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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
Parameter guide
Contents
English
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Summary of Contents for Korg KingKORG
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Page 1: Table Of Contents
English Parameter guide Contents Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1. - Page 2 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)
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Page 3: Parameters
Single: Only one timbre will be used. p01: Name The KingKORG lets you assign a name of up to 12 characters to each program. TIMBRE A In Program mode, the main display shows the program number and program name. -
Page 4: Timbre Parameters
Trigger This specifies the response of the keyboard. In addition to the conventional velocity-sensitive mode, the KingKORG’s Unison Voice ............[Off, 2, 3, 4] keyboard provides a “switch mode”... - Page 5 KingKORG Parameter Guide Parameters Transpose ............... . .[–48…+48] Tune .
- Page 6 KingKORG Parameter Guide Parameters 003: Triangle 007: Blue Noise Outputs a triangle wave. Outputs blue noise. This waveform has a more mild tone than a sawtooth wave or pulse wave. This noise signal has an energy distribution that increases in proportion to the frequency.
- Page 7 KingKORG Parameter Guide Parameters Unison oscillator Ring oscillator OSC A OSC A OSC B OSC C Mod Pitch OSC B RING MOD Detune OSC D These oscillator types multiply waveforms of differing frequencies, adding sum OSC E and difference overtones that do not exist in the original sound.
- Page 8 — These oscillator types produce the simple DWGS (Digital Waveform Generator Dual Tri. Detune — System) waveforms found on digital synthesizers such as the Korg DW-8000. You can generate complex overtones by using VPM (Variable Phase Dual Sine Detune —...
- Page 9 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.
- Page 10 KingKORG Parameter Guide Parameters Resonance ..............[000 . . .127] Cutoff This sets the resonance of the filter.
- Page 11 This type of change also occurs in the tone and pitch, as well as in the volume. your keyboard velocity to produce greater differences in EG1-Filter amplitude. 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...
- Page 12 V .Patch1, V .Patch2, V .Patch3, V .Patch4,V .Patch5, V .Patch6 S&H Sine To let you create even more sophisticated sounds, the KingKORG provides six Amplitude changes virtual patches. Each patch consists of three parameters: the source of the irregularly...
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Page 13: Vocoder Parameters
PitchBend Panpot Joystick operation will move the sound The KingKORG’s vocoder can extract the high-frequency portion from the left or right. 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 (Timbre A) is producing sound, or at all times. -
Page 14: Arpeggio Parameters
KingKORG Parameter Guide Parameters Disable: v15~18: Voc .Amp (Vocoder Amp) The high-frequency portion will be mixed whenever the audio source is being input to the modulator. Here are the parameters for modulation and vocoder output. Enable: Direct Level ..............[000…127]... - Page 15 KingKORG Parameter Guide Parameters Key Sync ................[Off, On] If “Trigger”...
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Page 16: Edit Utility Parameters
Adjusts the overall pitch in 0.1 Hz steps, in terms of A4 as the reference pitch. This curve lets you produce an effect without Use this when you need to tune the pitch of the KingKORG to other requiring you to play even as strongly as 5. - Page 17 KingKORG Parameter Guide Parameters g11: Common>Knob Slendro scale, an Indonesian gamelan scale that Slendro divides the octave into five notes. If the ScaleKey is C, use the C, D, F, G, and A keys. Mode (Knob Mode) ....... . . [Jump, Catch, ValueScale]...
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Page 18: Midi Parameters
Turns local control on or off. able to specify the tempo in the “a02:Arp” page. Choose this setting if you’re using the KingKORG by itself, or if you’re using the KingKORG as Off: the master device where external MIDI devices will be synchronized. - Page 19 MIDI Ctrl This selects whether control change messages will be transmitted and received. The KingKORG’s virtual patch function lets you use MIDI messages to directly Disable: modulate the sound. The MIDI messages used for this purpose are called “MIDI control sources”.
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Page 20: Cv&Gate Parameters
Polarity (Damper Polarity) ........ -
Page 21: Userkeytune Parameters
Even if you’ve set timbres A/B to different amp levels in order to adjust the Polarity (Assignable Switch Polarity) ......[+, –/KORG] volume of the signals output by the two timbres, this allows you to control This specifies the polarity of the foot pedal that’s connected to the SWITCH/... -
Page 22: Eq Parameters
Tube parameters KingKORG unit. If you want to save the KingKORG’s programs and settings on your computer, This is where you can adjust the settings for the vacuum tube. it’s convenient to use the KingKORG librarian software. This can be These settings are linked with the buttons on the front panel Tube section. -
Page 23: Effects
Voice Mode = Layer or Split Global effects These effects can be applied to the overall audio output of the KingKORG. They include EQ that you can use to adjust the high and low frequency ranges according to the acoustics of your performing location, or a Tube effect that can add a sense of drive to your sound. -
Page 24: Program Effects
Effects KingKORG Parameter Guide Program effects Block diagram Each of the program effect sections provide the following effect types. RING MOD (Ring Modulator) PRE FX MOD FX REV/DELAY Effect 1. DISTORTION 1. FLANGER 1. HALL 2. DECIMATOR 2. CHORUS 2. ROOM This effect creates a metallic tonal character by multiplying the input signal 3. - Page 25 Effects KingKORG Parameter Guide CHORUS Block diagram Effect This is a stereo effect that adds spaciousness, depth, and warmth to the sound. Depth ................[000…127] This adjusts the strength and spaciousness of the effect.
- Page 26 Effects KingKORG Parameter Guide Block diagram Block diagram Horn Rotary Speaker Rotor 0~127 PHASER Effect REV/DELAY This effect creates a swell by shifting the phase. This models a classic phaser that appeared in New York during the 1970s. It has a rich and warm tone, and was used by numerous electric piano players.
- Page 27 The spacing of the left and right delay sounds are synchronized with the This adjusts the depth of reverberation. Turning the knob toward the right KingKORG’s tempo or with MIDI tempo, producing a pleasant stereo delay produces deeper reverberation. effect.
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Page 28: Global Effects
TIP: The on/off status of the ON button and BOOST button can be saved as global settings. If these are on when you save the settings, they will be on when the KingKORG is powered-on next time (OM: p.21 “1. Saving global settings”... - Page 29 Effects KingKORG Parameter Guide EQ is an effect that lets you adjust the volume of the high- and low-frequency ranges. You can use it to improve the balance of the sound, or to adjust the final output appropriately for the acoustics of your performance space or the response of your audio system.
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Page 30: Midi
USB cable if you’re using librarian software. TIP: In order to use a USB connection, you must install the Korg USB-MIDI driver on your computer. Download the Korg USB-MIDI driver from the Korg website, and install it as MIDI IN directed by the accompanying documentation. - Page 31 “Off”), and turn on the echo back function of TIP: If you choose “Layer” or “Split,” you’ll be able to use the KingKORG as a multi-tim- your external MIDI sequencer or computer. bral sound module, and the settings of the “p04: Common” page will be available.
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Page 32: Channels And Messages
For example if program 183 is currently selected and program change number If the MIDI channels of the transmitting and receiving device match, MIDI 15 is then received, the KingKORG will switch to program number 115 which is messages can be sent and received between those devices. The KingKORG the corresponding number within the currently selected bank of 101–200. - Page 33 Controlling time-varying change or assign a control change to a built-in controller or optional controller. This is a convenient way to control the KingKORG’s knobs and buttons from CC#64: Damper pedal [Bn, 40, vv] an external device, or to control a desired parameter from an external device.
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Page 34: Parameters Transmitted And Received Via Nrpn
(vv: lower byte of value, mm: upper byte of value, [mm, vv=7F, 7F] is Max, the KingKORG parameter, refer to the table. [mm, vv=00, 00] is 0) When a Master Volume message is received, the KingKORG will adjust its Arp Sw overall volume. -
Page 35: Default Control Change Assignments And Transmission/Reception (Cc#Map)
(→ p.4) is different than the global channel, the parameter of timbre B will not be. If you are using two KingKORG units to transmit and receive these parameters, you must set the transmitting and receiving programs to the same settings. - Page 36 MIDI KingKORG Parameter Guide Section Parameter Assign Value (transmitted) Value (received) Filter LFO1ModInt CC#089 0/1: –63, 2: –62…63: –01, 64:+00, 65:+01…127:+63 0/1: –63, 2: –62…63: –01, 64: +00, 65: +01…127: +63 LFO1 Freq. CC#090 0…127, TempoSync=On: (→ p.12) 0…127, TempoSync=On: (→...
- Page 37 MIDI KingKORG Parameter Guide Mod Harm values for VPM oscillators OSC1, 2, and 3 Delay Time values for MOD DELAY and BPM DELAY The following table shows the control change values that are transmitted and Value (transmitted, received) LFO Sync Note received when you edit the “Mod Harm”...