Filter
Top Products
Introduction to OASYS
10
pizzicato, and sforzando, as well as four-level velocity
switching and crossfading to ensure a natural range of
expression.
Reed instruments such as sax and oboe were sampled
for extended times to include natural-sounding vibrato
produced by the player.
The drums that are so important for the overall
character of a track also use stereo sampling, with long
samples that capture the natural decay and four-level
velocity switching and crossfading for natural
dynamics.
Wave sequencing – generating textured tones or
rhythmic sounds
In addition to simply playing back the PCM
waveform, the HD-1 High Definition Synthesizer’s
oscillators also support Korg’s proprietary Wave
Sequencing functionality.
Wave sequencing successively switches through PCM
waveforms, crossfading between different sounds to
create textured tones or rhythmic sound designs. Made
famous on Korg’s WAVESTATION, wave sequencing
has been redesigned to be even easier and more
creative than ever.
You don’t have to stop with simply playing back PCM
waveforms in succession – you can freely specify the
timing, length, and pitch of each waveform. The
timing at which waveforms are switched can even be
synchronized to the tempo. You can also use AMS
(Alternate Modulation Sources) to obtain sound design
possibilities that are completely unthinkable for a
conventional PCM synthesizer; for example, you can
use the output of an envelope generator to control the
timing at which waveforms are switched.
Advanced Vector Synthesis – create not only
sounds, but also sound fields
The OASYS includes Advanced Vector Synthesis,
which lets you synthesize spatial sound-fields.
In Combination mode, you can assign each timbre to
one of the four directions (up, down, left, or right), and
use the front-panel Vector Joystick to control the timbre
volumes or effects.
In Program mode, you can use this for realtime control
over the balance between oscillators 1 and 2 or for
controlling effects, giving you a powerful tool to create
sounds with dynamic movement.
In addition to controlling the Vector position manually
in realtime, you can use the five-point Vector Envelope
to control vectors automatically. For each point, you
can specify the Vector position, how long the envelope
will hold at the point, and how long it will take to
transition to the next point. Transition and hold times
can use either absolute time, or rhythmic values
synchronized to the system tempo.
Ultra high-precision filters are the core of sound
design
Because of its power and conceptual ease of
understanding, subtractive synthesis (the technique of
creating sound by selectively removing portions from
an overtone-rich waveform) has become the standard
for synthesizers today. One of the most important
components of subtractive synthesis is the filter.
The filter section of the HD-1 High Definition
synthesizer provides four filtering types (low pass,
high pass, band pass, and band reject) and four types
of routing (single, serial, parallel, and 24 dB).
The amazing power of the OA (Open Architecture)
synthesis system produces natural and beautiful
filtering that does not weaken the sound, delivering
smooth filter sweeps and resonance.
The amp of the OASYS contains driver circuitry that
covers a wide range of distortion, from the mild and
warm overdrive characteristic of classic analog
synthesizers, to the sharp distortion produced by
audio signal feedback.
In addition, the key tracking generator allows the
filtering to vary according to the keyboard range; you
can apply subtle filtering for convincing simulation
sounds, or aggressive filtering that produces drastic
changes in filtering as you play up or down the
keyboard.
Dive into an ocean of creative potential – flexible
modulation routing, EG, LFO, and AMS
OASYS takes advantage of its lavish amount of
available processing power to produce ultra-fast and
ultra-smooth EGs (envelope generators) and LFOs.
EGs allow you to specify how the sound develops over
time, from its onset to its end. The HD-1 High
Definition Synthesizer lets you adjust the curvature of
each EG stage (attack, decay, slope, and release), giving
you detailed control over how the tone and volume
change over time, and making it possible to program
anything from simulated acoustic sounds to vintage
synthesizer sounds in the utmost detail.
The HD-1 provides a common LFO for each timbre and
two LFOs for each voice. You can choose from eighteen
types of LFO waveform, and also adjust the phase of
the waveform, the curve, and the center value of the
amplitude to create distinctively modulated sounds
that have never been heard before. Since the waveform
itself is generated with extremely high precision, you
can create perfectly smooth sweeps. You’ll appreciate
the LFO’s tightness and accuracy not just at high
speeds, but also for low-speed modulation. It goes
without saying that you can also apply key sync so that
the same modulation occurs each time a note is played,
or synchronize the modulation speed to the tempo to
create rhythmical tonal changes.
Korg’s AMS (Alternate Modulation Sources) give you a
rich array of modulation possibilities, with 52 different
modulation sources you can use to control the sound in
complex ways. The OASYS takes this classic Korg
feature even further, via the AMS Mixers. These let you
create even more detailed modulation designs, such as
mixing two modulation sources together, multiplying
one modulation source by another, or modifying the
shape of the modulation source in various ways.
Detailed Specifications
• Advanced Vector Synthesis: Use the vector joystick
and vector envelope (tempo synchronization