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1. Arpeggiator KNOB MODE ccccssscsscssscsscssscscccescsesscssessscssesssssseeeoeee JUMP CATCH Specifies the behavior of the front panel knobs when editing gt p 24 JUMP When you turn the knob the parameter value will jump to the value indicated by the knob regardless of the stored value Since this makes it easy to hear the results while editing we recommend that you use this set ting when editing CATCH When you turn the knob the parameter value will not change until the knob position matches the stored value We recommend that you use this setting when you don t want the sound to change abruptly such as dur ing a live performance PROTECT sssssssesvcstesicesvovsssesnveassessssvsseessscessisnessbscessooeesouonadnsiseiso OPE ON This specifies whether internal memory will be protected OFF You ll be able to write to internal memory ON The following Write operations will be prohibited e Writing a program e Loading the factory set data e Receiving a data dump LCD LIGHT LCD Backlight mode ccssossscssseeeseeeeeL OFF AUTO ON This switches the mode of the display backlight OFF The backlight will not light AUTO The backlight will light when you turn a knob or operate a switch After a time the backlight will go dark ON The backlight will remain lit A PWR OFF Auto Power Off ccccsssssssseeseeeee LDISABLE 4 HOURS This function specifies whether the a
2. ra Decimator H Pre LPF Bit High Damp Output Level gt o Dry Wet DRY WE Doivserssvcsreiseirerreircinnnnnnnnn DRY 99s 199 WET Sets the balance between the effect and dry sounds PRE DPE sscsccunssiecsenscenecsussadssncnesccguadecosaisseextaceetecveeessieaasvievecsesl OFF ON Selects whether the harmonic noise caused by a decrease in sampling fre quency is generated or not If a sampler with a very low sampling frequency receives very high pitched sound that could not be heard during playback it could generate pitch noise that is unrelated to the original sound Set PRE LPF to ON to pre vent this noise from being generated If you set the FS to about 3kHz and set PRE LPF to OFF you can create a sound like a ring modulator BL DAMP ssssesssssscesscenssscrsserssssausasessiceaissccsssscstivicesicsessssssste 000 5 100 Sets the ratio of cut from the high range ES ty ssssessscoossecsccsssscsescsssscseccessscsscssssssesssssseseesessseseeseeee 01 0 48 0KHZ Sets the sampling frequency BIT tp sssssssssssscsssssssscssssscsscssssssssssssscssssessesssssssesssesssesessseeeeee 04 24bit Sets the data bit length If you set a smaller value for the BIT parameter the sound may be dis torted NOTE The volume level may also be changed Use OUT LEVEL to adjust the level OUT LEVEL Output Level sccssssssscssssssccssssrscsssssrssesees 000 127 Sets the output l
3. cee 27 9 Other TUMGTIONS pupici aa 28 PUTA ZIAG Sa Prog asana a a e 28 Copying a Umbra a E E a AS A aoi 28 Transmitting programs and other data Data Dump ccecceeeeeeee es 28 Restoring the factory settings ccccccccsssececcsseeeecseseecesseseeeesseseeeseneess 29 SAVING WIITING ccccccsccccsscscccccccscceeee 3 1 1 Saving the settings you ve edited 31 SAVING A progran anani a are A 31 Saving Global ala EA a E T E E 31 Parameter Guide ccccccccscccccccccccccccccces 32 1 Timbre parameters cccccseeseeeeeeeeeeeeenees 32 2 Arpeggio parameters c ccccseceecsseeseeeeeeeees 51 Front Panel Arpeggio Parameters cccccceccecseeeeseeeeseeeeeseeeeesaeeesaeeeeees 51 3 Edit utility parameters ccscceeeeeeeeeeeees 54 4 Vocoder parameters ccsccccceeceeceeeseeeeeeeees 54 Front panel vocoder parameters ccccecceceeeeceeeeeceeecaeeeesaeeeeseeeseaeeesees 54 5 Global parameters cccccceeeceeeeeeeeeeseneeeeees 57 6 MIDI parameters cceecceeceeeeeeeeeeeeeeeneenes 59 7 Global utility parameters ccceeeeeeeees 62 Effect QUIGG sunossonosnennnanaa OS 1 About the effects cccccceeeceeeeeeeeeeeeeeeeeenes 63 About the effect input and output cece ccc eeeceeeeeeeeeeeseeeeesaeeeteeeeees 63 Controlling effect parameters cccccesccessesseces
4. OSC1 C1 CC 15 0 127 0 127 OSC1 C2 CC 17 0 127 0 127 OSC MOD VPM 1 32 0 127 WAVE CC 18 0 31 SAW 32 63 PULSE 64 95 TRIANGLE 96 127 SINE 0 31 SAW 32 63 PULSE 64 95 TRIANGLE 96 127 SINE Osc2 OSC MOD CC 19 0 31 OFF 32 63 RING 64 95 SYNC 96 127 RINGSYNC 0 31 OFF 32 63 RING 64 95 SYNC 96 127 RING SYNC MIXER RESO CC 71 0 127 0 127 TYPE BAL CC 27 gt p 92 TYPE BAL values gt p 92 TYPE BAL values 0 31 SINGLE 32 63 SERIAL 64 95 PARALLEL 96 127 0 31 SINGLE 32 63 SERIAL 64 95 PARALLEL 96 127 INDIV INDIV EG1 INT CC 79 0 1 63 2 62 63 1 64 0 65 1 127 63 0 1 63 2 62 63 1 64 0 65 1 127 63 KEY TRK CC 28 0 1 2 64 0 127 2 0 1 2 64 0 127 2 ROUTING1 CC 26 CUTOFF CC 74 0 127 0 127 FILTER1 CUTOFF CC 30 0 127 0 127 FILTER2 TYPE CC 29_ _ 0 42 LPF 43 83 HPF 85 127 BPF 0 42 LPF 43 83 HPF 85 127 BPF CC 69 _ 0 1 63 2 62 63 1 64 0 65 1 127 63 0 1 63 2 62 63 1 64 0 65 1 127 63 CC 82 0 1 2 64 0 127 2 0 1 2 64 0 127 2 level _ cowor_ o ta7SSOS S SCSCSSCSCSCSCSC d CC 10 0 1 L63 2 L62 63 L01 64 CNT 65 RO1 127 R63 0 1 L63 2 L62 63 L01 64 CNT 65 RO1 127 R63 wave cote 0 25 SAW 26 50 SQUARE 51 76 TRIANGLE 77
5. DEST in PATCH 1 6 will have no effect Parameter Guide FREQ Frequency cccscccssssccssssscsssssccssssscssssscssessseseeee O001 100 0HZ Specifies the frequency of the LFO Increasing this value will result in a faster frequency SOURCE seisscssssansstuscesarcansascecsesaeudostarsieaacnsseasioveassanarseseesies EG Tsa MIDIS Selects a modulation source EG1 EG2 EG3 EG1 EG2 or EG3 OFF LFO1 LFO2 LFO1 or LFO2 NOTE This parameter will be displayed and can be set only if BPM SYNC is P BEND Pitch bend MOD WHEEL Modulation wheel Keyboard tracking position SINCGNO TE scccecdssdcacatisscecceivescecderevetesevavateerierveatuateersdeetseseriea 0 Lane 1 04 This specifies the ratio of the LFO frequency relative to the tempo specified by the TEMPO knob The specified value note value corresponds to one cycle For example if this is set to 1 4 one cycle of the LFO will occupy one beat If this is set to 3 4 one cycle of the LFO will occupy three beats transpose and modulation sequencer NOTE This parameter will be displayed and can be set only if BPM SYNC is It does not reflect pitch changes pro ON duced by vibrato or virtual patching PATCH 1 PATCH 2 PATCH 3 PATCH 4 PATCH 3 a page parameters MIDI MIDI2 or MIDIS PATCH 6 NOTE Keyboard tracking works according to KEY TRK the pitch as controlled by pitch bend DEST Destination cccsccssssscsssssc
6. Press the ARP ON button to make the LED light turning the arpeggiator on Hold down a chord on the keyboard an arpeggio will start playing When you hold down a chord it will be sounded as shown at the right TYPE UP Use the TEMPO knob to adjust the tempo 5 To stop the arpeggio press the ARP ON button the LED goes dark KORG ick ORS EA VOLUME TEMPO O T TALI A Editing the sound Editi n th e sou nd The three elements of sound pitch tone and volume g Sound has three basic elements pitch tone and volume Just like the ana log synthesizers of the past the microKORG XL analog modeling synthe sizer provides oscillator filter and amp amplifier sections that control these three elements a Edit the oscillator settings to change the pitch the filter settings to change a 5 the tone and the amp settings to change the volume 1 How a program is organized ames Before you start editing you ll need to understand the basics of how the sounds are created Once you understand how the microKORG XL s sounds are structured you ll be able to freely create the sounds you want Oscillator filter and amp On the microKORG XL the oscillator settings are found in the OSC1 and OSC2 pages and the PITCH page Us
7. section that you want to edit Consider how the original program differs from the sound you have in mind and then choose the appropriate parameters to edit NOTE Use the TIMBRE SELECT lever or the VOCODER button to select the part to edit 3 While playing the keyboard use knobs 1 2 and 3 to modify the sound For example if you re editing a synth program and you choose FILTER in step 2 the three knobs will control the filters TYPE CUTOFF and RESO NANCE parameters as printed on the front panel Knob 1 will select the filter type of filter 1 Knob 2 will change the cutoff frequency of filter 1 Knob 3 will change the resonance of filter 1 adding a distinctive character to the sound NOTE You can save the sound you ve modified using performance edit Some of the main parameters you can control using performance edit are described below CUTOFF This adjusts the cutoff frequency of filter 1 varying the brightness of the sound Normally turning the knob toward the left will darken the sound and turning the knob toward the right will brighten the sound RESONANCE This adjusts the amount of resonance for filter 1 adding a distinctive char acter to the sound For an LPF Low Pass Filter A A A A Cutoff Cutoff Cutoff Cutoff Low resonance value High resonance value ATTACK This adjusts the attack time of EG2 the amp EG It specifies the time from note on pressing a key until the attac
8. 119 120 127 93 MIDI microKORG XL Appendices ES 1 Trouble shooting Before you suspect a malfunction please check the following points Power does not turn on C Is the AC adapter connected to an AC outlet gt p 9 No sound C Is your powered monitor system or headphones connected to the cor rect jack s gt p 9 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 Is the MIDI page LOCAL setting turned ON gt p 59 Were any volume related parameters set to a value of 0 Could CUTOFF be set to 0 in the FILTER page or another page gt p 42 Could the VC FILT page EF SENS parameter be set to HOLD FOR MANT HOLD when there is no input to the AUDIO IN LINE jack or MIC jack OU UOUUU UU Can t input sound o o OU Q Can t edit o o o Is the input source connected to the AUDIO IN LINE jack or MIC jack If you re using the AUDIO IN MIC jack is the XLR LINE switch set to XLR If you re using the AUDIO IN LINE jack is the XLR LINE switch set to LINE Is the AUDIO IN VOLUME knob level raised For a vocoder program is the audio source you re using as the modula tor connected to the AUDIO IN LINE jack Alternatively have you connected a mic to the AUDIO IN MIC jack Can t use performance editing by turning knobs 1 3 Could you be in Full E
9. BL DAIAL sssasvcncsaessncarsasssventsssserseasessaarenveeneneananaaneeinns 000 100 Sets the damping amount in the high range LO DAMP rires t r r E OOOO ONO 000 100 Sets the damping amount in the low range ia i E A E E E 000 127 Sets the input level 73 Effect Guide microKORG XL SATURATN Tape Saturation ii eeesseeoesssoossssoosssooossssoosessosee 000 127 Sets the distortion amount WOW FREQ Wow Flutter Frequency ssesssossssossssosesssos 0 01 100 0Hz Sets the frequency at which pitch variation will occur in Hz steps WOW DEPTH Wow Flutter Depth sssssccssssssecsssseeceees 000 127 Sets the depth of pitch variation PRE TONE ssesoeisesurien oneen rraren ienr 000 127 Sets the tone of the input SPREAD sssassacescscaandasaseaancoaccaseaeneadsonsensacasacansaasoneancsnsensnsienss 000 127 Sets the width of the stereo image of the effect sound gt p 71 SPREAD 11 CHORUS Stereo Chorus 74 This effect adds thickness and warmth to the sound by modulating the delay time of the input signal You can add spread to the sound by offsetting the phase of the left and right LFOs from each other Dry Wet DRUWEN cnra DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds MOD DEPTH Modulation Depth i ssccssssssscsssssecccseees 000 127 Sets the depth of LFO modulation LFO FREQ LFO Frequency ity sses
10. EG2 Release 98 EG3 Attack 101 EG3 Decay 105 EG3 Sustain 108 EG3 Release 111 Patch1 Int 114 Patch2 Int 117 Patchs Int 121 Patch4 Int 124 Patch5 Int 127 Patch Int 53 63 53 63 Band parameters You can control the output level and pan for each band of the vocoder s synthesis filter Level1 Level16 Bn 63 04 Bn 62 40 4F Bn 06 mm n channel mm parameter value Pan7 Pan16 Bn 63 04 Bn 62 50 5F Bn 06 mm n channel mm parameter value If you want to transmit and receive these parameters between two microKORG XL units make the same program settings on both the transmitting and receiving units Vocoder Switch Vocoder switch Bn 63 05 Bn 62 04 Bn 06 mm n channel mm parameter value MSB Hex LSB Hex Value transmitted Value received 0 63 OFF 0 63 OFF Mocoder sw 05 05 soo fe 127 ON 64 127 ON Other controls These messages are transmitted and received on the Global MIDI channel Voice Mode COMMON page VOIC MODE Voice Mode VOIC MODE Bn 63 05 Bn 62 00 Bn 06 mm n channel mm parameter value LL MSB Hex LSB Hex Value transmitted Value received 0 31 SINGLE _ 0 31 SINGLE Voice Mode 05 05 00 00 ae aaah 96 127 MULTI 32 63 LAYER System exclusive messages 64 95 SPLIT 96 127 MULTI microKORG XL format FO exclusive status
11. HEADPHONES jack You can connect headphones to this jack stereo 1 4 OUTPUT L MONO R jacks You can connect powered monitors a stereo amp mixer or multi track recorder to these jacks If you re using a monaural connection connect the L MONO jack AUDIO IN LINE jack This is a monaural audio input jack Use the AUDIO IN LEVEL knob to adjust the level For a synth program you can connect another synthesizer or audio device to this jack and use the input audio as the oscillator 1 waveform For a vocoder program you can use the input audio as the modulator sig nal AUDIO IN XLR LINE switch Set this to the LINE position if you re using the AUDIO IN LINE jack on the rear panel or to the XLR position if you re using the AUDIO IN MIC jack on the front panel AUDIO IN LEVEL knob This adjusts the input level from the AUDIO IN MIC or LINE jacks MIDI These connectors allow the microKORG XL to exchange MIDI messages with an external MIDI device OUTPUT HEAD R L MONO PHONES MIDI IN connector This connector receives MIDI data MIDI OUT connector This connector transmits MIDI data USB connector This connector allows the microKORG XL to exchange MIDI messages with your computer You can also use sound editor software to edit the microKORG XL s parameters NOTE In order to use a USB connection you ll need to install the Ko
12. mit and receive MIDI messages When receiving MIDI messages the mes sages from both types of connector will be mixed and MIDI messages received later will be given priority For transmission the same MIDI mes sages will be transmitted from both connectors PC USB MIDI Port microKORG XL MIDI OUT microKORG XL KBD KNOB microKORG XL MIDI IN microKORG XL SOUND Parameter Guide microKORG XL USB MIDI RX EXT USB MIDI TX INT USB MIDI TX EXT USB MIDI RX INT KBD KNOB OUT TG OUTPUT DUMP OUT etc DUMP IN etc USB Only the USB connector will be used to transmit and receive MIDI messages PC USB MIDI Port microKORG XL MIDI OUT microKORG XL KBD KNOB microKORG XL MIDI IN microKORG XL SOUND microKORG XL USB MIDI RX EXT USB MIDI TX INT USB MIDI TX EXT USB MIDI RX INT KBD KNOB OUT TG OUTPUT DUMP OUT etc DUMP IN etc MIDI Only the MIDI connectors will be used to transmit and receive MIDI messages PC USB MIDI Port microKORG XL MIDI OUT microKORG XL KBD KNOB microKORG XL MIDI IN microKORG XL SOUND microKORG XL USB MIDI RX EXT USB MIDI TX INT USB MIDI TX EXT USB MIDI RX INT KBD KNOB OUT TG OUTPUT DUMP OUT etc DUMP IN etc 59 Parameter Guide microKORG XL CLOCK cscsssossscsscsccesssscsoseeveeeoeee AUTO INTERNAL EXT USB EXT MIDI Specifies how the microKORG XL will synchronize with a
13. 0 01 100 0Hz Sets the LFO speed Increasing this value will result in a faster frequency LFO SPRD LEO SOV GAG vssssseccccscsccsssssccsessesseveissssvestesesecasvins 180 180 Sets the phase difference between the left and right channels 10 TAPE ECHO This effect simulates a tape echo unit The distortion and tonal change typi cal of magnetic tape are also reproduced Effect guide Wet Mono In Stereo Out Dry Stereo In Stereo Out Left o DRY WET sescssceccusouesssusssuessessenassienstecctacsiesidecs DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds BPM SYNC DelayTime Tempo Sync esssosssesssesssosssosssosssossssssoos OFF ON gt p 70 BPM SYNC DelayTime Tempo Sync TM RATIO ih esseesseessesoossosssossossoes BPM SYNC OFF 000 5 400 0 OVER BPM SYNC ON 012 5 400 0 OVER gt p 70 TM RATIO TAP1 DLY TAP2 DLY Tap1 Tap2 Delay Time A esaoteevsideasnsesstiesoiciee 0000 1400ms 1 64 1 1 Sets the delay times for Tap1 and Tap2 gt p 70 L DELAY R DELAY L R Delay Time TAP1 LVL TAP2 LVL Tap1Level Tap2 Level ity sccssssssees 000 127 Sets the Tap1 output level and Tap2 output level FEEDBACK fh ssescescssssescssssescscscsscsssssssssssssssesssccssssescssesssesseeee 000 127 Sets the Tap1 feedback amount
14. It will not be turned off the arpeggiator will start again when additional notes are played 89 MIDI microKORG XL a amp If you are using two microKORG XL units to transmit and receive these parameters you must set the transmitting and receiving pro 4 Front panel knob button control grams to the same settings 90 change assignments Control changes can be assigned to each front panel knob button of the microKORG XL so that the changes in sound as controlled by knob but ton operations can be transmitted as performance data NOTE For details on assigning control changes to the microKORG XL s knobs and buttons refer to page 61 CC MAP MIDI Control Change No Map NOTE Different parameters are assigned to synth parameters and vocoder pa rameters Page Parameter Iniial Value transmitted Value received UNISON MODE CC 03 0 31 OFF 32 63 2VOICE 64 95 3VOICE 96 127 4VOICE 0 31 OFF 32 63 2VOICE 64 95 3VOICE 96 127 4VOICE PITCH PORTMNTO CC 05 0 127 0 127 0 15 SAW 16 31 PULSE 32 47 TRIANGLE 48 63 SINE 0 15 SAW 16 31 PULSE 32 47 TRIANGLE 48 63 SINE WAVE CC 08 64 79 FORMANT 80 95 NOISE 96 111 PCM DWGS 64 79 FORMANT 80 95 NOISE 96 111 PCM DWGS 112 127 AUDIO IN 112 127 AUDIO IN OSC1 OSC MOD CC 09 o WAVEFORM 32 63 CROSS 64 95 UNISON 96 127 ve WAVEFORM 32 63 CROSS 64 95 UNISON 96 127
15. NOTE Only the Drive setting differs from the wave shape effect Lowers the sampling frequency DEPTH 000 DEPTH 064 DEPTH 127 DECIMATR Parameter Guide Flattens any portion of the waveform above the limit DEPTH 000 DEPTH 064 DEPTH 127 HARD CLIP Cuts the portion of the waveform above the threshold level and inverts it to keep it within limits DEPTH 000 DEPTH 064 DEPTH 127 OCT SAW Sending a sawtooth wave through this will produce a tri angle wave DEPTH 000 DEPTH 064 DEPTH 127 MULTI TRI Sending a sawtooth wave through this will produce a sine wave DEPTH 000 DEPTH 064 DEPTH 127 MULTI SIN SB OSC SAW SB OSC SQU SB OSC TRI SB OSC SIN The selected waveform will sound one octave below oscillator 1 DEPTH adjusts the mix amount relative to oscillator 1 Boosts the output level WS DEPTH adjusts the amount of boost DEPTH 000 DEPTH 064 DEPTH 127 LVLBOOST NOTE This may produce high output volumes than other wave shape types 45 Parameter Guide microKORG XL POSITION ssescssscccsssssesssencassencsssascusnsacviosecesastestssaeeeie PRE FILT1 PRE AMP Specifies the position at which the drive or wave shape functions will be applied PRE FILT1 Drive or wave shape will be applied before filter 1 Cose onvens racers J ame PRE AMP Drive or wave shape will be applied after the filter and before the amp Came WS DEPTH Wave Shape Depth
16. Note on Note on Note off Time KEY TRK Keyboard Tracking Filter1 ccccsssseseseeee 2 00 2 00 This specifies how keyboard tracking the keyboard location that you play will affect the cutoff frequency For example if the sound played by the C4 key has the desired tone but higher notes no longer have resonance or are too mellow sounding you can adjust keyboard tracking to make compen sations so that the cutoff frequency will rise for higher notes With positive settings the cutoff frequency will rise as you play upward from the C4 note and fall as you play downward With negative settings the cutoff frequency will fall as you play upward from the C4 note and rise as you play downward NOTE Witha setting of 1 0 the change in cutoff frequency will be proportion ate to the change in pitch With a setting of 0 Keyboard tracking will not affect the cutoff frequency NOTE Keyboard Track operates according to the pitch that is controlled by pitch bend and transpose It is not affected by pitch changes produced by vi brato or Virtual Patch VEL SENS Velocity Sensitivity Filter ccccssssssssseeeeee 63 63 Specifies how velocity keyboard playing dynamics will affect the cutoff fre quency Positive values will cause the cutoff frequency to rise as you play more strongly Negative values will cause the cutoff frequency to fall as you play more strongly FILTER2 Here
17. gt p 67 INI PHASE LFO Init Phase LFO SPRD LFO Spread sicssssisvicewsssccvssscnsssessvsesssveriscssetsvens 180 180 Sets the phase difference between the left and right channels HIEDAMP sissies csicccecsivcencsvaseusussecinncvesdsduadeueacecsiecedsdexeestueeuseres 000 100 Sets the damping amount in the high range MILI AE E E E E 000 127 Sets the input level 9 MOD DELAY Stereo Modulation Delay This is a stereo modulation delay Stereo In Stereo Out Left o A Dry Wet 7 Feedback Get go LFO Spread LFO DINU WET sccesns asteacescscbantaasaateceascesscsasucsseessease DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds BPM SYNC Delay Time Tempo Syic sscsssssccssssccsssecesscereees OFF ON gt p 70 BPM SYNC DelayTime Tempo Sync TM RATIO jy cscscsscccscccsscceneees BPM SYNC OFF 000 5 400 0 OVER BPM SYNC ON 012 5 400 0 OVER gt p 70 TM RATIO L DELAY R DELAY L R Delay Time 000 1400ms 1 64 1 1 gt p 70 L DELAY R DELAY L R Delay Time FEEDBACK piiscczscc ctsstestesisscsissics tissetesacesoncsenscsoncses 000 127 gt p 71 FEEDBACK MOD DEPTH i ssecssssecsecusssevcassussescesseasesssedensesssssccesadeaseasenssens 000 127 Sets the depth of LFO modulation LFO FREQ LFO Frequency ith sesessosssossssscessosessosesoosessee
18. infinite staircase sound which produces the same perceived pitch in each different octave The infinite staircase produces the sensation that you never get any higher no matter how long you continue playing the notes C D E F G A B C D E upward No PEWDWES Neme No PCMDWGS Name o eemo ie SSNS o psen fe moe e er E Ca a E E opm fo owes o ooma fe wer m poom fst mora fa swe spe e me o peen a ewoo o pes ores 5 When Wave Audio In and OSC1 Mod Waveform Control1 Gain 00000 OCOCOCOCOOCOCOCOCOCOOCO OOOO O OOOO COOCOO OOOO OOOO O OOOO O00000 00000000000 63 eee 63 This parameter adjusts the volume of the audio input Controli sasssa naaa AAS NO EFFECT 6 When Wave Saw Pulse Triangle Sine and OSC1 Mod Cross Control1 Modulation Depth csssscsssssssccssssecscssserseees 000 127 This parameter adjusts the cross modulation depth 39 Parameter Guide microKORG XL Control2 LFO 1 Intensity COOCOO OCOOOCOCOOCOOC COOCOO COOCOO OOOO COOCOO 0000000000000000 000 e 127 This parameter adjusts the depth of the additional modulation applied by LFO1 to the cross modulation effect 7 When Wave Saw Pulse Triangle Sine and OSC1 Mod Unison Control Detune cscssscccsssscccssssscssssssscsssssesssssssssseeees L000 127 This parameter adjusts the difference in pitch between the five unison oscil lators Higher values will broaden the pitch difference between the
19. sssccsssssccsssssssssssseeeeees 000 127 EG1 Specifies the depth at which the drive or wave shape functions will be applied Here you can adjust settings for the filter EG that causes the sound to vary over time Make EG settings in this page and then use filter 1 EG1 INT gt p 43 and filter 2 EG1 INT gt p 44 to specify the amount of effect that the EG will have Use the ADSR Attack Decay Sustain Release set tings to adjust the desired curve for the tone NOTE EG1 can be used as a virtual patch source allowing you to modulate a parameter other than volume gt p 49 EG 1 Cutoff TA 2 4 1 Attack Time 3 Sustain Level 2 Decay Time 4 Release Time EG Envelope Generator 46 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 maxi mum 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 spe cific 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 XL 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 num
20. 101 S H 0 25 SAW 26 50 SQUARE 51 76 TRIANGLE 77 101 S H LFO1 102 127 RAMDOM 102 127 RAMDOM 0 25 SAW 26 50 SQUARE 51 76 SINE 77 101 S amp H 0 25 SAW 26 50 SQUARE 51 76 SINE 77 101 S amp H LFO2 102 127 RAMDOM 102 127 RAMDOM FREQ CC 103 2 63 1 64 0 65 1127 2 63 1 64 0 65 CC 104 63 2 oe 0 65 1 127 63 2 AE 0 65 CC 105 63 2 62 63 1 64 0 65 1 127 63 2 62 63 1 64 0 65 CC 106 63 2 62 63 1 64 0 65 1 127 63 2 62 63 1 64 0 65 CC 107 o 64 0 65 1 127 o 64 0 65 CC 108 63 1 64 0 65 63 1 64 0 65 COHITS 0 Dry 1 126 127 Wet MST FX1 COHIT6 0 Dry 1 126 127 Wet MST FX2 vc MOD 91 MIDI microKORG XL FRMNT SFT off 0 25 2 26 51 1 52 76 0 77 102 1 103 127 2 0 25 2 26 51 1 52 76 0 77 102 1 103 127 2 FC OFFSET Ee Or ot 0 1 63 2 62 63 1 64 0 65 1 127 63 0 1 63 2 62 63 1 64 0 65 1 127 63 VC FILT RESO 0 127 FC MOD INT ESE 0 1 63 2 62 63 1 64 0 65 1 127 63 0 1 63 2 62 63 1 64 0 65 1 127 63 EF SENS Loff 0 126 127 HOLD 0 126 127 HOLD jeie IVCLEVEL OE en __d 0 127 0 127 DIRCT LVL 0 127 0 127 OSC 2 SEMITONE values TYPE BAL values The following table shows how the control change valu
21. C2 LFO1 MD param eter and the LFO2 will be able to modulate the PITCH page VIB INT parameter WAVE LFO1 scscssssssseseeee SAW SQUARE TRIANGLE S amp H RANDOM WAVE LFO2 sscsscsssssssesseeeseeee SAW SQUARE SINE S amp H RANDOM Selects the LFO waveform SAW SINE KEY SYNC sssaccsssssessncsenssactsssscessnaceasnnczecsscuessiseasseceeoree URE TIMBRE VOICE Specifies how the LFO will be applied to a voice when note on occurs OFF The LFO phase will not be reset when note on occurs Amplitude changes irregularly Sample amp Hold 48 Note on TIMBRE The phase of the LFO will be reset by the first note on that occurs from a condition of no keys being held it will not be reset for subsequently played voices Note on Note on Note all off VOICE The LFO phase will be reset at each note on and modulation of dif fering phases will apply to each voice Note on 1VOICE Note on 2VOICE BPM SYNC scsnscssaussvseccoovsssscasasaussavacsassasssstacsssvacsssassscsacsssvacevcens UN Ty ON Specifies whether the LFO cycle will be synchronized to the internal tempo or to an external MIDI Clock OFF The LFO will not be synchronized It will operate at the frequency specified by the FREQ parameter ON The LFO will be synchronized to the TEMPO knob or to MIDI Clock messages from an external device NOTE If BPM SYNC is On selecting LEO1FREQ or LFO2FREQ as
22. For details on knob assignments for effect parameters refer to page 63 Effect knob assignments 2 Arpeggio parameters Front Panel Arpeggio Parameters TEMPO knob Specifies the playback tempo of the arpeggiator NOTE The speed of modulation sequences and LFOs for which BPM Syne is On will be synchronized to the tempo you specify here ARPEGGIATOR TEMPO LED This will blink at quarter note intervals of the tempo specified by the TEMPO knob ARPEGGIATOR ARP ON button Switches the arpeggiator on off The button will light if this is on ARP ARPEGGIATOR Here you can make various arpeggio related settings ASSIGN cccsccsssscsssccsssccssscsssscceeseeseeeL LIMBRET TIMBRE2 TIMBR1 2 Selects the timbre s that will be sounded by the arpeggiator TYPE Arpeggio type UP DOWN ALT1 ALT2 RANDOM TRIGGER Selects the arpeggio type UP Notes will be played consecutively from low pitches to high 51 Parameter Guide microKORG XL 52 DOWN Notes will be played consecutively from high pitches to low ALT1 Up and Down will be alternated The highest and lowest notes will be played once ALT2 Up and Down will be alternated The highest and lowest notes will be played twice once on the way up and once on the way down TRIGGER The notes you are holding down will be played simultaneously at the tempo and RESOLUTN timing The OCT RANGE setting wi
23. OVER Sets each delay time as a proportion relative to the L DELAY and R DELAY values The available range will depend on whether BPM SYNC is ON or OFF For example if TM RATIO is 50 L DELAY is 500 msec and R DELAY is 1200 msec the delay times will be 250 msec 500 msec and 600 msec respectively If the delay times in conjunction with the TM RATIO setting exceed the limit TM RATIO will indicate M L DELAY R DELAY L R Delay Time 000 1400ms 1 64 1 1 These set the left and right channel delay times If BPM SYNC is Off these delay times are set in msec units If BPM SYNC is On these delay times are set as a timing resolution rela tive to the tempo specified by the TEMPO knob or MIDI clock Effect guide FEEDBACK ty sssssssssssscsecsescesssscsssssssscssssssssssseessssssseesseeseeeeee 000 127 Sets the amount of feedback for the left and right channels The amount of feedback for the right channel is linked with the proportion of the left and right delay times so that the decay times of the left and right channels will stay the same BAL DAMP csisacospasessvaxeesvaneouseasasvareasinacecsoussosssdissoatectsestassavise O00 a 100 Sets the damping amount in the high range Sets the input level SPREAD saicscntincocstesicssscanssncaussnsccanssoscesssssesvoestinnisevteisesveisisse OU0 aun l27 Sets the width of the stereo image
24. PROG 2 Turn knob 2 to make the display indicate SURE Y N Here you can select either YES or NO 3 To initialize select YES and press the WRITE button The program will be initialized and the display will indicate COMPLETE NOTE If you decide not to initialize press the EXIT SHIFT button Copying a timbre Here s how to copy timbre settings from another program to the timbre of the currently selected program 1 In Full Edit mode turn knob 1 to select COPY TMBR 2 Turn knob 2 the left side of the display will show the copy source program number the middle will show the copy source timbre and the right will show the copy destination timbre 3 Use knob 2 to move the cursor below the program number and then use knob 3 to select the copy source program 4 Use knob 2 to move the cursor below the timbre and then use knob 3 to select the copy source timbre 5 Use the TIMBRE SELECT lever to select the copy destina tion timbre 6 To execute the copy press the WRITE button The copy will be executed and the display will indicate COMPLETE NOTE If VOIC MODE is SINGLE you can t select TIMBRE as the copy destination TE If you decide not to execute the copy press the EXIT SHIFT button 28 Transmitting programs and other data Data Dump Program data and global data can be transmitted from the microKORG XL as MIDI exclus
25. VOCODER AUDIO IN THRU button This turns the vocoder on off gt p 13 When on the LED above the but ton will be lit By holding down the EXIT SHIFT button and pressing this button you can switch the AUDIO IN THRU setting gt p 13 WRITE button Press this button to save a program or global settings you ve edited gt p 31 EXIT SHIFT button Press this button to stop a Save or Utility operation By pressing this button in conjunction with another button you can play a demo or switch the AUDIO IN THRU setting TIMBRE SELECT lever Use this to select the timbre that you want to edit gt p 22 The selected timbre is indicated by the lit LED beside this lever NOTE If the COMMON page setting VOIC MODE is SINGLE the TIMBRE SELECT lever does nothing KNOB FUNCTION SELECT dial This dial selects the function of knobs 1 2 and 3 If the dial is set to ASSIGN FILTER AMP EG or ARP the timbre selected by the TIMBRE SELECT lever will be the target of your editing and you ll be able to use the performance edit functions gt p 22 If the dial is set to EFFECT performance editing will control the dry wet bal ance for FX1 and FX2 and the parameter that s assigned to Control 1 of FX1 If the dial is set to FULL EDIT the knobs will operate in full edit mode allowing you to select a page and parameter and to edit the value of that parameter gt p 23 1 2 3 knob
26. XL to receive data that was previously trans mitted to an external MIDI device set the microKORG XL to the same MIDI channel as when it transmitted the data In the MIDI FLT page set SYS EX to ENABLE gt p 60 and turn the GLOBAL page PROTECT parameter OFF gt p 58 Transmit the data from your MIDI data filer or other device For details on how to transmit data please refer to the owner s manual of the device you re using 1 Prog 402 Bytes Less than 1 second All Prog 51 712 Bytes Approx 315 Global 121 Bytes Less than 1 second All Data 51 833 Bytes Approx 3 15 Restoring the factory settings Here s how to restore the microKORG XL s programs and global data settings to their factory set condition The factory settings are called the preload data amp When you execute the Preload operation the microKORG XL s data will be rewritten to the factory set condition Before you con tinue make sure that it s OK to rewrite the data amp Do not touch the microKORG XL s knobs or keyboard while the Preload operation is in progress Never turn off the power during this operation TE You can t execute the Preload operation if Write Protect is turned on You must turn off Write Protect before you execute this In Full Edit mode turn knob 1 to select PRELOAD 29 Editing the sound microKORG XL 2 Use knob 2 to select the desired type of preload data 1 PROG Only t
27. 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 e Reorient or relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit differ ent from that to which the receiver is connected e Consult the dealer or an experienced radio TV techni cian for help If items such as cables are included with this equipment you must use those included items Unauthorized changes or modification to this system can void the user s authority to operate this equipment Notice regarding disposal EU only When this crossed out wheeled bin symbol is displayed on the product owner s manual bat tery or battery package it signifies that when you wish to dispose of this product manual package or battery you must do so in an approved manner Do not discard this product manual package or battery along with ordinary household waste Dis posing in the correct manner will prevent harm to human health and potential damage to the environment Since the correct method of disposal will depend on the applicable laws and regulations in your locality please con tact your local administrative body for details If the battery contains heavy metals in e
28. arpeggiator step Editing the sound 3 Use knob 3 to turn the selected step on off In the display enabled steps are indicated as O on If you turn knob 3 4 About the Global settings to change the indication to off that step will be a rest The GLOBAL parameters are settings that apply to the entire microKORG XL For example you can individually adjust the pitch of each program but the pitch settings in this GLOBAL page MST TUNE and TRANS POS will affect the pitch of all programs If you re playing together with other instruments set MST TUNE to match the microKORG XL s pitch with the other instruments and use TRANS POS if you need to transpose the song you re playing When you use mul tiple programs within a single song it s convenient to change just the GLOBAL parameter settings instead of changing the pitch of each program For details refer to page 57 5 Global parameters TYPE UP LAST STEP 8 If you want to keep the changes you make to these parameters you must Write them gt p 31 Saving global data NOTE The number of available steps is specified by the ARP page LAST STEP parameter gt p 52 27 Editing the sound microKORG XL 5 Other functions Initializing a program Here s how to initialize the settings of the currently selected program 1 In Full Edit mode turn knob 1 to select INIT
29. changes when you turn knob 3 The illustration below is an example of when you ve selected the OSC MODE parameter WAVEFORM AP UE UE OE ANA parameter NAME L rie pb INI fi f A VALUE How to edit parameters INC DEC function If you want to make fine changes to the value of a parameter hold down the EXIT SHIFT button and operate the OCTAVE lever to increment or decre ment the value For example if you re specifying a numerical value move the lever toward UP to increment the value by one or toward DOWN to decrement it 23 Editing the sound microKORG XL 24 If the parameter value does not change when you turn the knob In some cases when you ve used the KNOB FUNCTION SELECT dial to choose a section to edit turning knobs 1 3 may not change the value of the parameter This is because the Full Edit mode GLOBAL page KNOB MODE parame ter is set to CATCH With this setting the actual value of the parameter you re editing the value shown in the display will not change unless it matches the position of the knob If KNOB MODE is set to CATCH the knob position and the value will be linked only when the knob position reaches the actual value This prevents the unnatural change that might be produced by a sudden change in the value If the Full Edit mode GLOBAL page KNOB MODE parameter is set to JUMP the actual value will immediately jump to the knob posit
30. csssccsssscsssscssssccsssscsssscssssscseeees OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ith cccsccssssscesssscesssssecees 0001 100 0HZ Sets the LFO speed gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note hy csscssssccsssssccssssccsssscccsssees O To 00 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob NOTE This parameter will be displayed and can be set if LFO SYNC is ON gt p 66 SYNC NOTE LFO Sync Note LFO WAVE LFO Waveform SAW SQUARE TRIANGLE SINE S amp H Selects the LFO waveform gt p 66 LFO WAVE LFO Waveform LFO SHAPE scrsiscsosississcsscssesoasvasnassnucousossosssssssossassssssisesssrsss M03 aa F03 gt p 66 LFO SHAPE KEY SYNC LFO KeySyinc ssssccsssscsssscssssccsssccsssccssescsssssssesseeee OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase scsscccsssssssssssssccssssscssssseees 000 180 Sets the starting location of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON gt p 67 INI PHASE LFO Init Phase LFO SPRD LFO Spread cccccccscsssscssscscsssscsessseseseee 100 180
31. external MIDI tone generators from the microKORG XL You can also use a MIDI patch bay to control multiple MIDI devices MIDI IN a MIDI OUT microKORG XL MIDI keyboard TUNG MIDI tone generator Connecting an external MIDI sequencer or computer etc If you want to record your performance on the microKORG XL s key board into your external MIDI sequencer computer via a MIDI interface or use the microKORG XL as a combination of controller keyboard and MIDI sound module or use the Editor Librarian software included with the microKORG XL then you ll need to connect the microKORG XL s MIDI OUT and MIDI IN connectors to the MIDI IN and MIDI OUT connectors respectively of your external MIDI sequencer or computer MIDI interface devices may be unable to transmit or receive the microKORG XL s MIDI exclusive messages MIDI interface MIDI 1 5 e _ 8099 oeoo p MIDI IN MIDI OUT a MIDI IN computer NETRA microKORG XL Connecting the microKORG XL to your computer via USB As an alternate way of connecting the microKORG XL to your computer in the situations described above you can use a USB cable if your com puter has a USB connector
32. external device e g sequencer or rhythm machine 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 NOTE If you set the MIDI page CLOCK parameter to AUTO the micro This setting will affect the way in which channels are handled KORG XL will automatically operate with the EXT MIDI setting whenev If VOIC MODE is SINGLE LAYER or SPLIT er MIDI clock data is being received at the MIDI IN connector At other If the COMMON page VOIC MODE setting is SINGLE LAYER or SPLIT times the microKORG XL will operate with the INTERNAL setting MIDI data is transmitted received on the global MIDI channel TE Ifthe microKORG XL receives a MIDI Start message FA when it is e If VOIC MODE is Multi Ea synchronized to the MIDI clock of an external MIDI device the arpeggia If the COMMON page VOIC MODE setting is MULTI MIDI data for timbre tor will be reset Also the phase of the LFO will be reset if KEY SYNC is 1 is transmitted received on the global MIDI channel MIDI data for timbre 2 OFF is transmitted received on the MIDI channel specified by the COMMON page T2MIDI CH setting Other transmission reception uses the global MIDI channel NOTE The global MIDI channel is the basic MIDI channel used by the micro KORG XL to transmit and receive MIDI data It is specified by the MIDI pag
33. from scratch start by initializing to enter program gt p 28 Initializing a program NOTE If you re creating a program from scratch using Full Edit mode you can take advantage of the fact that pages are organized in the appropriate or der simply proceed by turning knob 1 to step through the pages Editing the sound 3 Full Edit mode If you set the KNOB FUNCTION SELECT dial to FULL EDIT all of the parameters will be available for editing NOTE This includes the MIDl related settings GLOBAL Editing in Full Edit mode 1 Select the program that you want to edit 2 Set the KNOB FUNCTION SELECT dial to FULL EDIT 3 Use knobs 1 and 2 to select the parameter that you want to edit and knob 3 to edit the value Use knob 1 to select the page in which to edit Use knob 2 to select a parameter on that page Use knob 3 to edit the value of the selected parameter If you select another program or turn off the power before you ve written your edited program the changes you made will be lost About the display in Full Edit mode When you turn knob 1 to select the OSC1 page the upper line of the dis play will indicate the name of the page and the lower line will indicate the name of a parameter a A OO o PAGE NAME IE a PARAMETER NAME Now when you turn knob 2 the display will change the upper line will show the parameter name and the lower line will show the value that
34. input at that moment will be held Formant Freeze Subsequently the sound will retain that character regardless of whether there is any input 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 NOTE Ifyou write the program with this value set to Hold the program will memorize the response of the signal that was being held VC AMP Vocoder Amp Here are the parameters for modulation and vocoder output VC LEVEL Vocoder Level cccccccssscsccccsscccccccccccscssseccees 000 127 Sets the output level of the vocoder DIRCT LVL Direct Level cccccccccccsccccssccccccccccccecsscccceeees 000 127 Sets the volume level at which the modulatior input source will be output directly unaffected 56 VC BAND Vocoder Band These parameters specify the output level and panning stereo position for each of the carrier s sixteen band pass filters the synthesis filter LEVEL 15516 sccceancsssveseecascesdssdeconscesaceotessteusecenseseteesaceasesteosiensg OCU uel 27 Specifies the output level of each band PANT O vescsasesucesesssstavesesesseasevesiedsvasessausesessdessvasesssssedstecseston LO3 iNO3 Specifies the panning of each band Parameter Guide SEE VEL CURVE Velocity Curve sccsssccssssssssssessssssseees 1 4228 CONST127 Different velocity curve lets you tailor the response of the keyb
35. lets you adjust the volume level of oscillator 1 OSC1 oscilla tor 2 OSC2 and noise generator NOISE and sends the resulting mix to the filters FILTER Filters FILTER 1 FILTER 2 The filter varies the brightness of the sound by removing or boosting certain portions of the frequency spectrum of the sound generated by the oscillator Filter settings will have a large impact on the character of the sound There are two filters for each timbre and you can create a wide range of sounds by choosing from four routings types of connection for these filters In addition you can use envelope generator 1 EG1 to vary the cutoff fre quency of each filter over time Amp AMP This section consists of the amp AMP and pan PAN settings The amp specifies the volume and the pan specifies the stereo position of the sound You can also use envelope generator 2 EG2 to vary the volume over time Drive waveshaping DRIVE WS Drive and waveshaping both give the tone a hard edged character Adjust ing the cutoff or resonance of the filter can produce significant changes 20 Envelope generators EG1 EG2 EG3 An envelope generator applies time variant change to parameters that make up the sound Each envelope generator defines the shape of the time variant change using four parameters attack time decay time sustain level and release time EG1 is assigned to control the filter cutoff fre quency and EG2 is assigned to co
36. of the effect sound The stereo image is widest with a value of 127 and the effect sound of both channels is output from the center with a value of 0 7 LCR DELAY L C R Delay This multitap delay outputs three Tap signals to the left center and right respectively You can also adjust the left and right spread of the delay sound Wet Mono In Stereo Out Dry Stereo In Stereo Out Left o gt o Dry Wet R Delay LQ Right Ao Dry Wet DRY WET sccccccsscossccscscscccsccssccsecssecssseeoeeL DRY 7 9921 1 99 WET Sets the balance between the effect and dry sounds BPM SYNC DelayTime Tempo Sync 000000000000 00H0HHO00HHHH08HHHHH8HHHHOEHHOOE OFF ON Specifies whether the delay time will be synchronized If this is On the delay time will synchronize to the tempo or MIDI clock TM RATIO ih ecscsesceeccesseseeeee BPM SYNC OFF 000 5 400 0 OVER BPM SYNC ON 012 5 400 0 OVER Sets each delay time as a proportion relative to the L DELAY C DELAY and R DELAY values gt p 70 TM RATIO L DELAY C DELAY R DELAY L C R Delay Time sccscsssssssecsessccserens sescscsccescccscsssccesccssessscssscssscssscsssesssssseees 0000 1400MmS 1 64 1 1 These set the L C and R delay times The delay time is determined by these settings and the TM RATIO value gt p 70 L DELAY R DELAY L R Delay Time L LEVEL C LEVE
37. or another type of waveform The microKORG XL allows you to select either an external input such as mic or rhythm AUDIO IN or timbre 2 as the modulator If you ve selected tim bre 2 the output of the timbre 2 EQ will be input to the modulator Coo SOSY 2 Basic editing procedure There are two ways to edit sounds on the microKORG XL e You can select a program that s close to the sound you want and create the desired program by making the necessary changes e You can start editing the program from scratch an initialized state Choose a method and get started creating and playing your own sounds Editing a program Performance editing 1 Select the program that you want to edit 2 Use the KNOB FUNCTION SELECT dial to choose the section that you want to edit Take a moment to consider how the original program is different than what you have in mind and choose the appropriate parameter to edit NOTE Use the TIMBRE SELECT lever or the VOCODER button to select the part that you want to edit 3 Use knobs 1 2 and 3 to edit the values of the parame ters assigned to each knob 4 Repeat steps 2 and 3 as needed to create the desired sound 5 Write your edited program gt p 31 Saving Writing If you select another program or turn off the power before you ve written your edited program the changes you made will be lost If you want to create a program from scratch If you want to create a program
38. power off function If there is no user input for approx 4 hours the auto power off function which automatically turns off the microKORG XL will be activated This function can be disabled so that the microKORG XL is not automati cally turned off NOTE With the factory settings the auto power off function is enabled When the microKORG XL is turned off any edited settings will be lost If you want To use the settings again be sure to save write them first Changing the auto power off setting 1 Use the KNOB FUNCTION SELECT dial to select FULL EDIT 2 Use knob 1 to select the GLOBAL page use knob 2 to select A PWR OFF and then use knob 3 to change the setting If you do not want the microKORG XL to automatically be turned off with the auto power off function select DISABLE 3 Save the setting p 31 Saving global data 11 Preparations Quick start 1 Demo performance Listening to the demo 12 The microKORG XL contains demo songs that show off its sounds gt p 98 3 Demo Song Hold down the EXIT SHIFT button and press the ARP ON button The demo performance will begin You can use the 1 knob to switch songs during the demo Press the EXIT SHIFT button to end the demo perfor mance KORG eo 2 Selecting and playin
39. tim bres will sound simultaneously You can edit each timbre individually CLALALALLALALALLALALALLARLLALLARLLA SPLIT Two timbres will be used You can specify a range of notes for each timbre and play each timbre from a different area of the keyboard Each timbre can be edited separately CEPA PEEP PEP MULTI Two timbres will be used This mode is mainly used when playing the microKORG XL from an external MIDI device Each timbre can be edited separately CEPR PEPE PEEP lt TIMBRE 1 GLOBAL MIDI CH lt TIMBRE 2 TIMBRE 2 MIDI CH n SPLILRENY ccsuespouecivbacbactactsabacescetscoesanssadsndesdacssnesecepceedontetssseeesn Cr lesa 09 This parameter will appear if VOIC MODE is set to SPLIT It specifies the range in which each timbre will sound Notes below the note number you specify will be sounded by timbre 1 and notes above and including that number will be sounded by timbre 2 T2MIDI CH Timbre 2 MIDI channel s0eeeee00e GLOBAL 01 16 When the VOIC MODE is set to either Layer or Multi this parameter can be used to set the MIDI channel for timbre 2 If you choose Global the MIDI channel of timbre 2 will match the global MIDI channel NOTE Timbre will always be set to the Global MIDI channel You can specify the timbre1 MIDI channel by setting the MIDI page parameter MIDI CH ASSIGN sccssssssssscsccsessssssssssescscssesssessessseseseeee LMONOT MONO2
40. two master effects You can use the EQ to modify the sound of each timbre and use the master effects to apply spatial type processing to the overall sound For each master effect you can choose one of seventeen full digital effects which are categorized as follows 01 05 Filter and dynamics effects such as EQ and compressor 06 10 Delay type effects About the effect input and output The master effects are stereo in and stereo out In the DRY WET bal ance the stereo input DRY signal the sound not processed by the effect is passed through to stereo output The way in which the WET signal the sound processed by the effect is output will depend on the type of effect with the following variations Mono In Mono Out EH Mono In Stereo Out pa Erea H Stereo In Stereo Out Eec The input output variation for each effect is shown in the upper left of the block diagram To obtain the best sound quality you should adjust the input level to the master effect as high as possible without causing clipping This is done using the AMP LEVEL parameter the MIXER OSC1 LVL OSC2 LVL and NOISE LVL parameters and the TRIM parameter of each effect Then use each effect s DRY WET or OUT LEVEL parameters to adjust the output level of the effect amp Some effect types do not have a TRIM or OUT LEVEL parameter amp There is no input level meter etc to check the in
41. value to its original setting by turning knobs 1 3 to the value that makes the ORIGINAL VALUE LED light up If you re in Full Edit mode the ORIGINAL VALUE LED will light up when the setting of knob 3 matches the original value If you ve been editing but then select a different program and then re select the program you had been editing the values will return to the preset program or stored program value NOTE Settings affecting the entire microKORG XL or MIDI related settings GLOBAL are made using the same procedure as when editing a pro gram use the KNOB FUNCTION SELECT dial to select the Full Edit mode section and then use the knobs to edit the values These settings will also revert to their un edited state if you turn off the power so you must Write them if you want to keep the changes you make Editing the two timbres You can use two timbres in a program The parameters of each timbre are organized into the NAME EQ pages To edit these parameters you must first select the timbre that you want to edit the TIMBRE 1 or TIMBRE 2 LED will light NOTE The COMMON page VOIC MODE parameter affects the entire pro gram Using two timbres Layer 2 If you re using two timbres you can choose one of three modes in which to use them Here we ll set the VOIC MODE to LAYER With LAYER mode both timbres will sound simultaneously when you play a key For details on the other modes refer to page 3
42. were made by different manufacturers The microKORG XL lets you assign control change numbers to the major parameters that affect the sound and control these parameters from an external MIDI sequencer while you play the tone generator You can also use the assigned knobs 1 3 or keys to transmit these control changes to control an external MIDI device You can synchronize the microKORG XL 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 80 Controlling an external MIDI tone generator from the microKORG XL When you want to use the microKORG XL s keyboard controllers and arpeggiator etc to play an external MIDI tone generator use a MIDI cable to connect the microKORG XL s MIDI OUT connector to the MIDI IN con nector of the external MIDI tone generator microKORG XL L MIDI OUT MIDI tone generator Controlling the microKORG XL s tone generator from an exter nal MIDI device When you want to play or control the microKORG XL s tone generator from an external MIDI keyboard or sequencer etc use a MIDI cable to con nect the MIDI OUT connector of the external MIDI device to the MIDI IN connector of the microKORG XL MIDI keyboard Controlling two or more
43. 2 VOIC MODE Use the KNOB FUNCTION SELECT dial to select FULL EDIT Use knob 1 to select the COMMON page use knob 2 to select VOIC MODE and use knob 3 to select LAYER Selecting the timbre to edit When you edit a program that uses two timbres you ll need to select which timbre you want to edit Use the TIMBRE SELECT lever to choose which timbre that you want to edit The LED of the selected timbre will light up and that timbre will be the one affected by your editing NOTE The TIMBRE SELECT LED won t light if the COMMON page VO IC MODE parameter is SINGLE The LED of the timbre being edited will light if you ve selected LAYER SPLIT or MULTI as the voice mode gt p 32 Editing the vocoder You ll use the VC FILT VC BAND pages to edit the parameters of the six teen bandpass filters analysis filter and synthesis filter and the envelope follower Carrier The best choice for the carrier is a waveform that contains a large number of overtones such as a sawtooth wave or fixed width pulse wave You can edit these parameters in the VC CARRI page NOTE If you want to input a sawtooth wave as the carrier first edit timbre 1 so that the OSC1 page WAVE parameter is set to SAW then in the vocod er settings use the VC CARRI page TMBR1 LVL parameter to adjust the input level of timbre 1 Modulator A human voice is typically used as the modulator but you can also obtain in
44. 42 Korg ID 3n n O0 F MIDI channel 00 01 19 microKORG XL model ID 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 XL supports Master Volume and Master Fine Tuning Master volume FO 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 XL will adjust its overall 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 micro KORG XL s GLOBAL page MST TUNE will be ignored and the overall pitch will be specified by the data that was received Realtime Messages Starting stopping the arpeggiator When the microKORG XL s arpeggiator is synchronized to a connected external MIDI device system realtime messages Start and Stop will control the arpeggiator Start FA When the Start FA message is received the arpeggio pattern will be reset to its beginning Stop FC When a Stop FC message is received the arpeggiator will stop
45. 5 10 0 Sets the bandwidth of Pre EQ PRE GAIN Pre EQ Gain ih scccsssssccssssssccssssssseees 18 0 18 0dB Sets the gain of Band PreEQ B1 FREQ B1 Frequency csccssccssssscssssscssssscsssssesseeee LZOHZ 20KHZ Sets the center frequency of Band 1 Sets the bandwidth of Band 1 B1GAIN pth ssscscsscssessssssecsessesssscssssssssscsscsesssssseesesseeeee 18 0 18 00B Sets the gain of Band 1 B2 FREQ B2 Frequency cccscccssssscssssscsssssscsssssesseeee LLOHZ 20KHZ Sets the center frequency of Band 2 Sets the bandwidth of Band 2 B2 GAIN ith ssscscssssssssssssecsessesssscscssssssscssesssssssseeseeseeees 18 0 18 0dB Sets the gain of Band 2 B3 FREQ B3 Frequency ccccscccssssscsssssccsssccssssscsseeee LLOHZ 20KHZ Sets the center frequency of Band 3 Sets the bandwidth of Band 3 B3 GAIN pth csssscsscsccscsecseccessssssscscssesssscsscssssessseesesseeeee 18 0 18 00B Sets the gain of Band 3 OUT LEVEL Output Level cccccscssscssssssscssssssccseessereeeee 000 127 Sets the output level 5 DECIMATR Stereo Decimator This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length You can also simulate noise unique to a sampler aliasing Effect guide Stereo In Stereo Out Left Pre LPF Bit Decimator Dry Wet High Damp Output Level C
46. 8 en Resolution O ON The note at this step will sound et 2 3 5 7 9 dQ db f f Hb Hh Dd J 1 e 1 i 1 Note status Swing 50 25 i 25 50 O Will sound Won t sound RESOLUTN Resolution scccscssscscsscssessesscecessecececessecececee 1 32 1 1 Specifies the resolution Spacing of the notes relative to the tempo speci fied by TEMPO knob 1 32 The arpeggio will be played as 32nd notes at the specified tempo 1 24 The arpeggio will be played as 16th note triplets at the specified tempo 1 16 The arpeggio will be played as 16th notes at the specified tempo 1 12 The arpeggio will be played as 8th note triplets at the specified tempo 1 8 The arpeggio will be played as 8th notes at the specified tempo 1 6 The arpeggio will be played as quarter note triplets at the specified tempo 1 4 The arpeggio will be played as quarter notes at the specified tempo 1 2 The arpeggio will be played as half notes at the specified tempo 1 1 The arpeggio will be played as whole notes at the specified tempo KEY SYNC emerrererrererrenrrrerrrrrrrrrcrerrerrerrrrrrrrrererrrrrrrrrrrcy OAE ON Specifies whether the arpeggiator will be synchronized to the keyboard If this is On the arpeggiator will always start from the beginning of the arpeggio pattern when you play the keyboard If you are performing together with other instruments you can use this function to ensure that
47. C FC OFST Vocoder Fc Offset D Detune VERESO _ VC EF SENS Vocoder E F Sens ae ee VC FC MINT Vocoder Fc Modulation Intensity 2 _ g Unison A Detune VC DIR LVL Vocoder Direct Level N VC LEVEL Vocoder Level SPREAD Unison Spread CORR REE 000 ee 1 27 This parameter is available when Unison is on i e if MODE is 2 4 U N ISON Voice It controls the width of the stereo spread panning of the stacked voices The number of voices specified by MODE will be panned apart at equal spacing according to this setting Here you can adjust settings for the Unison function which stacks voices at the same pitch to create a richer sound MODE s sssssssssssssssssessssssssssesssssessssseseseeeee OFF 2 VOICE 3 VOICE 4 VOICE PITCH When the Unison Switch is turned on you can specify the number of voices that will be stacked OFF Unison is off 2 VOICE Unison is on two voices are stacked 3 VOICE Unison is on three voices are stacked 4 VOICE Unison is on four voices are stacked NOTE Depending on other voice related settings the number of voices you specify here may not actually be sounded ANLG TUNE Analog Tune 0000000000008 0HHHO0HHHHHOHHHHHO8HHHHH88HH8H8HHH8H8EE8 000 e 127 NOTE Turning on the Unison function will limit the available polyphony By adding a slight randomness to the pitch of each note as it is played this parameter can simulate the pitch instability and oscillator drift t
48. DI parameter s sssesssesssesssessesssesssese 59 SME WAVE iasi e e 38 EO EE E E E 20 51 MIXET ason AN 20 SINGLES aa a E 32 3 Index ECUaliZel osis 20 51 Modulator SP E p PEE EEE 32 External audio input sess 26 MODULATOR 00000 21 22 25 Step arpeggiator ss esssessssersseesssesssee 26 MOETE nena eater sr nee 32 SYNTHESIZET csecessssecessecessssecessereceees 19 A F MUIti tiMD Fall eee eseeseseseeeeeseeeeees 81 AG adapter ncdinshandiinnianeneins 10 RGR A aan tesa 46 Filter FILTER ssssssssssssssesssesssenes 19 20 T Amp AMP veccccsssssssesssscssssseesessseen 19 20 PU EC seanna 23 N TEMA DO eenen 18 ARPEGGIATOR ccccccecccceees 21 26 82 Noise GENEL AtOP ce ecessssseeseeeeeeeeeees 20 TIPO DG ital aati os deni a sites 19 24 Arpeggio DALAM ceeeseceserceees 52 G INR PIN csieotiabresccn oo A 86 Copying A TIMOR E 28 ASSIGN ranoni 34 Global Setting 27 Timbre parameter eessesrseersersseesees 32 O Triangle WaVe ssseesseesssessseessserssessse 38 B l OS i ENARE 20 36 Bakoh 59 INC DEC function 53 OSCITATON sisri 19 20 U Battely seo ces EAA 10 CLUE E ea aan coe me 9 Unison sias evenernenenssnenesnoneneonene 20 aa UNISON FUNCTION ceeseceesescseseeseeeees 35 Infinite staircase wo eesesseseeeeeeteseeteees 39 P USB 81 c EEE E g3 USB asssssssnesenesenestsesnsnensnenenenene Carrier CARRIER 0 21 22 25 K Sea ag 21 6 Ee et eee v CATCH cocecccccccccccccccccccccccccccsc
49. GLE SINE FORMANT Maximum output level 4 dBu 10 k ohm load NOISE PCM DWGS AUDIO IN Output impedance 1 k ohm MOUNN WAVEFORM CROSS UNISON VPM Connectors 1 4 phone jacks unbalanced Oscillator 2 HEADPHONE jack Waveform SAW PULSE TRIANGLE SINE Maximum output level 10 10 mW 32 ohms load Modulation RING SYNC RING SYNC Output impedance 40 ohms Wave shaping Connector 1 4 stereo phone jack WS type DRIVE DECIMATOR HARDCLIP OCT SAW MIDI IN OUT MULTI TRI MULTI SIN SUB OSC SAW SUB USB connector B type OSC SQU SUB OSC TRI SUB OSC SIN LEVEL Display Custom LCD BOOST Power supply DC9V Multi mode filters When using batteries Six AA alkaline batteries Filter 1 24 dB oct LPF 12 dB oct LPF HPF BPF Thru Battery life Approximately 4 hours Filter 2 ee ae Dimensions WxDxH 556 x 231 x 73 mm 21 89 x 9 09 x 2 87 inches Vocoder 16 band vocoder a level and pan for AnD Weight 2 kg 4 41 Ibs band Formant Shift function Formant Hold function Included items AC Adapter Gooseneck microphone Keyboard 37 note Natural Touch Mini Keyboard velocity Specifications and appearance are subject to change without notice for sensitive no aftertouch improvement Effects Timbre 2 band EQ Master Master effects 17 effect algorithms Arpeggiator UP DOWN ALT1 2 Random Trigger 6 types Step Arpeggiator function Programs 128 programs banks A B x 8 genres x 8 catego ries 99 Appendices microKORG XL CE Envelope generators uu 20 MI
50. HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHOHHHHHHHHHHHHHHHHHHHHHHHHHHHHH8O8O8E8 DECAY2 Decay Time EG 2 Select the parameter assigned to the knob SUSTAIN2 Sustain Level EG 2 LFO1 FREQ LFO1 NOTE LFO 1 Frequency Sync Note PORTMNTO LFO2 FREQ LFO2 NOTE LFO 2 Frequency Sync Note OSC1 C1 OSC1 Control 1 P INT1 Virtual Patch Intensity 1 OSC1 C2 OSC1 Control 2 P INT2 Virtual Patch Intensity 2 OSC2 SEMI OSC2 Semitone P INT3 Virtual Patch Intensity 3 OSC2 TUNE OSC 2 Tune P INT4 Virtual Patch Intensity 4 OSC1 LVL OSC 1 Level P INT5 Virtual Patch Intensity 5 OSC2 LVL OSC 2 Level P INT6 Virtual Patch Intensity 6 CUTOFF 1 Filter 1 Cutoff LO EQ GAIN Low EQ Frequency RESO1 Filter 1 Resonance FX1 D W FX 1 Dry Wet FILT1 BAL Filter 1 Balance FX1 CTRL1 FX 1 Control 1 EG1 INT1 Filter 1 EG 1 Intensity FX1 CTRL2 FX 1 Control 2 CUTOFF2 Filter 2 Cutoff FX2 D W FX 2 Dry Wet RESO2 Filter 2 Resonance FX2 CTRL1 FX 2 Control 1 EG1 INT2 Filter 2 EG 1 Intensity FX2 CTRL2 FX 2 Control 2 34 DETUNE Unison Detune ccccccccsccssssscccsrseccsssssscscssccessssssssees 0 99 This parameter is available when Unison is on i e if MODE is 2 4 Voice It specifies in units of cents the amount of detuning that will occur between the stacked voices Regardless of how many voices are stacked this parameter will always specify the total range of detuning VC T1 LVL Vocoder Timbre 1 Level VC T2 LVL Vocoder Timbre 2 Level 2 voice D SS 55 VC HPF LVL Vocoder HPF Level V
51. L R LEVEL L C R Delay Level i 000 127 These adjust the output level of the L C and R delays C FEEDBK C Feedback ih ssssccssssssscssssssccsssssssssssseseesees 000 127 Sets the feedback amount of TapC Sets the input level da A E A i Umea 274 Sets the width of the stereo image of the effect sound The stereo image is widest with a value of 127 and the effect sound of both channels is output from the center with a value of 0 8 PAN DELAY Stereo Auto Panning Delay This is a stereo delay that uses an LFO to pan the delay sound between left and right 71 Effect Guide microKORG XL 72 A LFO Spread LFO Shape lt 5 sss5 2ss5s4 sS8se5 857 DRY WE T sssusncsncsnesncsvcsnconconosnosnossasvosriovicvisviss DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds BPM SYNC DelayTime Tempo Sync cssccssssccssssccssssecsscercees OFF ON gt p 70 BPM SYNC DelayTime Tempo Sync TM RATIO hiccesscsnesvsansonsonsancunsenss BPM SYNC OFF 000 5 400 0 OVER BPM SYNC ON 012 5 400 0 OVER gt p 70 TM RATIO L DELAY R DELAY L R Delay Time 000 1400ms 1 64 1 1 gt p 70 L DELAY R DELAY L R Delay Time FEEDBACK ih sscssssssscssssscsescesssscscssesssscscssssssssssssssessscssccseseess 000 127 gt p 71 FEEDBACK MOD DEPTH GH saccssvic
52. L PROG GLOBAL ALL DATA You can transmit programs or global data as MIDI exclusive data so that it can be saved on a connected MIDI data filer or computer You can also transmit data to another microKORG XL unit 1 PROG Only the selected program data will be transmitted the parame ters of the NAME VC BAND pages and the settings of the front panel keys and knobs ALL PROG All program data will be transmitted GLOBAL Global data will be transmitted the parameters of the GLOBAL USR SCALE page ALL DATA All program data and global data will be transmitted amp Do not touch the microKORG XL s knobs or keyboard while data is being transmitted Never turn off the power during this time amp Some MIDI interface devices may be unable to transmit or receive the microKORG XL s MIDI exclusive data PRELOAD sscssssssscsssssseessssereee 1 PROG ALL PROG GLOBAL ALL DATA This function restores the microKORG XL s program or global settings to their original factory set state 1 PROG Only the selected program data will be loaded the parameters of the NAME VC BAND pages and the settings of the front panel keys and knobs ALL All program data will be loaded GLOBAL Global data will be loaded the parameters of the GLOBAL USR SCALE page ALL DATA All program data and global data will be loaded Effect guide Effect guide 1 About the effects As effects the microKORG XL provides a two band EQ and
53. LE Triangle waves have fewer overtones than sawtooth or square waves and they re suitable for mild tone such as bass or pads Adjusting the value will modify the shape of the waveform changing the harmonic content A set ting of 000 produces a simple triangle wave Higher setting stress different harmonics a setting of 127 produces a triangle wave that is one octave and a fifth higher i e the third harmonic A Bag NN 000 063 127 e WAVE SINE Sine wave is a mild tone that contains only the fundamental frequency with no overtones A setting of 000 produces a simple sine wave Increasing this value will modify the waveform changing the overtone structure as shown below 000 063 127 Control2 LFO1 Intensity cccscccssssccssssscssssscsssssccssereees 000 127 2 LFO1 will vary the OSC1 C1 effect Waveform Modulation OSC1 C2 adjusts the depth of this change If the LFO1 WAVE gt p 47 LFO 1 LFO 2 is set to TRIANGLE this will produce a detune like effect for a sawtooth wave WAVE SAW For a pulse wave WAVE PULSE it will produce a PWM Pulse Width Modula tion effect making the sound thicker When Wave Formant and OSC1 Mod Waveform Control FORMANT WIDTH scccscscsssssssssscscsssseseeeseeeees 000 127 The formant waveform has a tonal character reminiscent of a human voice This knob will adjust the frequency components that are characteri
54. LFO NOTE In the Global mode MIDI page CLOCK setting is Internal the LFO will synchronize to the tempo specified by the TEMPO knob If the setting is External the LFO will synchronize to the MIDI clock received from an ex ternal MIDI device LFO FREQ LFO Frequency itr sccscccssssccssssecssssseseeee 0001 100 0HZ Sets the LFO speed Increasing this value will result in a faster frequency NOTE This parameter will be displayed and can be set if MOD SRC is LFO and LFO SYNC is Off amp If this parameter is assigned to CTRL 1 or CTRL 2 switching LFO SYNC on will change the asaignment to SYNC NOTE SYNC NOTE LFO Sync Note hy sscssssccsssssccssssccsseseccsssees O To 00 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob The length of the specified value note value relative to the tempo will be one cycle of the LFO For example if this is 31 4 one cycle will occupy one quarter note For example if this is set to 1 4 the LFO cycle will be one beat long If this is set to 3 4 the LFO cycle will be three beats long NOTE This parameter will be displayed and can be set if MOD SRC is LFO and LFO SYNC is On amp If this parameter is assigned to CTRL 1 or CTRL 2 switching LFO SYNC Off will change the assignment to LFO FREQ LFO WAVE LFO Waveform SAW SQUARE TRIANGLE SINE S am
55. Lever operation Keyboard range Key LED Move toward C6 C9 UP LED lit red DOWN Y 4 C5 C8 UP LED lit orange lt C4 C7 UP LED lit green oo C3 C6 dark Y c2 5 DOWN LED lit green Y Ct C4 DOWN LED lit orange V C0 C3 DOWN LED lit red Octave Shift settings and note numbers UU LN TEL Lever operation Move toward UP gt gt gt gt gt Middle Cona note number a do 1 j 12 C1 24 3 octaves C2 36 q 1 octave lt S 2 octaves C5 72 Octave Shift not used 1 octave C6 84 t cy 96 3 octaves 2 octaves C8 108 do 120 C 8 116 cg 120 15 Quick start microKORG XL Using the knobs to modify the sound When the KNOB FUNCTION SELECT dial is set to ASSIGN FILTER AMP EG EFFECT or ARP you can use knobs 1 3 to control the performance edit functions Try turning each knob and hear the sound change in realtime Performance edit parameters e ASSIGN ASSIGN 1 ASSIGN 2 ASSIGN 3 FILTER TYPE CUTOFF RESONANCE AMP EG ATTACK DECAY RELEASE TIMBRE SELECT Using performance editing 16 1 Select a program 2 Use the KNOB FUNCTION SELECT dial to choose the
56. O SHAPE KEY SYNC LFO KeySyinc ssssccsssscsssscssssscsssccsssccssssssssscsssssseee OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase sssscccssssssssssssscssssssssessssees 000 180 Sets the starting location of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON gt p 67 INI PHASE LFO Init Phase Effect guide LFO SPRD LFO Spread sessessessessessessessessossessessessessesee 180 180 Sets the LFO phase difference between the left and right channels HI DAMP scssccsstascsstsccssbaccsstaucsatcccsisscesssadeiasticeissicsassuctassieess 000 05 100 Sets the feedback damping amount in the high range 15 TREMOLO Stereo Tremolo This effect modulates the volume level of the input signal The effect is ste reo and offsetting the LFO of the left and right phases from each other pro duces a tremolo effect between left and right Stereo In Stereo Out Left A Dry Wet Tremolo A Tremolo kK LFO Spread gt LFO Shape Dry Wet DRY WET svsscssvscssscsrcosncessevseconessssvesvesnegeusssssenl DRY 799i lnse1 99 WET Sets the balance between the effect and dry sounds MOD DEPTH Modulation Depth ih scccssssssccsssseeeseeee 000 127 Sets the depth of LFO modulation LFO SYNC LFO Tempo Sync
57. OD settings gt p 36 amp Some settings may produce noise NOTE For OSC1 C1 and OSC1 C2 the parameter and settings will depend on the selected WAVE and OSC MOD You should also refer to the fol Parameter Guide lowing table when assigning OSC1 C1 or OSC1 C2 to virtual patch KNOB or GLOBAL CC MAP TRIANGLE CROSS C1 MOD DPT C2 LFO1 MD UNISON C1 DETUNE C2 PHASE Powowes waero foewwsa muon waverorw eren 37 Parameter Guide microKORG XL 38 1 When Wave Saw Pulse Triangle Sine and OSC1 Mod Waveform Control WAVEFORM scccscssscssscesscssccsesssesssessseseseseveee 000 127 This modifies the waveform WAVE SAW The sawtooth wave is appropriate for creating a wide range of sounds typi cal of analog synthesizers including basses and pads Adjusting the value will modify the shape of the waveform changing the harmonic content A setting of 000 produces the original sawtooth wave Higher setting stress different harmonics a setting of 127 produces a sawtooth wave one octave higher WAVE PULSE This is a pulse wave suitable for electronic sounds and wind instruments By adjusting the pulse width you can produce sounds reminiscent of a clavi or sax A setting of 000 produces a simple square wave Higher settings narrow the pulse width and at a setting of 127 the pulse width will disap pear completely no sound 000 063 127 WAVE TRIANG
58. POLY This parameter specifies how notes will be articulated from the keyboard or MIDI source MONO1 The timbre will play monophonically If you continue holding down the key that you first pressed the EG will not retrigger when you play the second and subsequent keys Use this setting when you want to play legato MONO2 The timbre will play monophonically The EG will be retriggered each time you press a key POLY The program will play polyphonically allowing you to play chords The maximum polyphony is eight voices Note on Note on EG l Mono1 l l l Trigger l Mono2 l Trigger Parameter Guide SCALE svsdesscsesssaisssnasesnsacciivedesvesacssucessseatastaresssacssssancesiaves EQUALGs USER Selects the type of scale that the current program will use You can choose one of ten different scale types Equal temperament which is the most com EQUAL monly used scale Every semitone is spaced an equal pitch distance from the next Pure major scale Major chords in the key speci MAJOR fied by SCALE KEY will be completely harmo nious Pure minor scale Minor chords in the key speci fied by SCALE KEY will be completely harmo nious ARABIC Arabic scale It includes the quarter tone scale characteristic of Arabian music Pythagorean scale a scale based on ancient PYTHA Greek musical theory It is particularly effective when playing melodies WERCK Werckmeister scale an equal temp
59. Program changes will not be transmitted or received ENABLE Program changes will be transmitted and received CTRL CHG Control Change cccscssssesesseseeeeeee DISABLE ENABLE Selects whether MIDI control changes will be transmitted and received DISABLE MIDI control changes will not be transmitted or received ENABLE MIDI control changes will be transmitted and received P BEND Pitch Bend csssccssssscssssscsssssccssssecsseeees DISABLE ENABLE Selects whether pitch bend messages will be transmitted and received DISABLE Pitch bend messages will not be transmitted or received ENABLE Pitch bend messages will be transmitted and received SYS EX System Exclusive cscccscscscssscssscseseseeeseeeeeL DISABLE ENABLE Selects whether MIDI system exclusive messages will be transmitted and received DISABLE MIDI system exclusive messages will not be transmitted or received ENABLE MIDI system exclusive messages will be transmitted and received MIDI CTRL MIDI Control In this page you can specify the function that is assigned for modulation sources MIDI1 MIDI2 and MIDI3 used in a virtual patch NOTE If the selected function is assigned to a different parameter an asterisk is shown at the right of the value MIDI1 SRC P BEND 119 016 017 019 020 021 Selects the function that will be assigned to modulation source MIDI1 used in a virtual patch T
60. R1 LVL Timbre Level eesessssssseeossssesecosssseceesssseseeesssee 000 127 Specifies the output level of Timbre1 carrier INPUT2 LVL Timbre2 Level ccccccccccsccccsssscssscccssceccssseees 000 127 Specifies the output level of Timbre2 VC MOD Vocoder Modulator In this page you can adjust settings for the modulator which applies its character to the carrier audio For the modulator you can use an external audio source such as a mic or rhythm AUDIO IN or timbre 2 SOURCE Audio Source eesessossessoccessoeeessoeeessoesessseeeso INPUT TIMBRE2 This selects the audio source that will be sent to the modulator INPUT The audio source of AUDIO IN will be sent to the modulator When the AUDIO IN XLR LINE is set to LINE the source from the rear panel AUDIO IN LINE jack will be sent to the modulator When the AUDIO IN XLR LINE is set to XLR the sound from the mic con nected to the front panel AUDIO IN MIC XLR type jack will be sent to the modulator This is the typical vocoder using a mic setup TIMBRE2 The output of timbre 2 will be input to the modulator GATE SENS Gate Sensitivity scssssscsssssscsssssessssscssssseesees 000 127 Specifies the speed at which the gate will operate according to the THRESHLD setting Lower values for this setting will make the gate close more quickly causing the vocoder sound to decay more quickly Higher values for this se
61. RESO Reso The FILTERZ page RESO NOISE LVL The MIXER page NOISE LVL WS DEPTH The DRIVE WS page DEPTH LEVEL The AMP page LEVEL PANPOT The AMP page PANPOT 49 Parameter Guide microKORG XL 50 INTENSTY Patch Intensity cccscssssscsssssssssssscsssssessesesese 63 63 Specifies the depth of the effect produced by the modulation source With a setting of 0 there will be no modulation Setting example for SOURCE and DEST swem sa OOOO OOOO EG1 EG2 PITCH EG1 or EG2 will vary the pitch of the entire timbre over The EG1 or EG2 will vary the pan over time By setting two PANPOT patches to MOD INT settings with the opposite value you can create more complex panning LFO 1 LFO 2 PITCH Vibrato will be applied at the LFO1 or LFO2 frequency LFO 1 LFO 2 CUTOFF Wah will be applied at the LFO1 or LFO2 frequency EG1 EG2 LFO 1 LFO 2 LEVEL Tremolo will be applied at the LFO1 or LFO2 frequency LFO 1 LFO 2 PANPOT Auto pan will be applied at the LFO1 or LFO2 frequency VELOCITY LEVEL Velocity keyboard playing strength will affect the volume Keyboard position will gradually change the pan lower REK IRK PANPOT notes at the left and higher notes at the right P BEND PANPOT PITCH wheel operations or pitch bend change will move the sound between left and right EQ Equalizer Here you can adjust the equalizer settings The equalizer is a sh
62. Sets the LFO phase difference between the left and right channels 16 RING MOD Stereo Ring Modulator This effect creates a metallic sound by applying the oscillators to the input signal Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation Matching the oscillator frequency with a note number will produce a ring modulation effect in specific key ranges 77 Effect Guide microKORG XL 78 Stereo In Stereo Out Pre LPF N Ring Modulator Right oe A E T Dry Wet Oscillator Fixed Frequency R OSC Mode Pitch Note nAi gt Note Offset Fine nr ae Note Key Follow DRY WET scsssssscasecctsnsenenscccssnsieessvesvecsscossesseee DRY 99 155 1 99 WET Sets the balance between the effect and dry sounds OSC MODE svassccesssscsncsccusssccnasssesssssessecsnssensunssacsecnnssvensssecneenrs F NED NOTE Switching between specifying the oscillator frequency and using a note number If this is set to NOTE the oscillator frequency will track the note of the input signal FIXD FREQ Fixed Frequency jy sscssssscssssssessssseceees LOHZ 12 0KHZ This parameter sets the oscillator frequency when OSC MODE is set to FIXED amp If this parameter is assigned to CTRL 1 or CTRL 2 setting OSC MODE to NOTE will switch the assignment to NOTE OFST NOTE OFST Note Offset iti LEIKIE 48 e 48 Sets the pitch difference from t
63. Since a USB connection sends the data faster than when using MIDI cables and a MIDI interface we recommend a USB connection if you re going to be using the PC editor software NOTE In order to use a USB connection you must install the Korg USB MIDI driver in your computer Download the Korg USB MIDI driver from the Korg website and install it as directed by the accompanying documenta tion amp If either the MIDI connection or the USB connection does not work you should also check the ROUTING setting gt p 59 in the MIDI page MiDI related settings MIDI channel setting In order to exchange data with a connected external MIDI device you must set the microKORG XL s MIDI channel to match the MIDI channel of the external MIDI device Setting the microKORG XL s MIDI channel 1 2 3 Use knob 1 to select the MIDI page Use knob 2 to select MIDI CH and then use knob 3 to specify the MIDI channel Set the MIDI channel of the connected external MIDI device NOTE For details on how to set the MIDI channel of the external MIDI device refer to the owner s manual of the connected device Using the microKORG XL as a multi timbral sound module NO 4 5 You can specify a different MIDI channel for each of the microKORG XL s two timbres and use it as a multi timbral sound module from a connected external MIDI sequencer Use knob 1 to select the COMMON page Use knob 2
64. T is center and R63 is far right KEY TRK Keyboard Tracking ssesssosssosssosssosssosssosssessoessssssse 0340003 Specifies how keyboard tracking will affect the volume With positive settings the volume will increase as you play above the C4 note on the keyboard and will decrease as you play below C4 With negative settings the volume will decrease as you play above the C4 note on the keyboard and will increase as you play below C4 NOTE Keyboard Track operates according to the pitch that is controlled by pitch bend and transpose It is not affected by pitch changes produced by vi brato or Virtual Patch DRIVE WS Drive Wave Shape In this page you can set the Drive or Wave Shape parameters This lets you add distortion to the sound and give it a distinctive impact TYPE Wave Shape Type ccscssssssssssesereeee OFF DRIVE LVL BOOST This switches wave shaping on off and selects the type Wave shaping modifies the input waveform by applying a transformation of the type you specify here and produces an output waveform that includes the compo nents of both the input waveform and the transformation shape WS DEPTH specifies the depth of this effect amp Some settings may produce noise OFF o Wave Shape Drive is off Drive will be applied The amount of distortion is adjusted by the output level of each oscillator in the MIXER page gt p 41 DEPTH 000 DEPTH 064 DEPTH 127
65. TRIANGLE A triangle wave SINE A sine wave NOTE If you do not hear the sound of oscillator 2 go to the MIXER page and raise OSC2 LVL If you want to hear only the sound of oscillator 2 lower the OSC 1 LVL on the MIXER page OSC MOD Oscillator 2 Modulation Type OFF RING SYNC RNG SYNC This selects the type of oscillator modulation produced by oscillator 2 in conjunction with oscillator 1 OFF Oscillator modulation will not be used the sound of oscillator 2 will be output By adjusting the OSC2 SEMITONE and TUNE settings you ll be able to create overtone like components harmonies or detune effects RING Oscillator 2 will be used as a ring modulator By adjusting SEMI TONE or TUNE you can create metallic sounds with little sense of pitch This is useful for sound effects OSC2 Wave Q AW OSC2 Output OSC1 Wave AA o OSC1 Output Ring modulation generates the sum and difference of the oscillator 1 and 2 waveforms For example select a pulse wave PULSE for oscillator 1 as the oscillator set TRANSPOS to 0 and SEMITONE to 24 Then you can adjust TUNE to produce a clear bell like sound Using a virtual patch to modulate OSC2 TUNE from an LFO or EG can also produce distinctive results SYNC An oscillator sync effect will be produced This is convenient when creating synth lead sounds OSC2 Wave Sync OSC1 Wave Oscillator syn
66. XL s arpeggiator off during playback Synchronizing the arpeggiator The MIDI page CLOCK setting specifies whether the microKORG XL s arpeggiator will be the master the controlling device or slave the con trolled device NOTE For information on synchronization related settings of your external MIDI device refer to the manual of your device Using the microKORG XL as master and the external MIDI device as slave Connect the microKORG XL s MIDI OUT connector to your external MIDI device s MIDI IN connector Use knob 1 to select the MIDI page use knob 2 to select CLOCK and use knob 3 to select INTERNAL the microKORG XL will be the mas ter and will transmit MIDI timing clock messages Set your external MIDI device to receive incoming MIDI clock messages The external MIDI device e g sequencer or rhythm machine will operate at the tempo specified by the microKORG XL s TEMPO knob 2 MIDI messages MIDI channels Using the external MIDI device as master and the microKORG XL as slave Connect the microKORG XL s MIDI IN connector to your external MIDI device s MIDI OUT connector Use knob 1 to select the MIDI page use knob 2 to select CLOCK and use knob 3 to select EXT MIDI the microKORG XL will be the slave Set your external MIDI device to transmit MIDI clock messages as the master device The microKORG XL s arpeggiator will operate at the tempo of the
67. ation Tempo SyIc ccsscssssscsssssccssssccseseeeees OFF ON Specifies whether playback of the looped waveform will be synchronized If this is ON the looped waveform will play in synchronization with the tempo or MIDI clock TM RATIO fh BPM SYNC OFF 000 5 400 OVER BPM SYNC ON 012 5 400 OVER This specifies the length of the looped waveform relative to the DURA TION value DURATION cccsscssssscsssscssssccssscceeescserees 000 350m5 1 64 1 1 Sets the duration of the grain The length of the waveform is determined by this setting and the TimeRa tio setting If BPM SYNC is OFF this is set in msec units If BPM SYNC is ON this is set as a timing resolution relative to the tempo specified by the TEMPO knob or MIDI clock amp If the DURATION and TM RATIO settings exceed the limit an indication of 7 will appear for the TM RATIO LFO SYNC LFO Tempo Sync scsscccssscsssscssscssssccsesccsssscsesseeee OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ith ccscccssssccsssscessssseseeee 0001 100 0HZ If LFO SYNC is Off this specifies the cycle at which the waveform is switched in Hz units The waveform length specified by DURATION will play as a loop and the wavef
68. aueets 12 2 Selecting and playing a program 12 Playing a synthesizer PrOGraM ccccecceeeeeeeeeeeeeceeeeeeeesaeeeeeesaeeeeeaeeeeees 12 Playing a vocoder program eea a a S 13 3 Modifying the SOUNG ccscceseeeeeeeeeeeeeees 14 USNO NE COMUCOMUCKS o E suse 14 Using the keyboard to modify the sound ccccseeceeeseeeeeeeeeeeeeesaeeeees 14 Using the knobs to modify the sound cccceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeaes 16 4 Playing AFPCQOIOS ccscccsecseeeeeeeeeeeeeeeeesenees 18 Using the arpeggiator dcccieaize lt cassek vst ade den tecvamsewaasdiednds saleccienianateeunds udduaececataunct 18 Editing the SOUNG ccccccsccccsccsccccccceee 19 1 How a program is organized c scceeeeees 19 SVMUMSSIZ Sic Saomenetens Seance ta cacceanteaceuncad E E E 19 VOCOGER onenei a nines wondaiveasnactucrre E A and tebieas 21 2 Basic editing Procedure c ccssseesseeeeeeees 22 Editing sar prog aM aice secon caassanieutinurncas T T 22 9 FUT EOI MOQO ciiir aaa 23 Editing in Full EdITMOUE ai a a a ean 23 Editing the two timbres iic2rsccccboecsscceniedsndinatarraenscendssatenadsanateSduasscadiaatsverabent 24 Editing ANG vocoder nolaa E a a a 25 Processing an external audio input sssesnesesreesetrerrrrrrertrrrrrrrrrsrrrrnerrrne 25 Editing the arpegglator vis cosussnssaabenssecamaneiaetnwsaaabpruciielnis a e 26 4 About the Global settingS
69. ay to the left for a sound without any effect applied dry or all the way to the right for the maximum effect sound wet NOTE These knobs won t do anything if the FX TYPE of the selected program is set to FX OFF In this case the display will indicate INVALID Knob 3 FX1 CONTROL 1 This adjusts the parameter that s assigned to CTRL 1 FX1 CONTROL 1 for the effect used by the currently selected program NOTE You are free to change the parameter that s assigned to this knob Refer to page 63 Controlling effect parameters NOTE This knob won t do anything if the FX TYPE of the selected program is set to FX OFF In this case the display will indicate INVALID 17 Quick start microKORG XL 4 Playing arpeggios Using the arpeggiator 18 The arpeggiator is a function that automatically plays a broken chord arpeggio when you hold down a chord on the keyboard The microKORG XL s arpeggiator provides six arpeggio types and allows you to change various aspects of the arpeggio such as the duration gate time of the notes It also provides a step arpeggiator that lets you specify the on off status for up to eight steps giving you a wide range of performance possibilities Select a program You can use the arpeggiator with both synth programs and vocoder pro grams but in this example we ll select a synth program such as A24 PRAY ARP in order to try out this function
70. c is a type of modulation in which the phase of oscillator 2 is forcibly synchronized to the phase of oscillator 1 For example select a sawtooth waveform for the oscillator and raise the OSC2 LVL setting Then use SEMITONE or TUNE to change the pitch and listen to the result This will be easier to notice if you raise the pitch of oscillator 2 higher than oscillator 1 You can also produce interesting results by using a virtual patch to modulate OSC2 TUNE from an LFO or EG RING SYNC This will apply both RING and SYNC modulation simultane ously OSC2 Wave TTT gt Q wWh OSC2 Output Sync Hons OSC1 Wave AAA OSC1 Output Parameter Guide SEMITONE Oscillator 2 Semitone cccssccsssscsssssccsssscessers 240024 Specifies the detuning pitch difference relative to oscillator 1 in semitone steps over a range of plus or minus two octaves NOTE If you want to use the sound of oscillator 2 as a component in the oscilla tor 1 overtone structure try setting it one octave or a fifth higher than os cillator 1 If you want to use oscillator 2 in harmony you can try intervals such as a third fourth or fifth TUNE Oscillator 2 Tuning scssscccssssscccssssscssssssscsessssscsssees 63 63 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 differ ence of 1 octave Values near 0 will make fine adjustmen
71. ccccccccceccecceees 24 EE a EEIE E ON EI A NAS 5 COMPLETE 31 2 ene POrtaMento nsss 36 Variable Phase Modulation 20 CONNECTION ial kil alee Ski 9 KNOB MOD k 24 PRELOAD iisiencecresacicaenscten 30 62 Virtual Patch uses 19 20 49 CONTROL CHANGE cccccccccccccccecees 82 Progra R 19 VOCOdE oan A 212303 CONTLOTIEL cocccccccccccccccccccccccccccccceccccccccesees 19 Initializing a program 28 Vocoder SECTION esesessesseessersesseeseesses 21 CROSS MODULATION 20 36 L Program NaMe sesesssessessesseeseessesse 32 VEM nosna 20 Cutoff FreQUENCY cecssecsseecssecsesseeesees 42 WAV ER are teecacie caren staan 32 Programi Listassa 96 LCD Backlight Mode 59 PROTECT onio 59 w E O E EEE EE AE 19 20 48 Pulse WaVe esessessesesessessesesecseseseoseserse 38 D Local setting ON OFF ews 6 WAVEFORM wonnsnnnnnnnnnnnin 36 Data DUMP iiurercatstciinvintdasetaas 28 WaVeSNAapPiNg sssssssssccsesssnsecceeesneeee 20 Demo SOI renean 12 98 R WREE peara a a eterna 31 DOTUNG coccccccccccccccccececcccccccccecccccececececcseses 35 M Restoring the factory setting 29 62 A os ee ar Ono Ne Cnn tan EER ED 20 DRIVE eeN 20 Master effect MASTER FX 20 51 ROUTING ssssssssssesssessseseessessesseeseessesseesees 43 MIDI anae S 80 E MIDI channel ssssseesseessesssesssesseessessseos 81 S Effect 63 MPPE IET 90 02 SAVING eE 31 E tes le ade 19 20 46 Pilon a ESE Sawtooth WAVE rseeseeesssecceceerennnsnnneeees 38 100 Appendices sao
72. cceeseee 000 127 Specifies the time from note off when the key is released until the level reaches 0 VEL INT Velocity Intensity ccsccssssscsssssscsssssesssssessesees Od eee 63 This specifies how your keyboard velocity playing strength will affect the amplitude of EG3 Higher settings of this parameter will allow changes in your keyboard velocity to produce greater differences in EG amplitude LFO 1 LFO 2 Each timbre contains two LFOs An LFO produces a cyclic change that can be used to modulate the pitch tone or volume of the sound NOTE LFO1 and LFO2 can be used as Virtual Patch sources to apply modula tion to a variety of parameters gt p 49 47 Parameter Guide microKORG XL LFO Low Frequency Oscillator The LFO Low Frequency Oscillator is an oscillator that produces a rela tively slow low frequency oscillation and is used to apply cyclic modula tion 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 XL provides special parameters that can be modulated from an LFO If the OSC1 page OSC MOD parameter is set to WAVEFORM the LFO1 will be able to modulate the
73. ch to XLR 4 Select a vocoder program With the factory settings category 8 or program A18 A28 etc contains vocoder programs When you select a vocoder program the VOCODER button LED will light Listening to the audio input AUDIO IN THRU If you hold down the EXIT SHIFT button and press the VOCODER but ton the audio input signal from the AUDIO IN MIC jack or the AUDIO IN LINE jack will be sent from the OUTPUT L MONO R jacks without modification To return to the normal state hold down the EXIT SHIFT button and press the VOCODER button once again 13 Quick start microKORG XL 3 Modifying the sound To make your performance more expressive you can modify the sounds of the microKORG XL by using the 1 3 knobs the PITCH wheel the MOD wheel and by how you play the keyboard Try out various ways to play each program you select Using the controllers Using the PITCH wheel and MOD wheel 14 PITCH wheel The effect will be applied when you move the PITCH MOD wheel away from or toward yourself there will be
74. d by TIMBRE SELECT Bank CC 00 MSB Bank CC 32 LSB_ Program Change value Timbre Number 000 127 00 7F AT1 BB8 Timbre 7 000 127 00 7F ATT B86 Timbre 2 Pitch bend 84 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 page P BEND value Pitch bend can also be used in a Virtual Patch PATCH1 PATCH6 page for a synth program as a mod ulation source for a vocoder program VC FILT page or as a control source for a effect parameters In this case the message will act as a mod ulation source where mm 64 bb 00 will be O 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 XL pitch bend change messages are transmitted on the Global MIDI channel If you want pitch bend changes to be transmitted and received set the MIDI FLT page P BEND to ENABLE If this is set to DISABLE pitch bend change messages will not be transmitted or received Control changes Control changes Bn cc vv n channel cc control change no vv value When you use knobs 1 3 to edit certain parameters or when you oper ate certain buttons or the MOD wheel the assigned control change will be transmitted Conversely when control change numbers corresponding to the knob 1 3 se
75. displayed and can be set if MOD SRC is LFO gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase cccscscssscsssesescsescseseeeseeeee 000 180 Specifies the starting position of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON DELAY Stereo Delay This is a stereo delay and can by used as a cross feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing Stereo In Stereo Out Left o High Damp d N 7 Trim Stereo Cross N Feedback Spread Spread High Damp i NI Stereo Cross Jo Dry Wet DRY WET sascsscscasssoscsoscsaasscassocesstcooncconsssseesaseo DRY 99 1s 1 99 WET Sets the balance between the effect and dry sounds TYPE cccssssvesssascaceansastanccisssccetescasssaeseusssenssacecaseesneseasoeseass STEREO CROSS Selects the delay type With the STEREO setting this will be a conventional stereo delay With the CROSS setting this will be a cross feedback delay in which the delay sound bounces between left and right BPM SYNC DelayTime Tempo Sync ssssessosessoeesoosessesessossooossseee OFF ON Specifies whether the delay time will be synchronized If this is On the delay time will synchronize to the tempo or MIDI clock TM RATIO ih eescscscecceseseseeeeee BPM SYNC OFF 000 5 400 0 OVER BPM SYNC ON 012 5 400 0
76. dit mode Turning the knobs 1 3 does not modify the edit parameters Could the GLOBAL page KNOB MODE be set to CATCH gt p 24 Turning the knobs 1 3 does not affect the sound Have you used the TIMBRE SELECT lever to select the timbre you want to edit Can t select timbre 2 Have you set the COMMON page VOIC MODE parameter to some thing other than SINGLE Can t select vocoder parameters in Full Edit mode Is the VOCODER button selected 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 gt p 31 Appendices Can t write programs or global settings J Is the GLOBAL page PROTECT setting OFF C If the edited program or global setting did not remain did you use knob 1 to specify the data to be saved when you executed the Write opera tion Arpeggiator will not start J Is the arpeggiator on ARP ON key lit C Is the arpeggiator assigned to a timbre J Is the MIDI page CLOCK setting correct No response to MIDI messages sent from an external device J Is the MIDI cable or USB cable connected correctly J Does the MIDI channel of the data transmitted from the external MIDI device match the MIDI channe
77. e attack Increasing this value will emphasize the attack FILTER1 42 The filter section changes the tonal character of the oscillators by passing only the desired portion of the sound either above Low Pass below High Pass or centered on Band Pass the cutoff frequency The micro KORG XL has two filters filter 1 and filter 2 and you can change their routing to create more complex filter sounds CUTOFF Filter Cutoff cscccccscscsosscssscscccsscscsseesseseseeees 000 127 Sets the cutoff frequency Increasing this value will raise the cutoff frequency CUTOFF can be varied by time variant changes produced by EG1 by keyboard playing dynamics velocity and by note location keyboard track ing If the CUTOFF value is set too low the volume may be extremely low or you may hear no sound at all RESO Filter1 Resonance cccccccccccscccccsccccccccccccecsscccceeees 000 127 Sets the resonance of the filter This will emphasize the overtones near the cutoff frequency that is specified by CUTOFF adding a distinctive charac ter to the sound Increasing this value will increase the effect Since move ment of the CUTOFF knob will affect the overtones that are boosted by resonance it is best to adjust CUTOFF and RESO in conjunction with each other A IA A Low resonance value High resonance value Depending on the cutoff frequency or
78. e microKORG XL s Local Control setting is also on the performance data generated when you play the microKORG XL s keyboard will be sent to the external MIDI sequencer and will also be echoed back to sound the microKORG XL 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 XL s Local Control setting off Recording the MIDI output from the microKORG XL s arpeggiator onto an external MIDI sequencer or computer Connect and setting Connect the microKORG XL s MIDI OUT connector to the MIDI IN con nector of your external MIDI sequencer computer and connect the micro KORG XL s MIDI IN connector to the MIDI OUT connector of your external MIDI sequencer computer Then turn the microKORG XL s Local Control off MIDI page LOCAL OFF and turn on the echo back set ting of your external MIDI sequencer computer Recording the note data from the arpeggiator onto an external MIDI sequencer computer Set the microKORG XL s GLOBAL page POSITION to POST KBD Turn on the microKORG XL s arpeggiator ARPEGGIATOR ARP ON button lit play the keyboard and record the note data on your external MIDI sequencer computer If the GLOBAL page POSITION is set to POST KBD the MIDI note data produced by the arpeggiator will be output from the microKORG XL and recorded Turn the microKORG
79. e operation amp Depleted batteries should be immediately removed from the micro KORG XL Leaving depleted batteries installed may cause mal functions such as leakage of the battery electrolyte You should also remove the batteries if you won t be using the microKORG XL for an extended period of time Turning the power on Before you power on the microKORG XL you must power off any external output device such as your powered monitor speakers 1 Turn the microKORG XL s VOLUME knob all the way to the left 2 Press the power switch to turn on the power The display will indicate the program number and program name 3 Lower the volume of your powered monitors or other exter nal output equipment 4 Turn the microKORG XL s VOLUME knob to an appro priate position 5 Adjust the volume of your external output equipment Turning the power off After completing any necessary operations such as saving your edited pro gram turn off the power using the following procedure Never turn off the power while data is being saved i e while execut ing the Write operation Doing so may destroy internal data 1 Lower the volume of your powered monitor speakers or other external output device and then turn off their power 2 Turn the VOLUME knob of the microKORG XL all the way toward the left and then press and hold down the power switch until the display indicates that you can safely turn off the power Auto
80. e setting MIDI CH 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 XL note on off mes sages are transmitted The note off velocity is transmitted at a fixed 64 but is not received If the GLOBAL page POSITION is POST KBD note on off messages will be transmitted by the arpeggiator when it is running MIDI microKORG XL Program change Bank select 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 A11 B88 will be transmit ted If you want program changes to be transmitted and received set the MIDI FLT page PROG CHG to ENABLE If this is set to DISABLE program change messages will not be transmitted or received Bank select MSB CC 00 Bn 00 mm Bank select LSB CC 32 Bn 20 bb n channel mm bank number upper bytes bb bank number lower bytes When you switch programs in Play mode Bank Select and Program Change messages are transmitted Bank CC 00 MSB Bank CC 32 LSB_ Program Change value Bank amp Prog Number foo EE You can use Bank select and program change messages to switch the set tings of an individual timbre used by a program to the settings of another timbre one used by a different program These messages are received on the MIDI channel of the timbre selecte
81. e the PITCH page to specify the pitch of the basic waveform and then select the waveforms in the OSC1 and OSC2 pages The waveforms generated by this oscillator section are mixed Synthesizer together by the mixer The filter settings are located in the FILTER page On As shown in the illustration a synth program consists of timbres 1 2 master this page you can modify the tone by applying filters to the sound produced effects 1 2 and the arpeggiator by the oscillator Finally the amp parameters are located in the AMP page On this page you can modify the volume You can create a basic program by editing the settings in these pages gt Timbre 1 MASTER FX1 MASTERFX2 MONO R EG LFO keyboard tracking virtual patch and controllers In addition to the way that it s affected by the oscillator filter and amp a synthesizer sound can also change in various other ways over the pas S sage of time according to the pitch you play or in response to various per formance gestures These changes in the sound are controlled by modulators and controllers such as the EG envelope generator LFO low frequency oscillator keyboard tracking virtual patch and wheels such as PITCH and MOD You can use these modulators and controllers to pro e Timbre2 a duce various changes in the basic sound of the program AMP To EQ Take a look at the illustration that shows the structure of the microKORG 4 XL Notice that the
82. ed or received gt p 60 Virtual patch modulation source settings You can assign three different MIDI control messages MIDI 1 2 3 as vir tual patch modulation sources Make the desired assignments in the PATCH page gt p 60 and then select MIDI1 or MIDI2 etc as the virtual patch source for the virtual patch settings PATCH1 PATCH6 This lets you control modulation via MIDI The modulation source FC MOD SRC of the cutoff frequency of the vocoder s carrier band pass filters can also be controlled via MIDI simply select MIDI 1 2 or 3 as the virtual patch modulation source 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 XL are operated Con versely you can operate the microKORG XL s knobs and keys to control an external MIDI device Use the CC MAP page to assign control change messages to parameters gt p 61 MIDI LOCAL setting when connecting an external MIDI sequencer or computer 82 If notes are sounding doubled when the microKORG XL is connected to an external MIDI sequencer or computer turn the Local setting off MIDI page LOCAL OFF gt p 59 If the microKORG XL 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 th
83. ed sound of the two timbres you can add the finishing touch to the overall program Editing the sound Arpeggiator ARPEGGIATOR The arpeggiator automatically generates an arpeggio broken chord when you hold down a chord on the keyboard For programs that use two tim bres you can apply the arpeggiator to either or both timbres This is a step arpeggiator with six arpeggio types Vocoder A vocoder analyzes the frequency characteristics of one signal called the modulator such as a human voice input via a mic and applies these characteristics to a filter that is processing a different signal called the car rier such as an oscillator waveform thus producing distinctive effects such as an instrument that appears to be talking The microKORG XL contains a sixteen band vocoder that can simulate not only the classic vocoder sounds of the past but also create original vocoder sounds where the tonal character or the level of each band can be controlled As shown in the illustration below the vocoder consists of the carrier the signal being modified the modulator the signal that controls the modify ing and the vocoder section itself eee Synth ee Vocoder Sw ON Carrier Vocoder Modulator Timbre 1 Vocoder Sw ON amp Modulator AudioSre Timbre2 Timbre 2 MASTER FX1 Vocoder HPF Gate Send Band16 LEVEL V Threshold Band1 E F SENS DIRECTV GATE Sy LEVEL ANALYSIS ENVELOPE Modu
84. edium strength playing ever these curves will produce a great deal of change with softly played notes so they may be more difficult to control Choose the curve that is most appropriate for your playing dynamics or for the effect you want to obtain 57 Parameter Guide microKORG XL Keyboard Keyboard 58 POSITION siessscscssscadssscctssscccssscndsensersssuarssscndsonsersssaassey POST KBD PRE TG Specifies the internal MIDI IN OUT routing within the microKORG XL This setting will affect the way in which MIDI data is transmitted 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 global or front panel transpose controls and will not trigger the arpeggiator Data produced by the keyboard will be con verted according to the internal settings routed through the arpeggiator arpeggiator notes are sent as MIDI data and then sent to the MIDI OUT connector MIDI IN GLOBAL Master Transpose Arpeggiator GLOBAL Velocity Curve PRE TG Incoming MIDI data will be affected 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 affected by any setting other than OCTAVE UP DOWN button Timbre 1 i O MIDI OUT FRONT PANEL Octave MIDI OUT O GLOBAL Master Transpose GLOBAL Velocity Curve
85. elay time will be an eighth note in the left channel and a dotted eighth note in the right channel amp If the specified delay time multiplied by the TM RATIO would exceed the allowable range a indication will appear at the right of the TM RATIO and the delay time will be set to one half of the set ting If this would still exceed the maximum possible value the delay time will be further shorted to 1 4 1 8 1 16 and so on 64 Effect guide 2 Effect Parameters Parameter name ifi These are the parameters that can be assigned to CTRL 1 or CTRL 2 gt p 63 Effect knob assignments 1 COMPRESR Stereo Compressor This effect compresses the input signal to regulate the volume level and give a punchy effect This is useful when applied to sounds that have a strong attack You can link the left and right channels or make them operate indepen dently Stereo In Stereo Out gt o Dry Wet Z Due level gt Envelope Control ee gt Envelope Control i Output Level Right o gt o 9 ET DRY WET scssscssccsscsssuasnsasseassuasssobsoosseassestvoosscel DRY 29 Tes 199 WET Sets the balance between the effect and dry sounds ENV SEL Envelope Select sccscssscsssssessssscesssseeeee LLR MIX LR INDIV When L R Mix is selected for this parameter the left and right channels are linked to control the Limiter using the mixed
86. elects the filter type gt p 42 TYPE BAL Filter1 Balance CUT OFF 8 ccesicciesiceicstssissistaveiasachiostacncussncassrscavesncvecesssverestss 000235127 Sets the filter cutoff frequency gt p 42 CUTOFF Filter1 Cutoff RESO Resonance it CRORE REE 000 e 127 Sets the filter resonance amount gt p 42 RESO Filter1 Resonance Sets the input level MOD SRC Modulation Source s sccscsscscsssesessseseeeeeeee LFO CTRL Selects the modulation source that will control the cutoff frequency If you set this to LFO the LFO will modulate the cutoff frequency If you set this to CTRL the control source selected by CTRL SRC will control the cutoff frequency MOD INT Modulation Intensity phy sccsssscsssssessereeee O3000 03 Adjusts the depth of modulation applied by the modulation source RESPONSE Modulation Response it sssscccsssssseessseeeee 000 127 Adjusts the response of the modulation effect A setting of 0 produces slow response LFO SYNC LFO Tempo Sync csssccsssscsssscssssccsssscsssssssssssssseees OFF ON Specifies whether the LFO cycle will synchronize to the tempo set by the TEMPO knob or by MIDI clock If this is Off the LFO will operate at the cycle specified by LFO Freq If this is On the LFO will synchronize to the tempo or MIDI clock NOTE This parameter will be displayed and can be set if MOD INT is
87. elving type High EQ Frequency Low EQ Frequency LO FREQ Low EQ Frequency sseesssssssosesoosesossessosesooesso 0020 1000HZ Specifies the frequency of the low equalizer LO GAIN Low EQ EE L EEEO EEA 1 5 0 e 1 5 0dB Specifies the gain of the low equalizer Positive values boost the region below the cutoff frequency Parameter Guide Negative values cut the region below the cutoff frequency HI FREQ High EQ Frequency cccscssssscsssssscsssssecees 11 00 20 0KHZ Specifies the cutoff frequency of the high equalizer HI GAIN High EQ Gaiin cccccscsssoscscssscssseseseseeeee 15 0 15 0dB Specifies the gain of the high equalizer Positive values boost the region above the cutoff frequency Negative values cut the region above the cutoff frequency MST FX1 MST FX2 Master effect 1 2 In On this page you can adjust settings for the master effects You can choose from seventeen types FX TYPE a aa A OFF eee GRAIN SFT This selects the effect type used by the master effect For details on the available effects refer to page 63 Effect guide CERE T scossssssessssescensssssssoscendsessssstnsssessssescesnsvesseeccesss IMI LFA PARAM c CTRL 2 cciserseicrrsersenriornerosoeioiininsseeesensarsnssns MST FA PARAM vel These specify the parameters that will be controlled by knobs 1 3 when you set the KNOB FUNCTION SELECT dial to ASSIGN or EFFECT
88. en the effect and dry sounds TY PE A A gt A Vb Selects the phaser type MANUAL Ui sucsessesssuseouseascsvecusssustsssasiassatessoassessansasiadecsecstseses L000 s127 Sets the frequency to which the effect is applied 76 MOD DEPTH Modulation Depth ih sssscccssssrecssssseeeees 000 127 Sets the depth of LFO modulation RESO Resonance hh sccssssrccsssssscccssssscsssssscsssssssesssseeers 000 127 Sets the resonance amount Switches the phase of the output and feedback LFO SYNC LFO Tempo Sync ssssccsssscsssscsssscssssccsssccsssscsssseeee OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ith sccscssssscsssssscssssseseeee 0001 100 0HZ Sets the LFO speed gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note hy sscsssscccssssccssssccsssscssssees 8 1 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob NOTE This parameter will be displayed and can be set if LFO SYNC is ON gt p 66 SYNC NOTE LFO Sync Note LFO WAVE LFO Waveform SAW SQUARE TRIANGLE SINE S amp H Selects the LFO waveform gt p 66 LFO WAVE LFO Waveform LPO SHAPE sesscxscvesusaussvssvsecsessscstuavectesucencsusrnesseassrceresuensnnss 03 sas FOA gt p 66 LF
89. en you move the pitch wheel all the way up or all the way down PORTMNTO Portamento ssossssosssocsesscessoosssosesoosesseessosessoe 000 127 Portamento is a smooth change in pitch from one note to another This parameter specifies the speed of the portamento effect With a setting of 000 there will be no portamento effect Increasing the value will lengthen the amount of time it takes for the portamento effect to transition from one note to the next 0SC1 Oscillator 1 36 Oscillators generate the basic waveform Each timbre has two oscillators On this page you can make settings for oscillator 1 Use knob 2 to select the parameter that you want to edit and knob 3 to edit the value WAVE Waveform Select cccccccsccsscccccssscccccccecccccccccccccccccccccccccsssesees SAW PULSE TRIANGLE SINE FORMANT NOISE PCM DWGS AUDIO IN Selects the waveform for oscillator 1 The Saw Pulse square Triangle and Sine are traditional waves associated with analog synthesizers saw _ Asawioothwave CS sme fAsmewwe o to that of a human voice Nose Generatesnose PCM DWGS PCM DWGS waveforms from acoustic instru ments and digital synthesizers The audio signal received at the AUDIO IN LINE jack or AUDIO IN MIC jack will be used instead of the oscillator NOTE Pitch related parameters will not affect the signal received from the AUDIO IN LINE jack or MIC jack OSC MOD Osci
90. ered scale used in the late Baroque period Kirnberger scale created in the 18th century and used mainly for tuning harpsichords Slendro scale an Indonesian gamelan scale that divides the octave into five notes If the SCALE KEY is C use the C D F G and A keys Pelog scale an Indonesian gamelan scale that divides the octave into seven notes If the SCALE KEY is C use the C D E F G A and B keys The scale you created in the Global mode USR SCALE page gt p 61 SLENDRO PELOG Specifies the tonic key or root note for the scale you selected in SCALE KNOB Here you can assign the parameter that will be controlled by knobs 1 3 when you set the KNOB FUNCTION SELECT dial to ASSIGN 33 Parameter Guide microKORG XL You can make assignments for knobs 1 3 independently for timbre 1 and LEVEL timbre 2 the knobs will control the timbre that s selected by the TIMBRE NOTE With the factory settings suitable parameters are already assigned to the WS DEPTH Wave Shape Depth knobs ATTACK1 Attack Time EG 1 ASSIGN Deg he E wt Me no ee eet nen ne ASSIGN1 ASSIGN3 DECAY1 Decay Time EG 4 Select the knob to which you want to assign a parameter ASSIGN1 Assign a parameter to knob 1 SUSTAIN Sustain Level EG 1 ASSIGN2 Assign a parameter to knob 2 RELEASE1 Release Time EG 1 ASSIGN3 Assign a parameter to knob 3 ATTACK2 Attack Time EG 2 Parameter 000000000 HHHOOHHHHHH
91. erous other aspects of the sound Some example amp EG settings are shown below Piano Organ Level Level Note on Note off Note on Note off Attack 0 Sustain 0 Attack 0 Sustain 127 Decay 100 127 Release 5 25 Decay Release 0 Strings Level Note on Note off Attack 40 Sustain 75 Decay 50 Release 50 ATTACK Attack time EG1 cccccccssscssssssscscsescsssscseccseeeoeeee 000 127 Specifies the time from note on when the key is pressed until the attack level maximum value of the envelope is reached DECAY Decay time EG1 essessessessossessossossossossossossosoossossossoss 000 127 Specifies the time from when the attack level is reached until the sustain level SUSTAIN is reached SUSTAIN Sustain level EG1 ccccccccssssscccccsccccecsccccceesesee 000 127 Specifies the cutoff frequency that will be maintained after the decay time has elapsed until you release the key RELEASE Release time EG1 ccccccccsccccscccccccccccsccccecccceeese 000 127 Specifies the time from note off when the key is released until the level reaches 0 VEL INT Velocity Intensity ccccscsscsssssccssssecsssssessesees Od eee 03 This specifies how your keyboard velocity playing strength will affect the amplitude of EG1 Higher settings of this parameter will allow changes in your keyboard velocity to produce greater differences in EG amplitude EG2 Here yo
92. es transmitted The following table shows how the control change values transmitted received by the OSC2 page SEMITONE setting correspond to the value received by the FILT1 page TYPE BAL setting correspond to the value of of the parameter the parameter CX C e C E C 7 80 iemediate he characters between 24LPF and 12LPF ooo o apa R pae Intermediate he characters between 12LPF and HPF eae ooo 8 ooi 39 91 97 99 105 107 108 109 115 117 92 SYNC NOTE value when LFO 1 2 or DELAY BPM SYNC ON EQ Gain values If BPM SYNC is on the FREQ parameter of LFO 1 2 and the delay The following table shows the correspondence between the parameter parameter of the master effects will change to SYNC NOTE In conjunc value and control change value transmitted received when you adjust the tion with this the correspondence between the parameter value and the EQ page GAIN parameter control change value transmitted received when you operate a knob will change as follows Value transmitted received LFO ss Note DELAY Syne Note CC Ba a OCC a E e EO a ma p os pen f o Bea ms jae o EC f o sz pe e aa s pa f o on f e ssa f ss pmm f o ss oo ma f an ss poemom mo ea so pem f sa m om mo Bew os am o m o pem s sa f as em mo ss lt lt om s so o ams s C E a A es o 113
93. esvensvncsecatuustastcaivecesicessuacecseccecsecsessscsieuss 000 127 Sets the depth of modulation LFO SYNC LFO Tempo Sync essesssosssssesocesocesosesosesosesosesosesosesoseo OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ith sccssccssssscsssscsssssessens 0 01 100 0Hz Sets the LFO speed gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note ihi e ssessssoessoosssocessosessocessessoosesoe 8 1 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob NOTE This parameter will be displayed and can be set if LFO Sync is On gt p 66 SYNC NOTE LFO Sync Note LFO WAVE LFO Waveform SAW SQUARE TRIANGLE SINE S amp H Selects the LFO waveform gt p 66 LFO WAVE LFO Waveform LFO SHAPE ssssccsssssscssssssccssssscsssssseccsssssesssssssessssssessessssesssses 63 63 gt p 66 LFO SHAPE KEY SYNC LFO Key Syno ssssssssccssssscccssssccsssssescsssssssesssseesssssssesssee OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase ssssessssoeessoocesssocessoecessoesesooses 000 180 Sets the starting location of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON
94. evel 69 Effect Guide microKORG XL 6 70 FS MOD INT Fs Modulation Intensity hy sesessoesssosessecesseeee 63 63 Sets the depth of sampling frequency LFO modulation LFO SYNC LFO Tempo Sync 000000008 0H0O00HHHHO8HHHHHHHHHHH8HHHHH8HHH8HHHHH888H8EE8 OFF ON Specifies whether the LFO cycle will synchronize to the tempo specified by the TEMPO knob or MIDI clock p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ity cccsscssssscssssscesssesecees 0001 100 0HZ Sets the LFO speed NOTE This parameter will be displayed and can be set if MOD SRC is LFO and LFO SYNC is Off gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note iti scsssccsssssssscsssscssscssssssssssees O Tees 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob NOTE This parameter will be displayed and can be set if LFO SYNC is ON gt p 66 SYNC NOTE LFO Sync Note LFO WAVE LFO Waveform SAW SQUARE TRIANGLE SINE S amp H Selects the LFO waveform gt p 66 LFO WAVE LFO Waveform LFO SHAPE 000000008 OHHO0HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH8HHHHH8HHHHH8HHH8E88EE 63 ee 63 Adjusts the shape of the LFO waveform gt p 66 LFO SHAPE KEY SYNC LFO KeySync cscsscssssscsssscsssscssssccsssscsssssssssssseseees OFF ON Specifies whether the LFO will be reset at note on NOTE This parameter will be
95. ey RELEASE Release time EG2 ccccccsccccsccsccccccccccccscccccceseee 000 127 Specifies the time from note off when the key is released until the level reaches 0 Parameter Guide VEL INT Velocity Intensity cccsccssssscsssssscssssscsssssessessees Od eee 63 This specifies how your keyboard velocity playing strength will affect the amplitude of EG2 Higher settings of this parameter will allow changes in your keyboard velocity to produce greater differences in EG amplitude EG3 Here you can adjust the settings of EG3 Create the desired curve by adjusting the ADSR parameters ATTACK DECAY SUSTAIN RELEASE NOTE You can use EG3 as a Virtual Patch source to modulate parameters oth er than filter cutoff EG1 or volume EG2 gt p 49 ATTACK Attack time EG3 cccccscsccscscssscsssesescscseseseseseoeee 000 127 Specifies the time from note on when the key is pressed until the attack level maximum value of the envelope is reached DECAY Decay time EG3 Se eet eer en ener a a ener Bem 74 Specifies the time from when the attack level is reached until the sustain level SUSTAIN is reached SUSTAIN Sustain level EG3 ccccccccscsscccccsccccccssccccceseeeee 000 127 Specifies the volume that will be maintained after the decay time has elapsed as long as you continue holding the key RELEASE Release time EG3 cccccscscccccsssccccccccccecsccc
96. g a program Playing a synthesizer program The microKORG XL contains 128 programs that you can play immedi ately To select a program you ll use the panel PROGRAM GENRE dial PRO GRAM CATEGORY dial and BANK SELECT lever You are free to select the sound according to its musical style Program Genre or by its musical role Program Category simply start with the dial that you find most convenient Try out the various programs and listen to the sounds that they offer As an example here s how to select a sound from the BASS category for use in a song in the ROCK genre Turn the PROGRAM GENRE dial to ROCK Turn the PROGRAM CATEGORY dial to BASS The display will indicate the name of the selected program NOTE The program will change when you switch the bank or number Play the keyboard to hear the sound You can use the OCTAVE lever to change the assigned pitch range gt p 15 Using the OCTAVE lever to switch octaves Use the BANK SELECT lever to switch sounds While playing the keyboard compare the sounds of the two banks to see which one you like best HIPHOP DANCE sr ror als ouse Playing a vocoder program 5 Adjust the mic input level While vocalizing into the mic turn the AUDIO IN LEVEL
97. hat was characteristic of vintage analog synthesizers Higher settings will produce greater variations in pitch Here you can adjust settings that affect the pitch of the oscillators These settings are common to oscillators 1 and 2 Set the transpose and tuning parameters to obtain the desired pitch Here you can also specify the amount of pitch change that is produced by the PITCH wheel pitch bend wheel and MOD wheel modulation wheel 35 Parameter Guide microKORG XL TRANSPOS Transpose eessseossssoossssoocessoosessoocessoesessossesssese eee 48 Adjusts the pitch of the oscillators in semitone steps The range is four octaves upward or downward NOTE This setting is related to the pitch of the oscillators themselves this is not the same as the OCTAVE UP DOWN buttons on the front panel that change the range of notes available on the keyboard Adjusts the pitch of the oscillator in one cent steps VIB INT Vibrato Intensity seesssosssocsssocessocessosesoosesseee 2400 2400 Specifies the depth of vibrato that will be applied when you move the MOD wheel all the way up NOTE You can produce a vibrato effect by using LFO2 to modulate the oscilla tor pitch causing it to move up and down P BEND Pitch Bend scossssveccccccacesscsceecsvecevevesucsersvesesdvesvecsesvess L2esct 12 Specifies the range of the PITCH wheel in semitones This value specifies the amount of change that will occur wh
98. he data for the currently selected program will be loaded the parameters of the NAME VC BANK pages and the settings of the front panel buttons and knobs ALL PROG All program data will be loaded GLOBAL Global data will be loaded the parameters of the GLOBAL USR SCALE pages ALL DATA All program data and global data will be loaded 3 Press the WRITE button to execute the operation The preload data will be loaded and the display will indicate COMPLETE NOTE If you decide not to execute press the EXIT SHIFT button 30 Saving Writing Saving Writing 1 Saving the settings you ve edited If you ve edited a program and would like to use that edited program again in the future you ll need to save write it Likewise if you ve edited settings in the GLOBAL USR SCALE pages the changes you made will be lost if you turn off the power before saving writing them Be sure to save write any edited settings that you want to use again amp Any changes that you make by editing a program will be lost if you turn off the power or switch to a different program before saving writ ing amp Never turn off the power while data is being written Doing so may destroy the data Saving a program The settings that are saved The following items of the selected program will be saved All parameters of the NAME VC BAND pages ARPEGGIATOR ARP ON button OCTAVE DOWN UP PROGRAM NAME KNOB ASSIGN Pre
99. he factory set default setting is CC 16 MIDI2 SRC oe P BEND 119 016 017 019 020 021 Selects the function that will be assigned to modulation source MIDI2 used in a virtual patch The factory set default setting is CC 02 MIDI3 SRC oe P BEND 119 016 017 019 020 021 Selects the function that will be assigned to modulation source MIDI3 used in a virtual patch The factory set default setting is A TOUCH aftertouch If you ve selected 016 CC 16 _ 017 KEY ees veavecscssccscesssvexsceseescecestacetsctectectsciectectcersstectestsetscssensensenenens eve CC 17 019 CC 19 020 Select 016 Select 016 Select the note whose pitch you want to adjust CC 20 or 021 CC 0216 When a control change message is received from a Value 0000000000080 OO8HHH OHO HHHHHHHHHHHHOHHHHHHHHHHHHHHHHHHHHHHOHHHHHHHHHOHHHHHHHHOOEE 63 63 slider value O 127 on an external MIDI device the 63 The note will be 63 cents flatter than standard pitch center position of the slider control change value 64 0 m m 63 The note will be 63 cents sharper than standard pitch will produce a modulation effect of O on the micro Z KORG XL n If you ve selected 016 017 019 020 or 021 0 setting the slider etc to a position of O control change value 0 will produce a modulation effect of 0 on the microKORG XL Choose
100. he original note in semitone steps when OSC MODE is set to NOTE NOTE FINE E LOU act 100 Sets the pitch difference from the original note in cent steps when OSC MODE is set to NOTE NOTE By setting NOTE OFST and Note Fine so that the oscillator frequency will track the note that is input you can produce a ring modulator effect with a correct scale OSC WAVE OSC Waveform cccscscsssseseseeeeeee SAW TRIANGLE SINE Selects the ocsillator waveform LFO INT LFO Intensity hy cssccscssscsssssccssssccsssssessssscees 63 63 Sets the depth of LFO modulation LFO SYNC LFO Tempo Sync ANAIA NN AN I EEIN EEE EAEAN OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo sync LFO FREQ LFO Frequency ith sccscccssssccssssccssssseseeee 0001 100 0HZ Sets the LFO speed gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note hy ssccssssccsssssccssssccsssssccsssees 8 1 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob gt p 66 SYNC NOTE LFO Sync Note NOTE This parameter will be displayed and can be set if LFO SYNC is ON LFO WAVE LFO Waveform SAW SQUARE TRIANGLE SINE S amp H Selects the LFO waveform gt p 66 LFO WAVE LFO Waveform LFO SHAPE ccsacesscascss
101. he vocoder If you want to connect the included mic plug it into the front panel AUDIO IN MIC jack To disconnect it grasp the base of the mic and pull it out amp Do not use excessive force when connecting or disconnecting the mic amp Do not apply excessive force to the mic s gooseneck or repeatedly bend it more than necessary Doing so may cause broken wires or other malfunctions If you ve connected a mic to the microKORG XL s front panel AUDIO IN MIC jack set the AUDIO IN XLR LINE switch to XLR connect AC adaptor included to electrical outlet Headph Ee eee 5 fal pee A Be careful of the mic output level when connecting a mic ETEA Connecting MIDI equipment or a computer to the MIDI connectors or amplified USB connector MIDI keyboard sound module rhythm machine etc If you want to use the microKORG XL s keyboard and controllers to con trol an external MIDI device or if you want to use another MIDI keyboard or a sequencer to play the microKORG XL s sound generator then use USB MIDI or the onboard MIDI connections p 80 1 Using the micro You must make connections with the power turned off Failure to KORG XL with other MIDI devices MIDI observe this precaution may cause malfunctions or damage to your speaker system Preparations microKORG XL 2 Turning the power on Before you turn on the power Make sure that the power sw
102. his parameter will be displayed and can be set if LFO SYNC is ON gt p 66 SYNC NOTE LFO Sync Note LFO WAVE LFO Waveform 00 SAW SQUARE TRIANGLE SINE S amp H Selects the LFO waveform gt p 66 LFO WAVE LFO Waveform 75 Effect Guide microKORG XL LFO SHAPE sscsssescsssatessssleascancvssascessasdvinseccsusiutesicciesecesnsieesisdl O5 saat gt p 66 LFO SHAPE KEY SYNC LFO KeySync ccsscssssccsssscsssscssssccssssssssscssssscssseees OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase e sessessessessessessossessossessessessesseee 000 180 Sets the starting location of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON gt p 67 INI PHASE LFO Init Phase LFO SPRD LFO Spread cccccccscsoscscscscscseseseseecseseees 180 180 Sets the LFO phase difference between the left and right channels 14 PHASER Stereo Phaser This effect creates a swell by shifting the phase You can add spread to the sound by offsetting the phase of the left and right LFOs from each other Stereo In Stereo Out Left o o Dry Wet Phaser i se Dry Wet LFO Spread LFO gt LFO Shape DRY WE T cccscciscastacteccssvesdecnccassvssneesecenscosscesces DRY 99 1o 199 WET Sets the balance betwe
103. ing the effect press the VOCODER button to make the LED light set the KNOB FUNCTION SELECT dial to Full Edit and turn knob 1 to adjust the VC CARRI page TMBR1 LVL parameter or the VC AMP page VC LEVEL parameter Processing an external audio input You can use the filter amp EGs and LFOs etc to modify a signal from an external synthesizer rhythm machine or audio device in the same ways that you modify an oscillator waveform NOTE Before you connect an external device power off the microKORG XL and any external devices including amps or powered speakers and make connections before you turn the power on again NOTE You can use the external input as the carrier of the vocoder 1 Set the KNOB FUNCTION SELECT dial to FULL EDIT 2 Use knob 1 to select the OSC1 page knob 2 to select WAVE and knob 3 to select AUDIO IN 25 Editing the sound microKORG XL 3 Connect an audio signal from your external device to the input and adjust the AUDIO IN LEVEL knob as high as possible without allowing the CLIP indicator to appear in the display 4 Play the keyboard while listening to the sound 5 Edit the filter amp EG LFO and effect settings to modify the sound Pitch related parameters will not affect the sound from the AUDIO IN jack Editing the arpeggiator The microKORG XL s arpeggiator provides six arpeggio types You can adjust the duration gate time and
104. ion the instant you move the knob Suppose that you ve turned knob 1 to edit a certain parameter and that the knob is in the position shown Then suppose that you use the KNOB FUNCTION SELECT dial to _ Switch sections and edit the parameter that s assigned to knob 1 and that the actual value of that parameter is the position indicated by the triangle in the illustration The actual value will be displayed if you move the knob slightly The parameter value will not change until you turn the knob to that position Once the knob has reached the position corresponding to the actual value the parameter value and the knob position will be linked and the value will change as you turn the knob If KNOB MODE is set to CATCH Suppose that knob 1 is in the position shown in the illustration yn V If the actual value of the parameter was at the position shown by the trian gle turning the knob slightly will make a lt q symbol appear in the display This symbol means that the actual value is toward the left of the position indicated by the knob Conversely if the actual value is toward the right of the knob position a p gt symbol will appear in the display Restoring an edited program value to its original setting When you set a value to the same value stored in the original preset pro gram or saved program the ORIGINAL VALUE LED will light After editing a value you can restore that
105. ipueddy 101 microKORG XL 102 2012 KORG INC IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage require ments that areapplicable in the country in which it is intended that this product should be used If you have purchased thisproduct via the internet through mail order and or via a telephone sale you must verify that this product isintended 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 dangerousand 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 themanufacturer s or distributor s warranty KORG INC 4015 2 Yanokuchi Inagi city Tokyo 206 0812 Japan 213 oy ols silo SIA aI S jenueN S49UMO O DUON
106. itch is off before you connect the power sup ply Connecting the AC adapter 1 Make sure that the microKORG XL is powered off 2 Connect the included AC adapter to the DC9V jack located on the rear panel Use only the included AC adapter Using any other AC adapter may cause malfunctions 3 Plug the AC adapter into an AC outlet amp Use an AC outlet of the correct voltage Using batteries The microKORG XL can also operate on batteries NOTE Batteries are not included You ll need to purchase them separately Installing replacing the batteries 1 Make sure that the microKORG XL is powered off 2 Open the battery cover located on the bottom of the micro KORG XL 3 Insert six AA alkaline batteries sold separately AASIZE LR6 L40 amp Make sure that the batteries are oriented correctly 10 4 Close the battery cover About the battery empty indicator When the battery capacity runs down the _g indicator will appear on the display If you continue to use the unit in this state the indicator will begin blinking and the Write Protect setting will automatically be enabled making it impossible to save programs or global settings We recommend that you replace the batteries as soon as possible or use the AC adapter If you are in the middle of editing when this state occurs and need to save the changes you ve made you ll need to connect the AC adapter so that you can execute the Writ
107. ive 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 exter nal MIDI device or change the sounds or settings of another microKORG XL unit NOTE If the microKORG XL receives a dump request from an external de vice it will execute a data dump according to the type of request that it received NOTE If you want data dumps to be received turn the GLOBAL page PRO TECT parameter off and set the MIDI FLT page SYS EX parameter to ENABLE If this is set to DISABLE data dumps cannot be received NOTE The MIDI Implementation including details on the MIDI exclusive format can be downloaded from the Korg website Do not touch the microKORG XL s knobs or keyboard while data is being transmitted or received Never turn off the power during this time amp Some MIDI interface devices may be unable to transmit or receive the microKORG XL s MIDI exclusive messages Editing the sound Procedure for transmission Connect the microKORG XL s MIDI OUT connector to the MIDI IN of the device that will be receiving the MIDI data dump and set both devices to the same MIDI channel If you want to use a USB connection connect the microKORG XL to your computer via a USB cable NOTE For details on connections refer to page 80 1 Using the microKORG XL with other MIDI devices MIDI Y In Ful
108. k level is reached This will vary the speed at which the EG2 sound begins Normally turning the knob toward the left will shorten the attack time and turning it toward the right will lengthen the attack time RELEASE This adjusts the release time of EG2 the amp EG It specifies the time from note off releasing a key until the sound decays to silence This will vary the EG2 release time Normally turning the knob toward the left will shorten the release time and turning it toward the right will lengthen the release time EG2 Level Note off Attack Level 0 l i Time l l TA 2 4 1 Attack Time 3 Sustain Level 2 Decay Time 4 Release Time Performance editing when ASSIGN is selected If the KNOB FUNCTION SELECT dial is set to ASSIGN the most useful parameters for the currently selected program will be assigned to the knobs NOTE You are free to change the parameters that are assigned to the knobs For each program you can freely assign a parameter to each knob 1 3 and use it to control the program gt p 33 KNOB Performance editing when EFFECT is selected If the KNOB FUNCTION SELECT dial is set to EFFECT parameters for the effect used by the currently selected program will be assigned to the knobs Knob 1 FX1 DRY WET knob 2 FX2 DRY WET These adjust the balance between the effect sound and direct sound of the FX1 and FX2 effects Turn the knob all the w
109. knob toward the right as far as possible without allowing the CLIP indication to appear in the level meter shown to the right of the display NOTE If you want to audition the audio input directly hold down the EXIT SHIFT button and press the VOCODER button gt p 13 A vocoder modifies the signal from an oscillator or other source the car rier by applying the spectral characteristics of an external input source such as a human voice the modulator The most common way to use a vocoder is to produce a talking instru ment effect by taking the input of your voice from the mic while you hold down a chord on the keyboard However you can also obtain interesting 6 While vocalizing into the mic play the keyboard results by using audio input sources other than a human voice such as To hear different vocoder effects try vocalizing in different ways and chang rhythm sounds or anything you like Here s how to connect a mic and try ing the chord you play out the vocoder NOTE If you re unable to hear the effect adjust the VC CARRI page 1 Turn the rear panel AUDIO IN LEVEL knob all the way to hie ae STNG YU AME page ve EVE parameter MIN NOTE Some vocoder programs will produce sound when you simply play the 2 Connect the mic to the front panel AUDIO IN MIC jack keyboard there s no need to vocalize into the mic gt p 9 Connecting the included mic 3 Set the rear panel XLR LINE swit
110. l Edit mode use knob 1 to select the MIDI DUMP page Use knob 2 to select the data that you want to dump 1 PROG Only the data for the currently selected program will be transmit ted the parameters in the NAME VC BAND pages and the settings of the front panel buttons and knobs ALL PROG All program data will be transmitted GLOBAL Global data will be transmitted the parameters of the GLOBAL USR SCALE pages ALL DATA All program data and global data will be transmitted Press WRITE button to execute the data dump The data dump will be executed When the dump is completed the display will indicate COMPLETE NOTE For details on the contents of program data and global data refer to the sections Saving a program and Saving global data in Saving Writ ing gt p 31 NOTE For details on the size of each data dump and the time required refer to the table on this page Procedure for reception Here s how data saved on a connected MIDI data filer or computer can be sent back to the microKORG XL or data received from another micro KORG XL unit Connect the microKORG XL s MIDI IN connector to the MIDI OUT of the device that will be transmitting the MIDI data dump If you re using a USB connection connect the microKORG XL to your computer via a USB cable 2 Set both the transmitting device and the microKORG XL to the same MIDI channel If you want the microKORG
111. l of the microKORG XL Does not respond correctly to MIDI messages sent from an exter nal device J Is the MIDI FLT page parameter for that type of MIDI message set to Enable Transpose velocity curve and arpeggjiator data is not recognized correctly C Is the GLOBAL page POSITION set appropriately Can t control two timbres on separate MIDI channels J The microKORG XL uses only one MIDI channel to transmit and receive when the COMMON page VOIC MODE is set to SINGLE LAYER or SPLIT You can use two MIDI channels to play the two tim bres independently only when COMMON page VOIC MODE is set to MULTI 95 MIDI microKORG XL 2 Program List 96 ror evnerass POP povsem for AE PoP C S A e e C C e On a6 wroorA e e on ar femea or fem Jor me AFEWALE POP fvocooenauoo n oF ___ far P6CHORD_ ELECTRONCA semt Jor or asi osm FAVORITE pors Jor me prv fiwon ss oo or Off or Off Off of B3i_ BRASSENS fpo forsa Jor s2 vemenss fpo fess ooo jess poceno f feo o B sanpo fpo famon Jor Bas AIRGAS feo fases for B ooer fpo fesoa for or ORGoHORD fe fem Jor se jamne _ POP_______ VOCODERTAUDION Jor Appendices C C jeri lowsi00 _ ELECTRONCA _ POLYSYNTH Jor rz REVBASS_ ELECTRONCA eass Jor or or or or on or err ESKAVTWO_ ELEGTRONCA SEAT fon NOTE The sounds A18 A28 A48 A58 A68 A78 A88 B18 B28 B48 B58 B68 B78 and B88 are programs that
112. lator FILTER FOLLOWER LEVEL gt RESONANCE Z To Timbre 1 Ct 7 _ SYNTHESIS J D O Eo Carrier FILTER S Band LEVEL PAN LEVEL CUTOFF FC MOD FORMANT SHIFT Vocoder section VOCODER This consists of two sets of sixteen bandpass filters the analysis filter and the synthesis filter and an envelope follower The audio signal input to the modulator is sent to sixteen filters the analysis filter and an envelope fol lower will detect the volume envelope time variant change of each fre quency band The carrier signal is sent to a separate set of sixteen filters the synthesis filter and the envelope detected from the analysis filter is used to control the volume of each band in the synthesis filter thus varying the tonal char acter of the carrier signal and producing the impression that the carrier sig nal is talking It is also possible to shift the frequencies of the carrier bandpass filter This allows you to raise or lower the frequency response while preserving the character of the modulator creating dramatic changes in the sound 21 Editing the sound microKORG XL 22 Carrier CARRIER The most suitable choice as a carrier is a waveform that contains large numbers of overtones such as a sawtooth wave or pulse wave The output of timbres 1 and 2 is mixed and used as the carrier Modulator MODULATOR A human voice is typically used as the modulator but you can also obtain unique results by using rhythm sounds
113. ll be ignored NOTE If you are holding down more notes than the maximum polyphony of the timbre the lowest pitches you are holding down will be played up to the maximum polyphony This specifies how the arpeggiator will behave when you take your hand off the keyboard OFF The arpeggiator will stop when you take your hand off the keyboard ON The arpeggiator will continue playing even if you take your hand off the keyboard OCT RANGE Octave Range sccsssssccssssssccssssscscsssssssssssees L1 2 3 4 Specifies the range of octaves over which the arpeggio will be played Specifies the number of valid steps maximum number of steps for the arpeggiator GATE TIME a csesesaesasvcarnoucasiousaensveacnstessesussnvsisaseessevactessesieave OU0 001000 Specifies the duration gate time of the arpeggiated notes as a percentage With a setting of 001 each note will be extremely short With set to 100 each note will continue playing until the next step SWING Arpeggiator Swing PROIE EEE a 00 100 TRIGGER ccccccccccccccccccccccccccccceccccccccccccccccccccccccccsccccccssssccccoos OFF ON Specifies the percentage by which even numbered notes of the arpeg Specify the on off status of each step 1 8 gio will be shifted in timing relative to the first note The number of available steps is specified by the LAST STEP setting OFF The note at this step will not sound When Resolution 1
114. llator 1 Modulation Type secscsccsesccsscccsssscsscsccecsccssssesssscsssseee WAVEFORM CROSS UNISON VPM Selects the type of modulation being applied to oscillator 1 NOTE The maximum number of playable voices may change depending on the combination of Wave and OSC MOD settings WAVEFORM Waveform Modulation Use Control1 to modify the shape of the waveform CROSS Cross Modulation Cross Modulation uses the output waveform of oscillator 2 the modulator to modulate the frequency of oscillator 1 the carrier at high speed to produce a modulated sound The waveform selected by WAVE will be the carrier Cross Mod Depth OSC1 output OSC1 Freq Mod OSC2 output UNISON Unison simulates skewing the pitch of five stacked oscillators from within a single oscillator to create a richer sound Unison Detune 4 OSC1 Output VPM Variable Phase Modulation VPM produces metallic sounding overtones using a sine wave at a har monic integer multiple of oscillator 1 s fundamental to modulate the phase of oscillator 1 NOTE If WAVE is FORMANT NOISE PCM DWGS or AUDIO IN you won t be able to select CROSS UNISON or VPM OSC1 C1 Control scccscscssssseseseseseseeeees 000 127 63 63 0SC1 C2 Control2 000 127 63 63 001 064 001 032 The function controlled by this knob is determined by the WAVE and OSC M
115. ment upward or downward Frequency 63 lt lt 0 lt 63 Cutoff the range in which BPF 8 will change Formant Shift 2 Frequency 63 lt 0 lt 163 Cutoff the range in which BPF 8 will change 55 Parameter Guide microKORG XL RESO Vocoder Resonance ssesssosssoscsssosesoosssosesoosesssessssssse 000 127 This specifies the amount of resonance for each of the carrier s sixteen band pass filters the synthesis filter Higher settings will boost the sound in the region of the cutoff frequency FC MOD SRC Fc Mode Source ssseesesseessssoocessoosessoeeessoeee LEGT MIDI3 Selects the modulation source that will be applied to the carrier band pass filter FC OFFSET NOTE The sources you can select are the same as the modulation sources for a virtual patch gt p 49 SOURCE However EG1 3 LFO1 2 VE LOCITY and KEY TRK will be the sources for timbre 1 FC MOD INT Fc Modulation Intensity csccsssccsssseeseeee 63 63 Specifies the depth of the modulation that is applied to the carrier band pass filter Synthesis filter FC OFFSET EF SENS Envelope Follower Sens ssssosssosssosssossseseooee 000 126 HOLD Specifies the sensitivity of the modulator s Envelope Followers Lower set tings of this value will allow 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
116. microKORG SYNTHESIZERMVOCODER KORG microKORG p SYNTHESIZER VOCODER VOLUME BANK SELECT OCTAVE DOWN 0 B 70 s vINTAGE W PROGRAM GENRE PROGRAM CATEGORY HIPHOP DANCE ARP MOTION PAD STRINGS DUBSTEP KEYBOARD BELL mi t Q TICW vA VLILI AL 7 ie oo a F ELECTRONICA BASS f Ly FAVORITE POLY SYNTH W J VOCODER O 0 0 O AUDIO IN ARP ON VOCODER WRITE EXIT SHIFT L ff M ORIGINAL VALUE e ASSIGN ASSIGN 1 ASSIGN 2 ASSIGN 3 FILTER TYPE CUTOFF RESONANCE AMP EG ATTACK DECAY RELEASE e EFFECT FX1 DRY WET FX2 DRY WET FX1 CONTROLI e ARP TYPE LATCH GATE TIME FULL EDIT PAGE PARAMETER VALUE TIMBRE SELECT Owner s Manual Precautions Location Using the unit in the following locations can result in a malfunction e In direct sunlight e Locations of extreme temperature or humidity e Excessively dusty or dirty locations e Locations of excessive vibration e Close to magnetic fields Power supply Please connect the designated AC adapter to an AC out let 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
117. n external MIDI device sequencer rhythm machine etc If the LFO 1 2 or delay effect BPM SYNC is On the LFO rate and delay time will also synchronize in the same way as the arpeggiator AUTO The microKORG XL will automatically function using the External or USB setting if MIDI clock messages are being received from an exter nal MIDI device connected to the MIDI IN connector If no MIDI clock mes sages are being received the internal setting will be used INTERNAL The arpeggiator will sync to the internal clock specified by knob TEMPO Select this setting if you are using the microKORG XL by itself or if you are using the microKORG XL as the master controlling device so that an external MIDI device will synchronize to the MIDI clock messages from the microKORG XL EXT USB The microKORG XL s arpeggiator will synchronize to the MIDI clock messages received from an external USB MIDI device connected to the USB connector EXT MIDI The microKORG XL s arpeggiator will synchronize to the MIDI clock messages received from an external MIDI device connected to the MIDI IN connector NOTE When sync ing to an external MIDI device refer to that device s owner s manual MIDI FLT MIDI Filter 60 Here you can adjust the the microKORG XL s MIDI Filter settings PROG CHG Program Change sscsscsecsssreesseeeeee DISABLE ENABLE Selects whether program changes will be transmitted and received DISABLE
118. nearby may experience reception interference Operate this unit at a suitable dis tance 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 thin ner or cleaning compounds or flammable polishes Keep this manual After reading this manual please keep it for later refer ence Keeping foreign matter out of your equipment Never set any container with liquid in it near this equip ment 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 pur chased THE FCC REGULATION WARNING for USA NOTE This equipment has been tested and found to com ply 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 How ever there is no guarantee that interference will not occur in
119. no effect when the wheel is in the center This wheel is normally used as a pitch bender moving the wheel away from yourself will raise the pitch and moving it toward yourself will lower the pitch 0 MOD wheel The effect will apply when you move the wheel away from yourself there will be no effect when the wheel is all the way toward yourself This wheel is typically used to vary the vibrato depth or to modify the tone by changing the cutoff frequency NOTE You can use the PITCH and MOD wheels as virtual patch sources They can be used to control a wide variety of effects in addition to those described above gt p 49 Using the keyboard to modify the sound Velocity The effect will vary depending on the amount of force that you play the keys with Normally the force of your strike will affect the tone or volume amp The microKORG XL s keyboard does not support aftertouch Keyboard tracking The effect will vary according to the keyboard position higher or lower notes that you re playing in Normally keyboard tracking is assigned to make the sound brighter as you play upward on the keyboard or to pro duce differences in the volume of higher and lower notes gt p 44 NOTE You can use keyboard tracking and velocity as virtual patch sources Using the OCTAVE lever to switch octaves The area of pitches assigned to the keyboard can be changed in one octave steps over a range of 3 octaves
120. ntrol the amp volume You are free to assign EG3 to any desired parameter by using a virtual patch EG1 and EG2 can also be used with a virtual patch as an envelope source for other parameters LFOs LFO1 LFO2 An LFO Low Frequency Oscillator applies cyclic change to parameters that make up the sound Each timbre has two LFOs each giving you a choice of five waveforms For some waveforms that can be selected for oscillator 1 OSC1 LFO1 is assigned as control 2 OQSC1 Control 2 and LFO2 is assigned as a pitch modulation source via the modulation wheel You can also use a virtual patch to assign the LFO as a modulation source for other parameters Virtual patch VIRTUAL PATCH The virtual patch functionality lets you use not only EG or LFO but also sources such as velocity keyboard playing strength and keyboard tracking the keyboard region that you play as modulation sources to control the parameters that make up the sound This gives you a great deal of freedom in creating original sounds For each timbre you can create virtual patch settings for six parameters Equalizer EQ Each timbre contains a two band EQ You can use this to adjust the tonal balance between the two timbres for example you might accentuate a sound that would otherwise be lost in the mix or to restrain a sound that stands out too much Master effects MASTER FX Each program contains two master effects By applying these effects to the final mix
121. o connect the microKORG XL to your computer and using the sound editor software you can edit all parameters from your computer You can download the sound editor free of charge from the Korg website http www korg com http www korg co jp English Distributors Introduction microKORG XL 2 Front and rear panels Front panel 7 8 9 10 1 VOLUME knob 4 BANK SELECT lever This adjusts the volume of the OUTPUT jacks L MONO R and head This selects the program bank proneseck 5 PROGRAM GENRE dial 2 TEMPO knob This dial selects the genre of program This adjusts the tempo speed of the arpeggiator LFO or delay effect The i LED above the knob will blink in synchronization with the tempo 6 PROGRAM CATEGORY dial This dial selects the category of program 3 OCTAVE lever This shifts the range of notes assigned to the keyboard upward or down 7 Sii ice alent etal oe aaa ae ward in one octave steps over a range of 3 octaves gt p 15 N i a al or on off gt p 18 When on the above the NOTE If you want to make fine changes to this setting you can hold down the utton will be lit EXIT SHIFT button and use the OCTAVE lever to change the value in OT NOI CON ING ER USTE T DUNO AnG press INS DUON A geme steps ol one song will play gt p 12 Introduction 8 15 10 11 12 13 14
122. oKORG XL lets you assign a name of up to eight characters to each program In Play mode the display will show the program number and program name To edit the program name 1 2 3 4 Use knob 1 to select the NAME page Use knob 2 to move the cursor to the character that you want to change Use knob 3 to specify the desired character Repeat steps 2 3 The edited program name will be lost if you turn off the power or switch programs before writing If you want to keep the edited pro gram name be sure to write the program gt p 31 COMMON 32 Here you can make settings that apply to the entire program and settings that specify how the timbres will sound You can choose whether to use only a single timbre SINGLE or how to use two timbres LAYER SPLIT MULTI You can also specify whether the timbre selected by the TIMBRE SELECT lever will play monophonically or polyphonically and specify how retriggering will occur NOTE If you simultaneously play more keys than the maximum number of voic es that can be sounded according to these settings the last played keys will take priority VOIC MODE sessesoesossosoesoesosoosossosossosossosseeo SINGLE LAYER SPLIT MULTI This parameter determines how many timbres a program will use and how those timbres will be allocated SINGLE Only one timbre will be used BAARALALAACALARLARALARAICALALAARLAA LAYER Two timbres will be used When you play the keyboard both
123. oard to your 5 s Global parameters own playing style Lighter curves are best for heavy handed players higher The settings you make from the global screen will apply to the entire micro curves may work better for players with a light touch KORG XL such as the overall tuning and the velocity curve MST TUNE Master Tune eeseesoeseseesessessssosoososssseseeeee 430 0 450 0HZ 127 Adjusts the overall pitch in 0 1 Hz steps in terms of A4 as the reference pitch Use this when you need to tune the pitch of the microKORG XL to other instruments TRANSPOS TranspOse ssscccssssssscsssssccssssssccsssssscssssssscssees 12 12 Adjusts the overall pitch in steps of a semitone 100 cents over a range of one octave up or down Use this when you want to transpose to suit the song you are playing Velocity MIN 1 ppp Strength fff 1 MIDI Velocity 127 This curve requires you to play strongly in order to produce an effect This is the typical curve This curve produces an effect without requiring you to play very strongly This curve produces a fairly steady effect with lit tle change for medium strength playing a flatter curve than 7 All notes will sound maximum velocity 127 CONST127 This setting mimics the behavior of early analog synths NOTE Curves 7 and 8 produce little change for medium strength playing How 7 This curve produces a fairly steady effect with lit tle change for m
124. obs refer to page 65 2 Effect Parameters 63 Parameter Guide microKORG XL About the delay time TM RATIO Time Ratio For delay effects the actual delay time will be the delay time multiplied by the TM RATIO For example e If BPM SYNC Off L DELAY 0800ms R DELAY 0400 ms and TM RATIO 50 then the actual delay time will be 400 ms in the left channel and 200 ms in the right channel If BPM SYNC On L DELAY J1 4 R DELAY 1 8 and TM RATIO 50 then the actual delay time will be an eighth note in the left channel and a sixteenth note in the right channel Delay time when BPM SYNC is Off If BPM SYNC is Off you ll be able to set the delay time in msec units amp If the specified delay time multiplied by the TM RATIO would exceed the allowable range a M indication will appear at the right of the TM RATIO and the delay time value and the delay time will be set to the maximum possible value Delay time when BPM SYNC is On If BPM SYNC is On the delay time will synchronize with the tempo speci fied by the TEMPO knob or by an external MIDI clock Since the tempo will follow the arpeggiator this is useful for a live performance If BPM SYNC is On you ll be able to set the delay time as a note value For example If BPM SYNC On TM RATIO 100 L DELAY 1 8 and R DELAY BASE NOTE 3 16 then the d
125. or lago ma E E N rr n channel mm rr parameter no upper and lower bytes to select the 86 127 Timbre1 2 86 127 Timbre1 2 parameter 2 Use data entry MSB CC 6 Bn 06 mm n channel mm parameter value to specify the value NOTE On the microKORG XL only data entry MSB is used Controlling the arpeggiator When arpeggiator settings are modified by the front panel buttons or knobs the following NRPN messages are transmitted When these NRPN mes sages are received the corresponding arpeggiator settings will change accordingly These messages are transmitted and received on the Global MIDI channel For the correspondence between the values of the message and the values of the microKORG XL parameter refer to the table e ON OFF Bn 63 00 Bn 62 02 Bn 06 mm e LATCH Bn 63 00 Bn 62 04 Bn 06 mm e TYPE Bn 63 00 Bn 62 07 Bn 06 mm e GATE Bn 63 00 Bn 62 OA Bn 06 mm e SELECT Bn 63 00 Bn 62 OB Bn 06 mm n channel mm parameter value GATE values Value Value transmitted Time transmitted Time transmitted Time received received 002 35 36 028 68 69 054 101 102 080 44 45 035 77 78 061 110 111 087 o e fe 115 116 16 17 E a ca ter oar ao ona C a ee a C a ee ee oe fe Jota st Ioso Jaa A feats seer Jas os eae oo ee poz owe ss p 2 pr s pe re po po foe os fe a fo po p2 e fave E C C C res Yor 5 26 o fes fo fono fore
126. orm will switch at each cycle of the LFO LFO Cycle Duration LFO Cycle lt gt Duration amp If this parameter is assigned to CTRL 1 or CTRL 2 switching BPM SYNC On will change the assignment to SYNC NOTE SYNC NOTE LFO Sync Note ity sscscsscccssssccssssccssessccsseees 8 1 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob NOTE This parameter will be displayed and can be set if LFO SYNC is ON gt p 66 SYNC NOTE LFO Sync Note KEY SYNC LFO KeySyinc csssccsssscsssscssssscsssscsssscssssessssccsesseeee OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase scsscccssssrssssssssccssssesecssseers 000 180 Sets the starting location of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON gt p 67 INI PHASE LFO Init Phase 79 Effect Guide microKORG XL 1 Using the microKORG XL with other MIDI devices MIDI Here you can adjust MIDI related settings for the microKORG XL MIDI stands for Musical Instrument Digital Interface and is a world wide standard for exchanging various types of musical data between electronic musical instruments and computers When MIDI cables are used to con nect two or more MIDI devices performance data can be exchanged between the devices even if they
127. oscilla tors producing a richer sound Control2 Phase 000000000 H008HHHOHHHHHHHHHHHOHHHHHHHHHHHHHHHHHHHHHHHHHHHHOHEHHOOEEO 000 e 127 Specifies the phase of each oscillator at note on This will affect the tone of the attack A setting of 127 will change the pitch and volume 000 0 063 90 127 180 Triangle Sine 40 8 When Wave Saw Pulse Triangle Sine and OSC1 Mod VPM Control1 Modulation Depth csssscsssssssccssssssssssseseeeees 000 127 Adjusts the depth of VPM Control2 Modulation Harmonics 0000000000008 0HHO080HHHH8HHHHH8HHHO88EHOE8 001 ee 032 Specifies the frequency of the VPM modulator as a harmonic multiple of oscillator 1 0SC2 Oscillator 2 Here you can make settings for oscillator 2 By using this in conjunction with oscillator 1 you can obtain a variety of sounds For example by adjust ing OSC2 SEMITONE and OSC2 TUNE you can make one oscillator act as an overtone of the other oscillator Alternatively you can create a musi cal interval by setting each oscillator to a different pitch or create a detuned effect by setting the two oscillators to slightly different pitches You can also apply ring modulation or oscillator sync to generate complex overtones this is done using the OSC2 OSC MOD parameter WAVE Waveform Select cssscsssseseevee SAW PULSE TRIANGLE SINE Selects a waveform for oscillator 2 SAW A sawtooth wave PULSE A square wave
128. p H Selects the LFO waveform NOTE This parameter will be displayed and can be set if MOD SRC is LFO SAW SQUARE se es a SINE L N 7 TRIANGLE a z Amplitude changes irregularly Sample amp Hold LFO SHAPE onnies OS aa OS Adjusts the shape of the LFO waveform NOTE This parameter will be displayed and can be set if MOD SRC is LFO Effect guide KEY SYNC LFO KeySync 0000000000008 HHHHOHHHHHOHHHHHHHHHHHHHHHHHHHHHHHHHHHOHSHHOEE OFF ON Specifies how the LFO will be reset at note on NOTE This parameter will be displayed and can be set if MOD SRC is LFO Note on With OFF the LFO phase will not be reset when note on occurs With ON the first note on from a condition of no keys being pressed will reset the LFO to the phase specified by INI PHASE and modulation will be applied at that phase even if subsequent note ons occur Note on Note on Note all off amp This takes effect when a note on occurs on the global MIDI channel INI PHASE LFO Init Phase sssssscsssssessssssesssesesssesesseee 000 180 Specifies the starting position of the waveform With a setting of 0 the waveform will start from its beginning at note on With a setting of 180 the waveform will start from the mid point of its cycle at note on NOTE This parameter will be displayed and can be set if KEY SYNC is Tim bre CTRL SRC Control Source csccsscs
129. put level to the effect Insufficient input level will produce a poor S N ratio while excessive input level will cause clipping Controlling effect parameters You can use the front panel knobs 1 2 and 3 to control effect parame ters in realtime The parameters assigned to knobs can also be controlled from an external MIDI device Effect knob assignments When the KNOB FUNCTION SELECT dial is set to EFFECT or ASSIGN you can use the performance edit function gt p 16 to control the parame ters assigned to CTRL 1 and CTRL 2 for each effect MST FX1 and MST FX2 Immediately after you ve selected an effect the most useful two parameters of that effect will be automatically selected for CTRL 1 and CTRL 2 If you want to control other effect parameters rather than these you can assign those effect parameters to CTRL 1 and CTRL 2 For details refer to the section about performance editing control gt p 16 and the section about the knobs gt p 33 amp Noise may occur if a parameter that cannot be assigned to a knob is operated while sound is being produced NOTE The DRY WET settings of MST FX 1 and MST FX 2 are handled sepa rately from the other effect parameters If you assign MST FX 1 or MST FX 2 DRY WET to a knob when the KNOB FUNCTION SELECT dial is set to ASSIGN the above parameter will be assigned to the knob gt p 33 KNOB NOTE For details on the parameters that can be assigned to kn
130. r adjusting the level and pan of each band as well as simulating the classic sounds of vintage vocoders 4 128 internal programs The microKORG XL contains a total of 128 programs organized into two banks A and B Each bank contains eight genres such as 70 Vintage and Rock and eight categories in each genre 5 Modify external audio input The sound of an instrument or other audio source received at the AUDIO IN jack can be processed in the same way as the internal waveforms Virtual Patch functionality Controllers such as EG LFO keyboard tracking and the wheels can be vir tually connected to parameters such as pitch or cutoff allowing you to mod ulate these parameters and create sounds with a high degree of freedom Equalizer and effects add a final polish to your sounds Each timbre provides a two band equalizer for additional sound creating potential There are also two master effects for each program allowing you to add final touches to your sound You can choose one of seventeen types for each effect Step Arpeggiator The built in step arpeggiator can automatically generate an arpeggio when you hold down a chord You can choose from six types of arpeggio and specify the duration and interval of the arpeggiated notes Notes can also be individually switched on off for up to eight steps allowing you to vary the rhythm for an even wider range of possibilities Sound editor software By using a USB cable t
131. rae oe E C E C C A oo a p o pe fa oa par o 2 pa e e e os pa fa o er o 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 64 127 On CC 99 0 CC 98 2 CC H6 Controlling the Timbre parameters These messages are transmitted and received on the Global MIDI channel Controlling the Virtual Patch1 Patch6 Source e A Source6 Bn 63 04 Bn 62 00 05 Bn 06 mm n channel mm parameter value MSB LSB Patch1 Source 04 04 e 10 EG1 20 EG2 20 Patch2 Source 04 04 31 EG3 31 EG3 42 LFO1 42 LFO1 Patch3 Source 04 04 02 02 4 Ten w one Pitch Bend Mod Wheel Patch4 Source 04 04 03 03 95 Keyboard Track Patch5 Source 04 04 04 04 106 MIDI1 107 116 MIDI2 Patch6 Source 04 04 05 05 117 127 MIDI3 Pitch Bend Mod Wheel 95 Keyboard Track 106 MIDI1 107 116 MIDI2 117 127 MIDI3 87 MIDI microKORG XL Controlling the Virtual Patch1 Patch6 Destination e Dest1 Dest6 Bn 63 04 Bn 62 08 0D Bn 06 mm n channel mm parameter value Hex Hex Controlling the vocoder parameters These messages are transmitted and received on the Global MIDI channel Drive WS Depth AMP Level Drive WS Depth AMP Level LFO2 43 52 43 52 0 2 Pitch 0 2 Pitch FC MOD SRC Fc Modulation Sou
132. rce Bn 63 04 Bn 62 00 Bn 3 5 OSC2 Tune 3 5 OSC2 Tune 06 mm 6 9 OSC1 Control 1 6 9 OSC1 Control 1 n channel mm parameter value 04 04 08 08 12 OSC1 Level 12 OSC1 Level l a erp Fc Mod Sorce Value transmitted Value received 18 NOISE Level 18 NOISE Level Fc Mod Sorce Value transmitted Value received 21 Filter1 Type Balance 19 21 Filter1 Type Balance Filter1 Cutoff Filter1 Cutoff 11 20 11 20 Filter1 Resonance Filter1 Resonance 21 31 21 31 iani Filter2 Cutoff Filter2 Cutoff LFO 30 40 30 42 Patch3 Dest Patch4 Dest Patch5 Dest Patch6 Dest 88 Panpot LFO1 Frequency LFO2 Frequency Portamento OSC1 Control 2 Filter1 EG1 Int Filter1 Key Track Filter2 Resonance Filter2 EG1 Int Filter2 Key Track EG1 Attack EG1 Decay EG1 Sustain EG1 Release EG2 Attack EG2 Decay EG2 Sustain EG2 Release EG3 Attack 101 EG3 Decay 105 EG3 Sustain 108 EG3 Release 111 Patch1 Int 114 Patch2 Int 117 Patchs Int 121 Patch4 Int 124 Patch5 Int 127 Patch6 Int Panpot LFO1 Frequency LFO2 Frequency Portamento OSC1 Control 2 Filter1 EG1 Int Filter1 Key Track Filter2 Resonance Filter2 EG1 Int Filter2 Key Track EG1 Attack EG1 Decay EG1 Sustain EG1 Release EG2 Attack EG2 Decay EG2 Sustain
133. rg USB MIDI driver in your computer Download the Korg USB MIDI driver from the Korg website and install it as described in the accompanying docu mentation NOTE You can download the sound editor software from the Korg website Power switch This turns the power on off DC 9V connector Connect the included AC adapter here Connect the AC adapter to the microKORG XL before you plug it into an AC outlet Preparations Pre a rati ons Connect your monitor amp or mixer to the output jacks p Connect the microKORG XL s OUTPUT L MONO R jacks to the input jacks of your mixer or powered monitor speakers If you make connections in monaural use the L MONO jack NOTE Werecommend that you output in stereo to take full advantage of the mi croKORG XL s sound e 1 Con nections Connect your mic or sampler to the input jack The illustration below shows a typical example of connections for the If you re using the microKORG XL as a vocoder connect the mic to the microKORG XL Connect your equipment as appropriate for your needs AUDIO IN MIC jack so that the mic audio can be used as a modulator gt p 21 If you re using the microKORG XL to process the sound of a synthesizer or sampler connect the output of your external device to the microKORG XL s AUDIO IN LINE jack NOTE The AUDIO IN LINE jack is monaural Connecting the included mic The microKORG XL comes with a mic for use with t
134. rsccscccccccscccecccccocecees J4 1 Trouble shooting ccsseeeeeseeeeeseeeseeeseneees 94 2 Programi LIS iiciin aaa oria 96 3 DEMO SONG iiai a 98 A SPECINCAUONS pican 99 9 MOOK ssn E 100 Introduction 6 Introduction Thank you for purchasing the Korg microKORG XL Synthesizer Vocoder In order to take full advantage of your new instrument please read this manual carefully and use the product as directed E 1 Main features 1 Synthesizer functionality featuring MMT analog modeling The microKORG XL provides a broad range of oscillator algorithms including the sawtooth waves and square waves typical of analog synthe sizers as well as formant waveforms noise and PCM DWGS waveforms Based on these oscillator algorithms you can produce a wide variety of tonal variations by applying simple operations 2 Performance editing with three knobs By turning three knobs to control parameters such as filter cutoff reso nance and amp EG attack you can vary the sound in an intuitive manner Full Edit mode allows you to edit all of the microKORG XL s parameters 3 Vocoder functionality The microKORG XL comes equipped with a vocoder function that will let you use your voice via a mic to process the sound of the oscillator produc ing the impression that the instrument is talking The vocoder consists of sixteen filter bands which are able to create origi nal vocoder sounds by shifting the filter frequencies o
135. s Use these knobs for performance editing and in full edit mode to select the page parameter and parameter value ORIGINAL VALUE LED This LED will light when the value of the parameter you re editing matches the value stored in the program 16 17 18 Display Information on the selected program is shown here In full edit mode the display shows the selected page the current value of the parameter vari ous messages or other ee Ly beda eae 9H Ti 1d es h TTT FOOIE i LIMAL IF FALILI i a Battery empty indicator b Edit indicator c This will appear when the position of the PROGRAM GENRE dial PROGRAM CATEGORY dial or BANK SELECT lever no longer matches the actual program number such as when a MIDI program change message has been received d Global indicator e When KNOB MODE is CATCH this indicates the direction of the actual value relative to the knob position f Level meter g h These areas display program information or indicate the parameter or parameter i Cursor PITCH wheel This controls the pitch MOD wheel This controls the depth of modulation AUDIO IN MIC XLR jack You can connect a mic here If you want to use a mic connected to this jack set the rear panel XLR LINE switch to the XLR position Use the rear panel AUDIO IN LEVEL knob to adjust the level Introduction microKORG XL Rear panel 1 2
136. s parameter will be displayed and can be set if KEY SYNC is ON LFO SPRD LFO Spread c cccccsccsssscsssscsssccssssccesseees 180 180 Sets the LFO phase difference between the left and right channels HI DAMP High Damp sscscscsscessessessessessesseseesessessesseees 000 100 Sets the feedback damping amount in the high range 13 VIBRATO Stereo Vibrato This effect causes the pitch of the input signal to shimmer Using the Auto Fade allows you to increase or decrease the shimmering speed Stereo In Stereo Out Left o 4 Vibrato A a DB ro Spread Dry Wet gt FO Sapo DRYWE orreri srra irin r r n a o n OR DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds MOD DEPTH Modulation Depth ihi ssccssssssccsssseceseees 000 127 Sets the depth of LFO modulation LFO SYNC LFO Tempo Sync eessssssssesosesooesocesocesoossoeesocesosesosesoee OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ih sseessoesssosessocessosssooessosesse 0 01 100 0Hz Sets the LFO speed gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note iti cscssscsssrscsssssccssssscsessseees 8 1 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob NOTE T
137. sersscsascssstncsscicsiesossassssanssnesvenseanesesanesnee OS eset OS gt p 66 LFO SHAPE KEY SYNC LFO KeySyinc csssccsssscsssscssssccsssccsssscssssssssscssssseeee OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase scsscccssssrssssssssccesssesecssseees 000 180 Sets the starting location of the waveform NOTE This parameter will be displayed and can be set if KEY SYNC is ON gt p 67 INI PHASE LFO Init Phase PRE UP E scsssssiesissnssssadsssuucasieuisesshectespecicssccessneatenscebcsterssteseiaes 000127 This parameter enables you to set the damping amount of the high range sound input to the ring modulator If the input sound contains lots of har monics the effect may sound dirty In this case cut a certain amount of high range Effect guide 17 GRAIN SFT Grain Shifter This effect samples extremely brief fragments of the sound at a specified interval and plays them as a loop This is effective when used on external input sounds that are constantly changing Wet Mono In Mono Out Dry Stereo In Stereo Out Left o gt o Dry Wet gt Grain Shifter x Sample Cycle Right o gt o Dry Wet DRY WET ccsscssscatsdescsseesteadaacsscsessessacesceateseoacel DRY 7 99 lose 1 99 WET Sets the balance between the effect and dry sounds BPM SYNC Dur
138. sesecesseeseeesseeeseesseeeeeneees 63 About the delay time sereia E A T N 64 2 Effect Parameters ccccssccseeeeeseneeeeeeeeeees 65 1 Using the microKORG XL with other MIDI devices MIDI cccsecseeeeseeeeeeeeeneeeneeeeees 80 Connecting MIDI devices computers cecccecceeeeeeeeeeeeeeaeeeeeeeeneeeeeaees 80 MIDl related settings sissies hicca exrsatovedecenadereiel dateatethestdlea was tensis tat siulsuidudedens 81 2 MIDI messages wai siessisecicsiiceitesinesiscccsicenncteaives 83 MID CHaninelS orasons aaan e E 83 NOLS OMNO zeien a E A a AA E 83 Program change Bank SeI Ct cccccsssceccessseecseeseeeeseeeeecseasesensaseeeess 84 PGI CECE Wie E E E EE nueva E A E EEE 84 COMMON CHANGES cicccacreatiansainsniusaiceredsauied aA E AN 84 microKORG XL 3 Parameters transmitted and received via NRPN e E E E E A 86 Controlling the arpeggiator nnaenneeennnneennnneennrnernreeetrrrentnreernnrerrree 86 Controlling the Timbre parameters cccccceeeeceeeseeeeeeeeeeeeeaeeeeeesaeeeees 87 Controlling the vocoder parameters cccccseeeeeceeeeeeeeseeeeeeeaeeeeeeaeeeeeees 88 OMOEMCONMIOIS sanrntsceccieer E a A A A 89 System exclusive Messages cccseeccecsessececseessecseuseeeeseeeeesseeseesseeeseees 89 Realtime IMESSAGSS woiscaa taku lotssmeecar aa a E A AEA A 89 4 Front panel knob button control change ASSIGMIMEING icai ana 90 ADPeENdICES cccrcccc
139. signal With L R individually the left and right channels control the Limiter individu ally SENS Sensitivity hy sscccssssccssssccssssscsssssscssssccssssscsssssseees 001 127 The SENS parameter sets the sensitivity of the compressor If this param eter is set to a higher value lower level sounds will be boosted With a higher sensitivity the overall volume level is higher To adjust the final vol ume level use the OUT LEVEL parameter Compressor Sensitivity Sensitivity 100 Sensitivity 40 Louder ATTACK ih seeessccossecssccossccscccssscsscccssssssscsssssssessssseseeeessee 000 1 500 0ms Sets the attack level Compressor Attack R Attack 1 0 IN Attack 400 OUT LEVEL Output Level cccccscssssscsscesesesesescessereees 000 127 This parameter controls the output level 2 FILTER Stereo Filter This is a stereo filter Stereo In Stereo Out Left Dry Wet Filter LFO h C Control Source o Response Filter Right Ao Dry Wet DRY WE To isssissvssvosisuvouvousossesreeinonrnnsnnn l DRY 99 1199 WET Sets the balance between the effect and dry sounds 65 Effect Guide microKORG XL 66 FLT TYPE Filter TYPE svscasisssnassicsnssscccesseseessassaviescarieviantasdcntectasiactneess LPF24 24dB oct LPF18 18dB oct LPF12 12dB oct HPF12 12dB oct BPF12 12dB oct S
140. signal flows in the order of OSC gt FILTER gt AMP alL You will also notice that these sections can be controlled by things such as EGs and LFOs As shown in the illustration a synth program consists of timbres 1 2 effects and the arpeggiator Velocity theless Timbres TIMBRE 1 2 Each timbre consists of an oscillator filter amp EG LFO virtual patches and equalizer The microKORG XL has two timbres and you can com bine these two timbres to create a richer sounding program Free Assign 19 Editing the sound microKORG XL Oscillator 0SC1 OSC2 NOISE Oscillator 1 OSC1 lets you choose from seven types of oscillator algo rithm such as the sawtooth wave or square wave familiar from analog syn thesizers as well as formant wave noise and PCM DWGS and also lets you select the input signal from the AUDIO IN jack You can also apply cross modulation unison or VPM Variable Phase Modulation to a basic analog synthesizer waveform such as sawtooth or square wave Oscillator 2 OSC2 lets you choose a waveform from four types of oscilla tor algorithms such as sawtooth wave or square wave and it can also be used as a modulation type oscillator to create the sync modulation or ring modulation that is distinctive of analog synthesizers The noise generator NOISE produces white noise You can use this to simulate breath noise in a wind instrument sound or to produce sound effects Mixer MIXER This section
141. ss the WRITE button Verify that the display indicates PROGRAM NOTE If the display indicates GLOBAL when you press the WRITE button the Write operation will apply to the global parameters Use knob 1 to select PROGRAM Press the WRITE button once again Use knob 1 to select the writing destination program num ber 4 Press the WRITE button to write the data The display will indicate COMPLETE at this point the Write operation will be completed and the microKORG XL will return to its normal state If you decide to cancel the operation press the EXIT SHIFT button NOTE If the display indicates ERROR when you press the WRITE button Write Protect is turned on program data cannot be written Press the EXIT SHIFT button to cancel the Write operation and turn off Write Pro tect Saving global data The settings that are saved e All parameters of the GLOBAL USR SCALE pages 1 Press the WRITE button If the display indicates PROGRAM as the data to be saved use knob 1 to select GLOBAL Press the WRITE button to exit the Write operation The display will indicate COMPLETE at this point the Write operation will be completed and the microKORG XL will return to its normal state If you decide to cancel the operation press the EXIT SHIFT button 31 Saving Writing microKORG XL Parameter Guide 1 Timbre parameters NAME The micr
142. sscccccssccccrsssceccsssesecen Sets the gain of Band 3 BA TYPE scsuscescacssescsscncenssvsnescocenseesscassiesistenvess Selects the EQ type of Band 4 secharsscueses 20Hz 20 0kHz sbasbasnateccsnesaes 00 5 10 0 waeneaseenes 18 0 18 0dB TE 20Hz 20kHz spasbasnanteccsnesaes 00 5 10 0 waeneaseenes 18 0 18 0dB sebistusbestaeets 20Hz 20kHz desipedecsuatersentie 00 5 10 0 wtasaetueds 18 0 18 0dB PEAKING SHELV HI B4 FREQ B4 Frequency sscessassssccaissccariscenncssssncsseeriseacrints 20Hz 20kHz Sets the center frequency of Band 4 BAO A E E E E E T 00 5 10 0 Sets the bandwidth of Band 4 BA GAINE a 18 0 18 0dB Sets the gain of Band 4 4 DISTORT Distortion This is a distortion effect with a three band EQ giving you a broad range of variations Wet Mono In Mono Out Dry Stereo In Stereo Out Left o Pre EQ 3 Band PEQ N Distortion HA AN ai Output Level A o Dry Wet PRE WUE Trai E NE DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds GAIN ih eesesessssssssecccoossssssseccceeorsssssseeccccososssesscccooossssssescceeess 000 127 Sets the degree of distortion PRE FREQ Pre EQ Frequency eessssesssssessocessosesoosesossoo 20Hz 20 0kHz Sets the center frequency of Pre EQ PREO Pre EO O ess ca secctcecscccasscces cess stesiecscesssevssuecesestecuseeates 00
143. sscssseeeeeee OFF VELOCITY MIDI3 Selects the control source The filter will be controlled by the selected source NOTE This parameter will be displayed and can be set if MOD SRC is CTRL Source Teras OOO 3 BAND EQ 4Band EQ This is a stereo EQ for which the type can be selected independently Stereo In Stereo Out di Band1 Band2 Band3 Band4 Dry Wet PEQ PEQ m N A gt HEQ LEQ Trim N HA HNA E PEQ PEQ PEQ Right Ao a Dry Wet DRV WEL sucsvdsesasooscssescssssescsecenteobsecaenessesster l DRE pos lseal 99 WET Sets the balance between the effect and dry sounds Sets the input level of EQ 67 Effect Guide microKORG XL 68 PEAKING SHELV LO Gain DNG i 3dB gt an ft Band4 Type Shelving High ta ON Band4 Type Peaking ot B1 FREQ B1 Frequency ccscssccssssscssessees Sets the center frequency of Band 1 Sets the bandwidth of Band 1 B1 GAIN ph scsccssssecsscsossecsccsssscssscssssessesssssssees Sets the gain of Band 1 B2 FREQ B2 Frequency ccscssccsssrscssessees Sets the center frequency of Band 2 Sets the bandwidth of Band 2 B2 GAIN ty ssscccossecssccossessccsssscseccssssessccssssssees Sets the gain of Band 2 B3 FREQ B3 Frequency ssccscssccssssccsseeees Sets the center frequency of Band 3 Sets the bandwidth of Band 3 B3 GAIN ih ccsssecsccssscccccs
144. ssocessosessesessosesoossseseose 0 01 100 0Hz Sets the LFO speed Increasing this value will result in a faster frequency LFO SPRD LFO Spread csscsccsssssccssssccssssssssssessssseees 180 180 Sets the LFO phase difference between the left and right PRE DLY L PRE DLY R Pre Delay L Pre Delay R 00 0 50 0ms Sets the delay times for the left and right channels MIMI IVA E O E A 000 127 Sets the input level HI EQ GAIN High EQ Gain eessseessosessosesoosssosessossssses 15 0 15 0dB Sets the gain of High EQ 12 FLANGER Stereo Flanger This effect gives a significant swell and movement of pitch to the sound It is more effective when applied to a sound with a lot of harmonics This is a stereo flanger Stereo In Stereo Out cen t fony 7 Wet A Flanger ap Feedback LN High Damp Type Flanger i GILFO Spread gt LFO Shape DRY WEI saiasaxescasesncavessisarssassenctactecerorceueieas DRY 99 1 1 99 WET Sets the balance between the effect and dry sounds DELAY Piei 00 0 30 0ms Sets the delay time in millisecond steps MOD DEPTH Modulation Depth iti sscccsssssrscssssrecseeees 000 127 Sets the depth of LFO modulation FEEDBACK ih cessessccesesessvescessasranntieesitcievieaesdtdasds eestactectertan 000 127 Sets the amount of feedback for the left and right channels PHASE ccesvasisasansa
145. ssssscssssssccssssccssere PITCH P INT6 Selects the parameter destination that will be controlled by the modula To let you create even more sophisticated sounds the microKORG XL provides six virtual patches Each patch consists of three parameters the source of the modulation SOURCE the destination to which that modu lation will apply DEST and the intensity of that modulation effect INTENSITY You can produce a variety of changes in the sound by com bining these parameters For example by setting SOURCE to LFO2 DEST to CUTOFF1 and specifying the amount of effect using INTEN SITY you can produce a cyclic change in tone wah effect produced by LFO2 Virtual Patch On modular analog synthesizers the input or output of each module oscil lator filter amp EG LFO and other controllers could be connected patched by a patch cord to any other module as desired allowing you a great deal of freedom in creating the sound The Korg MS Series MS 20 MS 50 MS 10 etc went on sale in 1978 and featured this type of patch ing The microKORG XL 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 tion For example if you select Tune modulation will be applied to the over all pitch of the timbre The pitch of the entire timbre Resor The FILTER page
146. stic of vocal formants This is similar to the way vowel sounds change depending on the shape of your mouth Control2 FORMANT SHIFT ccscscscssssssscscscscsssescsesesesees 0300 03 This moves the entire formant frequency spectrum upward or downward With a setting of 0 the formant locations are unchanged 3 When Wave Noise and OSC1 Mod Waveform Control Resonance ssssssccssssrsccsssseccssssssccsssssssscsssssesees 000 127 This parameter adjusts the amount of resonance of the filter provided within the noise oscillator Higher values will emphasize the frequency points for the pitched component within the noise Control2 LPF HPF Mix sccssscsssssssssssseesereee LPFO3 oCNT HPF63 This parameter adjusts the mix balance between the low pass and high pass filters this will vary the brightness of the sound 4 When Wave PCM DWGS and OSC1 Mod Waveform Controli cccccccsscscccccccccccccccccccccccccccccccssccccccecsseee HAS NO EFFECT Control2 Wave Sel ct ccccccccccssssssssssccccccccccccccccccsssssseeeeeee OO1 04 Selects the PCM DWGS waveform Parameter Guide No POW OWES Neme No PCMDWGS Name e pome oe ops ose a a e E sora epu ep pe spe ore epr pma a NOSED et swans The waveform number 2 For ROSE EP the strength of the note velocity will switch the PCM waveform that is sounded The waveform number 60 Endless simulates the
147. t all controllers CC 121 Bn 79 00 value is 00 When a Reset All Controllers message is received all controller values cur rently operating on that channel will be reset Some parameters assigned using Virtual Patch will not be reset Using a control change as a virtual patch modulation source By selecting CC cc cc 00 95 102 119 as the SOURCE for MIDI1 MIDI2 or MIDI3 in the PATCH page you can use control changes as a modulation source for a virtual patch vocoder FC MOD SRC or effect parameter The actual value of 0 127 will be used without change as the modulation source 85 MIDI microKORG XL 3 Parameters transmitted and received D fen en _ tte ronnie ia bios ON OFF 00 00 02 02 0 OFF 127 0N 0 63 OFF 64 127 ON via NRPN LATCH 00 00 04 04 0 OFF 127 ON 0 63 OFF 64 127 ON 0 21 Up 22 42 Down 0 21 Up 22 42 Down 43 63 Alt1 64 85 Alt2 43 63 Alt1 64 85 Alt2 Front panel knobs and buttons other than the controls listed above are TYPE 00 00 07 07 86 106 Random 86 106 Random assigned NRPN Non Registered Parameter No NRPN messages can be 107 127 Trigger 107 127 Trigger used freely by any musical instrument manufacturer or model GATE 00 00 10 0A Referto GATE values Refer to GATE values NRPN editing is performed using the following procedure 1 Use NRPN MSB CC 99 Bn 63 mm and NRPN LSB CC 98 Bn 62 se
148. teresting results by using rhythm sounds or some other audio source As the modulator the microKORG XL lets you choose either an external input such as mic or rhythm AUDIO IN or timbre 2 You can edit these parameters in the VC MOD page Selecting the vocoder for editing The process of editing the vocoder settings is essentially the same as when editing a timbre but you ll need to turn on the vocoder function and select it for editing 1 Select a synth program 2 Press the VOCODER button The LED above the VOCODER button will light up and the vocoder func tion will turn on The vocoder will also be selected as the object of your edit ing 3 Set the KNOB FUNCTION SELECT dial to FULL EDIT Editing the sound 4 Use knob 1 to select one of the VC CARRI VC BAND pages and then use knobs 2 and 3 to edit the vocoder parameters When the vocoder is the selected object for editing knob 1 will select vocoder parameter pages NOTE If you press the VOCODER button to make the LED light set the KNOB FUNCTION SELECT dial to Full Edit and turn knob 1 to raise the VC AMP page DIRCT LVL parameter the input audio will be output directly Raise this value if you want to hear the input audio while you make adjustments NOTE If you have difficulty hear
149. the arpeggio pattern is aligned with the beginning of the measure OFF Sync off The arpeggio pattern will not be reset when you play the keyboard ON Sync on The arpeggio pattern will be reset the moment you play the keyboard ARP STEP Arpeggiator Step Here you can turn each step of the arpeggio pattern on off This is a way to give more variety to arpeggios that might become boring 53 Parameter Guide microKORG XL 3 Edit utility parameters UTILITY Here are program related utility functions INIT PROG INITIALIZE PROGRAM scccccscsossscssccscscscccssscsescscscsssoeees This initializes the settings of the selected program gt p 28 COPY TMBR COPY TIMBRE sscesiccssecscusssssssounsvesseascousessessscsnasecussessonssscaseanss This copies timbre settings from another program to a timbre of the cur rently selected program gt p 28 4 Vocoder parameters Front panel vocoder parameters VOCODER button This switches the Vocoder function on off Off LED unlit Vocoder is off The program will not use the vocoder On LED lit The vocoder is on The program will be a vocoder program and the vocoder parameters will be available for editing If you turn the KNOB FUNCTION SELECT dial to FULL EDIT you ll be able to edit the vocoder parameters VC CARRI VC BAND pages VC CARRI Vocoder Carrier On this page you can set the input level of the audio signal being used as the carrier TMB
150. the input audio increasing this value may cause distortion TYPE BAL Filter1 Balance LPF24 LPF12 HPF BPF THRU Selects the filter type Intermediate settings will produce a response that is between the two filter types LPF12 12dB oct LPF24 24dB oct Low Pass Filter HPF 12dB oct High Pass Filter BPF 6dB oct Band Pass Filter THRU The sound will output directly without passing through the filter LPF Low Pass Filter 12dB oct 24dB oct Frequency Cutoff LPF Low Pass Filter is the most common type of filter it passes the frequencies below the cutoff frequency and cuts the region above Raising the cutoff frequency CUT OFF value will produce a brighter tone HPF High Pass Filter HPF High Pass Filter passes the frequencies above the cutoff frequency and cuts the region below Use this when you want to make the tone thinner However raising the cutoff fre quency too far will drastically reduce the vol ume Frequency BPF Band Pass Filter i BPF Band Pass Filter passes the frequen cies in the region of the cutoff frequency and cuts all other frequency regions Use this when you want to emphasize only a specific portion Frequency of the sound I Cutoff ROUTING scccosssesccsccsscseseseeseeeoee SINGLE SERIAL PARALLEL INDIV Specifies the routing connection between filter 1 and filter 2 SINGLE Only filter 1 is
151. the spacing of the notes generated by the arpeggiator These settings are located in the ARP page There s also a step arpeggiator function that lets you specify the note on off status for each of up to eight steps giving you a wide range of performance possibili ties Selecting the timbre s to arpeggiate For a program that uses two timbres you can select the timbre s that will be played by the arpeggiator This is specified by the ARP page ASSIGN parameter You can make the arpeggiator play both timbres or just one of them Synchronizing the arpeggiator 26 Synchronizing LFO1 2 frequency or effect delay time to the arpeggio You can synchronize the frequency of LFO1 or LFO2 to the arpeggio tempo This lets you apply modulation that s synchronized with the tempo This also gives you the ability to specify an effect s delay time as a multiple of the tempo so that the delay time will follow even if you change the arpeg gio tempo You can also synchronize the microKORG XL s arpeggiator to an exter nal MIDI sequencer so that the LFO1 2 frequency or the delay time will be controlled from your external sequencer Modifying the arpeggio You can modify the arpeggio by turning each arpeggio step on off This is called the step arpeggiator function Using the step arpeggiator to modify the arpeggio 1 After selecting Full Edit mode use knob 1 to select the ARP STEP page 2 Use knob 2 to select the
152. the type of setting that will produce the desired result on the microKORG XL when you operate the sliders or other controllers of your external MIDI device CC MAP MIDI Control Change No Map Here you can assign control change numbers to the most important param eters When you use performance editing or program editing using the knob for these parameters will transmit the control change message that is assigned here When the assigned control change message is received the value of the corresponding parameter will change gt p 83 2 MIDI messages Parameter cccccrssosssscsssscssssccsssscsssecseeees LPORTMNTO VCEF SENS Selects the knob parameter gt p 33 KNOB Value sissssrssozcassosseanasscnsacsonsacoocndsssensaovsnnsovveessseoiae NO ASSIGN CC 119 Specifies a MIDI control change number CC for the parameter selected by Parameter NOTE if another parameter is assigned to the number you select an asterisk will appear at the right of the number NOTE The MIDI channel for vocoder parameters will be the same MIDI channel as for timbre 1 USR SCALE User Scale Here you can specify a user defined scale You can specify a pitch adjust ment of 63 to 63 cents for each note in the octave C B kI 61 Parameter Guide microKORG XL 7 Global utility parameters UTILITY Here are utility functions for the microKORG XL s data MIDI DUMP MIDI DATA DUMP 1 PROG AL
153. to select VOIC MODE and then use knob 3 to select MULTI Specify the MIDI channel for timbre 2 After you ve set VOIC MODE to MULTI you can turn knob 2 to select the T2 MIDICH parameter Use knob 3 to specify the MIDI channel for timbre 2 To set the MIDI channel for timbre 1 select the MIDI page MIDI CH parameter and use knob 3 Set the MIDI channel of the connected external MIDI device GLOBAL POSITION setting The microKORG XL 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 TRANSPOS VEL CURVE and arpeggiator settings Normally when controlling an external MIDI tone generator from the micro KORG XL 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 TRANSPOS 0 VEL CURVE 4 81 MIDI microKORG XL e Normally when controlling the microKORG XL s tone generator from an external MIDI device you will set POSITION to PRE TG The various set tings listed above will affect the MIDI data that is received The transmitted data will be processed as TRANSPOS 0 and VEL CURVE 4 MIDI FILTER settings The MIDI FLT page setting specifies whether program change pitch bend control change and system exclusive messages will be transmitt
154. ts in the pitch NOTE If the oscillator 2 OSC MOD is set to SYNC adjusting SEMITONE or TUNE will affect the pitch of the overtones It will not change the pitch of the fundamental MIXER These parameters adjust the volume balance of the oscillator 1 and 2 and the noise generator These settings will be the input level to the filter sec tion OSC LVL OSC1 Level cccccccsssssssessceccsscssscesscscsessseseseee L000 127 Sets the output level of oscillator 1 OSC2Z LVL OSC2 Level ccccccccsscsssssccescscssscscscsescseseseeeee L000 127 Sets the output level of oscillator 2 NOISE LVL Noise Level ccsccsssscssssscsssssssssssssssssssscsssseseeee 000 127 Sets the output level of the noise generator This noise generator generates white noise This is independent of the white noise that can be selected as a waveform for oscillator 1 WAVE NOISE This does not have filter or resonance as the oscillator 1 noise generator does but you can use the FILTER section to create the same results as the noise waveform of oscilla tor 1 Noise is used to create percussion instrument sounds or sound effects such as surf 41 Parameter Guide microKORG XL PUNCH LVL Punch Level ssccssssscssssscsssssccssssscsssssesseeee 000 127 Creates a more snappy attack by adjusting the amount of pulse waveform that is added to the oscillator output only during th
155. tting will make the gate close more gradually caus ing the vocoder sound to have a longer decay NOTE If the THRESHLD value is high this effect will apply more readily If the threshold value is 0 there will be no effect THRESHLD Threshold sccccccscssssssscssscssccssscssseseseseeeeeee 000 127 Sets the level at which the input source will be cut By setting this to an appropriate level you can cut the noise that might be present during times where there is no input Higher settings will make it more likely that the input source will be cut With excessively high settings it s more likely that the audio input signal itself will be cut making it difficult for you to apply the vocoder effect as intended HPF GALE sstacssssavssstencsscavsestistssstsceresseasassaccusisasussseaissee DISABLE ENABLE The microKORG XL s vocoder can extract the high frequency portion from the audio source being input to the modulator and then mix this into the output of the vocoder You can specify whether this high frequency por tion will be mixed in only while the internal sound generator Timbre1 is producing sound or at all times DISABLE The high frequency portion will be mixed whenever the audio source is being input to the modulator ENABLE The high frequency portion of the audio source will be mixed only when the internal sound generator Timbre1 is producing sound HPF LVL HPF Level cccssccsccsssvsvssssccosscenseo
156. ttings are received the corresponding controller or parameter will be controlled If you want control changes to be transmitted and received set the MIDI FLT page CTRL CHG to Enable If this is set to Disable control change messages will not be transmitted or received NOTE Use the CC MAP page to assign control change messages to parame ters 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 VIB INT If the value of the received message is the maximum value 127 vibrato will be applied over the full pitch range specified by VIB INT If the value of the received message is 0 no vibrato will apply When you move the microKORG XL s MOD wheel modulation depth messages are transmitted on the Global MIDI channel Volume CC 07 Bn 07 vv If you assign the control change Volume CC 07 to LEVEL in the CC MAP page incoming Volume messages will control the volume Panpot CC 10 Bn 0A vv If you assign the control change Panpot CC 10 to PANPOT in the CC MAP page incoming Panpot messages will control the stereo position of the sound e Expression CC 11 Bn 0B vv Assigning a control change to a knob or button When expression messages are received the volume of a timbre will be In the CC MAP page you can assign the control changes CC 00 CC 95 controlled The volume will be at ma
157. u can adjust the settings for the AMP EG which applies time vari ant change to the volume Using the AMP EG settings you can make the volume change as time passes Create the desired volume curve by adjust ing the ADSR parameters ATTACK DECAY SUSTAIN RELEASE NOTE You can use EG2 as a Virtual Patch source to modulate parameters oth er than volume gt p 49 EG1 and EG2 As the EG1 Filter EG changes the cutoff frequency the tone will change However the overall character of the sound will also depend on the volume changes produced by the EG2 Amplifier EG For example setting a long decay for the Filter EG EG1 will produce a different sound depending on how the decay is set in the Amp EG EG2 It s a good idea to be aware of both the EG 1 tone settings and the EG2 volume settings as you re edit ing ATTACK Attack level EG2 ssssscccssssrsscssssscccssssesscsssssseeees 000 127 Specifies the time from note on when the key is pressed until the attack level maximum value of the envelope is reached DECAY Decay level EG2 000000000008 HHHOHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHCECOOS 000 127 Specifies the time from when the attack level is reached until the sustain level SUSTAIN is reached SUSTAIN Sustain level EG2 eessssssossssessssssocssssosssseossssssessee 000 127 Specifies the volume that will be maintained after the decay time has elapsed as long as you continue holding the k
158. use the mic input audio input In order to play these sounds you must connect a mic or external audio de vice to the microKORG XL and play the keyboard while sound is being input With the factory settings the Timbre 2 MIDI channel is set to 9 for pro grams whose Voice Mode is set to Multi Off Off ff On Off Off Off Off Off Off On Off Off On Off Off Off On Off ff Fri 97 microKORG XL 3 Demo Song mof sorgnane Janr a fenem foree a peun fee s freuen fesem a freca forme s feus emia eos e fow orome ra eoe korere o evouron hemio eons o preven AW xKORGne All Demo Songs 2012 KORG Inc All rights reserved For more information about the authors please visit Katsuyuki Mito http mito310 seesaa net Henning Verlage www facebook com henningverlage 98 Appendices Input output o po Input AUDIO IN LINE jack AUDIO IN MIC jack 4 Specifications AUDIO IN LINE jack Sound generation system Maximum input level 17 dBu GAIN Max MMT Multiple Modeling Technology Input impedance U OnMG Connector 1 4 phone jack unbalanced Programs AUDIO IN MIC jack Number of timbres Maximum 2 when using Layer Split or Multi Maximum input level 34 dBu GAIN Max Polyphony 8 voices up to 4 when the vocoder is selected Input impedance 14 k ohms Connector XLR balanced Synth 2 oscillator noise generator Output Oscillator 1 L MONO R jacks Waveform SAW PULSE TRIAN
159. used Filter 1 and filter 2 are connected in series OSC1 SERIAL m Filter 1 and filter 2 are connected in parallel PARALLEL a Filter 1 is applied to oscillator 1 and filter 2 is applied to oscillator 2 and noise INDIV Parameter Guide EG1 INT EG1 Intensity Filter sccsssscssssscssssssessssscssereess 030003 This specifies how time variant modulation from the EG1 will be applied to the cutoff frequency Note on Note off Sustain Level es s o Attack Decay Release Time Time Time Time The cutoff frequency will change over time according to the EG1 settings modifying the tone For example you can use this to create a sound that gradually begins to brighten when you press the key and then gradually becomes darker EG1 INT parameter specifies the depth sensitivity to which the EG1 will affect the cutoff frequency With a setting of 0 the EG1 will not affect the cutoff frequency Increasingly positive settings will allow the EG1 to have a correspond ingly greater effect on the cutoff frequency Cutoff Int 32 Int 63 Note on Note on Note off Note off Cutoff frequency specified by B Cutoff nee Time 43 Parameter Guide microKORG XL 44 Increasingly negative settings will allow a correspondingly greater effect in the opposite direction Cutoff Int 32 Int 63 Cutoff frequency Int 0 specified by Cutoff t Note off
160. uto power off function is enabled or disabled DISABLE The auto power off function is disabled The microKORG XL will not be automatically turned off 4 HOURS The microKORG XL will be automatically turned off if no user input is received for approx 4 hours 6 MIDI parameters MIDI Here you can adjust MIDI related settings for the microKORG XL MIDI CH MIDI Channel scccccscsscscssscssscscscscscscsesescseseseeee 01 16 Specifies the MIDI channel When you wish to transmit program changes or system exclusive messages via MIDI set the global MIDI channel to match the MIDI channel of the connected MIDI device Switches the local setting on and off OFF With this setting controllers such as the keyboard and modulation wheel will be internally disconnected from the tone generator section This setting prevents notes from being sounded in duplicate when the micro KORG XL is connected to a sequencer and the performance data is echoed back from the sequencer Echo back is when the performance data transmitted by playing the microKORG XLL is re transmitted back to the microKORG XL from the sequencer ON Select this setting when you are using the microKORG XL by itself ROUTING cccsccsssssccssssccssssscsssssccsssscsssssessesseeee MIDI USB USB MIDI Selects the connector s that will be used to transmit and receive MIDI messages MIDI USB The MIDI connectors and USB connector will be used to trans
161. vesesecondesdesssesousentespsess 000 127 This adjusts the output level from the HPF High Pass Filter that extracts the high frequency components from the modulator input source these high frequency components are then mixed into the output of the vocoder Increase this value if you want to emphasize the consonants of the vocal input source VC FILT Vocoder Filter Here you can adjust the settings for the carrier s sixteen band pass filters and modulator s envelope filter You ll be using these parameters fre quently since they play an important role in determining the character of the vocoder FRMNT SFT Formant Shift cccccccssccsscscccccscsscccccccsccccccees 2 ee 2 Shifts the cutoff frequencies of each of the carrier s band pass filters This will significantly change the character of the vocoder output FC OFFSET FC ONSCL scsssssssssssvcessavevenssacsssvecssnrsecsstdeecsccescsscees OS oct O3 This continuously shifts the cutoff frequency of each band pass filter Syn thesis filter of the carrier FRMNT SFT and FC OFFSET When FRMNT SFT 0 and FC OFFSET 0 the response of the carrier fil ters will match the cutoff frequency of the modulator filters The filter response is shifted upward or downward in two discrete steps by the FRMNT SFT This can be adjusted upward or downward a total of another two steps by using FC OFFSET giving you a total of four steps of adjust
162. vesuscssesevanssnuserenstseeacusshensnossaacsenesnneateanenuabamansatees This switches the phase of the output and feedback LFO SYNC LFO Tempo Sync ccssccsssscsssscssssccsssscsssscssssscseseees OFF ON Specifies whether the LFO cycle will be synchronized with the tempo speci fied by the TEMPO knob or MIDI clock gt p 66 LFO SYNC LFO Tempo Sync LFO FREQ LFO Frequency ith cccscccssssscssssscssssseesens 0 01 100 0Hz Sets the LFO speed gt p 66 LFO FREQ LFO Frequency SYNC NOTE LFO Sync Note iti esseesesssossossocesossocssossossocssossoseo 8 1 1 64 Sets the LFO frequency as a proportion of the tempo set by the TEMPO knob gt p 66 SYNC NOTE LFO Sync Note NOTE This parameter will be displayed and can be set if LFO SYNC is ON LFO WAVE LFO Waveform 006 SAW SQUARE TRIANGLE SINE S amp H Selects LFO Waveform gt p 66 LFO WAVE LFO Waveform LEO SHAPE ssiscssesacsanncassvessvaneannansaveauatassacanssavaanacesivctencsevonsnss 63 63 gt p 66 LFO SHAPE KEY SYNC LFQIRGVS YING sccsscoucsvasscsnseccovesvenccsvesvcavseseventeccuovenseess OFF ON Specifies whether the LFO will be reset by note on gt p 67 KEY SYNC LFO KeySync INI PHASE LFO Init Phase ccssscccssssssscsssssscsssssscecsseees 000 180 Sets the starting location of the waveform gt p 67 INI LPHASE LFO Init Phase NOTE Thi
163. xcess of the regulated amount a chemical symbol is displayed below the crossed out wheeled bin symbol on the battery or battery package x x 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 All product names and company names are the trademarks or registered trademarks of their respective owners Table of Contents Table of Contents Introduction cccccccccccccsccccccccccccccccccceses D 1 Main features iiiesiiccesceriuieuiiariiand anna 5 2 Front and rear panels cccccseeeeeeeeeeeeeneees 6 Pront DAM Cl esceceosagaceruceeencecvaret a T A ATETA E EE 6 PRG ale PNG I rE E N T 8 Preparations ssscccseccossccossccossccosssceosesee D T CONNECHONS eessen 9 2 Turning the power on cccsseeeesseeeeeeeeeeees 10 Before you turn on the POWET cccccccsssscecceeeseecseseeceseseeesseeeeeeseaeeeess 10 Tumino the power Onasin a e ap A a e EEr EEE 10 Turning the power off wees uivnies ocr atidiesivueen beeealcmt yaw nen eedorevon vonvserrimedan 11 PAULO power om UNCION aaaeeeaeo EE E E AEAN 11 Quick stalt coscecicescssavticiecdcecesssesscccsccevses 12 1 Demo performance ccscceseeeeeeeeeeeneeeeeeees 12 LISTEMING to Ie GOING sisena a a A O cae udehens wi
164. ximum if the maximum value 127 is and CC 102 CC119 to principal parameters that correspond to panel received and at zero if the minimum value 0 is received knobs and buttons When you operate an assigned knob or key the corre sponding control change will be transmitted When that control change is D Amper pedal CC 64 Bn 40 vv l l received from an external device the result will be the same as if that knob Incoming damper pedal messages will turn the timbre s damper effect or key had been operated with the corresponding value gt p 90 4 Front Hold on off 0 Off 127 On panel knob button control change assignments e Portamento CC 65 Bn 41 vv When portamento messages are received the portamento effect of a tim bre will be switched on off If the portamento time is set to 0 there will be no portamento effect 0 off 7F on e 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 e 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 How ever this message is intended for use in emergencies and is not for use during a performance e Rese
165. you can adjust the settings of the filter 2 parameters The FILTER1 page ROUTING parameter specifies how filter 2 and filter 1 will be con nected amp The filter 2 parameters are not shown if ROUTING is SINGLE CUTOFF Filter2 Cutoff sscesississiessestsssesesscsidesesecsscessesesseessesessen 000 127 This is the same as for FILTER 1 gt p 42 RESO Filter2 Resonance esssosssssssosesosesosesossoosssosssesssosssesee 000 127 This is the same as for FILTER 1 gt p 42 TYPE Fiter TY DE ccsissusscsssssvatessessssnesieossdecssstecssssectestesseae LPF APF BPF Selects the filter type LPF HPF BPF These are the same filter type as for filter 1 gt p 42 EG1 INT EG1 Intensity Filter2 sscscsscssssscsssssscssssscssersess 63 63 This is the same as for FILTER 1 gt p 43 KEY TRK Keyboard Tracking Filter2 sessssssoosssessssssoesse 2 00 2 00 This is the same as for FILTER 1 gt p 44 VEL SENS Velocity Sensitivity Filter2 ccscsccssssesseree 63 63 This is the same as for FILTER 1 gt p 44 AMP Amplifier These parameters control the volume The sound that is created by passing through the oscillator and filter is amplified by the amp Adjusts the volume of the timbre PANPOT ssssessssseccsasuaceasaiconsendssdustscsntactisbecsosbestsiieriovesees L63 CN T R63 Adjusts the location of the sound in the stereo field L63 is far left CN

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