Using the unit in the following locations can result in a
malfunction.
• In direct sunlight
• Locations of extreme temperature or humidity
• Excessively dusty or dirty locations
• Locations of excessive vibration
• Close to magnetic fields
Power supply
Please connect the designated AC adapter to an AC outlet of the correct voltage. Do not connect it to an AC outlet
of voltage other than that for which your unit is intended.
Interference with other electrical devices
Radios and televisions placed nearby may experience
reception interference. Operate this unit at a suitable distance from radios and televisions.
Handling
To avoid breakage, do not apply excessive force to the
switches or controls.
Care
If the exterior becomes dirty, wipe it with a clean, dry
cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes.
Keep this manual
After reading this manual, please keep it for later reference.
Keeping foreign matter out of your equipment
Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a
breakdown, fire, or electrical shock.
Be careful not to let metal objects get into the equipment.
If something does slip into the equipment, unplug the AC
adapter from the wall outlet. Then contact your nearest
Korg dealer or the store where the equipment was purchased.
THE FCC REGULATION WARNING (for USA)
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference
in a residential installation. This equipment generates,
uses, and can radiate radio frequency energy and, if not
installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which
can be determined by turning the equipment off and on,
the user is encouraged to try to correct the interference by
one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and
receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
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, battery, 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 contact your local administrative body for details. If the battery
contains heavy metals in excess of the regulated amount,
a chemical symbol is displayed below the “crossed-out
wheeled bin” symbol on the battery or battery package.
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.
5. Index ...............................................................100
4
Introduction
Introduction
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.
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 synthesizers, 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, resonance, 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, producing the impression that the instrument is “talking.”
The vocoder consists of sixteen filter bands, which are able to create original vocoder sounds by shifting the filter frequencies or 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.
6. Virtual Patch functionality
Controllers such as EG, LFO, keyboard tracking, and the wheels can be virtually connected to parameters such as pitch or cutoff, allowing you to modulate these parameters and create sounds with a high degree of freedom.
7. 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.
8. 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.
9. Sound editor software
By using a USB cable to 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/
5
microKORG XL+
123456
78910
11
12
13
14
15
1617
18
2. Front and rear panels
Front panel
1. [VOLUME] knob
This adjusts the volume of the OUTPUT jacks (L/MONO, R) and headphone jack.
2. [TEMPO] knob
This adjusts the tempo (speed) of the arpeggiator, LFO, or delay effect. The
LED above the knob will blink in synchronization with the tempo.
3. [OCTAVE] lever
This shifts the range of notes assigned to the keyboard upward or downward in one-octave steps over a range of 3 octaves. ( p. 15)
NOTE
If you want to make fine changes to this setting, you can hold down the
[EXIT/SHIFT] button and use the OCTAVE lever to change the value in
steps of one.
6
4. [BANK SELECT] lever
This selects the program bank.
5. [PROGRAM GENRE] dial
This dial selects the genre of program.
6. [PROGRAM CATEGORY] dial
This dial selects the category of program.
7. [ARP ON] (DEMO) button
This turns the arpeggiator on/off ( p. 18). (When on, the LED above the
button will be lit.)
If you hold down the [EXIT/SHIFT] button and press this button, a demo
song will play. ( p. 12)
Introduction
ab cde
f
g
h
i
Introduction
8. [VOCODER] (AUDIO IN THRU) button
This turns the vocoder on/off ( 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 ( p. 13).
9. [WRITE] button
Press this button to save a program or global settings you’ve edited
( p. 31).
10. [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.
11. [TIMBRE SELECT] lever
Use this to select the timbre that you want to edit ( 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.
12. [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 ( p. 22).
If the dial is set to EFFECT, performance editing will control the dry/wet balance 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 ( p. 23).
13. [1], [2], [3] knobs
Use these knobs for performance editing and in full edit mode to select the
page, parameter, and parameter value.
14. ORIGINAL VALUE LED
This LED will light when the value of the parameter you’re editing matches
the value stored in the program.
15. 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, various messages, or other information.
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
16. [PITCH] wheel
This controls the pitch.
17. [MOD] wheel
This controls the depth of modulation.
18. 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.
7
microKORG XL+
Rear panel
678913452
1. [HEADPHONES] jack
You can connect headphones to this jack (stereo 1/4").
2. 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.
3. 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 signal.
4. 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.
5. AUDIO IN [LEVEL] knob
This adjusts the input level from the AUDIO IN [MIC] or [LINE] jacks.
6. MIDI
These connectors allow the microKORG XL+ to exchange MIDI messages
with an external MIDI device.
8
[MIDI IN] connector
This connector receives MIDI data.
[MIDI OUT] connector
This connector transmits MIDI data.
7. [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 Korg USBMIDI driver in your computer. Download the “Korg USB-MIDI driver” from
the Korg website, and install it as described in the accompanying documentation.
NOTE
You can download the sound editor software from the Korg website.
8. Power switch
This turns the power on/off.
9. [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
MIDI IN
MIDI OUT
USB
MicMic
Computer
connect AC adaptor (included)
to electrical outlet
Monitor speakers
(amplified)
Headphones
MIDI keyboard, sound module,
rhythm machine, etc.
Preparations
Preparations
1. Connections
The illustration below shows a typical example of connections for the
microKORG XL+. Connect your equipment as appropriate for your needs.
Connect your monitor amp or mixer to the output jacks
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
We recommend that you output in stereo to take full advantage of the
croKORG XL+
’s sound.
Connect your mic or sampler to the input jack
If you’re using the microKORG XL+ as a vocoder, connect the mic to the
AUDIO IN [MIC] jack so that the mic audio can be used as a modulator
( 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 the 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.
Do not use excessive force when connecting o
mic.
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 malfunctio
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.”
Be careful of the mic output level when connecting a mic.
ns.
r disconnecting the
mi-
You must make connections with the power turned off. Failure to
observe this precaution may cause malfunctio
speaker system.
ns or damage to your
Connecting MIDI equipment or a computer to the MIDI connectors or
USB connector
If you want to use the microKORG XL+’s keyboard and controllers to control 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-
KORG XL+ with other MIDI devices (MIDI)”).
9
microKORG XL+
4. Close the battery cover.
2. Turning the power on
Before you turn on the power
Make sure that the power switch is off before you connect the power supply.
Connecting the AC adapter
1. Make sure that the microKORG XL+ is powered-off.
2. Conn
3. Plug the AC adapter into an AC outlet.
Using batteries
Installing/replacing the batteries
1. Make sure that the microKORG XL+ is powered-off.
2. O
3. Inser
ect 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.
Use an AC outlet of the correct voltage.
The microKORG XL+ can also operate on batteries.
NOTE
Batteries are not included. You’ll need to purchase them separately.
pen the battery cover located on the bottom of the micro-
KORG XL+.
t six AA alkaline batteries (sold separately).
About the battery empty indicator
When the battery capacity runs down, the “” 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 Write operation.
Depleted batteries should be immediately removed from the miKORG XL+.
functions (such as leakage of the batter
also remove the batteries if you won
for an extended period of time.
Leaving depleted batteries installed may cause mal-
y electrolyte). You should
’t be using the microKORG XL+
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.
ess the power switch to turn on the power.
2. Pr
The display will indicate the program number and program name.
3. Lower the volume of your powered monitors or other exter-
nal output equipment.
urn the microKORG XL+’s [VOLUME] knob to an appro-
4. T
priate position.
just the volume of your external output equipment.
5. Ad
cro-
10
Make sure that the batteries are oriented correctly.
Preparations
Turning the power off
After completing any necessary operations such as saving your edited program, turn off the power using the following procedure.
Never turn off the power while data is bein
ing the Write operation). Doing so may destroy internal data.
g saved (i.e., while execut-
1. Lower the volume of your powered monitor speakers or
other external output device, and then turn off their power.
urn the [VOLUME] knob of the microKORG XL+ all the
2. T
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 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 automatically 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.
Preparations
Changing the auto power off setting
1. Use the [KNOB FUNCTION SELECT] dial to select “FULL
EDIT.”
e knob [1] to select the GLOBAL page, use knob [2] to
2. Us
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
microKORG XL+
1
13
2
Quick start
1. Demo performance
Listening to the demo
The microKORG XL+ contains demo songs that show off its sounds
( p. 98 “3.Demo Song”).
1. Hold down the [EXIT/SHIFT] button and press the [ARP ON]
button.
The demo performance will begin.
2. You can use the [1] knob to switch songs during the demo.
3. Pr
ess the [EXIT/SHIFT] button to end the demo perfor-
mance.
2. Selecting and playing a program
Playing a synthesizer program
The microKORG XL+ contains 128 programs that you can play immediately.
To select a program, you’ll use the panel PROGRAM GENRE dial, PROGRAM 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.
1. Turn the [PROGRAM GENRE] dial to “ROCK”.
2. T
urn 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.
3. Play the keyboard to hear the sound.
You can use the [OCTAVE] lever to change the assigned pitch range.
( p. 15 “Using the [OCTAVE] lever to switch octaves”)
4. Use the [BANK SELECT] lever to switch sounds.
While playing the keyboard, compare the sounds of the two banks to see
which one you like best.
12
12
4
3
Quick start
2
1
4
3
Quick start
Playing a vocoder program
A vocoder modifies the signal from an oscillator or other source (the “carrier”) by applying the spectral characteristics of an external input source
such as a human voice (the “modulator”).
The most common way to use a vocoder is to produce a “talking instrument” effect by taking the input of your voice from the mic while you hold
down a chord on the keyboard. However you can also obtain interesting
results by using audio input sources other than a human voice, such as
rhythm sounds or anything you like. Here’s how to connect a mic and try
out the vocoder.
1. Turn the rear panel AUDIO IN [LEVEL] knob all the way to
“MIN.”
2. Connect
( p. 9 “Connecting the included mic”).
3. Set t
4. Sele
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.
the mic to the front panel AUDIO IN [MIC] jack
he rear panel [XLR/LINE] switch to “XLR.”
ct a vocoder program.
5. Adjust the mic input level.
While vocalizing into the mic, turn the AUDIO IN [LEVEL] knob toward the
right as far as possible without allowing the “CLIP” indication to appear in
the level meter shown to the right of the display.
NOTE
If you want to audition the audio input directly, hold down the [EXIT/
SHIFT] button and press the [VOCODER] button (
p. 13).
6. While vocalizing into the mic, play the keyboard.
To hear different vocoder effects, try vocalizing in different ways and changing the chord you play.
NOTE
If you’re unable to hear the effect, adjust the VC CARRI page
“TMBR1.LVL” parameter or the VC AMP page “VC LEVEL” parameter
p. 54, p. 56).
(
NOTE
Some vocoder programs will produce sound when you simply play the
keyboard; there’s no need to vocalize into the mic.
5
6
Listening to the audio input (AUDIO IN THRU)
If you hold down the [EXIT/SHIFT] button and press the [VOCODER] button, the audio input signal from the AUDIO IN [MIC] jack or the AUDIO IN
[LINE] jack will be sent from the OUTPUT [L/MONO], [R] jacks without
modification.
To return to the normal state, hold down the [EXIT/SHIFT] button and press
the [VOCODER] button once again.
13
microKORG XL+
0
0
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
[PITCH] wheel
The effect will be applied when you move the
wheel away from or toward yourself; there will be
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.
[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 (
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.
The micro
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 produce differences in the volume of higher and lower notes ( p. 44).
NOTE
You can use keyboard tracking and velocity as virtual patch sources.
KORG XL+’s keyboard does not support aftertouch.
14
C6–C9 UP LED lit red
C5–C8 UP LED lit orange
C4–C7 UP LED lit green
Lever operationLever operation
Move toward
DOWN
Move toward
UP
C3–C6 dark
C2–C5 DOWN LED lit green
C1–C4 DOWN LED lit orange
C0–C3 DOWN LED lit red
Keyboard range Key LED
Middle C on a
piano is C4 (MIDI
note number 60)
Octave Shift settings and note numbers
C7
(96)
C8
(108)
C9
(120)G9(127)
C#8
(116)C9(120)
C5
(72)
C6
(84)
C3
(48)
C4
(60)
C1
(24)
C2
(36)
C-1
(0)
C0
(12)
Octave Shift not used
+1 octave
+2 octaves
+3 octaves
-3 octaves
-2 octaves
-1 octave
Quick start
Quick start
Using the [OCTAVE] lever to switch octaves
The area of pitches assigned to the keyboard can be changed in oneoctave steps over a range of +/–3 octaves.
15
microKORG XL+
Performance edit parameters
For an LPF (Low Pass Filter)
CutoffCutoffCutoffCutoff
Low resonance valueHigh resonance value
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.
Using performance editing
1. Select a program.
2. Us
e the [KNOB FUNCTION SELECT] dial to choose the
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
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 filter’s TYPE, CUTOFF, and RESONANCE 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
Use the [TIMBRE SELECT] lever or the [VOCODER] button to select the
part to edit.
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 character to the sound.
ATTACK
This adjusts the attack time of EG2 (the amp EG). It specifies the time from
note-on (pressing a key) until the attack 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.
16
0
Attack Level
Time
Note on
Note off
Level
[1]: Attack Time [3]: Sustain Level
[2]: Decay Time [4]: Release Time
[1]
[3]
[4]
[2]
EG2
Quick start
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. (
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 way 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.”
p. 33 “KNOB”)
Quick start
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
microKORG XL+
4. Playing arpeggios
o stop the arpeggio, press the [ARP ON] button (the LED
5. T
goes dark).
Using the arpeggiator
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.
1. Select a program.
You can use the arpeggiator with both synth programs and vocoder programs, but in this example we’ll select a synth program such as “A24:
PRAY ARP” in order to try out this function.
2. Press the [ARP ON] button to make the LED light, turning
the arpeggiator on.
3. Hold down a c
playing.
When you hold down a chord, it will be sounded as shown at the right.
(TYPE: UP)
4. Use the [TEMPO] knob to adjust the tempo.
hord on the keyboard; an arpeggio will start
1
4
25
3
18
Editing the sound
Timbre 1
Timbre 2
Synth
Synth
EQ
EQ
ARPEGGIATOR
MASTER FX2MASTER FX1
Audio In
OUTPUT
(L/MONO, R)
OSC1
MIXER
FILTER1
FILTER2
DRIVE/WSAMP
OSC2
NOISE
EG1
Keyboard Tracking
PAN
Keyboard Tracking
Velocit y
Pitch Bend
Mod Wheel
Filter Routing= Individual
Drive/WS Position
= PreAmp
To E Q
Free Assign
OSC MOD
Synth
EG1
EG2 EG3
LFO1 LFO2MIDI 1–3
VIRTUAL PATCH
Audio In
Editing the sound
Editing the sound
1. How a program is organized
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.
Synthesizer
As shown in the illustration, a synth program consists of timbres 1/2, master
effects 1/2, and the arpeggiator.
The three elements of sound: pitch, tone, and volume
Sound has three basic elements: pitch, tone, and volume. Just like the analog synthesizers of the past, the microKORG XL+ analog modeling synthesizer provides “oscillator,” “filter,” and “amp” (amplifier) sections that control
these three elements.
Edit the oscillator settings to change the pitch, the filter settings to change
the tone, and the amp settings to change the volume.
Oscillator, filter, and amp
On the microKORG XL+, the oscillator settings are found in the OSC1 and
OSC2 pages and the PITCH page. Use 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
together by the mixer. The filter settings are located in the FILTER page. On
this page you can modify the tone by applying filters to the sound produced
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.
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 passage of time, according to the pitch you play, or in response to various performance 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 produce various changes in the basic sound of the program.
Take a look at the illustration that shows the structure of the microKORG XL+. Notice that the signal flows in the order of OSC FILTER AMP.
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.
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 combine these two timbres to create a richer-sounding program.
19
microKORG XL+
Oscillator (OSC1, OSC2, NOISE)
Oscillator 1 (OSC1) lets you choose from seven types of oscillator algorithm such as the sawtooth wave or square wave familiar from analog synthesizers, 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 oscillator 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 lets you adjust the volume level of oscillator 1 (OSC1), oscillator 2 (OSC2), and noise generator (NOISE), and sends the resulting mix to
the filters (FILTER).
Filters (FILTER 1, FILTER 2)
The filter varies the brightness of the sound by removing or boosting certain
portions of the frequency spectrum of the sound generated by the oscillator.
Filter settings will have a large impact on the character of the sound. There
are two filters for each timbre, and you can create a wide range of sounds
by choosing from four routings (types of connection) for these filters. In
addition, you can use envelope generator 1 (EG1) to vary the cutoff frequency of each filter over time.
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. Adjusting the cutoff or resonance of the filter can produce significant changes.
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 frequency, and EG2 is assigned to control 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” (OSC1 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 mixed sound of the two timbres, you can add the finishing touch to the
overall program.
20
Editing the sound
Editing the sound
Arpeggiator (ARPEGGIATOR)
Vocoder
The arpeggiator automatically generates an arpeggio (broken chord) when
you hold down a chord on the keyboard. For programs that use two timbres, you can apply the arpeggiator to either or both timbres. This is a step
arpeggiator with six arpeggio types.
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 “carrier” (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 modifying), and the vocoder section itself.
Audio In
Timbre 1
Timbre 2
Synth
Synth
Vocoder Sw= ON
Carrier
Voco der
Modulator
Vocoder Sw= ON & Modulator AudioSrc =Timbre2
EQ
EQ
Vocoder
HPF
HPF
LEVEL
DIRECT
LEVEL
Audio In
Timbre2
Timbre1
Timbre2
LEVEL
LEVEL
Gate Send
Threshold
GATE
Modulator
Band16
Band1
ANALYSIS
FILTER
RESONANCE
SYNTHESIS
Carrier
FILTER
CUTOFF (FC MOD)
FORMANT SHIFT
E.F. SENS
ENVELOPE
FOLLOWER
Band. LEVEL
PAN
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 follower will detect the volume envelope (time-variant change) of each frequency 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 character of the carrier signal and producing the impression that the carrier signal 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.
MASTER FX1
To Timbre 1
EQ
21
microKORG XL+
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 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 timbre 2, the output of the timbre 2 EQ will be input to the modulator.
2. Basic editing procedure
There are two ways to edit sounds on the microKORG XL+.
• You can select a program that’s close to the sound you want, and create
the desir
• 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 [KN
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
3. Use knobs [1], [2], and [3] to edit the values of the parame-
ters assigned to each knob.
4. Re
sound.
5. W
p. 31 “Saving (Writing)”
If you want to create a program from scratch
If you want to create a program from scratch, start by initializing to enter
program.
p. 28 “Initializing a program”
NOTE
ed program by making the necessary changes.
OB FUNCTION SELECT] dial to choose the
Use the [TIMBRE SELECT] lever or the [VOCODER] button to select the
part that you want to edit.
peat steps 2 and 3 as needed to create the desired
rite your edited program.
If you select another program or turn off the power before you’ve
written your edited program, the ch
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 order; simply proceed by turning knob [1] to step through the pages.
anges you made will be lost.
22
3. Full Edit mode
PAG E N AME
PARAMETER NAME
PARAMETER NAME
VAL UE
Editing the sound
Editing in 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 MIDI-related settings (GLOBAL).
1. Select the program that you want to edit.
2. Set the [KNOB FUNCTION SELECT]
3. Use
knobs [1] and [2] to select the parameter that you want
dial to FULL EDIT.
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.
Editing the sound
About the display in Full Edit mode
When you turn knob [1] to select the OSC1 page, the upper line of the display will indicate the name of the page, and the lower line will indicate the
name of a parameter.
Now when you turn knob [2], the display
show the parameter name, and the lower line will show the value that
changes when you turn knob [3].
The illustration below is an example of when you’ve selected the OSC
MODE parameter WAVEFORM.
will change; the upper line will
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 decrement 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
microKORG XL+
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 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” parameter 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 position the
instant you move the knob.
If “KNOB MODE” is set to CATCH
Suppose that knob [1] is in the position shown in the illustration.
If the actual value of the parameter was at the position shown by the triangle, t
urning the knob slightly will make a “” symbol appear in the display.
This symbol means that the actual value is toward the left of the position
indicated by the knob.
Conversely, if the actual value is toward the right of the knob position, a
“” symbol will appear in the display.
24
Restoring an edited program value to its original setting
When you set a value to the same value stored in the original preset program or saved program, the ORIGINAL VALUE LED will light.
After editing a value, you can restore that value to its original setting by
turning knobs [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 reselect the program you had been editing, the values will return to the preset
program or stored program value.
NOTE
Settings affecting the entire
(GLOBAL) are made using the same procedure as when editing a program; use the [KNOB FUNCTION SELECT] dial to select the Full Edit
ode section, and then use the knobs to edit the values. These settings
m
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.
microKORG XL+
or MIDI-related settings
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 program.
Using two timbres (Layer)
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 32 “VOIC.MODE”.
1. Use the [KNOB FUNCTION SELECT] dial to select “FULL
EDIT.”
2. Use knob [
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.
1] to select the COMMON page, use knob [2] to
Editing the sound
2
4
3
Editing the sound
Editing the vocoder
Selecting the vocoder for editing
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 “VOIC.MODE” parameter is SINGLE. The LED of the timbre being edited will
ight if you’ve selected LAYER, SPLIT, or MULTI as the voice mode
l
p. 32).
(
You’ll use the VC FILT–VC BAND pages to edit the parameters of the sixteen 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 vocoder settings, use the VC CARRI page “TMBR1.LVL” parameter to adjust
input level of timbre 1.
the
Modulator
A human voice is typically used as the modulator, but you can also obtain
interesting results by using rhythm sounds or some other audio source. As
the modulator, the microKORG XL+ lets you choose either an external
input such as mic or rhythm (AUDIO IN) or timbre 2. You can edit these
parameters in the VC.MOD page.
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. Pre
ss the [VOCODER] button.
The LED above the [VOCODER] button will light-up, and the vocoder function will turn on. The vocoder will also be selected as the object of your editing.
3. Set the [KNOB FUNCTION SELECT] dial to “FULL EDIT.”
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 hearing 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
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.”
microKORG XL+
25
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 th
5. Edit th
e keyboard while listening to the sound.
e 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 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 possibilities.
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
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 arpeggio tempo.
You can also synchronize the microKORG XL+’s arpeggiator to an external 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 arpeggiator step.
26
TYPE: UP
LAST STEP: 8
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]
to change the indication to “–” (off), that step will be a rest.
NOTE
The number of available steps is specified by the ARP page
“LAST.STEP” parameter (
p. 52).
Editing the sound
4. About the Global settings
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 “TRANSPOS”) 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 “TRANSPOS” if you need to transpose the song you’re playing. When you use multiple 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”.
If you want to keep the changes you make to these p
must Write them ( p. 31 “Saving global data”).
arameters, you
27
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.PROG.”
2. T
urn 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. T
urn knob [2]; the left side of the display will show the copysource program number, the middle will show the copysource timbre, and the right will show the copy-destination
timbre.
e knob [2] to move the cursor below the program number,
3. Us
and then use knob [3] to select the copy-source program.
e knob [2] to move the cursor below the timbre, and then
4. Us
use knob [3] to select the copy-source timbre.
5. Use the [TIMBRE SELECT]
tion timbre.
o execute the copy, press the [WRITE] button.
6. T
The copy will be executed, and the display will indicate “COMPLETE.”
NOTE
If “VOIC.MODE” is “SINGLE,” you can’t select “TIMBRE2” as the copydestination.
NOTE
If you decide not to execute the copy, press the [EXIT/SHIFT] button.
lever to select the copy-destina-
Transmitting programs and other data (Data Dump)
Program data and global data can be transmitted from the microKORG
XL+ as MIDI exclusive data. The action of transmitting MIDI exclusive data
to an external MIDI device is called a “data dump.”
By performing a data dump you can store various types of data on an external MIDI device, or change the sounds or settings of another microKORG XL+ unit.
NOTE
If the
microKORG XL+
vice, it will execute a data dump according to the type of request that it
r
eceived.
NOTE
If you want data dumps to be received, turn the GLOBAL page “PROTECT” parameter off, and set the MIDI FLT page “SYS EX” parameter to
E
NABLE. 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.
Some MIDI interface devices may be unable to transmit or receive
the micro
KORG XL+’s MIDI exclusive messages.
receives a dump request from an external de-
28
Editing the sound
Editing the sound
Procedure for transmission
Procedure for reception
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)”.
1. In Full Edit mode, use knob [1] to select the “MIDI.DUMP”
page.
e knob [2] to select the data that you want to dump.
2. Us
1 PROG: Only the data for the currently selected program will be transmitted (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.
3. 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-
p. 31).
ing)” (
NOTE
For details on the size of each data dump and the time required, refer to
the table on this page.
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.
1. 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 XL+ to receive data that was previously transmitted to an external MIDI device, set the microKORG XL+ to the same
MIDI channel as when it transmitted the data.
3. In the MIDI FLT page, set “SYS EX” to ENABLE ( p. 60),
and turn the GLOBAL page
“PROTECT” parameter OFF
( p. 58).
ransmit the data from your MIDI data filer or other device.
4. T
For details on how to transmit data, please refer to the owner’s manual of
the device you’re using.
Dump dataData sizeTime required
1 Prog402 BytesLess than 1 second
All Prog51,712 Bytes Approx. 3’15"
Global121 BytesLess than 1 second
All Data51,833 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.”
When you execute the Preload operation, the micro
data will be rewritten to the factory-set condition. Before you continue, make sure that it’s OK to rewrite the data.
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.
NOTE
You can’t execute the Preload operation if Write Protect is turned on. You
must turn off Write Protect before you execute this.
1. In Full Edit mode, turn knob [1] to select “PRELOAD.”
KORG XL+’s
29
microKORG XL+
2. Use knob [2] to select the desired type of preload data.
1 PROG: Only the 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.
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 (writing).
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
1. Press 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.”
2. Press the [WRITE] button once again.
3. Us
e knob [1] to select the writing-destination program num-
ber.
Saving (Writing)
4. Pr
ess 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 Protect.
Saving global data
The settings that are saved
• 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.”
2. 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
microKORG XL+
Parameter Guide
1. Timbre parameters
NAME
The microKORG 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. Use knob [1] to select the NAME page.
2. Use knob [2] to move the cursor to the character that you want to change.
3. Use knob [3] to specify the desired character.
4. 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 program name, be sure to write the program ( p. 31).
COMMON
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 voices that can be sounded according to these settings, the last-played keys
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.
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
Timbre1 will always be set to the Global MIDI channel. You can specify
the timbre1 MIDI channel by setting the MIDI page parameter “MIDI CH.”
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.
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
microKORG XL+
You can make assignments for knobs [1]–[3] independently for timbre 1 and
timbre 2; the knobs will control the timbre that’s selected by the [TIMBRE
SELECT] lever.
NOTE
With the factory settings, suitable parameters are already assigned to the
knobs.
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.
NOTE
Turning on the Unison function will limit the available polyphony.
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.
This parameter is available when Unison is on (i.e., if “MODE” is 2–4
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.
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).
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” that was
characteristic of vintage analog synthesizers. Higher settings will produce
greater variations in pitch.
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.
Specifies the range of the [PITCH] wheel in semitones This value specifies
the amount of change that will occur when you move the pitch wheel all the
way up or all the way down.
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.
OSC1 (Oscillator 1)
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.
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.
36
OSC1–1
OSC1–2
OSC1–3
OSC1 Output
Unison Detune
OSC1–4
OSC1–5
Parameter Guide
Parameter Guide
UNISON: Unison simulates skewing the pitch of five stacked oscillators
from within a single oscillator, to create a richer sound.
VPM (Variable Phase Modulation):
VPM produces metallic-sounding overtones, using a sine wave at a harmonic (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.
The function controlled by this knob is determined by the “WAVE” and
“OSC MOD” settings. ( p. 36)
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-
......... [000...127/–63…+63/001…064/001…032/---]
lowing table when assigning OSC1.C1 or OSC1.C2 to “virtual patch,”
“
KNOB,” or GLOBAL “CC MAP.”
WAVEOSC MODC1 (OSC1 Control 1)C2 (OSC1 Control 2)
WAVEFORMC1.WAVFRMC2.LFO1.MD
SAW
PULSE
TRIANGLE
SINE
FORMANTWAVEFORMC1.FMT.WDTC2.FMT.SFT
NOISEWAVEFORMC1.RESOC2.BAL
PCM/DWGSWAVEFORMC2.WAV.SEL
AUDIO INWAVEFORMC1.GAIN
CROSSC1.MOD.DPTC2.LFO1.MD
UNISONC1.DETUNEC2.PHASE
VPMC1.MOD.DPTC2.HRMNIC
WAVEFORMC1.PLS.WDTC2.LFO1.MD
CROSSC1.MOD.DPTC2.LFO1.MD
UNISONC1.DETUNEC2.PHASE
VPMC1.MOD.DPTC2.HRMNIC
WAVEFORMC1.WAVFRM C2.LFO1.MD
CROSSC1.MOD.DPTC2.LFO1.MD
UNISONC1.DETUNEC2.PHASE
VPMC1.MOD.DPTC2.HRMNIC
WAVEFORMC1.WAV.SHP C2.LFO1.MD
CROSSC1.MOD.DPTC2.LFO1.MD
UNISONC1.DETUNEC2.PHASE
VPMC1.MOD.DPTC2.HRMNIC
37
microKORG XL+
000
063
127
000063127
000
063
127
1. When Wave: Saw, Pulse, Triangle, Sine and OSC1 Mod: Waveform
Control1: WAVEFORM
This modifies the waveform.
AVE: SAW
• W
The sawtooth wave is appropriate for creating a wide range of sounds typical 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.
AVE: PULSE
• W
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 disappear completely (no sound).
AVE: TRIANGLE
• W
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 setting 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).
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.
LFO1 will vary the “OSC1.C1” effect (Waveform Modulation.) “OSC1.C2”
adjusts the depth of this change.
If the LFO1 “WAVE” ( 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 Modulation) effect, making the sound thicker.
2. When Wave: Formant and OSC1 Mod: Waveform
Control1: FORMANT WIDTH
The formant waveform has a tonal character reminiscent of a human voice.
This knob will adjust the frequency components that are characteristic of
vocal formants. This is similar to the way vowel sounds change depending
on the shape of your mouth.
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.
*: 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 “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.
5. When Wave: Audio In and OSC1 Mod” Waveform
Control1: Gain .................................................................... [–63…+63]
This parameter adjusts the volume of the audio input.
Control2: ..................................................................--- (HAS NO EFFECT)
6. When Wave: Saw, Pulse, Triangle, Sine and OSC1 Mod: Cross
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
Control1: Detune
This parameter adjusts the difference in pitch between the five unison oscillators. Higher values will broaden the pitch difference between the oscillators, producing a richer sound.
Specifies the frequency of the VPM modulator as a harmonic multiple of
oscillator 1.
OSC2 (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 adjusting OSC2 SEMITONE and OSC2 TUNE, you can make one oscillator act
as an overtone of the other oscillator. Alternatively, you can create a musical 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).
SAW: A sawtooth wave.
PULSE: A square wave.
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.
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.
40
Parameter Guide
OSC1 Wave
OSC2 Wave
OSC1 Output
OSC2 Output
OSC1 Wave
OSC2 Wave
OSC1 Output
OSC2 Output
Sync
OSC1 Wave
OSC2 Wave
Sync
OSC1 Output
OSC2 Output
Parameter Guide
RING: Oscillator 2 will be used as a ring modulator. By adjusting “SEMITONE” or “TUNE” you can create metallic sounds with little sense of pitch.
This is useful for sound effects.
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.
Oscillator sync 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 simultaneously.
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 oscillator 1 overtone structure, try setting it one octave or a fifth higher than oscillator 1. If you want to use oscillator 2 in harmony, you can try intervals
such as a third, fourth, or fifth.
Specifies the amount of detune for OSC2 relative to OSC1. A setting of ±63
produces a pitch difference of ±2 octaves, and ±48 produces a pitch difference of ±1 octave. Values near 0 will make fine adjustments 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 section.
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 oscillator 1.
Noise is used to create percussion instrument sounds, or sound effects
such as surf.
Creates a more “snappy” attack by adjusting the amount of pulse waveform
that is added to the oscillator output only during the attack. Increasing this
value will emphasize the attack.
LPF
FILTER1
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.
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 tracking).
If the “CUTOFF” value is set too low, the volume may be extremely
low, or you may hear no sound at all.
Sets the resonance of the filter. This will emphasize the overtones near the
cutoff frequency that is specified by “CUTOFF,” adding a distinctive character to the sound. Increasing this value will increase the effect. Since movement 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.
HPF
BPF
Low resonance valueHigh resonance value
Depending on the cutoff frequency or 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) is the most common
type of filter; it passes the frequencies below
the cutoff frequency and cuts the region
above. Raising the cutoff frequency (“CUTOFF” value) will produce a brighter tone.
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 frequency too far will drastically reduce the volume.
42
BPF (Band Pass Filter) passes the frequencies in the region of the cutoff frequency, and
cuts all other frequency regions. Use this when
you want to emphasize only a specific portion
of the sound.
Specifies the routing (connection) between filter 1 and filter 2.
SINGLE
SERIAL
PARALLEL
INDIV
Only filter 1 is used.
Filter 1 and filter 2 are connected in series.
Filter 1 and filter 2 are connected in parallel.
OSC1
Filter1
OSC2
Filter2
Noise
Filter 1 is applied to oscillator 1, and filter 2 is applied to oscillator
2 and noise.
EG1 INT (EG1 Intensity/Filter1) ................................................ [–63...63]
This specifies how time-variant modulation from the EG1 will be applied to
the cutoff frequency.
The cutoff frequency will change over t
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 correspondingly greater effect on the cutoff frequency.
Cutoff
Cutoff frequency
specified by
“Cutoff”
Int=+32
Note on
Note off
ime according to the EG1 settings,
Int=+63
Note on
Note off
Int=0
Time
43
microKORG XL+
Cutoff frequency
specified by
“Cutoff”
Note on
Note off
Note on
Note off
Cutoff
Int=–32
Int=0
Int=–63
Time
Increasingly negative (–) settings will allow a correspondingly greater effect
in the opposite direction.
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 compensations 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
With a setting of +1.0, the change in cutoff frequency will be proportionate to the change in pitch. With a setting
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 vibrato or Virtual Patch.
of 0, keyboard tracking will not
VEL SENS (Velocity Sensitivity/Filter1) ..................................[–63…+63]
Specifies how velocity (keyboard playing dynamics) will affect the cutoff frequency.
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.
44
FILTER2
Here you can adjust the settings of the filter 2 parameters. The FILTER1
page “ROUTING” parameter specifies how filter 2 and filter 1 will be connected.
The filter 2 parameters are not shown if “ROUTING” is SINGLE.
Specifies how keyboard tracking will affect the volume.
Parameter Guide
DEPTH: 000DEPTH: 064
DEPTH: 127
DEPTH: 000DEPTH: 064
DEPTH: 127
DEPTH: 000DEPTH: 064
DEPTH: 127
DEPTH: 000DEPTH: 064
DEPTH: 127
Parameter Guide
DRIVE/WS (Drive/Wave Shape)
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 vibrato or Virtual Patch.
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) ...................................[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 components of both the input waveform and the transformation shape. “WS
DEPTH” specifies the depth of this effect.
Some settings may produce noise.
OFF
DRIVE
DECIMATR
Wave Shape/Drive is off.
Drive will be applied. The amount of distortion is
usted by the output level of each oscillator in the
adj
MIXER page.( p. 41)
NOTE
Only the Drive setting differs from the wave shape
effect.
Lowers the sampling frequency.
HARD.CLIP
OCT SAW
MULTI.TRI
MULTI.SIN
SB.OSC.SAW,
S
B.OSC.SQU,
SB.OSC.TRI,
SB.OSC.SIN
LVL BO OST
Flattens any portion of the waveform above the limit.
Cuts the portion of the waveform above the threshold
level and inver
Sending a sawtooth wave through this will produce a triangle
Sending a sawtooth wave through this will produce a
ne wave.
si
The selected waveform will sound one octave below
oscil
oscillator 1.
Boosts the output level. “WS DEPTH” adjusts the
amount
DEPTH: 000DEPTH: 064
ts it to keep it within limits.
wave.
DEPTH: 000
DEPTH: 000
lator 1. “DEPTH” adjusts the mix amount relative to
of boost.
DEPTH: 064
DEPTH: 064
DEPTH: 127
DEPTH: 127
DEPTH: 127
NOTE
This may produce high output volumes than other
wave shape types.
45
microKORG XL+
0
Attack Level
Time
Note on
Note off
Cutoff
[1]: Attack Time [3]: Sustain Level
[2]: Decay Time [4]: Release Time
[1]
[3]
[4]
[2]
EG1
0
Time
Note on
Note off
Level
Attack: 40 Sustain: 75
Decay: 50 Release: 50
Strings
POSITION ............................................................... [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.
DRIVE/WSOSCAMP
FILTER1
PRE AMP: Drive or wave shape will be applied after the filter and before
the amp.
Specifies the depth at which the drive or wave shape functions will be
applied.
EG1
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”
( p. 43) and filter 2 “EG1 INT” ( p. 44) to specify the amount of effect
that the EG will have. Use the ADSR (Attack, Decay, Sustain, Release) settings 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 (
p. 49).
such as this are an important aspect of how we identify the sound of a specific instrument. This type of change also occurs in the tone and pitch, as
well as in the volume. On a synthesizer, this type of change is produced by
an EG. The microKORG 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 numerous other aspects of the
sound.
Some example amp EG settings are shown below.
ATTACK (Attack time EG1) .......................................................[000...127]
Specifies the time from note-on (when the key is pressed) until the attack
level (maximum value of the envelope) is reached.
EG (Envelope Generator)
To a significant extent, each sound has its own distinctive volume curve.
For example when you play a note on a piano, the note begins at the maximum volume, and gradually diminishes. When you release your finger from
the key, the sound will disappear quickly with a brief decay. Volume curves
46
DECAY (Decay time EG1) .........................................................[000...127]
Specifies the time from when the attack level is reached until the sustain
level (SUSTAIN) is reached.
Specifies the cutoff frequency that will be maintained after the decay time
has elapsed, until you release the key.
RELEASE (Release time EG1) ...................................................[000...127]
Specifies the time from note-off (when the key is released) until the level
reaches 0.
Parameter Guide
Parameter Guide
EG2
VEL INT (Velocity Intensity) ................................................... [–63...+63]
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.
Here you can adjust the settings for the AMP EG, which applies time-variant change to the volume. Using the AMP EG settings, you can make the
volume change as time passes. Create the desired volume curve by adjusting the ADSR parameters; ATTACK, DECAY, SUSTAIN, RELEASE.
NOTE
You can use EG2 as a Virtual Patch source to modulate parameters other than volume. ( 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 editing.
Specifies the volume that will be maintained after the decay time has
elapsed, as long as you continue holding the key.
RELEASE (Release time EG2) ...................................................[000...127]
Specifies the time from note-off (when the key is released) until the level
reaches 0.
VEL INT (Velocity Intensity) ...................................................[–63...+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 other than filter cutoff (EG1) or volume (EG2). ( p. 49)
ATTACK (Attack time EG3) .......................................................[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) .........................................................[000...127]
Specifies the time from when the attack level is reached until the sustain
level (SUSTAIN) is reached.
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) ...................................................[000...127]
Specifies the time from note-off (when the key is released) until the level
reaches 0.
VEL INT (Velocity Intensity) ...................................................[–63...+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 modulation to a variety of parameters. ( p. 49)
47
microKORG XL+
TRIANGLE
SINE
SAW
SQUARE
SQUARE+
S&H
Amplitude changes irregularly
(Sample & Hold)
RANDOM
Note on
Note on
Note on
1VOICE
2VOICE
LFO (Low Frequency Oscillator)
The LFO (Low Frequency Oscillator) is an oscillator that produces a relatively slow (low-frequency) oscillation, and is used to apply cyclic modulation to various aspects of the sound. 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 “C2.LFO1.MD” parameter, and the LFO2 will be able to modulate the PITCH page “VIB INT”
parameter.
TIMBRE: T
from a condition of no keys being held; it will not be reset for subsequently
played voices.
he phase of the LFO will be reset by the first note-on that occurs
Specifies whether the LFO cycle will be synchronized to the internal tempo
or to an external MIDI Clock.
OFF: The LFO will not be synchronized. It will operate at the frequency
specified by the “FREQ” parameter.
ON: The LFO will be synchronized to the [TEMPO] knob or to MIDI Clock
messages from an external device.
NOTE
If “BPM SYNC” is On, selecting LFO1FREQ or LFO2FREQ as “DEST” in
PATCH 1–6 will have no effect.
This specifies the ratio of the LFO frequency relative to the tempo specified
by the [TEMPO] knob. The specified value (note value) corresponds to one
cycle. For example if this is set to 1/4, one cycle of the LFO will occupy one
beat. If this is set to 3/4, one cycle of the LFO will occupy three beats.
NOTE
This parameter will be displayed and can be set only if “BPM SYNC” is
ON.
To let you create even more sophisticated sounds, the microKORG XL+
provides six virtual patches. Each patch consists of three parameters: the
source of the modulation (“SOURCE”), the destination to which that modulation will apply (“DEST”), and the intensity of that modulation effect
(“INTENSITY”). You can produce a variety of changes in the sound by combining these parameters. For example by setting “SOURCE” to LFO2,
“DEST” to CUTOFF1, and specifying the amount of effect using “INTENSITY,” you can produce a cyclic change in tone (wah effect) produced by
LFO2.
Virtual Patch
On modular analog synthesizers, the input or output of each module (oscillator, 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 patching. 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).
EG1, EG2, EG3
LFO1, LFO2
VELOCITY
P. B E N D
MOD.WHEEL
KEY TRK
MIDI1, MIDI2, MIDI3
EG1, EG2, or EG3.
LFO1 or LFO2.
Keyboard velocity (playing dynamics).
Pitch bend.
Modulation wheel.
Keyboard tracking (position).
NOTE
Keyboard tracking works according to
the pitch as controlled by pitch bend,
transpose, and modulation sequencer.
It does not reflect pitch changes produced by vibrato or virtual patching.
The function specified for the MIDI.CTRL
page parameters “MIDI1,” “MIDI2,” or “MIDI3.”
DEST (Destination).........................................................[PITCH…P.INT6]
Selects the parameter (destination) that will be controlled by the modulation. For example if you select Tune, modulation will be applied to the overall pitch of the timbre.
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”
SOURCE [1]DEST [2]
EG1/EG2PITCH
EG1/EG2PA NPOT
LFO 1/LFO 2PITCHVibrato will be applied at the LFO1 or LFO2 frequency.
LFO 1/LFO 2CUTOFF Wah will be applied at the LFO1 or LFO2 frequency.
LFO 1/LFO 2LEVELTremolo will be applied at the LFO1 or LFO2 frequency.
LFO 1/LFO 2PANPOT Auto pan will be applied at the LFO1 or LFO2 frequency.
VELOCITYLEVELVelocity (keyboard playing strength) will affect the volume.
KEY TRKPA NPO T
P. B E N DPAN POT
The EG1 or EG2 will vary the pitch of the entire timbre over
time.
The EG1 or EG2 will vary the pan over time. By setting two
patches to “MOD INT” settings with the opposite (+/–) value
you can create more complex panning.
Keyboard position will gradually change the pan; lower
notes at the left, and higher notes at the right.
PITCH wheel operations or pitch bend change will move
the sound between left and right.
EQ (Equalizer)
Here you can adjust the equalizer settings. The equalizer is a shelving type.
EQ
+Gain
0dB
3dB
50
–Gain
Low EQ Frequency
3dB
High EQ Frequency
LO FREQ (Low EQ Frequency).......................................... [0020…1000Hz]
Specifies the frequency of the low equalizer.
LO GAIN (Low EQ Gain)................................................[–15.0…+15.0dB]
Specifies the gain of the low equalizer.
Positive (+) values boost the region below the cutoff frequency.
Negative (–) values cut the region below the cutoff frequency.
Parameter Guide
Parameter Guide
MST FX1, MST FX2 (Master effect 1, 2)
HI FREQ (High EQ Frequency) ......................................... [1.00…20.0kHz]
Specifies the cutoff frequency of the high equalizer.
HI GAIN (High EQ Gain)............................................... [–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.
In On this page you can adjust settings for the master effects.
You can choose from seventeen types.
This selects the effect type used by the master effect. For details on the
available effects, refer to page 63 “Effect guide”.
[CTRL-1] ......................................................................[MST FX PARAM...]
[CTRL-2]
......................................................................[MST FX PARAM...]
These specify the parameters that will be controlled by knobs [1]–[3] when
you set the [KNOB FUNCTION SELECT] dial to ASSIGN or EFFECT. 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 Sync” 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.
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
microKORG XL+
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.)
Up and Down will be alternated. (The highest and lowest notes will
ALT2:
be played twice, once on the way up, and once on the way down.)
RANDOM: Notes will be played rando
mly.
TRIGGER: The n
at the tempo and “RESOLUTN” timing. The “OCT.RANGE” setting will 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.
otes you are holding down will be played simultaneously
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.
Specifies the resolution (spacing of the notes) relative to the tempo specified by [TEMPO] knob.
1/32: The arpeggio will be played as 32nd notes at the specified tempo.
The arpeggio will be played as 16th note triplets at the specified tempo.
1/24:
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.
The arpeggio will be played as quarter note triplets at the specified tempo.
1/6:
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.
Specifies whether the arpeggiator will be synchronized to the keyboard.
If this is On, the arpeggiator will always start from the beginning of the
arpeggio pattern when you play the keyboard. If you are performing
together with other instruments, you can use this function to ensure that the
arpeggio pattern is aligned with the beginning of the measure.
OFF: Sync off. 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.
Specify the on/off status of each step 1–8.
The number of available steps is specified by the “LAST.STEP” setting.
– (OFF): The note at this step will not sound.
O (ON): The note at this step will sound.
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.
This copies timbre settings from another program to a timbre of the currently selected program. ( 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
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.
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 connected 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.
Parameter Guide
Cutoff (the range in which BPF 8 will change)
0+63-63
BPFBPFBPFBPFBPFBPF
BPFBPFBPFBPFBPFBPF
897
897
Frequency
Frequency
Formant Shift:+2
Cutoff (the range in which BPF 8 will change)
0
+63
-63
Parameter Guide
TIMBRE2: The output of timbre 2 will be input to the modulator.
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 setting will make the gate close more gradually, causing 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.
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’
signal itself will be cut, making it difficult for you to apply the vocoder
ef
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 portion 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.
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 frequently, since they play an important role in determining the character of
the vocoder.
This continuously shifts the cutoff frequency of each band-pass filter (Synthesis filter) of the carrier.
“FRMNT.SFT” and “FC.OFFSET”
When “FRMNT.SFT”=0 and “FC.OFFSET”=0, the response of the carrier filters 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 adjustment upward or downward.
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.
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.
Specifies the sensitivity of the modulator’s Envelope Followers. Lower settings 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 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
be no output even if an audio signal is subsequently input.
NOTE
If you write the program with this value set to Hold, the program will
memorize the response of the signal that was being held.
signal present, there will
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).
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.
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.
Different velocity curve lets you tailor the response of the keyboard to your
own playing style. Lighter curves are best for heavy-handed players, higher
curves may work better for players with a light touch.
MAX
(127)
5
4
3
8
elocity
MIN (1)
ppp
(1)(127)
(MIDI Velocity)
7
Strength
6
2
1
fff
1
2, 3
4
5
6
7
8
CONST127
NOTE
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-
le change for medium-strength playing.
t
This curve produces a fairly steady effect with lit-
le change for medium-strength playing (a flatter
t
curve than 7).
All notes will sound maximum velocity (127).
tting mimics the behavior of early analog
This se
synths.
Curves 7 and 8 produce little change for medium-strength playing. However, these curves w
ill 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
microKORG XL+
MIDI OUT
MIDI IN
GLOBAL: Master Transpose
GLOBAL: Velocity Curve
Timbre 1
Timbre 2
Arpeggiator
Keyboard
MIDI OUT
MIDI IN
GLOBAL: Master Transpose
GLOBAL: Velocity Curve
FRONT PANEL: Octave
Timbre 1
Timbre 2
Arpeggiator
Keyboard
POSITION .................................................................. [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 converted according to the internal settings, routed through the arpeggiator
(arpeggiator notes are sent as MIDI data), and then sent to the MIDI OUT
connector.
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.
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)..................................... [DISABLE, 4 HOURS]
This function specifies whether the auto 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.
Specifies the behavior of the front panel knobs when editing. ( 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 setting 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 during a live performance.
58
MIDI OUT
MIDI IN
TG OUTPUT
DUMP IN etc...
KBD/KNOB OUT
DUMP OUT etc...
USB MIDI RX (EXT)
USB MIDI TX (INT)
USB MIDI TX (EXT)
USB MIDI RX (INT)
microKORG X L+ MIDI OUT
microKORG XL+ KBD/KNOB
microKORG X L+ MIDI IN
microKORG X L+ SOUND
microKORG
XL+
PC USB-MIDI Port
MIDI OUT
MIDI IN
TG OUTPUT
DUMP IN etc...
KBD/KNOB OUT
DUMP OUT etc...
USB MIDI RX (EXT)
USB MIDI TX (INT)
USB MIDI TX (EXT)
USB MIDI RX (INT)
microKORG X L+ MIDI OUT
microKORG XL+ KBD/KNOB
microKORG X L+ MIDI IN
microKORG X L+ SOUND
microKORG XL+
PC USB-MIDI Port
Parameter Guide
6. MIDI parameters
MIDI
Here you can adjust MIDI-related settings for the microKORG XL+.
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.
LOCAL ...................................................................................... [OFF, ON]
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 XL+ is re-transmitted back to
the microKORG XL+ from the sequencer.)
ON: Select this setting when you are using the microKORG XL+ by itself.
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 transmit and receive MIDI messages. When receiving MIDI messages, the messages from both types of connector will be mixed, and MIDI messages
received later will be given priority. For transmission, the same MIDI messages will be transmitted from both connectors.
Parameter Guide
USB: Only the
messages.
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
USB connector will be used to transmit and receive MIDI
Specifies how the microKORG XL+ will synchronize with an 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 external MIDI device connected to the MIDI IN connector. If no MIDI clock messages 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)
Here you can adjust the the microKORG XL+’s MIDI Filter settings.
Selects whether program changes will be transmitted and received.
DISABLE: Program changes will not be transmitted or received.
ENABLE: Program changes will be transmitted and received.
SYS EX (System Exclusive) ............................................[DISABLE, ENABLE]
Selects whether MIDI system exclusive messages will be transmitted and
received.
DISABLE: MIDI system exclusive messages will not be transmitted or
received.
ENABLE: MIDI system exclusive messages will be transmitted and
received.
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.
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).
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.
60
Parameter Guide
Parameter Guide
CC MAP (MIDI Control Change No. Map)
If you’ve selected #016+/– (CC#16+/–), #017+/–
(CC#17+/–), #019+/– (CC#19+/–), #020+/–
(CC#20+/–), or #021+/– (CC#0216+/–)
When a control change message is received from a
slider (value 0—127) on an external MIDI device, the
center position of the slider (control change value 64)
will produce a modulation effect of 0 on the micro-KORG XL+.
If you’ve selected #016, #017, #019, #020, or #021,
setting the slider etc. to a position of 0 (control
change value 0) will produce a modulation effect of 0
on the microKORG XL+. Choose the type of setting that will produce the
desired result on the microKORG XL+ when you operate the sliders or
other controllers of your external MIDI device.
Here you can assign control change numbers to the most important parameters. When you use performance editing or program editing, using the
knob for these parameters will transmit the control change message that is
assigned here. When the assigned control change message is received,
the value of the corresponding parameter will change ( p. 83 “2.MIDI
messages”).
–63: The note will be 63 cents flatter than standard pitch.
+63: The note will be 63 cents sharper than standard pitch.
USR.SCALE (User Scale)
Here you can specify a user-defined scale. You can specify a pitch adjustment of –63 to +63 cents for each note in the octave (C–B).
61
microKORG XL+
7. Global utility parameters
UTILITY
Here are utility functions for the microKORG XL+’s data.
MIDI.DUMP (MIDI DATA DUMP) ....... [1 PROG, ALL 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 parameters 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.
Do not touch the mi
being transmitted. Never turn off the power during this time.
Some MIDI interface devices may be unable to transmit or receive
the micro
KORG XL+’s MIDI exclusive data.
PRELOAD.......................................[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.
croKORG XL+’s knobs or keyboard while data is
62
Effect guide
Stereo In - Stereo Out
Mono In - Mono Out
Mono In - Stereo Out
Effect
Effect
Effect
Effect
Wet
Parameter Guide
1. About the effects
About the effect input and output
As effects, the microKORG XL+ provides a two-band EQ and 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
11–17
Pitch and phase modulation effects such as chorus and phaser
The master effects are stereo-in and stereo-out. In the “DRY/WET” balance, 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.
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.
Some effect types do not have a “TRIM” or “OUT.LEVEL” parameter.
There is no input level meter etc. to check the input 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 parameters 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 ( 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 ( p. 16),
and the section about the knobs ( p. 33).
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 separately from the other effect parameters. If you assign MST FX 1 or MST
Y/WET to a knob when the [KNOB FUNCTION SELECT] dial is
FX 2 DR
set to ASSIGN, the above parameter will be assigned to the knob
p. 33 “KNOB”).
(
NOTE
For details on the parameters that can be assigned to knobs, refer to
page 65 “2.Effect Parameters”.
Effect guide
63
Lch
Rch
Dry Wet
DryWet
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,
• If “BPM SYNC”: Off, “L DELAY”: 0800ms, “R DELAY”: 0400 ms, and “TM
TIO”: 50%, then the actual delay time will be 400 ms in the left channel
RA
and 200 ms in the right channel.
• If “BPM SYNC”: On, “L DELAY”:
50%, then the actual delay time will be an eighth note in the left channel
sixteenth note in the right channel.
and a
Delay time when BPM SYNC is Off
If “BPM SYNC” is Off, you’ll be able to set the delay time in msec units.
If the specified delay time multiplied
exceed the allowable range, a
the “TM RATIO” and the delay time value, and the delay time will be
set to the ma
ximum possible value.
Delay time when BPM SYNC is On
If “BPM SYNC” is On, the delay time will synchronize with the tempo specified by the [TEMPO] knob (or by an external MIDI clock). Since the tempo
will follow the arpeggiator, this is useful for a live performance.
If “BPM SYNC” is On, you’ll be able to set the delay time as a note value.
For example,
• If “BPM SYNC”: On, “TM RATIO”: 100%, L DELAY”:
BASE NOTE”:
channel and a dotted eighth note in the right channel.
If the specified delay time multiplied by the “TM RATIO” would
exceed the allowable range, a
the “TM RATIO,” and the delay time will be set to one half of the setting. If this would still exceed the maximum
time will be further shorted to 1/4, 1/8, 1/16, and so on.
3/16, then the delay time will be an eighth note in the left
1/4, “R DELAY”: 1/8, and “TM RATIO”:
by the “TM RATIO” would
indication will appear at the right of
1/8, and “R DELAY
indication will appear at the right of
possible value, the delay
64
2. Effect Parameters
Left
Right
Dry / Wet
Dry / Wet
Stereo In - Stereo Out
Compressor
Compressor
Output Level
Output Level
Envelope - Control
Envelope - Control
Sensitivity=100
Sensitivity=40
Dry
Wet
Time
Level
Compressor - Sensitivity
Louder
Dry
Wet
Time
Level
Attack=1.0
Attack=400
Compressor - Attack
Left
Right
Dry / Wet
Response
Dry / Wet
Stereo In - Stereo Out
Filter
Filter
Control Source
LFO
Effect Guide
• [Parameter name] : These are the parameters that can be assigned to
[CTRL-1] or [CTRL-2]. ( p. 63 “Effect knob assignments”)
Effect guide
1. COMPRESR (Stereo Compressor)
This effect compresses the input signal to regulate the volume level and
give a “punchy” effect. This is useful when applied to sounds that have a
strong attack.
You can link the left and right channels or make them operate independently.
Sets the balance between the effect and dry sounds.
ENV SEL (Envelope Select) ...........................................[LR 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 signal.
With L/R individually, the left and right channels control the Limiter individually.
SENS (Sensitivity) ............................................................[001…127]
The “SENS” parameter sets the sensitivity of the compressor. If this parameter 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 volume level, use the “OUT.LEVEL” parameter.
AT TACK ..................................................................[000.1…500.0ms]
Sets the filter resonance amount.
p. 42 “RESO (Filter1 Resonance)”
TRIM ...................................................................................[000…127]
Sets the input level.
MOD SRC (Modulation Source) ................................................ [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) ......................................[–63…+63]
Adjusts the depth of modulation applied by the modulation source.
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 1/4, 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.
If this parameter is assigned to “CTRL-1” or “CTRL-2,” switching
“LFO SYNC” Off will change the assignment to “LFO FREQ.”
This parameter will be displayed and can be set if “MOD SRC” is LFO.
LFO SYNC (LFO Tempo Sync) ....................................................... [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 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 external MIDI device.
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.
This takes effect when a note-on occurs on the global MIDI channel.
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 Timbre.
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).
Sets the balance between the effect and dry sounds.
PRE LPF....................................................................................[OFF, ON]
Selects whether the harmonic noise caused by a decrease in sampling frequency 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 prevent 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.
HI DAMP ...........................................................................[000…100%]
This parameter will be displayed and can be set if “KEY SYNC” is ON.
6. DELAY (Stereo Delay)
This is a stereo delay, and can by used as a cross-feedback delay effect in
which the delay sounds cross over between the left and right by changing
the feedback routing.
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) ............................................[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 ................................[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,” 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 R
the limit, “TM RATIO” will indicate
.
ATIO” setting exceed
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 relative to the tempo specified by the [TEMPO] knob or MIDI clock.
Effect guide
C Delay
R Delay
Left
Right
Feedback
Spread
Dry / Wet
Dry / Wet
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
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.
HI DAMP ...........................................................................[000…100%]
Sets the damping amount in the high range.
TRIM ...................................................................................[000…127]
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.
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.
TM RATIO ................................[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.
p. 70 “TM RATIO”
L DELAY, C DELAY, R DELAY (L, C, R Delay Time) ..........................................
These set the L, C, and R delay times.
The delay time is determined by these settings and the “TM RATIO” value.
p. 70 “L DELAY, R DELAY (L, R Delay Time)”
L LEVEL, C LEVEL, R LEVEL (L, C, R Delay Level) .................... [000…127]
These adjust the output level of the L, C, and R delays.
C FEEDBK (C Feedback) ..................................................... [000…127]
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.
Sets the width of the stereo image of the effect sound.
p. 71 “SPREAD”
11. CHORUS (Stereo Chorus)
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.
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.
Sets the LFO phase difference between the left and right channels.
HI DAMP ...........................................................................[000…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 stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.
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.
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.
Sets the pitch difference from the original note in cent steps when “OSC
MODE” is set to NOTE.
NOTE
78
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.
This parameter will be displayed and can be set if “KEY SYNC” is ON.
p. 67 “INI.PHASE (LFO Init Phase)”
PRE LPF............................................................................... [000…127]
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 harmonics, the effect may sound dirty. In this case, cut a certain amount of
high range.
Effect guide
+
Left
Right
Sample Cycle
Dry / Wet
Dry / Wet
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
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.
Sets the balance between the effect and dry sounds.
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.
012.5…400% (OVER)]
This specifies the length of the looped waveform relative to the “DURATION” value.
Sets the duration of the grain.
The length of the waveform is determined by this setting and the “TimeRatio” 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.
If the “DURATION” and “TM RATIO” settings exceed the limit, an
indication of
will appear for the “TM RATIO.”
LFO SYNC (LFO Tempo Sync) .......................................................[OFF, ON]
Specifies whether the LFO cycle will be synchronized with the tempo specified by the [TEMPO] knob or MIDI clock.
p. 66 “LFO SYNC (LFO Tempo Sync)”
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
waveform will switch at each cycle of the LFO.
If this parameter is assigned to “CTRL-1” or “CTRL-2,” switching
“BPM SYNC” On will change the assignment to “SYNC.NOTE.”
This parameter will be displayed and can be set if “KEY SYNC” is ON.
p. 67 “INI.PHASE (LFO Init Phase)”
79
microKORG XL+
MIDI IN
MIDI OUT
MIDI keyboard
microKORG XL+
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
MIDI keyboard
MIDI tone generator
MIDI patch bay
MIDI IN
MIDI OUT
microKORG XL+
MIDI OUTMIDI IN
microKORG XL+
MIDI tone generator
MIDI
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 connect two or more MIDI devices, performance data can be exchanged
between the devices, even if they 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
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 connector of the external MIDI tone generator.
Controlling the microKORG XL+’s tone generator from an external 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 connect the MIDI OUT connector of the external MIDI device to the MIDI IN
connector of the microKORG XL+.
Controlling two or more external MIDI tone generators from the
microKORG XL+
You can also use a MIDI patch bay to control multiple MIDI devices.
80
MIDI
computer
MIDI IN
MIDI interface
MIDI INMIDI OUT
MIDI OUT
microKORG XL+
MIDI
Connecting an external MIDI sequencer or computer etc.
If you want to record your performance on the microKORG XL+’s keyboard 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
microKORG XL+’
s MIDI exclusive messages.
to transmit or receive the
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 computer has a USB connector. 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 documentation.
If either the MIDI connection or the USB connection does not work,
you should also check the “ROUTING” setting ( 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. Use knob [1] to select the MIDI page.
2. Use knob [2] to select “MIDI CH,” and then use knob [3] to specify the MIDI
el.
chann
3. 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
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.
1. Use knob [1] to select the COMMON page.
2. Use knob [2] to select “VOIC.MODE,” and then use knob [3] to select
TI.”
“MUL
3. Specify the MIDI channel for timbre 2.
After you’ve set VOIC.MODE to MULTI, you can turn knob [2] to select the
DICH” parameter.
“T2.MI
Use knob [3] to specify the MIDI channel for timbre 2.
4. To set the MIDI channel for timbre 1, select the MIDI page “MIDI CH”
arameter, and use knob [3].
p
5. 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 miKORG XL+, you w
listed above will affect the MIDI data that is transmitted. The received data
will be processed as “TRANSPOS”: 0, “VEL.CURVE”: 4.
ill set “POSITION” to POST KBD. The various settings
cro-
81
microKORG XL+
• 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 transmitted or
received. ( p. 60)
Virtual patch modulation source settings
You can assign three different MIDI control messages (MIDI 1, 2, 3) as virtual patch modulation sources. Make the desired assignments in the
PATC H p ag e ( 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. Conversely, 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. ( p. 61)
MIDI “LOCAL” setting when connecting an external MIDI sequencer or
computer
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). ( 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 the 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 connector 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 setting 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 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 controlled 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 master, 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.
82
Using the external MIDI device as master and the microKORG
MIDI
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 external device (e.g., sequencer or rhythm machine).
NOTE
If you set the MIDI page “CLOCK” parameter to “AUTO,” the
KORG XL+
er MIDI clock data is being received at the MIDI IN connector. At other
times, the
NOTE
If the
synchronized to the MIDI clock of an external MIDI device, the arpeggia
tor will be reset. Also, the phase of the LFO will be reset if “KEY SYNC” is
OFF.
will automatically operate with the EXT MIDI setting whenev-
microKORG XL+
microKORG XL+
will operate with the INTERNAL setting.
receives a MIDI Start message [FA] when it is
micro-
MIDI
2. MIDI messages
MIDI channels
MIDI uses sixteen channels (1–16). MIDI messages can be transmitted and
received when the channel of the receiving device matches the channel of
the transmitting device.
This setting will affect the way in which channels are handled.
• If “VOIC.MODE” is SINGLE, LAYER, or SPLIT
If the COMMON page “VOIC.MODE” setting is SINGLE, LAYER, or SPLIT,
MIDI data is transmitted/received on the global MIDI channel.
• If “VOIC.MODE” is Multi
-
If the COMMON page “VOIC.MODE” setting is MULTI, MIDI data for timbre
1 is transmitted/received on the global MIDI channel. MIDI data for timbre 2
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
KORG XL+
page setting “MIDI CH”.
to transmit and receive MIDI data. It is specified by the MIDI
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 messages 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.
micro-
83
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 transmitted.
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&Prog Number
0000000–127 (00–7F)A11–B88
You can use Bank select and program change messages to switch the settings 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 selected by TIMBRE SELECT.
Bank (CC#00) MSB Bank (CC#32) LSBProgram Change value Timbre Number
3232000–127 (00–7F)A11–B88 Timbre 1
3233000–127 (00–7F)A11–B88 Timbre 2
Pitch bend
Pitch bend change [En, bb, mm]
(n: channel, bb: lower digits of value, mm: upper digits of value)
When pitch bend change messages are received, a pitch bend will occur
according to the PITCH page “P.BEND” value. Pitch bend can also be used
in a Virtual Patch (PATCH1–PATCH6 page) for a synth program, as a modulation 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 modulation source where mm=64, bb=00 will be 0 (center value) for the range
of –127 – +127. (This message is received on the timbre channel.)
When you move the [PITCH] wheel on the microKORG 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 operate certain buttons or the [MOD] wheel, the assigned control change will be
transmitted. Conversely, when control change numbers corresponding to
the knob [1]–[3] settings 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 parameters.
•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.
84
MIDI
MIDI
•Expression (CC#11) [Bn, 0B, vv]
When expression messages are received, the volume of a timbre will be
controlled. The volume will be at maximum if the maximum value (127) is
received, and at zero if the minimum value (0) is received.
•Damper pedal (CC#64) [Bn, 40, vv]
Incoming damper pedal messages will turn the timbre’s damper effect
(Hold) on/off (0: Off, 127: On).
•Portamento (CC#65) [Bn, 41, vv]
When portamento messages are received, the portamento effect of a timbre will be switched on/off. If the portamento time is set to 0, there will be no
portamento effect. (0: off, 7F: on)
•All note off (CC#123) [Bn, 7B, 00] (value is 00)
When an All Note Off message is received, all currently-sounding notes of
that channel will be turned off. Some sound may linger due to the envelope
settings.
•All sound off (CC#120) [Bn, 78, 00] (value is 00)
When an All Sound Off message is received, all notes currently sounding
on that channel will be silenced. While All Note Off allows the decay of a
note to continue, the All Sound Off will silence the sound immediately. However, this message is intended for use in emergencies, and is not for use
during a performance.
•Reset all controllers (CC#121) [Bn, 79, 00] (value is 00)
When a Reset All Controllers message is received, all controller values currently operating on that channel will be reset. Some parameters assigned
using Virtual Patch will not be reset.
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.
Assigning a control change to a knob or button
In the CC MAP page, you can assign the control changes CC#00–CC#95
and CC#102–CC119 to principal parameters that correspond to panel
knobs and buttons. When you operate an assigned knob or key, the corresponding control change will be transmitted. When that control change is
received from an external device, the result will be the same as if that knob
or key had been operated with the corresponding value. ( p. 90 “4.Front
panel knob/button control change assignments”)
85
microKORG XL+
3. Parameters transmitted and received
via NRPN
Front panel knobs and buttons other than the controls listed above are
assigned NRPN (Non Registered Parameter No.). NRPN messages can be
used freely by any musical instrument manufacturer or model.
NRPN editing is performed using the following procedure.
1. Use NRPN MSB (CC#99) [Bn, 63, mm] and NRPN LSB (CC#98) [Bn, 62,
rr] (n: channel, mm, rr: parameter no. upper and lower bytes) to select the
parameter.
2. Use data entry MSB (CC#6) [Bn, 06, mm] (n: channel, mm: parameter
value) to specify the value.
NOTE
On the
microKORG XL+
Controlling the arpeggiator
When arpeggiator settings are modified by the front panel buttons or knobs,
the following NRPN messages are transmitted. When these NRPN messages are received, the corresponding arpeggiator settings will change
accordingly. These messages are transmitted and received on the Global
MIDI channel. For the correspondence between the values of the message
and the values of the microKORG XL+ parameter, refer to the table.
For example if you want to switch the arpeggiator on/off from an external
MIDI sequencer, make the following settings.
Off: CC#99: 0, CC#98: 2, CC#6: 0...63 On: CC#99: 0, CC#98: 2, CC#6:
F0: exclusive status
42: Korg ID
3n: [n=0–F] MIDI channel
00, 01, 19:microKORG XL+ model ID
ff: function ID (type of message)
—
F7: end of exclusive
Master volume [F0, 7F, nn, 04, 01, vv, mm, F7]
(vv: lower byte of value, mm: upper byte of value, [mm, vv=7F, 7F] is Max,
[mm, vv=00, 00] is 0)
When a Master Volume message is received, the microKORG 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. (It will not
be turned off; the arpeggiator will start again when additional notes are
played.)
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.
89
microKORG XL+
4. Front panel knob/button control
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/button operations can be transmitted as performance data.
NOTE
For details on assigning control changes to the
knobs and buttons, refer to page 61 “CC MAP (MIDI Control Change No.
Map)”.
NOTE
Different parameters are assigned to synth parameters and vocoder parameters.
0...31: SINGLE, 32...63: SERIAL, 64...95: PARALLEL, 96...127:
INDIV
If you are using two microKORG XL+ units to transmit and receive
these parameters, you must set the transmitting and receiving programs to the same settings.
The following table shows how the control change values transmitted/
received by the OSC2 page “SEMITONE” setting correspond to the value
of the parameter.
Val ue
(transmitted, received)
0...2
3...5
6, 7
8...10
11...13
14, 15
16...18
19, 20
21...23
24...26
27, 28
29...31
32, 33
34...36
37...39
40, 41
42...44
45...47
48, 49
50...52
53, 54
55...57
58...60
61, 62
63...65
SEMITONE Value
–24
66, 67
–23
68...70
–22
71...73
–21
74, 75
–20
76...78
–19
79, 80
–18
81...83
–17
84...86
–16
87, 88
–15
89...91
–14
92...94
–13
95, 96
–12
97...99
–11
100, 101
–10
102...104
–9
105...107
–8
108, 109
–7
110...112
–6
113 , 114
–5
115...117
–4
118...120
–3
121, 122
–2
123...125
–1
126, 127
0
(transmitted, received)
SEMITONE
+1
+2
+3
+4
+5
+6
+7
+8
+9
+10
+11
+12
+13
+14
+15
+16
+17
+18
+19
+20
+21
+22
+23
+24
“TYPE BAL” values
The following table shows how the control change values transmitted/
received by the FILT1 page “TYPE BAL” setting correspond to the value of
the parameter.
Value
(transmitted, received)
0
1…30
31…33
34…62
63…65
66…94
95…97
98…126
127
TYPE BAL
–24LPF
Intermediate the characters between –24LPF and –12LPF.
–12LPF
Intermediate the characters between –12LPF and HPF.
HPF
Intermediate the characters between HPF and BPF.
BPF
Intermediate the characters between BPF and THRU.
THRU
92
MIDI
MIDI
“SYNC.NOTE” value when LFO 1/2 or DELAY “BPM SYNC” = ON
If BPM SYNC is on, the “FREQ” parameter of LFO 1/2 and the delay
parameter of the master effects will change to “SYNC.NOTE.” In conjunction with this, the correspondence between the parameter value and the
control change value transmitted/received when you operate a knob will
change as follows.
Value
(transmitted, received)
0...7
8...14
15...22
23...29
30...37
38...44
45...52
53...59
60...67
68...74
75...82
83...89
90...97
98...104
105...112
113 …119
120…127
LFO Sync NoteDELAY Sync Note
8/18/1
4/14/1
2/12/1
1/11/1
3/43/4
1/21/2
3/83/8
1/31/3
1/41/4
3/163/16
1/61/6
1/81/8
1/121/12
1/161/16
1/241/24
1/321/32
1/641/64
“EQ Gain” values
The following table shows the correspondence between the parameter
value and control change value transmitted/received when you adjust the
EQ page “GAIN” parameter.
Value
(transmitted, received)
0…2
3, 4
5, 6
7, 8
9, 10
11, 12
13, 14
15, 16
17, 18
19, 20
21…23
24, 25
26, 27
28, 29
30, 31
32, 33
34, 35
36, 37
38, 39
40, 41
42…44
45, 46
47, 48
49, 50
51, 52
53, 54
55, 56
57, 58
59, 60
61, 62
63…65
EQ Gain (dB) Value
–15.0
–14.5
–14.0
–13.5
–13.0
–12.5
–12.0
–11.5
–11.0
–10.5
–10.0
–9.5
–9.0
–8.5
–8.0
–7.5
–7.0
–6.5
–6.0
–5.5
–5.0
–4.5
–4.0
–3.5
–3.0
–2.5
–2.0
–1.5
–1.0
–0.5
+0.0
66, 67
68, 69
70, 71
72, 73
74, 75
76, 77
78, 79
80, 81
82, 83
84…86
87, 88
89, 90
91, 92
93, 94
95, 96
97, 98
99, 100
101, 102
103, 104
105…107
108, 109
110, 111
112, 113
114, 115
116, 117
118, 119
120, 121
122, 123
124, 125
126 127
(transmitted, received)
EQ Gain (dB)
+0.5
+1.0
+1.5
+2.0
+2.5
+3.0
+3.5
+4.0
+4.5
+5.0
+5.5
+6.0
+6.5
+7.0
+7.5
+8.0
+8.5
+9.0
+9.5
+10.0
+10.5
+11.0
+11.5
+12.0
+12.5
+13.0
+13.5
+14.0
+14.5
+15.0
93
microKORG XL+
Appendices
1. Trouble shooting
Before you suspect a malfunction, please check the following points.
Power does not turn on
Is the AC adapter connected to an AC outlet? p. 9
No sound
Is your powered monitor system or headphones connected to the cor-
rect jack(s)? 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? 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?
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?
Can’t input sound
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 edit
Can’t use performance editing by turning knobs [1]–[3]:
Could you be in Full Edit mode?
Turning the knobs [1]–[3] does not modify the edit parameters:
Could the GLOBAL page “KNOB.MODE” be set to “CATCH”? 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 something 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.
p. 31
94
Can't write programs or global settings
MIDI
Is the GLOBAL page PROTECT setting OFF?
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
Is the arpeggiator on ([ARP ON] key lit)?
Is the arpeggiator assigned to a timbre?
Is the MIDI page “CLOCK” setting correct?
No response to MIDI messages sent from an external device
Is the MIDI cable or USB cable connected correctly?
Does the MIDI channel of the data transmitted from the external MIDI
device match the MIDI channel of the microKORG XL+.
Does not respond correctly to MIDI messages sent from an external device
Is the MIDI FLT page parameter for that type of MIDI message set to
Enable?
Transpose, velocity curve, and arpeggiator data is not recognized
correctly
Is the GLOBAL page “POSITION” set appropriately?
Appendices
-
Can't control two timbres on separate MIDI channels
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
microKORG XL+
2. Program List
No.Program NameGenreCategoryArpeggio
A11 ANALOG70'S VINTAGEPOLY SYNTHOff
A12 MG BASS70'S VINTAGEBASSOff
A13 WAKELEAD70'S VINTAGELEADOff
A14 TIMELINE70'S VINTAGEARP/MOTIONOn
A15 TAPE STR70'S VINTAGEPAD/STRINGSOff
A16 TAPE FLT70'S VINTAGEKEYBOARD/BELLOff
A17 KROSS FX70'S VINTAGES.E./HITOff
A18 VOC PULS70'S VINTAGEVOCODER/AUDIO INOff
A21 OB JUMPRROCKPOLY SYNTHOff
A22 BAKIN'BSROCKBASSOff
A23 ROBOSYNCROCKLEADOff
A24 VPM ARPROCKARP/MOTIONOn
A25 PWM STRROCKPAD/STRINGSOff
A26 VOX ORGROCKKEYBOARD/BELLOff
A27 SYN DRUMROCKS.E./HITOff
A28 VOC ENSROCKVOCODER/AUDIO INOff
A31 SYNBRASSPOPPOLY SYNTHOff
A32 VELOSLAPPOPBASSOff
A33 FUSIONLDPOPLEADOff
A34 MINDTRIPPOPARP/MOTIONOn
A35 WHOO PADPOPPAD/STRINGSOff
A36 SG PIANOPOPKEYBOARD/BELLOff
A37 8BIT GALPOPS.E./HITOff
A38 A FEMALEPOPVOCODER/AUDIO INOff
A41 DAYNITEHIPHOPPOLY SYNTHOff
A42 JAMI BSHIPHOPBASSOff
A43 WHEEL LDHIPHOPLEADOff
A44 BTRFLYFXHIPHOPARP/MOTIONOff
A45 WARM PADHIPHOPPAD/STRINGSOff
A46 PHASE EPHIPHOPKEYBOARD/BELLOff
A47 DOMIN8ORHIPHOPS.E./HITOff
A48 GALAKTICHIPHOPVOCODER/AUDIO IN Off
No.Program NameGenreCategoryArpeggio
A51 SLIP PADDANCEPOLY SYNTHOff
A52 SATISFACDANCEBASSOff
A53 8VESAWDANCELEADOff
A54 BUILDERDANCEARP/MOTIONOff
A55 EVOLTIONDANCEPAD/STRINGSOff
A56 M1 ORGANDANCEKEYBOARD/BELLOff
A57 CHORDHITDANCES.E./HITOff
A58 ROBOTVOCDANCEVOCODER/AUDIO INOff
A61 FILLERDUBSTEPPOLY SYNTHOff
A62 EVILSTEPDUBSTEPBASSOff
A63 SCARY LDDUBSTEPLEADOff
A64 MODSWEEPDUBSTEPARP/MOTIONOff
A65 BPF PLUSDUBSTEPPAD/STRINGSOff
A66 RADIATEDUBSTEPKEYBOARD/BELLOff
A67 GROWLFXDUBSTEPS.E./HITOff
A68 DEVILVOXDUBSTEPVOCODER/AUDIO INOff
A71 DUO SIGNELECTRONICAPOLY SYNTHOff
A72 MS-101ELECTRONICABASSOff
A73 PHUNKYLDELECTRONICALEADOff
A74 TRIPCYCLELECTRONICAARP/MOTIONOff
A75 LAGOONELECTRONICAPAD/STRINGSOff
A76 ICEFIELDELECTRONICAKEYBOARD/BELLOff
A77 P6 CHORDELECTRONICAS.E./HITOff
A78 SPECTMODELECTRONICAVOCODER/AUDIO INOff
A81 LOFI SYNFAVOR ITEPOLY SYNTHOff
A82 DIRTYFAVORITEBASSOff
A83 UNISONSQFAV ORI TELEADOff
A84 RHYZMICAFAVORI TEARP/MOTIONOn
A85 MELTYPADFAVO RIT EPAD/STRINGSOff
A86 SYN CLAVFAVO RITEKEYBOARD/BELLOff
A87 JUNGLEFAVO RITES.E./HITOn
A88 V-CH ANG EFAVOR ITEVOCODER/AUDIO IN Off
B11 POLYLINE70'S VINTAGEPOLY SYNTHOff
B12 ODDSY BS70'S VINTAGEBASSOff
B13 ARPELEON70'S VINTAGELEADOff
96
Appendices
MIDI
No.Program NameGenreCategoryArpeggio
B14 Z-FIELD70'S VINTAGEARP/MOTIONOn
B15 SOLINSTR70'S VINTAGEPAD/STRINGSOff
B16 WURLY EP70'S VINTAGEKEYBOARD/BELLOff
B17 INSPACE70'S VINTAGES.E./HITOff
B18 VOC 5TH70'S VINTAGEVOCODER/AUDIO INOff
B21 SEP WAVEROCKPOLY SYNTHOff
B22 SMACK ITROCKBASSOff
B23 MG 5THLDROCKLEADOff
B24 AMBDRIVEROCKARP/MOTIONOff
B25 MOTHERROCKPAD/STRINGSOff
B26 C-PIANOROCKKEYBOARD/BELLOff
B27 SIRENROCKS.E./HITOff
B28 AIRY VOCROCKVOCODER/AUDIO INOff
B31 BRASSENSPOPPOLY SYNTHOff
B32 VPM BASSPOPBASSOff
B33 POCKETLDPOPLEADOff
B34 S&H PADPOPARP/MOTIONOff
B35 AIRGLASSPOPPAD/STRINGSOff
B36 DYNO EPPOPKEYBOARD/BELLOff
B37 ORGCHORDPOPS.E./HITOff
B38 A MALEPOPVOCODER/AUDIO IN Off
B41 TIKTOKHIPHOPPOLY SYNTHOff
B42 BUT BASSHIPHOPBASSOff
B43 FUN LEADHIPHOPLEADOff
B44 TLKVOXERHIPHOPARP/MOTIONOn
B45 LOW PADHIPHOPPAD/STRINGSOff
B46 PLAYTH ATHIPHOPKEYBOARD/BELLOff
B47 FROM2036HIPHOPS.E./HITOff
B48 WISPAVO CHIPHOPVOCODER/AUDIO INOff
B51 TRANCERDANCEPOLY SYNTHOff
B52 DEE I EMDANCEBASSOff
B53 SCREAMLDDANCELEADOff
B54 DIGIPUMPDANCEARP/MOTIONOn
B55 FLASHPADDANCEPAD/STRINGSOff
B56 ORGANDANCEKEYBOARD/BELLOff
No.Program NameGenreCategoryArpeggio
B57 2MANYOSCDANCES.E./HITOff
B58 VOC FLNGDANCEVOCODER/AUDIO IN Off
B61 SCREAMERDUBSTEPPOLY SYNTHOff
B62 TECHSTEPDUBSTEPBASSOff
B63 SCIENCEDUBSTEPLEADOff
B64 X-STEPDUBSTEPARP/MOTIONOn
B65 BELLYDUBSTEPPAD/STRINGSOff
B66 TUBULARDUBSTEPKEYBOARD/BELLOff
B67 BITBUGDUBSTEPS.E./HITOff
B68 VOC WAHDUBSTEPVOCODER/AUDIO IN Off
B71 IDM5100ELECTRONICAPOLY SYNTHOff
B72 REV BASSELECTRONICABASSOff
B73 EDGE LDELECTRONICALEADOff
B74 FLAPPERELECTRONICAARP/MOTIONOn
B75 SWEEPPADELECTRONICAPAD/STRINGSOff
B76 DEEPBELLELECTRONICAKEYBOARD/BELLOff
B77 ESKAYTWOELECTRONICAS.E./HITOn
B78 VOC DWGSELECTRONICAVOCODER/AUDIO IN Off
B81 SQ COMPFAVORITEPOLY SYNTHOff
B82 KAMELEONFAVORITEBASSOff
B83 DA LEADFAVO RIT ELEADOff
B84 PHAZKITFAVORI TEARP/MOTIONOn
B85 HIGH STRFAV ORIT EPAD/STRINGSOff
B86 VPM EPFAVORITEKEYBOARD/BELLOff
B87 BOMBDROPFAVO RITES.E./HITOff
B88 AUDIO INFAV ORIT EVOCODER/AUDIO INOff
NOTE
The sounds A18, A28, A48, A58, A68, A78, A88, B18, B28, B48, B58,
B68, B78, and B88 are programs that use the mic input (audio input). In
order to play these sounds, you must connect a mic or external audio de
vice to the
microKORG XL+
and play the keyboard while sound is being
input.
NOTE
With the factory settings, the Timbre 2 MIDI channel is set to “9” for programs whose Voice Mode is set to Multi.
Maximum output level10 + 10 mW @ 32 ohms load
Output impedance10 ohms
Connector1/4" stereo phone jack
MIDIIN, OUT
USB connectorB type
DisplayCustom LCD
Power supplyDC9V
When using batteries Six AA alkaline batteries
Battery lifeApproximately 4 hours
Dimensions
Weight2 kg / 4.41 lbs
Included itemsAC Adapter, Gooseneck microphone
* Specifications and appearance are subject to change without notice for
improvement.
(W x D x H)
@ GAIN: Max.
@ GAIN: Max.
556 x 231 x 73 mm / 21.89 x 9.09 x 2.87 inches
99
microKORG XL+
5. Index
A
AC adapter............................................10