Midi Quest - Instrument Support List. Midi Quest also supports the following MIDI hardware courtesy of Psicraft. Yamaha: MX4. 9, MX6. Alesis: Vortex Keytar controller. M- Audio: Venom. Dave Smith Instruments: Evolver(WIndows only), Poly Evolver (WIndows. Akai: EWI4. 00. 0S, MPD2. MPD2. 6, MPK4. 9, MPD3. MPK8. 8, MPK6. 1, MPK2. MAX4. 9Line 6: Pocket POD, Floor POD Plus, POD 2. TC Electronic: G- System, M3. G- Major 2, G- Sharp. Roland: VC- 1 (Windows only)TC Helicon: Voice One, Voice. Works, Voice. Live, Voice. Find profiles for your favorite Marvel characters in Marvel.com's character database, including info on first appearances, key issues, and basic statistics. No more missed important software updates! UpdateStar 11 lets you stay up to date and secure with the software on your computer. Get the guaranteed lowest prices, largest selection and free shipping on most Keyboards & MIDI at Musician's Friend. SYNTHETISEUR KORG TR 88 NOTES 1799 Clavia Nord Stage demo - Philipp Koltsov's improvising Rhodes Mark II part1. Famous Sounds "Famous sounds" are sounds that have been created or used by somebody, liked and then copied by many others, and thus earned a "classic" status. Pro, Voice. Doubler. Voice. Works. Plus. All editors are free with the exception of the Evolver and Poly Evolver editors. Awave - FMJ Software: Awave is great audio format converter for Windows and has Soundfont support. Analoguesque: Sell sounds for SoundFont and Emu ® EOS compatible. Korg module standard for iphone. Korg really know what they're doing when it comes to workstations, and their new one has been eagerly anticipated. Meet the Kronos in our world exclusive review. Meet the Kronos in our world exclusive review.. When Korg released the M3, I wondered whether this might be the company's equivalent to the CS8. However, while its EDS (Enhanced Definition Synthesis) sound generator was based upon the core HD1 (High Definition) synthesizer engine in the flagship OASYS, it offered a smaller ROM, less processing power, less sample RAM, fewer effects slots, and lower polyphony. What's more, it didn't support the OASYS's EXis (expansion instruments), so six of the OASYS sound generators were missing. I concluded that the M3 was more a step up from Korg's Triton than a step down from their OASYS, and was not a replacement for the company's previous flagship. But now there's the Kronos. Announced at the NAMM show in January and, at the time of writing, still a few weeks away from distribution, its specification looks much like a revised OASYS. And, although its sombre styling is more reminiscent of an M1 or a Wavestation, its control panel also looks suspiciously like that of an OASYS. So is this the instrument to take Korg forward into the next decade? Korg have written a dedicated Expansion Instrument (EXi) to make best use of their two new families of grand piano samples. Despite being very simple to use, the results can be outstanding. Let's be clear from the start: the core of the Kronos is the core of the OASYS, and nowhere is this more apparent than in its implementation of HD1. In the OASYS, HD1 drew upon 1. EXs. 1, which included 2. EXs. 2, which offered 1. GB internal hard drive. Later, an optional upgrade (EXs. MB of brass and woodwind samples, although this could only be used if you expanded the OASYS to its maximum 2. GB of RAM. In the Kronos, HD1 is retained in full on its 3. GB solid state drive (SSD), with a core of 1. EXs. 1, EXs. 2 and EXs. But in addition to this, it also includes, as standard, no fewer than six further expansion libraries, EXs. EXs. 9, comprising Vintage Keyboards, a second ROM expansion, two new piano libraries, and two new drum libraries. It's not possible to review HD1 in a 'select some waveforms, mix them and then send the results to the filter and amplifier' fashion, because each oscillator can be based upon PCMs, samples or wave sequences, each can use up to eight velocity- crossfaded sources (the OASYS only offered four) and the outputs from these can be modified and controlled by a vast array of multi. Then there's the Vector Synthesis that lies at the heart of every Program, allowing manual and enveloped control over dozens of voicing parameters, and Drum Tracks (see below) that are integrated within each, to say nothing of the KARMA algorithmic composition technology, which can be used for anything from building simple arpeggios to complete tracks. It can sound fantastic and, if I'm honest, I don't think that anyone will ever exhaust the possibilities of HD1, especially with the new EXs libraries on board. The EXs. 6 and EXs. Korg that the company have developed a new engine to make optimal use of them. SGX1, which is one of eight expansion instruments in the Kronos, offers eight velocity layers per note, with the natural piano noises — damper thunk, case noises and so on — separated out for independent control. What's more, there's no sample looping. No longer does a realistic attack turn into a featureless loop when a key is held, and each note now decays smoothly for as long as 3. Each of the two piano libraries is sampled from a single instrument; EXs. Steinway Model D, while EXs. Yamaha C7. The sampling is first. However, rather than offer just two pianos based upon these, the two sample families have been moulded into 3. I prefer the latter, which has excellent ambience and is more appropriate to anybody but the player anyway. Unlike most workstation sequencers, the Kronos's Track Data Map can show the status of all 1. MIDI tracks, all 1. Master track simultaneously. EP1: In contrast to the acoustic pianos, the electro. In this, parameters are derived from the pre. But despite the complex technology behind the scenes, EP1 is incredibly simple to use. There are just three tabs of controls: the Basic page, where you select which of six pianos (three Fender Rhodes and three flavours of Wurlitzer) will form the basis of the sound; the Oscillator page, where you adjust parameters such as the attack and release noise, the hammer width, and so on; and the Panel/IFX/Amp page, which offers controls almost identical to those of the original instruments, as well as a selection of stomp. For example, playing the Rhodes Mk. II through the Black Chorus (inspired by TC Electronic's Stereo Chorus/Flanger) is a joyful experience, and I doodled away an entire evening on this sound alone while writing this review. My only criticism of EP1 is the absence of Hohner Pianet and Clavinet models, so I called Korg and asked the question. The response I received boiled down to, . For one thing, it's complex. Overflowing with morphing oscillators, multi. What's more, while Korg have done everything possible to lay these facilities out clearly, it's still a long way from a knob. Nonetheless, AL1 is a powerful synthesizer capable of imitating many revered vintage synths, as well as creating huge ranges of sounds unavailable in the heyday of analogue synthesis. My advice is to persevere.. However, it's not limited to producing imitative sounds, and I particularly like the results that one can obtain using unworldly facilities such as samples or filtered noise as the 'excitation' source, as well as enharmonic excitations and non. In a different era, STR1 would have been a powerful synth in its own right, but when integrated within Kronos and used with its effects — to say nothing of being hooked up to some of the KARMA picking and strumming algorithms — it takes on a life of its own, allowing you to compose and play music in ways that you might find almost impossible without it. The back panel of the 7. On the left is an IEC port and a power switch; in the middle a pair of USB A ports and a single USB B socket; and at the right we find the bulk of the Kronos's connectivity. This includes a pair of quarter. It was — and remains — a modular monster that combines FM synthesis with sample playback and sample mangling, waveshaping, and conventional subtractive synthesis. I suspect that few if any players have ever fully gotten to grips with it (myself included) and that's a shame because, although the learning curve is a bit steep, MOD7 can produce a fabulous array of sounds. Sure, keeping track of patchable FM algorithms is a bit mind. This means that a single EXi Program, which can support two MOD7 sounds, is equivalent to a hugely enhanced DX1 (the monster of the DX range), and you can layer multiple Programs in a Combi to emulate all eight TF1 modules in the mighty TX8. I loaded the first four TX8. Sys. Ex libraries from a USB memory stick and then layered the string and English Horn patches from the first four TF1s into a single Kronos Combi. Although this dragged the polyphony down to just five notes, the results were fabulous. You have NEVER heard FM sound so good, with such clarity and presence, and with so little accompanying noise. Bravo, Korg! Two new expansion (EXs) PCM libraries provide the basis of myriad drum kits and percussion instruments, all of which can be further sculpted using the full power of the HD1 synth engine and the effects. The original Korg Legacy Collection contained 'soft' implementations of three of Korg's famous synths — the MS2. Polysix and the Wavestation. So, given that much Wavestation technology already existed in HD1 synthesis, it wasn't a huge surprise when the MS2. EX and Polysix. EX became available as an OASYS upgrade. Of course, Korg couldn't leave things alone and, when rewriting the MS2. EX plug. Clearly, the MS2. EX within OASYS was not just a virtual MS2. Happily, the MS2. EX in the Kronos retains all of these extras in an improved GUI that allows you to understand and control it despite the apparent complexity on offer. Likewise, the Polysix. EX can be a remarkable synth: simple, direct and with great warmth. Whether it sounds identical with the original Polysix is no longer the issue (it can, by the way) because, once you've started throwing all of the Kronos's additional capabilities at it, emulating the original becomes just a tiny subset of what you might ask it to do. But why include the MS2. EX and Polysix. EX in the Kronos at all? After all, the AL1 virtual analogue can do everything the Polysix. EX can, and much of what the MS2. EX can. The answer is threefold. Firstly, their characters are markedly different. Secondly, the simplicity of the Polysix. EX begs even the most nervous programmer to create new sounds, while the patchability of the MS2. EX encourages you to try things that you would never attempt using a modulation matrix. Thirdly, the low processor load of Polysix. EX makes it the synth of choice if you want to conserve resources for elsewhere. Finally, we come to the CX3, which Korg have been developing since the late 1. CX3 and BX3 organs were, by common consent, the best Hammond clones of the analogue era. More recently, the company released two digital equivalents, also called the CX3 and BX3, and an enhanced version of these appeared in the OASYS, where it offered all manner of enhancements. This version — which, in my opinion, remains the best and most authentic sounding of the so. If you're happy to use sliders as drawbars, you'll not need anything else for your Hammond sounds and performances. It seems almost criminal to dismiss CX3 so briefly, but there really is nothing more to say! No matter which synth engine (or engines) you choose, Programs in the Kronos can be quite complex affairs, comprising two patches inside a common wrapper that adds vector synthesis, step sequencing, additional modulation, KARMA 2 (see box above), and of course the full power of the Kronos's effects section.
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