Korg KingKORG Parameter Manual page 9

KingKORG Parameter Guide
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 These filters model the filters of a synthesizer
of the past.
Modeling:
Self- These filters simulate the self-oscillation that
oscillating occurred at the cutoff frequency when the
resonance was raised nearly to the maximum.
Fixed Gain: Even when you vary the resonance, these
filters maintain a fairly consistent volume in the
frequency region that is not being cut by the
filter
LPF Low Pass Filter
Filter Type
01 LPF King 1 A standard four-pole analog low pass filter. Compared
to a two-pole filter, this attenuates the high-frequency
region more steeply.
A standard two-pole analog low pass filter. It gently cuts
02 LPF King 2
the high-frequency region, producing a warmer sound.
03 LPF MG 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.
04 LPF P5 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.
05 LPF OB A low pass filter that has the characteristics of the filter
from an analog monophonic synthesizer expander
module of the second half of the 1970s.
06 LPF MS-20 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.
(→ p.10).
Description
Filter Type
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
08 HPF King A standard analog high pass filter.
09 HPF P5 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.
10 HPF OB A high pass filter that has the noise and resonance
characteristics of the LPF OB.
11 HPF MS-20 A high pass filter that models the filter from the MS-20,
as with the LPF MS-20.
12 HPF Acid This model connects distortion to a high pass filter with
the resonance distortion characteristics of LPF Acid.
BPF Band Pass Filter
Filter Type
13 BPF King A standard analog band pass filter.
14 BPF P5 A band pass filter that can produce the pure self-
oscillation of LPF P5. This is a hypothetical modeling
filter that did not exist on the original unit.
15 BPF OB A band pass filter with the noise and resonance
characteristics of the LPF OB.
16 BPF MS-20 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.
17 BPF Acid 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.
18 BPF+ King This filter mixes the original sound with the output of a
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.
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 track-
ing).
- 9 -
Parameters
Description
Description
Description