New Korg Wavestate Wave Sequencing Synthesizer Revealed

Published on Jan 6, 2020 Korg

Update: Details are in... Playlist with the first user videos added below.

"Legendary synthesis, radically re-imagined. Organic, inspirational, and mind-blowingly powerful.

KORG’s legendary Wavestation introduced the world to Wave Sequencing, transforming raw samples into sounds that no-one had ever heard before. The flagship OASYS and KRONOS keyboards developed Wave Sequencing even further, expanding on its unique palette of lush, evolving pads and driving rhythms.

Now, KORG is proud to announce the next step in digital synthesis: the wavestate. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control.

Far from a nostalgic reissue, the wavestate is designed from the ground up for a new generation of musicians, producers, and composers, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition. The compact form-factor, with 37 full-size keys, transports easily and fits neatly into any stage, studio, or desktop setup."

Korg Wavestate User Videos

New Korg Wavestate Vector & Wave Sequencing Synthesizer - Perfect Circuit
Korg Wavestate - All Playing, No Talking! - Kraft Music
Korg Wavestate - Overview with Nick Kwas - Kraft Music
Korg Wavestate - New Keyboard! - sonicstate
KORG WAVESTATE FIRST IMPRESSIONS - BoBeats
Korg WAVESTATE // Review and full tutorial // Wave sequencing and Vector synthesis explained - loopop
Korg Wavestate Wave Sequencing Synthesizer | Reverb Demo
First Look: Korg Wavestate Synthesiser with Wave Sequencing 2.0 - Noisegate
First jam with the Korg Wavestate - Honeysmack
Korg Wavestate - Sound Design Tutorial 1 - True Cuckoo



Highlights:

"With the Wavestation, each step of a Wave Sequence had a duration, a sample, and a pitch. This created ear-catching patterns–but the patterns repeated the same way, over and over. What if they could evolve in organic, unexpected ways, instead of just repeating?

Wave Sequencing 2.0 splits apart the timing, the sequence of samples, and the melody, so that each can be manipulated independently. Also added are new characteristics including shapes, gate times, and step sequencer values. Each of these is a “Lane,” and each Lane can have a different number of steps and its own start, end, and loop points.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. You can modulate each Lane’s start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different!

Lanes can also randomize the step order every time they play, with realtime control over the range of included steps. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities."

"KORG R&D created the original Wavestation, co-created the OASYS and Kronos, and has developed fundamental technologies behind many other KORG instruments. The wavestate reflects their unique aesthetic, delivering stunning sound and deep flexibility via cutting-edge technologies.

Three of the key sound designers from the original Wavestation, John Bowen [of John Bowen Synth Design & the Solaris], John “Skippy” Lehmkuhl (Plugin Guru), and Peter “Ski” Schwartz, joined Belgian artist Airwave and the renowned KORG voicing team to create the incredible wavestate sound library."

"Bursting with knobs and controllers, the wavestate invites you to explore. All of the basics–filter, envelopes, LFOs, effects–are at your fingertips with dedicated front-panel controls. Eight programmable Mod Knobs are customized to bring out the most in every sound, often taking them in entirely new directions. Use the knobs in realtime performance, and also save the results as new sounds. Add in the Pitch Bend and Modulation Wheels and the unique Vector Joystick, and you’ll always have multiple dimensions of realtime expression.

Want to dig deeper? Almost all front-panel knobs, and most on-screen parameters, can be modulated. You can even modulate settings for individual Wave Sequence Steps! Mod Processors let you transform modulation signals using quantization, smoothing, curvature, and more."

"Randomization that inspires.

Looking for even more inspiration? A dedicated front-panel button, marked by a “dice” icon, generates new sounds via intelligent randomization. Randomize the entire sound or just a part of it, such as the filter, the Sample Lane, or the effects. Use the results directly, or as a jumping-off point for your own creations.
An arsenal of effects.

The wavestate’s superb effects deliver production-ready sounds. Each Layer has three dedicated effects; additionally, the Performance has a master reverb and parametric EQ. Along with standards such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you’ll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS), plus modeled effects including VOX guitar amps, VOX wah, multi-head tape echo, and a collection of classic guitar pedals."

"Choose your filter.

Add vintage character to your sounds with the aggressive MS-20 Lowpass or Highpass filters, or the strong, sweet Polysix Lowpass. Shape and refine with a full collection of resonant 2-pole and 4-pole Lowpass, Highpass, Bandpass, and Band Reject filters. Or, step outside the box with KORG’s unique Multi Filter, which creates modulatable blends of multiple modes simultaneously.
Ample samples. 64 stereo voices.

Totaling in the gigabytes, the wavestate’s sample library is more than a thousand times larger than that of the original Wavestation. That’s a lot of great-sounding raw material for Wave Sequences. There’s a bank of samples from Plugin Guru, brand-new samples from KORG, and a selection from the Kronos and Krome libraries. Of course, KORG also provides all of the Wavestation’s samples (including all options), plus a huge library of Wavestation Wave Sequences. Play up to 64 stereo voices with pristine clarity, using KORG’s proprietary anti-aliasing sample playback technology."

"Multiply by four.

With all of that synthesis power, you might think the wavestate would play only one sound at a time. Not a chance. For even more rich and complex results, layer up to four Programs together in a Performance–each with their own effects and arpeggiator. The Vector Envelope and Joystick mix the individual voices of the four Layers, and can also modulate any other parameters."

"Set Lists and Smooth Sound Transitions.

Set Lists offer effortless organization of your wavestate Performances, and deliver instant access at the gig or in rehearsal. Smooth Sound Transitions allow previously-played voices and effects to continue to ring out naturally, even once a new sound has been selected.
Plays well with others.

Balanced stereo outputs connect to any recording or monitoring system, and a stereo headphone output is provided for private playing or onstage cueing. Din-style MIDI jacks ensure connection to other MIDI-equipped instruments and audio gear. The wavestate supports class-compliant USB MIDI connections to Windows and Mac computers, and the wavestate librarian program is available as free download from KORG."

via https://www.korg.com/us/products/synthesizers/wavestate/

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The Korg MS-20: Control Panel Part 1

"Here is a demonstration of the sound and functionality of the Korg MS-20, focusing on the functionality of the control panel."
via Sonicstate.TV

New KORG Monotrons!

KORG "monotron DELAY" Analogue Ribbon Synthesizer

Uploaded by KORGINC on Oct 30, 2011

KORG "monotron DUO" Analogue Ribbon Synthesizer

Uploaded by KORGINC on Oct 30, 2011

KORG monotron DELAY x monotribe = Future Dub Sound!!

YouTube Uploaded by KORGINC on Oct 31, 2011


"monotron DUO key features:

Two analog oscillators (VCO) with individual tunings

Edgy X-MOD (with Intensity knob) circuit from Korg’s classic Mono/Poly

VCF with Cutoff and Peak Control

Ribbon controller keyboard with Scale Select

Original Analog (VCF) Filter taken from the classic MS-10 & MS-20

Aux input jack lets you apply filter to any audio source

Built-in speaker and battery power for Go Anywhere Analog sound

Headphone jack for private use

Dual Oscillator / X-Mod Design
Offering two oscillators, the monotron DUO adds an extra dimension, delivering an even more extreme sound. Tune the oscillators in unison for a rich, thick, analog tone. Tune them in intervals for classic soloing sounds and generating new effects. The X-MOD (cross modulation) circuit taken from Korg's classic Mono/Poly can introduce a mild or razor-sharp edge to the overall sound; everything from a rich vibrato to extreme metallic sounds reminiscent of an FM synth.

Enhanced Ribbon Controller Keyboard
The monotron DUO's ribbon controller keyboard now features the familiar Scale function used on the KAOSSILATOR. You can use this button to select one of four scales: Chromatic, Major, Minor, or Off. Choose the Chromatic scale to play precise pitches as on a piano, or choose Major or Minor to generate musically coherent phrases by simply sliding your finger around on the keyboard."

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"monotron DELAY key features:

Space Delay with Rate and Intensity controls offers analog-style echoes

New Pitch LFO with selectable Waveshape and Intensity and shape controls

VCF with Cutoff Control

Wide-range ribbon controller keyboard

Original Analog (VCF) Filter taken from the classic MS-10 & MS-20

Aux input jack lets you apply filter to any audio source

Built-in speaker and battery power for Go Anywhere Analog sound

Headphone jack for private use

Classic Analog Synth / Space Delay Combination
A good delay was an essential part of the classic analog synthesizer sound. More often than not, that delay came from a tape-style echo machine until affordable digital delays were created. The monotron DELAY is an analog synthesizer optimized for sound effects. In addition to its analog oscillator, filter, and LFO, it also provides a Space Delay that's indispensable for swooping, cosmic sounds. The monotron DELAY even reproduces the pitch changes that occur when you vary the delay time, just as though you were using an analog tape echo. This fat and warm delay will add an authentic edge to your analog sounds!

Dual-Waveform LFO
The Low Frequency Oscillator (LFO) waveform used to modulate the pitch now offers a choice of waveshapes – a new square wave plus the traditional triangle wave. Both the Rate (Speed) and the Intensity (Depth) can be adjusted independently. In addition, a trimpot on the back panel can continuously adjust the shape/direction of the triangle wave or the pulse-width of the square wave to deliver even more versatility. Used in conjunction with the delay, the LFO can create dazzling effects and provide unique possibilities for embellishing your songs.

Wide-Range Ribbon Keyboard
The monotron DELAY's ribbon controller keyboard features a wide, four-octave range. This design allows the pitch to be controlled even more aggressively and dynamically, making the monotron DELAY a great weapon for a DJ to get the floor moving with irresistible sound. The reversed white keys and body adornments glows under black light illumination, making the monotron DELAY ideal for delivering a striking visual impact in nearly any club environment."

monotrons on eBay

Korg Introduces the opsix "Altered FM" Synthesizer

Own FM with Korg’s opsix Altered FM Synthesizer

Update: Kraft Musik video added to the playlist below.

The KORG opsix is here. It appears KORG went with the smaller Wavestate-like body. You might remember the full size keyboard teasers from previous posts. That said, details:

"The legendary sound of FM synthesis had graced hundreds of albums, from its introduction in the 80’s to today. Korg’s opsix puts the power of expanded six-operator FM synthesis in your hands, with instant on-panel controls that help you create custom FM sounds with unparalleled ease.

'Altered FM' takes you light years beyond classic FM with 32 voices of polyphony, five modulation types, a user algorithm mode, multiple filter models 1 “logue”-style 16-step note and motion sequencing, effects for days, a 12-point modulation matrix, and much more."

User videos:

Use the player controls at the bottom left of the player once started to skip around. Some are long.
See the dealer links in the playlist below and the banners on the right for availability.

Playlist:
1. KORG opsix Altered FM Synthesizer - First Look! with Tom Butcher of Patchwerks Seattle - video by Matthew Piecora (aka EZBOT)
2. KORG OPSIX - All Playing, No Talking - Kraft Music
3. Korg opsix Sound Demo (no talking) - Bonedo Synthesizers
4. Korg OPSIX Review, tutorial and 10 patch tips // All 250 Presets played - loopop
5. Korg OPsix FM synthesizer // Hands-on Easy to Use FM Synth! - BoBeats
6. Korg Opsix Sound Design - Kinda Tutorial - True Cuckoo

"Rethink everything you know about FM synthesis.

The opsix represents a new and expansive reimagination of classic digital synthesis. Much like Korg did when bringing wave sequencing back in a more powerful, more musical, and more immediately accessible way with wavestate, so was the approach to FM sound generation of the opsix, resulting in another incredibly flexible and unique synth.

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SDIY Assorted random project ideas

See http://users.ece.gatech.edu/~lanterma/ems11/projectideas_sp11.html. I mirrored this below for the archives as it's on an edu site and they have been known to disappear after interest is gone. There are some interesting details on various synth designs including the Rhodes Chroma VCO, Yamaha CS-80 filter, Roland Jupiter-6 filter, Korg MS-20 sytle VCO, Buchla 148, Tau 1005 Utility VCO, Korg Delta, and more.

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Endorphin.es Life is a trip: DATACHROME interview

Published on Jun 26, 2018 TheEndorphines

"Isn't it interesting to know how various people use same instrument? That's why we asked all our participants some simple questions and got different answers.

Check the interview with our last, 5th participant - Johatan from DATACHROME: https://www.youtube.com/user/leChatAutomatique

- How did you come to use synthesis in your music?
Well, I have some kind of a strange relationship with music and more particularly sound. When I was around 20 years old I used to go to a lot of gigs. At that time I was very much into circuit bending and DIY as I could not afford a synth and loved industrial and post punk music. One night I came back from a concert with ringing ears. The next morning I woke up and could not hear any sound not even talk with someone without feeling huge pain in my ears. I was soon diagnosed with severe hyperacusis, a condition that lowers the tolerance to usual environmental sound. With experimentation I soon discovered that some frequencies where more harmful than others and I integrated multiples crude analog filters to some of my builds and bent machines. More than sculpting sounds it was making it more bearable. Building filters made me aware of some classic analog synths and designs and soon enough I craved for one. Checking adds every day for a while, I got lucky. One night, around midnight, I saw an ad for a Korg MS-20 totally beaten up and untested for a very very cheap price. Problem, it was also on the other side of the country. Anyway, next morning a 5am I was in the train, and after 14H hours of travel I was back home with the precious MS-20. Still it was rusty and needed some fixing but it was here, my first proper analog synth.

- How did you use the SHUTTLE SYSTEM in your track for the "Life is a trip“ contest?
I’m a modular user and make bleeps and bloops in my living room for fun and experimentation. I rarely use computers to arrange tracks, I like to embrace the chaos and randomness offered by the modular approach. From loss of some control, sometimes emerge a pure and raw connection between your mind, your heart, and the machines you use to express yourself. I tried to integrate the Shuttle in this context because I think this is where it may shine and really show a bit of its hidden self. Also, it was an indispensable process dedicated to bond with the machine. The challenge was to create as much different voices and sounds as possible with the Shuttle, so self generative felt like the path to go.

In that track, all the self generated sounds and glitches are from the Furthrrrr Generator under modulation and then processed by a very fast delay for a Karplus-Strong effect. It resulted in various textures, from vocoder like, laser drum sounds, bleeps, bloops, insects scritches, crazy warp holes, bongos and hi-hats. Airplane A and B from the Grand Terminal are used as oscillators. One goes through the transistor ladder filter of the Grand Terminal and is playing the semi random and dueling melody you can hear in the beginning and end. The second was also fed through the Grand Terminal, filtered and processed afterwards with the shimmer reverb effect. It’s used to create pads on the second part of the track. I used the noise generator on the Furthrrrr for some additional hats you hear sometimes in the mix. Snare is also the white noise tweaked, sampled and sometimes bit crushed or pitch altered. The cockpit was used for some premix during the monitoring and creation of the patches and was very handy. In the end not much of the track is not from or processed by the Shuttle in a way.

- What part of working with the endorphin.es SHUTTLE SYSTEM did you like best?
I really love the Furthrrrr Generator and particularly the Thru Zero Core Oscillator. That thing can make sweet but also very angry and thick sounds. Add the waveshaper, sprinkle a bit of chaos from a sample and hold and you got a killer self generative patch!

- How do you think the SHUTTLE SYSTEM can improve your music making in the future?
The Shuttle System is a very compact and smartly featured system. It’s a modern take on a classic design with a lot of updates and tweaks. The use of digital modules make them updatable, meaning the Shuttle will evolve and pretty much always surprise. On top of that you have the Buchla inspired architecture that always sounds sweet, a very fun panel design and the fact that it’s fully modular. I think this cocktail makes it into something you wanna play with and wich is very inspiring, and from inspiration always comes new and better ideas ;)"

Korg MS-20 Sound Randomizer

YouTube via Newueel
"This patch makes the MS-20 randomize its sound, each time the momentary switch is pressed. This can be very useful if you're looking for sounds to sample. It may come with really nice surprises.

This is how it basically works:
The pink noise generator is generating the random input signal for the S&H module. The S&H module is clocked by the reversed output of EG1. Each time the momentary switch is pressed, EG1 is triggered and the S&H module holds the current (random) input signal and sends it to Total Ext. From there the signal modulates the pitch, high pass and low pass filters. The amount of modulation for each part is still controlled by the three different frequency modulation knobs (T.EXT) on the control panel.

If you're wondering why the EG1 reversed output is used to clock the S&H, here is why. If the momentary switch would be patched directly to the S&H clock input, you would have to keep the switch pressed to keep the current sample.
To reverse this behavior the momentary switch triggers EG1. Now by using the reversed output of EG1 to clock the S&H, the sample changes while the switch is pressed and holds after releasing the switch. Note that all EG1 knobs have to be set to 0.

Below an example for knob settings and patches (also some pictures available):

KNOBS:
VCO1: [Square] [(middle)] [32']
VCO2: (not used)
PORTAMENTO: [2]
VCOMIX: [10] [0] [ 0] [ 0]
HPF: [ 5] [ 6] [ 9] [ 6]
LPF: [ 6] [ 7] [ 9] [ 0]
MG: (not used)
EG1: [0] [0] [0]
EG2: [0] [0] [5] [6] [2]
ESP: (not used)

PATCHES:
1. NOISE GENERATOR (PINK) -- SAMPLE & HOLD (IN)
2. MOMENTARY SWITCH -- ENVELOPE GENERATOR 1 (TRIGGER)
3. ENVELOPE GENERATOR 1 (REVERSED OUT) -- SAMPLE & HOLD (CLOCK)
4. SAMPLE & HOLD (OUT) -- VOLTAGE CONTOLLED OSCILLATOR 1+2 (TOTAL)

Optional:
5. CONTROL WHEEL -- VOLTAGE CONTROLLED HP FILTER (CUTOFF FREQ)"

M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

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Korg MS-50 Expander Module SN 190330

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The Korg MS-50 Expander Module is fully-patchable, keyboard-less, single VCO monophonic analog synthesizer. It uses Korg's Hz/V type of CV & Gate for control with other synths like the MS-20. It has lots of knobs and offers more patchability & power than any other MS synth. Other features include a ring modulator, voltmeter and Sample & Hold. It was also designed to complement the SQ-10 sequencer. It has been used by The Chemical Brothers, among others. The MS-50 is a rare model within the MS series. It has internal circuits such as a divider and integrator not found on the MS-10/20, which supported even more complex ways of creating sound. The voltmeter on the upper right-hand side of the panel captured the hearts of many synth players. Of course, it could also be played on its own by using CV/Gate signals..."

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Korg Poly-61, with extensive modifications and MIDI

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Sold for $675

"One-of-a-kind Poly-61 that has knobs installed for almost every parameter and also MIDI.

The knobs provide much greater control over the parameters than you could achive on a stock unit, both in terms of range and resolution. There are effectively two separate LFOs now (instead of the one + joystick/performance LFO)--the second one can be switched on directly or controlled by the joystick (as on the stock model). A triangle and square wave LFO are now also available. The programmable LFO has an extremely wide speed range (not sure how much greater than stock, but seems capable of being slower/faster).

Lastly, the second oddball digital oscillator now has individual octave switches broken out, so you have a basic additive square wave oscillator here that resembles a sawtooth wave when all switches are engaged. Oscillator 1 (a DCO) retains the original waveshapes, but now has better control over PW/PWM).

The caveat with these knobs is that the knobs override the internal parameters, so saving as before is not before. Non-knob parameters are saved; broken out parameters are not (think of it as being permanently in "manual" mode).

The Poly-61 in general has been pretty overlooked in favor of the Junos/Poly-6, but is a very unique instrument in its own right. The filter is a discrete 2-pole/12dB filter that is much closer to the Korg MS-20 series filter than than the Polysix SSM or DW-8000 Korg 4-pole filter. The envelopes are also extremely snappy, and the knob controls allow much better control over envelope shape. There are schematics out there to also add a separate release control to the VCA, which would make this even more powerful.

The side panels suffer from the usual edge and corner dings, but overall both the unit and front panel are in very good condition."

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Introducing drumlogue, the first hybrid drum machine from Korg

video upload by Korg

Update: two new user videos by Honeysmack and Marcus Schmahl added below.

"Combining the rich power of analog with the flexibility of digital, drumlogue provides the ultimate analog sound for your beats.

Featuring newly developed analog circuitry, drumlogue builds a solid foundation for your track; it also helps you stand out with an elevated harmonic richness and thick low end.

Important parameters for each part have dedicated controls on the front panel for quick and intuitive changes – without diving into menus. For even more creative potential, each part has a wealth of further parameters accessible through a powerful onboard editing suite. Even mixing is simple, with dedicated volume controls for the analogue and digital parts.

The track you hear in this video is by Dean Forrest"

Korg Drumlogue: New Hybrid Drum Machine - First Look- Just Sounds video upload by Korg Australia


New Korg Hybrid Drum Machine Drumlogue - Honeysmack's first encounter video upload by Honeysmack



"Get ready for a super nerd session, no talking just me tinkering with the Korg drumlogue for the very first time. Korg Australia were kind enough to give me a play with a sneak preview pre-production model of the drumlogue. Unfortunately I had no manual at the time, so please excuse me in advance. Hopefully this video provides some context to its sound. I feel this will be a winner for Korg, well done! Great sound, neat size, this could be a monster of a machine.

All the sounds and effects in this video are from the drumlogue, there are no external sounds or effects. Simple stereo output from the drum machine. No other drum machines were hurt in the making of this video.

0:00 Does this suit me? Oh what does this do?
2:23 Omph omph omph, ah I see, me likey the kick drum
5:59 Electro ratchets - why not take your time and build a track
9:30 Start with speed carnivale - exploring more latin percussion then I try to break the machine!"

Korg drumlogue drum machine & synthesizer demo - no talking - video upload by Marcus Schmahl

00:00 building drum sounds & a pattern
06:13 switching through preset patterns & sounds

Korg Drumlogue Sound Demo (no talking) video upload by Bonedo Synthesizers


Korg Drumlogue Sound Demo No Talking - no external effects or processing video upload by Limbic Bits


Korg DRUMLOGUE Review // Top Pros & Cons and All 64 Factory Patterns // Full Tutorial video upload by loopop


TIMELINE:
0:00 Intro
1:20 Overview
6:15 Connectivity
7:15 Sample parts
11:40 Analog parts
14:25 Multi engine
15:05 VPM
17:15 Noise
17:55 Nano
21:30 Sequencing
22:10 Live rec
22:50 Motion rec
24:45 Step seq
25:10 Groove
26:10 Probability
27:10 Ratchets
28:00 Ties
28:30 Motion seq
30:20 Shift buttons
31:00 Polymeters
31:35 Send FX
33:35 Master FX
34:45 Sidechain
36:25 Loop
37:10 Select
38:25 Randomize
39:00 Chains
39:35 Audio in and out
41:50 Misc settings
43:45 Pros & cons
49:10 All 64 patterns



Details and pics:

A paradigm shift in drum machines.

drumlogue marks a paradigm shift in drum machines. It offers the raw power and rich sounds of Analog, the flexibility of Digital voices, and drumlogue’s SDK for fully customizable User Custom Synthesizers.

On top of that, its heavy-duty, dynamic sequencer, customizable effects, and intuitive controls will make drumlogue a must-have in your studio to create music for any genre or style.

It’s time to take your beats and entire musical process to a whole new creative level with incredible sounds, effects, customization, and sequencing. Let drumlogue support your craft on your musical journey!

Raw Analog Power

drumlogue was conceived to provide the ultimate analog sound for your beats, and delivers fantastically; featuring completely newly developed analog circuits by legendary Korg analog synth team engineer Junichi Ikeuchi (ARP 2600 M, MS-20 mini, ARP Odyssey…) , the depth and richness of its sound is on a whole new level.

These new analog circuits - (Bass Drum, Snare Drum, Low Tom and High Tom) - will not just provide a solid foundation for your track, but make it stand out with an elevated harmonic richness and a thick low end.

Blending simplicity and ease of use, the most important controls for each of these parts have dedicated knobs on the front panel that can be tweaked at any time without any menu diving necessary, so you can quickly and intuitively fine tune your sound on the fly.
For further sound exploration, each part provides many more parameters accessible through the powerful onboard sound editing system.

Last but not least, each part on drumlogue - analog or digital - has a dedicated volume knob that will make your mixing process incredibly smooth and easy.

Digital Flexibility

As the perfect partner for its analog section, drumlogue provides 7 digital parts; 6 sample based and 1 synthesis based (Multi-Engine). The sample based parts can play any of the preloaded PCM banks on drumlogue. You can also import your own User Samples to its memory, making drumlogue an extremely versatile machine with virtually limitless sonic possibilities.

To start with, the 64 preloaded drum kits of drumlogue will provide you with a wide variety of sounds spanning several genres so you can easily kick-start your tracks.

For additional sounds, samples can easily be easily loaded into the drumlogue just by connecting your drumlogue to your computer via USB and simply drag-dropping your samples onto the main memory.

Multi-Engine and logue SDK

The popular Multi Engine from prologue and minilogue xd is now more powerful than ever. In addition to the Variable Phase Modulation (VPM) and Noise generator engines, the Multi Engine features a new User Custom slot that can play full-fledged synth voices that provide vast sonic possibilities, never before heard on a drum machine.

Custom Synths

drumlogue’s synth voices are not simply static waveforms. Custom synths can be built to not only generate sound, even implementing built in filters, LFOs, MIDI controlled polyphony or other parameters is now possible The only restriction for third party developers is their creativity (and CPU usage!), giving you unbound sound exploration.

Exclusive Sinevibes Synth Plugin “Nano”

Korg has collaborated with popular logueSDK plugin developer “Sinevibes” to include a brand new synth plugin “Nano” as a factory preset on drumlogue. This exclusive plugin explores the power behind the expanded Multi Engine and will give all drumlogue users a taste of this new platform.

“Nano” is a full-fledged virtual analog synth with a wide array of features and plenty of customizable parameters. The synth engine has dual oscillators with optional ring modulation, a 4-pole state-variable filter with soft clipping distortion, built-in EG and built-in multi-waveform LFO.

Leads, basses, percussive sounds or cinematic effects, you decide how to use this incredible sonic potential!

A True Sequencing Powerhouse

drumlogue harnesses all of its sonic power to an extremely powerful internal sequencer that is flexible and easy to use.

Tired of the same old beats? drumlogue's heavy duty 64 step sequencer makes it easy and intuitive to create complex rhythm patterns and polyrhythms that elevate your music creation process with innovative features such as per-step probability, per-step alternate trigger patterns, per-step micro offsets, per-track groove patterns and much more.

Thanks to its clear OLED display, it is also very easy to visually follow and edit your sequences.

drumlogue is both great in the studio and playing live. With its Chain mode, creating long and interesting patterns is straightforward and clearly displayed. In Loop mode you can switch between several variations to play your sequence in new and interesting ways. The Motion and Accent recording functions are intuitive and fast and if you want to try new things on your track, the Randomization function is there to help you. These functions and many more on the drumlogue will support and spice up your live performances!

Effects and customization

drumlogue includes several high-quality effects across three categories that can be used simultaneously: Delay, Reverb and Master effects.

The send amounts for delay and reverb effects can be set independently for each part, and multiple return points are available.
The master effects allow you to add that final polish to your sound and bring it all together. Master effects can be bypassed on a per-part basis, making it possible to send the effect to specific audio parts. A sidechain bus is also available to master effects which can make use of it.

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MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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Happy New Year! The Year in Synths 2013

Happy New Year Everyone!

What a busy year it has been in the world of synths.

This is going to be one doozy of a post, so bear with me. This post is a review of the year in synths for 2013. We begin with Tributes to Those We Lost This Year, followed by New Manufacturers & Makers, Older Manufacturers Added to the Site, New Gear Announcements, Top 10 Posts by Traffic,  My Standout Posts for the Year, and finally This Years' Synth Events. I did my best to keep things as short and concise as possible.

Let's begin with the hardest part of the post.

Tributes to Those We Lost This Year

RIP Bernard Parmegiani - Electronic & Acoustic Composer
Lou Reed RIP
RIP Dick Raaymakers aka Kid Baltan
RIP George Duke - DreamWeaver
RIP Ralph Dyck, Sept 28, 1941 – May 20, 2013
RIP Ray Manzarek

All missed and never to be forgotten. Take a moment to remember them.

------

New Manufacturers & Makers

Starting last January, I decided to keep a running list of every new manufacturer and maker introduced to the site during the year.  This is something I haven't done before and I thought it would be interesting to see how many there were in the year.   It's easy to focus on the big synth announcements throughout the year, but what about all the new makers and brands? I shouln't have to go considerably into the significance of new designers on the scene, so I'll just say two things regarding them.  One, the number of new makers is a direct reflection on the interest in our scene, and two, these are the creators of new gear which directly translate into new designs not previously available to us.  Think about that for a moment.  These are makers and designs that did not exist before.  They are part of our synth history.  So what is the total count of new synth designers for the year? A whopping 113. Think about that a bit. One hundred and thirteen new synth designers and brands this year alone.

Here they are (note a handful date back to 2012, but 2013 marked their momentum and availability):

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Gakken SX-150

via this auction
"Features
* Size: 4.5" x 6"
* Controls for LFO, pitch envelope, frequency cutoff, resonance, and attack/decay
* Slide controller (pen type electrode)
* Output and external input 1/8" jacks
* Small built-in speaker
* Runs on 4 AA batteries (not included)

Putting it together
Assembly of the kit requires little work - the circuit board comes fully assembled, i just mounted it to the panel and connected the stylus control strip. Power is provided by 4 AA batteries and a small speaker is included in the design. I highly suggest connecting the output to external amplification (this little guy really does sound quite good!). The "external source" jack accepts an amplified signal and converts its frequency into pitch control. Controls for LFO, pitch envelope, frequency cutoff, and attack/decay are included. Each potentiometer gives a wide range of response, so you have a relatively large amount of control over the sound."

Mod me
The simple design seems to suggest that the SX-150 wants/needs to be modded, hacked, and/or customized. Using the stylus/pitch-strip control only gives you a taste of the good sounds you can get from the kit. The SX-150 kit is very easy to use and some modding ideas are bound to come to mind should you get your hands on one. At the very least, you can choose from a number of included decorative decals - and at the more advanced end, schematic and code for using MIDI input has already been posted. I'm sure more sweet DIY add-ons are in the works - very awesome.

The Controller F - A touch pen generates CV and Gate.
- Also has a tiny extenal input that does F/V conversion.
(but also responds to amplitude :-).
VCO F Has saw-tooth output
VCF F Sullen-Key type 12dB/Oct filter. Very much like Korg MS-20 filter.
Envelope Generator F AD type.
LFO F Two output waveforms: triangular and rectangular.
Output F "

signal flow diagram below

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Behringer w/ KORG's Hiroaki Nishijima Introduce the Hirotribe Soul

Details:

"In 2019, Hiroaki Nishijima, the legendary synthesizer engineer, who designed the famous Korg MS-20, joined us in our mission to create amazing synthesizers everyone can afford. Hiroaki is watching this space, so please send him some love:-)

Listen to Hiroaki himself:

"The 'Hirotribe' is one of the analog synthesizers I always wanted to achieve. 'Hiro' of 'Hirotribe' was taken from my first name ‘Hiroaki'.

I designed and developed the 'Korg Monotribe', but I really wanted to make an evolved version of it. Fortunately, Uli Behringer kindly agreed to my proposal.

I devised the panel design, specifications and the first schematic. Various specifications were added or changed during the development process, and each time the project members had a hard time. However, looking at the 'Hirotribe' that was completed in this way, the hardships seem to be a nostalgic story. Thank you to all the project members, you did a very good job and I am very happy.
Now that the product is completed, I would be honored if you could all enjoy this 'Hirotribe' with my heart." - Hiroaki Nashijima.

The Hirotribe is an incredible Groove Synthesizer, which is now fully completed. Once we receive the semiconductors, this beauty is on the way to you. Suggested price is US$ 99. We have planned for many more synths under Hiro’s leadership.

What’s under the hood of the Hirotribe?

Portable Analog Groove Synthesizer with 2 DCOs, Drum Machine and Sequencer
- Analog groove synthesizer with built-in drum machine and sequencer
- Pure analog signal path based on authentic DCO, VCF and VCA designs
- 2 individual oscillators with saw, triangle and square waveforms
- Noise generator dramatically expands waveform generation
- LFO with 3 wave shapes for modulating both pitch and filter cutoff
- Single knob envelope generator with 3 continuous parameters Attack, Decay and Sustain
- Analog drum machine with bass drum, snare, closed hi-hat and open hi-hat
- 16-step motion sequencer with and memory slots
- 27 touch-sensitive keys for great playability with non-scale notes function
- Sync Input and Output to synchronize with your other synthesizers or drum machines
- USB Micro connector allows powering via smartphone, power bank or computer
- Comprehensive MIDI implementation (including NRPN/CC control of all parameters and bulk load/save)"

See the Behringer label for more.

Exploring Sample Builder for wavestate 2.0 Update

video upload by Korg

"Sample Builder lets you load up to 4GB of your own samples into the wavestate (4,000 mono samples or 2,000 stereo)! Sample Builder also includes basic tools for editing start points and loops. Arrange the samples across the keyboard to create Multisamples for the wavestate. Group Multisamples into Banks.
Sample Builder is available as a free download for MacOS and Windows here:

https://www.korg.com/us/support/downl...


0:00 Introduction
0:30 Prepare .wav Samples
0:58 Import .wav Samples Into Multisample
1:12 Edit Mutisamples
1:36 One Shot vs. Loop
2:36 Key Zone
3:21 Save Multisample
4:19 Bank
5:12 Save Bank
4:48 Transfer Samples to wavestate (Save Bank first)
5:32 User Samples in wavestate
6:19 User Category Shortcut
6:52 Playing Demo
7:47 Closing"



wavestate 2.0 Updates:

Support for User Samples
Express yourself in your own unique voice. Import up to 4 GB of your own Multi-samples into the wavestate via the new Sample Builder application for Mac and Windows. Use your samples in Wave Sequences or as single Multi-samples, just like the factory Multi-samples.

Editor/Librarian
Get the big picture. The Editor/Librarian acts as a second front panel for the wavestate. Realtime display of modulated parameter values and Wave Sequences gives you instant feedback on your creations. Copy and paste sounds, envelopes, LFOs, filter settings, and more. Dive deep into Effects with access to all internal parameters and create your own Effects Presets.

User-requested improvements
You asked, we listened. The new Performance-level Hold feature (via SHIFT-ARP) keeps notes or chords playing, leaving your hands free for moving knobs or playing other instruments. Fit to Scale lets you constrain the Pitch Lane’s output to a specific scale and key—especially useful when playing polyphonically.

Get to your sounds faster. Select Categories for Performances, Programs, Multi-samples, Wave Sequences, and Lanes directly from buttons 1-16. The new “User” Category lets you mark your own sounds, and dual Categories mean that a sound can be assigned to both “User” and “Strings” (for example).

Explore Vector Synthesis
The new Curve parameter lets you control the way that Vector Volume crossfades between points. For maximum volume, use Loud (the original wavestate behavior); for more gentle crossfades, use Smooth (the original Wavestation behavior).

Even more refinements
New gain-scaling options bring out the tonal range of the MS-20 and Polysix filters, and user interface improvements streamline your sound design.

wavestate software 2.0, the Editor/Librarian, and Sample Builder are available to all current wavestate owners as free downloads from korg.com.

Rob Papen Introduces BIT-2 Analogue Synthesis-Modelled Virtual Instrument

video upload by Rob Papen

Update:

Rob Papen Live Stream 27 April 2023 BIT-2 & how the introduction video was created


Press release follows:

Rob Papen takes trip back in time to boost BIT-2 beyond namesake plug-in predecessor as analogue synthesis-modelled virtual instrument

ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of BIT-2 as an analogue synthesis-modelled virtual instrument — with which it takes another trip back in time to take its namesake plug-in predecessor (released in 2019 to widespread critical acclaim with outstanding audio quality) to the next level with numerous new and creative features — as of April 27…

As an apt acronym if ever there was one, BIT stands for ‘Back In Time’. This alludes to the fact that the BIT-2 virtual instrument plug- in — like its namesake predecessor — mainly focuses on modelling analogue synthesis from a pre-digital era that has a still-sought- after charm of its own, one which had not been covered before BIT by the Rob Papen brand, whose virtual instrument products previously combined the best of analogue modelling with hybrid synthesis so successfully. Since self-confessed synth freak and world- renowned sound designer Rob Papen himself had started working with synthesizers at the tender age of 15 when purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer way back when, taking this trip back in time — and now a second time — makes perfect sense, both business-wise and otherwise.

On the face of it, BIT-2 has no (virtual) patch cables, but make no mistake: it is modular in nature. Indeed, its MOD (modulation) MATRIX is used for patching, though several connections — such as LFO (Low Frequency Oscillator) and ENV (envelope) to the OSC 1 and OSC 2 parameters — can quickly be made when switching on the smart ADV (advanced) panel below the oscillators.

Oscillators are actually where boosting BIT-2 begins, with additional Super Saw (1/2/3) and Super Square (1/2/3) waveforms generating a three-oscillator sound within one oscillator to provide even more flexibility for sound creation. Conversely, though, it made sense to leave BIT’s ability to modulate OSC 2 with OSC 1 in several ways — expanding the sound palette profusely with PM (Phase Modulation), FM (Frequency Modulation), and RING (modulation) — as before. But boosting BIT-2 further still are its two top- notch analogue-modelled filters — FILTER 1 and FILTER 2 — expanded to include new types and modes for further enhancing its sound-shaping capabilities, while its AMP (amplifier) section has also been expanded to include multiple distortion types that are all at a ‘per voice’ level to make them much more usable — avoiding any ‘ugliness’ if playing chords, for instance.

Additions are also to be found in BIT-2’s ARP (arpeggiator)/sequencer section, including an ability to dynamically change the start STEP and end STEP number, resulting in interesting patterns that can be changed in real time, as well as the MAGIC MODE parameter that adds musical variation to the active ARP or sequencer. Saying that, the ARP/sequencer can now also work as a modulator, thanks to an additional FREE row that can be used to modulate other parts of BIT-2 in conjunction with the MOD MATRIX.

BIT-2 benefits from the addition of the RIBBON CONTROLLER section located at the bottom of its GUI (Graphical User Interface). It allows users to control several parameters at once using a mouse or external MIDI (Musical Instrument Digital Interface) controller, and — unlike a hardware ribbon controller — also has a tempo-based SPRING BACK feature with QUANTIZE and BIPOLAR mode. Performance-wise, PLAY MODE now features a LOCK PLAY function — helpful if using an MPE (MIDI Polyphonic Expression) keyboard.

Expanded effects really represent the finishing touch to BIT-2 with some superb-sounding additions alongside other improvements, including Rob Papen’s proprietary REVERB that sounds superb, so no need — necessarily — to add reverb externally.

Ending where we began, BIT stands for ‘Back In Time’ but when working with the boosted BIT-2 it could just as well be taken to mean ‘Be Inspired Today’ — thanks to the analogue synthesis-modelled virtual instrument’s improvements and additions. As Rob Papen proudly points out by way of ending on a hands-on high note, “We now have animated dials in BIT-2, more modulation slots and modulation options, and last, but not least, many new presets by both myself and others have been included in this update... enjoy!”


BIT-2 is available as a 64-bit AAX-, AU-, VST- and VST3-compatible virtual instrument plug-in for Mac (OS X 10.13 or higher) and as a 32- and 64-bit VST- and VST3-compatible virtual instrument plug-in for PC (Windows 7 or higher) — with 64-bit AAX compatibility available for PT 12 or higher (PC) — at an introductory promo price of €74.00 EUR/$74.00 USD until June 1, 2023 — rising thereafter to its regular price of €99.00 EUR/$99.00 USD — from authorised Rob Papen resellers worldwide or as a download directly from Rob Papen itself for the same pricing from here: https://www.robpapen.com/bit2.html (Owners of BIT can upgrade to BIT-2 at an introductory promo price of €26.00 EUR/$26.00 USD until June 1, 2023, rising thereafter to its regular price of €35.00 EUR/$35.00 USD.)

BIT-2 is included in the latest version of Rob Papen’s all-encompassing eXplorer-8 bundle (https://www.robpapen.com/explorer-8.html) at no additional cost, so existing owners only have to download the latest installer and run it to add BIT-2 to their Rob Papen virtual instrument and effect plug-in collection.

For more in-depth info, including some superb-sounding audio demos, please visit the dedicated BIT-2 webpage here: https://www.robpapen.com/bit2.html

A Review of KORG Gadget and it's List of Synths by Myagi

Check out the full review on Warp Academy. This was going to be a cross post review with Myagi's approval, but I opted to link to the full review and only capture the notes on each synth below as you don't see the full list often.  In short though, Gadget is Miyagi approved.  :)

"Gadget is a different beast than we’ve really seen on the iPad before. It’s not a single synth like the iMS-20 or the Arturia iMini, but rather a 'suite' of mini-instruments tied together with a fairly robust sequencer (by mobile standards anyway).

There was no skimping on this collection, with 15 total offerings. Instead of taking the approach of one instrument doing everything, the 'Gadgets' allow the entire app to function as a sort of audio swiss army knife, with specific instruments filling specific roles.

The Gadgets

London is the suite’s main percussion contribution. The samples are better than expected, bordering on excellent to be honest, and there is a good amount of dynamic optimization to make sure you can get appropriate thwack out of your main elements.

Chicago is essentially a 303-style emulator. This Gadget includes some pretty nice onboard effects as well as a built in tube overdrive simulation. A nice arpeggiator and scale selection actually allows for the rapid creation of some pretty inspired acidic hooks. I’d buy this alone as a VST/AU instrument.

Marseille is basically a sound bank of the essentials. Piano samples, string samples, etc. Really this is a utility module used to cover a lot of bases. Not the most interesting but a necessary inclusion. A built in chord function expands its repertoire a little.

Brussels is optimized for big detuned leads and is a go to for big electro-anthem style leads. Doesn’t sound bad actually, but not my bag personally as I tend to think this type of sound is pretty overused. A good amount of depth though for sure.

Kiev is a vector based synth, and for those who haven’t played with vector synths before, you’re in for a treat. They are GREAT for specially intricate drones. This guy is a lot of fun.

Phoenix - with its Oberheim style front panel, this polyphonic virtual analog is a nod to the OB-8 etc., and fills the role nicely. Big 80s style leads and chord sounds abound, and it’s not a slouch for bass sounds either.

Dublin takes us back to a familiar Korg lineage. It’s like a little second cousin to the MS-20 series, with a degree of patchability and modular style controls. Pretty deep for part of a 15 pack if I don’t saw so myself. This one will look after all your weird bleeps and bloops.

Miami I expected to dislike, but once I got over the lowest common denominator graphics and styling, I was impressed. It was bound to show up somewhere – this Gadget is the 'wobble synth' that will probably see a ton of use. Designed to help easily produce dubstep style basstones, it actually sounds pretty darn good, and the LFO sync automates REALLY well.

Tokyo is an interesting inclusion but a welcome one. It allows for some really cool adjustments on analog style percussion sounds. Think 808 style controls on pitch, etc. and you’re in the ballpark. Pretty flexible and damn if I don’t love some distorted analog toms.

Wolfsberg allows for digital control of analog style sounds. I mean – this is ALL digital control, but in this case, the analog waveforms have been optimized in a nice unit with tons of modulation capabilities and a pretty deep sound. Not one of the go-to’s per se, but a nice Gadget nonetheless and capable of some really nice sounds with its additional envelope and effects.

Berlin - now we’re getting into some interesting stuff. Designed to produce tearing hard sync leads, this is a tiny beast. Funk abounds.

Helsinki could well have just been called Boards of Canada. An ambient synth, it combines great waveforms with really nice sounding reverberations and some chipset style degradations. Melodic and deep.

Chiang Mai utilizes VPM – or Variable Phase Modulation – and is a cousin to FM in terms of sound. Great for clangourous tones and metallic elements, this Gadget works for 80s leads or even some intricate, high harmonic bass tones. Korgs work with VPM in other synths has produced a really easily workable high timbre sound source.

Amsterdam is a sort of 'dub siren' utility, full of decorative one shots and transition noises. Lots of things here that you COULD do with other modules – not my favorite but I’m sure it’ll get some use by anyone looking to produce entirely within this virtual 'box.'

Kingston is a wicked little chiptune Gadget, capable of video-game style leads and effects, and is heavy on the lo-fi digital vibes. Total essential."

Control Voltage Pedal

Title link takes you to shots via this auction. via Loscha.

"Linear and Oscillating Control Voltage for Analog Synths.
Performing with an Analog Synth, consists mainly of real time Timbre shaping. For this purpose 24dB Resonant Filters and Envelope Generators were created. The Analog performer will share his attention between the keyboard manual and the panel. Intended to release your hands to other tasks, this Control Voltage(CV) Pedal can control most synthesizers or other gear that has a Control Voltage input. This pedal can produce the following signals:

0 to +5V : As used in most current equipment both analog and digital. The current moog line works with this standart.

0 to +10V : Used in most vintage synths. Moog, Yamaha, Roland, Sequential, Arp etc...

-5 to +5 : Used by Analog Korg: Mono/Poly, MS-10, MS-20, MS-50, Polysix, PS Modular Series, Trident, VC-10 Vocoder among others."

NAMM 2013: Korg MS20 quick look

Published on Jan 25, 2013 SoundsAndGear·452 videos

http://namm.soundsandgear.com

"Just taking a quick look at the new Korg MS-20 Mini. Checking out the knobs and the control panel to give a slight feel of the build/layout."