Korg Wavestation (Matt Perry, Creative Commons Attribution-Share Alike Generic)

The Korg Kronos includes all samples of the Korg Wavestation (»0488 Soft EP through 0971 VS155«). Despite the fact that Korg meanwhile offers a software based Wavestation emulation, the Kronos does not include it. Instead, the HD-1 engine must be used. Unfortunately there is no converter available, so resurrecting sounds requires manual work.

I was after one sound only for decades, which was excessively used by Joe Zawinul on several recordings. On a Wavestation SR, it’s located at performance slot 2 of the ROM 8 bank.

The performance is based on two samples, ROM11 407 »VoiSyn1a« (Kronos: ROM 863) and ROM11 188 »VS60« (Kronos: ROM 644).

The sound is not that difficult to reproduce, but the Kronos is hard to program due to its many features (not to mention its complex envelopes). This very afternoon, I had a lot of fun programming (and playing) it. And of course the sound made it immediately to my stock setlist.

Update 2015-05-10: Here’s a PCG containing the preset. It’s pretty close to the original IMO, including the velocity dynamics and the vibrato, which only affects the »VS60« sample. The vibrato is available through the joystick as well as through an optionally connected expression pedal.

Korg Z1 Display

Due to the current situation (rain, winter time) I have some time for my favorite hobby – synth programming. I’m currently comparing several machines side by side, including an Access Virus and my beloved Korg Z1.

Though all of my gadgets are based on software and provide similar architectures, they still differ at what each machine is best. Admittedly I dislike programming the Virus due to its limited architecture. However what it does provides excellent audio qualities.

The Z1 is much more flexible, providing 4 equally featured LFOs, 4 equally featured envelopes, a third oscillator called “suboscillator” which beats many other oscillators as found in other engines, two filters, a feedback loop in the mixer section, an overdrive in the global effect section, and so on.

But still the Virus can provide sounds that can’t be recreated on the Z1 – and the other way around. What makes both engines famous is the possibility to modulate several oscillator features, which is a key ingredient for creating vivid sounds with sustain level (e.g. lead and pad sounds) that do not sound “dull”. The flexibility of the oscillators distinguishes those machines from devices of the 400 € league, like the Waldorf microQ, Waldorf Blofeld, or the Alesis Micron.

Interestingly, it also sets them apart from some high end competitors I’m currently stressing. The competitor excels in other disciplines, but cannot replace either of the other two synths. However, it fills the chasm those synths still leave in my audio arsenal.

Conclusion? Synths differ. On each machine there are a fistful of sounds where it excels. And the Z1 IMO still is underrated after all those years.

There have been some rumors, since the Kronos X 88 has not been available for purchase for quite some while now. Meanwhile Korg announced the Kronos 2, so the most obvious new features are now known.

The changes can be classified as »minor improvements«. The piano engine has been updated, the touch screen now accepts drag and drop (e.g. to open the lid of the grand piano), the setlist mode allows to adjust the size of the text and to select colors for the particular buttons, and last but not least, the cheap plastic cheeks have been replaced by wooden panels.

I have no clue whether Korg will provide the software updates for users of previous models. For my uses, the improvements are of minor concern, thus I don’t care. No new audio engines have been added (I hoped the Wavestation software plugin would find its way to the Kronos), I haven’t read anything about more memory slots for programs (21 banks are a lot, but little in case most of them are already filled with factory sounds), and the limitation of the effects slots in multi mode still seem to persist.

IMO Korg do a great Job these days. The Kronos is an absolutely outstanding machine since its first incarnation, turning the engines of the competitors “to dust”. For about 4k € you get 9 synth engines in one device, tons of factory sounds for almost any genre, drum tracks, a sequencer and so on. The machine is useful in the studio as well as on stage. The only thing that hinders live usage is its size, weight, and missing handle bars of the 88 and 73 key incarnations.

Update 2014-11-19: V3 will be available for previous models.
Update 2014-12-05: OS 3.0.2 is available (german language).

John Bowen Solaris (by Brandon Daniel from Sunnyvale, CA, USA, via wikimedia commons)

As the synth addict I am, I’m completely overwhelmed by the machine John Bowen has designed. I had no occasion yet to put my hands on a real device. However, musictrackjp provides a great overview, regardless I do not understand japanese :) .

Even via the internet, one senses the organic character of its audio engine, e.g. by listening to the string sounds. In case you’re after a machine providing aggressive solo sounds, the fun starts at 10:30. If you know how to recreate this mooguesque sound using an Access Virus, a Korg Z1, or a Korg Kronos, please let me know.

The device emulates components (oscillators, filters) of several classic synthesizers from Sequential Circuits, Oberheim, Moog, and Waldorf. The latter emulation provides the original wavetables of the Microwave, which I sold about three years ago. A unique selling proposition are its two modulation rotors, which can be used for a lot of animations.

The price tag is almost 4k €, and it usually requires preordering. A lot of money for »just another subtractive synth«, though I presume it is worth every ¢.

For quite a while now, Korg put a lot of efforts in resurrecting some of their legacy machines. This includes, for example, the Wavedrum, the Polysix, and the MS-20.

The Kronos includes the latter two as software engines. While the emulations sound pretty good, I have a hard time getting used to the MS-20 emulation, due to the behaviour of its second envelope generator. A couple of resources (like the ones here and here) shed a little light on the issue. There’s a wee small hint provided by the imprints of the patch panel.

A closer look at the reverse output of envelope generator two indicates that the sustain stage of the envelope provides a voltage of 0 V.

As a consequence, increasing the sustain level will not increase the filter’s cutoff level as it does on many other machines. Instead, it decreases the filter’s level during the attack, hold, decay, and release stages.

Per default, with no patching implied, the envelope generator two affects both the amplifier as well as the filter cutoff. To dedicate the envelope generator two to the filter’s cutoff, simply patch envelope generator 1 to the initial gain parameter of the voltage controlled amplifier, VCA. This will decouple envelope 2 from the amplifier.

Envelope 1 now controls the amplifier, envelope 2 the filter cutoff only. To make the above behaviour audible, set the lowpass filter’s cutoff to about 50% and the EG2/Ext value (which basically means envelope amount) to about 80%.

Set the attack and decay times of envelope 2 to about 50% and listen to the output. The filter will open starting at about 50%, open completely and fall back to 50% during the decay stage. Feels familiar with me.

Remember the filter’s cutoff is set to 50%. Play a couple of short notes while raising the sustain level. Closely listen to the initial level of the filter at each note. It will fall below the cutoff set to 50% the more you raise the sustain level. This means to achieve the common behaviour of the sustain stage, adjusting it also requires adjusting the filter’s cutoff setting. At the same time, the decay will decrease, similar to other envelope designs.

I have no clue whether I got all the details right, but the above is what I think I understood so far. In case you find the behaviour annoying, leave envelope 2 alone and use the Kronos’ envelope generators 3 and 4 to control the filters.

The Access Virus is a very flexible analogue modeling synthesizer. Besides its oscillators, the two filters contribute to its premium audio qualities.

General

The two filters can be used in two serial modes, a parallel mode, and a split mode. Filter 1 can be used in both 12 and 24 dB modes. It also provides filter saturation or analogue modeling types.

A depiction of the filter modes (Serial 4, Serial 6, Parallel, Split) can be found here.

Since its early incarnations, the Virus provides an (in)famous parameter called »Filter Balance«. At a first glance it is difficult to understand what it does exactly, depending on the abovementioned modes. The manual only sheds little light on what it does exactly. I hope the following description helps to unveil its potential.

Filter Balance in Split Mode

• Oscillator 1 (plus the sub oscillator) feeds Filter 1 which is connected to the left audio output.
• Oscillator 2 (plus 3) feeds Filter 2 which is connected to the right audio output.
• Filter Balance controls the balance between the two filters (respectively outputs).
• In case you want to hear either signal on both speakers, set Pan Spread to 0% in the program edit menu.

Filter Balance in Parallel Mode

• The output of the Mixer section feeds the inputs of either filter.
• Filter Balance acts as a mixer of the two filter signals (Filter 1 only, both, Filter 2 only).

Filter Balance in Serial modes

• At the leftmost position of the Filter Balance knob, the Oscillators as routed through Filter 1 are audible only.
• At the rightmost position of the Filter Balance knob, the Oscillators as routed through Filter 2 are audible only.
• At the center position of the Filter Balance knob, the Oscillators are routed through Filter 1 and then through Filter 2. In case Filter 1 is set to a lowpass filter with a low cutoff setting and Filter 2 is set to a highpass filter with a relatively high cutoff setting, chances are given that almost no signal is remaining at the output of Filter 2.

It took me a while to understand the latter behaviour, since I thought in terms of simple analogue circuits respectively the routing of the filters as found in the Korg Z1. The actual behaviour of the Balance knob is more complex than just being a simple balance control. The way it is implemented provides a very musical approach, though. Even more when taking into account that the parameter is controllable via the modulation matrix, e.g. using an LFO.