KingKORG is the synthesizer which KORG company dared to call the King of analog modeling instruments. And it's true - at least it was until the release of Roland System-8. All worthy competitors would cost you 1.5-2 times more.

The synthesizer uses the analogue modeling XMT (eXpanded Modelling Technology) - the new development stage of MMT (Multiple Modeling Technology), which Radias, R3 and MicroKorg operated on. XMT refers to a sound modeling engine that produces the widest range of tonal variations. KingKORG is wired through with algorithms featuring combinations of different types and number of oscillators simplifying the process significantly and giving out an impressive number of results which you would never achieve just by tuning each oscillator individually. Oscillator algorithms generate standard waveforms and noise, in addition to which the synthesizer got additional PCM samples and DWGS algorithms pre-installed.

KingKORG gives the initial selection of 126 waves: 32 analogues, 64 DWGS waveforms (the Digital Waveform Generator System was invented by Korg back in the 80's - the era of serious digital competition with Yamaha DX7) and 30 PCM (Pulse Code Modulation) samples. Analog waves can be transformed into supersaw or PWM waveforms owing to elaborate parameter adjustment. DWGS waves represent dual oscillators, to which you can apply detune or make them an object of VPM (Variable Phase Modulation) to create a new series of all kinds of sounds. PCM samples are represented by a considerable and versatile set of derived waves. In addition, it’s worth noting that the synthesizer is bi-timbral and allows you to split the keyboard into 2 zones with different sounds.

The analog simulation technology got treated with special attention in the filter section, covering 18 modes, 5 of which were invented specially for KingKORG, and the rest were modeled according to the circuitry of the filters taken from the well-known synthesizers, including Minimoog, SCI Prophet 5, Oberheim SEM, KORG MS- 20 and Roland TB-303.

The modulation matrix offers 6 "virtual patches" with 12 sources: 2 envelopes, 2 LFOs (each having 7 waveforms including random function, as well as sample&hold, a frequency range from 0.01Hz to 100Hz), a joystick with two axes (Y + and Y- as different sources), intensity, keyboard tracking, the possibility of 3 MIDI controllers - all this can be sent to at least 41 destinations.

Despite the sound of excellent quality which copies the original analog synthesizers, mentioned as primary sources, quite convincingly, KingKORG didn’t spur a sales boom on the market. According to the reviews, that’s just not fair. The synthesizer has already been claimed to be underrated, however, in our opinion, it is capable of so many moves to bring your best music into reality, both in the studio and on stage. The lack of a built-in sequencer is the only drawback. It should be definitely used as a solo synthesizer, as there are no separate outputs for voices (only 1 stereopair 1.4 "/ 6.3mm). There is 1 CV/Gate output and KingKORG can send control signals to an external synthesizer, at the same time there are no CV inputs and it can be a slave unit only via MIDI. Like MicroKORG family, KingKORG has a vocoder function and several presets for it and an XLR input for the microphone.

Even the beginner can handle the control - the front panel includes encoders for all the main functions, as well as 3 monochrome displays - one main and 2 auxiliary ones. All control elements are grouped and laid out conveniently: the effects section; timbre, split and arpeggio selection section; large oscillator control section with a separate screen; filter section (also with a dedicated display) and an amplifier, LFO and ADSR envelopes.

Experts shouldn’t be afraid to purchase it because of its lightweight body - KingKORG is as invulnerable as its creators are who ignore ambiguous comments on the synth’s name. The chassis and an aluminum front panel are the power elements. As for the unconvincing plastic and budget keyboard - KingKorg wasn’t considered to be a professional instrument for a pianist from the very beginning, and if the need for an external power source seems an untenable feature, then we should remind you that this is actually an advantage which can save the life of a synthesizer – it will hardly ever burn out.

Many pay tribute to the depth of the palette of its sounds, as well as the ability to combine analog waves with PCM samples, use of three tones in one "timbre" (3 oscillators per voice). You can do whatever you want, for example, take 2 different synths, detune them and layer a sampled instrument and without resorting to menu diving add effects that meet all the requirements, including that vintage nuance of the final waveform sound put through a real vacuum tube.