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  • Page 2: Table Of Contents

    RK-100S parameter guide AMP (Amplifier) ........................21 Table of contents ASSIGNABLE EG ........................23 LFO1, LFO2 ..........................24 Introduction ........... 4 VIRTUAL PATCH ........................25 TIMBRE EQ ..........................27 Preparations........... 4 MASTER EFFECT 1, MASTER EFFECT 2 ................27 Arpeggio parameters ..........28 Editing the sound ........4 ARPEGGIATOR .........................28...

  • Page 3

    Effect guide .......... 37 MIDI ............56 About the effects ........... 37 Using the RK- 100 S with other MIDI devices (MIDI) ..56 About the effect input and output ..................37 Connecting MIDI devices/computers ................56 About the delay time ......................37 MIDI-related settings ......................57 Effect parameters ..........

  • Page 4: Introduction

    RK-100S parameter guide Introduction Synthesizer Thank you for purchasing the Korg RK-100S KEYTAR. To help you get the most As shown in the illustration, a synth program consists of timbres 1/2, master out of your new instrument, please read this manual carefully.

  • Page 5

    With the RK-100S, the basic waveforms are selected with OSC1 and OSC2 in the modulation-type oscillator to create the sync modulation or ring modulation that oscillator section, and their pitches are specified with the PITCH parameters.

  • Page 6: Vocoder

    An LFO (Low Frequency Oscillator) applies cyclic change to parameters that make The RK-100S contains a sixteen-band vocoder that can simulate not only the classic up the sound. Each timbre has two LFOs, each giving you a choice of five waveforms.

  • Page 7

    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 RK-100S allows you to select either an external input such as mic or rhythm (AUDIO IN) or timbre 2 as the modulator.

  • Page 8: Program

    MIDI channel for timbre 2. If you choose Global, the MIDI channel of timbre 2 will match the global MIDI channel. Note: The Global MIDI channel can be set by the shift function of the RK-100S. Note: The MIDI Channel of timbre 1 will match the global MIDI channel set by...

  • Page 9: Scale

    SCALE [Equal Temp...User Scale] The RK-100S is equipped with two controllers: a long ribbon controller on the front of the keyboard for performing various operations and a short ribbon controller Selects the type of scale that the current program will use. You can choose one located on the neck for controlling the pitch and modulation with your left hand.

  • Page 10: Short Ribbon

    RK-100S parameter guide SHORT RIBBON Synth parameters In this section, you can specify settings for controlling the pitch and modulation using the short ribbon controller. OSCILLATOR1 SHORT RIBBON SETTING [Pitch, Modulation] This specifies which parameter will be controlled by the short ribbon controller Oscillators generate the basic waveform.

  • Page 11

    PROGRAM CROSS (CROSS MODULATION): Cross Modulation uses the output waveform Oscillator 1 Control 1 [000...127/–63...+63/---] of oscillator 2 (the modulator) to modulate the frequency of oscillator 1 (the Oscillator 1 Control 2 carrier) at high speed to produce a modulated sound. The waveform selected by [000...127/–63...+63/LPF63...CNT...HPF63/001...032/---] “WAVE”...

  • Page 12

    RK-100S parameter guide 1. When Wave: Saw, Pulse, Triangle, Sine and OSC1 Mod: WAVE: Sine The sine wave is a mild tone that contains only the fundamental frequency with Waveform 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.

  • Page 13

    PROGRAM 4. When Wave: PCM/DWGS and OSC1 Mod: Waveform * The waveform number 81: 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 CONTROL2: WAVE SELECT [001...085] long you continue playing the notes C, D, E, F, G, A, B, C, D, E, ...

  • Page 14: Oscillator2

    RK-100S parameter guide 7. When Wave: Saw, Pulse, Triangle, Sine and OSC1 Mod: Unison 8. When Wave: aw, Pulse, Triangle, Sine and OSC1 Mod: VPM CONTROL1: Detune (Unison Detune) [000...127] CONTROL1: Mod Depth (VPM Depth) [000...127] This parameter adjusts the difference in pitch between the five unison oscillators.

  • Page 15

    PROGRAM OSC MOD [Off, RING, SYNC, RING+SYNC] RING+SYNC: This will apply both RING and SYNC modulation simultaneously. This selects the type of oscillator modulation produced by oscillator 2 in OSC2 Output OSC2 Wave conjunction with oscillator 1. Off: Oscillator modulation will not be used; the sound of oscillator 2 will be Sync output.

  • Page 16: Voice

    RK-100S parameter guide VOICE Note: Depending on other voice-related settings, the number of voices you specify here may not actually be sounded. Here you can adjust settings for the Unison function which “stacks” voices at the Note: Turning on the Unison function will limit the available polyphony.

  • Page 17: Pitch

    PROGRAM PITCH MIXER Here you can adjust settings that affect the pitch of the oscillators. These settings These parameters adjust the volume balance of the oscillator 1 and 2, and the noise are common to oscillators 1 and 2. Set the transpose and tuning parameters to generator.

  • Page 18: Filter

    LPF12 (–12dB/oct), LPF24 (–24dB/oct): Low Pass Filter. LPF (Low Pass Filter) is the centered on (Band Pass) the cutoff frequency. The RK-100S has two filters (filter 1 most common type of filter; it passes the frequencies below the cutoff frequency and filter 2), and you can change their routing to create more complex filter sounds.

  • Page 19

    PROGRAM EG INT [–63...+63] KEY TRACK [–2.00...+2.00] This specifies how time-variant modulation from the FILTER EG will be applied This specifies how keyboard tracking (the keyboard location that you play) will affect to the cutoff frequency. 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 compensate so that the cutoff frequency will rise for higher notes.

  • Page 20

    On a synthesizer, this type of change is produced by an EG. The Individual: Filter 1 is applied to oscillator 1, and filter 2 is applied to oscillator 2 RK-100S has dedicated EGs for the filter and for the amp. However since these EGs can be and noise.

  • Page 21: Amp (amplifier)

    PROGRAM AMP (Amplifier) used as Virtual Patch sources, you are also free to use them to vary the pitch or numerous other aspects of the sound. These parameters control the volume. The sound that is created by passing Some example amp EG settings are shown below. through the oscillator and filter is amplified by the amp.

  • Page 22

    RK-100S parameter guide Multi Tri: Sending a sawtooth wave through this will produce a triangle wave. DEPTH: 000 DEPTH: 064 DEPTH: 127 DEPTH: 000 DEPTH: 064 DEPTH: 127 Note: Only the Drive setting differs from the wave shape effect. Multi Sin: Sending a sawtooth wave through this will produce a sine wave.

  • Page 23: Assignable Eg

    PROGRAM WAVE SHAPE POSITION [PRE FILTER1, PRE AMP] long as you continue holding the key. Specifies the position where the drive or wave shape functions will be applied. RT (Release Time) [000...127] PRE FILTER1: Drive or wave shape will be applied before filter 1. Specifies the time from note-off (when the key is released) until the level reaches 0.

  • Page 24: Lfo1, Lfo2

    The RK-100S provides special parameters that can be modulated from an LFO. Note on If the OSC1 “OSC MOD” parameter is set to WAVEFORM, LFO1 will be able to modulate the “LFO1 MOD”...

  • Page 25: Virtual Patch

    The Korg MS Series (MS-20, MS-50, MS-10, etc.) went on Filter 1 Balance FILTER1 “BALANCE” sale in 1978 and featured this type of patching. The RK-100S lets you perform Filter 1 Cutoff FILTER1 “CUTOFF” this patching “virtually” (i.e., without using physical patch cords), so you can Filter 1 Resonance FILTER1 “RESONANCE”...

  • Page 26

    RK-100S parameter guide INT (Patch Intensity) [–63...+63] Filter 1 KeyTrack FILTER1 “KEY TRACK” Specifies the depth of the effect produced by the modulation source. Filter 2 Resonance FILTER2 “RESONANCE” With a setting of 0, there will be no modulation. EG1 Filter 2 Int.

  • Page 27: Timbre Eq

    PROGRAM TIMBRE EQ Here you can adjust the equalizer settings. The equalizer is a shelving type. LOW FREQ (Low EQ Frequency) [0020Hz...1000Hz] Specifies the frequency of the low equalizer. LOW GAIN (Low EQ Gain) [–15.0dB...+15.0dB] Specifies the gain of the low equalizer. Positive (+) values boost the region below the cutoff frequency.

  • Page 28: Arpeggio Parameters

    RK-100S parameter guide ALT2: Up and Down will be alternated. (The highest and lowest notes will be Arpeggio parameters played twice, once on the way up, and once on the way down.) ARPEGGIATOR Here you can adjust various arpeggio-related settings.

  • Page 29: Step Edit

    PROGRAM STEP EDIT 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. Here you can turn each step of the arpeggio pattern on/off. This is a way to add more variety to arpeggios that might become boring.

  • Page 30: Vocoder Parameters

    RK-100S parameter guide setting will make the gate close more gradually, causing the vocoder sound to Vocoder parameters have a longer decay. Note: If the “GATE THRESHLD” value is high, this effect will be applied more readily. If the threshold value is 0, there will be no effect.

  • Page 31

    PROGRAM FORMANT SHIFT [–2...+2] FC MOD SOURCE (Fc Modulation Source) Shifts the cutoff frequencies of each of the carrier’s band pass filters. This will [FILTER EG...MIDI Control 3] significantly change the character of the vocoder output. Selects the modulation source that will be applied to the carrier band-pass filter “FC OFFSET.”...

  • Page 32: Amp

    RK-100S parameter guide Here are the parameters for modulation and vocoder output. VOCODER LEVEL [000...127] Sets the output level of the vocoder. DIRECT LEVEL [000...127] Sets the volume level at which the modulatior input source will be output directly (unaffected).

  • Page 33: Global Edit

    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 RK-100S to other instruments. This curve produces a fairly steady effect with little change for medium-strength playing (a flatter curve than 7).

  • Page 34: Midi

    “BPM SYNC” is On for LFO1/2 or for a delay effect, the LFO rate and delay time are synchronized with the arpeggiator. Auto: If the MIDI clock is input from a computer connected to the RK-100S’s USB connector, clock operation will automatically be set to “External”. If there is no input, the clock will be set to “Internal”.

  • Page 35: Midi Filter

    GLb: The MIDI channel will match the global MIDI channel (see “Global MIDI channel“) . r.01...r.16: 1ch..16ch When the setting is changed, sound from the RK-100S can no longer be produced with the long ribbon controller.

  • Page 36: Cc # Map

    RK-100S parameter guide CC # MAP Control changes can be assigned to main parameters. All parameters assigned with control changes will change simultaneously. In addition, if a parameter concerning the long ribbon controller is specified here, the specified control change will be transmitted. All other main parameters can only be received (see page 58 “MIDI messages”).

  • Page 37: Effect Guide

    About the effects About the delay time The RK-100S provides a two-band EQ and two master effects. You can use the EQ Time Ratio to modify the sound of each timbre, and use the master effects to apply spatial- type processing to the overall sound.

  • Page 38: Effect Parameters

    RK-100S parameter guide further shortened to 1/4, 1/8, 1/16, and so on. Effect parameters 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.

  • Page 39: Filter

    Effect guide Filter Compressor - Sensitivity Level This is a stereo filter. Sensitivity=100 Sensitivity=40 Stereo In - Stereo Out Left Dry / Wet Time Filter Control Source Attack [000.1...500.0ms] Response Filter Sets the attack level Right Dry / Wet Output Level [000...127] This parameter controls the output level.

  • Page 40

    RK-100S parameter guide Mod Intensity [–63...+63] to “LFO Sync Note” if “LFO Tempo Sync” is Off. Adjusts the depth of modulation applied by the modulation source LFO Waveform [Saw, Square, Triangle, Sine, S&H] Mod Response [000...127] Selects the LFO waveform Adjusts the response of the modulation effect Note: This parameter will be displayed and can be set if the “Mod Source”...

  • Page 41: 4band Eq

    Effect guide 4Band EQ Note on Note on This is a stereo EQ. The EQ type can be selected independently. Note all o Stereo In - Stereo Out Left Band1 Band2 Band3 Band4 Dry / Wet This takes effect when a note-on occurs on the global MIDI channel. Trim LFO Init Phase [000...180°]...

  • Page 42: Distortion

    RK-100S parameter guide Distortion B1 Gain [–18.0...+18.0dB] Sets the gain of Band 1 This is a distortion effect with a three band EQ, giving you a broad range of variations. B2 Frequency [20Hz...20kHz] Sets the center frequency of Band 2...

  • Page 43: Decimator

    Effect guide Decimator B2 Frequency [20Hz...20kHz] Sets the center frequency of Band 2 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 B2 Q [00.5...10.0] (aliasing).

  • Page 44: Delay

    RK-100S parameter guide Note: If you set a smaller value for the “Bit” parameter, the sound may be LFO KeySync [Off, On] distorted. The volume level may also be changed. Use “Output Level” to Specifies whether the LFO will be reset at note-on adjust the level.

  • Page 45: L/c/r Delay

    Effect guide L/C/R Delay If this is On, the delay time will synchronize to the tempo specified by the TAP button or MIDI clock. 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. Time Ratio [Delay Tempo Sync Off: 0.5...400.0%/ Delay Tempo Sync On: 12.5...400.0%]...

  • Page 46: Auto Panning Delay

    RK-100S parameter guide C Feedback [000...127] L Delay Time [000...1400msec, 1/64... 1/1] Sets the feedback amount of TapC R Delay Time [000...1400msec, 1/64... 1/1] Trim [000...127] See page 45 “L Delay Time, R Delay Time” Sets the input level Feedback [000...127]...

  • Page 47: Modulation Delay

    Effect guide See page 40 “LFO KeySync” Time Ratio [Delay Tempo Sync Off: 0.5...400.0%/ Delay Tempo Sync On: 12.5...400.0%] LFO Init Phase [000...180°] Sets the starting location of the waveform See page 45 “Time Ratio” Note: This parameter will be displayed and can be set if “LFO KeySync” is On. L Delay Time [000...1400msec, 1/64...

  • Page 48: Tape Echo

    RK-100S parameter guide Tape Echo Feedback [000...127] Sets the Tap1 feedback amount This effect simulates a tape echo unit. The distortion and tonal change typical of magnetic tape are also reproduced. High Damp [000...100%] Sets the damping amount in the high range...

  • Page 49: Chorus

    Effect guide Chorus High EQ Gain [–15.0...+15.0dB] Sets the gain of High EQ 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 Flanger the left and right LFOs from each other.

  • Page 50: Vibrato

    RK-100S parameter guide Vibrato See page 40 “LFO Tempo Sync” This effect causes the pitch of the input signal to shimmer LFO Frequency [0.01...100.0Hz] Sets the LFO speed Stereo In - Stereo Out Note: This parameter will be displayed and can be set if “LFO Tempo Sync” is Off.

  • Page 51: Phaser

    Effect guide Phaser LFO Waveform [Saw, Square, Triangle, Sine, S&H] Selects the LFO waveform. This effect creates a swell by shifting the phase. You can add spread to the sound See page 40 “LFO Waveform” by offsetting the phase of the left and right LFOs from each other. LFO Shape [–63...+63] Stereo In - Stereo Out...

  • Page 52: Tremolo

    RK-100S parameter guide Tremolo See page 40 “LFO Tempo Sync” This effect modulates the volume level of the input signal. The effect is stereo, LFO Frequency [0.01...100.0Hz] and offsetting the LFO of the left and right phases from each other produces a Sets the LFO speed tremolo effect between left and right.

  • Page 53: Ring Modulator

    Effect guide Ring Modulator LFO Sync Note [8/1...1/64] Sets the LFO frequency as a proportion of the tempo set by the TAP button This effect creates a metallic sound by applying the oscillators to the input signal. Note: This parameter will be displayed and can be set if “LFO Tempo Sync” is On. Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation.

  • Page 54: Grain Shifter

    RK-100S parameter guide Note Fine [–100...+100] LFO KeySync [Off, On] Sets the pitch difference from the original note in cent steps when the “OSC Specifies whether the LFO will be reset by note-on Mode” is set to Note See page 40 “LFO KeySync”...

  • Page 55

    Effect guide Duration Tempo Sync [Off, On] LFO Cycle /Duration Specifies whether playback of the looped waveform will be synchronized LFO Cycle If this is ON, the looped waveform will play in synchronization with the tempo Duration specified by the TAP button or the MIDI clock. Time Ratio [Duration Tempo Sync Off: 0.5...400.0%/ Duration Tempo Sync On: 12.5...400.0%]...

  • Page 56: Midi

    Connecting the RK-100S to your computer via USB Connecting MIDI devices/computers Connect a USB cable to the USB connector of the RK-100S and to your computer. Controlling an external MIDI tone generator from the RK-100S When you want to use the RK-100S’s keyboard, controllers, and arpeggiator etc. to play an external MIDI tone generator, use a MIDI cable to connect the RK-100S’s...

  • Page 57: Midi-related Settings

    MIDI section “MIDI Control 1,”“MIDI Control 2,”and“MIDI Control 3”(see page The MIDI channels for RK-100S’s two timbres can be specified so that it can be 34), and then select MIDI Control 1, MIDI Control 2, or MIDI Control 3 as the used as a multi-timbral sound module with, for example, sequencer software on virtual patch source for the virtual patch settings (PATCH1–PATCH5).

  • Page 58: Midi Messages

    MIDI “LOCAL” setting when connecting a computer MIDI messages If the RK-100S is connected to a computer, and the Echo Back setting of the computer is turned on while the RK-100S’s Local Control setting is also on, the performance data generated when you play the RK-100S’s keyboard will be MIDI channels sent to the computer, and will also be echoed-back to sound the RK-100S’s tone...

  • Page 59: Program Change, Bank Select

    MIDI Program change, Bank select Pitch bend Program change [Cn, pp] Pitch bend change [En, bb, mm] (n: channel, pp: program number) (n: channel, bb: lower digits of value, mm: upper digits of value) When you switch programs, a program change message with a program number When pitch bend messages are received, a pitch bend will occur according to the for the corresponding 200 programs (001–200) will be transmitted.

  • Page 60

    RK-100S parameter guide applied over the full pitch range specified by “VIBRATO INTENSITY” If the • Reset all controllers (CC#121) [Bn, 79, 00] (value is 00) value of the received message is 0, no vibrato will apply. When a Reset All Controllers message is received, all controller values currently running on that channel will be reset.

  • Page 61: Parameters Transmitted And Received Via Nrpn

    04(04) 0: OFF, 127: ON 0...63: OFF, 64...127: ON via NRPN 0...21: Up, 22...42: Down, 43...63: Alt1, The RK-100S's ribbon controllers and buttons other than the controls listed above TYPE 00(00) 07(07) 64...85: Alt2, 86...106: Random, are assigned NRPN (Non Registered Parameter No.). NRPN messages can be 107...127: Trigger...

  • Page 62: Controlling The Timbre Parameters

    RK-100S parameter guide Virtual Patch Destination 25,26 58,59 91,92 Destination1...Destination5: [Bn, 63, 04, Bn, 62, 08...0D, Bn, 06, mm ] 125,126 (n: channel, mm: parameter value) 30,31 63,64 96,97 MSB (Hex) LSB (Hex) Value (received) For example if you want to switch the arpeggiator on/off from an external MIDI Patch1 0...2: Pitch, 3...5: OSC2 Tune, 6...9: OSC1 Control 1,...

  • Page 63: Controlling The Vocoder Parameters

    MIDI Controlling the vocoder parameters Vocoder Sw These messages are received on the Global MIDI channel. Vocoder Sw: [Bn, 63, 05, Bn, 62, 04, Bn, 06, mm] (n: channel, mm: parameter value) Fc Modulation Source FC.MOD.SRC (Fc Modulation Source): [Bn, 63, 04, Bn, 62, 00, Bn, 06, mm] MSB (Hex) LSB (Hex) Value (transmitted)

  • Page 64: System Exclusive Messages

    (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 RK-100S 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,...

  • Page 65: Trouble Shooting

    Can't control two timbres on separate MIDI channels Can’t edit • The RK-100S uses only one MIDI channel to transmit and receive when the • Can’t select timbre 2: VOICE “Voice Mode” is set to SINGLE, LAYER, or SPLIT. You can use two Have you set the VOICE “Voice Mode”...

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