However, thanks to velocity- and aftertouch-sensitivity and its unique 'log' (a combination of modulation wheel and a pressure-sensitive ribbon controller) the Prophecy's orchestral models sounded realistic and expressive without the use of a breath controller. They were the Prophecy and the Trinity.Ĭosting just under a thousand pounds in the UK, the Prophecy lacked the expensive OASYS user interface, offered fewer algorithms, lost the ability to load new models, and was monophonic. The occasion was the launch of Korg's two most important products of the '90s, both of which leaned heavily upon OASYS. Nonetheless, in July 1995, a non-functioning prototype played a supporting role at a press and dealer event in the hallowed surroundings of the Science Museum in Kensington, London. Korg's market research revealed that the projected end-user price of £10,000 was far too high for a 16-voice polysynth. But OASYS suffered from two severe limitations: it was overpriced and underpowered. The company even claimed that OASYS would support several models simultaneously, allowing players to mix orchestral models with analogue-synthesis models with drum samples, and so on.
#EARLY 2000S MICROSYNTH SOFTWARE#
Some of its technology subsequently appeared in the Prophecy, Trinity, Z1, and Triton.Korg R&D had used the software SynthKit to develop a wide range of models, but these were to be whittled down to a selection that included imitations of orchestral instruments, tonewheel organs, FM synthesis, stereo PCM synthesis, wave sequencing, additive synthesis, and various forms of analogue synthesis. Sadly, it was never fully released commercially in this form, but nevertheless, it did exist. The original OASYS keyboard, as previewed in SOS March 1995. there was an upper limit to the complexity that OASYS could support. The only limit would be the power required by the models.
in principle - support an unlimited range of sound-generation systems. This meant that, unlike the fixed models in Yamaha's VL1 and VL7, the OASYS could Long before the advent of software synths, Korg R&D had designed OASYS to be capable of loading and running whatever algorithms the company developed for it.
Nonetheless, it was real, although it looked unlike any previous keyboard, with the centre of its control panel dominated by a touch-sensitive screen that provided access to, and control over, its complex sound-generating system - or rather systems.
#EARLY 2000S MICROSYNTH PRO#
0 kommentar(er)
