Korg Forums

[marcusdtray]

Hello, There are a few things that I really enjoy about the r3, The stack unison function gets really big when taken up to 8, and a little detuning.
Also the results on are far thicker when mixing one of the pcm waves in.
Then add some fx.

I know the fx are standard korg fx. I also know the ms20 and polysix are different than the r3 engine.

My question is, can you create patches with just as much body and thickness on al-1?

I can never get anything to sound nearly as good with the radias expansion for the m3 as on an r3. Just sounds like a plug in vs a real synth.

Does the al-1 offer stereo unison adjusting, and pcm wave as source also?

Thanks

[Kevin Nolan]

AL-1 can create huge, thick synth sounds. I've made about 100 programs for AL-1 and many of them are very thick. I've made these programs available free to OASYS users and will repost them as soon as I fix my web site. They'll be free for use by all.


AL-1 offers significant features that make the microKorg and R3 so liked (but one important feature missing from R3 - that is - formant synthesis). Other than that, AL-1 will give you all you want from R3 and go well beyond it.

In terms of making vintage sounds, you can LFO modulate the phase of several sawtooth waves in its multi-sawtooth waveform; giving it a very vintage synth sound not too far from old string machines (and which I know the microKorg can also do).

For creating massive layers - fear not - you are in 'layer heaven' with AL-1 and MOD-7 especially (but all synths actually).

Here's an example what you can do with AL-1 - create a program with two AL-1 EXi's and assign a sawtooth to each of the two oscillators on each EXi - so that's 4 sawtooth waveforms per note. Then, use the polyphonic unison feature to layer this anywhere from 2 - 16 times. If you layer it 16 times, that's 64 sawtooth wave forms per note. Add the three polyphonic unison parameters - detune, thicken and stereo spread - and you have a gargantuan sound. Add a suboscillator and white-noise source to each EXi and you have 128 sound sources on just one note - this probably exceeds the Kronos note limit - on just one note!!

There are a few such programs in the AL-1 bank I'll post - but be sure to keep the volume down or you'll blow your speakers in the bass region - in earnest.

MOD-7 is even more extreme. As I posted on another thread, it can provide 6 sawtooth waveforms per EXi and they can be played in parallel, with no FM and hence as a basic subtractive synth (see the MOD-7 'tutorial' inthe OASYS parameter guide and likely in the Kronos Parameter Guide on how to make this (this excellent tutorial was written by Dan Phillips)). What's fantastic about these beyond the SY77 and SY99 is that each can have a random phase on note-trigger, so they sound totally analogue and loose that 'in-phase twang' that dogges so many virtual analogue synths with more than one oscillator triggered at the same time. So - if you have 6 oscillators per note, and place two MOD-7 engines in one program, you're layering 12 sawtooth waves, per note (before polyphonic unison!!). Switch in 16 note polyphonic unison and you have a staggering 192 sawtooth oscillators - per note!!! (this may exceed MOD-7 / Kronos's max polyphony too by the way). But in general, you can make incredibly thick textures.

Kevin.

[Timo]

[Kevin Nolan]

[Timo]

Yes, I got ahead of myself there... I have only really come across the 'peow' problem when using two of the same samples (for simulated unison) in ROMpler usage, and DanAtKorg mentioned samples could be used in Mod7 (in addition to the realtime mathematical waveshapes) so I was kinda hoping phase start could be modulated/triggered for samples too.

That said, the Radias has random phasing and I can't say it's an effect I like. However, phase-start being modulated in a cyclic fashion (such as being modulated by an LFO) is a lot more controllable and benign, rather than notes sounding disconcertingly phased (sometimes even cancelled out, for the duration of the note) in a random, unsettling fashion.

Hear a demo/explanation: http://www.korgforums.com/forum/phpBB2/viewtopic.php?t=36629

You can hear the cyclic (dependent on detune in this case, but you could use an LFO to mimic it) phase-start of the Virus oscillators in the [Virus - gradual detuning] mp3 on that page. Would be great to apply that identical method to modulate the phase-start of looped PCM sample waveforms. Of course the theoretical LFO could be set to random (S&H) if you wished.

It would offer new realism for layering samples for a more analogue feel (particularly samples which are naturally looped).
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