Stephen Kay hat für alle OASYS Interessierten die virtuelle Tour durch den OASYS um das neue Betriebssystem 1.3, sowie das neue Expansion Instrument MOD-7 ergänzt.
Sie können sich nun ein Bild über alle sieben Synth Engines machen.
Die da sind:
1. HD-1 High Definition Synth
2. AL-1 Analog Synthesizer
3. CX-3 Tonewheel Organ
4. STR-1 Plucked String
5. MS-20EX Legacy Synth
6. PolysixEX Legacy Synth
7. MOD-7 Waveshaping VPM Synth - neu !
Sowie das Flash Movie vollständig geladen ist, klicken Sie dazu bitte auf den Program Mode Button. Felder die aktiviert werden können, sind bei “mouse overs” rot umrandet.
Weiters können Sie die Patch List der 128 neuen MOD-7 Klänge in der USER Bank U-C sehen. Dazu klicken Sie bitte auf das neben dem schwarz unterlegten Klangnamen befindliche kreisförmige Symbol. Selbstverständlich können Sie auch ĂĽber “Category/Program Select” auf die Bezeichnung der neuen Patches so wie aller anderen Sounds zugreifen.
Klicken Sie hier um die virtuelle Tour durch den OASYS zu starten.
Sie haben von MOD-7 dem neuen EXi für den OASYS gehört, darüber gelesen aber keine DX sounds mehr?
Nun, Kevin Nolan hat etwa 200.000 DX sounds gesammelt und als Gratis Download zur VerfĂĽgung gestellt. Klicken Sie hier um auf seine Seite zu gelangen.
“I just thought I’d upload all the technotes that I’ve accumulated for the OASYS so far. It takes bits and pieces of information that I’ve collected from Stephen’s tutorials, plus interesting and useful replies to questions from other OASYS users.” Elvis Dowson
this is a current picture of the original MS-20 box in which I received the small black devil more then 25 years ago
So here is another iRandom audiofile. Everything was played in one piece. I made a lot of mistakes to prove this!
iRandom Xsample III
But seriously, everything was played in a row. Sometimes you can hear it when I switched to the next sound which is using completely different IFXs. I did not edit much, but there are two or three short sequences in which I decided to fade them out quite fast for obvious reasons. Furthermore I used a little bit of compression on the single stereo audiofile by using PSP’s Vintage Warmer PlugIn. For the sounds… yes, there is also some KARMA.
Most of the sounds are results of my work with Daz’s iRandom. Interestingly most of them are using distortion which is not the result of randomization… sorry, this was me. Usage of delays? Guilty, my Lord!
At around 5 mins (when you really listen that long..) you can hear my actual favourite sound. It is a single MS-20 sound using PWM + Ring. This sound comes to live by usage of the controllers. In this case it was Ribbon, Pitch Bender and of course the VJS. For this sound you really need the left hand to move the bender, the ribbon and the VJS. I made a “_pmm version” and a “_dolby version”, the latter playing the chords. The next song “sad ganges” is one of two STR-1 sounds.
At the end there is one.. no.. not “one”, it is my favourite STR-1 sound. And again VJS and Ribbon got used a lot. The sound starts as a kind of Dulcimer can become kind of Koto (not plugged enough I know! therefore “kind of..”) and in the lower range when you decrease decay and sustain its like a DX-7/TX-x16. All in one program..
Somewhere at the beginning you can hear a flanging sound like the one used by Nick Rhodes from Duran Duran in “planet earth”. But to be honest, this sound was programmed by Peter Schwartz aka “ski”… after some iRandomization it changed a little bit its character, but still benefits from the original programming which is using several (!) controllers. By the way, I used the controllers a lot.. but of course you realised that already. OASYS is a performers keyboard, we know it.
At the moment I have 17 iRandom sounds and 13 convential programs. The later are the result of my work, the first mostly, too but with one or the other exception (see above). As I was asked by several people if they can get the sounds I would like to announce the following. As soon as I have a complete bank full of sounds I will make it available. Details to be announced.
BTW - thanks to all the people who sent me their feedback for the iRandom demos.
User GEs and GE Creation/Editing:
12 Banks of 128 User GE locations (1536 User GE locations) are now provided, along with the ability to save and load .KGE files containing KARMA GEs and Template Data. GEs may be created, edited, and uploaded to the keyboard using the KARMA Oasys Software (PC/Mac), available separately from us here at Karma-Lab. The price will be $169.00, and delivery date after October 15, 2007.
Display of GE’s RTC Model in the GE Selection Dialogs:
When selecting GEs in the GE Category or Bank Select Dialogs, the GE’s RTC Model is now displayed (for reference), giving you an indication of how that particular GE will be mapped to the Control Surface, and some idea about how it is intended to operate.
Quantized/Delayed Scene Changes:
Scene changes may now be quantized to various metric divisions, including 1 bar, 2 bars, and 4 bars (previously all scene changes quantized to the next 16th). When set to the larger values, this allows the selection of a scene change well in advance of the desired time, so that it will then occur later with perfect timing. This provides less chance of a mistimed scene change during live performance, in addition to allowing scene changes to be selected ahead of time, so that you can be playing with both hands when it actually occurs.
The new “Scene Change Quantize Window” parameter is available on the Scenes side tab of the GE RTP/Scenes tab (page 7-5d) along with the Scene Matrix display, in Combi and Seq Modes. In Program Mode, a Scenes side-tab has been added to Page 7-5 where you can find the new parameter. In addition, a new display area named “Scene Status” beneath the Scene Matrix shows any pending Scene Changes that have been selected, but not yet completed. When using the Scene Matrix in Combi/Seq Modes, all five layers of the Control Surface can be independently changed while using this new feature, and the Scene Status area shows which layers have pending scene changes.
Adjustable Quantize Window per Module:
Previously, all Modules that had the Quantize Trigger setting turned On would be quantized to the nearest 16th note. While this allowed intricate DJ-style triggering to be performed, it could also make it difficult to trigger Modules in perfect time during normal performance, especially at faster tempos. Now, you can select a Quantize Window independently for each Module – for example, use a Quarter Note or Eighth Note value for less chance of a timing error, or a Sixteenth note when fancier retriggering effects are desired. Triplet-based values are also provided for retriggering triplet-based grooves “off-beat”. The new parameter is available on page 7-5 Trigger, and also shows up as a destination in the Perf RTP page, so the parameter can be assigned to the Control Surface for real-time control. For example, you could change it during live performance to allow quick retriggering in a breakdown section, then set it back to a quarter note for more relaxed triggering during the rest of the song.
Current Scene/Initial Scene displayed on KARMA GE Page, Change Module Control using labels:
On page 0-6 KARMA GE, the Current Scene and Initial (stored) Scene are now displayed in section 0-6c “CCs/Notes Activity”. In addition, you may now touch the labels in that section [M, A, B, C, D] to change Module Control Layers of the Control Surface, and the layer that you are viewing and editing on the screen.
Copy Note Maps:
It is now possible to copy the Custom Note Map from any Program, Combi or Song into the current Program, Combi or Song. Furthermore, you may copy any of the Global Note Map Tables into the Custom Table, and use it as a starting point for further modification. For example, you could copy one of the sidestick/ride note maps for your drum kit, but then edit the kick to be mapped to a different kick. This new feature is accessed from the Page Menu on the Note Map Page (7-9).
Note Map Display shortcut and enhancements:
From the KARMA Control tab (7-3), you may now touch the small Note Map Display to jump to the Note Map viewing and editing screen on Page 7-9. The Note Map can be changed here using the “Table” parameter (previously, this only selected a map for viewing but did not assign it to the Module.) Furthermore, on 7-9 a new parameter “Display Module” allows the Note Map for each Module to be viewed and changed if desired. (See above diagram).
Improved timing when changing scenes:
Previously, sometimes a slight hesitation might be felt when changing scenes, especially in Combis, depending on the Combination and the moment at which the scene was changed. This has been greatly improved in KARMA 2.1.
It seems that these features will be included in a future update for Korg’s M3 too.
Stephen Kay wrote the following:
“One thing I should mention, hopefully I’ll put up a video showing how it’s done within the next few weeks: there is a feature I spent a lot of time on, where you can simply capture 2 or 4 bars of a phrase or drum groove from the OASYS’s sequencer, via sysex, and instantly turn it into a completed GE, with Real-Time Controls all assigned and everything. This also works with .MID files exported from a computer sequencer like Logic or Sonar. So unless you want to learn all the nuances of GE creation, this feature makes it pretty simple to get a finished GE with all the usual KARMA variability all hooked up and ready to experiment with.”
“The MOD-7 comes with some 90 new GEs, (most of them the additional GEs that were created for the M3), perhaps the EXs3 will come with some more, and future releases from other sound companies may also include new GEs. People who do use the software may freely distribute GEs they have made. ”
One of the many ways to bring new sounds into your OASYS
Posted by Stephen Kay:
OASYS version 1.3 adds the MOD-7 Waveshaping VPM synthesizer, a new EXi instrument that creates highly expressive and cutting-edge digital synthesis sounds. The MOD-7 is a powerful, semi-modular synthesizer, combining Variable Phase Modulation (VPM), waveshaping, ring modulation, PCM sample playback, and subtractive synthesis. VPM refers to Korg’s patented contributions to Frequency Modulation (FM) synthesis, as made famous on classic Korg instruments such as the Prophecy and the Z1 — and the MOD-7 takes this technology to a completely new level.
OASYS software version 1.3 includes a demo version of the MOD-7, which is fully functional except for a periodic fading in and out. Purchasing an authorization code from the Korg Usernet (www.korguser.net) removes this restriction.
• MOD-7 Overview
The MOD-7 includes six newly-designed VPM oscillators, plus a PCM oscillator, noise generator, audio input, two multi-mode filters, three 2-in/1-out mixers, and a 6-input main mixer—with a patch panel that lets you freely connect them all together, to create sounds in flexible and sophisticated ways. Exceptionally versatile, the MOD-7 produces everything from classic FM keyboards and bells to rhythmic soundscapes, from cut-through-the-mix synth basses to sparkling, epic pads - an incredible palette of sounds that can be used in a broad range of styles.
Each of the six VPM oscillators can be used as a sine, triangle, square, saw, or waveshaping oscillator for FM or ring modulation, or as a waveshaper or ring modulator for other signals—either from elsewhere in the MOD-7, or from the audio input. You can choose from 101 types of waveshaping, and modulate the waveshaper’s drive and offset.
Korg’s proprietary HD-1 class ultra-low-aliasing PCM oscillator includes four-way velocity switching for richly expressive sounds, and naturally supports user samples in addition to ROM and EXs. The MOD-7 then provides “vast” sample-mangling capabilities with incredible flexibility and power. Use samples as FM modulators, and create incredibly rich processing environments combining multiple stages of filtering, waveshaping, and ring modulation, patched together however you’d like.
Other features include:
- Dual multi-mode resonant filters, including the multi-filters introduced on the AL-1.
- Noise generator with a dedicated filter and saturation.
- External audio input.
- Each voice includes four LFOs
- Ten retriggerable EGs
- Nine key-tracking generators
- Eight AMS mixers
- and a per-voice step sequencer
All standard EXi functionality is also supported, including the Common LFO, Common Step Sequencer, Key Tracking 1 & 2, KARMA, EQ, and effects.
You can layer the MOD-7 with any other EXi (AL-1, CX-3, STR-1 or optional MS-20EX and PolysixEX), or layer two MOD-7s together for a total of twelve VPM oscillators.
Up to 52 notes of polyphony.
79 different template algorithms are provided, including all of the classic 6-operator FM synthesizer algorithms. These algorithms can then be modified as desired using patch cables.
MOD-7 can also load vintage DX-7 sounds, thousands of which are available on the internet. Once loaded, you can bring these sounds up to date using all of the MOD-7’s unique features, layer them with other EXi, and process them with KARMA and the OASYS effects.
Peter Schwartz aka “ski” added the following comments at korgforums.com:
“You are not limited to using just the preset algorithms. You can totally “roll your own” algorithms from scratch without any preset connections between VPM carriers or modulators. (The one lil’ exception is that in this case, VPM 1’s audio output is pre-connected into the rest of the synth chain so you can at least hear audio without having to patch that connection. But this too can be overridden.). Another thing which I believe is quite noteworthy is that MOD-7 has 8 AMS Mixers (”modmixers”) which provides a ton of complex modulation capability.”
And that is what Darren Richards aka “Daz” posted at korgforums.com: “We all know about FM so it’s worth just talking about some of the other fun things you can do with MOD-7 :
Check out the virtual GUI and you’ll notice that you can choose to use either hard wired oscillator topologies/algorithms like the DX7 or you can use an MS20EX style patch panel to hook things up. This is a wonderful thing because you can build up your own connections of modulators/carriers as you’re designing your sound which feels very natural. You’d need to be a real FM wunderkind to know exactly which algorithm was the right place to start from when designing a sound that you only had an inkling of in your minds ear. The patch panel lets you change your mind very easily as you’re designing your sound and encourages a little more experimentation. It also lets you do more interesting feedback things than ye olde models did. Speaking of feedback that is a very effective technique used on the MOSS board and here you can introduce far more interesting feedback arrangements than the mixer on the MOSS board allowed.
All of those 6 FM ops are actually more like little processing units, you don’t have to use them as oscillators per se. You can do the DX7 thing and set the pitch ratio to FIXED and use it as a sine waveshaper, or you can use it for Ringmod (or AM) acting on a pair of inputs or you can just use Waveshaper section of the OSC alone to process inputs from other parts of the EXi. So you can take a guitar multisample and drive it through a waveshaper to get a very different guitar timbre and then drive that into another waveshaper which is acting as a tube emulator. If you’ve used Kurzweil’s VAST and enjoyed that, you’ll love this. The waveshapers are far better endowed and flexible in MOD-7
Speaking of waveshaping … FM & waveshaping … its a funny old combination when you first look at it, but the pairing works really well. In traditional FM you’d normally modulate a carrier using a sine wave or better still a slightly more complex waveform you created using feedback or a chain of other ops. With MOD-7 you can have a sine carrier and then modulate it with a very rich waveform created by passing a sine through a waveshaper. The waveshapers offer a whole bunch of shapes that take a sine and add extra harmonics, add a little drive, or recreate other waveforms such as those extra waves that were present in the TX-81Z for example. So you can create more complex sounds using less ops. The waveshapers are not static either. You modulate a bunch of parameters there to add some very interesting variation or motion to the sound. You can go really bananas and unleash waveshaping, feedback and ringmodulation all in one single oscillator, to create an FM modulator that goes well beyond anything you can even comprehend
The key thing to understand with MOD-7 is that is not just an FM synth. It’s really like a whole toolkit of different synthesis techniques :
- FM
- AM
- Additive
- PCM sampling
- Subtractive/Analog (the oscillators will generate saws/squares/triangles, there are filters, ring mod)
- Waveshaping
- Feedback
… that you can mix together to create fascinating new sounds. Or if you prefer, simply to add a little zest to a favourite ROM multisample like an acoustic bass or sax.
Finally, the real beauty of it is, all of that is just one half of an EXi Program. In the other half you can do it all over again with another MOD-7 instance or any of the other EXi engines. It’s particularly nice to mix it with a MS20EX or AL-1, very complimentary sound characters.
A little bit of freeform mind dump there about a few random things. It’s difficult when this information has had to be withheld and then released all in one go, like water building up behind a dam. I didn’t know where to start, there’s just so much to talk about it with this EXi. ”
And how does that all sound?
Please click here and scroll down to the bottom.
… you know what all that means if you are interested in designing new sounds? Sleepless nights!
And here is a first tutorial by sound programmer Peter Schwartz aka “ski”:
“So that it doesn’t seem too overwhelming, here’s a simple example of what you can do with MOD-7 within a single program…
Start by creating a pad using 2 FM pairs (4 VPM oscillators, detuned slightly from one another). Run them into one of the filters with their own EG to sweep it.
Next, select a sustaining type of PCM sound (strings, etc.) and run it directly into the second filter (with its own EG). You now have a layered FM + PCM combination that should result in a pretty thick sound. And you still have 2 VPM’s left!
Here’s something you can do with one of those VPM’s: take that same PCM oscillator and route it to a VPM set to Waveshaper mode (that’s right, you can “mult” the output of an oscillator to multiple destinations). Depending on the nature of the samples and the waveshape table that you choose, you can create everything from subtle distortion to filter sweep effects with that VPM.
Adjust the EG on the output of that VPM so that this sound swells only after you’ve held down the keys for a while. Or program it so that you can swell that part of the sound in using the JS or other controller.
You can route that VPM into one or both filters, or, route it directly to the output. Your choice!
And you still have one VPM left! What to do.. what to do…
OK, use it as a normal sine wave oscillator but set it to sine+waveshape (internal waveshaping within the VPM). Adjust it to be an octave or two higher than the rest of the sound. Select one of the waveshape tables that generates bell-like overtones from that sine wave and set the EG for that VPM to create a bell-like “ping” attack and decay/release.
And you can route that VPM to either one (or both) of the filters, or, directly to the output.
Don’t want bells in the LH part of the sound? Use an AMS Mixer (”mod mixer”) acting in Gate Mode to ensure that the bell sound only occurs above, oh, say, C5.
So within one program you have:
• 4 layered sounds: FM (x2) running through one filter, PCM running through the other filter, Waveshaping PCM and VPM Bell
• a split keyboard (bells in RH)
Now, throw a touch of chorusing on that, maybe a bit of delay or reverb and you’ll have a sound that’ll make a COMBI envious!”
“In MOD-7, the VPM’s are not dedicated sine wave oscillators. Each VPM can be set to act as one of the following:
• sine wave oscillator
• sine wave oscillator with built-in waveshaper
• sawtooth oscillator
• square wave oscillator
• stand-alone waveshaper
• ring modulator”
ps: but that’s not all, there is also interesting news concerning KARMA which will be quoted and posted soon.
As you probably meanwhile know… I am big fan of Daz’s iRandom software. Somewhere here you can find already an audio example and here comes another one:
iRandom Xsample II
The ambience consists of iRandom sounds only.
The “melody” sound is my favourite at the moment - a very expressive MS-20 solo sound. Unbelievable how you can influence the sound by just using the Pitch Bender together with the Ribbon. Completely forgot what the MS-20 is capable of!
In the short intro comes a kind of “synth chor” sound that reminds me a little bit on “Gina X”. By the way, now I know why Mr. Daz names himself a “Victim of LFO Abduction”. The chor sound is followed by a karmafied MS-20 program which is moving thru the stereo field. Last but not least comes the STR-1 “bass”.
…. and that’s how it can sound together with some KARMAfied drums - for some probably to much KARMAfication on the drums;).
iRandom Xsample II + KARMA
oops.. forgot - everything was performed “live”. Which means I looked for a fitting drum kit, for the right KARMA, pressed the record button of dp5.1 and triggered the drums. During playing I switched “a little” around, jumped between drum patterns, moved the faders… everything in real time. I did NO editing afterwards, no quantization, etc. as you can hear easily at the end of the file, where the drums are getting a “little” chaotic, sorry for that. That is what can happen within 30mins when you start playing on the OASYS and dig into KARMA.
Ich zähle wohl zu den wenigen Anwendern die sich Software kaufen. Das gilt für jegliche Musiksoftware und auch andere hilfsreiche Tools, die einem die Arbeit am und mit dem Computer erleichtern.
Nun habe ich aber heute im Adobe Store folgendes gesehen und ich muss gestehen, dass ich zum ersten Mal versucht war mit illegaler Software zu arbeiten.
Aber am besten sehen Sie selbst:
Photoshop CS3 im US Store
Man beachte bitte den Preis OHNE Berücksichtigung des derzeitigen Dollarkurses und vergleiche diesen mit dem im untenstehenden Screenshot aus dem österreichischen Adobe Online Store.
Photoshop CS3 im Austria Store
%$§!6*# !!! … oder anders gesagt, dabei handelt es sich um eine ganz miese Abzockerei.
Bleibt nur zu hoffen, dass Adobe dieselbe Gerechtigkeit ereilt wie heute Fernando Alonso.
ps: US $ 649.- entsprechen übrigens derzeit etwa € 460.-
pps: die Download Version kommt übrigens auf € 1.087,79 (€ 906,50.- exkl. Mwst)
Für OASYS User, die sich ausschließlich in deutschsprachigen Foren herumtummeln (?) und als aktuelle Info zB auf den Hinweis der vorübergehenden Wartungsarbeiten vertröstet werden, folgende Kurzinfo.
Kein geringerer als Stephen Kay, Mr. KARMA himself, hat in einem Thread auf Montag den 17. September hingewiesen. Wenn Sie den Thread verfolgen wollen, klicken Sie bitte hier.
“To marry melody, harmony and memorable songwriting with the most bleeding-edge technology possible is my passion. These are the things that excite me.”
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this is a current picture of the original MS-20 box in which I received the small black devil more then 25 years ago
KARMA Oasys Software (PC/Mac) – Create/Edit/Import GEs
One of the many ways to bring new sounds into your OASYS
