Korg Radias Virtual Analog Synthesizer

• Korg Radias Virtual Analog Synthesizer Software
• Korg Radius Virtual Analog Synthesizer System
• Korg Radius Virtual Analog Synthesizer Download
• Korg Analog Synthesizer Prolog
• Korg Radias Virtual Analog Synthesizer For Sale

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• The six virtual patches are modern versions of the patch cords found on Korg’s classic PS and MS series of synthesizers, among other legends of the past. Going beyond the hardwired limits of a normal voice structure, a virtual patch provides a method for freely connecting any of eleven modulation sources to any of fifteen destinations, accommodating even the most advanced modulation routings.
• The six virtual patches are modern versions of the patch cords found on Korg’s classic PS and MS series of synthesizers, among other legends of the past. Going beyond the hardwired limits of a normal voice structure, a virtual patch provides a method for freely connecting any of eleven modulation sources to any of fifteen destinations, accommodating even the most advanced modulation routings.

The Korg MS-20 is a patchable semi-modular monophonicanalog synthesizer which Korg released in 1978 and which was in production until 1983.^[1] It was part of Korg's MS series of instruments, which also included the single oscillator MS-10, the keyboardless MS-50 module, the SQ-10 sequencer, and the VC-10 Vocoder. Additional devices included the MS-01 Foot Controller, MS-02 Interface, MS-03 Signal Processor, and MS-04 Modulation Pedal.

Although the MS-20 follows a conventional subtractive synthesis architecture of oscillators/filter/vca, its patch panel allows some rerouting of both audio and modulation, and it includes an external signal processor. This flexibility led to its resurgence during the analog revival of the late 1990s.

In 2013, Korg responded to a revived interest in monophonic analog synthesizers by reintroducing the MS-20 in a reduced-sized form, as the MS-20 Mini. Apart from being 86% of the size of the original, the use of 1/8' jacks on the patch area, and the addition of MIDI capabilities, the MS-20 Mini is otherwise electronically identical to the original.

Architecture[edit]

Audio path[edit]

Oscillators[edit]

The MS-20 has two VCOs. The output of VCO1 can be set to triangle, sawtooth, adjustable-width pulse or white noise. The output of VCO2 can be set to sawtooth, square, rectangle or 'ring mod' which is in fact an exclusive-OR between the pulse output of VCO1 and the square wave output of VCO2.^{[citation needed]} Although the pulse width of VCO1 is adjustable, there is no voltage control for this parameter and as a result pulse width modulation is not possible although mods have successfully achieved this.^{[citation needed]} The VCOs have Hz/V voltage control inputs but note that oct/V scaling is available via judicious use of the 'total' CV input socket.^{[citation needed]}

Filters[edit]

There are two VCFs in series. The first is a 6 dB/oct ^[2][3] high-pass, the second a 12 dB/oct low-pass. Resonance ('peak' in Korg parlance) is adjustable but not voltage-controlled.

Originally, the filters used Korg's proprietary KORG-35 thick film IC. Later, the filters were redesigned to use off-the-shelf LM13600OTAs. MS-20 units fitted with LM13600 filters have a small daughter board; the front panel on such units often has a tell-tale mounting screw whose head is visible in the vicinity of the VCA block diagram. However, a report to the Analogue Heaven email list in January 2010 identified an MS-20 with the front panel screw but containing the Korg 35 filter thick film circuit rather than the expected LM13600 circuit.

A useful illustration of the Korg-35 filter in-circuit is shown here ^[4] and some photographs illustrating the later LM13600 filter daughterboard are shown here ^[5] (both URLs valid as of May 4, 2013). The tonal difference between the two is that the original Korg-35 filter has a slight amount of hiss which overdrives into the sound at high resonant settings. This causes the filter to have more of a 'screaming' effect similar to it being used with a distortion pedal. The revised filter has most of this noise cleared up and is less aggressive sounding.

Output[edit]

The final component in the audio path is a VCA. It is a single-transistor design, based on a selected 2SC945 which is an NPN silicon device (equivalenced by 2N2222A according to the Towers' International Transistor Selector book, update 5 (ISBN978-0-572-02121-4, 90100)).

Modulation[edit]

Modulation generator[edit]

The MS-20 has a low frequency oscillator, labelled 'modulation generator'. It has two controls (rate and shape) and two outputs (pulse and sloped).

The shape control was a rather unusual feature for the time. It affects the duty cycle of the pulse output and the shape of the sloped output. When the control is at the anticlockwise end, the pulse width is very high (pulse output stays high for most of the cycle) and the sloped output is an upward sawtooth wave. At the clockwise end, the pulse width is very low (pulse output stays low for most of the cycle) and the sloped output is a downward sawtooth wave. At midway, the pulse width is 50% (pulse output is a square wave) and the sloped output is a triangle wave.

The pulse output is available through the patch panel. It is unipolar (0 or +5V) and suitable for triggering the S&H or the envelope generators.

The sloped output is bipolar (-2.5V to +2.5V). Like the pulse output, it is available through a dedicated jack on the patch panel. It also feeds the top modulation bus and so can be used to modulate the frequency of the VCOs and the cutoff frequency of either or both VCF without patching.

Envelopes[edit]

There are two envelope generators. EG1 has Delay, Attack, and Release parameters, whilst EG2 has Hold, Attack, Decay, Sustain and Release. The envelope generators have S-trig trigger inputs.

Other sources and options[edit]

The MS-20 also includes a noise source (pink and white), a separate vactrol-based modulation VCA, a wheel controller, and a trigger button. It is possible to connect the MS-20 to a step sequencer like the SQ-10 (another product by Korg). This involves making use of the CV input and the trigger input which connects straight to the SQ-10, this means that the synthesizer and the step sequencer can work in synchronisation to play the notes when the next step of the sequencers pattern is triggered. In theory it is possible to connect any analogue sequencer to the MS-20 providing it has a trigger and CV output.

External signal processor[edit]

The MS-20 includes a frequency-voltage converter, envelope follower and gate extractor which can be used to drive it with an external signal. By connecting the output of the F-V converter to the CV input of the VCOs (VCO 1+2 CV IN) and the output of the gate extractor to the trigger input of the envelope generators (TRIG IN), the operator can play the MS-20 through his/her voice or another instrument.

Instead of triggering the envelope generators, one can connect the output of the envelope follower to the main VCA's INITIAL GAIN input. In that mode of operation, the envelope generators are not used and the envelope of the MS-20's output is simply that of the external signal.

MS-20 reissues[edit]

In January, 2013, Korg announced at NAMM that the company would release the Korg MS-20 mini. It is 86% the size of the Korg MS-20. The mini was designed by the engineers who developed the original MS-20. It aims to be a faithful re-release of the original electronic circuits of the MS-20. The MS-20 mini features 1/8-inch input and output jacks, a MIDI IN jack as well as USB MIDI (input and output).^[6]

In January, 2014, Korg announced that they would release a limited edition full-size unassembled MS-20. Like the MS-20 Mini, this kit adds MIDI and USB connectivity. The MS-20 Kit also includes both MS-20 filter revisions, selectable by the user.

In January, 2015, Korg announced at the 2015 NAMM show they would release an unassembled desktop module kit called the 'MS-20M Kit.' The module kit does not include a keyboard and was sold as a bundle with the Korg SQ-1 step sequencer. This version features self-oscillating high-pass/low-pass filters with distinctive distortion, toggle switches for VCO 1 to 2 sync / VCO 1 to 2 FM, a toggle to switch between rev 1 and rev 2 filter designs, PWM IN jack allows pulse width modulation, supports all CV/GATE specifications: Hz/V and V/Oct, S-Trig and V-Trig, a MIDI IN connector and USB MIDI connector, and adds a junction patching bay for integration with SQ-1.

In September of 2019, Behringer announced their low-cost clone of the MS-20, the K-2.^[7]

At NAMM 2020, Korg announced a full size reissue of the MS-20, the MS-20 FS.

Software emulations[edit]

There is a software emulator of the MS-20 included in the KORG legacy Collection. As well as a standalone emulator, the Legacy Collection provides the MS-20 as a virtual instrument (VST). The external signal processor is implemented separately as a VST effect called MS-20EX. This same software emulated MS-20 was also part of the LAC-1 expansion for the Korg OASYS and is one of the Korg Kronos sound engines.

KORG DS-10 is a music creation program for the Nintendo DS that emulates the Korg MS range of synthesizers.

KORG iMS-20 is an MS-20 emulator for the iPad.

Notable users[edit]

• Chrislo Haas^[8]
• Steve Hillier of Dubstar
• Kurt Dahlke^[8]
• Robert Görl^[8]

References[edit]

1. ^http://www.cyborgstudio.com/synthmp3s/korg/ms20/manual/ms20servicemanual.pdf
2. ^http://www.timstinchcombe.co.uk/synth/MS20_study.pdf
3. ^'A-106'. Doepfer.de. 2010-06-18. Retrieved 2013-10-07.
4. ^https://web.archive.org/web/20150619232549/http://www.punkdisco.co.uk/misc/gear/Korg/MS20/Disassemble1.jpg
5. ^'KORG MS-20 'VERSION 2''. Nwheaton.homemail.com.au. 2006-05-11. Retrieved 2013-10-07.
6. ^'RA Reviews: Korg - MS-20 Mini (Tech)'. Residentadvisor.net. Retrieved 2013-10-07.
7. ^https://www.musicradar.com/news/out-of-nowhere-behringer-announces-its-ms-20-clone-the-k-2
8. ^ ^abcRudi Esch, Electri_City: The Düsseldorf School of Electronic Music, page 257, Omnibus Press

Further reading[edit]

• 'Retro: Korg MS-20'. Future Music. No. 43. Future Publishing. May 1996. p. 50. ISSN0967-0378. OCLC1032779031.
• 'Korg MS20'. Music Technology. June 1989. p. 80. ISSN0957-6606. OCLC24835173.

External links[edit]

Korg Radias Virtual Analog Synthesizer Software

The microKORG is a MIDI-capable virtual analogsynthesizer/vocoder from Korg featuring DSP analog modelling. The synthesizer is built in such a way that it is essentially a Korg MS-2000 with programmable step arpeggiator (MS-2000 has only six simple patterns), a less advanced vocoder (8 bands instead of 16 bands found on the MS-2000), lack of motion sequencing (MS-2000 had three motion sequences), lack of an XLR microphone input, and in a smaller case with fewer real-time control knobs.

The microKORG was released in 2002 and is still in production as of 2018. It is considered one of the most popular music synthesizers in recent history,^[1] with estimated 100,000 units sold as of May 2009. In September 2007 Korg released a limited edition of the microKORG with reverse-color keys although the functionality was otherwise unchanged. At NAMM 2008, a successor called the microKORG XL was introduced.^[2] Available since early 2009 it uses MMT Multi Modeling Technology from Korg's newer and more powerful Radias/R3 synthesizers.

Synthesis[edit]

The microKORG uses DSP technology to emulate the sounds of an analog synthesizer using firmware, and is based around the same engine found in the Korg MS2000. The fundamental unit of sound is, in Korg's terminology, a 'timbre'. This is generated with a pair of multi-function oscillators. Two timbres can be combined to create a four-oscillator 'layer'. This can be used to create more complex sounds, although it halves the polyphony from four notes to two. A single timbre can be played in four-voice.^[3] Oscillator one (OSC1) can produce one of several fundamental waveforms, including saw, square, triangle, and sine waves. Alternatively, OSC1 can produce a vox wave (for simulating human vocal cords), white noise, and one of 64 different digital waveforms that were created by harmonic additive synthesis. Some of these 64 waveforms were originally featured in the Korg DW-8000 digital synthesizer of the mid 1980s. The second oscillator (OSC2) is limited to saw, square, and triangle waveforms.

Korg Radius Virtual Analog Synthesizer System

Each waveform on OSC1 has a unique modulation feature, including wave morphing, Pulse-width modulation, and FM. OSC2 can be detuned, synchronized, and/or ring-modulated with OSC1 in order to create more complex sounds. OSC1 can also be replaced with the signal from one of the line-level inputs on the back of the unit, allowing external signals to be processed with the effects and filters of the microKORG, or potentially ring-modulated by OSC2.

The microKORG utilizes filters such as Low Pass (-12dB/Oct and -24dB/Oct), Band Pass (-12dB/Oct), and High Pass (-12dB/Oct).^[4]

The microKORG also uses effects such as flange, ensemble, phaser, and digital delay, which can also be applied to external signals. The unit also features two independent LFOs, with six different waveforms, which can be used to create more complex modulations.

When playing a single timbre, the keyboard utilises four-voice polyphony. In layer mode it generally has two-voice polyphony, although one combination of polyphonic/mono layers allows for three-voice polyphony of the second timbre.

The microKORG groups its 128 factory preset sound patches into 8 groups:

• Techno/House
• D'n'B/Breaks
• Hip hop/Vintage
• Retro
• Special Effects/Hit

A large knob changes the selected sound group. Each group has 16 different patches (two banks of eight), selected by the eight lighted buttons on the front with a side A/B button to toggle between sets of eight. All patches are user editable, and do not necessarily have to follow the groupings listed on the face plate.

microKORG XL[edit]

The direct successor to the microKORG, the microKORG XL, utilises MMT Analog modelling, and is based on Korg's own R3.^[5] The XL features a brand-new LCD display, and two Program Select knobs for easier access.

The microKORG XL groups its 128 factory preset sound patches into 8 groups:

• Vintage Synth
• Rock/Pop
• R&B/Hip Hop
• Jazz/Fusion
• House/Disco
• D'N'B/Breaks
• Favourite

and several sub categories:

• Poly Synth
• Arp/Motion
• Pad/Strings
• Keyboard/Bell
• Special Effects/Hit

New features specific to the microKORG XL[edit]

Notably, the microKORG XL features 17 different KAOSS derived effects, including phaser, flange, decimation, vibrato, tremolo and retrigger.The XL also features several included PCM Waveforms, including Piano, Brass Ensemble, nine Electric Piano and Clavinet, seven organ sounds (one of which emulates the Korg M1 Organ), a full String Orchestra, two variable formant waves and more than 32 digitally generated waveforms (SYNWAVE 6 is a ramp wave/inverted sawtooth.)The XL adds two additional Waveform Modulation types: Phase Modulation and Unison (in which five stacked oscillators within 1 oscillator can be detuned and phased to achieve a richer sound.) The Unison Simulator is similar to the Supersaw waveform on the Roland JP-8000. The included 'OSC MOD WAVEFORM' and 'OSC2 SYNC' controllers are reminiscent of the Poly-Mod feature in the Sequential Circuits Prophet-5.The microKORG XL also includes a waveshaper (uncommon in most synthesizers) which will morph the current waveform into an approximation of the waveform desired, resulting in a harsh sound. The waveshaper also includes a third oscillator (Sub oscillator.)

Additional improvements include:

• Polyphony increased up to eight notes
• Vocoder increased to 16 bands, but still supports the 4 note polyphony
• USB connector for MIDI over USB operation
• 'Split' and 'Multi' added to Voice modes
• The option to use ten scales, including one defined by the user.
• 'Analog Tune' simulates the pitch instability and oscillator “drift” that was characteristic of vintage analog synthesizers

Korg RK-100S[edit]

In 2014, Korg announced the RK-100S keytar, which is essentially a 37-key 'keytar' version of the microKORG XL+, with many external differences and only two internal differences. On the inside, it sports the same exact features as the MicroKorg XL+, except it has 200 program storage instead of 128, and allowing for the long ribbon controller to serve as a modulation source. Externally the RK-100S is radically different. It lacks the ability to edit programs from the unit; editing may only be done via a control app available for Mac and PC (or, if one is daring enough, it is technically possible to create ones own editor using the available MIDI messages chart). MicroKORG XL and XL+ patches may be downloaded into the unit one-by-one or en masse, allowing patch editing to be done on a microKORG XL+.

Notable external differences of the RK-100S[edit]

• lacks the XLR mic input and dual quarter-inch mono output jacks of microKORG XL+, instead featuring a stereo 1/4' TRS jack and mono 1/8' audio input jack, switchable between three gain levels (Line, Mic1, Mic2)
• adds a short and long ribbon controller, and buttons that toggle the behavior of the ribbons (e.g. between modulation of pitch or frequency, although other things can be modulated)
• sports a 37-key keyboard of 'mini' keys as on the MS 20 Mini; these are larger than microKORG'S keys but much thinner than traditional keys
• has five banks of 'favorites' selectable with five LED-backlit buttons; these buttons serve as a level meter for output volume during normal performance
• a multipurpose up/down lever switch used for selecting between programs, banks, adjusting tempo, etc.
• wooden body with very fragile glossy lacquer paint that is very easy to chip or crack should the unit bump into anything hard
• double the battery life for a set of 4 alkaline AA batteries (8 hours instead of 4 on the microKORG XL+), according to Korg's documentation.

Even though the RK-100S is not marketed as a microKORG, the fact that its synthesis engine is identical makes it ideal for microKORG users wishing to perform live without needing to have a keyboard stand restricting their movement around a stage.

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Competing products[edit]

The MicroKORG was released during the same period as several similar products:

• Novation KS Series / Novation Xio-Synth (Discontinued)
• Akai Miniak

The microKORG shared several features with the earlier, discontinued Quasimidi Sirius - in particular a built-in vocoder - although the Sirius used distinctively unique analog modeling - sample playback hybrid synthesis.

Korg Radius Virtual Analog Synthesizer Download

References[edit]

Korg Analog Synthesizer Prolog

1. ^'Original patches for the MicroKORG'. Thoracius Appotite.
2. ^'Korg MicroKORG Synthesizer/Vocoder'. Korg UK. Archived from the original on 2009-01-20.
3. ^'Korg Microkorg'. Sound On Sound. January 2003. Archived from the original on 6 June 2015.
4. ^'Owner's manual'(PDF). Korg. Retrieved 20 June 2018.
5. ^'Korg Microkorg XL'. Sound On Sound. July 2009. Archived from the original on 8 June 2015.

Further reading[edit]

Korg Radias Virtual Analog Synthesizer For Sale

• 'Korg microKorg XL'. Future Music. No. 210. Future Publishing. ISSN0967-0378. OCLC1032779031.

External links[edit]

• microKORG DWGS Waveform Reference PDF list at archive.org Note: This 'rare' document contains the title and wave shape (graphic) of each of the DWGS waves used in the microKorg. This information should be valuable to music educators and those interested in instrument tone production,overtones or Fourier Analysis.
• MicroKorg: The Most Popular Synthesizer Of All Time?- Article from synthtopia.com about the number of MicroKorg units sold as of May 2009.