Korg KingKorg Parameter Guide
Parameter guide
English
Contents
Parameters .........................................................................3
1. Program parameters ...................................................................................3
2. Timbre parameters .....................................................................................4
3. Vocoder parameters ..................................................................................13
4. Arpeggio parameters .................................................................................14
5. Edit utility parameters................................................................................. 16
6. GLOBAL parameters...................................................................................16
7. MIDI parameters ......................................................................................18
8. CV&Gate parameters ..................................................................................20
9. Foot parameters ......................................................................................20
10. UserKeyTune parameters ............................................................................21
11. EQ parameters.......................................................................................22
12. Tube parameters.....................................................................................22
13. Global utility.........................................................................................22
Effects ............................................................................23
1. What are effects.......................................................................................23
2. Effects provided by the ...............................................................................23
3. Controlling the effects ................................................................................23
4. Program effects .......................................................................................24
5. Global effects .........................................................................................28
MIDI ..............................................................................30
1. Using the with other MIDI devices (MIDI) .............................................................30
2. Channels and messages ..............................................................................32
3. Parameters transmitted and received via NRPN........................................................34
4. System exclusive messages ...........................................................................34
5. Realtime Messages....................................................................................34
6. Default control change assignments and transmission/reception (CC#Map) ...........................35
KingKORG Parameter Guide
Thank you for purchasing the Korg KingKORG Synthesizer. To help you get the most out of your new
instrument, please read this manual carefully.
About the owner’s manual
The documentation for this product consists of the following:
- Owner’s manual (included with the instrument)
- Parameter guide (PDF)
Owner’s manual
This provides a simple explanation of the KingKORG’s main functionality. Read this
rst.
Parameter guide
This provides information about all of the KingKORG’s parameters.
Read this guide when you want to nd out what specic parameters do.
The parameter guide is structured as follows.
- Parameters
- Eects
- MIDI
You can read the parameter guide on your computer.
Abbreviations for the manuals
OM: Owner’s Manual (included with the instrument)
PG: Parameter Guide
Display indications
The values of various parameters shown in the manual are only examples;
they might not match what you see on the KingKORG’s display.
Example of notation on the main display page
GLOBAL “g15: Power O” page
In Global mode, the page name will be displayed on the top of the main display.
* All product names and company names are the trademarks or registered trade-
marks of their respective owners.
- 2 -
KingKORG Parameter Guide Parameters
Parameters
Block diagram
TIMBRE B
TIMBRE A
Keyboard
MIC IN
This indicates a parameter that can be controlled from the panel
buttons of the instrument.
This indicates a parameter that can be controlled from the panel
konb of the instrument.
Program parameters
1.
JoyStick
VIRTUAL PATCH
Pitch
OSC1
OSC2
OSC3
MIXER FILTER AMP
Explanation of parameter icons
p01: Name
MIDI IN
Cutoff Level PAN
Modulation to Synth
LFO2 EG2
LFO1 EG1
L/R
Vocoder PRE FX MOD FX
L/R
MASTER FX
GLOBAL
TUBE EQ
REV/
DELAY
L/MONO, R
VoiceMode ................................................[Single, Layer, Split]
This parameter determines how many timbres a program will use, and how
those timbres will be allocated.
Single:
Only one timbre will be used.
OUTPUT
The KingKORG lets you assign a name of up to 12 characters to each
program.
In Program mode, the main display shows the program number and program
name.
To edit the program name
Press the PROGRAM (GLOBAL) button to switch to Program mode.
1.
Use the PAGE +/– buttons to select the Name page.
2.
Press the VALUE dial.
3.
Use the PAGE +/– buttons to move “ ” to the character that you
4.
want.
Turn the VALUE dial to select a character.
5.
Repeat steps 4–5.
6.
Press the VALUE dial to confirm the name.
7.
p02~06: Common
Here you can adjust settings that apply to the entire program.
Category .... [Synth, Lead, Bass, Brass, Strings, Piano, Key, SE/Voc,
User]
This selects the program category.
The program will be registered in the category that you select here.
For example when you’re performing, you may find it convenient to select
programs by category. For more about selecting programs by category, refer to
“Selecting by category” on page 100 of the owner’s manual.
TIMBRE A
Layer:
Two timbres will be used. When you play the keyboard, both timbres will
sound simultaneously. You can edit each timbre individually.
TIMBRE A
TIMBRE B
Split:
Two timbres will be used. You can specify a range of notes for each
timbre, and play each timbre from a different area of the keyboard. Each
timbre can be edited separately.
Split Position=When G4
TIMBRE A
Split Position
TIMBRE B
- 3 -
KingKORG Parameter Guide Parameters
Note on
Note on
4 voice
2 voice
Timb B Ch (Timbre B MIDI channel).......................[Global, 01…16]
When the “VOIC.MODE” is set to either Layer or Multi, this parameter can be
used to set the MIDI channel for timbre 2. If you choose Global, the MIDI
channel of timbre 2 will match the global MIDI channel.
The settings of this page will be available if the “p03:Common” page
VoiceMode parameter is set to “Layer” or “Split”.
The MIDI channel for timbre A is specied by the MIDI Basic page Global Ch parameter.
TIP:
Split Key ....................................................................[C -1…G 9]
This specifies the range of notes for which each timbre will sound.
Notes below the specified note number will be sounded by timbre A, and notes
above and including the specified note number will be sounded by timbre B.
You can also easily specify the Split Key by using the keyboard. Hold down the
SHIFT/EXIT button and press the SPLIT (POSITION) to access the following
screen.
The settings on this page will apply if the “p03:Common” page VoiceMode
parameter is set to “Split”.
The previous setting
When you press a key, that key will be specified as the Split Key, and you’ll
automatically return to the previous screen. You can also select this setting by
turning the VALUE dial instead of using the keyboard.
The value you’ ll be
setting
KeyResponse ...................................................... [Norm, Shlw, Deep]
This specifies the response of the keyboard.
In addition to the conventional velocity-sensitive mode, the KingKORG’s
keyboard provides a “switch mode” that simulates the keyboard response of a
vintage synth or an actual organ. In switch mode, the response is extremely
quick and velocity is not detected, providing a playing feel that’s ideal for rapid
synth lead passages or rapidly repeated synth brass chords.
Norm (Normal):
This is the conventional response mode that provides velocity sensitivity.
Deeply-played keystrokes will be sounded with a velocity corresponding to
your playing dynamics.
Shlw (Shallow):
This is a “switch mode” in which notes are turned on or off even by
shallow keystrokes.
This mode is effective when you’re playing a legato melody, or when
playing a rapid glissando with the palm of your hand. By striking the
keyboard strongly or releasing it rapidly, you can produce the distinctive
bounce (double triggering when you release a key) that is typical of an
organ keyboard.
Deep:
This is a “switch mode” in which notes are turned on or off by deep
keystrokes.
It will feel as though the note sounds when the key reaches the bottom of
its full stroke. This mode is effective when playing crisp melodies or
repeated chords.
Assign (Voice Assign) ................................... [Mono1, Mono2, Poly]
This parameter specifies how notes will be articulated from the keyboard (or
MIDI source).
Mono1:
The timbre will play monophonically. If you continue holding down the key
that you first pressed, the EG will not retrigger when you play the second
and subsequent keys. Use this setting when you want to play legato.
Mono2:
The timbre will play monophonically. The EG will be retriggered each time
you press a key.
Poly:
The program will play polyphonically, allowing you to play chords. The
maximum polyphony is 24 voices.
EG
Mono1
Trigger
EG
Mono2
Trigger
Unison Voice ........................................................... [Off, 2, 3, 4]
Specifies the number of voices that will be stacked.
Off:
Unison is off.
2:
Unison is on; two voices will be stacked.
3:
Unison is on; three voices will be stacked.
4:
Unison is on; four voices will be stacked.
Depending on other voice-related settings, the number of voices that
you specify here may not actually be sounded.
Turning on the Unison function will limit the available polyphony.
Detune (Unison Detune) ..................................................... [00…99]
Specifies (in units of cents) the amount of detuning that will occur between the
stacked voices.
The number of voices that you specify for the Unison Voice will change the
way that detuning occurs.
The setting on this page is available if unison is on (Unison Voice set to
“2”–”4”).
99
0
Unison
Detune
99
0
Unison
Detune
Timbre parameters
2.
If the “p03:Common” page VoiceMode parameter is set to “Layer” or “Split”,
the parameters of pages s01–s80 will show the timbre that’s selected by the
TIMBRE A/B select buttons.
s01~04: Voice
These settings specify whether the timbre will play monophonically or
polyphonically, how retriggering will occur, and how the unison function will
stack multiple copies of a voice at the same pitch.
If you simultaneously press more keys than the maximum polyphony that’s specied,
TIP:
the key you pressed last will take priority.
Spread (Unison Spread) ..................................................[000…127]
Spread controls the width of the stereo spread (panning) of the stacked voices.
The stacked notes will be spread evenly, according to the number of voices
specified by the Unison Voice and the value that you specify here.
The setting on this page will be available if unison is on (Unison Voice set to
“2”–”4”).
s05~12: Pitch
These settings affect the pitch of the timbre.
The pitch of all oscillators in the timbre you’re editing will be affected
simultaneously.
Set the transpose and tuning parameters to obtain the desired pitch.
This is also where you specify the amount of pitch change that will occur when
you move the joystick in the horizontal direction (X-axis), and adjust settings
for portamento.
- 4 -
KingKORG Parameter Guide Parameters
Transpose .........................................................................[–48…+48]
The Transpose function specifies the pitch produced by the oscillator, in
semitone units.
The range is four octaves upward or downward.
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.
Detune ............................................................. [–50 cent…+50 cent]
The Detune function adjusts the pitch of the oscillator in one-cent steps.
LFO2ModInt (LFO2 Modulation Intensity) ................[–63…+63]
This specifies the depth of vibrato produced by using LFO2 to modulate the
pitch of the timbre.
LFO2&JS+Y (LFO2 & Joystick+Y) ........................... [–2400…+2400]
You can use the joystick to increase or decrease the vibrato.
This specifies the depth of vibrato (in units of cents) that is produced when you
move the joystick all the way away from yourself.
The depth of the vibrato that is applied will be this setting added to the LFO2ModInt
TIP:
setting. When you take your hand off the joystick, the vibrato will be the depth specied
by LFO2ModInt.
BendRange (Pitch Bend Range) ......................................[–12…+12]
This specifies the amount of pitch change (in semitones) that will occur when
you move the joystick in the horizontal direction (X-axis).
This value is the amount of change that will occur when the joystick is moved
all the way in the horizontal direction.
Portamento .................................................................. [Off, On]
This will turn Portamento on/off (an effect that creates a smooth change in
pitch from one note to the next).
Off:
Portamento will be off.
On:
Portamento will be on. Use the Porta.Time parameter to specify the
portamento time.
Porta.Time (Portamento Time) ..................................[000…127]
This specifies how portamento will occur (the time over which the pitch change
will occur).
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.
Analog Tune (Analog Tuning) ........................................[000…127]
This parameter adjusts the amount of inconsistency in the pitch of each note
that is played.
This adds a slight randomness to the pitch of each note to simulate the pitch
instability that is typical of an analog synthesizer. Higher settings produce
greater pitch variation.
s13~27: OSC1, OSC2, OSC3 (Oscillator 1, 2, 3)
Oscillators generate the basic waveform.
These settings are made individually for each of the three oscillators in each
timbre.
Type .............................................................. [Off, Saw…Mic In]
This selects the oscillator type (the basic structure of the oscillator) and its
waveform (see “Oscillator type and CONTROL 1, 2”). If you select “Off,” the
oscillator will make no sound.
Semitone ..........................................................................[–24…+24]
This specifies the amount of detune (pitch discrepancy) relative to other
oscillators in semitone steps over a range of two octaves upward or downward.
The settings on this page are available if the waveform specified by Type is
ANALOG, DWGS, or PCM.
This setting is not available if Type is set to “Mic In”.
For example if you want to use oscillator 2 as the overtone structure of oscillator 1, you
TIP:
can set this to one octave above or a fth above. If you’re using the oscillator to create
harmony, you can set this parameter to a musical third, fourth, or fth.
Tune ..............................................................................[–63…+63]
This adjusts the amount of detune relative to the other oscillators.
Settings of “±63” correspond to two octaves upward or downward, and “±48”
corresponds to one octave upward or downward. Near the “+00” setting you’ll
be able to make fine adjustments to the pitch.
The settings on this page are available if the waveform specified by Type is
ANALOG, DWGS, or PCM.
This setting is not available if Type is set to “Mic In”.
CONTROL1, CONTROL2
For each oscillator type, either one or two CONTROL parameters are provided
to control the waveform or character. The last page of each oscillator shows
the name and value of the CONTROL parameters for the Type setting that is
selected.
Some settings may produce noise.
The parameters and available values for CONTROL1 and CONTROL2
will differ depending on the selected Type. You can also refer to the
explanations below when making V.Patch (virtual patch) settings or
assigning Ctrl1 (CONTROL1) or Ctrl2 (CONTROL2) to GLOBAL MIDI
CC#Map.
Oscillator types and CONTROL 1, 2
Single oscillator
Waveform
OSC
These oscillator types provide one oscillator that outputs a basic waveform.
You can use the CONTROL1 Waveform parameter to modify the output
waveform in real time.
When using a single oscillator, CONTROL 2 is unavailable.
001: Saw
Outputs a sawtooth wave.
This waveform is suitable for the sounds that are typical of an analog
synthesizer, such as synth bass or synth brass.
CONTROL1: Waveform ................................................ [000…127]
A setting of “000” produces a pure sawtooth wave, and a setting of “127”
produces a sawtooth wave one octave higher.
002: Pulse
Outputs a pulse wave.
This waveform is suitable for electronic sounds or wind instruments.
CONTROL1: PulseWidth .............................................. [000…127]
A setting of “000” produces a pure square wave, and a setting of “127” will be
nearly inaudible since the pulse width will be minimal.
- 5 -
KingKORG Parameter Guide Parameters
003: Triangle
Outputs a triangle wave.
This waveform has a more mild tone than a sawtooth wave or pulse wave.
CONTROL1: Waveform ................................................ [000…127]
A setting of “000” produces a pure triangle wave, and a setting of “127”
produces a triangle wave of one octave and a fifth higher (the third harmonic).
004: Sine
Outputs a sine wave.
Of the single oscillators, this waveform has the simplest overtone structure.
CONTROL1: Waveform ................................................ [000…127]
A setting of “000” produces a pure sine wave; the overtone structure will change
as you increase the value.
Noise oscillator
These oscillator types generate a noise signal.
You can choose from four types of noise, each with their own distinctive character.
Noise is used to create percussion-instrument sounds or sound effects such
as ocean waves.
007: Blue Noise
Outputs blue noise.
This noise signal has an energy distribution that increases in proportion to the
frequency. Since the low-frequency range is weaker and the high-frequency
range is stronger, it has a harder-edged character than white noise.
The name comes from the fact that light of this frequency distribution appears light blue.
TIP:
HPF Cutoff Noise Decay
HPFNoise EG
CONTROL1: HPF Cutoff ............................................... [000…127]
Adjusts the low-frequency content of the noise.
Increasing this value will attenuate the low-frequency range, producing a
harder sound.
CONTROL2: Noise Decay .............................................[000…127]
Adjusts the decay speed of the noise.
008: Res. Noise
Outputs resonance noise.
This contains narrow-band mid-frequency noise. You can use it to create noise
similar to the noise that can be heard from a pocket radio. Since the frequency
band will change depending on the key you press, this has a sense of pitch
that is not produced by the other noise oscillators, allowing you to use it for
performing.
(KBD Track)
Resonance Noise Decay
005: White Noise
Outputs white noise.
This contains equal energy at all frequencies from low to high. It is the basic
and the most frequently-used noise waveform.
Decimator Fc Noise Decay
Noise
Decimator
EG
CONTROL1: Decimator Fc ........................................... [000…127]
Adjusts the roughness of the noise.
Low values produce conventional white noise; raising the value will produce
increasingly rougher noise that is distinctive of digital technology. This is useful
when creating “retro-sounding” noises such as those typical of early video
games.
CONTROL2: Noise Decay .............................................[000…127]
Adjusts the decay speed of the noise.
Low values produce a fast decay. At a setting of “127” there will be no decay;
the sound will continue at a fixed level until you release the key.
The EG2-Amp settings also affect the volume; set those parameters in conjunction with
TIP:
this parameter.
006: Pink Noise
Outputs pink noise.
This noise signal has an energy distribution that decreases in proportion to the
frequency. Since the low-frequency range is stronger and the high-frequency
range is weaker, it has a more mild character than white noise.
The name comes from the fact that light of this frequency distribution appears pink.
TIP:
LPF Cutoff Noise Decay
LPFNoise
EG
CONTROL1: LPF Cutoff ................................................ [000…127]
Adjusts the high-frequency portion of the noise.
As you decrease this value the high-frequency content will diminish
correspondingly, producing a more mild sound.
CONTROL2: Noise Decay .............................................[000…127]
Adjusts the decay speed of the noise.
Noise
BPF
EG
CONTROL1: Resonance ............................................... [000…127]
Boosts the mid-frequency range of the noise.
Increasing this value will increase the intensity of the boost, giving the noise a
more distinctive character.
By increasing the value even further, you can obtain a unique sound
reminiscent of blowing strongly through a pipe.
CONTROL2: Noise Decay .............................................[000…127]
Adjusts the decay speed of the noise.
Dual oscillator
OSC A
Detune
These oscillator types stack two oscillators, each outputting a basic waveform,
and mix the output.
By varying the pitch of one oscillator you can easily obtain a unison effect.
If you’ve selected a dual oscillator, CONTROL 2 is not available.
009: Dual Saw
Outputs two sawtooth waves.
010: Dual Square
Outputs two square waves.
011: Dual Tri.
Outputs two triangle waves.
012: Dual Sine
Outputs two sine waves.
CONTROL1: Detune ..................................................... [–63…+63]
This adjusts the pitch of oscillator B.
Settings of “±63” correspond to ±2 octaves, settings of “±48” correspond to ±1
octave, and a setting of “+00” is the same pitch as oscillator A.
OSC B
- 6 -
KingKORG Parameter Guide Parameters
Unison oscillator
OSC A
OSC B
OSC C
Detune
OSC D
OSC E
These oscillator types stack five oscillators, each outputting a basic waveform,
and mix the output.
You can create thick, rich sounds by playing just a single note.
If you’ve selected a unison oscillator, CONTROL 2 is not available.
013: Unison Saw
Outputs two sawtooth waves.
014: Unison Squ.
Outputs two square waves.
015: Unison Tri.
Outputs two triangle waves.
016: Unison Sine
Outputs sine waves.
CONTROL1: Detune ..................................................... [000…127]
This detunes the pitch of the five oscillators.
Increasing this value will broaden the pitch difference between the oscillators,
creating a thicker sound.
Ring oscillator
OSC A
Mod Pitch
These oscillator types multiply waveforms of differing frequencies, adding sum
and difference overtones that do not exist in the original sound.
You can use these to produce bell-like or metallic sounds.
If you’ve selected a ring oscillator, CONTROL 2 is not available.
OSC B
RING MOD
021: Ring Saw
Multiplies a sawtooth wave by another sawtooth wave, and outputs the result.
022: Ring Square
Multiplies a square wave by another square wave, and outputs the result.
023: Ring Tri.
Multiplies a triangle wave by another triangle wave, and outputs the result.
024: Ring Sine
Multiplies a sine wave by another sine wave, and outputs the result.
CONTROL1: Mod Pitch ................................................ [–63…+63]
This adjusts the pitch of oscillator B (modulator).
Settings of “±48” correspond to ±1 octave; at a setting of “+00” the pitch will be
the same as oscillator A.
Cross modulation oscillator
Sync oscillator
Mod Pitch = 0
OSC A
Phase Reset
Mod Pitch
These oscillator types forcibly reset the phase of the oscillator B waveform
(slave) at each cycle of the oscillator A (master) waveform, producing a
distinctive overtone structure.
If you’ve selected a sync oscillator, CONTROL 2 is not available.
OSC B
017: Sync Saw
Outputs a modulated sawtooth wave.
018: Sync Square
Outputs a modulated square wave.
019: Sync Tri.
Outputs a modulated triangle wave.
020: Sync Sine
Outputs a modulated sine wave.
CONTROL1: Mod Pitch ................................................[000…127]
This adjusts the pitch of oscillator B (slave waveform).
A setting of “32” is +1 octave, and a setting of “64” is +2 octaves.
Mod Pitch = 8
Mod Pitch = 47
Mod Depth
Mod Pitch
These oscillator types use the output waveform of oscillator B (modulator) to
modulate the frequency of oscillator A (carrier), producing a complex overtone
structure. This lets you apply modulation at a higher frequency than an LFO.
OSC B
CROSS MOD
OSC A
025: XMod Saw
Outputs a modulated sawtooth wave.
026: XMod Square
Outputs a modulated square wave.
027: XMod Tri.
Outputs a modulated triangle wave.
028: XMod Sine
Outputs a modulated sine wave.
CONTROL1: Mod Depth ...............................................[000...127]
This adjusts the depth of cross modulation.
CONTROL2: Mod Pitch .................................................[–63...+63]
This adjusts the pitch of oscillator B (modulator).
Settings of “±63” correspond to ±2 octaves, settings of “±48” correspond to ±1
octave, and “+00” is the same pitch as oscillator 1.
Variable phase modulation oscillator
Mod Depth
Mod Harmonics
These oscillator types use the output waveform of oscillator B (modulator) to
modulate the phase of oscillator A (carrier), producing a complex overtone
structure.
This lets you apply modulation at a higher frequency than an LFO. Unlike
cross modulation, OSC B will modulate the phase at precise integer multiple
frequencies (Mod Harmonics) of OSC A, and therefore pulsing will not occur in
the waveform.
OSC B
VPM
- 7 -
OSC A
KingKORG Parameter Guide Parameters
029: VPM Saw
Outputs a modulated sawtooth wave.
030: VPM Square
Outputs a modulated square wave.
031: VPM Tri.
Outputs a modulates triangle wave.
032: VPM Sine
Outputs a modulated sine wave.
CONTROL1: Mod Depth ...............................................[000...127]
This adjusts the depth of the VPM (Variable Phase Modulation) effect.
CONTROL2: Mod Harm(Mod Harmonics) .................. [0.5, 1...32]
This specifies the pitch of oscillator B (modulator) as a harmonic multiple of
oscillator A (carrier).
DWGS oscillator
Mod Depth
Detune
These oscillator types produce the simple DWGS (Digital Waveform Generator
System) waveforms found on digital synthesizers such as the Korg DW-8000.
You can generate complex overtones by using VPM (Variable Phase
Modulation) to modulate the waveform.
DWGS A
DWGS B
033-096: DWGS
These are DWGS waveforms from digital synthesizers.
CONTROL1: Detune ......................................................[000...127]
Detunes the relative pitch of the two DWGS oscillators.
Higher values will broaden the pitch difference, creating modulation that makes
the sound richer.
CONTROL2: Mod Depth ..............................................[000…127]
Adjusts the depth of the VPM effect for the DWGS waveform.
PCM oscillator
These oscillator types produce PCM waveforms of acoustic instruments or
digital synthesizers.
097-126: PCM
These are PCM waveforms of acoustic instruments and digital synthesizers.
If you’ve selected a PCM oscillator, CONTROL 1 and CONTROL 2 are
not available.
MIC IN oscillator
Gain
Mic Input
This lets you use the signal from the rear panel mic jack as the oscillator
waveform.
You can apply the filter, amp, and effects to this audio signal.
If you’re using the audio input from the mic jack, pitch-related parameters
are not available.
If you’ve selected the MIC IN oscillator, CONTROL 2 is not available.
127: Mic In
Outputs the signal from the rear panel mic jack.
CONTROL1: Gain .........................................................[–63…+63]
This adjusts the level of the signal from the mic jack.
At a value of “+00” the input signal will be unchanged (Unity Gain).
If the peak LED lights up, you should also adjust the front panel MIC
LEVEL knob until the signal is no longer peaking.
Oscillator list
Oscillator types 001–032 are excellent analog modeling oscillators. When you
select one of these, the ANALOG LED will light up below the OSCILLATOR
sub-display.
No. Type Control1 Control2
001 Saw Waveform —
002 Pulse PulseWidth —
003 Triangle Waveform —
004 Sine Waveform —
005 White Noise Decimator Fc Noise Decay
006 Pink Noise LPF Cutoff Noise Decay
007 Blue Noise HPF Cutoff Noise Decay
008 Res. Noise Resonance Noise Decay
009 Dual Saw Detune —
010 Dual Square Detune —
011 Dual Tri. Detune —
012 Dual Sine Detune —
013 Unison Saw Detune —
014 Unison Squ. Detune —
015 Unison Tri. Detune —
016 Unison Sine Detune —
017 Sync Saw Mod Pitch —
018 Sync Square Mod Pitch —
019 Sync Tri. Mod Pitch —
020 Sync Sine Mod Pitch —
021 Ring Saw Mod Pitch —
022 Ring Square Mod Pitch —
023 Ring Tri. Mod Pitch —
024 Ring Sine Mod Pitch —
025 XMod Saw Mod Depth Mod Pitch
026 XMod Square Mod Depth Mod Pitch
027 XMod Tri. Mod Depth Mod Pitch
028 XMod Sine Mod Depth Mod Pitch
029 VPM Saw Mod Depth Mod Harm
030 VPM Square Mod Depth Mod Harm
031 VPM Tri. Mod Depth Mod Harm
032 VPM Sine Mod Depth Mod Harm
033–096
097–126
127 Mic In Gain —
DWGS Detune Mod Depth
PCM — —
- 8 -
KingKORG Parameter Guide Parameters
s28~30: Mixer
This is where you can adjust the volume balance of oscillator 1, oscillator 2,
and oscillator 3. These settings will determine the input level to the filter.
OSC1Level .................................................................... [000…127]
Sets the output level of oscillator 1.
OSC2Level .................................................................... [000…127]
Sets the output level of oscillator 2.
OSC3Level .................................................................... [000…127]
Sets the output level of oscillator 3.
s31~38: Filter
The filter shapes the character of the sound by reducing or boosting specified
frequency regions in the sound generated by the oscillator.
You can select a filter type and adjust the cutoff frequency to shape the sound,
or dynamically modulate the filter as a performance effect.
Three types of filters are provided: low pass filters which make the tone milder
by reducing the high frequencies, high pass filters which make the tone
brighter by reducing the low frequencies, and band pass filters which reduce
both the high and low frequency regions to leave only a specific frequency
band.
You can choose from a total of 18 types, including not only standard analog
modeling filters but also modeling types that reproduce the distinctive filters
that can be found on classic synthesizers of the past.
Type (Filter Type) ............................. [LPF King 1…BPF+ King]
Selects the filter type.
The characteristics of each type are described below. To experience the
differences between the filter types, try changing the resonance and cutoff
while you play.
Product
Modeling:
Selfoscillating
Fixed Gain: Even when you vary the resonance, these
LPF Low Pass Filter
Filter Type Description
01 LPF King 1 A standard four-pole analog low pass filter. Compared
02 LPF King 2
03 LPF MG
04 LPF P5
05 LPF OB A low pass filter that has the characteristics of the filter
06 LPF MS-20
These filters model the filters of a synthesizer
of the past.
These filters simulate the self-oscillation that
occurred at the cutoff frequency when the
resonance was raised nearly to the maximum.
filters maintain a fairly consistent volume in the
frequency region that is not being cut by the
filter (→ p.10).
to a two-pole filter, this attenuates the high-frequency
region more steeply.
A standard two-pole analog low pass filter. It gently cuts
the high-frequency region, producing a warmer sound
A low pass filter that has the characteristics of the filter
from a famous monophonic analog synthesizer of the
1970s. It is ideal for lead or bass sounds.
A low pass filter that has the characteristics of the filter
from a famous five-note polyphonic synthesizer that
appeared at the end of the 1970s and was widely used
in the new wave music of the 1980s.
from an analog monophonic synthesizer expander
module of the second half of the 1970s.
A low pass filter that models the filter from Korg’s
classic MS-20 analog synthesizer. This simulates the
original’s lo-fi sense of noise and distortion, as well as
the rough self-oscillation that occurred when the
resonance was increased.
.
Filter Type Description
07 LPF Acid
This adds distortion to the low pass filter from a
famous compact bass synthesizer that was widely
used in styles such as Acid House in the second half
of the 1980s. High resonance settings will cause the
peaks to distort, adding distinctive overtones.
HPF High Pass Filter
Filter Type Description
08 HPF King A standard analog high pass filter.
09 HPF P5
10 HPF OB
11 HPF MS-20
12 HPF Acid
A high pass filter that has the pure self-oscillation of
LPF P5. This is a hypothetical modeling filter that did
not exist on the original unit.
A high pass filter that has the noise and resonance
characteristics of the LPF OB.
A high pass filter that models the filter from the MS-20,
as with the LPF MS-20.
This model connects distortion to a high pass filter with
the resonance distortion characteristics of LPF Acid.
BPF Band Pass Filter
Filter Type Description
13 BPF King A standard analog band pass filter.
14 BPF P5
15 BPF OB
16 BPF MS-20
17 BPF Acid
18 BPF+ King This filter mixes the original sound with the output of a
Cutoff ............................................................................[000...127]
This sets the cutoff frequency.
Increasing this value will raise the cutoff frequency.
“CUTOFF” can be varied by time-variant changes produced by EG1-Filter, by
keyboard playing dynamics (velocity), and by note location (keyboard tracking).
A band pass filter that can produce the pure selfoscillation of LPF P5. This is a hypothetical modeling
filter that did not exist on the original unit.
A band pass filter with the noise and resonance
characteristics of the LPF OB.
A band pass filter that has the lo-fi and distortion
characteristics of LPF MS-20. This is a hypothetical
modeling filter that did not exist on the original MS-20.
An LPF MS-20 and HPF MS-20 are connected in
series.
This model connects distortion to a band pass filter
that has the resonance distortion characteristics of
LPF Acid. This is a hypothetical modeling filter that did
not exist on the original unit.
standard band pass filter. It lets you obtain the
distinctive tone of a band pass filter without losing the
high- and low-frequency nuances of the original sound.
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KingKORG Parameter Guide Parameters
Fixed Gain not supported
Fixed Gain supported
Low resonance value High resonance value
Low resonance value High resonance value
Resonance .....................................................................[000...127]
This sets the resonance of the filter.
Boosts the volume in the region of the frequency specified by Cutoff, adding a
distinctive character to the sound. Higher values will produce a greater effect.
LPF
HPF
BPF
Low resonance value
For filter types that simulate Fixed Gain, higher resonance settings will produce
a louder volume compared to other types.
Depending on the cutoff frequency or the input audio, increasing this
value may cause distortion.
High resonance value
EG1Int (EG1 Intensity) ................................................[–63…+63]
This specifies how time-variant modulation from the EG1-Filter will be applied
to the cutoff frequency.
Note on
Sustain Level
Note off
Cutoff
Cutoff frequency
specified by
“Cutoff”
Int = –32
Note on
Note off
Int = –63
Note on
Int = 0
Note off
Time
LFO1ModInt (LFO1 Modulation Intensity) ................[–63…+63]
Specifies the depth of the wah effect produced by using LFO1 to modulate the
cutoff frequency.
LFO1&JS-Y ........................................................................[–63…+63]
You can use the joystick to increase or decrease the wah effect. This
parameter specifies the depth of the wah effect that will be obtained when you
move the joystick all the way toward yourself.
The wah effect will be the depth specied by this parameter plus the LFO1ModInt
TIP:
setting. When you release your hand from the joystick, the effect will be at the depth
specied by LFO1ModInt.
KeyTrack (Keyboard Tracking/ Filter) ..................[–2.00…+2.00]
Varies the cutoff frequency by keyboard tracking (the keyboard position you
play).
For example if you can get the sound you want at the C4 key, but the tone
becomes too mild as you play above or below that key, you can use keyboard
tracking to raise the cutoff frequency to obtain the desired sound.
Positive (+) values cause the cutoff frequency to rise as you play above the C4
key, and fall as you play below the C4 key.
Negative (–) values cause the cutoff frequency to fall as you play above the C4
key, and rise as you play below the C4 key.
If this value is “+1.00” the change in cutoff frequency will be proportionate to the pitch. If
TIP:
this value is “+0.00” no change will be produced by keyboard tracking.
Keyboard tracking works on the pitch that is modied by pitch bend and transpose.
TIP:
VeloSens (Velocity Sensitivity) ......................................[–63…+63]
This specifies how the cutoff frequency will be affected by velocity (keyboard
playing dynamics).
Positive (+) values cause the cutoff frequency to rise as you play the keyboard
more strongly.
Negative (–) values cause the cutoff frequency to fall as you play the keyboard
more strongly.
s39~42: Amp (Amplifier)
Cutoff
Attack
Decay
Time
Time
The EG1-Filter varies the cutoff frequency over time, causing the tone to
change.
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-Filter INT” parameter specifies the depth (sensitivity) to which the
EG1-Filter will affect the cutoff frequency. With a setting of 0, the EG1-Filter
will not affect the cutoff frequency. Increasingly positive (+) settings will allow
the EG1-Filter to have a correspondingly greater effect on the cutoff frequency.
Cutoff
Cutoff frequency
specified by
“Cutoff”
Increasingly negative (–) settings will allow a correspondingly greater effect in
the opposite direction.
Int = +32
Note on
Note off
Int = +63
Note on
Release
Time
Note off
Time
Int = 0
Time
Here you can adjust various settings such as the volume and panning of the
timbre.
The sound that is created by passing through the oscillator and filter is
amplified by the amp.
Level ............................................................................. [000…127]
This adjusts the volume of the timbre.
Pan (Panpot) .................................................... [L63…Center…R63]
This adjusts the location of the sound in the stereo field. L63 is far left, CNT is
center, and R63 is far right.
Punch Level ......................................................................[000…127]
This adjusts an effect that boosts the volume of the timbre’s output signal only
during the attack. Higher settings will emphasize the attack.
KeyTrack (Keyboard Tracking/Amp) ..............................[–63…+63]
This specifies how keyboard tracking will affect the volume.
With positive (+) settings, the volume will increase as you play above the C4
note on the keyboard, and will decrease as you play below C4. With negative
(–) settings, the volume will decrease as you play above the C4 note on the
keyboard, and will increase as you play below C4.
Keyboard Track functions according to the pitch that is controlled by pitch bend, and
TIP:
transpose. It is not affected by pitch changes produced by vibrato or Virtual Patch.
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KingKORG Parameter Guide Parameters
Organ
s43~47: EG1-Filter
Here you can adjust settings for the filter EG that causes the sound to vary
over time.
Here you can adjust settings for the filter EG, which creates time-varying
changes in the tonal character. Specify the EG settings in these pages, and
use the EG1Int parameter (→ p.10) to specify how deeply the filter will be
affected by the EG. Use the ADSR (Attack, Decay, Sustain, Release)
parameters to create the desired curve of tonal change.
By assigning EG1-Filter as the source for a virtual patch, you can use it to modulate
TIP:
parameters other than the lter (→ p.12).
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 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 KingKORG
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 illustrated below.
EG
Level
Note on
Note off
Attack (Attack Time/EG1-Filter) ................................. [000…127]
This specifies the time from note-on (when the key is pressed) until the attack
level (maximum value of the envelope) is reached.
Decay (Decay Time/EG1-Filter) ..................................[000…127]
This specifies the time from when the attack level is reached until the sustain
level (SUSTAIN) is reached.
Sustain (Sustain Level/EG1-Filter) .............................[000…127]
This specifies the cutoff frequency that will be maintained after the decay time
has elapsed, until you release the key.
Release (Release Time/EG1-Filter) ............................. [000…127]
This specifies the time from note-off (when the key is released) until the level
reaches 0.
LevelVelInt (Level Velocity Intensity/EG1-Filter) .....[–63…+63]
This specifies how your keyboard velocity (playing strength) will affect the
amplitude of EG1-Filter. Higher settings of this parameter will allow changes in
your keyboard velocity to produce greater differences in EG1-Filter amplitude.
s48~52: EG2-Amp
Here you can adjust the settings for the AMP EG, which applies time variant
changes 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.
You can use EG2 as a Virtual Patch source to modulate parameters other than volume
TIP:
(→ p.12).
Attack Level
Piano
Level
0
Level
0
Strings
Level
0
0
[1]
[1]: Attack Time [3]: Sustain Level
[2]: Decay Time [4]: Release Time
Note on
Attack: 0 Sustain: 0
Decay: 100 – 127 Release: 5 – 25
Note on
Attack: 0 Sustain: 127
Decay: 0 Release: 0
Note on
Attack: 40 Sustain: 75
Decay: 50 Release: 50
[3]
[2]
Note off
Note off
Note off
EG1 and EG2
Time
[4]
Time
Time
As the EG1-Filter changes the cutoff frequency, the tone will change. However,
the overall character of the sound will also depend on the volume changes that
are produced by the EG2-Amp. 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 EG1-Filter settings
and the EG2-Amp settings as you’re editing.
Attack (Attack Time/EG2-Amp) .................................. [000…127]
This 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/EG2-Amp) ...................................[000…127]
This specifies the time from when the attack level is reached until the sustain
level (SUSTAIN) is reached.
Sustain (Sustain Level/EG2-Amp) .............................. [000…127]
This 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-Amp) .............................. [000…127]
This specifies the time from note-off (when the key is released) until the level
reaches 0.
LevelVelInt (Level Velocity Intensity/EG2-Amp)
This specifies how your keyboard velocity (playing strength) will affect the
EG2-Amp. Higher settings of this parameter will allow changes in your
keyboard velocity to produce greater differences in EG amplitude.
...[–63…+63]
s53~62: LFO1, LFO2
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.
By assigning LFO1 or LFO2 as sources for a virtual patch, you can use them to modulate a
TIP:
variety of parameters (→ p.12).
LFO (Low Frequency Oscillator)
The LFO (Low Frequency Oscillator) is an oscillator with a low (slow) rate.
It is typically used to apply a vibrato effect (use LFO to raise and lower the
pitch), wah effect (use LFO to raise and lower the cutoff frequency), or tremolo
Time
effect (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
KingKORG provides special parameters that can be modulated from an LFO.
For LFO1, these parameters are the “Filter” page parameters LFO1ModInt and
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KingKORG Parameter Guide Parameters
Triangle
Sine
Saw
Square
Square+
S&H
Amplitude changes
irregularly
(Sample & Hold)
Random
Change linearly
with random values
Note on
Note on Note on
Note on
LFO1&JS-Y. For LFO2, they are the “Pitch” page parameters LFO2ModInt and
LFO2&JS+Y.
Wave (LFO1) ....................... [Saw, Square, Triangle, S&H, Random]
Wave (LFO2) ............................[Saw, Square+, Sine, S&H, Random]
Selects the LFO waveform.
KeySync ..............................................................[Off, Timbre, Voice]
This 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.
Timbre:
The phase of the LFO will be reset by the first note-on that occurs from a
condition of no keys being held; it will not be reset for subsequently played
voices.
Note all off
Voice:
The LFO phase will be reset at each note-on, and modulation of differing
phases will apply to each voice.
1VOICE
Note on
2VOICE
TempoSync........................................................................... [Off, On]
Specifies whether the LFO cycle will be synchronized to the internal tempo or
to an external MIDI Clock.
Off:
The LFO will not be synchronized. It will function 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.
If TempoSync is “On,” selecting “LFO1Freq” or “LFO2Freq” as a Dest in
the “V.Patch1–6” page will have no effect.
Freq. (Frequency) .................................... [000.01Hz…100.00Hz]
This specifies the frequency of the LFO. Increasing this value will result in a
faster frequency.
The settings in this page are available if TempoSync is “Off”.
SyncNote ................................................................[8meas…1/64]
This specifies the LFO rate as a ratio of the Tempo setting in the “Arp” page.
The length (note value) you specify here will be one cycle of the LFO.
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.
The settings in this page are available if TempoSync is “On”.
s63~s80: V.Patch1, V.Patch2, V.Patch3,
V.Patch4,V.Patch5, V.Patch6
To let you create even more sophisticated sounds, the KingKORG provides six
virtual patches. Each patch consists of three parameters: the source of the
modulation (Src), the destination to which that modulation will apply (Dest),
and the intensity of that modulation effect (Int). You can produce a variety of
changes in the sound by combining these parameters. For example by setting
Src to “LFO2”, “Dest” to “Cutoff”, and specifying the amount of effect using Int,
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 KingKORG lets you perform this patching “virtually” (i.e., with-out using
physical patch cords), so you can assign sources such as EG or LFO to the
most important parameters (destinations).
Src (Source) ..................................................................[EG1…MIDI3]
Selects the signal (source) that will be the source of modulation.
EG1, EG2 EG1, EG2
LFO1, LFO2 LFO1, LFO2
Velocity Keyboard velocity (playing dynamics).
PitchBend Pitch bend (joystick: X-axis left/right)
JS+Y
JS-Y Modulation (joystick: Y-axis toward yourself)
KeyTrack
MIDI1, MIDI2, MIDI3
Dest(Destination) ....................................................[Off…R/D Time]
This 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.
Off
Pitch The pitch of the entire timbre.
Portamento The Pitch page “Porta.Time”.
Osc1Tune The Osc1 page “TUNE”.
Osc2Tune The Osc2 page “TUNE”.
Osc3Tune The Osc3 page “TUNE”.
Osc1Ctr1 The Osc1 page “Control1”.
Osc2Ctr1 The Osc2 page “Control1”.
Osc3Ctr1 The Osc3 page “Control1”.
Osc1Ctr2 The Osc1 page Control2
Osc2Ctr2 The Osc2 page Control2
Modulation (joystick: Y-axis away from yourself)
Keyboard tracking (position).
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”.
—
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