Precautions

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

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.

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.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.

Care

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.

Keep this manual

After reading this manual, please keep it for later reference.

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.

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.

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:

???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.

Unauthorized changes or modification to this system can void the user's authority to operate this equipment.

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).

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).

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).

Data handling

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.

Printing conventions in this manual

Knobs and keys printed in BOLD TYPE.

Knobs and keys on the panel of the microKORG are printed in

BOLD TYPE.

Parameters " "

Parameters are enclosed in "double quotation marks."

Symbols , ,

These symbols respectively indicate cautions, advice, and MIDI- related explanations.

MIDI-related explanations

CC# is used as an abbreviation for Control Change Number. In MIDI-related explanations, numbers enclosed in square brackets [ ] are in hexadecimal notation.

Display indications

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.

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.

*Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners.

iii

Explains the functions of the synth program parameters adjusted by edit control knobs 1???5 for the corresponding setting of the EDIT SELECT 1/2 knobs.

Explains the function of the vocoder program parameters adjusted by edit control knobs 1???5 for the corresponding setting of the EDIT SELECT 1/2 knobs.

Explains the function of the arpeggiator parameters adjusted by edit control knobs 1???5 for the corresponding setting of the EDIT SELECT 1/2 knobs.

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.

Using the microKORG with other MIDI devices (MIDI).. 48

Introduction

1. Analog modeling synthesizer

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.

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.

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.

Main Features

3. 128 built-in programs

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.

5. Virtual Patch function

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.

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.

7. Step Arpeggiator

The microKORG's arpeggiator lets you produce an arpeggio simply by holding 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.

Front panel

Items on the front panel that relate to the Vocoder are printed in green.

VOLUME knob

Adjusts the volume of the output from the OUTPUT jacks (L/MONO, R) and headphone jack.

ARPEGGIATOR ON/OFF key

Switches the arpeggiator on/off. (When on, the key LED will light.)

ARPEGGIATOR TEMPO LED

Blinks at the tempo of the 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.

PITCH wheel

BANK SELECT dial

Selects the program bank.

Display

Indicates the current program number, the value of the selected parameter, or other various messages.

WRITE key

Saves an edited program or global

setting. (???p.58)

SHIFT key

By holding down thiskey and pressing another key, you canaccess various utility functions. (???p.59)

Also, while this key is lit, it will

function as an EXITkey to exit the current state and return to normal operation.

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

Controls the pitch.

MOD wheel

Controls the depth of modulation.

on/off, adding variety to an 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)

Vocoder parameters

These are the parameters for a Vocoder program.

Synth parameters

These are the parameters for a Synth program.

Rear panel

AUDIO IN 2

A Synth program can use an audio signal from an external device connected here as the oscillator 1

AUDIO IN 1

A Synth program can use an audio signal from a synthesizer or external device connected here as the oscillator 1 waveform.

A Vocoder program can use an audio signal from a mic etc. connected here as the modulator audio.

OUTPUT L/MONO, R jacks

Connect these to your powered monitors, stereo amp, mixer, or

waveform.

A Vocoder program uses this input signal as the external carrier for the vocoder.

MIC/LINE switch

If a mic is connected to the DYNAMIC or CONDENSER jack, set this switch to the MIC position. If an external sequencer or audio device is connected, set this switch to the LINE position.

VOLUME 1 knob

Adjusts the input level from the

DYNAMIC or CONDENSER jack.

CONDENSER jack

Connect a condenser mic to this jack.

DYNAMIC jack

Connect a dynamic mic, synthesizer, or audio device to this jack.

If both the DYNAMIC jack and the CONDENSER jack are connected, the audio signal from the CONDENSER jack will take priority.

multi-track recorder.

If you want to use the microKORG in monaural, connect the L/MONO jack.

HEADPHONES jacks

Connect a pair of headphones to this jack (1/4" stereo).

Power switch

Switches the power on/off. (???p.6)

AC adaptor jack

Connect the included AC adaptor to this jack. After connecting the AC adaptor to the microKORG, plug it into an AC outlet.

MIDI

Use these connectors to connect the microKORG to an external MIDI device so that MIDI data can be exchanged.

Mic holder

You can attach the included mic to this holder (???p.5).

Preparations

The diagram below shows basic connections for the microKORG. Make substitu- tions as appropriate for your equipment.

Included mic

Connections

want to use an external sequencer, rhythm machine, or audio source as the carrier of the vocoder, connect that device to AUDIO IN 2 (???p.34).

If you want to process the waveform of a synthesizer or sampler, connect a mic or the output jack of your external device to the AUDIO IN 1 and 2 jacks (???p.21).

AC adapter (included)

Connect to an AC outlet

MIDI keyboard, tone generator module, rhythm machine etc.

Powered monitors, etc.

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.

Connections from the audio outputs

Connect the microKORG's OUTPUT L/MONO and R jacks to the input jacks of your mixer or powered monitor system.

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.

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

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)

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.

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.

1Grasp 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.

Do not use excessive force.

AUDIO IN 1 CONDENSER jack.

Slit

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).

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.

Never use any AC adaptor other than the included one.

Inserting/exchanging batteries

The microKORG can also be operated on batteries.

Batteries are not included. You will need to purchase them separately.

1 Make sure that the power switch on the microKORG is turned off. Then open the battery cover located on the bottom of the case.

2 Insert six AA alkaline batteries.

Be careful to observe the correct polarity of the batteries.

3 Close the battery cover.

Low battery display ??????

When the batteries run low, the display will indicate "," and the "." at the far 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.

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.

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.

1Turn the microKORG's VOLUME knob all the way toward the left.

2Press the power switch to turn on the power. The display will indicate the program number.

3Turn the microKORG's VOLUME knob toward the right to an appropriate position.

4Adjust the volume of your external output device.

3. Turning the power off

After saving any necessary data (such as a program you have edited) turn the power off using the reverse order of the power-on procedure.

Never turn the power off while data is being saved (i.e., while Write is execut- ing). Doing so may damage the internal data.

Quick Start

Demo songs

1. Selecting and playing a program

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".

1Press 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.

2 Turn the PROGRAM SELECT knob to the TECHNO/HOUSE position. The display will indicate "2" as the program bank.

3Press the 6 key to select the program number.

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.

4Play the keyboard to hear the sound.

5You can use the OCTAVE SHIFT UP or DOWNkeys to shift the pitch range of the keyboard. (???p.9)

2. Modifying the sound

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.

When using Performance Edit, the display shows the program number.

Performance Edit will be cancelled if you turn the EDIT SELECT 1 or EDIT SELECT 2 knob to select a different section, or if you hold down the SHIFT key and press the BANK SIDE key. To enable the Performance Edit function, press the PROGRAM NUMBER key that is lit.

When Performance Edit is active, you can edit the sound in the following ways.

Knob 1: CUTOFF

Adjusts the cutoff frequency of the filter. This will affect the brightness of the sound. Normally, turning the knob toward the left will darken the sound, and turning it toward the right will brighten the sound.

(FILTER EG + AMP EG ATTACK)

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.

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

Using the PITCH and MOD wheels for control

PITCH wheel:

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).

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)

Using the OCTAVE SHIFT UP and DOWN keys for control

time, and turning it toward the right

Knob 5: TEMPO

Adjusts the tempo of the arpeggiator, LFO, and DELAY (if "TEMPO SYNC" is ON).

You can use these keys to shift the pitches assigned to the keyboard, in one-octave units over a range of +/-3 octaves. (???p.8, 52)

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.

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)

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.

A sound modified modify using Performance Edit can be written into memory if desired. (???p.58)

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.

Velocity:

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)

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.

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.)

Refer to page 13 for a note regarding cases in which the value does not change.

Using the step arpeggiator to vary the arpeggio

When you play the chord shown above on the keyboard, the notes will be sounded as shown at the right. (TYPE: UP)

1Select a program. (???p.8)

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.

Modifying the arpeggio

4 Turn the EDIT SELECT 2 knob to the ARPEG.A or ARPEG.B position.

5Turn the edit control 1 ???5 knobs to adjust the arpeggiator parameters, changing the way that the arpeggiator is sounded.

Editing

Basic editing

If you select another program or turn the power off before you write, your edits will be lost.

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.

This occurs when there is a discrepancy between the actual value of the

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.

How to read the pages for each section (??? p.16???)

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).

For example, suppose that you turn knob 1 to edit a parameter,

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.

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.

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.

A summary of this section is given here.

6. FILTER ??? SYNTH

so that the knob is in the position shown at left.

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.

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.

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.

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 cutoff frequency will make the tone darker and more

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.

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.

The VOICE section parameters "SYNTH/VOCODER" and "SINGLE/LAYER" apply to the entire program.

Using both timbres (Layer)

???Set the EDIT SELECT 1 knob to VOICE, and turn knob 2 to select LAYER ().

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.

1Hold 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.

2If you want to hear only the other timbre, once again hold down the SHIFT key and press the TIMBRE SELECT key.

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.

3To cancel the Solo function, press the TIMBRE SELECT key.

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.

???Press the EDIT SELECT TIMBRE SELECT key to select the timbre that you 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).

1Press 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.

2To cancel edit sync, press the TIMBRE SELECT key.

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.

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 another program. (???p.59)

SHIFT TIMBRE SELECT

Editing a synth program

Overview

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.

The "oscillator" settings vary the pitch, the "filter" settings modify the tone, and the "amp" settings modify the volume.

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.

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.

EG, LFO, keyboard tracking, virtual patch, controllers

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.

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.

The structure of a synth program

As shown in figure 0-1, a synth program consists of timbres 1/2, effects, and the arpeggiator.

TIMBRE 1/2

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 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.

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.

SYNTH/VOCODER

[Synthesizer, Vocoder]

Switches the currently selected pro- gram between a Synthesizer pro- gram and a Vocoder program.

Synthesizer ( ):

The program will be a synth pro- gram. You can use two oscillators to create the sound.

Vocoder ():

Specifies how many timbres the program will use. This cannot be selected for a vocoder program.

Single ( ):

Only one timbre will be used.

Figure 1-1

Timbre1

VOICE ASSIGN

[Mono, Poly, Unison]

Specifies how the timbre will be sounded.

Mono ( ):

The timbre will sound monophoni- cally. The program will play only one note at a time.

Poly ():

The program will sound polyphoni-

TRIGGER MODE [Single, Multi]

Specifies whether the EG and LFO will be retriggered when you play the next key while still holding down the previous key.

You can edit this if "VOICE AS- SIGN" is Mono or Unison.

Single ( ):

The EG and LFO will not be retriggered by the second or subse- quent key. Use this setting if you

Specifies the amount of detuning (in steps of one cent) between the notes sounded by Unison mode. You can edit this if "VOICE AS- SIGN" is set to Unison.

The detuning method will depend on the number of unison voices.

Figure 1-4

2 voice

99

The program will be a vocoder pro- gram. You can use sound input from a connected mic to produce "talking" instrument effects.

Layer ():

Two timbres will be used. When you play the keyboard, both tim-

cally, allowing you to play chords. The maximum polyphony is four voices.

Unison ():

want to play legato.

Multi ( ):

The EG and LFO will be retriggered each time you press a key.

0

4 voice

Unison

Detune

The parameters for editing will

bres will sound simultaneously.

All four voices will sound in uni-

99

vary depending on whether Synthesizer or Vocoder is se- lected here.

You can edit each timbre individually.

Figure 1-2

Timbre2

Timbre1

The maximum polyphony is four voices (four notes). In the case of a Layer program, these four voices are divided between tim- bres 1 and 2, so only two keys can be played in a layered program.

son at the same pitch. Use "UNI- SON DETUNE" to specify the pitch difference in steps of one cent.

"VOICE ASSIGN" and polyphony for a Layer program

Figure 1-3

EG

Single

Trigger

EG

Multi

Trigger

0

Unison

Detune

Specifies the amount of pitch change in semitones that will occur when the pitch wheel is operated. This value specifies the amount of change that will occur when you move the pitch wheel all the way to the away from you.

Specifies the depth of vibrato that will be applied when you move the MOD (modulation) wheel all the way away from yourself.

The LFO2 modulates the pitch of the oscillator, raising and lower- ing it to create vibrato.

Figure 3-1

Figure 3-2

*3-1: PWM

Pulse Width Modulation refers to the use of a separate signal to vary the pulse width over time. On the 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.

WAVE

Triangle Wave ():

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.

CONTROL 1

You can modify the waveform by adjusting this value.

A setting of 0 will produce a triangle wave, and a setting of 127 will pro- duce a waveform with a pitch that is one octave and a fifth higher. (???Figure 3-3)

CONTROL 2

LFO1 is used to apply wave form modulation to the waveform speci- fied by "CONTROL 1." The "CON- TROL 2" setting specifies the depth of the modulation produced by LFO1.

Figure 3-3

0

Sine Wave ():

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 drum 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.

Cross modulation by a sine wave cannot be applied to a vocoder pro- gram.

Since a sine wave contains no overtones, the filter will not modify its tone.

Vox Wave ():

This simulates a waveform similar to human vocal cords. Even if the oscillator pitch is changed, the fre- quency spectrum will be main- tained, which makes this effective when used for vocal-type sounds or as a vocoder oscillator.

Select HPF or BPF as the filter, and adjust "Cutoff" to create a vocal- type sound.

On a synth program, this adjusts the depth of cross modulation.

On a vocoder program, this modi- fies the waveform.

Adjusting this value will modify the waveform. (??? Figure 3-5)

On a synth program, this adjusts the depth of additional modulation applied by LFO1 to the cross modu- 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."

LFO1 is used to apply modulation to the waveform specified by "CONTROL 1." CONTROL 2 sets the depth of the modulation ap- plied by LFO1.

"SEMITONE" or "TUNE" parameters. You can also achieve interesting re- sults by applying sync modulation and cross modulation at the same time.

Table 3-1

DWGS List

Noise ():

This generates white noise. Within the oscillator, a LPF (Low Pass Fil- ter) is provided to process the noise. (??? Figure 3-6). You can use this to 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.

This sets the cutoff frequency of the LPF.

Adjusting this will affect the noise waveform.

Figure 3-6

This controls the resonance of the LPF.

If you raise this enough to produce 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.

If you want the oscillation pro- duced by resonance to match the reference pitch, set "CONTROL 1" to 24.

*: 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.

WAVE

Audio In ():

The waveform of the audio signal input from the AUDIO IN 1 or 2 jacks will be used instead of an os- cillator.

This lets you apply filtering to a drum phrase, or synthesize a vocal or guitar sound together with oscil- lator 2.

The parameters of the PITCH section have no effect on the waveform that is input from the AUDIO IN 1 or 2 jacks.

CONTROL 1

This adjusts the volume balance between AUDIO IN 1 and AUDIO IN 2. With a setting of 127 only AU- DIO IN 1 will be output. With a set- ting of 0, only AUDIO IN 2 will be output.

CONTROL 2

LFO1 is used to apply modulation to the volume balance between AUDIO IN 1 and AUDIO IN 2 that you set by "CONTROL 1." The "CONTROL 2" setting sets the depth of this modulation produced by LFO1.

This lets you create effects in which the AUDIO IN 1 and 2 inputs are alternated.

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.

Before you connect an external device, turn off the power of the microKORG and of any external output devices and power amps.

1Turn the rear panel AUDIO IN 2 VOLUME 2 knob to the MIN position.

2Connect the output jack of your external device to the AUDIO IN 2 LINE jack.

3After making connections, turn the power on in the order of your external device, the microKORG, and finally your powered monitor speaker system.

4Select a program to initialize, and initialize it.

For this example, select any synth program, and initialize the program as described on page 59.

5Turn the EDIT SELECT 1 knob to the OSC 1 position, and turn knob 1 ("WAVE") to select "" (Audio In).

6Input 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.

7While inputting an audio signal, play the keyboard.

8As described in "Basic editing procedure" (???p.12), edit the FILTER, AMP, EG, LFO, and effects to modify the sound.

The PITCH-related parameters have no effect on the sound from the AUDIO IN jacks.

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.

You can use an external input as the carrier of the vocoder. (???p.34)

MIDI IN MIDI OUT

LINE OUT

tone generator module, rhythm machine, or audio device

WAVE [Saw, Square, Triangle]

Selects the waveform for oscillator 2.

Saw Wave ( ):

A sawtooth wave. (??? p.18)

Square Wave ( ):

A square wave. (??? p.18)

Triangle Wave ():

A triangle wave. (??? p.19)

If you do not hear the sound of oscillator 2, raise the MIXER "OSC2 LEVEL" (knob 2). If you want to hear only the sound of oscillator 2, lower the MIXER "OSC 1 LEVEL" (knob 1).

OSC MOD

[OFF, Ring, Sync, RingSync]

Selects the type of oscillator modu- lation that will be produced in con- junction with oscillator 1.

OFF ( ):

The sound will be output without applying oscillator modulation. You can adjust "SEMITONE" and "TUNE" to produce harmony, detune, or harmonic-component effects.

Ring ( ):

Ring modulation *4-1 will be ap- plied. (??? Figure 4-1)

By adjusting "SEMITONE" and "TUNE" you can create metallic sounds with little sense of pitch. This is effective for sound effects.

Sync ():

Oscillator sync *4-2 will be applied. This is useful for creating synth- lead sounds. (??? Figure 4-2)

SEMITONE[-24...24]

Specifies the detuning (pitch differ- ence) relative to oscillator 1, in semitone steps over a range of 2 octaves upward or downward.

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.

Figure 4-1

Specifies the amount of detune for OSC2 relative to OSC1.

A setting of ?? 63 produces a pitch difference of ?? 2 octaves, and ?? 48 produces a pitch difference of ?? 1 octave. A value near 0 will make fine adjustments in the pitch.

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.

*4-1: Ring Modulation:

This modulation generates a sum and difference of the oscillator 1 and 2 waveforms.

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.

*4-2: Oscillator Sync:

This modulation forcibly synchro- nizes the phase of oscillator 2 to the phase of oscillator 1.

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

RingSync ( ):

This simultaneously applies Ring and Sync modulation. (???Figure 4-3)

Figure 4-3

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.

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 cutoff frequency will make the tone darker and more mellow.

-12dB LPF ():

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)

Figure 6-1

Sets the cutoff frequency. Increasing this value will raise the cutoff frequency.

"CUTOFF" can be varied by time-variant change produced by Filter EG, by keyboard play- ing dynamics (velocity), and by note location (keyboard track- ing).

If the "CUTOFF" value is set too low, the volume may be ex- tremely low, or you may hear no sound at all.

Figure 6-4

The effect of resonance

LPF

RESONANCE [0...127]

Sets the resonance of the filter. This will emphasize the overtones near the cutoff frequency specified by "CUTOFF," adding a distinctive character to the sound. Increasing this value will increase the effect. (??? Figure 6-4)

Since movement of the "CUTOFF" knob will affect the overtones that are boosted by resonance, it is best to adjust "CUTOFF" and "RESO- NANCE" in conjunction with each other.

This specifies how time-variant modulation from the Filter EG will be applied to the cutoff frequency (??? Figure 6-5). The cutoff frequency will change over time according to the Filter EG settings, modifying the tone. For example, you can use this to create a sound that gradu- ally begins to brighten when you press the key, and then gradually becomes darker.

This INT (Intensity) parameter specifies the depth (sensitivity) to which the Filter EG will affect the cutoff frequency.

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)

This specifies how keyboard track- ing (the keyboard location that you play) will affect the cutoff fre- quency.

For example if the sound played by the C4 key has the desired tone but higher notes no longer have reso- nance or are too mellow-sounding, you can adjust keyboard tracking to make compensations so that the cutoff frequency will rise for higher notes.

With positive (+) settings, the cut- 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.

LPF (Low Pass Filter)

HPF

BPF

Low resonance value High resonance value

Increasingly negative (-) settings will allow a correspondingly greater effect in the opposite direc- tion. (??? Figure 6-7)

With a setting of +48, the change in cutoff frequency will be pro- portionate to the change in pitch. With a setting of 0, key- board tracking will not affect the cutoff frequency.

TYPE

-12dB BPF ():

-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)

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.

-12dB HPF ():

-12dB/oct HPF (High Pass Filter) allows frequencies above the cutoff frequency to pass, and cuts 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)

Figure 6-2

BPF (Band Pass Filter)

Frequency

Cutoff

Figure 6-3

HPF (High Pass Filter)

Figure 6-5

Cutoff

FILTER KEY TRACK

Keyboard Track operates 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.

Time

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.

Frequency

Cutoff

Filter oscillation

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.

Figure 6-6

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)

Specifies the time from note-on (when the key is pressed) until the attack level (maximum value of the envelope) is reached.

Specifies the time from when the at- tack level is reached until the sus- tain level (SUSTAIN) is reached.

Specifies the cutoff frequency that will be maintained after the decay time has elapsed, until you release the key.

Specifies the time from note-off (when the key is released) until the level reaches 0.

Specifies whether or not the EG will be reset for the second and subse- quent 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.

Figure 7-1

Cutoff

Attack Level

Filter EG and Amplifier EG

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

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.

Adjusts the volume of the timbre.

If the "SINGLE/LAYER" is Layer, this setting will adjust the volume balance between timbre 1 and tim- bre 2.

PANPOT [L63...Center...R63]

Adjusts the location of the sound in the stereo field.

L63() is far left, Center () is center, and R63 () is far right.

Specifies whether distortion will be applied to the output of the timbre. The degree of distortion is adjusted by the output level of each oscilla- tor in the MIXER.

OFF ():

Distortion is off.

ON ():

Distortion is on.

Specifies how keyboard tracking will affect the volume.

With positive (+) settings, the vol- ume will increase as you play above the C4 note on the keyboard, and will decrease as you play below C4.

With negative (-) settings, the vol- ume will decrease as you play above the C4 note on the keyboard, and will increase as you play below C4.

Keyboard Track operates 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.

EG (Envelope Generator)

Specifies the volume that will be maintained after the decay time has elapsed, as long as you continue holding the key.

Figure 9-1

Specifies the time from note-off (when the key is released) until the level reaches 0.

Specifies whether or not the EG will be reset for the second and subse- quent 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.

To a significant extent, each sound has its own distinctive volume curve. For example when you play a note on a piano, the note begins at the maximum volume, and gradually diminishes. When you release your finger from the key, the sound will disappear quickly with a brief decay. Volume curves such as this are an important aspect of how we identify the sound of a specific instrument. This type of change also occurs in the tone and pitch, as well as in the volume. On a synthesizer, this type of change is produced by an EG. The microKORG has dedicated EGs for the filter and for the amp. However since these EGs can be used as Virtual Patch sources, you are also free to use them to vary the pitch or numerous other aspects of the sound.

Some example settings are shown below.

OFF ():

The note will start from the current EG level.

ON ():

The second note-on will start from a level of 0.

OFF

ON

The "EG RESET" parameter is available only when "VOICE ASSIGN" is Poly, or when "VOICE ASSIGN" is Mono or Unison and "TRIGGER" is Multi.

KEY SYNC [OFF, Timbre, Voice]

Sine, Sample&Hold]

Selects the LFO waveform.

Figure 10-1

Saw ():

Square1 ():

Square2 ():

Triangle ():

Sine ():

Sample&Hold ():

Amplitude changes irregularly

(sample & hold)

Specifies how the LFO will be ap- plied to a voice when note-on oc- curs.

OFF ():

The LFO phase will not be reset when note-on occurs.

(???Figure 10-2)

Timbre ():

The LFO phase will be reset at the first note-on that occurs from a state of no keys pressed. Subsequently, modulation will continue to be ap- plied at the same LFO phase even for subsequent note-on's.

(???Figure 10-3)

Voice ():

The LFO phase will be reset at each note-on, and modulation of differ- ing phases will apply to each voice. (???Figure 10-4)

Specifies whether the LFO cycle will be synchronized to the tempo or MIDI Clock.

OFF ():

The LFO will not be synchronized. It will operate at the frequency specified by the "FREQUENCY" parameter.

ON ():

The LFO will be synchronized to the ARPEG.A "TEMPO" or to MIDI Clock messages from an external device.

If "TEMPO SYNC" is ON, select- ing LFO2 Frequency () as "DEST" in PATCH 1???4 will have no effect.

Specifies the frequency of the LFO. Increasing this value will result in a faster frequency.

This parameter will be displayed and can be set if "TEMPO SYNC" is 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.

1/1(): Four beats will be one cycle.

1/2(): Four beats will be two cycles.

1/4(): One beat will be one cycle.

1/8(): One beat will be two cycles.

Figure 10-2

Note on

Note all off

Figure 10-4

Note on

Note on

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. Some typical ways to use LFO are vibrato (use LFO to raise and lower the pitch), wah (use LFO to raise and lower the cutoff frequency), and tremolo (use LFO to raise and lower the

volume).You can select LFO as a Virtual Patch source, select the desired parameter as the destination, and apply modulation to produce various effects.

The microKORG provides some dedicated parameters for applying modulation from the LFO; for LFO1 you can use OSC1 "CONTROL 2," and for LFO2 you can use PITCH "VIBRATO INT."

SOURCE [FILTER EG, AMP EG,

LFO 1, LFO 2, Velocity, KBD Track,

Pitch Bend, MOD.Wheel]

Selects a modulation source.

For example if you select Filter EG (), the Filter EG will be the modulation source.

FILTER EG (): FILTER EG

AMP EG (): AMP EG

DEST [Pitch, OSC2 Tune, OSC1

Control 1, Noise Level, CutOff,

Amp, Pan, LFO2 Frequency]

Selects the parameter (destination) that will be controlled by the modu- lation.

For example if you select Pitch (), modulation will be applied to the overall pitch of the timbre.

Specifies the depth of the effect pro- duced by the modulation source. With a setting of 0, there will be no modulation.

Virtual Patch

On modular analog synthesizers, the input or output of each module (oscillator, filter, amp, EG, LFO, and other controllers) was connected ("patched") by a patch cord as desired, allowing you a great deal of freedom in creating the sound. The Korg MS-20 (which went on sale in 1978) also allowed a limited degree of this type of patching.

The microKORG lets you perform this patching "virtually" (i.e., without using physical patch cords), so you can assign sources such as EG or LFO to the most important parameters (destinations).

LFO 1 (): LFO 1

LFO 2 (): LFO 2

Velocity ( ):

Velocity (keyboard playing strength)

KBD Track ():

Keyboard tracking (keyboard posi- tion)

Keyboard Track operates 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.

Pitch Bend (): PITCH wheel

MOD.Wheel ( ): MOD wheel

Pitch ( ): Overall pitch of the timbre

OSC2 Tune (): OSC2 "TUNE"

OSC1 Control 1 ():

OSC1 "CONTROL 1"

Noise Level ():

MIXER "NOISE LEVEL" CutOff (): FILTER "CUT- OFF"

Amp (): AMP "LEVEL"

Pan (): AMP "PAN"

LFO2 Frequency ( ):

LFO2 "FREQUENCY"

If LFO "TEMPO SYNC" is ON, selecting LFO2 Frequency will have no effect.

Setting example for "SOURCE" and "DEST"

Editing a vocoder program

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.

The microKORG contains an eight-channel vocoder (sixteen filters in pairs). In addition to simulating the classic vocoder sounds of the past, you can modify the character of the sound, or edit the level of each frequency band to create truly original vocoder sounds.

As shown in figure v0-1, a vocoder program consists of a carrier (the signal that is modified), a modulator (the signal that modulates the carrier), a vocoder section, effects, and arpeggiator.

Carrier

The carrier signal that is processed by the vocoder effect can be the microKORG's internal waveform selected by OSC 1 and NOISE, or a waveform that is input from AUDIO IN 2 (LINE jack). Suitable choices for the carrier waveform are sawtooth waves which contain a rich array of overtones, and the VOX WAVE which has a character similar to human vocal cords.

The volumes of OSC1/NOISE/AUDIO 2 IN are adjusted by the MIXER, and the combined signal is output to the Vocoder section.

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

The structure of a vocoder program

bandpass filters (ANALYSIS FILTER), and the ENVELOPE FOLLOWER detects the volume envelope (time-variant change) of each frequency band.

Then, the signal from the internal tone generator or the AUDIO IN 2 jack (carrier) is input to the other set of 16 band-pass filters (SYNTHESIS FILTER), and processed by the envelopes detected by the ENVELOPE FOLLOWER to modulate the carrier with the features of the voice, producing the impression that the instrument or sound is talking (vocoder effect).

It is also possible to use the "FORMANT SHIFT" or "CUTOFF" parameters to change each frequency of the carrier band-pass filter. This will cause the frequency response curve to be raised or lowered while preserving the character of the modulator, and will dramatically affect the tone.

EFFECTS

The output from the vocoder section is sent to the modulation effect (MOD FX) ??? delay effect (DELAY) ??? equalizer (EQ).

For the modulation effect you can choose from three effects such as chorus. For delay, you can choose from three types of delay, including stereo delay. The equalizer is a two-band equalizer.

ARPEGGIATOR

The arpeggiator can be used to play a vocoder program.

This is a step arpeggiator with six arpeggio types.

Figure v0-1

Editing example for a vocoder program

1Adjust the audio from the mic input.

Turn the EDIT SELECT 1 knob to the AUDIO IN 1 position.

Turn knob 2 ("THRESHOLD"). As you turn the knob toward the right, the sound will be cut more readily. Adjust this so that noise is not obtrusive when you are not speaking into the mic. Then adjust knob 1 ("GATE SENSE") so that the vocoder sound that is output is not cut off in an unnatural way.

Turning knob 4 ("HPF GATE") toward the right will emphasize the consonants (e.g., "s" sounds) of the input voice. (???p.33)

2Make filter settings.

Turn the EDIT SELECT 1 knob to the FILTER position.

Turn knob 4 ("EF SENSE") to adjust the sensitivity of the envelope follower. As you turn the knob toward the right, the vocoder output

will rise more smoothly, and the release will become longer.

Turning knob 2 ("CUTOFF") or knob 1 ("FORMANT SHIFT") will vary the cutoff frequency of the band pass filter for the carrier, changing the character of the vocoder output. (???p.35)

Turn the EDIT SELECT 2 knob to the CH LEVEL A or CH LEVEL B position. Turn knobs 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.

Specifies the speed of the gate that will operate according to the "THRESHOLD" setting.

Lower values for this setting will make the gate operate more quickly, causing the vocoder sound to decay more quickly.

Higher values for this setting will make the gate operate more gradu- ally, causing the vocoder sound to have a longer decay.

If the "THRESHOLD" value is high, this effect will apply more readily. If the threshold value is 0, there will be no effect.

THRESHOLD[0...127]

Specifies the level at which the au- dio signal from the AUDIO IN 1 jack will be silenced.

Increasing this value will cause the audio signal to be silenced. This lets you eliminate any noise that might be heard when no input signal is present.

If this setting is set excessively high, the audio signal will also be cut, and it will be difficult for the vocoder effect to apply.

Adjusts the amount of the high-fre- quency portion of the audio signal input from the AUDIO IN 1 jack that will be mixed into the output of the vocoder.

Increasing this value will empha- size the portion that corresponds to the consonants of speech or singing.

Specifies whether the high-fre- quency portion of the signal from AUDIO IN 1 that is mixed into the vocoder output will be passed only during the key-on (note-on) dura- tion, or will always be allowed to pass.

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.

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.)

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).

1As described in the connections for "1. Playing a vocoder program" 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.

2When 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.

3When 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.

4If 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.

Included mic

MIDI IN MIDI OUT

MIDI keyboard, tone generator module, rhythm machine etc.

FORMANT SHIFT

[0, 1, 2, -1, -2]

Shifts the cutoff frequency of each band-pass filter of the carrier, in units of filters.

This continuously shifts the cutoff frequency of each band-pass filter of the carrier.

RESONANCE[0...127]

Specifies the amount of resonance for each band-pass filter of the car- rier.

Increasing this value will empha- size the regions near each cutoff fre- quency.

Specifies the sensitivity of the En- velope Follower for the modulator. Lower settings of this value will al- low the attacks of the input signal to be detected more rapidly.

If you set this to Hold (), the character of the signal that is being

Table 6-1

"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).

Frequency

-63 0 +63

Cutoff (range in which BPF 8 will change)

Formant Shift:+2

input at that moment will be held. Subsequently, the sound will retain that character regardless of whether there is any input.

The signal information that is maintained in the Hold state can be saved in the program by writ- ing the program.

If you set this to Hold when there is no input signal present, there will be no output even if an audio signal is subsequently input.

This value will automatically be set to Hold if you press the

FORMANT HOLD key. Hihger values will retain more of the sound???s natural decay.

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.

SOURCE [AMP EG, LFO 1, LFO 2,

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 Amp EG will be the modulation source.

AMP EG (): AMP EG

LFO 1 (): LFO 1

LFO 2 (): LFO 2 Velocity ():

Velocity (keyboard playing strength)

KBD Track ():

Keyboard tracking (keyboard posi- tion)

Pitch Bend ():

PITCH wheel

MOD.Wheel ():

MOD wheel

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.

INTENSITY[-63...63]

Specifies the depth of the modula- tion that is applied to the carrier band-pass filter "CUTOFF."

Specifies the volume level of the in- ternal tone generator (OSC1, NOISE) for the carrier.

Specifies the volume level of the au- dio that is output directly from AUDIO IN 1.

Specifies whether distortion will be applied to the OSC 1, NOISE, and AUDIO IN 2 signal.

OFF ():

Distortion is off

ON ():

Distortion is on

Specifies how keyboard tracking will affect the volume.

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- ume will decrease as you play above C4 on the keyboard, and will increase as you play below C4.

Keyboard Track operates ac- cording to the pitch that is con- trolled by pitch bend and the "TRANSPOSE" setting. It is not affected by pitch changes pro- duced by vibrato or Virtual Patch.

Editing the effects and EQ

The microKORG's effect structure

TYPE [Flanger/Chorus,

Ensemble, Phaser]

Selects the effect type.

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.

Ensemble ():

This effect uses multiple chorus units to add three-dimensional depth and spaciousness to the sound.

Phaser ():

This effect continuously modulates the phase of the sound, creating motion within the sound, a sweep- ing and twisting sensation.

Specifies the speed of the modula- tion effect LFO.

Specifies the modulation depth and 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.

Excessively high settings of this parameter may cause the output to be distorted.

TYPE[Stereo Delay,

Cross Delay, L/R Delay]

Selects the delay type.

Stereo Delay ():

This is a stereo delay.(???Figure 17-1)

Cross Delay ():

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)

L/R Delay ():

This is a delay where the delay sound is output to left and right al- ternately. (???Figure 17-3)

Specifies whether the delay time will be synchronized to the tempo.

OFF ():

Delay off (not synchronized). The delay will operate according to the "DELAY TIME" value you specify.

ON ():

Delay on (synchronized). The delay will synchronize to the ARPEG.A "TEMPO" setting or to MIDI Clock data from an external device.

Sets the delay time.

This parameter is available only if "TEMPO SYNC" is OFF.

Specifies the ratio of the delay time relative to the ARPEG.A "TEMPO" value. (??? p.65)

This parameter is available only if "TEMPO SYNC" is ON.

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.

If you do not wish to apply a delay, set this to 0.

Excessively high settings of this parameter may cause the output to be distorted.

Figure 17-1

Stereo Delay

Figure 17-2

Cross Delay

Figure 17-3

L/R Delay

FEEDBACK

DELAY

FEEDBACK

Editing the arpeggiator

The structure of arpeggiator

Specifies the tempo of the arpeggio. Increasing this value will speed up the arpeggio tempo.

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.

RESOLUTION [1/24...1/4]

Specifies the resolution (spacing of the notes) relative to the tempo specified by "TEMPO." (??? p.65)

1/24 ():

The arpeggio will be played as six- teenth note triplets of the specified tempo.

1/16 ():

The arpeggio will be played as six- teenth notes of the specified tempo.

1/12 ():

The arpeggio will be played as eighth note triplets of the specified tempo.

1/8 ():

The arpeggio will be played as eighth notes of the specified tempo.

1/6 ():

The arpeggio will be played as quarter note triplets of the specified tempo.

1/4 ():

The arpeggio will be played as quarter notes of the specified tempo.

Specifies the duration (gate time) of the arpeggiated notes, as a percent- age (%).

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.

TYPE [Up, Down, Alternate 1,

Alternate 2, Random, Trigger]

Selects the arpeggio type. (??? Figure 19-1)

Up ():

Notes will be played consecutively from low to high pitches.

Down ():

Notes will be played consecutively from high to low pitches.

Alternate 1 ():

Up and Down will be alternated. (The highest and lowest notes will be sounded once.)

Alternate 2 ():

Up and Down will be alternated. (The highest and lowest notes will be sounded twice.)

Random ():

Notes will be played randomly.

Trigger ():

The notes you are holding down will be played simultaneously at the tempo and "RESOLUTION" timing. The "RANGE" setting will be ignored.

If you are holding down more notes (???)

Specifies the range of octaves over which the arpeggio will be played.

Figure 19-1

Up

Down

Alternate 1

Alternate 2

Random

Trigger

(???) than the maximum polyphony of the timbre, the lowest pitches you are holding down will be played, up to the maximum polyphony.

Specifies how the arpeggiator will operate when you take your hand off of the keyboard.

OFF ():

The arpeggiator will stop playing when you take your hand off of the keyboard.

ON ():

The arpeggiator will continue play- ing even if you take your hand off of the keyboard.

SWING[-100...100]

Specifies the percentage (%) by which even-numbered notes of the arpeggio will be shifted in timing relative to the first note.

(???Figure 20-1)

Figure 20-1

When Resolution =1/8

Specifies whether the arpeggiator will be synchronized to the key- board.

If this is ON, the arpeggiator will always start from the beginning of the arpeggio pattern when you play the keyboard. If you are perform- ing together with other instru- ments, you can use this function to ensure that the arpeggio pattern is aligned with the beginning of the measure.

OFF ():

Sync off (not synchronized).

ON ():

Sync on (synchronized).

+25+50

Specifies the number of valid steps (maximum number of steps) for the step arpeggiator.

TARGET TIMBRE

[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.

Both ():

Both timbres will be sounded by the arpeggiator.

Timbre 1 ():

Only timbre 1 will be sounded by the arpeggiator.

Timbre 2 ():

Only timbre 2 will be sounded by the arpeggiator.

Overall settings (GLOBAL)

GLOBAL structure

Adjusts the overall pitch in 0.1 Hz steps over a range of 430.0 Hz to 450.0 Hz, in terms of A4 as the ref- erence pitch. (The highest digit "4" is not displayed.)

Use this when you need to tune the pitch of the microKORG to other in- struments.

MASTER TRANSPOSE [-12...12]

Adjusts the overall pitch in steps of a semitone (100 cents) over a range of one octave upward or down- ward.

Use this when you wish to trans- pose to suit the song you are play- ing.

VELOCITY CURVE [Curve, 1...127]

Selects how velocity (keyboard playing dynamics) will affect vol- ume and tone.

Use the setting that is appropriate for your situation.

Curve ():

The normal curve. (??? Figure 21-1)

1...127:

The fixed velocity you specify here will be output regardless of how strongly you play the keyboard.

Specifies the internal MIDI IN/ OUT routing within the micro- KORG. This setting will affect the way in which MIDI data is trans- mitted and received, and how the arpeggiator data is handled.

Post KBD ():

In this position, incoming MIDI data will 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

Specifies whether the signal input from AUDIO IN will be output di- rectly.

OFF ():

The signal will not be output.

ON ():

The signal will be output.

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

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.

(??? Figure 21-2)

Pre TG ():

Incoming MIDI data will be affected by by the global settings, and will act as trigger notes for the arpeggiator. Data produced by the keyboard will be sent to the MIDI OUT connector without being (???)

will always remain lit.

(???) affected by any setting other than OCTAVE SHIFT (arpeggiator notes are NOT sent via MIDI).

(??? Figure 21-3)

Using the microKORG with

other MIDI devices (MIDI)

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.

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.

Connecting MIDI devices/computers

Controlling an external MIDI tone generator from the microKORG

When you wish to use the microKORG's keyboard, controllers, and arpeggiator etc. to play an external MIDI tone generator, use a MIDI cable to connect the microKORG's MIDI OUT connector to the MIDI IN connector of the external MIDI tone generator.

MIDI on the microKORG

Controlling the microKORG's tone generator from an external MIDI device

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

MIDI keyboard

Controlling two or more external MIDI tone generators from the microKORG

You can use the MIDI THRU connector to simultaneously control multiple MIDI devices. (This type of connection should be used to connect no more than three devices. If you wish to connect a larger number of MIDI devices, we recommend that you use a MIDI patch bay as shown in the second diagram below.)

You can also use a MIDI patch bay to control multiple MIDI devices.

MIDI IN

MIDI tone generator

Connecting an external MIDI sequencer or computer etc.

You can play the microKORG's keyboard and record your performance on an external MIDI sequencer/computer (connected via a MIDI interface), and then play back the recorded performance to sound the microKORG's tone generator (i.e., using the microKORG as an input keyboard and MIDI tone generator). To do this, connect the MIDI OUT and MIDI IN connectors of the microKORG and your external MIDI sequencer/computer to each other.

Some USB-MIDI interface devices may not be able to transmit/receive the microKORG's MIDI exclusive messages.

"MASTER TRANSPOSE," "VELOCITY CURVE," OCTAVE SHIFT, and arpeggiator settings. (??? p.47)

???Normally when controlling an external MIDI tone generator from the microKORG, you will set "POSITION" to Post KBD (). The various settings listed above will affect the MIDI data that is transmitted.

The received data will be processed as "MASTER TRANSPOSE": 0, "VELOCITY

CURVE": Curve (), and OCTAVE SHIFT: 0.

???Normally when controlling the microKORG's tone generator from an external MIDI device, you will set "POSITION" to Pre TG (). The various settings listed above will affect the MIDI data that is received (with the exception of "OCTAVE SHIFT," which will be processed as 0).

The transmitted data will be processed as "MASTER TRANSPOSE": 0 and

"VELOCITY CURVE": Curve ().

SHIFT function "MIDI FILTER" settings

You can specify whether program change, pitch bend, control change, and system exclusive messages will be transmitted or received. (???p.60)

MIDI-related settings

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.

1Set 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)

2Set 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.)

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

SHIFT function "CONTROL CHANGE" 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 "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)

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

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.

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)

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

Set the microKORG's GLOBAL "POSITION" to Post KBD ().

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)

Turn the microKORG's arpeggiator off during playback.

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.

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.

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.

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 OUT connector (???p.48). If you set MIDI "CLOCK" to External (), the microKORG will be the slave.

The microKORG's arpeggiator will operate at the tempo of the external MIDI device (sequencer, rhythm machine, etc.).

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.

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.

OFF ():

With this setting, controllers such as the keyboard and modulation wheel will be internally discon- 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.)

ON ():

Select this setting when you are us- ing the microKORG by itself.

CLOCK [Internal, External, Auto]

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.

Internal ( ):

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.

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.(???)

(???)

Auto ():

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.

When making settings for syn- chronizing external MIDI de- vices, refer to the owner's manu- als for the devices you are using.

??? MIDI channels

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]

(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 ( ), note-on/off messages will be transmitted by the arpeggiator when it is running.

??? 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.)

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 "MIDI FILTER" to PITCH BEND Enable ( ). If this is set to Disable ( ), pitch bend change messages will not be transmitted or received.

??? Program change

Program change [Cn, pp]

(n: channel, pp: program number)

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 ( ), program change messages will not be transmitted or received.

The microKORG does not transmit or receive bank select messages ([Bn, 00, mm], [Bn, 20, bb]).

??? Control changes

Control changes [Bn, cc, vv]

(n: channel, cc: control change no., vv: value)

When you use knobs 1 ???5 to edit certain parameters, or when you operate certain keys or the MODwheel, 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.

If you want control changes to be transmitted and received, set the SHIFT function "MIDI FILTER" to CONTROL CHANGE Enable ( ). If this is set to Disable ( ), control change messages will not be transmitted or received.

??? Modulation depth (CC#01) [Bn, 01, vv]

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.

When you move the microKORG's MODwheel, 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.

??? 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.

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.

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 KBD()).

A control change message is used for this Sync Control message as specified by Shift function "Control Change."

By using Sync Control to apply sync to a LFO, you can cause each arpeggiated note to advance the random LFO by one step.

Silencing all notes of a given channel

??? 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.

Resetting all controllers of a given channel

??? 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.

??? 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.

1Use 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.

2Use data entry MSB (CC#6) [Bn, 06, mm] (n: channel, mm: parameter value) to specify the value.

On the microKORG, only data entry MSB is used.

Controlling the arpeggiator

When arpeggiator settings are modified by the front panel keys or knobs, the following NRPN messages are transmitted. When these NRPN messages are received, the 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.

???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]

GATE values

For example if you want to switch the arpeggiator on/off from an external MIDI sequencer, make the following settings.

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.

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)

Controlling the VIRTUAL PATCH 1???4 DESTINATION

???PATCH1 DESTINATION: [Bn, 63, 04, Bn, 62, 08, Bn, 06, mm ]

???PATCH2 DESTINATION: [Bn, 63, 04, Bn, 62, 09, Bn, 06, mm]

???PATCH3 DESTINATION: [Bn, 63, 04, Bn, 62, 0A, Bn, 06, mm]

???PATCH4 DESTINATION: [Bn, 63, 04, Bn, 62, 0B, Bn, 06, mm]

(n: channel, mm: parameter value)

Controlling the FC MOD source of a vocoder program FILTER

???FC MOD SOURCE: [Bn, 63, 04, Bn, 62, 00, Bn, 06, mm]

(n: channel, mm: parameter value)

Controlling CH PARAM

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)

???Channel Pan 1...16ch: [Bn, 63, 04, Bn, 62, 20...2F, Bn, 06, mm]

(n: channel, mm: parameter value)

If you are transmitting these parameters between two microKORG units, set both units to the same program settings.

??? 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)

???

F7: end of exclusive

Universal system exclusive

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.

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)

When a Master Volume message is received, the microKORG will adjust its overall volume.

If GLOBAL "AUDIO IN THRU" is ON, the input signal of AUDIO IN 1/2 will not be affected by Master Volume.

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.

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.

Data dumps can be performed on the microKORG as follows.

???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).

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.

???When a dump request is received from an external device, the microKORG will transmit the data dump that was requested.

If you want the microKORG to receive a data dump, turn the SHIFT function "WRITE

If you wish to obtain the "MIDI Implementation" which includes details of the MIDI exclusive format, please contact a Korg dealer.

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."

??? Realtime Messages

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.

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.)

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.

For details on assigning control changes to the microKORG's knobs and keys, refer to page 61.

Different parameters are assigned to synth parameters and vocoder parameters.

If you are using two microKORG units to transmit and receive these parameters, you must set the transmitting and receiving programs to the same settings.

Control 2 values when OSC 1 Wave = DWGS

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.

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.

"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.

Saving Data

Saving your edited settings

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.

SHIFT functions

Copying and exchanging timbres ???SYNTH / Initializing a program

1-1. COPY TIMBRE ()

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.

You cannot execute this function if a vocoder program is selected as the copy-source program (2). ("": Error)

Procedure

1Hold down the SHIFT key and press the 1 key.

The display will indicate "."

2Turn knob 1 to select the copy-source program (A.11???B.88).

The 1 key will begin blinking.

If you decide to cancel this operation, press the lit SHIFT key.

3Press the blinking 1 key. The timbre copy will be executed, and then the microKORG will return to its normal state.

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 indicate " ," and the copy will not be executed.

2-1. SWAP TIMBRE ()

Exchanging timbres

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.

You cannot execute this if a Single synth program is selected. (The display will indicate "": Error.)

Procedure

1Hold down the SHIFT key and press the 2 key.

The display will indicate "."

2Press the blinking 2 key. The timbre exchange will be executed, and then the microKORG will return to its normal state.

If you decide to cancel, press the lit

SHIFT key.

3-1. INIT PROGRAM ()

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.

Procedure

1Hold down the SHIFT key and press the 3 key.

The display will indicate "."

2Press the blinking 3 key. The program will be initialized, and then the microKORG will return to its normal state.

If you decide to cancel, press the lit

SHIFT key.

Initializing CH LEVEL and CH PAN ???VOCODER

MIDI Filter

1-2. INIT LEVEL ()

Initializing CH LEVEL A/B

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.

Procedure

1Hold down the SHIFT key and press the 1 key.

The display will indicate "."

2Press the blinking 1 key.

The output levels will be initialized, and then the microKORG will return to its normal state.

If you decide to cancel, press the lit

SHIFT key.

2-2. INIT PAN ()

Initializing CH PAN A/B

You can access this function if a vocoder program is selected.

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.

Procedure

1Hold down the SHIFT key and press the 2 key.

The display will indicate "."

2Press the blinking 2 key.

The pan settings will be initialized, and then the microKORG will return to its normal state.

If you decide to cancel, press the lit

SHIFT key.

5-1. CONTROL CHANGE ()

Assigning control changes

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.

The default settings of these parameters are shown on page 56.

Procedure

1Hold down the SHIFT key and press the 5 key.

The display will indicate "."

2Turn the EDIT SELECT 1 or EDIT

SELECT 2 dial to select the section that contains the parameter whose control change you want to specify.

3Turn each knob to select the desired MIDI control change number (oFF, C.00..C.95).

If the specified number is currently assigned to another parameter, the last decimal point "." in the display will light.

4When you have finished making settings, press the lit 5 key or the

SHIFT key.

The microKORG will return to its normal state.

The MIDI "MIDI CH" knobs 1 and 2 will select the control change number for TIMBRE SELECT and SYNC CTRL.

6-1. MIDI DATA DUMP ()

Data dump

"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.

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.

Some USB-MIDI interface devices may not be able to transmit/receive the microKORG's MIDI exclusive messages.

Transmission procedure

1Connect the microKORG's MIDI OUT 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.

2Hold down the SHIFT key and press

3Turn the 1 knob to select the type of data dump that will be transmitted.

1Program ( ):

Data for the currently selected program will be transmitted.

Program ( ):

Data for all programs will be transmitted.

Global ( ):

Global data will be transmitted. (???p.58)

All ( ):

All programs and global data will be transmitted.

The 6 key will begin blinking.

If you decide to cancel, press the lit

SHIFT key.

4Press the blinking 6 key.

The data dump will be executed, and then the microKORG will return to its normal state.

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 6 key in this state, the display will indicate "---" and the data dump will not be executed.

For the size of the dumped data and the time required for each, refer to table s6- 1.

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.

table s6-1

Restoring the factory settings

Write protect setting

7-1. PRELOAD ()

Restoring the factory settings

This operation restores the microKORG's programs and global data settings to the factory-set condition. The factory-set settings are referred to as the "preload data."

When you restore the Preload settings, the data within the microKORG will be rewritten to the factory settings. Be sure that you don???t mind losing your current data before you restore the factory settings.

Do not touch the microKORG's knobs or keyboard while the Preload operation is being executed, and never turn the power off.

Preload cannot be executed if the SHIFT function "WRITE PROTECT is on. You must turn "WRITE PROTECT" off beforehand.

Procedure

1Hold down the SHIFT key and press the 7 key.

The display will indicate " ."

2Turn the 1 knob to select the data that will be restored to its factory-set

condition.

1Program ():

Load only data for one program.

Program ():

Load data for all programs (128 programs).

Global ():

Load global data. (???p.58)

To cancel, press the lit SHIFT key.

3If you selected 1Program () in step 2, turn knob 2 to select the program (A.11???b.88) that will be restored to its factory-set condition.

4ress the blinking 7 key. The Preload operation will be executed, and the microKORG will return to its normal state.

If you have not selected the data to be restored to the factory-set condition (steps 2 or 3), the 7 key will be lit. If you attempt to execute by pressing the 7 key in this state, the display will indicate "---" and the operation will not be executed.

8-1. WRITE PROTECT ()

Write protect setting

The microKORG provides a write protect setting that disables writing to memory, letting you prevent data from being rewritten accidentally. If you want to save data that you have edited, you must first turn write protect off.

Procedure

1Hold down the SHIFT key and press the 8 key.

The display will indicate "."

2Turn the 1 knob to switch write protect on/off.

OFF ():

Data can be written to internal memory.

ON ():

The following writing operations will be prohibited.

???Writing a program

???Loading the factory data

???Receiving a data dump

3When you have made the desired setting, press the lit 8 key or SHIFT key. The microKORG will return to its normal state.

TIMBRE SOLO

Timbre solo function

???Hold down the SHIFT key and press the TIMBRE SELECT key.

If a Layer synth program is selected, only one timbre will sound. (???p.14)

SWITCH EDIT SELECT

Switch between EDIT SELECT 1/2

???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)

INC/DEC PARAM VALUE

Increment or decrement the parameter value

RETURN PARAM VALUE (Compare)

Return to the value at the time the parameter was selected (Compare)

1While editing a parameter (i.e., when 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.

2In this state, pressing the UP key will 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).

3To exit, press the SHIFT key.

ENTER DEMO MODE

Enter demo mode

???When you hold down the SHIFT key and press the ARPEGGIATOR ON/ OFF key, the microKORG will enter Demo mode. (??? p.7)

Appendix

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)

Example 1. LFO1

LFO1 "TEMPO SYNC" (knob 3): ON

LFO1 "SYNC NOTE (knob 4): 1/4 (1.4)

In this case, one LFO cycle will occupy the same time as one quarter note.

Example 2. Delay time

DELAY "TYPE" (knob 1): Cross Delay

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.

LFO 1/2 and delay time synchronization

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.

The parameters will function according to the tempo specified by ARPEG.A "TEMPO" and the note value corresponding to its setting.

1/3

3/8

1/2

2/3

3/4

1/1

Before you suspect a malfunction, please check the following points.

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

No sound

???If your powered monitor system or headphones connected to the correct jack(s)? ??? p.5

???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

Can???t input sound

???Is the input source connected to the AUDIO IN 1 CONDENSOR jack or DYNAMIC jack, or to the AUDIO IN 2 LINE jack? ??? p.10, 21, 34

???If you are inputting to AUDIO IN 1 or AUDIO IN 2, is the VOLUME 1 or VOLUME 2 knob turned up? ??? p.10, 21, 34

???If you are inputting to AUDIO IN 1, is the MIC/LINE switch set appropriately? ??? p.4

???If using a vocoder program, have you connected the modulator audio source to the AUDIO IN 1 CONDENSER jack or DYNAMIC jack? ??? p.10

???If you have connected an input device to the AUDIO IN 1 CONDENSER jack and also to the DYNAMIC jack, the input from the CONDENSER jack will take priority, and no signal can be input from the DYNAMIC jack. ??? p.4

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

???If you are unable to edit timbre 2 of a synth program, has VOICE "SINGLE/ LAYER" been set to LAYER? ??? p.14, 16

???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

???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

Can't write programs or global settings

???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

Arpeggios do not start

???Is the arpeggiator turned on (ON/OFF key lit)? ???p.11

???Is the MIDI "CLOCK" setting correct? ??? p.51

No response to MIDI messages sent from an external device

???Is the MIDI cable connected correctly? ???p.48

???Does the MIDI channel of the data transmitted from the external MIDI device match the MIDI channel of the microKORG? ???p.49

Does not respond correctly to MIDI messages sent from an external device

???Is the SHIFT function "MIDI FILTER" for that type of MIDI message set to Enable? ??? p.60

Transpose, velocity curve, and arpeggiator data is not recognized correctly

??? Is Global "POSITION" set appropriately? ???p.47

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.

Tone generator system: Analog modeling synthesis system

???Vocoder programs:

Maximum polyphony: 4 voices

Keyboard: 37 notes (mini keyboard, velocity sensitive, no aftertouch)

Effects: Modulation effect: flanger/chorus, phaser, ensemble (3 types), Delay: stereo, cross, L/R (3 types), Equalizer

Arpeggiator:UP, DOWN, ALT1/2, Random, Trigger (6 types), Step Arpeggiator function

Programs: total 128 programs (A/B side x 8 banks x 8 programs)

Inputs

???AUDIO IN 1 CONDENSER jack (with MIC/LINE switch)

Connector +5V mini-phone jack

AUDIO IN 1 (LINE)

MIDI:IN, OUT, THRU connectors

Display: 3-digit x 1 line eight-segment LED

Power supply: when using AC adaptor: DC9V, 6.5 W when using batteries: six AA batteries, 9 V

Battery life: approximately 4 hours or more (when using alkaline batteries)

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)

*Appearance and specifications of this product are subject to change without notice.

Symbols

-12dB BPF 25

-12dB HPF 25

-12dB LPF 24

-24dB LPF 24

A

AC adaptor 6

ADSR 26, 28

Amp 15, 27

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

Audio in 21

B

Control change 52, 56

Copying a timbre 59

Create a sound 12

Cross Modulation 19

Cutoff 8, 20, 24, 35

D

Data dump 62

Delay effect 41

Demo song 7

Destination 30

Detuning 16, 22

Distortion 27, 37

DWGS 20

E

Edit Sync 14

Editing 12

Editing each timbre 14 Editing example for a vocoder

F

Filter 15, 24

Filter EG 26

Filter oscillation 25 FORMANT HOLD key 35

G

Gain 42

GLOBAL 46

Global data 58

I

Increment or decrement the parameter value 64

Initializing a program 59 Initializing CH LEVEL A/B 60 Initializing CH PAN A/B 60 Internal MIDI IN/OUT routing

47

LFO2 17

Local Control 50 local on/off 51 Low battery 6

M

Mic 5, 10

MIDI 48

MIDI channel 49, 51, 52 MIDI Filter 60

MIDI sequencer 50 MOD wheel 9, 17 Modulation 40 Modulator 31, 33 Monophonically 16

N

Noise 20, 23

Note-on/off 52

NRPN 53

Output level 23

Output level of the carrier 34

P

Pan 27, 38

Parameter value does not change 13

Performance Edit 8, 10

Pitch 17, 47

Pitch bend 52

Pitch wheel 9, 17

Polyphonically 16

Portamento 17

Power on 6

Processing an external input audio signal 21

Program change 52

Pulse width modulation 18 PWM 18

R

Band-pass filter 31, 35 bAt 6

Battery 6

C

Carrier 31

Compare 64

Computer 50

Connection 5, 48

Consonant 33

program 32 Effect 39

EG 28

Envelope Follower 31, 35

Envelope Generator 28

EQ 42

Equalizer 42 Exchanging timbres 59

K

Keyboard tracking 9, 24, 27, 37

L

Layer program 16

Legato 16

Level 38

LFO 29

LFO1 18

O

OCTAVE SHIFT UP and DOWN

keys 9

Original parameter values of a program 13

OSC1 18

OSC2 22

Oscillator 15, 18

Oscillator Sync 22

Output 47

Realtime Messages 55 Release time 9 Resonance 9, 20, 24, 35

Restoring the factory settings 63 Retrigger 16

Ring Modulation 22

S

Saving 58

Sawtooth wave 18, 22

SHIFT functions 59

Sine wave 19

Solo 14

Source 30, 36

Square wave 18, 22

Step 45

Step arpeggiator 11

Switch between EDIT SELECT 1/2 64

Synchronize 29, 41, 45, 51, 65 Synth program 8, 16

SYNTHESIS FILTER 31 System exclusive messages 55

T

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

Index

U

Unison 16

Using an external input as the carrier of the voco 34

V

Velocity 9, 47

Vibrato 29

Virtual Patch 30

Vocoder 31

Vocoder program 10, 16 Volume 27, 37

Volume balance 23

Vox wave 19

W

Wah 29

Write protect setting 63

IMPORTANT NOTICE TO CONSUMERS

This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.

WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could invalidate the manufacturer's or distributor's warranty.

Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer's or distributor's warranty.

KORG INC.

15-12, Shimotakaido 1-chome, Suginami-ku, Tokyo, Japan

1 E

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