by Jedi Simon
Kronos in reality is the true Blue Bomber Oasys prototype.
So, here we are.
This is the true story by Michael Lauer, that made the research, so I will just tell
you the basic facts.
I shall go back to 1994, if you have a few minutes i will clear out what this is all
about.
This page is a tribute to the KORG OASYS project — a truly revolutionary
synthesizer concept which due to a lot of sad coincidences never saw the light of
day (at least in the originally developed version.
I’m very well aware that there is a KORG OASYS since 2005).
THE BLUE BOMBER STORY THE BLUE BOMBER STORY THE BLUE
BOMBER STORY THE BLUE BOMBER STORY THE BLUE BOMBER
STORY
THE BLUE BOMBER STORY THE BLUE BOMBER STORY THE BLUE
BOMBER STORY THE BLUE BOMBER STORY THE BLUE BOMBER
STORY
THE BLUE BOMBER STORY THE BLUE BOMBER STORY THE BLUE
BOMBER STORY THE BLUE BOMBER STORY THE BLUE BOMBER
STORY
The “Blue Bomber” hardware prototype.
Korg OASYS Blue Bomber Prototype
A Summary of OASYS features — based on a KORG press release from 1994
Custom, high-performance Digital Signal Processor (DSP) system
High-performance custom DSPs, designed specifically for OASYS(R) deliver
an unprecedented amount of synthesis power and flexibility. This power and
flexibility frees synthesis algorithms from their
traditional hardware-based limitations, and makes open-architecture, software-
based synthesis possible.
Software-based synthesis
OASYS(R) creates its synthesis and effects in software, not in hardware. This
is the basic concept behind all of the OASYS(R) features.
Supports many different types of synthesis
OASYS(R) supports all available synthesis technologies, currently including
physical modeling, additive synthesis, FM, true analog simulations, stereo sample
playback, vector synthesis, and wave
sequencing. New synthesis techniques will be created in the future; sound
designers will be able to build algorithms which use these techniques, and
OASYS(R) will be able to play those sounds.
Advanced, polyphonic physical modeling
OASYS(R) includes advanced, polyphonic physical modeling synthesis
algorithms. Instead of relying on a single, generic “physical modeling” algorithm,
OASYS(R) makes it possible to use many different
algorithms, each designed for a specific acoustic or electro-mechanical instrument.
Disk loaded, RAM-based algorithms
Synthesis and effects algorithms are loaded from disk, so that as sound
designers create new algorithms, they can be distributed quickly and cost-
effectively. There is no fixed set of ROM algorithms; all
algorithms are stored in RAM. New algorithms don’t require upgrades to the
operating system, even if they use completely new synthesis techniques. Sounds
and effects load their own algorithms
automatically, for instant, transparent upgrades.
Uncompromised, fully professional sound
OASYS(R) is simply the most flexible synthesis platform ever developed.
Sound designers can custom-build completely different algorithms for each sound,
free from the constraints of preset architectures.
This unprecedented flexibility allows sound designers to choose-and create the
best possible method for making a particular sound, and fine-tune its timbre and
response to the player to degrees impossible on
any other instrument. 20-bit 48kHz, 128-times oversampling D/A converters on
all 8 outputs deliver the OASYS(R) sound with total clarity. Professional
musicians will appreciate the unparalleled quality of
OASYS(R)
Touch-screen and graphical interface
OASYS(R) features Korg’s new, intuitive TouchView(TM) graphical user
interface.
Expressive Controllers
In addition to its 76-key, after/ouch-sensitive keyboard, OASYS(R) provides
sophisticated controllers for unprecedented expressiveness, including a pressure-
sensitive ribbon controller, breath controller
input, modulation joystick with both normal and vector modes, and more.
The OASYS(R) system
The OASYS(R) system is a patented
(U.S. patent number 5,376,752), ( finally some interesting data )
I bet you did not know this information. So take a look and find out by yourself.
multiple digital signal processor (DSP) architecture, with the entire system clocking
in at over 900 million instructions per second. This incredible processing power
makes possible the revolutionary
breakthrough of OASYS(R) open architecture, software-based synthesis. Instead
of using dedicated hardware to produce oscillators, filters, and other synthesis
elements, OASYS(R) uses software to
construct them out of DSP resources. You can think of these DSP resources as
tiny building blocks, like the components which make up electronic circuits; put
together one way, they create an LFO; put
together another way, and they make an EQ an oscillator, a reverb, or an
envelope. Other instruments have been partially based on software technology, but
they’ve always been constrained by more or less
fixed architectures: a fixed number of voices of polyphony, limited amounts of
power for filters or other processing, predetermined basic signal paths, and most
importantly, a fixed number of synthesis
algorithms (usually, only one). This is where the OASYS(R) open architecture
comes in. OASYS(R) has no pre-defined oscillators, filters, envelopes, LFO’s, or
other synthesis elements; no fixed signal paths;
and no preset number of voices. Instead, each voice or effect uses DSP building
blocks to create all the elements that it needs, and then connects them together,
with complete freedom, to form an algorithm
(just like making patches on old-fashioned modular synthesizers-except that
OASYS(R) has a lot more blocks to work with). This means that each different
program or effect can have its own algorithm, if
necessary, specifically tailored to its needs. Since each voice can build its own
algorithm, OASYS(R) creates sound using any synthesis technology available,
including physical modeling, additive synthesis,
FM, analog simulations, stereo sample playback, vector synthesis, wave
sequencing, and more. Different synthesis techniques can be used alone or in
combination with each other; for instance, you can layer a
physically modeled guitar with FM bells and an analog pad. Synthesis and effects
algorithms are loaded into RAM from floppy disks or SCSI, just like program
data and samples; there is no fixed set of ROM
algorithms. New algorithms don’t require upgrades to the operating system, even
if they use completely new synthesis techniques. Instead, each program and effect
carries with it the algorithms that it requires,
so that OASYS(R) instantly, automatically upgrades itself every time a new sound
is loaded!
Software-based synthesis evolution follows revolution
The difference between traditional, fixed-architecture synthesizers and
OASYS(R) software-based synthesis is like the difference between a typewriter
and a computer. A typewriter can do only the one,
simple task that its hardware was designed to do: putting letters onto paper. A
computer, on the other hand, can simultaneously run word processing,
spreadsheet, graphics, and MIDI programs; and since
those functions rely primarily on software, and not on hardware, completely new
functionality can be added just by popping in a new disk. Similarly, OASYS(R)
comes out of the box with capabilities far
beyond those of a traditional synthesizer-but that’s just the beginning. Because its
synthesis is based on software, and not on hardware, OASYS(R) can grow along
with the state of the art. Since getting new
algorithms is as simple as loading a new disk of sounds-in fact, it happens almost
every time an OASYS(R) sound is loaded-OASYS(R) can and will feature new
types of synthesis as they are discovered.
OASYS(R) provides sound developers with the ultimate synthesis platform, for
which they can design new algorithms to the precise requirements of a particular
sound. Everyone knows that certain sounds are
best suited to their own synthesis methods (analog synth bass, for instance, or FM
electric pianos); whatever that best way of making the sound is, OASYS(R) will
use it. Because OASYS(R) allows this no-
compromise approach to sound development, Korg is able to provide musicians
with the ultimate in sonic performance.
OASYS(R) the state of the art In physical modeling
Due to the OASYS(R) Open Architecture Synthesis System and enormous
digital signal processing power, OASYS(R) is the world’s first polyphonic, multi-
timbral physical modeling synthesizer with
dynamic voice assignment. What is physical modeling synthesis? Physical modeling
is a new synthesis technique, which creates sound using complex mathematical
models of actual musical instruments. The
prime advantage of physical modeling is its greatly enhanced expressiveness,
especially when compared to sample playback. For instance, to capture the sound
of an instrument with samples, one records static
“snapshots” of the instrument played with different performance techniques-struck
softly or loudly, played with full or muted tone, etc. Expressiveness is limited to
switching or fading between these snapshots;
smooth transitions between different states, such as a single note starting softly and
building to overblowing, are difficult or impossible. With physical modeling, one
begins by building a model of the instrument’s
physical characteristics: whether it is a horn, a plucked string, a woodwind, a
bowed string, etc.; the size of the instrument, the material that its strings are made
of, the resonance of its soundboard, what sort of
reed it uses, the shape of its bore, and so on. This model can then be played in a
manner very similar to a real instrument, with smooth transitions in tone and
character controlled by the subtlest gestures of the
performer. When pitch bending on a guitar model, the bend resonates in the
guitar’s soundboard; when doing an octave rip on a trumpet, the pitch settles
naturally at the harmonics; when playing an electric
piano, the timbre continuously varies from a soft, bell-like tone with a light touch to
a hard, nasty growl when you dig into the keys. In addition to physical models of
acoustic musical instruments, OASYS(R)
features physical models of classic electronic and electro- mechanical musical
instruments, such as analog synthesizers, Hammond(TM) organs, and tine and
reed electric pianos. OASYS(R) analog synth
models set new standards for a digital synthesizer; its DSP power generates
incredibly punchy envelopes, oscillators with true pulse width modulation,
multimode resonant filters, and modulation routings at
audio rates. Last, but certainly not least, is perhaps the most exciting aspect of
physical modeling: the creation of instruments that do not-or cannot-exist in the
real world, and yet feel and play as if they were
natural, genuine, and musical. This area leaves OASYS(R) plenty of room to grow
into, and define, the future of synthesis.
TouchView(TM) Graphical User Interface
OASYS(R) uses Korg’s new TouchView(TM) graphical user interface system.
TouchView(TM) uses a large LCD and touch-screen to present the user with an
easy to use, intuitive graphical user interface.
Instead of pressing an endless series of cursor keys to select a parameter, for
instance, you just touch it on the screen. TouchView(TM) allows the user to easily
navigate the exceptionally flexible sound and
effects structures of OASYS(R) and allows easy upgrading as the OASYS(R)
system evolves.
Specifications
OASYS(R) Open Architecture Synthesis System, allowing a virtually unlimited
number of synthesis and effects algorithms. Supports physical modeling, additive
synthesis, FM, analog simulations, stereo
sample playback, vector synthesis, wave sequencing, and new technologies as
they are discovered. TouchView(TM) graphical user interface. Built-in 1.44 Mb
floppy disk and internal hard disk for storage of
the operating system, synthesis algorithms, effects and samples. Built-in SCSI port
for use with external hard drives, magneto-optical drives, and CD-ROM drives.
32 track multi-timbral with polyphonic
dynamic voice allocation. Up to 112 voices of polyphony or 112 simultaneous
effects (voices and effects share DSP resources; polyphony and number of effects
will vary depending on the algorithms used).
Up to 32 megabytes of sample RAM, using standard SIMMs. Custom-designed
database for managing files on disk and in memory. Extensive MIDI master
controller functions. 76 note keyboard with
velocity and aftertouch sensitivity. Pressure-sensitive ribbon controller, modulation
joystick (with normal and vector modes), an assignable slider, and 2 assignable
buttons. Breath controller input, 2 continuous
pedal inputs, 2 footswitch inputs. 24 bit internal processing. 20 bit, 128 times
oversampling D/A converters at a 48kHz sample rate. 8 polyphonic analog
outputs; balanced XLR main stereo outputs. 8 channel
ADAT(TM) compatible digital optical output. OASYS and TouchView(TM)
trademark of Korg Inc. and Korg U.S.A. ADAT(TM) a trademark of Alesis
corporation. Hammond(TM) a trademark Hamond
Suzuki Ltd.
A Comment from Dan Williams at Korg R&D — one of the OASYS(R) creators
Analog simulations is the closest match to emulations, so I’ll address that briefly.
In this context, simulations means that the OASYS can discretely model analog
synthesis methods, instead of merely running
a sampled waveform through a filter. This allows real-time control of oscillator
sync and pulse-width modulation, and audio-rate modulation (for incredibly
punchy envelopes and fast lfo’s). The Nord Lead and
the Korg Prophecy are other examples of dsp-based, analog-type synthesis.
Since the OASYS features the unique ability to load new algorithms from disk, it
will also be able to provide different envelope,
oscillator, and filter types (such as minimoog envelopes, or SEM filters).
Remember that the OASYS will have no fixed set of algorithms, for either
programs or effects. New algorithms are loaded every time that you load a sound.
OASYS supports synthesis methods and effects
algorithms by supporting over 70 atomic-level blocks, such as oscillators, filters,
delays, envelopes, mixers, math functions, and so on. As long as an algorithm can
be created by hooking those blocks together
(using our Macintosh-based algorithm development tool, SynthKit), the
OASYS will play it.
My personal disclaimer follows: Please note that the OASYS is *not* shipping
yet. That means that you have to take everything that I say with a grain of salt. It
also means that I’m *not* telling you to hold
your breath and save your pennies. As with computers, the ultimate synth is
always the *next* one, and you can’t make music with just a spec sheet in your
hands.
Dan.
1996/3: Time passes by
The KORG OASYS was first introduced at the winter NAMM 1994, then at the
Musikmesse Frankfurt 1995, several months later at the winter NAMM 1995 and
again at the Musikmesse Frankfurt 1996. I
heard that it is now scheduled to ship last quarter 1996, not for less than USD
10000. Well, let’s see…
Anyway, this architecture seems to be much more powerful than what the current
Yamaha VP-1 can offer for a price, approximately 3 times higher. (Nearby: The
Yamaha VP-1 shared the fate of the OASYS.
There was no successor but partial concepts were used in later models like the
AN1x and the FS1R).
And alla this infos date back to 1994 ...... ok?
1996/9: No OASYS
Several sources confirmed that Korg will NOT produce OASYS in its announced
form. In the meantime, Korg has released portions of the OASYS concept in
several products (Wavedrum, Prophecy,
Trinity) and there are rumours that the DSP and algorithm portion of OASYS will
be released as a software synthesizer PCI-card.
1995-1997: Byproducts
Korg has used part of the OASYS technologies in the mono synthesizer Prophecy
(for instance some oscillator models including resonant filters - the first time in a
KORG digital synthesizer since the analog
DW series)
Several OASYS features (not including the oscillator side, but at least some
resonant filters) were introduced with the Trinity Workstation … also known as
M1 Version 3.0. For instance, the new user
interface featuring the Touch Screen Display.On the german music fair 1997, Korg
showed a prototype of their upcoming virtual synthesizer Z1, which is supposed to
be released this year. It will include some
of the algorithms which debuted in OASYS, but won’t allow you to create new
algorithms.
1998: The Road goes on
Well, after all… the Z1 is shipping for quite a while now - but it does not really
fulfill the promises that the OASYS has made 1994. It seems that the time for the
OASYS concept has not come yet… be it due
to the lack of good algorithms or the lack of processing power.
In the meantime, two outstanding products are shipping, which come closer to the
OASYS synthesizer (albeit from different sides) than the current KORG
synthesizers. The first one is the Clavia Nord
Modular, the first virtual modular synthesizer. It is a great one. Be sure to check it
out.
The second one is created by Creamware, which debuted with the TripleDat HD
recording system. They have released the SCOPE audio card, which is a PCI
card with 14 AnalogDevices SHARC DSPs
and the PULSAR, a PCI card with 6 AnalogDevices SHARC DSPs. SCOPE
and PULSAR are modular DSP workstations. While the SCOPE environment
allows you to create complete new algorithm
parts (for instance, new filters or new oscillators), the PULSAR only allows you to
use these components in a modular way. But nevertheless, there’s a lot to play
with.
As far as I can see now, the purpose of this page has become a bit obsolete since
there is no sign of an OASYS concept successor manufactured by KORG.
Therefore, it is most likely that I won’t update this
page anymore. Maybe there will be a new page dealing with the components of
the studio of the future… we’ll see…
1999/2: Odysseus?
And just when you think a file is closed, there are new rumours floating around…
rumours that KORG will introduce a new synthesizer on the Frankfurt
Musikmesse 1999 in March. A successor to the
OASYS… that is… a synth which comes a bit nearer to the OASYS than all the
derivates before. I heard someone dropping the name “Odysseus”. Sounds
interesting, but — of course — no specs or
pictures, just speculations based on rumours by someone who has a friend who
heard something.
1999/3: No, Triton
KORG introduced the new TRITON on the Musikmesse 1999. An updated
Trinity V3 with better sampling capabilities. IMHO just another boring variation on
the subject workstation… ahh… I begin to hate
this term. While it was fun to play with these things (I was really happy when I
produced the first track with my M1… ages ago), nowadays, I don’t think there’s
a feasible alternative to working with computer
based sequencers.
1999/6: OASYS PCI Card
Did you read the 1996 part of this website ? It says: “Several sources confirmed
that Korg will NOT produce OASYS in its announced form. In the meantime,
Korg has released portions of the OASYS
concept in several products like the Wavedrum, the Prophecy, the Trinity, and
there are rumours that the DSP and algorithm portion of OASYS will be released
as a software synthesizer PCI-card.
Yes indeed, it seems that my “good informed” sources either were fortune-tellers
or insiders. Anyway, it has happened: On the Summer NAMM 1999 — five years
after the initial press release of the KORG
OASYS keyboard — three years after my insider-information about the PCI card
— KORG announced the OASYS PCI card, a PCI 2.1 compliant tone
generation card. Not that I’m excited though…
2004/3: Ten years after
It’s been five years since the last news on this page. The OASYS PCI card has
not been a success in the market. In the meantime, KORG released yet another
interesting byproduct of the OASYS concept
— the KORG KARMA.
2004/9: Psssst…
Suddenly, after all this quietness, the codename OASYS starts floating around
again… there is something in the pipeline!
2005: Congratulations, it’s a workstation
The KORG OASYS has been presented on NAMM 2005. Yes, it’s kind of cool.
No, it’s not what we were waiting for since 1994. The third product with the name
OASYS is a fully featured production
studio… and it runs Linux!
Take a look at the design of the "Blue bomber". What does it look like?
Is ti the Oasys you know or does it look like the Kronos?
I believe that it took them 17 years to make OASYS, and that they lost quite a lot
of money on the project, because Production of the OASYS was officially
discontinued in April 2009. Korg sold just
over 3000 units worldwide. The final software update was released on November
24, 2009, whilst tecnology was changing so rapidly, that they did not even
consider that fact because they were too involved
in their project.
So, that's why they are selling it now with another name.
I love the way Korgs sound, and I play them, compose, create and enjoy playing
them, but nothing has really changed in the past years, according to the patent on
which they are made.
I'm expecting something really new from Korg. This is what I am looking for, and
sinsce the crisis many smaller companies evolved so rapidly that it will be difficult
for Japan to run as fast as they do, if Korg
does not go OPEN AND AIR.
So that's why I believe that Kronos is in fact the Blue Bomber.
Take care.
Jedi Simon
Here I will copy on this posts and publish on my web site in the oasys page that I
an creating, what I wrote this week and posted here and there in the forum
answering to friends, so that you do not have to look for all the posts, since this
research is a valuable one, and explains quite clearly
what is inside this workstation, informations that in fact
were missing.
Here are the Oasys specs: THESE ARE QUITE SIMPLE TO FIND, AND
YOU MIGHT JUMP THEM IF YOU ALREADY KNOW THEM, own the
manuals
or do not bother. I will write them here just to compare them later on with some
other data.
And here the specs of an Oasys workstation that truly was ahead of time.
( The father of Kronos in fact )
Keyboard OASYS 88 88-key Real Weighted Hammer Action (RH2)
Tone Generator Internal PCM: HD-1 High Definition Synthesizer
EXi
Analog Modeling: AL-1 Analog Synthesizer
Tonewheel Organ Modeling: CX-3 Tonewheel Organ
Maximum Polyphony (*1*2)
HD-1: 172 voices (172 oscillators)
AL-1: 84 voices
CX-3: 172 voices
Number of Programs 1,664 user memory programs come preloaded
Number of Combinations 1,792 user memory combinations (384 come
preloaded)
Number of Drumkits 152 user memory drumkit (40 come preloaded)
General MIDI 256 GM Level2 preset programs+ 9 GM Level2 drum preset
programs
Preset PCM 314MB (1,505 multisamples, 1,376 drum samples)
Expansion PCM Libraries
313MB - EXs 1 ROM Expansion: 229 multisamples, 1,483 drum samples
503MB - EXs 2 Concert Grand Piano: 5 stereo multisamples
Capacity of PCM RAM (*3) 500MB
Wave 374 user memory, 150 preload
PCM Program Advanced Vector Synthesis Control oscillator volumes, synth
parameters, effect parameters via the Vector joystick and the tempo-synced
Vector Envelope
Structure
Single: OSC1
Double: OSC1 and OSC2
Double mode lets you layer two completely separate synth voices, each with their
own velocity-switched oscillator, dual filters, EGs, LFOs, etc.
Oscillators 4 velocity zones per oscillator, with switching, crossfades and layering.
Each zone can play mono or stereo Multisamples or Wave Sequences.
Filters
Two multi-mode filters per voice: low-pass, high-pass, band-pass and band-reject
Four-mode filter routings: single, serial, parallel and 24dB mode
Driver Per voice non-linear driver and low boost circuit
EQ Three bands, with sweepable mid
Modulation Three envelope generators, two LFOs per voice, common LFO, four
key tracking generators, AMS (Alternate Modulation Source); modulate a large
number of synthesis parameters via LFOs,
Envelopes, and real-time controllers. Two AMS Mixers - combine and process
AMS sources. Add, multiply, smooth, quantize, and more.
Drumkit Supports both stereo/ and mono drum samples, four-stage velocity
switch/crossfade
EXi Program Common Advanced Vector Synthesis Control oscillator volumes
and synthesis & effects parameters via the Vector Joystick and the tempo-
synchronized Vector Envelope.
Modulation Common Step Sequencer: 32-step sequencer with smoothing,
adjustable step duration, and tempo synchronization. AMS (Alternate Modulation
Source); modulate a large number of synthesis
parameters via LFOs, Envelopes, and real-time controllers, Common LFO, 2
Key Tracking Generators.
EQ Three bands, with sweepable mid
AL-1 Analog Synthesizer Oscillators New design ultra-low-aliasing oscillators
OSC1, OSC2, Sub-oscillator and noise generator; ring modulation, FM, and
Sync
Audio Input Run real-time audio through the synthesis engine, including ring mod,
filters, drive circuit, amp, and EQ
Filters
Two multi-mode filter (low-pass, high-pass, band-pass and band-reject) with four
types of filter routings (single, serial, parallel and 24dB mode)
MultiFilter mode (only Filter-A; modulateable mix of Low Pass, High Pass, Band
Pass, and dry input, for creating a wide variety of unique filter types and effects)
Driver Per-voice non-linear driver and low boost circuit
Modulation
Five Envelope generators, four per-voice LFOs, two Key Tracking generators,
and two AMS Mixers.Per-voice
Step Sequencer: 32-step sequencer with smoothing, adjustable step duration, and
tempo synchronization.
CX-3 Tonewheel Organ Tonewheel Organ Modeling A further evolution of Korg's
acclaimed CX-3. Phase-synchronous tonewheels (clean and vintage modes),
percussion, key click, wheel brake.
EX Mode Four additional, user-specified drawbars, and expanded percussion.
Internal Effects Rotary speaker, vibrato/chorus, amp modeling with overdrive, 3-
band EQ
Drawbar Controlled via nine front-panel sliders
Split Upper, Lower
Modulation Two AMS mixers
Combination Number of Timbres 16 Maximum
Master Keyboard Functionality Keyboard and velocity splits, layers, and
crossfades of up to 16 Programs and/or external MIDI devices
Advanced Vector Synthesis Control oscillator volumes and synthesis & effects
parameters via the Vector Joystick and the tempo-synchronized Vector Envelope.
Sampling System
Open Sampling System (resampling, In-Track sampling)
16bit/48kHz stereo/mono samping, maximum 512MB memory
4,000 samples/1,000 multisamples (128 indexes per multisample)
Direct sampling (ripping) from audio CD (CD-DA)
Able to load Korg format, AKAI S1000/S3000 data (with advanced Program
parameter conversion), AIFF, and WAVE formats
Time Stretch, Time Slice, Crossfade Loop, and other standard editing features
Effects Insert Effects 12 Insert Effects; in-line processing, stereo in / stereo out.
Master Effects Two Master Effects; two effects sends, stereo in / stereo out.
Total Effects Two Total Effects; for overall processing on the main outputs, such
as compression, limiting, and EQ; stereo in / stereo out.
Timber EQ High, low, and sweepable mid band. Per Program in Program Mode,
per Timbre in Combi mode (16 total), and per Track in Sequence mode (32
total).
Effect Types 185 types (Every type can be used as an insert, master or total
effect).
Dynamic Modulation Real-time control of effects parameters.
Common LFO Synchronized LFO modulation of multiple effects.
Effects Control Busses Two stereo side chains (for compressors, gates, vocoders,
etc.).
Record Busses Two stereo busses (for sampling and recording).
KARMA KARMA*** Modules One module in Program mode, four modules in
Combination and Sequencer modes; independent, programmable real-time control
settings for each Module.
Generated Effects (GE) 2,000 presets. New RTC (Real Time Controller) Models
provide more consistent control of KARMA parameters.
Controllers
ON/OFF, LATCH, CHORD, ASSIGN, MODULE, CONTROL, KARMA
REALTIME CONTROL SLIDERS [1] - [8], KARMA SCENE [1] - [8],
KARMA SWITCHES [1] - [8], KARMA Waveform
Control function, GE Sub-Category function, Auto RTC (Real Time Control)
setup function.
KARMA Waveform Control (change Multisamples via the KARMA engine), GE
Sub-Categories, Free Randomize function, Time Signature Control, Tempo
synchronization, Auto RTC (Real Time Control)
setup.
Sequencer
/HDR Tracks 16-track MIDI sequencer + 16-track hard disk recorder + master
track.
Number of Songs 200 songs
Resolution 1-192 ppq
Tempo 40.00 – 240.00 (1/100 BPM resolution)
Maximum Memory 400,000 MIDI events or 300,000 audio events
MIDI Tracks
16 tracks plus the master track
150 preset/100 user patterns (per song)
16 preset/16 user template songs
Format: Korg (OASYS) format, SMF formats 0 and 1
Audio Tracks 16-track playback, 4-track simultaneous recording WAV file format
Maximum single-file recording time (mono): 80 minutes Automation: Volume, Pan,
EQ, and Send1/2 5,000 regions (max.),
Event Anchors , BPM Adjust.
RPPR (Realtime Pattern Play & Record 1 Pattern set per song
Controllers Performance Controllers
Vector joystick
Korg Joystick
Ribbon controller
Switches 1 & 2
Pads 1-8 Velocity-sensitive drum pads and chord triggers
Control Surface CONTROL ASSIGN Switches Assigns the Control Surface to
TIMBRE/TRACK, AUDIO, EXTERNAL, R.TIME KNOBS/KARMA, or
TONE ADJUST.
MIXER KNOBS Switch Assigns the Mixer Knobs to either CHANNEL STRIP
or INDIVIDUAL PAN.
Knobs 1-8 (w/LED value indicators) 1-192 ppq
Switches 1-8 (Upper Row) Channel Strip, Individual Pan, External MIDI,
Realtime modulation, Tone Adjust.
Switches 1-8 (Lower Row) Select/Solo, External MIDI, KARMA Switches,
Tone Adjust
Master Slider Volume, External MIDI, Tone Adjust
KARMA Controller Section Switches = ON/OFF, LATCH, CHORD ASSIGN,
MODULE CONTROL
Disk Mode Load, save, utility, audio CD burning, audio CD playback, data filer
function (save/load MIDI System Exclusive data),CDs (UDF format read/write),
ISO9660 Level 1.
Display TouchView graphical user interface, 10.4 inch TFT, 640x480 dots,
adjustable angle.
Audio Connections (all are 24-bit) Outputs
Main Outputs (L/MONO, R): 1/4 Unbalanced; 1.1 k Stereo; 550 Mono
(L/MONO Only)
Individual 1-8: Max. output level: less than +18.5dBu (when load impedance is
100k)
Headphones: 1/4 stereo phone jack, output
S/PDIF: Optical, 24-bit, IEC60958, EIAJCP-1201, 48kHz or 96kHz
EXB-DI (optional ADAT** Output): ADAT format Output: 24-bit, 48kHz, 8-
Channel; BNC Word Clock In
Inputs 1 & 2 XLR-1/4 phone combi jacks (balanced), MIC/LINE switches, level
control knobs, phantom power switches
Inputs 3 & 4 1/4 phone jacks (unbalanced)
S/PDIF Optical, 24-bit
Other I/O Control
Damper pedal (half damper supported), assignable switch, assignable pedal
MIDI: In, Out, Thru
USB: Four high-speed USB 2.0 A connectors (for external USB devices)
Disk Drives Hard Drive 40GB HDD (2.5)
Optical CD-R/RW
Dimensions OASYS (76-key) 49.84 (W) x 19.06 (D) x 5.31
OASYS (88-key) 57.40 x 19.06 (D) x 5.31
Weight OASYS (76-key) 56.44 lbs
OASYS (88-key) 70.99 lbs
Now let us compare them with Kronos.
KRONOS SPECS KRONOS SPECS KRONOS SPECS KRONOS SPECS
KRONOS SPECS KRONOS SPECS KRONOS SPECS
KRONOS SPECS KRONOS SPECS KRONOS SPECS KRONOS SPECS
KRONOS SPECS KRONOS SPECS KRONOS SPECS
KRONOS SPECS KRONOS SPECS KRONOS SPECS KRONOS SPECS
KRONOS SPECS KRONOS SPECS KRONOS SPECS
[System]
System: Kronos System Version 2.0
Keyboard:
88-key: RH3 (Real Weighted Hammer Action 3)
73-key: RH3 (Real Weighted Hammer Action 3)
61-key: Natural Touch Semi Weighted
[Tone Generator]
Synthesis Types: 9
SGX-1 Premium Piano (Acoustic Piano)
EP-1 MDS Electric Piano (Electric Piano)
HD-1 High Definition Synthesizer (PCM Virtual Memory Technology)
AL-1 Analog Synthesizer (Analog Modeling)
CX-3 Tonewheel Organ (Tonewheel Organ Modeling)
STR-1 Plucked String (Physical Modeling)
MOD-7 Waveshaping VPM Synthesizer (VPM Synthesis)
MS-20EX (CMT Analog Modeling)
PolysixEX (CMT Analog Modeling)
Maximum Polyphony*1*2:
SGX-1: 100 voices*3
EP-1: 104 voices
HD-1: 140 voices
AL-1: 80 voices
CX-3: 200 voices
STR-1: 40 voices
MOD-7: 52 voices
MS-20EX: 40 voices
PolysixEX: 180 voices
*A portion of the multicore processor in KRONOS is devoted to generating
voices, and a separate portion is devoted to generating effects. KRONOS
dynamically allocates the voice processing power
between the engines as necessary. The quoted maximum numbers of voices apply
when 100% of the voice processing power is devoted to a single engine.
*2 In rare cases, when a large number of processor-intensive effects are active
simultaneously (for instance, more than 14 O-Verbs), polyphony may be slightly
reduced.
*3 100 dual-stereo notes (It corresponds to 400 voices in the maximum.)
Number of Programs/Combinations/Drumkits:
2,560 user memory programs
(1,536 [768 HD-1+768 EXi] come preloaded)
1,792 user memory combinations
(480 come preloaded)
264 user memory drumkits
(78 come preloaded)
256 GM Level2 preset programs+ 9 GM Level2 drum preset programs
Preset PCM:
314 MB (ROM 1,505 multisamples, 1388 drum samples)
Build-in Expansion PCM Libraries:
EXs1 - ROM Expansion
EXs2 - Concert Grand Piano
EXs3 - Brass & Woodwinds
EXs4 - Vintage Keyboards
EXs5 - ROM Expansion 2
EXs6 - SGX-1 German D Piano
EXs7 - SGX-1 Japanese C Piano
EXs8 - Rock Ambience Drums
EXs9 – Jazz Ambience Drums
Capacity of PCM RAM:
Approx. 2 GB*4
*4 The memory available for RAM samples will change based on the use of
Expansion PCM libraries. About 1,129 MB is available when shipped from the
factory (when loading the file named
“PRELOAD.KSC”).
Wave Sequences:
598 user memory, 165
[SGX-1 Program]
Premium Piano:
PCM:
EXs6 - SGX-1 German D Piano
EXs7 - SGX-1 Japanese C Piano
EXs12 - SGX-1 Austrian Piano (Option Sound Libraries, DEMO Version is pre-
installed)
Piano Type:
32
Oscillator Control:
Damper Resonance, Damper Noise, Mechanical Noise, Note Release
[EP-1 Program]
MDS Electric Piano:
Tine and reed-type electric pianos powered by Multi-Dimensional Synthesis
(MDS), and vintage effects.
Electric Piano Model Types: 6
Tine EP I, Tine EP II, Tone EP V, Tine EP DMP, Reed EP200, Reed EP200A
Oscillator Control:
Harmonic Sound Level, Attack Noise, Level, Release Noise Level, Attack
Brightness, Hammer Width
Panel Control:
Tine Type: Preamp Volume, Tone (Treble, Bass), Vibrate (On/Off, Intensity,
Speed), Amp/Cabinet (On/Off, Drive)*5
Reed Type: Preamp Volume, Tone (Treble, Bass), Vibrate (Intensity, Speed),
Amp/Cabinet (On/Off, Drive)*5
*5 Each electric piano type has own amp/cabinet character.
Effect Types: 9
Small Phase, Orange Phase, Clack Phase, Vintage Chorus, Black Chorus, EP
Chorus, Vintage
Flanger, Red Comp, VOX Wah
[HD-1 Program]
Advanced Vector Synthesis:
Control oscillator volumes and synthesis & effects parameters via the Vector
Joystick and the tempo-synchronized Vector Envelope.
Structure:
Single: only OSC1, Double: OSC1 and OSC2.
Double mode lets you layer two completely separate synth voices, each with their
own velocity-switched oscillator, dual filter, EGs, LFOs, etc.
Two completely separate drumkits.
Oscillators:
8 velocity zones per oscillator, with switching, crossfades and layering
Each zone can play mono or stereo Multisamples or Wave Sequences
Filters:
Two multi-mode filters per voices (low-pass, high-pass, band-pass and band-
reject),
Four-mode filter routings (single, serial, parallel and 24dB mode)
Driver:
Per voice non-linear driver and low boost circuit
EQ:
Three bands, with sweepable mid
Modulation:
Three envelope generators, two LFOs per voice, common LFO, four key
tracking generators, AMS (Alternate Modulation Source), two AMS mixers
[EXi Program Common]
Advanced Vector Synthesis:
Control oscillator volumes and synthesis & effects parameters via the Vector
Joystick and the tempo-synchronized Vector Envelope.
Modulation:
Common Step Sequencer, AMS (Alternate Modulation Source), Common LFO,
2 Key Tracking Generators
EQ:
Three bands, with sweep-able mid
[AL-1 Program]
Oscillators:
Ultra-low-aliasing oscillators
OSC1, OSC2, Sub-oscillator and noise generator; ring modulation, FM and Sync
Audio Input:
Run real-time audio through the synthesis engine
Filters:
Two multi-mode filter (low-pass, high-pass, band-pass and band-reject) with four
types of filter
routings (single, serial, parallel and 24dB mode), MultiFilter mode (only Filter-A;
modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a
wide variety of unique filter types and
effects)
Driver:
Per-voice non-linear driver and low boost circuit
Modulation:
Five Envelope generators, four per-voice LFOs, two AMS Mixers;
Per-voice Step Sequencer.
[CX-3 Program]
Tonewheel Organ Modeling:
Phase-synchronous tonewheels (clean and vintage modes), percussion, key click,
wheel brake
EX Mode:
Four additional, user-specified drawbars, and expanded percussion.
Internal Effects:
Rotary speaker, vibrato/chorus, amp modeling with overdrive, 3-band EQ
Drawbar Control:
Controlled via nine front-panel sliders (via Tone Adjust)
Split:
Upper, Lower (even in EX mode)
Modulation:
Two AMS mixers
[STR-1 Program]
Physically Modeled String:
Includes physically modeled damping, decay, dispersion, nonlinearity, harmonics,
dual pickups, and more
String Excitation:
Three independent excitation sources can be used simultaneously: Pluck, Noise,
and PCM. 16 preset
“pluck” types, with modulatable width and randomization. Noise generator with
saturation and dedicated lowpass filter
PCM Oscillator:
Korg’s ultra-low-aliasing technology, as introduced in the HD-1; 4 velocity zones
per oscillator;
Uses any mono ROM, EXs, or RAM multisamples; PCM can either be used as
an excitation signal, or layered with the output of the string.
Excitation Filter:
Dedicated 2-pole multimode filter for shaping the string excitation; Filter can be
enabled/disabled separately for
each excitation source. Low Pass, High Pass, Band Pass, and Band Reject
modes
Audio Input and Feedback:
Run real-time audio through the string, including feedback through effects.
Modeled feedback includes modulate-able
instrument-to-amp distance and orientation.
Filters:
Dual multi-mode filters per voice; Single, Serial, Parallel (with split stereo output),
and 24dB (4-pole) configurations.
Low Pass, High Pass, and Band Reject modes
Multi Filter mode (Filter A only):
Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating
a wide variety of unique filter types and effects
Modulation:
5 Envelopes, 4 per-voice LFOs, 2 Key Track generators, String Tracking
generators, 4 AMS Mixers.
[MOD-7 Program]
Waveshaping VPM Synthesizer:
Combines Variable Phase Modulation (VPM), waveshaping ring modulation,
PCM sample playback, and subtractive synthesis; Able to convert-load SYX files.
Oscillators:
6 VPM/Waveshaper/Ring Modulation Oscillators:
Phase and modulatable pitch per oscillator; 101 Waveshaper tables plus
modulatable Drive and Offset; Use as oscillators, or as Waveshapers or Ring
Modulators for other signals.
PCM Oscillator:
Korg’s ultra-low-aliasing technology, as introduced in the HD-1. 4 velocity zones
per oscillator; Uses any mono ROM, EXs, or RAM multisamples; PCM can be
used as an FM modulator and/or layered with
the VPM Oscillators. Noise generator with saturation and dedicated low pass
filter.
Audio input:
Run real-time audio through the VPM Oscillators and filters.
Filters:
Dual multi-mode filters per voice. Parallel and 24 dB (4-Pole) configurations; Low
Pass, High Pass, Band Pass, and Band Reject modes
Multi Filter mode (Filter A only):
Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating
a wide variety of unique filter types and effects
Patch Panel:
Supports both algorithm (78 types) selection and free patching; Three 2-in, 1-out
mixers for scaling and merging audio, fully modulatable, with phase inversion.
Main 6-input stereo mixer, with modulatable pan
and volume, plus phase inversion
Modulation:
10 Envelopes, 4 per-voice LFOs, 9 Key Tracking generators, Per-voice Step
Sequencer, 4 standard AMS Mixers plus 4 simple AMS Mixers.
[MS-20EX Program]
Oscillators:
Ultra-low-aliasing oscillators; VCO1, VCO2, Ring Mod, Pink and White Noise
Generator
Audio Input:
Run real-time audio through the synthesis engine and ESP (External Signal
Processor)
Filters:
12dB/octave High Pass and Low Pass self-resonant filters
ESP section:
24dB/octave Low Cut and High Cut filters, available per voice.
Patch Panel:
Patchable audio and modulation, at audio rates
Patch Points:
Keyboard:
Keyboard CV Out, Keyboard Trigger Out, VCO1+VCO2 CV In, VCO2 CV In
VCO:
VCO1+VCO2 External Frequency Control In, VCO1 Out, VCO2 Out
VCF:
External Signal In, External HP Filter Cutoff Frequency Control In, External LP
Filter Cutoff Frequency Control In, HPF Out, LPF In, LPF Out
VCO+VCF:
Total External Modulation In
VCA:
External Initial Gain Control In, VCA In
EG:
EG1 Envelope Signal Normal Out, EG1 Envelope Signal Reverse Out, EG1+EG2
Trigger In, EG1 Trigger In, EG2 Envelope Signal Reverse Out
MG:
Triangle Out, Rectangle Out
Noise Generator:
Pink Noise Out, White Noise Out
Sample and Hold:
Clock Trigger In, Sample Signal In, S/H Out
Modulation VCA:
Control Voltage In, Signal In, Signal Out
Manual Controller:
Control Wheel Out, Momentary Switch
ESP:
Signal In, AMP Out, BPF In, BPF Out, F-V CV Out, Envelope Out, Trigger Out
Others:
EXi Audio In, Mixer 1 In, Mixer 1 Out, Mixer 2 In, Mixer 2 Out
ESP (External Signal Processor):
Use incoming audio as a trigger and/or CV source.
Modulation:
Original DAR and HADSR EGs 1 & 2, original MG (with MIDI sync), Sample-
and- Hold, MVCA; 4 additional multi-stage Envelopes, 4 additional per-voice
LFOs, and 4 AMS Mixers
[PolysixEX Program]
Oscillators:
VCO:
Saw, Pulse, PWM
Sub Oscillator:
Off, 1 octave below, 2 octaves below
Filter:
24dB/octave Low Pass self-resonant filter
Effects:
Integrated Polysix Chorus, Phase, and Ensemble
Arpeggiator:
Integrated MIDI-synced arpeggiator, with adjustable Range, Mode, and Latch
Modulation:
Original ADSR EG and MG (with MIDI sync), 2 additional multi-stage
Envelopes, 2 additional per-voice LFOs, and 4 AMS Mixers
[Combination]
Number of Timbres:
16 Maximum
Master Keyboard Functionality:
Keyboard and velocity splits, layers, and crossfades of up to 16 Programs and/or
external MIDI devices
Advanced Vector Synthesis:
Control oscillator volumes and synthesis & effects parameters via the Vector
Joystick and the tempo-synchronized Vector Envelope.
[Drumkit]
System:
Assignable stereo/mono samples with 8 velocity zones per oscillator (with
crossfade functions)
[Sampling]
System:
Open Sampling System (resampling, In-Track sampling)
Bit Depth/Sampling Frequency:
RAM: 16-bit/48 kHz stereo/mono sampling
DISK: 16 or 24-bit/48 kHz stereo/mono sampling
Sampling Time:
RAM: Depends on the amount of availale PCM RAM
DISK: Maximum 80 minutes stereo (879 MB: 16-Bit)
Sample Locations:
16,000 samples/4,000 multisamples (128 indexes per multisample)
Ripping:
Direct sampling (ripping) from audio CD (CD-DA)
Formats:
Korg format, AKAI S1000/S3000 data (with advanced Program parameter
conversion); SoundFont 2.0, AIFF, and WAVE formats
Editing:
Time Stretch, Time Slice, Crossfade Loop, and other standard editing features.
[Effects]
Insert Effects: 12
Stereo in / stereo out
Master Effects: 2
Stereo in / stereo out
Total Effects: 2
Stereo in / stereo out
Timbre EQ:
High, low, and mid band
Effect Types: 185
Modulation:
Dynamic Modulation and Common LFO
Effects Control Busses:
Two stereo side chains
Effect Presets: 783
Maximum 32 per 1 effect (Preset User)
[KARMA]
KARMA Modules:
One module in Program mode, four modules in Combination and Sequencer
modes
Generated Effects (GE):
2,048 presets, 1,536 Users (96 come Preload)
Controllers:
On/Off, Latch, Chord, Assign, Module, Control, KARMA Realtime Control
Sliders [1] – [8], KARMA Scene
[1] – [8], KARMA Switches [1] – [8], KARMA Wave-Sequencing, GE Sub
Category, Freeze Randomize, Time Signature Control, Tempo Synchronize, Auto
RTC (Real Time Control) setup
[Drum Track]
Drum Track Patterns:
697 preset (common with the preset patterns of the MIDI sequencer)
[Sequencer/HDR]
Tracks:
16-track MIDI sequencer + 16-track hard disk recorder + master track.
Number of Songs:
200 songs
Resolution:
1/480
Tempo:
40.00 – 300.00 (1/100 BPM resolution)
Maximum memory:
400,000 MIDI events
or 300,000 audio events
MIDI Tracks:
16 tracks plus the master track
697 preset/100 user patterns (per song)
18 preset/16 user template songs,
Format:
Korg (Kronos, OASYS) format, SMF formats 0 and 1.
Audio Tracks:
16-track playback, 4-track simultaneous recording, WAV file format 16bit/24bit.
Maximum single-file recording time (mono):
80 minutes
Automation:
Volume, Pan, EQ, and Send1/2; 5,000 regions (max.), Event Anchors, BPM
Adjust
RPPR (Realtime Pattern Play and Record):
1 Pattern set per song.
[General]
Disk Mode:
Load, save, utility, audio CD burning, audio CD playback, data filer function
(save/load MIDI System Exclusive data), CD-R/RW (UDF format read/write),
ISO9660 Level 1. *6
*6 Need to use with External USB CD Drive, etc.
Controllers:
Vector joystick, joystick, ribbon controller, switches 1 & 2
Control Surface:
Control Assign Switches:
Assigns the Control Surface to Timber/Track, Audio, External, Realtime
Knobs/KARMA, or Tone Adjust.
Mixer Knobs Switch:
Assigns the Mixer Knobs to either Channel Strip or Individual Pan, Reset Control
Switch, Solo Switch, Knobs 1-8, Switches 1-8 (Upper Row), Switches 1-8
(Lower Row), Sliders 1-8, Master Slider
KARMA Control:
On/Off, Latch, Chord Assign, module Control
Display:
TouchView graphical user interface, 8 inch TFT, SVGA (800x600 dots),
adjustable brightness
Outputs:
L/MONO, R:
1/4” Balanced; 350 ohms Stereo; 175 ohms Mono (L/MONO Only), Nominal
Level: +4.0 dBu, Maximum Level: +16.0 dBu (when load impedance is 600 ohms
or greater)
Individual 1-4:
1/4” Balanced; 350 ohms Stereo; 175 ohms Mono, Nominal Level: +4.0 dBu,
Maximum Level: +16.0 dBu (when load impedance is 600 ohms or greater)
Headphones:
1/4” stereo phone jack, output impedance: 33 ohms, Maximum Level: 60+60
mW (when load impedance is 33 ohms),
S/P DIF:
Optical, 24-bit, IEC60958, EIAJCP-1201, 48 kHz, (the same signals as
L/MONO, R)
USB-B:
24-bit, 48 kHz, 2 channels (the same signals as L/MONO, R)
Inputs:
Audio Inputs 1 and 2:
1/4” Balanced; Input Impedance: 10 kohms, Nominal Level: +4.0 dBu, Maximum
Level: +16 dBu,Source Impedance: 600 ohms, S/N: 95 dB (Typical), Dynamic
Range: 95 dB (Typical), Crosstalk: 95 dB (at
1 kHz, Typical)
S/P DIF:
Optical, 24-bit, IEC60958, EIAJCP-1201, 48 kHz
USB-B:
24-bit, 48 kHz, 2 channels
Control Inputs:
Damper pedal (half damper supported), assignable switch, assignable pedal
MIDI:
In, Out, Thru
USB:
USB A (TYPE A) x 2 (for connection to external USB devices)
USB B (TYPE B) x 1 (MIDI/audio interface, MIDI: 1(16ch) input / 1(16ch)
output, Audio: 2 channel input / 2 channel output)
2 USB high-speed ports (supports 480Mbps)
Principal Specifications:
Frequency Response:
20Hz-22kHz, +/-1.0 dB, 10k Ohms load
THD+N:
20Hz-22kHz, 0.01%, 10k Ohms load (typical)
S/N:
95 dB (typical)
Dynamic Range:
95 dB (typical)
Crosstalk:
95 dB, at 1 kHz (typical)
Disk Drives:
62 GB SSD (2.5”)
Power Consumption:
60 W
Dimensions: (W x D x H)
88-key: 57.28” x 16.18” x 5.71”
1,455 x 411 x 145 mm
73-key: 48.94” x 16.18” x 5.71”
1,243 x 411 x 145 mm
61-key: 41.42” x 14.25” x 5.28”
1,052 x 362 x 134 mm
Weight:
88-key: 50.71 lbs. / 23.0 kg
73-key: 44.75 lbs. / 20.3 kg
61-key: 27.56 lbs. / 12.5 kg
Accessories:
AC cord, Quick Start Guide, Accessory DVD Disc 1, 2 (DVDs include Kronos
Operation Guide, Parameter Guide, and Voice Name List PDF files; Video
Manual; KORG USB-MIDI Driver; System
Restore Data, etc.)
So this is the difference between the two different architectures.
One is an OPEN one, the other it said so, but never was, and concerning sounds
of course, you could put anything you want into a workstation of the third kind,
and it would play it up to it's maxium
possibilities. ( Don't ask me what a workstation of the third kind is, because I will
have to answer you.)
And this has nothing to do with progress and technology, but with courage, and
the wish to sell and give the opportunity to musicians and artists to reach the
highest levels possible in creativity or not.
The jo jo game, as I call it. Progressing in devolution.
Canon has been hacked. Hackon was the consequence.
I guess this is what is going to happen next. Hackorg. Simple as this.
Now guess what this is........
AND NOW GUESS WHAT THIS IS AND NOW GUESS WHAT THIS IS
AND NOW GUESS WHAT THIS IS AND NOW GUESS WHAT THIS IS
AND NOW GUESS WHAT THIS IS AND NOW GUESS WHAT THIS IS
AND NOW GUESS WHAT THIS IS AND NOW GUESS WHAT THIS IS
AND NOW GUESS WHAT THIS IS AND NOW GUESS WHAT THIS IS
AND NOW GUESS WHAT THIS IS AND NOW GUESS WHAT THIS IS
A full music studio to go, with 61-keys, external keyboard, 15" LCD touchscreen,
software, and more.
61-key semi-weighted synth action keyboard (World-class Fatar Technology)
Control Surfaces: Pitch Bend and Modulation Wheels, Trackpad with 2 Buttons,
External Keyboard ("QWERTY") Module, Assignable Alpha II Control Module
(5 Faders and 5 Modes Buttons, 3 Transpose
Buttons, 5 Direction Buttons and 5 Transport Buttons)
High Speed Dual-Layer 8.5GB/Disk CD and DVD Burner
Internal 15" color touchscreen LCD high-resolution (1024 x 768), external video
port for running dual monitors or a video projector
Included software
Open Labs RiFF virtual instrument host
Open Labs Karsyn V1.6 independent host for all of your PC-based Virtual
Instruments (VST)
4Front Technology Truepianos provides the real feeling of an acoustic piano
Wusik Wusikstation V3: powerful advanced hybrid vector & wave-sequencer
sampler virtual instrument
Lenna Digital Sylenth virtual analog synthesizer with over 700 presets
Reaper DAW with unlimited tracks that records audio-MIDI and integrates all of
your Karsyn presets in an easy-to-use, drag-and-drop format
Also included:
Ableton Live 7
GURU
Livid Cell
Acronus OEM
Chicken Systems Format Converter
Digital Sound Factory Proteus 2000
Digital Sound Factory MoPhat
Digital Sound Factory Virtuoso
Dimension LE
Mr Porter sounds
New V5 Sound Library Software:
Software: Microsoft Windows XP Home, Open Labs Custom GUI (Graphic User
Interface), Open Labs Karsyn V1.6, Open Labs Riff, Open Labs MimiK, PC
Angel
PREMIUM Factory Sound Library V5: Accordion, Addictive Drums, Artphase,
EVM Bassline, EVM Ultrasonique, BB303i, Blood Bucket, Crystal, Cubix,
Highlife, Lallapallooza Lite, MDA DX10, MDA
JX10, Microsynt, Mini Erhu, Minimal, Monolisa, Motion, Mr. Alias, Mr. Ray 22,
Mr. Ray 73, Mr. Tramp, Nanotron 2, Organized Trio, Phadiz, Plugsound Free,
Protoplasm 21, RealGuitar, Rez, Rogue, String
Synth, String Theory, STS-26, Super Spook Keys, Synth 1, Tiki Clav
Included Accessories:
Power cable
Quick Start guide
Allen wrench
Open Labs NeKo XXL Portable Keyboard Workstation
With a 15" touchscreen, 61 keys, integrated QWERTY keyboard, and optimized
Windows OS, NeKo XXL is an entirely new class of multimedia instrument. This
portable media production station was
specifically designed with keyboard playability, fusing both worlds of studio
engineering and live performance effortlessly.
The Open Labs NeKo XXL's optimized Windows OS natively supports virtually
any music application or plug-in developed for a PC. From Pro Tools to Nuendo,
Native Instruments Komplete to
Spectrasonics Omnisphere, NeKo LX5 does it all with ease.
This Gen5 NeKo XXL is equipped with the Bump MP integrated drum module,
designed to allow the user to create beats and trigger any sound, loop, or sample
in real time. Enhanced with a special Open
Labs version of Guru from FXpansion, key features of the Bump MP include: (16
plus 1) fully assignable pads, note repeat, max level, fixed level fader, transport
controls, chromatic mode, hold, pad tune,
multiple groove preset, and eight engines with 24 presets per engine.
This special keyboard workstation is also equipped with the Open Labs Mix/Edit
controller. The mixer section consists of multiple fully assignable controls including:
(Cool encoders, (Cool lighted buttons,
(Cool faders, (4 X 4) banks (total of 128 channels), and (1) master volume fader.
The edit section consists of multiple, fully assignable controls including: (Cool
encoders, (1) LCD display (for encoders), (4)
buttons, and (4) banks (total of 32 control parameters).
Exclusive to the Gen5 Open Labs NeKo XXL is the redesigned, fully mappable
Alpha II Panel, which allows the user to control any parameter they desire, and
two phantom-powered preamps in addition to
the eight I/Os. A full version of the multiple award-winning Ableton Live 7 is also
included for the first time in the XXL's history.
NeKo XXL is full of relevant and compelling sounds like Open Labs' The
Master's Series Library produced by multi-platinum producer Mr. Porter (Denaun
Porter), as well as Open Labs' own V5 sound,
sample, and loop library.
Part of the included software package, Open Labs Riff is an entirely new concept
in virtual instrument hosting. Written from the ground up by Open Labs, Riff
encompasses over 6 years of live performance
and studio production knowledge gathered from some of the world's top artists,
engineers, composers, and producers. Its advanced features include Live Controls
which allows the user to create any number
of virtual controls in real time that can be mapped to various effects and other
parameters. Advanced intelligence allows any number of virtual controllers to
manipulate any number of other virtual controllers,
providing automation for virtual instruments and effects. Rewire allows for this
powerful host application to be used within any DAW program.
Open Labs instruments are equipped with FireWire, USB, PCI EXPRESS and an
Ethernet port, allowing access to the Internet via a broadband connection. Open
Labs' tech support can log-in to your
system, and their online technicians can remotely view and diagnose any issue—
while you are still in your own studio.
Included in the NeKo XXL's arsenal is over 200 world-class virtual instruments
and effects, as well as over 20,000 presets with virtually unlimited capability for
third party plug-ins and applications.
Order today with the no-risk assurance of our Total Satisfaction and Low Price
Guarantees!
CPU: 2.5 GHz Core2Quad
Memory: 4GB RAM
Storage: 4TB
Expansion Slots: (1) 5.25" Dual-Layer DVD-RW burner (8.5GB/disc)
Audio I/O:
(1) High Performance Audio I/O Card with Low Latency including 24-bit/96kHz
professional 10-in/10-out: (2) mic/instrument preamp inputs (with Phantom Power
48V), (Cool analog line inputs, (10) analog
line outputs, S/PDIF digital I/O (coaxial), (1) Headphone Jack with Volume
Control
Connection: MIDI In/Out, 1) Sustain and (1) Expression ports, 2) USB 2.0 ports,
(1) FireWire 400 port, (1) Gigabit (10/100/1000) Ethernet port
Power Supply: 500+ Watt power supply, whisper quiet cooling fans (internal
chassis, processor & power supply)
Dimensions: 46"W X 20"D X 7"H
Weight: 46lb.
NOW COMPARE THE SPECS PLEASE
NOW COMPARE THE SPECS PLEASE
NOW COMPARE THE SPECS PLEASE
NOW COMPARE THE SPECS PLEASE
Thats why I wrote them up there for you.
This creature exists.
See what I mean when I say that Korg did not have the courage to go Open.
These are the simple facts. Data. No discussion about facts please.
30 giga vs 4 TB OH MY GOD
Compare anything you want, and you will see the difference.
It's not as nice, but OPEN LABS thought about creating something up to date.
Now, just tell me if the Korg workstations don't look obsolete compared to this
product.
The day KORG PRODUCERS will use UP TO DATE hardware it will be a
wonderful one.
even though I believe that they will ask too much for it....
I suppose that if they wanted to sell such a kind of workstation, they would ask
for something like 10.000 to 20.000 dollars.
Neko costs 6000 dollars, and it's worth 60.000 dollars plug ins.
Even if we are not talking avout the future, but about the past.
The apparently made this machine in 2006.
Got the picture?
It exists.
So, here we are.
THE TRUE STORY OF OASYS THE TRUE STORY OF OASYS THE TRUE
STORY OF OASYS THE TRUE STORY OF OASYS
THE TRUE STORY OF OASYS THE TRUE STORY OF OASYS THE TRUE
STORY OF OASYS THE TRUE STORY OF OASYS
THE TRUE STORY OF OASYS THE TRUE STORY OF OASYS THE TRUE
STORY OF OASYS THE TRUE STORY OF OASYS
This is the true story by Michael Lauer, that made the research, so I will just tell
you the basic facts.
I shall go back to 1994, and if you have a few minutes i will clear out what this is
all about.
This page is a tribute to the KORG OASYS project — a truly revolutionary
synthesizer concept which due to a lot of sad coincidences never saw the light of
day (at least in the originally developed version.
I’m very well aware that there is a KORG OASYS since 2005).
The “Blue Bomber” hardware prototype.
Korg OASYS Blue Bomber Prototype
A Summary of OASYS features — based on a KORG press release from 1994
Custom, high-performance Digital Signal Processor (DSP) system
High-performance custom DSPs, designed specifically for OASYS(R) deliver an
unprecedented amount of synthesis power and flexibility. This power and flexibility
frees synthesis algorithms from their
traditional hardware-based limitations, and makes open-architecture, software-
based synthesis possible.
Software-based synthesis
OASYS(R) creates its synthesis and effects in software, not in hardware. This is
the basic concept behind all of the OASYS(R) features.
Supports many different types of synthesis
OASYS(R) supports all available synthesis technologies, currently including
physical modeling, additive synthesis, FM, true analog simulations, stereo sample
playback, vector synthesis, and wave sequencing.
New synthesis techniques will be created in the future; sound designers will be
able to build algorithms which use these techniques, and OASYS(R) will be able
to play those sounds.
Advanced, polyphonic physical modeling
OASYS(R) includes advanced, polyphonic physical modeling synthesis
algorithms. Instead of relying on a single, generic “physical modeling” algorithm,
OASYS(R) makes it possible to use many different
algorithms, each designed for a specific acoustic or electro-mechanical instrument.
Disk loaded, RAM-based algorithms
Synthesis and effects algorithms are loaded from disk, so that as sound designers
create new algorithms, they can be distributed quickly and cost-effectively. There
is no fixed set of ROM algorithms; all
algorithms are stored in RAM. New algorithms don’t require upgrades to the
operating system, even if they use completely new synthesis techniques. Sounds
and effects load their own algorithms
automatically, for instant, transparent upgrades.
Uncompromised, fully professional sound
OASYS(R) is simply the most flexible synthesis platform ever developed. Sound
designers can custom-build completely different algorithms for each sound, free
from the constraints of preset architectures.
This unprecedented flexibility allows sound designers to choose-and create the
best possible method for making a particular sound, and fine-tune its timbre and
response to the player to degrees impossible on
any other instrument. 20-bit 48kHz, 128-times oversampling D/A converters on
all 8 outputs deliver the OASYS(R) sound with total clarity. Professional
musicians will appreciate the unparalleled quality of
OASYS(R)
Touch-screen and graphical interface
OASYS(R) features Korg’s new, intuitive TouchView(TM) graphical user
interface.
Expressive Controllers
In addition to its 76-key, after/ouch-sensitive keyboard, OASYS(R) provides
sophisticated controllers for unprecedented expressiveness, including a pressure-
sensitive ribbon controller, breath controller
input, modulation joystick with both normal and vector modes, and more.
The OASYS(R) system
The OASYS(R) system is a patented
(U.S. patent number 5,376,752), ( finally some interesting data )
I bet you did not know this information. So take a look and find out by yourself.
multiple digital signal processor (DSP) architecture, with the entire system clocking
in at over 900 million instructions per second. This incredible processing power
makes possible the revolutionary
breakthrough of OASYS(R) open architecture, software-based synthesis. Instead
of using dedicated hardware to produce oscillators, filters, and other synthesis
elements, OASYS(R) uses software to
construct them out of DSP resources. You can think of these DSP resources as
tiny building blocks, like the components which make up electronic circuits; put
together one way, they create an LFO; put
together another way, and they make an EQ an oscillator, a reverb, or an
envelope. Other instruments have been partially based on software technology, but
they’ve always been constrained by more or less
fixed architectures: a fixed number of voices of polyphony, limited amounts of
power for filters or other processing, predetermined basic signal paths, and most
importantly, a fixed number of synthesis
algorithms (usually, only one). This is where the OASYS(R) open architecture
comes in. OASYS(R) has no pre-defined oscillators, filters, envelopes, LFO’s, or
other synthesis elements; no fixed signal
