COMPANY PRESS CONTACT: Leslie Buttonow – Korg USA [email protected] For Immediate Release Korg USA Announces King Korg Analog Modeling Synth WINTER NAMM, ANAHEIM, CALIFORNIA, January 24th, 2013 - Korg USA announces the King Korg analog modeling synth. Focused on live performance, it features Korg’s new XMT (Xpanded Modeling Technology) engine, with many types of oscillators and filters that can accurately model sought-after vintage analog synths. With its controls laid out in easily identifiable sections, King Korg delivers the unique characteristics of a dedicated synthesizer, while remaining approachable to players who are new to synthesizers. It not only shines on stage with high quality sound, but also with a champagne gold finish befitting its royal name. A 3-oscillator, 2-timbre design allows players to generate thick and rich sounds. In addition to essential waveform choices such as sawtooth, square, sine, triangle, and noise, King Korg provides pre-set algorithms that contain various combinations of oscillator numbers and types, for easily and quickly sculpting stage-ready sounds. The oscillator algorithms also include numerous PCM/DWGS algorithms for creating highly personal sounds. The filter section is crucial to a synthesizer's character, and King Korg’s filters add unparalleled flexibility. In addition to a variety of essential analog modeling filter types, there are faithful filter models from analog monophonic synths that were used for lead and bass sounds in the '70s, as well as the polyphonic synths used in new wave music of the '80s, plus the filters of Korg's classic MS-20 analog synth. These filters can also be made to self-oscillate by raising the resonance setting– a unique capability of analog synthesizers. •1• A selection of 200 stage-ready preset programs includes many familiar and authentic sounds for playing classic and modern songs, plus fresh, inspiring sounds for new musical creations. An assortment of live performance staple sounds includes PCM–based piano, electric piano, organ, and clavinet. Users can store their own creations in 100 onboard user sound locations. Each of three master effect sections offers a choice of six effect types: PRE FX such as distortion and amp simulator; MOD FX, including phaser, chorus, and tremolo; and REV/DELAY such as hall reverb and modulation delay. A full-analog vacuum tube driver circuit is also included as a mastering effect. It can be used to add warm fullness, a powerful overdrive, or anything in between. In addition, a built-in, full-featured vocoder uses audio from the onboard mic input to create a talking effect. Many classic synthesizers used patch cables to physically reconfigure the signal flow. King Korg’s intuitive Virtual Patch system reproduces this function. With six Virtual Patch assignments per timbre, control signals such as EG, LFO, or joystick movement can be virtually connected to sound parameters such as pitch or cutoff, allowing users to modulate a parameter for even greater sound-shaping possibilities. King Korg’s design makes it easy to create and modify sounds. The oscillator section has its own dedicated display, and the control knobs are assigned to the most important parameters for each oscillator. There are also dedicated dials for each of the three master effects, making it easy to audition different effects to hear how they modify the sound. Self-luminous organic EL displays are used for excellent visibility, even on a dimly lit stage. King Korg features five octaves of velocity-sensitive keys, with adjustable response (Normal, Shallow, or Deep) to mimic that of classic instruments. Below the dedicated octave shift buttons, a backlit X/Y joystick is ready to control important live performance tweaks. A CV/GATE OUT jack enables players to use an analog signal to control a KORG monotribe or MS-20. A dedicated cable is included to use the keyboard of King Korg to play the monotribe. •2• The King Korg will be available February 2013 for a U.S. Street price of $1299. Additional product information and sound demos are available at Korg.com ### Word count: 606 words COMPANY PRESS CONTACT: Leslie Buttonow – Korg USA [email protected] For Immediate Release Korg USA Announces MS-20 mini — Korg’s classic MS-20 is recreated in mini size — WINTER NAMM, ANAHEIM, CALIFORNIA, January 24th, 2013 – Korg’s MS-20 monophonic synthesizer, first introduced in 1978, is still coveted to this day for its thick, robust sound, powerful, iconic analog filter, and versatile patching options. It has now been reborn as the new MS-20 mini. The same engineers who developed the original MS-20 have perfectly reproduced it in a body that’s been shrunk to 86% of the original size, yet retains the distinctive look of the original. The MS-20 Mini offers the same distinctive synthesis that made the original MS-20 popular: two oscillators with ring modulation, and envelope generators with delay and hold. The VCA (Voltage Controlled Amp) maintains the original basic design, but it’s been modified to produce less noise. Particular attention has also been paid to delivering smooth parameter adjustments, which are a distinctive feature of analog synthesizers. Special care was also •3• taken to completely reproduce the original specifications of the MS-20, to deliver the same powerful sound, from deep, growling basses to crisp, rounded leads. One of the most well-known – and still most sought after - characteristics of the original MS-20 was its powerful filters, which provided both high-pass and low-pass with peak/resonance. Maximizing the peak/resonance would cause the filter to self-oscillate; producing a distinctive and dramatic tonal change that was acclaimed as inimitable, and was used many years later on Korg’s monotron and monotribe. The filter circuit was changed mid-way through the production lifecycle of the MS-20; the MS-20 mini uses the earlier filter, which was felt to be superior due to its more radical sound. The ESP (External Signal Processor) functionality carries on the experimental spirit of MS-20, allowing users to utilize the pitch or volume of an external audio source to control the synthesizer. For example, an electric guitar can be used as an input signal, and the MS-20 mini can be used as a guitar synthesizer, or the mic input can allow it to be used it as a vocal synthesizer. The patching system enables the creation of complex sounds by allowing the rerouting of both modulation and audio (both the internal oscillators and external audio). Different combinations of the modulation input/output and trigger, sample and hold, and noise generator can produce an incredible variety of sounds. By patching according to the MS-20 flow chart printed on the panel, musicians of all levels can take advantage of these possibilities right away. To make it even more approachable, the MS-20 mini has been shrunk to 86% of the size of the original, with meticulous care taken to accurately reproduce the knob design and the printing. The patch cables have been changed from 1/4" phone plugs to mini-plugs, and the newly- designed keyboard is 86% of the original size as well. The MS-20 mini is equipped with a MIDI IN jack for receiving note messages, and a USB-MIDI connector that can transmit and receive note messages. Users can also connect the MS20 mini to a computer and play it from an external sequencer. •4• For added authenticity, the MS-20 mini packaging replicates much of the original. Also included are the original MS-20 owner's manual and settings chart. The Korg MS-20 Mini will be available April 2013 for a U.S. Street price of $599.00 Additional product information is available at Korg.com ### Word count: 536 words COMPANY PRESS CONTACT: Leslie Buttonow – Korg USA [email protected] For Immediate Release Korg USA Announces the Versatile SP-280 Digital Piano WINTER NAMM, ANAHEIM, CALIFORNIA, January 24th, 2013 - Korg announces the newest model in its series of Digital Pianos, the SP-280. It faithfully recreates the experience of playing a genuine Concert Grand in a beautifully designed digital piano that’s ideal for use at home or on stage. With 30 sounds in total, plus customizable ambience effects, the SP-280 is versatile enough for a wide variety of applications. The optional pedal unit (PU-2) provides soft and sostenuto pedals in addition to the included damper pedal, completing the true piano playing experience. The SP-280 contains a high-output amplification and speaker system, but can also be connected to any amplification system via its dual ¼” outputs. The SP-280 provides a playing feel that's extremely close to that of an acoustic piano by switching between four piano samples according to the dynamics of the player’s performance. •5• From delicate pianissimo to dynamic fortissimo, the sound will respond realistically to the player. In particular, the "Grand Piano" sound reproduces the damper resonance that is heard when the damper pedal of an acoustic piano is pressed. Special attention has also been paid to the high-quality, realistic electric piano sounds, which are period-accurate. These sounds reproduce not only the way in which the tone responds to the player’s touch, but also the subtle noises that occur upon releasing a key. Six varieties are provided, covering the sounds widely used in the pop music of the '60s and '70s. Included are 30 richly-expressive and high-quality sounds, including acoustic and electric pianos, organs, clavs, harpsichord, strings, and more. A Layer Mode layers two sounds together, and a Partner Mode divides the keyboard into left and right regions so that two people can play the same range of pitches.