Although there is still quite an appetite for analogue synthesisers, there are a lot of new digital synthesisers that have been impressing us in the last few years. None more so than the digital synthesisers Korg is currently producing.
Korg has produced a lot of revolutionary electronic musical technology since their Disc Rotary Electric Auto Rhythm Machine, Donca Metic DA-20 in 1962 and continues to release relevant workstations, synthesisers and drum machines to this day.
Today we are going to have a look at 2 powerful machines in Korg’s digital synthesis lineup, the Korg Wavestate and the Korg Opsix. Both share some similarities, such as shape, appearance and some basic functions but they both approach synthesis differently. Let’s take a look.
Korg Wavestate
The new Wavestate builds upon Korg Wavestation’s legacy. Originally released for sale in 1990, The WS-1 was the first synthesiser to be born into the Wavestation family. Since Korg focused on other flagship products in their range – like the Trinity Workstation and the Prophecy synthesiser in the mid-90s – Wavestation technology was put aside. 30 years later, there is an all-improved little brother bursting onto the scene where the big brother left off, the Korg Wavestate.
The Wavestate uses wave sequencing synthesis to produce its sounds and textures. Improving on the wave sequencing from the Wavestation of the 90’s, the Wavestate is equipped with Wave Sequencing 2.0. In an attempt to avoid a nostalgic replica, Korg has worked hard on implementing new features that set their new product apart from the original.
What is wave sequencing synthesis?
Wave sequencing synthesis is a form of audio synthesis that was originally invented by Korg. In more academic circles, ones to which I do not belong, wave sequencing synthesis can also be known as concatenative synthesis. Long story short, this is a technique for creating sound by linking together different fragments of recorded sound samples.
Doing this can create totally new sounds and result in very interesting noises. If you are looking for a more definitive explanation, I’d check out YouTube. There is plenty of nerdy synthesis videos out there that do a much better job of explaining wave sequencing synthesis than I do.
Is the Wavestate any good?
Where the Wavestate does borrow from the original is the 4 channel layering. The Wavestate will allow you to layer up to 4 different programmes together. Each of these different programmes has its own individual set of wave sequences which can be played together. The layers are named A, B, C and D. This is where the Vector Synthesis engine comes into play. The Vector Synthesis engine can be controlled by the Vector Stick, which allows the player to blend between the 4 different layers whilst they are playing.
The main difference that Wave Sequencing 2.0 gives is that the new engine uses a system of six lanes which will let the player programme gate, step sequencers, shapes, pitch, timing and samples independently. Every time the selected sequence moves forward, the independently manipulated lanes are combined to create the overall output.
The step order can also be randomised by the lanes whilst you are playing, all of which will result in ever-changing sounds and a synthesiser which is a lot more performance-based than the original unit allowed for. If you can’t be bothered tuning in any of these different parameters, there is a dice icon that will completely randomise the sound. Pretty fun right?
The Wavestate is brilliant at producing atmospheric and ambient soundscapes which makes it great for soundtrack composers but it also does a lot more than this. Korg state that the Wavestate’s library is more than 1000 times larger than the Wavestation.
There is plenty in there to keep you synthesising for hours. Luckily, it has a headphone input, so you shouldn’t annoy your neighbours or flatmates exploring this expansive library. The huge library of onboard sounds includes 240 performances, 740 programmes and a whopping 1000 wave sequences. If you prefer to use your own samples you can do that, there is room on the Wavestate to import 4GB of your own samples on board. You do, however, have to use Korg’s Sample Builder in order to do this.
Other features on this interesting little machine include 64 notes of stereo polyphony, and a whole load of effects; pre-effects, modulation effects and delay. You can save up to 64 of your own patches, saving them in a certain order in a set list menu. There is a tap tempo button and different filter types, such as the poly6, the MS-20 and 37 full-sized keys. Give one a go, they are super fun!
Korg Opsix.
So we’ve had a look at Wave Sequencing synthesis, next up is the Korg Opsix which uses Frequency Modulating Synthesis. This type of synthesis can be very adaptable and versatile and has been found across a lot of different music genres. Think bell-like ambient synth sounds you would hear from Brian Eno, the crunchier bass sounds of Skinny Puppy or the floaty melodies of Mac Demarco. All have used FM synthesis at one point in time to great effect. Although FM synthesis is often considered difficult to programme the Korg Opsix makes it a whole lot easier and much more performance based.
What is FM synthesis?
In its most straightforward explanation, FM synthesis is frequency modulating synthesis, where the frequency of the waveform is changed by modulating its frequency with a modulator. If you think of Modulation a technical term for wiggling, and Frequency a technical word for pitch, frequency modulation is essentially wiggling the pitch of an oscillator. Easy!
Is the Korg Opsix any good?
Now that is a very simple explanation of FM synthesis, but the beauty of the Korg Opsix is that it is probably the most user-friendly FM synthesiser on the market. Although the Opsix is slightly different from a more traditional FM synthesiser like the Yamaha DX-7, Korg themselves have named it ‘Altered FM Synthesis’. The biggest difference between the Opsix and the DX-7 is the filter that can be applied once you have created your sound. There are a lot of filter choices to choose from including low pass, high pass and band reject which will really effect the final tone of your synthesiser.
There are also 3 stages of effects that can be applied and each effect can have up to 30 different choices. Korg have implemented these changes on the Opsix to get you closer to a complete sound, without having to use any external pieces of hardware or software. The effects on offer include all of the usual suspects like delays, phaser, compressor, reverbs and chorus.
You can also get creative with the 16-step polyphonic sequencer which works in either step mode or real-time mode. It is relatively simple to use and you can quickly get a pattern down without too much hassle. You can overdub your sequence as you please and there are handy features like a key shifter, which makes the sequencer a lot more musical than a sequencer usually would be.
Like the WaveState, there is a Randomize button, so if you are stuck for creativity or just want a whacky sound at the touch of a button, the Opsix has you covered. You can choose to randomise all of the parameters or do so individually, you can randomise the operator, the algorithm or the sequencer individually. It also has 37 full-size keys, in a compact and lightweight body. You could take this thing on the train and get your Brian Eno on if you really desired.
On the face of the Opsix, there are 6 faders and 6 knobs which are part of the operator mixer. These are good quality components and allow the user to explore new sounds even if you don’t have a clue how FM synthesis works. If you want to pay a little closer attention to what they do, Korg has made the knobs and faders colour co-ordinated, modulators are coloured blue and carriers are coloured red.
All in all, Korg have spent a lot of time considering what would make an FM synthesiser appealing to those who are synth-geeks and the others out there who are baby-faced beginners looking to dip their toes in the water. Check them out if you have the chance!