| CRMAV | LiveSoundPASystems | RecordingMixingMastering | DJmusicEquipment | DigitalPianosKeyboards | SingingSongwriting | MusiciansNews | GuitarsMusicGear | BassMusicGear | DrumsMusicGear | GuitarSheetMusicTabs |
 | |||||||||||||||||||||||||||||||||||||
| Gear Speaker Audio PC Soundcard Mac Software Books Mixer MIDI Keyboards Recording Effects Music Software Microphones USB Microphones Wireless Turntables Effects DVD Video PA |
| Manufacturers | Behringer Peavey Yamaha Samson Digitech sE Electronics Focusrite Roland Digidesign Korg Alesis Shure Boss Mackie Akai M-Audio Vestax SKB AKG CBI Nady Fostex Apple Numark Stanton Pioneer Novation Tascam Steinberg Edirol Rode Audio Technica |
| Recording | Mixing | Mastering | Editing | Songwriting | Sequencing | Post Production | Surround | Live Sound | Trade Shows | Forums | Musician Search | Sitemap |
|
Korg OASYS Open Architecture Synthesis Studio 3 Synthesizers in oneOver 40 years of Korg leadership and innovation have led to the creation of the OASYS Open Architecture Synthesis Studio. Designed to provide a unified musical production environment, OASYS seamlessly unites state-of-the-art synthesis, audio hard disk recording, MIDI sequencing, second generation KARMA functionality, a control surface, a CD burner and more under an intuitive interface, highlighted by a large 10.4" color TouchView display.OASYS is not only an entirely new instrument, but a completely new platform to support Korg innovation for years to come. Powered by an ultra fast computer processor, and running newly-developed proprietary software atop Linux underpinnings, OASYS offers all the benefits of a variable software system, backed by a dedicated operating system and the hardware integrity that can only come from a fully-integrated instrument design. Three Synths in One OASYS is actually three synthesizers in one: Korg’s all-new HD-1 High Definition PCM Synthesizer plus two additional EXi Expansion Instruments, the powerful AL-1 Virtual Analog synth, and an enhanced CX-3 Tonewheel Organ. This powerful trio of synth engines can be used together in a variety of ways to create new, imaginative timbres. Powerful PCM Synthesis The sound of the 172-voice HD-1 is crystal clear across the entire audio spectrum. The abundant 616 MB PCM library captures the natural detail and ornamentation of real acoustic instruments. Also included are many stereo waveforms to preserve the natural imaging of acoustic sounds as well as up to 4-way velocity switching to recreate an instrument’s complete dynamic range. Extended-length samples preserve each instrument’s natural decay, especially evident in the drums and cymbals. Advances in the HD-1’s detailed voice architecture allow a single oscillator to play back stereo waveforms and support 4-way layering, switching and crossfading. Each oscillator can employ two newly-designed multi-mode filters, two Low Frequency Oscillators, two Envelope Generators and dual amp stages simultaneously. A new Drive parameter adds a range of harmonic overdrive. Korg’s AMS (Alternate Modulation Source) furnishes OASYS with 52 modulation sources. Newly added AMS Mixers allow blending and mixing of various modulation sources for even more flexible control. Making a return are Korg’s classic Advanced Vector Synthesis and Wave Sequencing technologies. Advanced Vector Synthesis allows for smooth blending between the two oscillators and user-definable modulation of many parameters. In Combination Mode, Advanced Vector Synthesis can blend between four different mixtures of sounds to create evocative, motion-based timbres. Wave Sequences play back a series of selected waveforms over time, creating either distinctive rhythmic timbres or continually evolving sounds. New additions to this classic technology include enhanced tempo synchronization, swing and real-time duration modulation. Additionally, dual integrated step-sequencer modulation outputs allow Wave Sequences to control virtually any Program parameter such as filter cutoff, pan and more. Analog Modeling The AL-1 is a state-of-the-art virtual analog synth engine delivering an unparalleled 84 notes of polyphony. Two ultra-low aliasing oscillators per voice offer eight waveforms for a wide palette of modulatable shapes. An adjustable “Edge” parameter provides vintage oscillator modeling options, while sync, FM and several varieties of ring modulation offer ample tone-shaping possibilities. A sub oscillator, colored noise generator and live audio input round out the signal sources. Each voice can use up to two of Korg’s new multimode resonant filters to generate 12 dB or 24 dB per octave slopes. The new MultiFilter allows crossfading in real time between any two of 21 different filter types — including custom mixes. The AL-1 offers a wealth of modulation riches: five punchy, re-triggerable envelopes; four super-fast, tempo-synched LFOs; dual AMS Mod Mixers; and a per-voice, 32-step Step Sequencer. Tonewheel Modeling The CX-3 Tonewheel Organ engine provides an enhanced version of the tonewheel modeling used in Korg’s stand-alone combo organs (CX-3, BX-3). In addition to the dual drawbar sets, the CX-3 features control over every nuance of the sound including leakage, key click, adjustable percussion, chorus/vibrato and a complete rotary speaker simulation. Korg’s unique EX Mode adds additional harmonics and percussion tunings for creating new “organic” timbres. The control surface of the OASYS provides direct access to the nine drawbars via the sliders; switches to access the vibrato/chorus, percussion and all traditional tonewheel organ controls are laid out in a logical and familiar manner. Combis and More Korg’s signature Combination structure has been expanded, now allowing up to 16 Programs to be split and layered across the keyboard. Combinations can freely use sounds from the HD-1, AL-1 and CX-3, with dynamic voice allocation between the different synth engines for complete performance flexibility. Korg’s international team of sound designers have provided 1,152 Programs and 384 Combinations, ranging from realistic acoustic instruments to fat, imaginative Korg synth sounds; from CX-3 organ sounds designed by top players to cutting-edge synth sounds. All sound locations (1,664 Programs / 1,792 Combis) are fully editable. Forty of the 152 drumkits come preloaded as well. These drumkits support stereo samples, 4-way velocity-switching and a 3-band EQ per drum index. Multiple Effects OASYS extends the quantity and quality of onboard effects with six times the processing power of the TRITON series. Included are 12 Insert, two Master and two Total effects, and 185 algorithms. Many new effects are offered, plus classic Korg favorites — ToneWorks (REMS) mic, amp and speaker models; the pro-quality O-Verb from the OASYS-PCI card; the Chorus/Vibrato circuit from the CX-3; the Polysix/Legacy Collection ensemble and more. OASYS can also be used as a six input/10 output real-time effects processor. Advanced KARMA OASYS also introduces second generation KARMA technology.* This revolutionary algorithmic performance technology generates amazing phrases, grooves and other musical effects that can be altered and randomized in real time. Many new features keep this KARMA technology on the cutting edge, including KARMA-driven Wave Sequencing and more flexible control over the real-time controls in Combi and Sequencer modes. All of the onboard 2000+ KARMA Generated Effects (GEs) have been standardized to one of 13 different “Real-Time Control” Models (RTC Models). An RTC Model specifies which KARMA parameters are available for real-time control, and how they are assigned to the Control Surface. With multiple GEs sharing the same exact setup, controlling one GE is now consistent and applicable to other GEs, for quick user familiarity with varying the KARMA effects. *For more information about the foundation of the original KARMA technology, see the KARMA OVERVIEW section at the end of this document. MIDI Sequencing The 16-track MIDI sequencer records up to 200 Songs (400,000 MIDI notes), and includes Korg’s familiar user-friendly features. One-touch setup takes the user from playing a Program or Combination instantly to “ready-to-record” status. Song Templates contain pre-assigned effect routings and program assignments. Built-in rhythm patterns can be used to instantly create a rhythm track. Real-time Pattern Play and Record (RPPR) assigns sequenced Patterns to individual keys on the keyboard for interactive performing, or for quickly building up tracks. Individual track looping allows the user to create smaller looped parts (such as drum grooves) within a Song and much more. Audio Recording A first for any keyboard-based product, OASYS also offers an unprecedented 16-track audio recording studio, fully integrated with the sequencer’s MIDI tracks. Up to four tracks of 16-bit, 48 kHz audio can be recorded to the internal 40 GB hard drive simultaneously, with individual phantom power for two of the four inputs. All onboard effects are available to the recorder, including studio quality mic and amp models, dynamic treatments and spatial effects. The audio recorder sports a full mixing control surface with per-track 3-band EQ, event automation, as well as track and song editing capabilities. The OASYS records in industry-standard WAV file format for maximum compatibility. Open Sampling The same Open Sampling System first introduced in the TRITON Studio provides sampling and resampling from any mode, sampling through effects and much more. Time Slice, Time Stretch, Crossfade Looping and other cutting-edge editing tools are provided. Samples in Korg native format, AIFF, WAV and AKAI (S-1000/3000 with advanced Program parameter conversion) formats can be used. Flexible control surface The 10.4" adjustable-angle, color TouchView display features a clear layout and rich graphics. Real-time controllers include the traditional Korg joystick, dual switches and ribbon, an assignable Vector Joystick, eight real-time knobs, 16 switches, nine sliders, plus three pedal inputs. The eight knobs and nine sliders are augmented by LED status indicators showing their current values. OASYS also features eight responsive, soft-touch and velocity-sensitive drum pads that can be used to trigger notes, controllers, or KARMA chord voicings. The control surface has multiple modes of operation — for mixing the 16 MIDI tracks and 16 audio tracks, for real-time control of sounds and KARMA parameters, or as a Tone Adjust surface for quick in-context tweaking of a given sound, Combination timbre or sequence track without affecting the original Program. Finally, in External Mode, the hardware can be mapped to various MIDI Controller messages to control external software and devices. Future Expansion is Already Here OASYS comes with two EXs Expansion Sample Libraries. The pre-loaded EXs-1 ROM Expansion set enhances the onboard sound set with many stereo drums, and additional large acoustic and synthesizer multisamples. The EXs-2 Concert Grand Piano resides on the hard drive, and can be loaded in place of the EXs-1 to serve up Korg’s finest piano experience to date. Based on individually sampled keys, true stereo imaging, four-way velocity switching and an additional damper layer, this 511 MB piano evokes unparalleled realism. Future expansion options will include new synthesis engines, new effects, more sample libraries and various operating system enhancements. Two flavors To suit a variety of players, OASYS is available in a 76-key synth action, and an 88-key model offering Korg’s top-of-the-line, RH2 weighted hammer graded action. OASYS OPEN ARCHITECTURE SYNTHESIS STUDIO Comments by Seiki Kato, Korg Inc.’s president: Throughout its history of more than forty years, Korg has produced electronic musical instruments based on a consistent philosophy of creating great-sounding, unique instruments that are easy for musicians to use. The OASYS is our latest answer in the pursuit of what an instrument should be. We have delivered our most impressive sounding and expressive instrument ever, with smoothly integrated features and hardware that gives you a unified musical environment. We also consider it vital that a modern instrument provides the freedom to add functionality that will be developed in the future, including new sound-generating engines. The relationship that Korg has enjoyed with professional musicians and creative artists throughout its years of producing musical equipment has been an important part of the process by which the OASYS reached completion. Thanks to this, we feel we have truly achieved Korg’s design goal of creating a unique musical instrument that will inspire the creative artist for years to come. We eagerly await the new music and amazing sounds that will be born from the OASYS, and hope to soon be astounded by what you do using this wonderful new instrument. With the OASYS, we at Korg enter the next stage in 2005. Our new contributions to the musical instrument marketplace begin with the OASYS, and will continue with numerous other products. Please stay tuned for more news from Korg! Comments by the OASYS developers: We wanted to see how far we could extend the expressiveness of a synthesizer, see how far we could push its potential, and then see what the world makes of it. We started by spending an enormous amount of time working out what sort of a functional package would be appropriate for “our most richly expressive instrument ever,” and had extensive discussions with product specialists from around the world. Of course, we also “listened in” on our users and carefully considered all their wants and needs. The numerous ideas resulting from this extensive research were then narrowed down to arrive at the final concept. Fortunately, we had a team of very dedicated and talented designers and sound developers spread out over three continents. Together, we were able to conquer all of the challenges we met along the way. As far as the sound of the instrument, we began our development work with the HD-1 High Definition Synthesizer, the AL-1 Analog Synthesizer and the CX-3 Tonewheel Organ. Our reason for deciding on these three was that we wanted to maintain a good balance between familiar and completely new sounds, and to deliver these in a polished and highly sophisticated way that would be attractive and compelling to our users. As with any Korg product, the most important feature is the quality of the sounds. We’re very pleased with the intrinsic quality we’ve achieved with all three synth engines, and Korg’s sound programmers have used these engines to create absolutely incredible Programs and Combinations. We included the functions we considered necessary in our pursuit of expressiveness, such as KARMA, the control surface, Wave Sequencing and Advanced Vector Synthesis, but our design concepts also extended to individual parameters. We redesigned our filters, our EG’s, the LFO’s — everything about the voice architecture was re-thought and developed to new, high standards of performance. Finally, the open nature of the system means that we can continue to provide new and innovative sounds in the future, expanding the palette of synth engines and effects. This isn’t an instrument that will grow old quickly. We are confident that in this Open Architecture Studio — the OASYS — Korg has succeeded in creating the next-generation instrument that we intended. Comments by Jerry Kovarsky, Korg USA Keyboard & Recording Product Manager: OASYS is the result of over 40 years of expertise and vision — from our early days making analog synthesizers, through our pioneering of the workstation concept, and into our advances in modeling/DSP synthesis and effects developments. Now we combine all that with our user-friendly approach to digital recording and new advancements of the groundbreaking KARMA technology, and we have the best-sounding, most expressive and capable instrument we’ve ever created. The spirit of the original OASYS project was the combining of different technologies for making sound with an open system for expanding that palette of resources. With today’s technologies, we’re finally able to realize that dream in ways we never imagined back in the 90s. We’ve been continually developing our DSP resources and expertise; when the time became right to bring it all together we found we were able to deliver an instrument that far exceeds the scope of the original concept. AN OVERVIEW OF KARMA TECHNOLOGY KARMA stands for Kay Algorithmic Real-time Music Architecture, named after its inventor, Stephen Kay. The KARMA function generates MIDI data, using many different complex algorithms seamlessly integrated to provide a powerful “music generation engine.” Based on the notes and chords you play, KARMA generates phrases and patterns in real time, generating not just notes, but MIDI control data as well. The KARMA architecture allows the various algorithms to be re-configured and varied in real time, as you play them. For example, you can create spectacular cascades of complex interweaving notes, techno arpeggios and effects, dense rhythmic and melodic textures, natural sounding glissandos for acoustic instrument programs, guitar strumming and finger-picking simulations, random effects, auto-accompaniment effects, gliding and swooping portamento and pitch bend effects, and new sound design possibilities. KARMA lets you create phrases and patterns far beyond the current range provided by conventional arpeggiators or pattern playback functions. Theory of operation: A performance of a musical phrase can be thought of as having many different “attributes” which determine the overall effect of the resulting music. For example, a musical phrase has a “rhythm” attribute, which is the rhythm with which the notes are being played. The number of notes (“chords”) being played at the same time in various places of the musical phrase could be called a “cluster” attribute. The velocity (accent) with which the notes are played is a “velocity” attribute. The spatial location in a stereo field where the notes are played is a “pan” attribute, etc. Typically, music that has been recorded or sequenced has all of these attributes pre-determined and fixed in relation to each other. A specific note is to be played with a specific rhythmic value for a specific period of time, at a specific volume level, at a specific location in a stereo field, with the sound of a specific musical instrument. These relationships remain fixed no matter how many times you play back the performance. For example, in most if not all auto-accompaniment instruments, to achieve a variation in the accompaniment pattern the instrument essentially switches to a different pre-recorded sequence of musical events (again with specific relationships that are fixed in the data). In KARMA, every aspect of a musical phrase has been separated into independently controllable attributes. Each of these attributes is controlled by a separate group of parameters, which can be individually varied or changed in groups by the user in real time as the music is being generated; or changed all at once with the selection of a program or combination. KARMA can also be used to generate infinitely variable randomized grooves and accompaniment backings. Up until now there have been two basic types of algorithmic backing track generation. The traditional method used in all auto-accompaniment keyboards is a system that analyzes notes played on a keyboard (chord recognition) and then plays back patterns stored in memory through transposition tables. The second method is the one used by some algorithmic software products that create new patterns each time the algorithm is called. In general, the first method is static and repetitive, while the second method cannot be modified in real time. KARMA combines the algorithmic diversity of the second method with the real-time control and immediate access of the first method to create a new form of interactive groove generation, where the user is in more direct control, since what is produced is directly related to which notes are pressed. Furthermore, extensive aspects of the rhythm, velocity, chord size and other parameters can be randomly varied in real time to allow the user to control the complexity and density of the resulting performance. + Post comment/question/reply
|
5) the complete DJ Guide: Scratching, Rhythms, Beat Matching, DJ Gear and Software and much more 6) Audio Basics, Sound and Recording 7) the Complete Mastering Guide Course 8) The Complete Mixing Guide 9) Record Producing: Producer Basics 10) MIDI Sequencing Basics and Programming 11) Guitar Ear Training Method for Perfect Pitch and hearing scales chords and more! 12) Easy Singing Method 2: Music Theory Singing Technique and Exercises 13) Advanced Songwriting & Composing course: Music Theory & Lyrics 14) 7 string Guitar Method 15) 7 string Guitar chords PRO: unique online guitar book over a million chords 16) 7 String Guitar Scales: Scale Reference PRO 17) Ear Training Method/Course: Notes, Perfect Pitch Chords and Scales ! 18) The Ultimate Guitar Tuning Guide, Every Tuning, Chords and Scales 19) Guitar Monster Speed/Perfect Technique Training System 20) Guitar Songwriting: writing Songs, Riffs and Chord Progressions 21) Mandolin Scales Book PRO and Mandolin Scale Charts 22) Mandolin Chord Book PRO and Mandolin Chord Charts 23) Mandolin Chords + Scales PRO: chord and scale dictionary book 24) Easy Singing Method 1: Learn to Sing! 25) Songwriting Course: How to write songs, writing made easy
|
Europe Gear Shop
| [Contact] [©1999-2008 CRMAV.com All rights reserved] [Advertising] |