-off velocity is transmitted at a fixed 64, but is not received.
If the GLOBAL "POSITION" is Post KBD (
transmitted by the arpeggiator when it is running.
"MIDI FILTER" to PITCH BEND Enable (
). If this is set to Disable (
), pitch
), note-on/ off messages will be
bend change messages will not be transmitted or received.
➝ Control changes
Control changes [Bn, cc, vv]
(n: channel, cc: control change no., vv: value)
➝ Program change
Program change [Cn, pp]
(n: channel, pp: program number)
When you use knobs 1 –5 to edit certain parameters, or when you operate certain keys
or the MOD wheel, the assigned control change will be transmitted. Conversely, when
control change numbers corresponding to the knob 1 –5 settings are received, the
corresponding controller or parameter will be controlled.
When you switch programs, a program change message with a program number for
the corresponding program 1–128 (A.11–b.88) will be transmitted. (➝Voice Name List)
If you want program changes to be transmitted and received, set the SHIFT function
"MIDI FILTER" to PROGRAM CHANGE Enable (
). If this is set to Disable (
),
If you want control changes to be transmitted and received, set the SHIFT function
program change messages will not be transmitted or received.
"MIDI FILTER" to CONTROL CHANGE Enable (
). If this is set to Disable (
),
The microKORG does not transmit or receive bank select messages ([Bn, 00, mm], [Bn,
20, bb]).
control change messages will not be transmitted or received.
Octave Shift settings and note numbers
Middle C on a
piano is C4 (MIDI
note number 60)
C-1
(0)
C0
(12)
C1
(24)
C2
(36)
C3
(48)
C4
(60)
C5
(72)
C6
(84)
C7
(96)
C8
(108)
C9
(120)
G9
(127)
-1 octave
+3 octaves
-2 octaves
+2 octaves
-3 octaves
+1 octave
C#8
C9
(116) (120)
Octave Shift not used
52
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Messages transmitted and received by the microKORG
• Modulation depth (CC#01) [Bn, 01, vv]
Silencing all notes of a given channel
When a modulation depth message is received, the LFO2 vibrato depth will change
according to the value specified for PITCH "VIBRATO INT." If the value of the
received message is the maximum value (127), vibrato will be applied over the full
pitch range specified by "VIBRATO INT." If the value of the received message is 0, no
vibrato will apply.
• All note off (CC#123) [Bn, 7B, 00] (value is 00)
When an All Note Off message is received, all currently-sounding notes of that
channel will be turned off. Some sound may linger due to the envelope settings.
• All sound off (CC#120) [Bn, 78, 00] (value is 00)
When an All Sound Off message is received, all notes currently sounding on that
channel will be silenced. While All Note Off allows the decay of a note to continue, the
All Sound Off will silence the sound immediately.
However, this message is intended for use in emergencies, and is not for use during a
performance.
When you move the microKORG's MOD wheel, modulation depth messages are
transmitted on the MIDI channel ("MIDI CH").
• Volume (CC#07) [Bn, 07, vv]
If you assign control change (CC#07 – volume) to AMP "LEVEL," volume messages
can be received to control the volume.
Resetting all controllers of a given channel
• Panpot (CC#10) [Bn, 0A, vv]
If you assign control change (CC#10 – pan) to AMP "PANPOT," pan messages can be
received to control the stereo position of the sound.
• Reset all controllers (CC#121) [Bn, 79, 00] (value is 00)
When a Reset All Controllers message is received, all controller values currently
operating on that channel will be reset. Some parameters assigned using Virtual Patch
will not be reset.
Assigning control changes to knobs and keys
You can use the SHIFT function "CONTROL CHANGE" to assign a control change in the
range of CC#00–CC#95 to principal parameters that corr espond to panel knobs and
keys. When you operate the assigned knob or key, the corresponding control change will
be transmitted. If the Performance Edit function is enabled, the control change for the
corresponding parameter will be transmitted.
When control changes are received from an external device, the microKORG will behave
according to the value of the control change, just as when the corresponding knob or key
is operated (➝p.56 "Control change assignments for the microKORG's knobs and keys").
In addition, when you use the front panel TIMBRE SELECT key to switch timbres, a
message (Timbre Select) indicating which timbre is selected will be transmitted. When
the microKORG receives a Timbre Select message, it will switch timbres according to the
value of the message. (0: Timbre 1, 1: Timbre 1&2 (Sync), 2–127: Timbre 2).
You can use the SHIFT function "CONTROL CHANGE" TimbSelect to assign a control
change to Timbre Select as well.
➝ 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.
1
2
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 corre-
sponding 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.
Sync control
The first-played note-on will sync a LFO whose "KEY SYNC" = Timbre(
).
However in order to distinguish manually played note-on/ off's from those that are
repeated automatically by the arpeggiator, the microKORG's arpeggiator will transmit
a Sync Control message at the time of note-on (when GLOBAL "POSITION" is Post
• ON/OFF: [Bn, 63, 00, Bn, 62, 02, Bn, 06, mm]
• RANGE: [Bn, 63, 00, Bn, 62, 03, Bn, 06, mm]
• LATCH: [Bn, 63, 00, Bn, 62, 04, Bn, 06, mm]
KBD(
)).
A control change message is used for this Sync Control message as specified by Shift
function "Control Change."
• TYPE:
• GATE:
[Bn, 63, 00, Bn, 62, 07, Bn, 06, mm]
[Bn, 63, 00, Bn, 62, 0A, Bn, 06, mm] (n: channel, mm: parameter value)
By using Sync Control to apply sync to a LFO, you can cause each arpeggiated note to
advance the random LFO by one step.
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Messages transmitted and received by the microKORG
Controlling the VIRTUAL PATCH 1–4 DESTINATION
MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
0...63: OFF, 64...127: ON
ON/OFF 00(00) 02(02) 0: OFF, 127: ON
• 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]
RANGE 00(00) 03(03) 0: 1 Octave, 1: 2 Octave, 2: 3 Octave, 3: 4 Octave
0: 1 Octave, 1: 2 Octave, 2: 3 Octave, 3...127: 4 Octave
LATCH
TYPE
GATE
00(00) 04(04) 0: OFF, 127: ON
0...63: OFF, 64...127: ON
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
00(00) 10(0A) Refer to separate table (GATE values) Refer to separate table (GATE values)
• PATCH4 DESTINATION: [Bn, 63, 04, Bn, 62, 0B, Bn, 06, mm]
(n: channel, mm: parameter value)
GATE values
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)
Value (transmitted, received) Gate Time [%] Value (transmitted, received)
Value (transmitted, received) Gate Time [%] Value (transmitted, received)
Value (transmitted, received)
107
Gate Time [%]
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
Gate Time [%]
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
Gate Time [%]
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
0, 1
2
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
54
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
27
28, 29
30
80, 81
82
55
108
109, 110
111
112
113, 114
115
116
117
118, 119
120
121
122
123, 124
125
126
127
3
56, 57
58
83
84
Synth Parameter
Vocoder Parameter
MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
4, 5
6
31
32
PATCH 1 SOURCE
FC MOD SOURCE
04(04) 00(00)
04(04) 01(01)
04(04) 02(02)
04(04) 03(03)
04(04) 08(08)
04(04) 09(09)
04(04) 10(0A)
59
60
0: F.EG(will not be tranmitted FC MOD SOURCE)
18: A.EG, 36: LFO1, 54: LFO2
72: VELOCITY, 90: KBD TRACK
108: [MOD], 126: [PITCH]
,
0...15: F.EG, 16...31: A.EG(FC MOD SOURCE
will be transmitted 0...31: A.EG)
32...47: LFO1, 48...63: LFO2,
64...79: VELOCITY, 80...95: KBD TRACK,
96...111: [MOD], 112...127: [PITCH]
85, 86
87
,
7
8
33, 34
35
PATCH 2 SOURCE
61, 62
63
88
89
PATCH 3 SOURCE
9, 10
11
12
36
37, 38
39
PATCH 4 SOURCE
64
65
90, 91
92
PATCH 1 DESTINATION
PATCH 2 DESTINATION
PATCH 3 DESTINATION
PATCH 4 DESTINATION
0: PITCH, 18: OSC2 PITCH
36: OSC1 CTRL1, 54: NOISE LEVEL
72: CUTOFF, 90: AMP, 108: PAN
126: LFO2 FREQ
0...15: PITCH, 16...31: OSC2 PITCH
32...47: OSC1 CTRL1
48...63: NOISE LEVEL, 64...79: CUTOFF
80...95:AMP, 96...111: PAN
112...127: LFO2 FREQ
13
66, 67
68
69
40
93
94, 95
96
14, 15
16
17
41
42, 43
44
04
(04)
11
(0B)
70
97
18, 19
20
71, 72
73
74
75, 76
77
78
45
46
98
Controlling CH PARAM
99, 100
101
102
103
104, 105
106
The CH PARAM (CH LEVEL and CH PAN) of the synthesis filter can be controlled.
• Channel Level 1...16ch: [Bn, 63, 04, Bn, 62, 10...1F, Bn, 06, mm]
(n: channel, mm: parameter value)
21
22
100
47, 48
49
23, 24
25
50
51
26
79
52, 53
Vocoder Parameter MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
CH [01] LEVEL
CH [02] LEVEL
CH [03] LEVEL
CH [04] LEVEL
CH [05] LEVEL
CH [06] LEVEL
CH [07] LEVEL
CH [08] LEVEL
04(04) 16(10)
04(04) 18(12)
04(04) 20(14)
04(04) 22(16)
04(04) 24(18)
04(04) 26(1A)
04(04) 28(1C)
04(04) 30(1E)
For example if you want to switch the arpeggiator on/ off from an external MIDI
sequencer, make the following settings.
CH LEVEL: 0...127
CH LEVEL: 0...127
Off: CC#99: 0, CC#98: 2, CC#6: 0...63
On: CC#99: 0, CC#98: 2, CC#6: 64...127
Other controls
Panel knobs and keys other than the arpeggiator transmit and receive the following
NRPN messages. 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.
• Channel Pan 1...16ch: [Bn, 63, 04, Bn, 62, 20...2F, Bn, 06, mm]
(n: channel, mm: parameter value)
Vocoder Parameter MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
CH [01] PAN
CH [02] PAN
CH [03] PAN
CH [04] PAN
CH [05] PAN
CH [06] PAN
CH [07] PAN
CH [08] PAN
04(04) 32(20)
04(04) 34(22)
04(04) 36(24)
04(04) 38(26)
04(04) 40(28)
04(04) 42(2A)
04(04) 44(2C)
04(04) 46(2E)
Controlling the VIRTUAL PATCH 1–4 SOURCE
• PATCH 1 SOURCE: [Bn, 63, 04, Bn, 62, 00, Bn, 06, mm]
• PATCH 2 SOURCE: [Bn, 63, 04, Bn, 62, 01, Bn, 06, mm]
• PATCH 3 SOURCE: [Bn, 63, 04, Bn, 62, 02, Bn, 06, mm]
• PATCH 4 SOURCE: [Bn, 63, 04, Bn, 62, 03, Bn, 06, mm]
(n: channel, mm: parameter value)
CH PAN:
0/1: L63, 2: L62...63: L01
64: CNT, 65: R01...127: R63
CH PAN:
0/1: L63, 2: L62...63: L01
64: CNT, 65: R01...127: R63
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Messages transmitted and received by the microKORG
If you are transmitting these parameters between two microKORG units, set both
units to the same program settings.
•
Use the SHIFT function "MIDI DATA DUMP" to select the data that you want to
transmit (1PROG, PROG, GLOBAL, ALL), and dump the data.
1PROG will dump only the data of the selected program. When the microKORG
receives such a data dump, the settings of the currently selected program will be
rewritten by the data that was received.
In this case, the data will not be saved unless you perform the Write operation.
PROG will dump the data for all programs saved in memory.
GLOBAL will dump the global data (GLOBAL, MIDI, and some of the SHIFT function
settings ➝p.58).
➝ System exclusive messages
microKORG format
F0: exclusive status
42: Korg ID
3n: [n=0—F] MIDI channel
58: microKORG model ID (same as MS2000/ MS2000R)
ff: function ID (type of message)
—
ALL will dump all programs as well as global data.
If PROG, GLOBAL, or ALL dumps are received by the microKORG, the data will be
written directly into internal memory; you do not need to perform the Write
operation.
F7: end of exclusive
Universal system exclusive
•
When a dump request is received from an external device, the microKORG will
transmit the data dump that was requested.
System exclusive messages include a special category of messages whose purpose is
officially defined. These are called universal system exclusive messages.
Of these universal system exclusive messages, the microKORG supports Master
Volume and Master Fine Tuning.
If you want the microKORG to receive a data dump, turn the SHIFT function "WRITE
PROTECT" OFF (
Enable (
), and set the MIDI FILTER setting "SYSTEM EXCLUSIVE" to
), data dumps can not be received.
). If this is set to Disable (
Master volume [F0, 7F, nn, 04, 01, vv, mm, F7]
(vv: lower byte of value, mm: upper byte of value, [mm, vv=7F, 7F] is Max, [mm,
vv=00, 00] is 0)
If you wish to obtain the "MIDI Implementation" which includes details of the MIDI
exclusive format, please contact a Korg dealer.
When a Master Volume message is received, the microKORG will adjust its overall
volume.
The microKORG maintains data compatibility only for parameters that it shares with
the MS2000/ MS2000R. This data can be exchanged via data dump. For details on the
compatible parameters, refer to "MIDI Implementation."
If GLOBAL "AUDIO IN THRU" is ON, the input signal of AUDIO IN 1/ 2 will not be
affected by Master Volume.
➝ Realtime Messages
Master fine tuning [F0, 7F, nn, 04, 03, vv, mm, F7]
(A value of 8192 [mm, vv=40, 00] is center (0 cent, A4=440.0Hz), 4096 [mm, vv=20,
00] is -50 cents, and 12288 [mm, vv=60, 00] is +50 cents.)
When master fine tuning is received, the value specified for the microKORG's
GLOBAL "MASTER TUNE" will be ignored, and the overall pitch will be specified by
the data that was received.
Starting/stopping the arpeggiator
When the microKORG's arpeggiator is synchronized to a connected external MIDI
device, system realtime messages Start and Stop will control the arpeggiator.
Start [FA]
When a Start [FA] message is received, the arpeggiator will start from the pitch of the
first played note.
Transmitting sound settings etc. (Data Dump)
Program data and global data can be transmitted as a MIDI exclusive data. The action
of transmitting MIDI exclusive data to an external MIDI device is called a data dump.
By performing a data dump, you can store various types of data on an external MIDI
device, or rewrite the sounds or settings of a second microKORG.
Stop [FC]
When a Stop [FC] message is received, the arpeggiator will stop. (It will not be turned
off; the arpeggiator will start again when additional notes are played.)
Data dumps can be performed on the microKORG as follows.
55
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Messages transmitted and received by the microKORG
Front panel knob/key
control change
assignments
Control changes can be assigned to
each front panel knob/ key of the
microKORG so that the changes in
sound as controlled by knob/ key
operations can be transmitted as
performance data.
Synth Parameter
Vocoder Parameter
Initial
Value (transmitted)
Value (received)
PITCH
OSC 1
Portamento
Portamento
CC#05 0...127
0...127
0:Saw, 18: Square, 36:Tri, 54: Sin, 72: Vox Wave
90: DWGS, 108: Noise, 126: Audio In
0...127
0...15: Saw, 16...31: Square, 32...47:Tri, 48...63: Sin, 64...79: Vox
Wave, 80...95: DWGS, 96...111: Noise, 112...127: Audio In
0...127
Wave
Wave
CC#77
Control1
Control2
Wave
Control1
Control2
CC#14
CC#15
0...127 * OSC 1 Wave=DWGS; see p.57
0...127 * OSC 1 Wave=DWGS; see p.57
– – – – – – – – – – –
– – – – – – – – – – –
CC#78 0: Saw, 64: Squ, 127: Tri
CC#82 0: OFF, 43: Ring, 85: Sync, 127: RingSync
0...42: Saw, 43...85: Squ, 86...127: Tri
0...31: OFF, 32...63: Ring, 64...95: Sync, 96...127: RingSync
OSC Mod
OSC 2
Audio in
Synth; see p.57
Vocoder; 0... 127
Synth; see p.57
Vocoder; 0... 127
CC#18
Semitone
Tune
HPF Level
Threshold
1
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Vocoder; 0... 127
CC#19
Vocoder; 0... 127
For details on assigning control
changes to the microKORG's
knobs and keys, refer to page 61.
OSC 1 Level
OSC 2 Level
Noise Level
OSC 1 Level
Inst Level
Noise Level
CC#20 0...127
CC#21 0...127
CC#22 0...127
0...127
0...127
0...127
MIXER
FILTER
Synth; 0: –24LPF, 43: –12LPF, 85: –12BPF, 127: –12HPF
Vocoder; 0: 0, 32: +1, 63: +2, 95: –1, 126: –2
Synth; 0...31: –24LPF, 32...63: –12LPF, 64...95: –12BPF, 96...127: –12HPF
Vocoder; 0...25: 0, 26...51: +1, 52...76: +2, 77..102: –1, 103...127: –2
Type
Formant Shift
CC#83
Different parameters are
assigned to synth parameters
and vocoder parameters.
Synth; 0...127
Synth; 0...127
Cutoff
Cutoff
CC#74
Vocoder; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Vocoder; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Resonance
Filter EG Int
Resonance
Mod Int
CC#71 0...127
0...127
CC#79 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
If you are using two
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
microKORG units to transmit
and receive these parameters,
you must set the transmitting
and receiving programs to the
same settings.
KBD Track
E.F.Sense
CC#85
Vocoder; 0...127
Vocoder; 0...127
0...127
0...127
0...127
0...127
Attack
Decay
Sustain
Release
CC#23 0...127
CC#24 0...127
CC#25 0...127
CC#26 0...127
– – – – – – – – – – –
– – – – – – – – – – –
– – – – – – – – – – –
– – – – – – – – – – –
Level
F.EG
AMP
A.EG
Level
CC#07 0...127
0...127
Synth; 0 / 1: L63, 2: L62...63: L01, 64: CNT, 65: R01...127: R63
Synth; 0 / 1: L63, 2: L62...63: L01, 64: CNT, 65: R01...127: R63
Panpot
Distortion
Direct Level
Distortion
CC#10
Vocoder; 0...127
Vocoder; 0...127
CC#92 0: OFF, 127: ON
0...63: OFF, 64...127: ON
Attack
Decay
Sustain
Release
Wave
Attack
Decay
Sustain
Release
Wave
CC#73 0...127
CC#75 0...127
CC#70 0...127
CC#72 0...127
0...127
0...127
0...127
0...127
CC#87 0: Saw, 43: Squ1, 85: Tri, 127: S/H
CC#27 0...127, Tempo Sync=ON; see p.57
0...31: Saw, 32...63: Squ1, 64...95: Tri, 96...127: S/H
0...127, Tempo Sync=ON; see p.57
LFO 1
LFO 2
Frequency
Frequency
Wave
Frequency
Wave
Frequency
CC#88 0: Saw, 43: Squ2, 85: Sin, 127: S/H
CC#76 0...127, Tempo Sync=ON; see p.57
0...31: Saw, 32...63: Squ2, 64...95: Sin, 96...127: S/H
0...127, Tempo Sync=ON; see p.57
PATCH 1 Intensity
PATCH 2 Intensity
– – – – – – – – – – –
– – – – – – – – – – –
CC#28 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
CC#29 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
PATCH 3 Intensity
PATCH 4 Intensity
– – – – – – – – – – –
– – – – – – – – – – –
LFO Speed
Depth
Delay Time
Depth
CC#30 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
CC#31 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
CC#12 0...127
CC#93 0...127
CC#13 0...127, Tempo Sync=ON; see p.57
CC#94 0...127
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
LFO Speed
0...127
0...127
MOD FX
DELAY
Depth
Delay Time
Depth
0...127, Tempo Sync=ON; see p.57
0...127
Timbre Select
Sync Ctrl
– – – – – – – – – – –
Sync Ctrl
CC#95 0:Timbre1, 1:Timbre1&2(Sync), 127:Timbre2
CC#90 0:OFF, 127:ON
0:Timbre1, 1:Timbre1&2(Sync), 2...127:Timbre2
0...63:OFF, 64...127:ON
(MIDI)
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Messages transmitted and received by the microKORG
Control 2 values when OSC 1 Wave = DWGS
OSC 2 Semitone values
The value of the control change transmitted/ received by operating OSC 2
"SEMITONE" (knob 3 ) of a synth program corresponds to the parameter value as
follows.
When the synth parameter OSC 1 "WAVE" is set to DWGS, the "CONTROL 2" (knob 3 )
will select the DWGS waveform. The value of the control change transmitted/ received
by operating the "CONTROL 2" (knob 3 ) corresponds to the parameter value as
follows.
Value (transmitted, received)
0...2
3...5
6, 7
8...10
OSC 2 Semitone Value (transmitted, received)
OSC 2 Semitone
+1
+2
+3
+4
+5
+6
+7
+8
–24
–23
–22
–21
–20
–19
–18
–17
–16
–15
–14
–13
–12
–11
–10
–9
–8
–7
–6
–5
–4
–3
–2
–1
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
Value
(transmitted, received)
0, 1
Value
(transmitted, received)
64, 65
DWGS Wave
DWGS Wave
1
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
2, 3
4, 5
6, 7
8, 9
2
3
4
5
6
7
8
9
66, 67
68, 69
70, 71
72, 73
74, 75
76, 77
78, 79
80, 81
82, 83
84, 85
86, 87
88, 89
90, 91
92, 93
94, 95
96, 97
98, 99
100, 101
102, 103
104, 105
106, 107
108, 109
110, 111
112, 113
114, 115
116, 117
118, 119
120, 121
122, 123
124, 125
126, 127
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
10, 11
12, 13
14, 15
16, 17
18, 19
20, 21
22, 23
24, 25
26, 27
28, 29
30, 31
32, 33
34, 35
36, 37
38, 39
40, 41
42, 43
44, 45
46, 47
48, 49
50, 51
52, 53
54, 55
56, 57
58, 59
60, 61
62, 63
+9
+10
+11
+12
+13
+14
+15
+16
+17
+18
+19
+20
+21
+22
+23
+24
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
0
"SYNC NOTE" value when LFO 1/2 or DELAY "TEMPO SYNC" = ON
If "TEMPO SYNC" is ON, the parameter that is set by the LFO 1/ 2 "FREQUENCY"
(knob 4 ) or the DELAY "DELAY TIME" (knob 3 ) will change to "SYNC NOTE." In this
case, the value of the control change message transmitted by knob operations (or
received) will correspond to the parameter value as shown below.
Value (transmitted, received)
0...8
9...17
18...25
26...34
LFO Sync Note DELAY Sync Note
1/1
3/4
1/32
1/24
1/16
1/12
3/32
1/8
2/3
1/2
35...42
43...51
3/8
1/3
52...59
60...68
69...76
77...85
86...93
94...102
103...110
111...119
120...127
1/4
1/6
3/16
1/6
1/8
3/32
1/12
1/16
1/24
1/32
3/16
1/4
1/3
3/8
1/2
2/3
3/4
1/1
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Saving your edited settings
Saving Data
If you have edited a program, your edited settings will be lost if you turn the power off or select
another program before saving (writing). If you want to use the edited program later, you must save
(write) it. Changes you make to the GLOBAL, MIDI, or SHIFT functions (described later in this
manual) will also be lost if you turn off the power before saving (writing). If you want to reuse the
modified settings, you must save them.
Never turn off the power while data is being written. Doing so may destroy the data.
Saving a program
Saving GLOBAL, MIDI, and SHIFT function settings
Use the PROGRAM SELECT BANK
SIDE key, the PROGRAM SELECT
dial, and the PROGRAM NUMBER
keys to select the program number
where you want to save the current
program settings. The display will
indicate the save-destination number.
Writing global data
Settings that will be saved
Settings that will be saved (Global data)
•
All parameters VOICE–ARPEG.B
(FORMANT HOLD key on/ off)
ARPEGGIATOR ON/OFF key
OCTAVE SHIFT UP, DOWN keys
•
GLOBAL parameters other than AUDIO
IN THRU
All MIDI parameters
1, 2
•
•
•
•
SHIFT functions
MIDI FILTER, CONTROL CHANGE,
WRITE PROTECT
Procedure
Press the WRITE key.
1
If you decide to cancel without saving,
press the lit SHIFT key.
Procedure
The currently selected program number
will blink in the display. The WRITE
key LED will also blink, and the SHIFT
key LED will light.
Press the WRITE key.
1
Press the WRITE key once again to
save the data (execute the Write
operation).
3
The display will blink "
," the
WRITE key LED will blink, and the
SHIFT key LED will light.
If the display blinks "
" (Protect)
when you press the WRITE key, the
write protect setting is turned on, so
that programs cannot be written. Press
the SHIFT key to return to the normal
state, and turn write protect off.
(➝p.63)
The display will indicate "
," and
If you decide to cancel without saving,
press the lit SHIFT key.
the data will be written. Then the
microKORG will return to the normal
operating state.
If a program number such as "
"
blinks in the display when you press the
WRITE key, a program is selected for
saving. Press the SHIFT key to return to
the normal state, and turn the EDIT
SELECT 2 dial to the GLOBAL or MIDI
position.
Writing program data
If the display blinks "
" (Global)
2
2
2 1, 3
when you press the WRITE key, a
GLOBAL or MIDI parameter is
selected for saving. Press the SHIFT
key to return to the normal state, and
use the EDIT SELECT 1 or EDIT
SELECT 2 dial to select a position other
than GLOBAL or MIDI.
Press the WRITE key once again to
save the data (execute the Write
operation).
2
The display will indicate "
," and
the data will be written. Then the
microKORG will return to its normal
state.
Select the program number where you
want to save the current program
settings.
2
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Copying and exchanging timbres
By holding down the SHIFT key and pressing the appropriate key, you can perform various utility functions.
While a SHIFT function is being used, the SYNTH and VOCODER LEDs will both light. If you press the lit
SHIFT key at this time, you will exit these functions and return to normal operation.
–SYNTH
/ Initializing a program
SHIFT functions
1-1. COPY TIMBRE (
)
2-1. SWAP TIMBRE (
)
3-1. INIT PROGRAM (
)
Copying a timbre
You can access this function only if a
synth program is selected.
Timbre settings from another program
will be copied to the timbre of the
currently selected program. In the case of
a Layer program, the settings of the
currently-edited timbre will be copied.
Turn knob 1 to select the copy-source
program (A.11–B.88).
Exchanging timbres
Initializing a program
This function initializes the settings of the
currently selected program.
If you execute this on a synth program, it
will be set as a Single program.
2
3
You can access this function only if a
Layer synth program is selected.
This will exchange the settings of timbres
1 and 2 within the currently selected
program.
The 1 key will begin blinking.
If you decide to cancel this operation,
press the lit SHIFT key.
Procedure
Press the blinking 1 key. The timbre
copy will be executed, and then the
microKORG will return to its normal
state.
Hold down the SHIFT key and press
the 3 key.
You cannot execute this if a Single
synth program is selected. (The display
will indicate "
1
You cannot execute this function if a
vocoder program is selected as the
copy-source program (2). ("
Error)
The display will indicate "
."
": Error.)
Press the blinking 3 key. The program
will be initialized, and then the
microKORG will return to its normal
state.
2
Procedure
If you have not selected a copy-source
program (2), the 1 key will remain lit.
If in this state you press the 1 key to
attempt to execute, the display will
":
Hold down the SHIFT key and press
the 2 key.
1
Procedure
The display will indicate "
."
Hold down the SHIFT key and press
the 1 key.
If you decide to cancel, press the lit
SHIFT key.
1
Press the blinking 2 key. The timbre
exchange will be executed, and then
the microKORG will return to its
normal state.
2
indicate "
," and the copy will not
be executed.
The display will indicate "
."
If you decide to cancel, press the lit
SHIFT key.
1
2
1
1
1, 2
1, 2
1, 3
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Initializing CH LEVEL and CH PAN
–VOCODER
MIDI Filter
1-2. INIT LEVEL (
)
2-2. INIT PAN (
)
4-1. MIDI FILTER (
)
MIDI Filter
Enable (
):
Initializing CH LEVEL A/B
Initializing CH PAN A/B
These settings specify whether the
corresponding types of MIDI data will be
received and transmitted.
MIDI control changes will be
transmitted and received.
You can access this function if a vocoder
program is selected.
You can access this function if a vocoder
program is selected.
This will simultaneously initialize the
output levels of the eight band-pass filter
channels for the carrier (SYNTHESIS
FILTER). When you initialize the levels,
all output levels will be set to 127.
This will simultaneously initialize the pan
of the eight band-pass filter channels for
the carrier (SYNTHESIS FILTER). When
you initialize the pan settings, each filter
channel will be set to Center.
[3] knob: PITCH BEND
Selects whether pitch bend messages
will be transmitted and received.
Procedure
Hold down the SHIFT key and press
the 4 key.
1
Disable (
):
Pitch bend messages will not be
transmitted or received.
The display will indicate "
."
Turn the appropriate knob 1–4 to make
the desired settings.
Procedure
Procedure
2
Enable (
):
Hold down the SHIFT key and press
the 1 key.
Hold down the SHIFT key and press
the 2 key.
1
1
Pitch bend messages will be
transmitted and received.
[1] knob: PROGRAM CHANGE
Selects whether program changes will
be transmitted and received.
The display will indicate "
."
The display will indicate "
."
Press the blinking 1 key.
Press the blinking 2 key.
2
2
[4] knob: SYSTEM EXCLUSIVE
Selects whether MIDI system
exclusive messages will be transmit-
ted and received.
The output levels will be initialized,
and then the microKORG will return to
its normal state.
The pan settings will be initialized, and
then the microKORG will return to its
normal state.
Disable (
):
Program changes will not be transmit-
ted or received.
Disable (
):
Enable (
):
If you decide to cancel, press the lit
If you decide to cancel, press the lit
MIDI system exclusive messages will
not be transmitted or received.
Program changes will be transmitted
and received.
SHIFT key.
SHIFT key.
Enable (
):
[2] knob: CONTROL CHANGE
MIDI system exclusive messages will
be transmitted and received.
Selects whether MIDI control changes
will be transmitted and received.
Disable (
MIDI control changes will not be
transmitted or received.
):
When you have finished making
settings, press the lit 4 key or the
SHIFT key. The microKORG will
return to its normal state.
3
2
1
1
1
1, 2
1, 2
1, 3
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Assigning control changes
5-1. CONTROL CHANGE (
)
Assigning control changes
SELECT 2 dial to select the section that
contains the parameter whose control
change you want to specify.
Turn each knob to select the desired
MIDI control change number (oFF,
C.00..C.95).
3
You can assign control change numbers to
the principal parameters accessed by the
EDIT SELECT 1 and 2 knobs and knobs
1–5.
When you operate a knob that corre-
sponds to one of the parameters shown
below, the assigned control change will be
transmitted. If the microKORG receives
the assigned control change, the param-
eter value corresponding to that knob will
be adjusted.
1
2
3
4
If the specified number is currently
assigned to another parameter, the last
decimal point "." in the display will
light.
When you have finished making
settings, press the lit 5 key or the
SHIFT key.
The microKORG will return to its
normal state.
1, 4
The default settings of these parameters
are shown on page 56.
Procedure
Hold down the SHIFT key and press
the 5 key.
1
The MIDI "MIDI CH" knobs 1 and 2
will select the control change number
for TIMBRE SELECT and SYNC CTRL.
The display will indicate "
."
Turn the EDIT SELECT 1 or EDIT
2
Parameters for which you can assign a control change
(TIMBRE SELECT)
(SYNC CTRL)
(SYNC CTRL)
61
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Data dump
6-1. MIDI DATA DUMP (
)
Data dump
Turn the 1 knob to select the type of
data dump that will be transmitted.
the 6 key in this state, the display will
indicate "---" and the data dump will
not be executed.
table s6-1
3
"Data dump" is a function that transmits
program or global data in the form of
MIDI exclusive data, so that it can be
saved on a connected MIDI data filer or
computer. This can also be used to
transmit data to another microKORG
unit.
Data to dump Data size (Bytes) Time required (Seconds)
1Program
Program
Global
All
291
37,157
229
Less than one second
approximately 15
Less than one second
approximately 15
1Program (
):
Data for the currently selected program
will be transmitted.
For the size of the dumped data and the
time required for each, refer to table s6-
1.
37,386
Program (
):
Data for all programs will be
transmitted.
Reception procedure
Use the following procedure when you
want to return previously-saved data
from a connected MIDI data filer or
computer back to the microKORG, or to
receive data from another microKORG
unit.
Do not touch the knobs or keyboard of
the microKORG while data is being
transmitted or received. Also, never
turn the power off during this time.
Global (
):
Global data will be transmitted.
(➝p.58)
All (
):
Some USB-MIDI interface devices may
not be able to transmit/ receive the
microKORG's MIDI exclusive
messages.
All programs and global data will be
transmitted.
Connect the microKORG's MIDI IN
1
connector to the MIDI OUT connector
of the device that will transmit the
MIDI dump data.
Set the MIDI channel of the transmit-
ting device to match the microKORG's
MIDI channel. If you previously
transmitted data to an external MIDI
device and want to receive it into the
microKORG, set the microKORG's
MIDI channel to the same setting as
when it originally transmitted the data.
Set the SHIFT function MIDI FILTER
"SYSTEM EXCLUSIVE" to Enable.
(➝p.60)
The 6 key will begin blinking.
If you decide to cancel, press the lit
SHIFT key.
Transmission procedure
Connect the microKORG's MIDI OUT
1
2
Press the blinking 6 key.
connector to the MIDI IN connector of
a device that is able to receive a MIDI
data dump, and set both devices to the
same MIDI channel.
4
The data dump will be executed, and
then the microKORG will return to its
normal state.
Hold down the SHIFT key and press
the 6 key.
2
If you did not select a data dump to be
transmitted, the 6 key will remain lit. If
you attempt to transmit by pressing
The display will indicate "
."
3
2
3
Turn "WRITE PROTECT" OFF (➝p.63).
Transmit the data from the MIDI data
4
filer or other device. For the transmis-
sion procedure, refer to the manual of
the device you are using.
2, 4
62
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Restoring the factory settings
Write protect setting
7-1. PRELOAD (
)
8-1. WRITE PROTECT (
)
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."
condition.
Write protect setting
When you have made the desired
setting, press the lit 8 key or SHIFT
key. The microKORG will return to its
normal state.
3
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.
1Program (
Load only data for one program.
):
Program ( ):
Load data for all programs (128
programs).
When you restore the Preload settings,
the data within the microKORG will be
rewritten to the factory settings. Be
sure that you don’t mind losing your
current data before you restore the
factory settings.
Global (
Load global data. (➝p.58)
):
Procedure
Hold down the SHIFT key and press
the 8 key.
1
To cancel, press the lit SHIFT key.
If you selected 1Program (
) in step
The display will indicate "
."
3
4
2
, turn knob 2 to select the program
Turn the 1 knob to switch write protect
on/ off.
2
Do not touch the microKORG's knobs
or keyboard while the Preload
operation is being executed, and never
turn the power off.
(A.11–b.88) that will be restored to its
factory-set condition.
OFF (
Data can be written to internal memory.
ON ( ):
):
ress the blinking 7 key. The Preload
operation will be executed, and the
microKORG will return to its normal
state.
Preload cannot be executed if the
SHIFT function "WRITE PROTECT is
on. You must turn "WRITE PROTECT"
off beforehand.
The following writing operations will
be prohibited.
If you have not selected the data to be
restored to the factory-set condition
•
•
•
Writing a program
Loading the factory data
Receiving a data dump
Procedure
(steps
2
or 3), the 7 key will be lit. If
Hold down the SHIFT key and press
the 7 key.
you attempt to execute by pressing the
7 key in this state, the display will
indicate "---" and the operation will not
be executed.
1
The display will indicate "
."
Turn the 1 knob to select the data that
will be restored to its factory-set
2
1
2 3
1
2
1, 4
1, 3
63
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Other SHIFT key functions
TIMBRE SOLO
INC/ DEC PARAM VALUE
ENTER DEMO MODE
Timbre solo function
Increment or decrement the parameter
value
Enter demo mode
•
Hold down the SHIFT key and press
•
When you hold down the SHIFT key
and press the ARPEGGIATOR ON/
OFF key, the microKORG will enter
Demo mode. (➝p.7)
the TIMBRE SELECT key.
If a Layer synth program is selected,
only one timbre will sound. (➝p.14)
RETURN PARAM VALUE (Compare)
Return to the value at the time the
parameter was selected (Compare)
SWITCH EDIT SELECT
While editing a parameter (i.e., when
1
Switch between EDIT SELECT 1/2
the parameter value is shown in the
display), hold down the SHIFT key
and press the OCTAVE SHIFT UP or
DOWN key.
The corresponding LED will light red.
In this state, pressing the UP key will
•
Hold down the SHIFT key and press
the BANK SIDE key.
The object of editing will switch from
EDIT SELECT 1 to 2, or from 2 to 1.
(➝p.12)
2
increment the currently-edited
parameter value by one step, and
pressing the DOWN key will
decrement the value by one step.
If you simultaneously press the UP and
DOWN keys, the value will return to
the setting it had when you selected
that parameter (the Compare function).
To exit, press the SHIFT key.
3
64
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LFO 1/2 and delay time synchronization
Appendix
How "SYNC NOTE" and "RESOLUTION" settings correspond to note values
The following table shows how LFO or DELAY "SYNC NOTE" settings and ARPEG.A
"RESOLUTION" settings correspond to note values.
Synchronizing the LFO 1/2 rate or the delay time of the delay
effect to the arpeggiator tempo
You can synchronize the LFO 1/ 2 rate or the delay time of the delay effect to the
arpeggiator tempo. (When "TEMPO SYNC"=ON)
The parameters will function according to the tempo specified by ARPEG.A "TEMPO" and
the note value corresponding to its setting.
Example 1. LFO1
Note
Value
LFO, DELAY “ SYNC NOTE”
ARPEGGIO “ RESOLUTION”
LFO1 "TEMPO SYNC" (knob 3): ON
1/32
LFO1 "SYNC NOTE (knob 4): 1/ 4 (1.4)
In this case, one LFO cycle will occupy the same time as one quarter note.
1/24
1/16
1/24
1/16
1/12
3/32
1/12
Triangle
1/8
1/6
1/8
1/6
3/16
1/4
1/4
Example 2. Delay time
1/3
DELAY "TYPE" (knob 1): Cross Delay
3/8
1/2
2/3
3/4
1/1
DELAY "TEMPO SYNC" (knob 2): ON
DELAY "SYNC NOTE" (knob 3): 1/ 8 (1.8)
In this case, the delay time will be set to a time interval of an eighth note, and will
alternate between left and right channels.
Cross Delay
Dry
Wet
Lch
Wet
Rch
65
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Troubleshooting
➝ If you are unable to edit timbre 2 of a synth program, has VOICE "SINGLE/
LAYER" been set to LAYER? ➝p.14, 16
Before you suspect a malfunction, please check the following points.
➝ If you are unable to edit timbre 1 or 2 of a synth program, is the TIMBRE SELECT
1/ 2 LED lit for the timbre you want to edit? ➝p.14
Power does not turn on
➝ Is the AC adaptor connected to an AC outlet? ➝p.6
➝ Is the POWER switch turned on (pressed inward)? ➝p.6
➝ If you are using batteries, are batteries installed? Have the batteries run down?
➝p.6
➝ If the changes you made to a program or to the global settings have not been
remembered, did you turn the power off before executing the Write operation? In
the case of a program, your edits will also be lost if you select a different program.
Execute the Write operation to save your edits before you switch programs or turn
off the power. ➝p.58
No sound
➝ If your powered monitor system or headphones connected to the correct
Can't write programs or global settings
jack(s)? ➝p.5
➝ Is Shift function “MEMORY PROTECT” turned OFF? ➝p.63
➝ If an edited program or edited GLOBAL, MIDI, or SHIFT settings you thought
you had saved have not actually been saved, did you set the EDIT SELECT 1 or
EDIT SELECT 2 knob to one of the VOICE–ARPEG.B position when you
attempted to save the program, or to the GLOBAL or MIDI position when you
attempted to save the global data? ➝p.58
➝ Is the connected monitor system powered-on, and is the volume raised?
➝ Is the VOLUME knob set to a position where sound will be output? ➝p.6
➝ Is the MIDI "LOCAL" setting turned ON? ➝p.51
➝ Were any volume-related parameters set to a value of 0? ➝p.23, 27, 34, 37
➝ Was the FILTER "CUTOFF" set to 0? ➝p.24
➝ Did you turn the FORMANT HOLD key on ("E.F. SENSE" HOLD) while there
was no input to AUDIO IN 1? ➝p.10, 35
Arpeggios do not start
Can’t input sound
➝ Is the arpeggiator turned on (ON/OFF key lit)? ➝p.11
➝ Is the MIDI "CLOCK" setting correct? ➝p.51
➝ 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
No response to MIDI messages sent from an external device
➝ Is the MIDI cable connected correctly? ➝p.48
➝ If you are inputting to AUDIO IN 1, is the MIC/LINE switch set appropriately?
➝p.4
➝ Does the MIDI channel of the data transmitted from the external MIDI device
match the MIDI channel of the microKORG? ➝p.49
➝ 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
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
Can't edit
➝ If the display does not switch to the parameter indication when you turn the
edit control knobs 1–5, Performance Edit may be active. ➝p.8, 12
➝ If you are unable to use the edit control knobs 1–5 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.
66
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Specifications and options
AUDIO IN 1 (LINE)
Tone generator system: Analog modeling synthesis system
Input impedance:
Maximum input level:
Input impedance:
39 [kΩ]
•
Synth programs:
Number of timbres:
Maximum polyphony: 4 voices
-3.5 [dBu] (VOLUME 1: Max)
maximum 2 (when using Layer)
600 [Ω]
AUDIO IN 1 (MIC)
Structure:
2 oscillators + noise generator: sawtooth wave, square wave,
Input impedance:
Maximum input level
Input impedance:
22 [kΩ]
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)
-33 [dBu] (VOLUME 1: Max)
600 [Ω]
•
AUDIO IN 2 LINE jack
Connector
Input impedance:
Maximum input level
Input impedance:
1/ 4" phone jack (unbalanced)
39 [kΩ]
-3.5 [dBu] (VOLUME 2: Max)
600 [Ω]
•
Vocoder programs:
Outputs
Maximum polyphony: 4 voices
Structure: 8 channel vocoder, adjustable level and pan for each channel,
•
L/MONO, R jacks
Output impedance:
Maximum output level:+0.0 [dBu] or more
Load impedance:
1.1 [kΩ] (MONO: 550Ω)
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)
100 [kΩ]
•
Headphone jack
Output impedance:
Maximum output level:35 [mW]
10 [Ω]
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
Load impedance:
33 [Ω]
MIDI:
IN, OUT, THRU connectors
Arpeggiator:UP, DOWN, ALT1/ 2, Random, Trigger (6 types), Step Arpeggiator
Display:
3-digit x 1 line eight-segment LED
function
Power supply: when using AC adaptor: DC9V, 6.5 W
Programs: total 128 programs (A/ B side x 8 banks x 8 programs)
when using batteries: six AA batteries, 9 V
Inputs
Battery life:
approximately 4 hours or more (when using alkaline batteries)
•
AUDIO IN 1 CONDENSER jack (with MIC/LINE switch)
Connector +5V mini-phone jack
AUDIO IN 1 (LINE)
Dimensions: 524 x 232 x 70 mm / Inches: 20.63" x 9.13" x 2.76" (W x D x H)
Weight:
2.2kg / 4.85 lbs. (without batteries and included microphone)
Included items:condenser microphone, AC adaptor (DC9V)
Input impedance:
39 [kΩ]
Maximum input level:
AUDIO IN 1 (MIC)
Input impedance:
-3.5 [dBu] (VOLUME 1: Max)
*
Appearance and specifications of this product are subject to change without
notice.
22 [kΩ]
-33 [dBu] (VOLUME 1: Max)
Maximum input level:
• AUDIO IN 1 DYNAMIC jack (with MIC/LINE switch)
Connector 1/ 4" phone jack (unbalanced)
67
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Index
Control change 52, 56
Copying a timbre 59
Create a sound 12
LFO2 17
Output level 23
Symbols
F
Local Control 50
local on/ off 51
Low battery 6
Output level of the carrier 34
-12dB BPF 25
-12dB HPF 25
-12dB LPF 24
-24dB LPF 24
Filter 15, 24
Filter EG 26
Cross Modulation 19
Cutoff 8, 20, 24, 35
P
Filter oscillation 25
FORMANT HOLD key 35
Pan 27, 38
M
Mic 5, 10
Parameter value does not change
13
D
A
G
Gain 42
Data dump 62
Delay effect 41
Demo song 7
Destination 30
Detuning 16, 22
Distortion 27, 37
DWGS 20
MIDI 48
Performance Edit 8, 10
Pitch 17, 47
AC adaptor 6
MIDI channel 49, 51, 52
MIDI Filter 60
ADSR 26, 28
GLOBAL 46
Global data 58
Pitch bend 52
Amp 15, 27
MIDI sequencer 50
MOD wheel 9, 17
Modulation 40
Modulator 31, 33
Monophonically 16
Pitch wheel 9, 17
Polyphonically 16
Portamento 17
AMP EG 28
Analog modeling system 1
ANALYSIS FILTER 31
Arpeggiator 11, 43, 50, 53
Arpeggio type 44
Assigning control changes 61
Attack time 9
I
Power on 6
Increment or decrement the
parameter value 64
Processing an external input
audio signal 21
E
Initializing a program 59
Initializing CH LEVEL A/ B 60
Initializing CH PAN A/ B 60
Internal MIDI IN/ OUT routing
47
Program change 52
Pulse width modulation 18
PWM 18
N
Edit Sync 14
Audio in 21
Editing 12
Noise 20, 23
Note-on/ off 52
NRPN 53
Editing each timbre 14
Editing example for a vocoder
program 32
B
R
Band-pass filter 31, 35
bAt 6
Effect 39
Realtime Messages 55
K
O
EG 28
Release time 9
Keyboard tracking 9, 24, 27, 37
Battery 6
OCTAVE SHIFT UP and DOWN
keys 9
Envelope Follower 31, 35
Envelope Generator 28
EQ 42
Resonance 9, 20, 24, 35
Restoring the factory settings 63
Retrigger 16
Original parameter values of a
program 13
L
C
Carrier 31
Equalizer 42
Ring Modulation 22
Layer program 16
Legato 16
Level 38
OSC1 18
Exchanging timbres 59
Compare 64
Computer 50
Connection 5, 48
Consonant 33
OSC2 22
Oscillator 15, 18
Oscillator Sync 22
Output 47
LFO 29
LFO1 18
68
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Index
S
U
Saving 58
Unison 16
Sawtooth wave 18, 22
SHIFT functions 59
Sine wave 19
Using an external input as the
carrier of the voco 34
Solo 14
V
Source 30, 36
Velocity 9, 47
Square wave 18, 22
Step 45
Vibrato 29
Virtual Patch 30
Vocoder 31
Step arpeggiator 11
Switch between EDIT SELECT
1/ 2 64
Vocoder program 10, 16
Volume 27, 37
Volume balance 23
Vox wave 19
Synchronize 29, 41, 45, 51, 65
Synth program 8, 16
SYNTHESIS FILTER 31
System exclusive messages 55
W
Wah 29
T
Write protect setting 63
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
69
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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.
KORG INC.
15-12, Shimotakaido 1-chome, Suginami-ku, Tokyo, Japan
Printed in China
2002 KORG INC.
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Voice Na me List
BAN K
TRANCE
N o . (M IDI) N a m e
Ca t e g o r y
Arpeggio
Bass
Synth Lead
Synth Lead
Synth Lead
Synth
Sin g le / La y e r
Layer
Single
Single
Layer
Single
Single
Single
Single
Layer
Te m p o
138
138
138
138
138
138
138
138
140
143
124
128
130
130
130
145
130
94
102
135
130
120
160
100
136
170
170
170
140
170
130
130
90
Ar p e g g io
O n
O n
O ff
O n
O ff
O ff
O ff
O ff
O n
O n
O n
O ff
O ff
O ff
O ff
O ff
O n
O n
O ff
O n
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O n
O n
O n
O ff
O ff
O ff
O ff
O ff
O ff
O n
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
BAN K
TRANCE
N o . (M IDI) N a m e
Ca t e g o r y
Arpeggio
Bass
Synth Lead
Synth Lead
Synth
Sin g le / La y e r
Single
Single
Single
Single
Layer
Single
Single
Single
Single
Layer
Te m p o
138
138
138
138
138
138
138
138
138
124
140
132
145
130
134
130
140
97
Ar p e g g io
O n
O ff
O n
O ff
O ff
O ff
O ff
O ff
O n
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)
Trancey Arpeg.
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)
Synth Harp
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
Acid Ring Bass
Unison Ring Lead
Phaser Lead
Synth Pizz
Euphoric Synth
Flashin' Pad
Stream Pad
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
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
TECHNO/ HOUSE
ELECTRONICA
D'n'B/ BREAKS
HIPHOP/ VINTAGE
RETRO
TECHNO/ HOUSE
ELECTRONICA
D'n'B/ BREAKS
HIPHOP/ VINTAGE
RETRO
S&H Signal
Layer
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
O n
O n
Single
Single
Single
Single
Single
Single
Layer
Single
Single
Single
Single
Single
Single
Single
Layer
Layer
Single
Single
Single
Single
Layer
O ff
O ff
O ff
O ff
O ff
O n
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
O n
130
82
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O n
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O n
128
148
110
122
136
85
136
134
133
125
130
136
90
Techstep Ring Bass
Valve Kick Bass
Drive Bass
Single
Layer
Single
Layer
Bass
Bass
Bass
Synth Lead
Arpeggio
Bass
Bass
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
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
90
90
90
MG Bass 2
Sub Bass
70's Funk Lead
90
90
87
Synth Lead
KBD
KBD
114
184
120
90
118
140
103
140
120
134
100
90
B.55(100) Rock Organ
B.56(101) Perc. Organ
B.57(102) Phaser Clav
B.58(103) String Machine
B.61(104) Analog Bell
B.62(105) Stairs Pad
B.63(106) Triangle Lead
B.64(107) Random Comp
B.65(108) Stab Saw
B.66(109) Square Comp
B.67(110) Detuned Comp
B.68(111) Old Strings
B.71(112) Time Zone SFX
B.72(113) Domin8or
120
120
120
120
139
140
135
144
140
144
178
127
134
125
34
137
120
130
139
176
120
120
120
120
120
200
120
120
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
O n
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
O ff
Synth
Strings/ Pad
Strings/ Pad
S.E.
S.E.
S.E.
S.E.
Hit
Hit
Hit
S.E./ HIT
120
240
120
80
S.E./ HIT
B.73(114) Thunder
B.74(115) Cry
135
135
142
148
120
120
120
120
120
120
120
120
B.75(116) HPF m7 Chord
B.76(117) M3rd Chord
B.77(118) Hardcore Hit
B.78(119) Artcore M7 Chord
B.81(120) Female-Ahhh
B.82(121) Kid-Eeey
B.83(122) Kid-Ahhh (Wow)
B.84(123) Vocoder Pulse
B.85(124) Vocoder SQU
B.86(125) Vocoder Wah
B.87(126) Vocoder Vox Wave
B.88(127) Vocoder DWGS
Sweep min Chord
Noisy Hit
4 OSC m7 Chord
Male-Ahhh
Hit
Layer
VOCODER
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
VOCODER
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Male-Eeee
Male-Ahhh 5th
Vocoder Ensemble
Vocoder Chorus
Vocoder 5th
Bass Vocoder
Voice Changer
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Pa ra meter List
EDIT SELECT 1 /
2
Ty p e
1
2
3
4
5
VOICE
SYNTH/ VOCODER SYNTH/ VOCODER
Synthesizer, Vocoder
SYNTH/ VOCODER TRANSPOSE
-24...24
SINGLE/ LAYER
Single, Layer
TUNE
VOICE ASSIGN
TRIGGER MODE
Single, Multi
BEND RANGE
-12...12
UNISON DETUNE
0...99
VIBRATO INT
-63...63
(➝p.16)
Mono, Poly, Unison
PORTAMENTO
0...127
PITCH
(➝p.17)
-50...50
OSC1
(➝p.18)
SYNTH/ VOCODER WAVE
CONTROL 1
0...127
CONTROL 2
0...127
—
—
—
—
Saw, Square, Triangle, Sine, Vox,
DWGS
—
1...64
—
—
Noise, Audio In
0...127
0...127
—
—
OSC2
SYNTH
WAVE
Saw, Square, Triangle
GATE SENSE
0...127
OSC 1 LEVEL
0...127
OSC MOD
SEMITONE
-24...24
HPF LEVEL
0...127
NOISE LEVEL
0...127
TUNE
—
—
—
—
—
—
(➝p.22)
O FF, Ring, Sync, RingSync
THRESHOLD
0...127
OSC 2 LEVEL
0...127
-63...63
HPF GATE
Disable, Enable
—
AUDIO IN 1
(➝p.33)
VOCODER
SYNTH
MIXER
(➝p.23)
—
MIXER
VOCODER
SYNTH
OSC 1 LEVEL
0...127
TYPE
INST LEVEL
0...127
CUTOFF
0...127
CUTOFF
-63...63
DECAY
0...127
INTENSITY
NOISE LEVEL
0...127
RESONANCE
0...127
RESONANCE
0...127
SUSTAIN
0...127
—
—
—
—
(➝p.34)
FILTER
(➝p.24)
FILTER EG INT
-63...63
E.F.SENSE
0...126, Hold
RELEASE
0...127
—
FILTER KEY TRACK
-63...63
—
—
EG RESET
O FF, O N
—
-24dB LPF, -12dB LPF, -12dB BPF, -12dB HPF
FILTER
(➝p.35)
VOCODER
SYNTH
FORMANT SHIFT
0, 1, 2, -1, -2
ATTACK
0...127
SOURCE
FILTER EG
(➝p.26)
FC MOD
(➝p.36)
VOCODER
—
—
AMP EG, LFO 1, LFO 2, Velocity, KBD Track, -63...63
Pitch Bend, MO D.W heel
—
—
AMP
SYNTH
LEVEL
0...127
LEVEL
0...127
PANPOT
DISTORTION
O FF, O N
DISTORTION
O FF, O N
KBD TRACK
-63...63
KBD TRACK
-63...63
—
—
—
—
(➝p.27)
L63...Center...R63
DIRECT LEVEL
0...127
AMP
(➝p.37)
VOCODER
AMP EG
(➝p.28)
SYNTH/ VOCODER ATTACK
0...127
DECAY
0...127
SUSTAIN
0...127
RELEASE
0...127
EG RESET
O FF, O N
LFO 1
SYNTH/ VOCODER WAVE
Saw, Square1, Triangle, Sample&Hold
SYNTH/ VOCODER WAVE
KEY SYNC
O FF, Timbre, Voice
KEY SYNC
O FF, Timbre, Voice
DEST
Pitch, O SC2 Tune, O SC1 Control1, Noise
Level, CutO ff, Amp, Pan, LFO 2 Frequency
CH 2 LEVEL
TEMPO SYNC
O FF, O N
TEMPO SYNC
O FF, O N
MOD INT
-63...63
FREQUENCY/ SYNC NOTE
0...127/ 1.1...1.32
FREQUENCY/ SYNC NOTE
0...127/ 1.1...1.32
—
—
—
—
—
—
—
(➝p.29)
LFO 2
(➝p.29)
Saw, Square2, Sine, Sample&Hold
SOURCE
FILTER EG, AMP EG, LFO 1, LFO 2,
Velocity, KBD Track, Pitch Bend, MO D.W heel
PATCH 1, 2, 3, 4 SYNTH
(➝p.30)
—
CH LEVEL A
(➝p.38)
VOCODER
CH 1 LEVEL
0...127
CH 3 LEVEL
0...127
CH 4 LEVEL
0...127
—
—
0...127
CH LEVEL B
VOCODER
VOCODER
VOCODER
CH 5 LEVEL
0...127
CH 1 PAN
L63...Center...R63
CH 5 PAN
CH 6 LEVEL
0...127
CH 2 PAN
L63...Center...R63
CH 6 PAN
L63...Center...R63
LFO SPEED
0...127
TEMPO SYNC
O FF, O N
CH 7 LEVEL
0...127
CH 3 PAN
L63...Center...R63
CH 7 PAN
L63...Center...R63
EFFECT DEPTH
0...127
DELAY TIME/ SYNC NOTE
0...127/ 1.32...1.1
HI EQ FREQ.
1.00...18.0
GATE
CH 8 LEVEL
0...127
CH 4 PAN
L63...Center...R63
CH 8 PAN
L63...Center...R63
—
—
—
—
—
—
—
—
—
—
—
—
RANGE
1...4
(➝p.38)
CH PAN A
(➝p.38)
CH PAN B
(➝p.38)
L63...Center...R63
MOD FX
(➝p.40)
SYNTH/ VOCODER TYPE
Chorus/ Flanger, Ensemble, Phaser
SYNTH/ VOCODER TYPE
Stereo Delay, Cross Delay, L/ R Delay
SYNTH/ VOCODER LOW EQ FREQ.
40...1.00
—
—
DELAY
(➝p.41)
DELAY DEPTH
0...127
HI EQ GAIN
-12...12
EQ
(➝p.42)
LOW EQ GAIN
-12...12
RESOLUTION
1/ 24...1/ 4
ARPEG. A
(➝p.44)
SYNTH/ VOCODER TEMPO
20...300
TYPE
0...100
Up, Down, Alternate 1, Alternate 2,
Random, Trigger
LAST STEP
1...8
POSITION
Post KBD, Pre TG
—
ARPEG. B
SYNTH/ VOCODER LATCH
SWING
KEY SYNC
O FF, O N
VELOCITY CURVE
Curve, 1...127
CLOCK
TARGET TIMBRE
Both, Timbre 1, Timbre 2
AUDIO IN THRU
O FF, O N
—
—
(➝p.45)
O FF, O N
-100...100
MASTER TRANSPOSE
-12...12
LOCAL
O FF, O N
GLOBAL
(➝p.47)
GLOBAL
MIDI
MASTER TUNE
30.0...50.0
MIDI CH
MIDI
(➝p.51)
1...16
Internal, External, Auto
—
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SHIFT Function List
SHIFT Fu n ct io n
COPY TIMBRE (CP.t)
INIT LEVEL (in.L)
SWAP TIMBRE (Sw.t)
INIT PAN (in.P)
Ty p e
SYNTH
O p e r a t io n
1
2
(Va lu e )
A.11 ... b.88
—
—
—
3
(Va lu e )
4
[SHIFT]+[1]key
[SHIFT]+[1]key
[SHIFT]+[2]key
[SHIFT]+[2]key
[SHIFT]+[3]key
[SHIFT]+[4]key
[1] knob
[1] key
[2] key
[2] key
[3] key
[1] knob
[2] knob
[3] knob
[4] knob
[1] key
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
[7] key
—
—
—
—
—
VO CO DER
SYNTH
VO CO DER
SYNTH/ VO CO DER
SYNTH/ VO CO DER
INIT PROGRAM (ini)
MIDI FILTER (FLt)
—
Program Change Enable/ Disable
Control Change Enable/ Disable
Pitch Bend Enable/ Disable
System Exclusive Enable/ Disable
O FF, CC#00...CC#95
1Program, Program, Global, All
1Program
Program, Global
CONTROL CHANGE (C.Cg)
MIDI DATA DUMP (dmP)
PRELOAD (PLd)
SYNTH/ VO CO DER
SYNTH/ VO CO DER
SYNTH/ VO CO DER
[SHIFT]+[5]key
[SHIFT]+[6]key
select Dest Prog, [SHIFT]+[7]key
[SHIFT]+[7]key
[EDIT SELECT 1/ 2]+[1]...[5]
—
[1] knob
[1] knob
[1] knob
[1] knob
—
—
—
—
—
[6] key
[2] knob
[7] key
—
—
—
—
—
—
A.11 ... b.88
—
—
—
—
—
—
—
WRITE PROTECT (wt.P)
TIMBRE SOLO
SWITCH EDIT SELECT
INC PARAM VALUE
DEC PARAM VALUE
ENTER DEMO MODE
SYNTH/ VO CO DER
[SHIFT]+[8]key
O FF, O N
—
—
—
—
—
[SHIFT]+[TIMBRE SELECT]key
[SHIFT]+[BANK SIDE]key
[SHIFT]+[UP]key
[SHIFT]+[DO W N]key
[SHIFT]+ARPEGGIATO R[O N/ O FF]key
—
—
—
—
—
—
—
DEMO Song List
N o .
N a m e
1
2
3
4
5
6
7
8
"TRANCE" DEMO
"TECHNO/ HOUSE" DEMO
"ELECTRONICA" DEMO
"D'n'B/ BREAKS" DEMO
"HIPHOP/ VINTAGE" DEMO
"RETRO" DEMO
"S.E./ HIT" DEMO
"VOCODER" DEMO
All Demo Songs: © 2002 KORG Inc. — all rights reserved.
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