Korg KingKorg Virtual Analog Synth
By Mitchell Sigman
Thu, 27 Jun 2013

The comeback of real analog synths has partially eclipsed virtual analog synths, which just a few short years ago were the go-to solution for classic electronic sounds and knob-grabbing control. A hardware VA still has advantages, though, a big one being more polyphony for the price compared to the real thing. Plus, the DSP power and sound authenticity have improved dramatically since the days of VAs such as the original Nord Lead. Case in point: the new KingKorg, a light and compact 61-key virtual analog synth. We found out that it has more than a few unexpected tricks up its sleeve. 



In today’s era of two-octave controllers and mini keys, it’s nice that the KingKorg has five octaves of full sized keys. They’re velocity sensitive (with three curves, even), but don’t transmit aftertouch. The front panel is a handsome champagne gold, offset by a generous smattering of vintage-looking knobs. But the front panel is as far as the metal construction goes: the entire body of the synth is lightweight plastic. This makes for a very easy-to-carry 15 pounds, but also makes the KingKorg feel a bit home keyboard-ish—it bounced around when I pounded out “Won’t Get Fooled Again” at a live show. (Your mileage may vary depending on the type of stand you use.) Korg’s standard four-way joystick is here, as well as a dedicated pair of octave-shift buttons. 

Scanning the front panel, there’s a dedicated mic in level for the included vocoder, controls for the familiar Korg tube drive, and high and low EQ boost/cut knobs. Next are dedicated controls for three effects sections: Pre-FX (distortion, overdrive, decimators, and amp emulations), Mod-FX (chorus, flanger, phaser, and the like) and Reverb/Delay. Each of these sections features a large detented knob for selecting the effect type, as well as smaller knobs below for tweaking speed and/or amount. You can also push the knobs (like buttons) to turn effects sections on and off entirely. Though the total number of effects types is limited by this arrangement, the speed and simplicity makes dialing them up a pleasure—you’ll see this kind of attention to user interface friendliness throughout the KingKorg. 

Front and center is a basic but serviceable two-line blue OLED display along with a large knob doing double-duty for program selection when playing and parameter value entry when editing. Beneath the display are eight sound category buttons that instantly jump to grouped sound types. They may be a little superfluous, but could prove handy for neophytes. King Korg also has a Favorites button that lets you store five banks of eight sounds each for instant access using the category buttons—ideal for live performance. 

Next are dedicated control sections for oscillator, filter, amp, LFO, and envelope, and I’ll say it right now: Korg has done a fantastic job giving tremendous control over a powerful synthesis engine using a relatively modest number of dedicated physical controls. The oscillator and filter sections both have their own little OLED displays showing waveform and filter type, respectively. Many of the synth editing controls perform double or triple duty for KingKorg’s multiple oscillators, LFOs and envelopes, but buttons for toggling between them make this easy. The master Shift key also offers handy jump and shortcut options. 


This is where it gets fun. If you’re a synth programming fiend, the KingKorg packs a wallop, and it does so with a deceptively easy and powerful interface. The basic voice architecture consists of three oscillators, one filter, two ADSR envelope generators and two low-frequency oscillators (LFOs). Polyphony maxes out at 24 notes, depending on patch complexity. The KingKorg supports bi-timbral operation, usable as two sounds on independent MIDI channels for sequencing or two playable sounds in keyboard split or layer modes.

The oscillator section features 126 waves including analog models, single-cycle digital waveforms (think Korg’s DW-6000 and DW-8000 synths from the ’80s), and PCM samples. The final “wave” uses the mic input as an audio source, allowing external signal processing through the filters and effects. In addition to standard coarse and fine tuning controls, there’s a knob labeled “Control” that alters the timbre in various ways depending on which wave is selected. With a pulse wave, for example, it controls analog-style pulse width—and has a similar waveshaping effect on saw, triangle, and sine waves, allowing for interesting animation. Some waves add a second control function for further timbral alteration; often this is a harmonic parameter not unlike altering the pitch of a modulating oscillator on a DX-style FM synth. These are begging to be swept with an envelope or LFO—and yes, the “Control” knobs can be modulation destinations.

The KingKorg also features four different noise types (“blue noise,” anyone?), with the control knob affecting filtering, vintage Atari-style decimation, or resonance, again depending on the wave selected. There are dual analog waves (tunable to wide intervals) and “super saw”-style waves, as well as ripped synced waves with the sync frequency swept by the magic “Control” knob. Before we go any further, let’s point that out that unlike most synths, these tricks are available using a single oscillator—and the KingKorg has three. Similarly, there’s “Control”-based ring modulation for subtle oscillator cross-mod sweeps, “Xmod” waves for unsubtle swept madness, and finally VPM (so many acronyms) for more musical but still extroverted cross-mod craziness. The ’80s-style single-cycle digital waves make for all manner of PPG and Ensoniq-style bongs and clangs.

The 30 sampled PCM waves include bread-and-butter acoustic piano, electric pianos, organs, clavs, Mellotron flutes, sizzly brass, orchestral strings, and more. The acoustic piano won’t have you ditching your dedicated stage pianos anytime soon, but it’ll get you through on a rock gig. I was pleasantly surprised by the KingKorg’s Rhodes, Wurly, and Clav patches—they sound great.

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