This video features the exceptional Kawai K5000 and its capabilty for tweakable PADs.
The pad is Kawai K5000R only. Single sound. 1 layer. No overdub on this track.
The other instruments:
MAM ADX1, Korg Electribe SX.
The train ride is from Berlin Central Station to Berlin Alexanderplatz.
Background video description:
This is something i am experimenting with. I’m creating a techno track and thought why not start here!
‘ollilaboratories’ gives us a tour of his new MS-20 Mini, video description below:
Got my KORG ms-20 this week. Hooked it up for the first time today through a ibanez analogue Echo Shifter delay.
The ms20 was synced with a KORG monotribe through a jomox t-resonator with added rev+ddl FX.. the ms20 is clean except for the analogue delays.
No multitracking… one take no edits and overdubs straight into DAW just some limiter to keep the peaks down. And yep, its noisy and hissy, but thats the way i like it.
And yeah, i suffer from “cutoff frequency knob ticks”… 30 years w analogue synths does that to you
High qualtiy audio version for stream or download at: https://soundcloud.com/ollilab/ollila…
Testing sounds (stock and non stock), modulations, filters and general ooomphh on Korg’s virtual analog synthesizer.
Recorded in 24bit/48Khz uncompressed wave – enjoy!
Details about the Korg R3:
Occupying the middle ground in Korg’s MMT lineup between the flagship Radias and the ultra-portable microKorg XL, the R3 delivers sophisticated virtual analog power in a compact yet sturdy package. Its 37 full-sized, velocity-sensitive keys and four assignable knobs make it a lightweight yet flexible performance instrument for shaping classic modeled sounds with a synthesis engine in the spirit of the MS2000.
The R3 is marketed as a “Synthesizer/Vocoder”, and the included gooseneck mic lets you take full advantage of its 16-band vocoding capabilities right out of the box. Simply enter Vocoder mode for access to all of the vocoder’s variables that work with an internal or external carrier signal. It also lets you record up to sixteen 7.5-second Formant Motion sequences, allowing you to play saved phrases—albeit at a fixed tempo—through the vocoder without external input. Whether you’re looking to channel the spirits of sci-fi robots, make a guitar do backing vocals or are in need of some unconventional choral accompaniment, the R3′s pro-grade vocoder earns its place in both the mix and the title.
Each of the 128 editable patches can contain up to two timbres, sharing the somewhat meager polyphony between them. These can be layered or divided across the keyboard and can be assigned to individual MIDI channels. Each of these two timbres contain all the capabilities listed, so despite being well suited for mono and lead styles it’s possible to get surprisingly complex, evolving pads which belie its 8-note polyphony. This is best displayed when using each timbre’s modulation sequence, which lets you record a variable’s knob changes and can yield complex changes in a single key press. There’s also a 6-mode arpeggiator with a toggle button and latch control to further animate the sound.
Every timbre consists of two LFOs, two oscillators, a wave-shaper with sub-oscillator options, two insert effects, and three envelope generators for filter, amp, and one for assignment using the Virtual Patch system. This feature lets you define up to six additional routings, giving the unit a fitting touch of modular dynamics which can add subtle dynamics or make sounds spiral off into mayhem. Unfortunately the routings are limited, but most of the logical sources and destinations are included. The two oscillators cover a wide range of traditional analog waveforms with some useful extras (osc1 includes 64 DWGS preset waveforms and the vowel-like Formant wave) and allow a number of interactions between them: ring mod, VPM and unison, among others. External signals can also be processed through the filters, gates and effects. All of this is wrapped up with one master effect and a variable 2-band EQ with some other fine-tuning mods to polish the finished sound.
All of this programming demands an intuitive interface, and although it involves some menu-diving, this is handled by selecting the category with a rotary encoder and then editing individual variables with the 4 main pots. Though it isn’t “per-knob” editing, each pot is encircled by a slick-looking LED halo which shows the value regardless of the knob’s current position. Each knob also has its own small LCD screen which can show the variable or its value by hitting the shift key. This combination along with the Original Value light takes much of the drudgery and guesswork out of building your own patches, but it’s recommended to load up the included software editor since some sub-variable and effects tweaks can seem cryptic at first.
Overall, the R3 is a fun, good quality, affordable synth for anyone who enjoys sculpting sounds using traditional subtractive synthesis, and offers enough complex features and character to earn its place in the mix. Great to program and built with portability in mind, the R3 has what it takes to rock the stage!
An mp3 can be found here:
Added a CD4022 based sequencer to a MS-20. Used the clock from the LFO to trigger the sequencer. Pretty basic for now
The synthesizer’s main features are six-voice polyphony (with unison and chord memory voice assignment modes), 32 memory slots for patches and cassette port for backing up patches, and an arpeggiator. On its release it was, along with the Roland Juno 6 which was released around the same time, one of the first times a polyphonic analog synthesizer was available at a cost effective price ‘for the masses’. It cost about twice as much as the competing Juno 6 but had far more features and ‘real’ VCOs in place of the Juno’s DCOs. It also had on-board patch storage and back up which the cheaper Juno lacked until the upgraded Juno 60 model.
Korg developed the Polysix with an eye on the Sequential Circuits Prophet 5, trying to provide some of the features found on the more expensive synth in a compact, reliable and much cheaper design. While not as powerful, it used SSM2044 4-pole voltage-controlled, giving the Polysix a warm, rounded and organic sound. Although the Polysix only had one oscillator per voice, it also featured built in chorus, phaser and ‘ensemble’ effects (using a ‘bucket brigade’ analog delay line design), to provide a fuller sound.
Vintage synthesizer demo track by RetroSound
all synthesizer sounds: KORG Polysix analog synthesizer (1982)
I use the internal arpeggiator for the bassline. The P-6 bass is in unisono mode.
recording: multi-tracking without midi
fx: a bit reverb and delay
Introducing chain function and pattern generation of Korg “KR mini”.
“KR mini” is a rhythm box of simple design that eliminates any complex function.
Product description from KORG below:
The KR mini – an easy, simple and compact rhythm machine with a built-in speaker and optional battery power for play-anywhere convenience. It’s a great companion for practicing and performing with guitar, bass, keyboards, winds, or any type of instrument!
- Easy-to-use design; just select a rhythm pattern and press the play button
- Chain function lets you arrange your favorite rhythm patterns and fill-ins to create complete songs
- Optional foot switches gives you hands-free control over fill-in/start/stop
- Tap the 16 pads for finger drumming or recording your own rhythms
- Built-in speaker with 2W output for jamming anywhere without the need for an additional monitor
- Headphone/speaker jack for quiet practice or connection to a mixer or monitoring system
- Two-way power; use the optional AC adaptor or batteries (AA alkaline batteries x 3)
Many musicians wish that they could enjoy casually performing while being backed up by real rhythm patterns rather than just a metronome. Korg has responded to these wishes with the KR Mini rhythm machine. It features a simple design that eliminates all complex functions, looks that overflow with nostalgia and analog-like controls. Playing a rhythm pattern is easy as making selection and pressing play. A total of 60 diverse rhythm patterns and 120 fills are ready to accompany you. Easy, simple and compact, the KR mini can play its role anywhere.
Here is a demonstration of the sound and functionality of some of the performance aspects of the Korg Volca Beats.
Nice black and white studio capture featuring to classic machines, details below:
Here is (1 of 2) videos that I’ve made demostrating the MacBeth Mk1 Modular and two Korg Prophecy Synthesizers. The Mk1 Modular has 5 Oscillators and 2 Sub Octaves going into a Mk1 Low Pass Filter ‘A’…the Prophecies provide ambient sounds and Tenor Saxaphone sounds. The Tenor Sax is a reeds algorythm model………it all makes for a very interesting mix. I’ve tried to reproduce the kind of sound from the Bowie/Berlin seventies days! This is the first video…