User manual KORG MICRO XL

[. . . ] E 1 Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations of excessive vibration • Close to magnetic fields THE FCC REGULATION WARNING (for USA) 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. [. . . ] 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. 49) 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). 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. 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. DECAY (Decay time EG3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Specifies the time from when the attack level is reached until the sustain level (SUSTAIN) is reached. SUSTAIN (Sustain level EG3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Parameter Guide Specifies the volume that will be maintained after the decay time has elapsed, as long as you continue holding the key. ATTACK (Attack level EG2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Specifies the time from note-on (when the key is pressed) until the attack level (maximum value of the envelope) is reached. RELEASE (Release time EG3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Specifies the time from note-off (when the key is released) until the level reaches 0. DECAY (Decay level EG2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Specifies the time from when the attack level is reached until the sustain level (SUSTAIN) is reached. 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. SUSTAIN (Sustain level EG2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Specifies the volume that will be maintained after the decay time has elapsed, as long as you continue holding the key. RELEASE (Release time EG2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [000. . . 127] Specifies the time from note-off (when the key is released) until the level reaches 0. 47 microKORG XL 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. 49) KEY SYNC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [OFF, TIMBRE, VOICE] Specifies how the LFO will be applied to a voice when note-on occurs. OFF: The LFO phase will not be reset when note-on occurs. Note on 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. [. . . ] 19, 20 B Backlight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 I INC/DEC function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Included mic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Infinite staircase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 U Unison. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Unison function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 P Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Performance edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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