Korg Synth Vst

[Adriana Gowen]

Ifthe keys have grown up, the size of both the mod wheel and pitch-bender suggests that they originated in Hobbiton; the mod wheel in particular has a very short travel, ideal for hobbit fingers. I'm not complaining, though; I prefer my gear as petite as possible and three octaves is a serviceable length, made cheerier by octave transposition buttons that change colour according to the amount of transposition, passing through green and orange and finally arriving at red to denote that the maximum three octaves up or down has been reached.

For its power needs, the R3 is accompanied by yet another variation on Korg's plastic carpet-carbuncles. Given that we are doomed to suffer these things eternally squatting on our four-ways, why on earth can't they settle on just one type? Sadly there's no battery option either, which, given the R3's weight of less than 3kg, is a blow to potential portable performers.

Everything else in the connection department is as you would expect; there are the requisite number of MIDI sockets (three), a USB port, stereo audio outputs and assignable footpedal connectors. The R3 has two inputs for the processing of external audio, while on the front panel there's an additional XLR socket for the supplied gooseneck microphone. Slot in the mic and you can bend it round when you fancy a bit of vocalising and thrust it to one side when you don't. It's neat and effective and will surely encourage lots of gratuitous vocoding, plus all kinds of malarkey involving the onboard filters and effects.

Navigation through the various edit pages is via a single dial, with each page containing up to four options. Many of these pages show the parameter name initially in the display, then when you turn the knob its value is revealed. In some instances this is irritating; for example, when setting up modulation via the virtual patch cords, the main display might say 'Patch 6' while the first of the sub-displays says 'Source 6' and the next 'Dest 6'. You must turn the knob before seeing what the sources/destinations actually are. I'm confident some bright spark at Korg could devise a better method of labelling than this.

Fortunately the knobs have green LED sleeves that graphically illustrate the underlying values. These, combined with the 'original value' LED, should be adequate to undo things speedily when a tweak doesn't work out. There's an alternate knob mode, 'Catch', in which the parameters begin to change only when you turn the knob past the stored value; ideal for seamless changes, as with non-programmable synths of yore.

All of the R3's features can be operated using the rather minimal set of controls on the front panel.The R3 is blessed with Korg's Multiple Modelling Technology (MMT), so don't expect to only hear analogue-type sounds. Each timbre features a twin oscillator and filter structure with a versatile drive/waveshaping section, two LFOs and three envelopes. Getting a final spit-and-polish courtesy of two insert effects and an EQ, a master effect section then processes both timbres equally. By anyone's standards, this is a varied box of sonic screwdrivers, especially when you factor in virtual patching, modulation sequencers, a vocoder and an arpeggiator. If you can't get the job done with the R3, it won't be for lack of tools.

Of the two oscillators, oscillator one is the more complex, offering modelled analogue waveforms, formant (vocal-type) waves, noise, 64 digital waveforms and the audio inputs as sound sources. This oscillator is further spiced up by a selection of modulation types, each applicable to the wave selected. There's pulse-width modulation, cross modulation, unison and also VPM (the latter a simple but effective form of FM). If, by contrast, oscillator two seems basic, we shouldn't complain too much. It still features the usual analogue waveforms, plus oscillator sync and ring modulation. And at the mixer stage, a separate noise source is always on tap to instantly satisfy any urge to whoosh or swoosh.

It may surprise you to discover that chunky bass and full-bodied solo patches can be programmed using just a single oscillator. A cunning way of adding extra fatness involves the Drive/Waveshaper, whose charms include hard clipping, drive, several sub-oscillators and an electromagnetic pickup simulator. Drive/Waveshaper can be positioned before or after the filter and is responsible for some of the R3's rougher, more cutting tones. When used subtly, it can impart a surprisingly organic, warm character to sounds.

Finally, the two LFOs and three envelopes are vital inputs to Korg's virtual patching system. This is a means of connecting a small selection of modulation sources to a similarly small selection of destinations. Virtual patching may be underwhelming for those of us who cut our teeth on Access, Alesis or Oberheim synths, yet it does add some programming depth.

Having used formant motion in my Radias for the last year, I find it slightly limiting that you can't alter the tempo of formants post-capture. Also, I'd love to be able to step through the transients by playing notes, V-Synth-style. As it is, you can either loop your formants or you can retrigger them from the start, on each note. That said, it's a worthwhile feature to have, as demonstrated by several factory patches.

Seen on earlier Korg synths and the Electribe series, modulation sequences are a means to specify knob widdles to be played back automatically, just like an old-style analogue sequencer. Each timbre has one modulation sequence (the Radias has three) of up to 16 steps and is designed to control an individual R3 parameter or one of the performance knobs you've assigned. Actually, some parameters are frustratingly out of bounds; for example, any that are effects-related. You only learn which parameters cannot be modulation sequenced when you try to record them and find that nothing happens.

The easiest way to create a modulation sequence is to activate the Mod Sequence function, then hit the adjacent Record button. Then, while holding down notes on the keyboard, turn the knob of your choice. That's it! The ring of 16 LEDs that indicates the category in play mode is used to good effect here: during recording, a light chases around this ring to indicate the Mod Sequence's progression. For greater precision, you can edit each step's value by turning a knob acting as 'step number', while a second knob is used to adjust the value. The resulting modulation sequence can be smoothed or stepped and can run in a choice of directions and clock divisions.

Seasoned sequencer and arpeggiator users will feel duty-bound to add clock-sync'd gate, delay and LFO effects, before generating complex polyrhythms by combining arpeggios and modulation sequences of differing lengths. Warning: this can be dangerously addictive.

Having just four knobs means the R3 is never going to be as fast and immediate as some of its competitors and, as you've probably gathered, I wasn't too impressed by those gloomy red displays. However, anyone of a computery disposition will find that the supplied Editor software quickly eases any editing pains, while also being the perfect tool to assemble libraries of your favourite patches, ready to shunt around those precious 128 memory slots.

In a year of use, I have grown ever more fond of my Radias and can imagine the R3 appealing to any who desire those lush, juicy tones in a more affordable, compact and convenient form. Capable of filling many different roles, the R3 is a little synth with a big heart.

The R3 is a light, readily-transportable keyboard, loaded with classy sounds and more options than its impassive exterior might imply. As a vocoder, solo synth or simply something to noodle with on a rainy day, the R3 should provide hours of pleasure.

All contents copyright SOS Publications Group and/or its licensors, 1985-2024. All rights reserved.

The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

It can take time to decide which Korg synthesizer fits you best. Sweetwater has detailed filters that can help you find the right Korg synthesizer based on series, price point, style, and much more. If you want to know more about a specific Korg synthesizer, head over to our YouTube channel to see your favorite gear in action, so you know what to expect when you get it.

Sweetwater is your research destination for finding the best Korg synthesizer for you. Check out our buying advice for synthesizer or explore our vast library of synthesizer demo videos on YouTube to check out today's most exciting Korg synthesizers in action! If you prefer personalized recommendations, our knowledgeable Sweetwater Sales Engineers can guide you to the Korg synthesizer that's a perfect fit for you!

I would really love to get original MS-20 and/or new Minikorg 700fs. I believe they are really inspiring machines, sound so distinct. Also I kinda liked MS2000 for a bit thin but inspiring sound. Would love to see cool new VA with a lot of knobs from K.

The Korg Micro Preset synthesizer is a curious late 1970s beast with aslightly bizarre matrix of pre-set sounds, including laughable woodwindand similar noises and a low-quality keyboard all housed in a woodenbox! It's a 32-note monophonic preset synthesizer with 6 push-buttonpresets including voice, synth1, synth2, brass, string, and wood. Itssingle-oscillator design has only rudimentary decay/release envelopecontrols and no access to the guts of the sound generation stuff.Perhaps it was aimed at the beginners market.

Once you're over the outward appearance, a bit of probing will reveal anoise box that sounds remarkably similar to the MS-10 at times. There is a lot of fun to be hadwith the 'traveller' control, a sort of filter and resonance controlrolled into one, offering interesting squelchy acid-style bass runeffects. In fact, like the MS-10, bass is aboutall you'll get out of this oddity in terms of useful noises. But overallthis is a bit of a novelty synth, and is not especially playable nordistinctive - apart from its looks! There are absolutely no MIDI, CVnor similar inputs so you can forget about any of that. Add N To (X),The Human League, OMD, Jean Michel Jarre, OMD, Pop Will Eat Itself andBrian Eno are thought to have used the Micro Preset.

3a8082e126